First was the AI overview. It started out like this: “A list of ten favorite Blue Note records can be compiled from various jazz enthusiast lists, such as one from HifiZine, which includes titles like Wayne Shorter’s Adams Apple and Horace Silver’s “Cape Verdean Blues.”

OK, fair enough.

Here’s the next sentence: “Another source, jazzcollector.com, presents additional favorites, often highlighting specific artists and albums based on expert recommendations.”

All right. I feel like I made it to the big time. AI and all that. Right at the top.

Not only that, there was a link in the AI overview to a Jazz Collector article from February 2010. I’d forgotten about the article completely. Even better, the very first reference sited in the Google search was that very same article from February 2010, titled “More Blue Note Favorites, Courtesy of Downbeat.” And If you click on the link, as I did and as you should do as well, you will find the article describing a Downbeat issue from March of 2009.

While I had the general gist right, the premise was a bit off: It wasn’t a list of my TEN favorite Blue Notes, it was a list of MY FAVORITE BLUE NOTE ALBUM. As you will see if you clink the link, they asked a bunch of jazz musicians. Fascinating replies, with Wayne Shorter, Herbie Hancock, and Horace Silver leading the way. In that post, I was the one who corrupted the concept by listing my seven “Finalists” for my favorite Blue Note, but not necessarily making a decision on a single one. There are also 13 comments on the post. And perhaps we will get more comments here, if anybody is still watching.

Anyway, that solves one of my challenges in doing the show on my 10 Favorite Blue Notes. I’m make progress on solving the other challenges as well and I hope to be doing the show on the radio in the next few weeks. How am I resolving those challenges? Choosing the 10 records and playing them in the studio?

Stay tuned.

Kenny Burrell with Art Blakey, On View at the Five Spot Café, Blue Note 4021. This is an original Blue Note West 63^rd Street pressing. It features a great band that also includes Tina Brooks, Boby Timmons, Roland Hanna and Ben Tucker. The record is listed in VG+ condition for the vinyl and VG++ for the cover. Bidding is close to $400 with four days left in the auction.  I was recently talking with a jazz fan who had just turned 90, and he was reminiscing about going to the Five Spot almost every night in the late 1950s, particularly when Monk was playing there regularly. I was hoping to buy some records from this particular gentleman, or at least to peruse his collection. He assured me he had a bunch of original Blue Notes and Prestiges. But he lived in a large house and, after about an hour of searching, we never did find the records. True story.

I see my friends at Carolina Soul are back with an auction, including Dexter Gordon, Go, Blue Note 4112. This is an original New York USA pressing, listed in VG+ condition for both the record and the cover. Cover looks fantastic in the pictures. Bidding is at $400 with more than four days left in the auction. When I worked with Carolina Soul a couple of years ago to sell some records from my collection, there was a copy of Dexter Gordon Go in the batch. It was a duplicate, of course. Don’t remember what it sold for, but I do know these original Blue Notes are constantly going up in value, or in the case of a certain Freddie Hubbard LP going Up, Up, Up.

Not to be outdone, the Jazz Record Center also  had a mono copy of The Incredible Jazz Guitar of Wes Montgomery, Riverside 320. This was the original deep-groove pressing with the blue logo and small reels label. The record was probably in M- condition and the cover was EX, with some minor marks. This one sold for $1036, more than $300 more than any previous Wes Montgomery record has ever sold for, again according to Popsike.

J.R. Monterose, Blue Note 1536. This was not an original pressing, and I extend my thanks to the reader JazzFan for pointing this out. Granted, it had the Lexington Avenue address on the labels, but it didn’t have the deep grooves. In my experience, this meant that Blue Note had some Lexington Avenue addresses left over during a later era, typically Liberty, and slapped them on a later pressing. I had a Herbie Nichols LP of the same type and tried to sell it on eBay for $100 a few years ago, but there were no takers. This J.R. Monterose record sold for $1,898.90

I was shocked to see one of the Monk records on Columbia sell for more than $1,000: Thelonious Monk, Criss-Cross, Columbia 2038.The record and cover looked to be in M- condition and the final price was $1,237.12. The rationale, such as it is, was that this was a white-label promo copy. My guess is that the folks at the Jazz Record Center were fairly surprised as well, since they only had a $75 starting price for this one.

What about this one: Thelonious Monk, Big Bank and Quartet in Concert, Columbia 2164. The cover was in the original shrink wrap and the record sealed in an inner sleeve, which is something Columbia seemed to do in those days. The record sold for $510. It had never sold for more than $100 before.

Something’s happening here, what it is ain’t  exactly clear.

Just to show that Groovin’ High was no fluke, there were also these from the JRC auction: Booker Ervin, The Freedom Book, Prestige 7295. This was an original yellow label mono pressing that also looked to be in M- condition. The final price was $392. This was not a new high for The Freedom Book, which has sold for more than $800 on one occasion. And Booker Ervin, The Space Book, Prestige 7386. This was an original blue label mono pressing. The record looked to be M- and the cover was probably VG++. The final price was $289.99.

Whilst on the JRC auction, let’s fill in the gaps of some of the records mentioned in the previous post and assorted comments. There was Kenny Dorham, Quiet Kenny, New Jazz 8225, with the drill hole through the center of the cover and the label. This one sold for $3,023.  There was Bill Evans, Explorations, Riverside 351, with the misprinted cover. This one sold for $539. There was Teddy Edwards, Good Gravy!, Contemporary 3592. This was an original deep-groove mono pressing that was in M- condition for the record and probably VG+ or VG++ for the cover. This one sold for $133.50.

Of course, we were also watching other auctions. Here is one that caught our eye. Sonny Rollins and the Modern Jazz Quartet, Barclay 84057. This looked to be an original French pressing of the early Rollins Prestige 12-inch compilation. I had never this version and the cover is quite cool. Both record and cover were in M- condition and the start price was about $200. There were no bidders, so I would expect to see this back soon, perhaps at a lower price. I was listening to a playlist I had compiled a while ago and “Slow Boat to China” came on. Sonny was just 21 or 22 and, man, could he play. I am currently reading (and thoroughly enjoying) the new biography Saxophone Colossus: The Life of Sonny Rollins by Aidan Levy. Definitely a must-read for Sonny fans, which means it is a must-read for Jazz Collector readers, because it is impossible to imagine that anyone reading this far into this post is not a Sonny fan, right?

Review: Goldmine Jazz Album Price Guide 3^rd Edition
By Jay Fulmer

More than a decade since the release of the 2^nd edition, the 3^rd edition of the Goldmine Jazz Album Price Guide is here.  As expected, many LPs have increased in value, but the changes in format from the 1^st and 2^nd edition are worth noting.

There is a new author for the 3^rd edition, Dave Thompson, so I am assuming the format changes originate with him.  The 3^rd edition only gives a NM value for listings.  With the addition of new listings this was probably the easiest way to save space.  Anyone familiar with Goldmine’s pricing can easily enough extrapolate backwards, and those unfamiliar with their grading/pricing structure should from now on only buy NM albums!

The most significant format change is the alphabetical listing of album titles within each label category.  This might make finding a title easier, but it throws out the chronological aspect of the previous editions by not listing albums by catalog number.  This format change is not a positive for me, but this is a personal bias as I relied heavily on the 2^nd edition when I was cataloging my own collection.  Organizing by catalog number doesn’t necessarily guarantee chronology, but it is certainly much closer than alphabetical by title.

By their nature, catalogs such as Goldmine are “living” documents, constantly evolving as albums and pressings are still being discovered; as well as recording market fluctuations.  I suppose the irregularities and the omissions are a constant part of this evolution, and this 3^rd edition has its share.  None of the editions thus far has listed the Anthony Braxton 3LP Oberlin Concert (Artista AL3 8900  1978), or the Richard Davis Trio Song For Wounded Knee (Flying Dutchman FD 10157  1973).  The 3^rd edition omits Johnny Griffin Sextet (Riverside 12-264  1958), although it is listed in the previous editions.  The strangest irregularity I found in this new edition is the ABC Impulse Charles Mingus catalog being valued higher than his earlier Impulse releases. Can anyone explain that?

I was pleased to see that the values of the ESP catalog were increased, some surprisingly so.  Also the Blue Note Liberty pressings moved up incrementally and the OJC catalog values were increased.  One example of note is the Paul Bley Debut OJC valued at $150.00!  That increase was unexpected, in light of the fact that it is valued higher than his original 1957 Gene Norman Solemn Meditation LP.  I would love to hear other opinions and impressions of this newest Goldmine Jazz Album Price Guide, as I am sure that I have missed many omissions and other pricing irregularities. Will this price guide have an effect on the market over the next decade?

John Coltrane, Coltrane, Impulse 21. This was a mono pressing with the white label promo label. It was listed in VG++ condition for the record and VG+ for the cover. It wound up selling for $493.88. Wow. From the same seller was this: John Coltrane and Johnny Hartman, Impulse 40. This was also a white label promo copy, also in VG++ condition for the record and VG+ for the cover. This one sold for $282. Then there were the two on Prestige: George Wallington, Jazz For the Carriage Trade, Prestige 7032. This was an original New York yellow-label pressing with the “Not for Sale” stamps on the label and cover. It was listed in M- condition for the record and probably VG++ for the cover. The start price was $499 and it did not sell. Somewhat surprising, right? Then there was:

Barbara Lea with the Johnny Windhurst Quartet, Prestige 7065. This was also an original New York yellow label pressing with the “Nor for Sale” stickers. It was listed in M- condition for the record and VG++ for the cover. The start price was $299 and that was exactly what it sold for with a single bidder.

Here are a few more odds and ends to share:

Our friend CeeDee sent me a note under the subject: “From the ‘I’ll see it when I believe it” department.” It was this link to Somethin’ Else, the Blue Note book by Ashley Kahn that has been in the works for several years. The note further states: “Ships on Jan. 30, it says here.” So, apparently, the long-awaited book will be available by the end of this week. I’ll see if I can get a review copy to cover here at Jazz Collector.

Here’s a very interesting read from Politico, excerpted from a book called “Chasing the Scream: The First and Last Days of the War on Drugs,” by Johann Hari: “The Hunting of Billie Holiday: How Lady Day found herself in the middle of the Federal Bureau of Narcotics’ early fight for survival.” Take a few minutes to read this. It’s quite chilling.

Finally, I got a chance yesterday to see the Clark Terry documentary, “Keep on Keepin’ On.” I will write more about this in a subsequent post. Until then, whatever you do, make it your business to see this movie. If you’re a regular here at this site you will absolutely love this movie. I promise.

“Hank Mobley — Blue Note 1568: Might Moe and Joe; Falling in Love With Love; Bags Groove; Double Exposure; News.

“Personnel: Mobley, tenor; Curtis Porter, alto, tenor; Bill Hardman, trumpet; Sonny Clark, piano; Paul Chambers, bass; Art Taylor, drums

“Rating — Three and a half stars

“One of the nicer things about Al Lion and associates at Blue Note is that they don’t hesitate to present new talent they consider worthwhile. On this set is presented 29-year-0old Philadelphia saxman Curtis Porter, who is equal to the company. Although it is Mobley’s date, the leader allows generous space for the wailing of his fellow reedman, which makes for a high degree of hard blowing.

“Porter’s alto and tenor work is more intensely staccato than Mobley’s. He skips through his solos with light-footed adroitness, delicately sparring with the changes. And he always swings hard. Trumpeter Hardman remains a wishful spokesman for the late Clifford Brown. Though he blows with controlled ferocity and biting tone, he lacks the sense of construction and taste so necessary to major status. Clark, Chambers and Taylor combine in churning rhythm  section, with Sonny’s frequent solos gems of taste and swing. His rippling tough and original, melodic constructions contribute much to the album’s rating.

“Of the three originals here, Porter wrote two (Joe and News); Exposure is Mobley’s. None is outstanding compositionally, but News offers an attractively melodic theme. Mobley’s tenor is big, bustling, hard and virile — but still a considerable cut below the level established and sustained by Sonny Rollins and John Coltrane. When he speaks, though, it is with authority. The good moments are many in this set, and quite a few of them come from the horns of newcomer Porter. Let’s hear more from him.”

There is is. What do you think?

Louis Armstrong Autograph: “Hello. I stumbled on your site while researching values for 78 records and an autograph of Louis Armstrong and his band at the time (late ’30s, early ’40s) and wondered if you could help me find a place that I could get a value on these items?”

Jazz Book Collection: “My father was a massive jazz connoisseur, collector and discographer but sadly passed away in April, Age 92. Attached is a list of his books, which we wish to sell.  We have done some EBay etc. research but would prefer a deal for the job lot via a dealer, or at least a select job lot. A number of the books have been signed by the authors and dedicated personally to my father.”

Hank Mobley, Blue Note 1568: Hi Al, Great blog! I post every once in a while. Here’s a recent eBay experience about 1568

I saw an auction for BN1568 with a price of $899. Did not appear to be a scam. I did the BIN and Paypal’ed immediately, which cleared instantly. That was a Saturday, asked the seller to pack carefully and to look into insurance. Followed up on Monday morning, asking about insurance cost.

Seller replied that she was “just informed of the value of the LP” and thus has to cancel the auction. Well, that obviously sucks, so I replied with a few points:

“What can I say?

1. The buy-it-now price was $900, which suggests to me that you had some idea of the value of the record. $900 for an LP is an immense amount.

2. It’s a non-official 2nd pressing, because side 2 only has the W63 address, not the New York 23 label.

3. When I’ve bought things on eBay before that seemed somewhat overpriced, I usually discovered upon receiving it that there were flaws to the item that made the price make more sense.

4. I’ve sold a good number of things on eBay, many of them were fixed price/buy-it-now and several sold very quickly.  I guessed that I had probably underpriced them, but I followed through with the transaction. But I followed through with the transaction. That’s the nature of a market.”

Anyway, seller hasn’t refunded my $ and HAS relisted it Hank Mobley, Blue Note 1568. 

Don’t mean to gripe or be long-winded. Maybe someone on the list can learn from this? Keep up the great work!

Lorraine Geller on Dot: Of course, no email grab-bag would be complete without a missive from CeeDee, who drops me an entertaining note about once a week. This one was on the Lorraine Geller LP on Dot, which we recently included in a post. It wound up selling for $932. CeeDee’s note was simple, but appropriate. It said:

“$$$ . . . but why?”

I shall leave it to you, good readers, to answer. As a comment, not an email, please.

Tommy Flanagan, The Cats, New Jazz 8217. This was an original pressing in M- condition for the record and cover. It was also a review copy. It sold for $535. I’ve had this record for a while. I traded it for it years ago: I had a broken leg at the time and was stuck in my friend’s basement with all of his records, Blue Notes, Prestiges, the whole works. I was very good and just looked. In my collection I have this one with my Flanagans, although the temptation is to put it with the Coltranes. I’m often reorganizing, so maybe I’ll move it around some day.

This is one of my favorite jazz collectibles, although it’s not jazz vinyl: To Bird With Love, by Francis Paudras. This is a book from 1981, about the most loving tribute to Bird you could find this side of Irving Kalus’ Ornithology. As noted by Fred in his listing, which you should take a look at, the book was printed once with no more than 1,000 copies, probably 500. I bought this when it first came out, from Fred, and I’ve treasured it ever since. It now has a prominent shelf on my new shelves in The Berkshires.  This one sold for $887.79.

The Miles Davis Columbia records with Coltrane, and even the next generation, are becoming more collectible it seems. The music is certainly uniformly great. Here are a few from the Jazz Record Center auction:

Miles Davis, Someday My Prince Will Come, Columbia 1656. This was an original promo copy, which seems to enhance the value. This one was in beautiful M- condition and sold for $172.16.

Miles Davis, Milestones, Columbia 1193. This was an original mono pressing with the six-eye logo. It was in M- condition for the record and cover. It sold for $85.

Miles Davis, Miles Ahead, Columbia 1041. This was an original mono pressing with the original cover. Fred briefly tells the story behind the change in covers: When Miles saw the picture of a white woman on the cover he demand that it be withdrawn and replace. This was in M- condition and sold for $122.50.

And of course there is Miles Davis, Kind of Blue, Columbia 8163. This was an original stereo promo copy with the white labels and six eye logo. It was also in M- condition and sold for $513.78.