Category: Features

A Little Bird, A Little Philosophizing

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Glad to see there is still some collector interest in Charlie Parker. I had heard this theory, and once discussed it here, that there’s a window of about 50 years for interest in a performer/musician and after that period the people who actually could remember him are no longer around and the influence that he or she engendered, no matter how profound, would eventually fade or be forgotten in the afterglow of artists who succeeded them. This seemed particularly apt in the case of popular artists — a Bing Crosby or Fred Astaire, for example — but it also seems to have impacted the jazz world as well. You don’t get the sense that collectors and even aficionados today have the same esteem for, say, Duke Ellington or Count Basie or even Lester Young that collectors and aficionados had 20 years ago. I think about this a lot and wonder, not just about my collectible records (and their value), but about how history will treat earlier artists and whether their contributions will be remembered in the perspective of their era and the eras that came subsequent to their contributions. Artists like, say, Johnny Hodges or Art Tatum or even Dizzy Gillespie and Stan Getz (and no, I’m not just focusing on the Verve label, although those provide good examples). This came to mind because

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Why Do We Collect?

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Why do we collect? I’ve been giving that a lot of thought lately, trying to figure out what to do with all of my stuff and trying to determine what is worth keeping – and why – and what isn’t. So along comes this interesting article from The New York Times on the very topic. The author, Philipp Blom, is a cultural historian, writer and journalist who lives in Vienna. Here’s the article below. Here’s a link as well, so you can see all of the comments on The New York Times site: Objects of Desire and Dreams

Why do we amass stuff we don’t need? Not all collecting is art collecting and no real collector would acquire things just as a status enhancement or investment. Real collectors are after something else. The objects in their collection are taken out of use, removed from circulation. The real value of a piece lies not in its auction price, but in the importance it has in the collection.

No true devotee would buy a T-shirt worn by Mick Jagger during a concert, chuck it in the washing machine and wear it. A Mick Jagger T-shirt is no longer a T-shirt, it’s a

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Rollins Receives Kennedy Center Honor

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The actual Kennedy Center Honors took place last night, the one in which Sonny Rollins received his long-overdue and much deserved recognition. In looking over various accounts of the festivities, it seems as if it was a lovely evening all around. Bill Cosby did the honors of introducing Sonny and I saw a clip on one of the sites where I recognized Jimmy Heath and Joe Lovano, among others, playing tribute. Sonny was asked why the evening was so special. “It’s very nice to be recognized here in our country, which is the birthplace of jazz,” he said. “It’s where we started jazz, and people love jazz all over the world. It’s a peaceful expression of the spirit, of love, of everything.” In the U.S. there will be a two-hour broadcast of the evening on Dec. 27 at 9 p.m. on CBS.

AP Video

Mingus on Mingus (on Mingus)

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We’ve been asked to help call attention to a proposed documentary on Charles Mingus and so we will. The filmmaker is Kevin Ellington Mingus and the documentary is called “Mingus on Mingus”. Kevin is Mingus’ grandson and the film will be about his journey to discover “the truth” about his famous grandfather. There’s a video explaining the project at the Website, Charles Mingus Documentary: Mingus on Mingus. I tried to embed it here at Jazz Collector, but my technical prowess was not up to it, so I recommend you go to the site and check it out. They are trying to raise money to fund the film, so if you are a Mingus fan and wish to see another documentary, please feel free. I have my own couple of Mingus stories to contribute. When I was a young journalist starting out I was assigned to interview Mingus, only he didn’t really want to be interviewed. I wrote the article and subsequently posted it at Jazz Collector. In case you missed it the first time, you can find it here, Memories of Mingus. Another story: I was talking to my cousin yesterday and he heard of the time Mingus was playing somewhere in LA and a woman was talking, and talking, and talking, and talking, and he kept looking at her but she kept talking, and talking, and talking, and talking. Finally, Mingus put down his bass, opened his case and pulled out a gun. The woman ran out of the club screaming with Mingus chasing her down the street, firing shots in the air. The great thing about the story, as surreal as it seems, is that there’s no one who knows anything about Mingus who would doubt that it happened, right?

Existential Thoughts About Non-Collectible Vinyl

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Had an interesting observation last night. I was going through the jazz auctions page by page, probably 30-40 pages  covering about 1,500 records over a period of more than 24 hours. What struck me was the incredibly large numbers of listings of jazz vinyl that simply won’t sell. Page after page of records that probably don’t have a market at almost any price. And a lot of it was good music — Brubeck, Ellington, Errol Garner, Count Basie, Monk and many, many, many others. Try it yourself and you’ll see what I mean. One of the questions I have is this: Who are all these sellers and what do they think they are doing? It’s not a new thing that the demand for many non-collectible records is declining and, in many cases, the shipping fees are worth more than the records themselves. Still, hundreds of sellers are going through the process and expense of taking pictures, creating descriptions and posting listings on eBay for items that will not sell. How long can this continue? At what point, if ever, does eBay become a more exclusive haven for higher-end collectibles, at least in the jazz vinyl market? The other question to ponder, for someone like me, is this this:

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A Young Jazz Singer Worth Checking Out

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I mentioned the play Central Avenue Breakdown the other day and what a pleasant surprise it was. If any of you goes to see it, let us know what you think with a comment on the site. I had another pleasant musical surprise a few weeks ago. I was up at the house in The Berkshires and noticed that there was to be a jazz concert in my community. It was billed as the West 73rd Quartet doing the music of Kurt Weill. I hadn’t heard of the group and, while I have nothing against the music of Kurt Weill, I’ve never had a special affinity for it, compared to, say, Rodgers and Hart, Gershwin, Jerome Kern or Irving Berlin. But it was nearby and it was jazz and it was an interesting setting. So I went. The group, West 73rd, was a piano, bass and drums with a vocalist. The vocalist was Hilary Gardner and she was terrific. She has a pretty voice and a great jazz feel, whether on ballads of up-tempo numbers. She also had a strong stage presence and did a nice job talking about some of the music and bringing it to life. She apparently gigs a lot in the New York area, so you should definitely check her out and see her if you can. The rest of the band was quite strong as well, Frank Ponzio on piano, Saadi Zain on bass, and Vito Lesczak on drums. The music was carefully thought out and arranged and it was quite inventive without taking away from the beauty of the melodies or the message of the lyrics. As for the Kurt Weill music, Read more

Seeing Live Jazz: Bird With Strings (Really)

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Do you see a lot of live jazz anymore? I don’t. When people ask why, I kind of laugh it off and tell them that just about everyone I’d want to see is dead. Which, unfortunately, is pretty true, with a very few exceptions. I do still try to see Sonny Rollins whenever possible and perhaps a couple of others, but I no longer go to the Vanguard regularly or any of the other clubs in New York. Perhaps this will change when Mrs. JC and I make our long-awaited move to Manhattan, which is in the works (we hope). In any case, I bring this up because I did recently trek to Rose Hall in New York for the first time to attend a Jazz at Lincoln Center concert. The concert was billed as “Bird With Strings,” featuring Charles McPherson accompanied by a string section and playing the music from the original Charlie Parker Bird With Strings album. I like McPherson, a love Bird With Strings and I figured this would be a good opportunity to see some live jazz and check out the location. So how was it?

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Adventures In Jazz Collecting: The Score (Not)

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Mattyman tells the story of the Blue Mitchell record and the rude and competitive and somewhat nasty rival who bid the price up for no reason other than in the hope that Mattyman would put the record down and he would lay claim to it. Good for Mattyman to not fall for the bait and to go home with a great record at a reasonable price. We all have stories such as this. I have many of them, unfortunately. The one I recall most vividly is this, which I may have already told in another context but is worth repeating anyway: I was working my first record show back in the mid-1980s, when there were record shows often in the New York area. There were also many record stores as well, so it was quite a vibrant market. I had bought my friend’s collection and had duplicates for the first time and I was just trying to get rid of some records. I haven’t come very far since then, come to think of it.

Anyway, as happened once in a while those days, a guy came in with crates of rare records and had absolutely no idea of their value. No idea at all. New records were selling for $7.99 in stores, or something like that, so he figured used records must be $5 or so. So he priced all of his records at $5. This included Tina Brooks True Blue; Lee Morgan Candy; Hank Mobley’s Message, 1 and 2; and many, many others too numerous to name. The guy was at a table near me, and I would have pounced, but I never got the chance. As he was getting the records out of his car, two of the top New York dealers of the day accosted him, convinced him to show them the records and pulled out all of the valuables before they made their way into the room.

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Guest Column: Record Shopping in Japan

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In a comment last week one of our loyal readers asked if he could write a guest column about his experiences buying vinyl in Japan. So without further ado, we offer:

Record Shopping in Japan
By Mike Falcon

For most of my adult life I have been very interested in Japanese culture.  I love their movies, art, food, culture, and overall aesthetics.  I studied Japanese while in college as my obligatory foreign language and have traveled there a few times.  Something I have found very interesting about Japan is how they appreciate American and Western culture.  Japan is very different from America or Europe but as a society they have a very deep appreciation for key things from these cultures.  It was so amazing to me to eat various Western foods in Japan and find that the Japanese do Italian, French, Brazilian, and Spanish food more authentically than is available in the U.S.  I ate in a small Italian restaurant where the chef took pride in his Italian food on a level I think could only be found in Italy itself.  For me the Japanese appreciation of Western culture is most evident in three of “my favorite things:” Jazz, vinyl and baseball.   I will save you from my interesting and wonderful experiences with Japanese baseball and other observations because this in an article about vinyl hunting.

The Japanese, relative to the U.S., have a lot of record and CD stores.   I don’t believe they have suffered the same setbacks as the American record industries have, as the music store business seems much healthier.  In Tokyo you can find corporate-owned music and DVD stores eight stories tall that would take a day or more to explore.  These places were interesting but I found the small record stores

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A Random Post of Favorite Jazz Vinyl

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This is a completely random post. At the WFMU Record Fair last week I was selling a copy of Miles Davis Steamin’ on Prestige and got into a discussion with a buyer and he said, of the Steamin’/Workin’/Cookin’/Relaxin’ group of albums that Steamin’ was his least favorite. I said, hmm, that’s interesting because Steamin’ is my favorite of the group. He eventually purchased Steamin’ from me and I’m hoping he’s pleased. In any case, I’m sitting here in my home office/music room staring at my records and thinking about some of my favorites from among the artists where I have (1) a lot a records and (2) clear favorites. Looking through the records, I realized for some artists – such as Lee Morgan, Hank Mobley even Horace Silver – I don’t have any single record that stands above the others. If pressed, I could name a favorite, which I will not do for those artists, but which I will do for some of the other artists where the choices, for me at least, are more clearcut. Some may be obvious, some more obscure, some may even be ridiculous to others, but these are the ones I like. Staring at my collection, looking at them in alphabetical order, here goes nothing:

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