In the Jazz Collector newsletter a few issues back, we asked readers to give advice to eBay sellers. Here’s a comment from one of our subscribers: “I have some advice concerning scratches. Too often the word ‘mark’ is used as a catch-all for scuffs and scratches and whatever. If a scratch is present, call it a scratch. Don’t take if for granted that a non-feelable scratch is inaudible. Often a very thin non-feelable scratch is audible. I even own a few records with very feelable scratches that are actually inaudible. Nothing takes the place of play-grading whenever possible. Also, the definition of a scratch as one that ‘plays through fine’ can mean different things to different people. Some might assume it is completely inaudible, yet it could pop noticeably for a minute. All the seller meant was that it doesn’t skip. Being more precise can result in fewer misunderstandings.” – Elliot Forman

Three friends called on Monday to ask if I’d seen the article in Sunday’s New York Times about the discovery of the concert by Bird and Diz at Town Hall in New York from June 22, 1945.  Check it out here: Bird Lives! The Birth of Bebop, Captured on Disc. So I get the calls on Monday, rush home, read the article and then head out to my local Tower Records to pick up the CD. Alas, no CD. Also, no CD at Borders, Barnes & Noble or Best Buy.  So I ordered on Amazon. Still waiting for delivery. Which is a roundabout way of saying that I’m delaying the next newsletter a week, till I get back from vacation and have a chance to listen to this CD so I can share my thoughts with you.  I’ve got plenty of other stuff to write about, plus an updated Price Guide, so stay tuned on August 15. I’ll be offline till then, traveling in Europe. Have fun and happy record hunting.  – Al

I received the following urgent email from a friend the other day:

My brother-in-law is Michael Brecker.  He is 56 years old, a world famous jazz musician and 11-time Grammy winner but none of that matters now.  Please read the email below as it is a question of life or death.  Also, if you could please send this to everyone on your contact list, I would be so very grateful as would our whole family.

Thanks

Roger K. Neustadt, Esq.
General Counsel
Collins Financial Services, Inc.
Paragon Way, Inc.

FROM: Susan Brecker
SUBJECT: Michael Brecker needs your help.

Dear Family and Friends,

My husband, Michael Brecker, has been diagnosed with MDS (myelodysplastic
syndrome), and it's critical that he undergoes a stem cell transplant. The initial search for a donor (including Michael's siblings and children) has not yet resulted in a suitable match. Michael's doctors have told us that we need to immediately explore ALL possible options. This involves getting as many people of a similar genetic background to be tested.

There are some important points to understand concerning this process:

1. The screening involves a blood test only. It can be done very quickly either at a marrow donation center or at a LOCAL LAB. The cost is anywhere from $40 to $75 and your insurance may cover it.  (In NYC, you can call Frazier, at the NY Blood Bank, at 212-570-3441, and make an appointment for HLA typing.  It costs $40.00.)  Check with your local blood bank, or go to http://www.marrow.org to find the donor center nearest you.

2. Your blood typing information can be posted on the international registry, if you choose, where it would also be available to others in need of a transplant. BEING ON THE REGISTRY DOESN'T MEAN YOU HAVE TO DONATE, it just means that you may be ASKED to do so. You can take your name off the registry at any time.

3.  Should you be selected as a potential donor for Michael, please understand that there have been tremendous advances in "bone marrow transplants" and the term itself can be misleading.  Bone marrow donation is no more invasive than giving blood.  Stem cells are simply harvested from your blood and then transplanted to Michael.

4.  A match for Michael would be most likely come from those of Eastern European Jewish descent. If you or anyone you know are in this category please make a special effort to immediately get tested. Ultimately, you would be doing something not just for Michael, but for so many more who are in a similar situation as my husband.

5. You are now part of our internet-based drive for donor testing. If everyone who receives this can motivate a bunch of their friends to get tested, and those friends then forward this email to get their friends to get tested, we will have rapidly expanded the pool of potential donors. I urge all of you to get tested AS SOON AS POSSIBLE.

Any local blood center/Red Cross center can assist in organizing a drive for Michael, although it would be desirable if you can get a large group, e.g. a synagogue, to sponsor it. Should you have any questions about this, please don't hesitate to get in touch with Michael's management office at 212.302.9200 or info@michaelbrecker.com.

Thank you so much for your love and support.

We are so grateful.

Susan xo

____________________________________________________________________________
________________________________________________________

Michael Brecker is 56 and an internationally renowned jazz musician. As a result of his harmonic innovations, Michael is among the most studied contemporary instrumentalists in music schools throughout the world today. Michael has played on hundreds of albums with artists ranging from Herbie Hancock to James Taylor, from Paul Simon to Frank Zappa to Quincy Jones, Chet Baker and Bruce Springsteen---and on and on. As a leader and co-leader of The Brecker Brothers (with Randy Brecker) and Directions in Music (with Herbie Hancock and Roy Hargrove), Michael has received 11 Grammy Awards -- more than any saxophonist, ever. For further information, go to http://www.michaelbrecker.com.

Yesterday we offered a quote from an interview by Joe Goldberg with Sonny Rollins from Downbeat August 26, 1965. Here’s a second quote from the same article.

 “The thing to do is to work on myself, so I can play me. The audience can tell that. I remember one night, on the first tune, something went wrong with the rhythm section I was working with. They weren’t together at all, not with me, not with each other. We were playing Lover, I think, and there was this shambles behind me, and all I was trying to do was keep things from falling apart. I was playing as hard as I could, but I couldn’t get anything going; I didn’t play a thing. Finally we got through it, and I’ve never heard an audience applaud like that. I thought about it later, and I decided that they felt how hard I was trying, and they responded to that. It’s the same thing when an audience is talking and drinking while you’re playing. It’s a challenge to make them stop and listen. You can do it with tricks, but I’ve learned that it’s better to do it by playing something you really mean. Then they’ll listen. I can usually accomplish that, when I try.”

I must admit, I’m putting a lot of time into my regular gig these days, and not spending too much on eBay. So, this morning, looking for something quick and simple to write, I came upon an old Downbeat from August 26, 1965, with a cover story titled: “The Further Adventures of Sonny Rollins: A revealing conversation with the controversial tenor saxophonist, by Joe Goldberg.”

Without doing major analysis, I will offer a couple of revealing quotes: One today and one tomorrow. Here’s today’s:

“The average Joe knows just as much as I do – he knows more than I do. I’m the average Joe, and I think people recognize that. That’s why I play standards. Everybody knows Stardust. These guys who play only their own tunes, they can cover up a lot of things, but if you play the melody of Stardust, everybody can tell whether you’re doing it right or not. I’ve called tunes like that to guys who didn’t know them. How can you call yourself a professional musician if you don’t know all those songs?”

I have had one individual send back a record other than the one that was sent to him (it happened that it was from my personal collection and was marked), but I’ve caught that only once in the five or so years I’ve been dealing. Now, I haven’t had much access to much of the collectible-level jazz that is dealt with there. (I have a few, but they aren’t for sale). My Rod McKuens, Polka and Belly Dance LPs will provide much the same delight in VG+ or VG++ condition. I do put up what jazz I find, but my best sale to date was for a copy of Al Hirt with the Boston Pops when two bidders got on an ego tripand ran it up to $175. The great part was that I sent them each a copy at that price.

That doesn’t count in terms of jazz collectors or collectibles. Keep all this in mind as you bid. Most who are buying these top-level items are at the top of the food chain. It isn’t enough that a deal has good feedback: He or she has to have dealt in records and know and understand what the ratings mean. Ask for a guarantee. Many reputable dealers will give one. I’m not sure what I would do if one of my LPs was bid up for several hundred dollars and sent back. If someone would like to bid one of mine up that high, I’d be happy to find out.” — Martin D. McKay (MacJazz on eBay)

Jazz Collector Newsletter, July 2005

Welcome to Jazz Collector. We’ve been very good about updating the web site every day, so if you haven’t been visiting, please take a look: There’s been some interesting discussion and we’ve been watching some nice items on eBay. Speaking of eBay, as we often do, we start this newsletter with advice to sellers, which we hope will generate some reader response. We also have our usual assortment of upcoming items, some new LPs in our Price Guides and an all-time favorite music clip.

I was recently talking to a subscriber who is interested in selling his collection on eBay as a retirement business. Here’s the main advice I gave him:

1.     Buy a professional record cleaner and clean every record before you grade it and sell it.

2.     Grade your records accurately/conservatively. You want to develop a good reputation and leave your customers satisfied so they’ll feel confident buying more from you.

3.     Have a no-questions-asked return policy. If someone is not happy, pay to have the record shipped back and refund his money. If a buyer is consistently unhappy, politely stop doing business with him.

4.     When you ship records, package them professionally and carefully and don’t scrimp on using high-end boxes and packing material.

5.      Be accurate in your descriptions and include as much information as possible. Learn about the details that are important to buyers, such as the address on labels, colors of labels, distinguishing characteristics such as the deep groove and anything else that will make your listings clear and informative. Include the label and number. Try not to be too wordy: English may not be the first language of many buyers, so keep your listings concise and uncomplicated.

6.     Get a good camera and take clear pictures, showing as much detail as possible.

What do you think? Do you have any other advice for sellers of jazz records on eBay?

 Riffs, Part 2

After the last issue we received a note from Ivan Helfand, who is director of development for the Jazz Foundation of America in New York. JFA is a non-profit organization that provides funds for musicians in need and promotes awareness of jazz. They are conducting their first auction in November and are looking for donations, which are tax deductible. We’ll provide more information as the event gets closer. . . . We also received a note from Anthony Pearson, who says he just completed his last auction of the summer, which closed a few weeks ago and included about 1,400 items. We’ll let you know when Anthony is back on eBay . . . Have you ever seen the LP Eric Dolphy, Conversations, FM 308? It recently sold for more than $300 on eBay. we’d never seen it, so we did some research on it. You can see the results on yesterday’s post. If anyone has details about the FM label, please send us a note . . . Finally, we’re developing plans to launch a directory and sell sponsorships on our Web site and newsletter. We have more than 800 subscribers and average about 30,000 hits per month on the Web site. People are asking us all the time for information about dealers and where to find records in various cities. We’ll send out more information as our plans firm up

 eBaying

Have you been following the discussion about eBay at Jazz Collector? We received a lot of email from subscribers responding to Larry Cohn’s original note about eBay creating a false market and we spent a couple of weeks posting new letters each day. Larry reviewed all the comments and sent us a follow-up the other day, which we’ll be posting on the site in the next couple of weeks. Keep an eye out for it. In the meantime, we’ve been watching prices go up, up, up for the higher-end collectibles. Here are some of the items we’ve been watching:

 Did anyone ever see this record sell for a price this high: Horace Parlan, Us Three, Blue Note 4037?  Price: $1,725

How about this one? Johnny Griffin, The Congregation, Blue Note 1580, in M- condition. Price: $1,225.01

Here’s another one in the $1,000-plus category: Dexter Gordon, Dexter Blows Hot and Cool, Dootone 207. This one has the original red vinyl but was in less than mint condition and still sold for $1,162.

Freddie Hubbard, Open Sesame, Blue Note 4040. This was an original pressing in very nice condition. We’ve seen it sell for a much higher price, so you never know. Price: $792

Jutta Hipp Quintet, Blue Note 5056, original 10-inch LP in M- condition. Price: $662

Paul Chambers Quintet, Blue Note 1564. Price: $660

Here’s one that surprised me because it sold for a pretty high price and was a New Jersey pressing and not an original New York pressing. Sonny Rollins, Saxophone Colossus, Prestige 7079. Price: $320.88

Here’s a nice one in nice condition: Curtis Fuller, New Trombone, Prestige 7107. Price: $411.46

I’m actually surprised this didn’t go for a higher price, given the cover and condition, plus it’s one of the last Lexington Avenue Blue Notes: Kenny Burrell, Blue Note 1543. Price: $449

Answer to last Month’s question: Who wrote the Charlie Parker biography “Bird Lives” and what was his relationship to Bird? Answer: Ross Russell, founder of Dial Records. Congratulations to Kim Hoffmann, Dave Farrow and Tom Rolin for being the first to respond with the correct answer.

That’s all for now. We’re going to take a couple of days off for the July 4^th holiday and we’ll be back on www.jazzcollector.com with a new update next Tuesday. We’ll also send out an email alert when we post Larry Cohn’s next entry and when we have more details on directories and sponsorships. In the meantime, happy hunting. – Al

Jazz Collector Newsletter, June 2002

We have some positive changes coming at Jazz Collector. We’re updating the Jazzcollector.com Web site and starting Monday we’ll be posting new items each weekday. Plus, we’ll be giving away free collectibles from the site periodically. Finally, we’re going to post more articles and commentaries from readers and increase activity on the site’s Forum. The hope is to create a hub for the Jazz Collector community, so please use the site and offer up any suggestions. The site upgrade won’t affect the newsletter, which will still come out once a month. We have more than 800 subscribers now and the roster keeps growing. Obviously, jazz vinyl is alive and well.

We return to The Great eBay Debate. Is it establishing a new market dynamic or, as reader Larry Cohn suggested last issue, is it throwing it into a temporary frenzy?

Here are excerpts from some of your responses. All of the letters will be posted on the Web site, one day at a time, in the coming weeks. We’ll also post a new commentary from Larry, so please keep looking.

“I think it’s hard to dismiss eBay as a market indicator of jazz LP prices. The ‘truest’ markets for anything are those that are most liquid. It would seem that, for better or worse, eBay is now the market by which the greatest number of jazz LPs trade hands on a daily basis. The biggest problem I find with eBay is the lowering of grading standards. When I walk into a dealer, for example, Fred Cohen’s Jazz Record Center in New York, and a record is graded a near mint, I know what it is and it never disappoints. More often than is reasonable, an NM grade afforded by an eBay seller is closer to VG+. “ – Brian Ross

 “I would suggest that, from an economist’s perspective, the prices paid on eBay are, almost by definition, quite rational since a free, unconstrained market always pays a market price. Yes, prices may be well above the prices that some people who have completed their jazz collections have paid, but these people are very few in number and their prices are completely irrelevant to the new marketplace. As a relatively new record collector, I continue to be enthusiastic about the availability of rare jazz records on eBay. If you were able to buy them at some earlier time at a lower price, good for you. I bought Microsoft stock for a low price instead.” – R. Mueller

 “To dismiss the collectors and others who do business on eBay and other auctions and online communities as less than serious or simply a flash in the pan is short-sighted. The way that we buy, sell, collect, has completely changed due to computers, email, electronic payment, etc. Classic dealers, private arrangements, long-established lines: Yes, I am sure that these exist. But there is a whole other significant arena of action taking place, moving these artifacts of culture into this new future, where ‘market value’ is really ‘market value at that moment.’” – Bonnie Kane, starrynightrecords

 “An an eBay member since December 1997, I have found bidders engaged in ‘eBay psychosis’ – ego-driven bidding. A bidding war ensues and prices go through the rafters for no other reason than ego. I’ve been a victim of the disease and overpaid. With my seller hat on I love it.” – Tony Young

 “I think Larry’s got some solid points. A counterpoint would be that, while those serious collectors have filled the gaps in their collections, that also implies that those discs are not on the market and are thus not available. So, the eBay price is still, well, the going rate.” – Kerry Bradley

 “I happen to agree with Larry Cohn on the false market. However, there is also the false market that is an advantage to collectors like me – the kind of guy who wants a really good sounding analog pressing: In other words, the Japanese pressings. Wow, last year I won approximately 200 Japanese pressings on eBay. The average price, with postage, came to $14. The Jazz Record Center charges twice that and my favorite store here in Milwaukee is getting close to $50.” – Charles Ledvina

 “Thank God I have gotten all the ‘heavy hitters’ before this eBay phenomenon! I have a love/hate relationship going on with eBay. You can find some great pieces. I’ll be glad when I can come to the day of not studying eBay at all and get into some serious listening.” – Tim Beeman, “Jazz Ruler” on eBay

Here, for now, is the last word:

“Hi. This is Howard Goldin. My thoughts on eBay is that it HAS COMPLETELY RUINED THIS HOBBY FOR ALL BUT MORONS!”

ebaying

Speaking of eBay . . .

 Just when you thought prices wouldn’t get any higher, they seem to have gone up to a new level. I’m not averse to paying top-dollar for a great record, and there was a time a few months ago when I was happily winning five to 10 auctions a week. Lately, I haven’t won a thing, bidding the same amounts I was bidding a few months ago.

 Some examples of new highs in the past few weeks:

 Dexter Gordon, Doin’ Allright, Blue Note 4077. Price: $405. This was in near mint condition but it was a NY USA pressing, where we’ve seen copies that have the West 63^rd Street label. Still, with either label, we haven’t seen this record fetch this kind of price before.

 Another one from the same seller that went for a higher than usual price: Bud Powell ’57, Norgran 1098 with the black label. Price: $361

 Here’s one whose pricing defies explanation: Billie Holiday, Lady in Satin, Columbia 8048. Price: $209.49. Can someone please explain why this record would sell for more than $200? We’ll give a prize to whoever provides the best answer.

 The seller bobbysmash had some nice items recently that went for extremely high prices. Here are three of them:

Cliff Jordan and Jon Gilmore, Blowing in From Chicago, Blue Note 1549. This was an original pressing in beautiful condition. Price: $2,550

 Dexter Gordon, Dexter Blows Hot and Cool, Dooto 207. This was not in M- condition and still sold for $1,626

 Sonny Clark, Sonny’s Crib, Blue Note 1576. Price: $911

 Here’s one we were watching last issue: John Jenkins with Kenny Burrell, Blue Note 1573. This was in beautiful condition. Price: $897.55

 Sonny Rollins, Worktime, Prestige 7020, in beautiful condition. Price: $721.13

 Jazzrecordcenter in New York got a couple of plugs from our readers this issue. They were also up on eBay with some nice items, incuding: Herbie Nichols Trio, Blue Note 1519. Price: $381.99

Finally, one more Blue Note that went for a higher price that we’ve seen in the two years we’ve spent chronicling eBay: A Date With Jimmy Smith, Volume 1, Blue Note 1547. Price: $202.50

So, ready to pay some high prices? Here are some of the records and sellers we’re watching over the next few days. Please remember to check out Latest Prices and Price Guide. We’ll be updating the databases more frequently in the coming weeks.

 This one might be gone by the time you read this. As of press time it was more than $400. Sonny Rollins, The Sound of Sonny, Riverside 241

Who wrote the Charlie Parker biography “Bird Lives” and what was his relationship to Bird?

Last Month’s Question: On John Coltrane Soultrane, Prestige 7142, there is a beautiful ballad called “Theme For Ernie.” Who was the Ernie that inspired the tune? Bonus: Who wrote it? Answer: “Theme For Ernie” was written in honor of alto saxophonist Ernie Henry, who died in December 1957. It was written by Freddie Lacy. Congratulations to Robert Oppie for being the first to send in the correct answer. Here’s a clip. Great, huh?

That’s all for now. See you on the Web. — Al

My friend Dan called the other day. He’d just bought a copy of “Slim’s Jam”, the original 78 on the Bel-Tone label, featuring one of Charlie Parker’s early recorded solos recorded in December 1945 when he was in Los Angeles. Dan paid 40 bucks on eBay for the 78. I don’t have a copy of the 78, but I do have the cut on the original Savoy 12-inch LP, The Genius of Charlie Parker, Savoy MG-12014, so I put it on. This is a classic, of course, featuring Slim Gaillard introducing each of the musicians in his own inimitable style: “Here comes Zutty in the door with his brushes . . . This is a fun, Jack McVouty and his tenor.” And, inevitably, “Charlie Yardbirdaroonee,” who, as we soon learn, was “ havin’ a little reed trouble.”

 You’ll never know there was any trouble when you listen to Bird’s solo. It’s very soulful and almost out of context, it’s so far ahead of its time. Click here to enjoy and, remember, this was 1945.

            A few interesting items coming up in the next few days. While we can’t vouch for the dealers, here are some collectibles you might be interested in:

            Sal Nistico, Heavyweights, Jazzland 966. Closes Thursday, March 5 at 5:29 p.m. PST.  Nistico was an underrated tenor player and this LP has a great supporting cast, including Nat Adderley, Barry Harris, Sam Jones and Walter Perkins. Last we looked there were no bidders and the starting price was $9.99. This dealer has a lot of good stuff up now.

            Horace Silver, Finger Poppin’, Blue Note 4008. Closes Thursday, March 5 at 7:45 p.m. PST.  This is an original pressing that looks pretty clean, rated VG+. Price was up to $86 last time we looked, so it’s already pretty high.

            Tina Brooks, The Complete Blue Note on Mosaic. Closes Saturday, March 6 at 8:40 a.m. PST. Start price is $100 and there were no bidders when we looked. This is long out of print and, as we’ve seen with the Mosaics, they only seem to go up in value — not to mention that the music is pretty terrific as well.

            Introducing Joe Gordon on Emarcy. Closes Saturday, March 6 at 2:34 a.m. PST. This is an original Emarcy with the drummer label that looks to be in nice condition. Start price was $14.99 with no bids.

            Sarah Vaughan in the Land of Hi Fi, Emarcy 36058. Closes Saturday, March 6 at 5:30 a.m. PST. This is an original pressing that looks to be in great shape. Price is high at $39.99, but it’s not often you get a record this old and this clean. Plus it’s got some great soloing by Cannonball Adderley to back up Sarah. A great record if you don’t have it.

            Some recent prices of collectibles on eBay:

            Cannonball Adderley, Presenting Cannonball, Savoy. Original. VG++ Condition. Price: $89.88.

            Charlie Parker, Bird and Diz, 10-inch Clef MG C-512. Record and cover were VG+. Price: $100.

            Ken McIntyre with Eric Dolphy, Looking Ahead, Prestige New Jazz 8247. Cover was rated VG++, record was M-/VG++. Price was $37.51, but it did not meet the seller’s reserve.

            Horace Siler, Silver’s Blue, Epic 3326. This was a white promo label in VG+ condition. Price: $92.99.

            For Sale: The Jimmy Giuffre 3, Trav’lin’ Light, Atlantic 1282.

            This is a stereo LP with the red and purple label. Cover has a small cutout hole on the upper left. Record is in VG+ condition, has occasional light surface noise. Cover is VG++, with seams intact and a nice shine on the front.

            Unusual instrumentation on this LP with no bass and no drums, just Jim Hall on guitar, Bob Brookmeyer on trombone and Giuffre on clarinet, tenor sax or baritone sax. As you would expect, it’s a soft, thoughtful record, with a lot of interesting interplay among the musicians.  It was recorded in 1958 and features, among other tracks, the tune 42^nd Street, which was not done often as a jazz number. The album received four stars in the All Music Guide

            Here’s an interesting tidbit from the liner notes by Nat Hentoff, with Giuffre explaining why he chose to name the album after the song “Trave’lin’ Light.”

            “Because we’re traveling around the country in a light Volkswagen bus and we have a light trio (no drums, piano or bass).”

            This album is available on CD but, for some reason, was packaged with a set by Mabel Mercer, of all people. We, of course, prefer the original LP. Don’t know if the CD package includes the original liner notes. Maybe one of our readers can tell us.

            Anyway, this LP is offered for $10, plus shipping, to subscribers only. We have one copy so if you’re interested send an email to rhett@jazzcollector.com and we’ll make you eligible to buy it. We’ll conduct a drawing and announce the results in two days. Shipping for the LP is $3.50 in the U.S.; $12 to Europe and $15 to Asia.

Question For The Day

            Q: Which Duke Ellington classic made its debut under the title “Subtle Slough.”

            Answer tomorrow.

            Answer to yesterday’s question.

            Q. Which hard bop bassist went by the nickname “Home?”

A. Sam Jones, the long-time bassist with Cannonball Adderley.

Source: Liner notes to the Jones LP The Soul Society, Riverside 324. This from Cannonball, who wrote the notes:

            “’Home,’ as he is affectionately known to his friends, was tagged with that name in much the same way as Lester Young became known as ‘Pres’ – for Sam refers to everyone else as ‘Home!’”

Bonus: Here’s another interesting tidbit from those liner notes, this from Jones himself: “I never heard Jimmy Blanton in person, but his record of “Jack The Bear” with Duke Ellington influenced my direction more than any other bass performance.”

Last Chorus

That’s all for today, folks. We do this five days a week, offering new items for sale every single day exclusively to subscribers. For more information about what we do and how to subscribe, please come to Jazzcollector.com or send me a note at al@jazzcollector.com. Also, please remember that, like you, we are fans and collectors. We don’t purport to own all the knowledge and expertise about jazz and jazz collecting, so if you see mistakes, have suggestions or would like to contribute to our efforts, please let us know. Email is always the best way to stay in touch. See you tomorrow. — al

Riffs

            Went to my favorite local record store the other day, Infinity Records on Long Island, and walked away with some nice things. Joey, the owner, always seems to be able to find nice jazz and he’s usually fair and reasonable with the prices. He also knows what he’s doing, unlike some dealers who rely on outmoded and outdated price guides and wind up dramatically overpricing records. Anyway, I hadn’t been to the store in a few weeks, so there was a lot of new stuff to choose from. Here are some of the morsels I bought:

            Kenny Drew and his Progressive Piano, Norgran MG N-1066.  This is an original yellow label. It was only $8 due to the condition. The cover has some wear and a poor tape job on the top and the LP has a lot of light marks. I was hoping it would play to a VG+.  My hopes came half true: Side 1 plays to a VG, with a lot of surface noise, but side 2 sounds pretty good, very listenable. Plus, it’s an original Norgran, which always turns me on, and it’s got a great cover, even if slightly damaged. I’ve been scouring record stores for 35 years and I’d never even seen a copy of this before, in any condition. Just listening to one side will be a pleasure. Click here to see this copy.

            Cannonball Adderley, Cannonball’s Sharpshooters, Mercury 20531. This is an original pressing in near mint condition. I was happy to get it for $20. Of course, I already have a copy, but this was a condition upgrade for me. Be on the lookout for a copy of this great LP in an upcoming newsletter.

            Lionel Hampton, Flying Home, Clef MGC 735, and Airmail Special, Clef MGC-727. Both are original pressings in pretty nice condition. One has some cover damage and was just $4. The other is pretty close to mint and was just $8. I know that Hamp is not the most collectible of artists, but anytime I can get original Clefs in nice condition at those prices, I’m a happy guy.

            I bought a couple of other things, nothing special, but I also left some nice items behind – I’m trying not to buy as much these days since I ran out of space in my house. Anyway, if you’re in the New York metro area, you should definitely pay a visit to Infinity. It’s in Massapequa Park, probably an hour and 10 minutes from Manhattan. The phone number is (516) 221-0634 if you need directions.

Daily Spin

            When I got home from Joey’s I had to listen to the copy I already had of Cannonball’s Sharpshooters as well as the new one to determine which one to keep and which one to get rid of. To be honest, I’ve always preferred the Cannonball LPs on Riverside to the ones on Mercury. I just felt the band was more mature and Cannonball’s playing was more self-assured by the time he got to Riverside. So, while I’ve listed to this record, it’s never been one of the ones I turn to first when I want to listen to Cannonball.

            That’s too bad because it’s a great record, well recorded with burning solos by Cannonball. They do “If I Love Again” at a nice swift tempo with an introduction out of “It’s Only a Paper Moon” and Cannonball swings, very creatively, very distinctively. Click here to enjoy a clip. If this doesn’t get your juices going, you might want to call a doctor.

eBaying

            I still haven’t gotten that Sniper software and it’s costing me some good records. I have to admit I’m still a technophobe at heart, even though I was in the technology publishing business for 25 years and started the first Internet newspaper in the country. Getting new software and learning how to use it are still traumatic experiences. So, here’s what I missed the past few days:

            Cecil Payne, Patterns on Savoy with Kenny Dorham. This was another record I’ve never seen. It was an original pressing in excellent condition, with some slight mars on the cover. It went for $44. I would have paid more if I’d kept track of when it was closing. I love those old Savoy’s with the heavy vinyl.

            Fats Navarro, Volume 2, Blue Note 1532. This was an original Lexington Ave. pressing in VG++ condition. It went for $112.50. Considering that one of my heroes, Sonny Rollins, is on here and I don’t have an original copy of this I probably would have gone for more. Maybe next time.

            Freddie Redd, The Connection, Blue Note 4027. This was an original pressing in VG++ condition. It sold for $90. Seems like a bargain if the condition was accurately graded.

Item For Sale

            Lou Donaldson, The Natural Soul, Blue Note 4108.

            This is a deep groove mono pressing with the New York USA label and the ear in the dead wax.  If it was truly original it would have the 47 West 63^rd address on the label, but it is still an early pressing and it has the great rich sound of being on thick vinyl. Personnel includes Tommy Turrentine, Grant Green, John Patton and Ben Dixon.

            Most of the music here is what would have been called funk-jazz at the time, although there are a couple of standards: “Love Walked In” and a nice ballad version of “That’s All.” Some nice playing by everyone on this LP, which received four stars from the All Music Guide. Click here for their review.

            This copy of the record is in VG condition, although like many of the Blue Notes it looks worse than it plays. There’s some minor surface noise in spots, but it plays mostly fine with no scratches or skips. Cover is VG/VG+, with a little bit of wear around the seams.  Record is fairly priced at $20 plus shipping. We have just the one copy so if you want it send a note to rhett@jazzcollector.com and we’ll conduct a drawing to determine who will be able to purchase it. Shipping is $3.50 in the U.S.; $12 to Europe and $15 to Asia. This record is available to subscribers only.

Question of the Day

Q. How did Milt Jackson get the nickname Bags?

            Answer tomorrow.

            Answer to yesterday’s question:

Q: Which Duke Ellington classic made its debut under the title “Subtle Slough.”

A. Just Squeeze Me. It was first used as a showcase for cornet player Rex Stewart and made its debut on record in 1941.

Source: Liner notes to The Three Sounds LP Here We Come, Blue Note 84088.

Last Chorus

That’s all for today, folks. We do this five days a week, offering new items for sale every single day exclusively to subscribers. For more information about what we do and how to subscribe, please come to Jazzcollector.com or send me a note at al@jazzcollector.com. Also, please remember that, like you, we are fans and collectors. We don’t purport to own all the knowledge and expertise about jazz and jazz collecting, so if you see mistakes, have suggestions or would like to contribute to our efforts, please let us know. Email is always the best way to stay in touch. See you tomorrow. — al