Speaking of Coltrane on Blue Note, Funkyousounds also had a copy of Sonny Clark, Sonny’s Crib, Blue Note 1576. This one had the New York 23 label on side one, but not on side two. I guess that makes it “less” of an original?  The record was listed in M-/VG++ condition with a slight warp. The cover was VG+. The final price was $1,542.79. For comparison, a copy of Sonny’s Crib with New York 23 on both labels has sold for as much as $3,500, according to Popsike.

Jackie McLean, New Soil, Blue Note 84013. This was a deep-groove stereo pressing listed in VG++ condition for the record and VG+ for the cover. The final price was $510. I suppose I noticed it because it is pretty early in the Blue Note catalogue for an original stereo, assuming it is original.

Finally, we have Tommy Flanagan, The Cats, New Jazz 8217. Another with Coltrane as a sideman. This was an original deep-groove purple label listed in M- condition for the record and VG+ for the cover. It sold for $1,204. I can’t look at the cover of The Cats without thinking about the alternative cover that our friend Maarten Kools created for my dog Moose the Mooche. I still crack up each time I see it. Thanks again, Maarten.

The first thing I did was check the time that the auction closed: 6:50 p.m. my time on the East Coast. Perfect. I would definitely be home. But, just in case, I decided to see what was available in the sniping department, since that is the method I would often use in the past when I was buying regularly on eBay. I did a search of “sniping software for eBay” and a bunch of options came up: EZsniper, BidSlammer, eSnipe and a few others. I decided to try a service called GIXEN, mainly because it was free. I figured, if I’m going to bid on a record every 10 years, I may as well not pay for a sniping service. I went to the GIXEN site and signed up. It was surprisingly easy, and I didn’t have to give a credit card or anything. Good start.

I went to eBay, found the item number for The Unique Thelonious Monk and plugged it into my new GIXEN account. At the time, the bidding was about $105 with two bids. I wanted to win the record because I really did want the record, and I figured it would be a better story to tell if I did win it. But I also didn’t want to pay top dollar. After all, neither the record nor the cover was in mint condition. So, I tried to come up with a number that would give me a good chance to win but wouldn’t make me feel bad about winning. I figured I would be comfortable with $400 for the record. And If I lost it at that price, so be it.

I took a quick look over at Popsike and, to my surprise, the record has sold for more than $1,000 once, and has sold for more than $400 maybe 15 or 20 times.  I figured $400 would give me a fighting chance, considering that the description said that the first track on each side begins with “sporadic tics” and the picture shows that the cover is in maximum VG++ condition, with clear wear on the bottom seam. So maybe more like VG+. I put in a bid for $411 on GIXEN with about eight hours left on the auction. I put an alarm in my phone for 6:40, 10 minutes before the auction was scheduled to close. My plan, if I was home and unencumbered, was to remove the GIXEN bid and bid live at my computer, watching the last 10 minutes of the auction to see what happens. I didn’t fully trust GIXEN, having never used it before, plus I wanted to see what it felt like again to bid live after all these years. I also didn’t want to be bidding against myself.

At 6:35 p.m. I turned the alarm off my phone and went to the computer.  I clicked on the link to The Unique Thelonious Monk. The bidding was barely higher than it had been earlier, perhaps $130. I wanted to make sure I could still get a bid in, so I put in a number, maybe $150. eBay told me that there was already a higher bid. That was a feature that was not available last time I participated in an auction. Interesting. So, I put in $180. eBay told me that would be the highest bid. This was with about 10 minutes left in the auction. I didn’t actually make the bid, but I felt that was useful information. With about two minutes left in the auction, $180 would have still been the highest bid. I figured I’d probably still have a shot with my bid of $411, so I put that number in and began the countdown. With six seconds left, I hit the button for $411. With two seconds left eBay came back to tell me that I was outbid. Too late for me to change to a higher bid even if I had wanted to do that, which I didn’t. I tried and lost. The winning bid was $416. Who knows how high the winning bidder would have been. He was probably using sniping software, perhaps even GIXEN, and could have bid as much as $1,000 for all I know. I didn’t mind losing the record at that price, and I feel like I had another mini adventure to share with everyone here at Jazz Collector.

BTW, while preparing this account this morning, I looked over the other Jazz Record Center auctions that ended yesterday. OMG, they are insane. A Monk Columbia record selling for more than $1,000? A later pressing J.R. Monterose on Blue Note with no deep grooves selling for nearly $2,000. Seems like I’ve been away too long and in just a couple of months the market has gone completely nuts. Or perhaps it is just because it’s the Jazz Record Center? Whatever it is, I feel like I am now back in action, so perhaps you will begin to see me posting more frequently again. If you’ve been away for a while, as I have been, welcome back.

Not a good start as I pore through some of the higher priced jazz vinyl. The first is Walter Davis Jr., Davis Cup, Blue Note 4018. This is an original pressing with the West 63^rd Street address. Great record. I, for one, have never owned an original pressing of this record, but I did purchase a United Artists copy from my old friend Red Carraro for $10 back in the 1970s or 1980s. I still have it. This copy on eBay looks totally beat. The seller didn’t have the nerve to describe the condition. But he did have the nerve to put a price of $1,500 on the record.

Paul Chambers, Whims of Chambers, Blue Note 1534. This looks to be an original Lexington Avenue pressing. The seller has graded the record as VG+ or VG++. He’s also graded the cover at near mint. The picture shows a cover that is probably closer to VG, with a seven-inch seam split. So, looking at the cover and the seller’s grading, I, for one, would have a hard time being confident that the record is either VG+ or VG++. But the seller says he has lowered the price by $500 and $300, so for just $1,150 this could be yours.

Finally, after passing United Artists Blue Notes at prices of $1,000, here we come to a seller who knows what he is actually doing: The Jazz Record Center. I like this one J.R. Monterose, Blue Note 1536. This is an original Lexington Avenue pressing that looks to be in M- condition for both the record and the cover. The bidding is already past $500 with five days left to go in the auction, and more than 125 views in the past 24 hours.  This record has sold for more $2,000 in the past. Based on the condition of the record, and the reputation of the seller, I, for one, wouldn’t be surprised to see it get up there once again.

OK, now that I’ve found the Jazz Record Center auction, let’s see what else they have.

Thelonious Monk, The Unique, Riverside 209. This is an original white label pressing. The record and cover seem to be in around VG++ condition. I don’t know if I am pleased or displeased to see this listing. The copy I have of this record stinks. The record has surface noise and the cover has tape. I’ve played several tracks on my radio show/podcast and have always been disappointed. I promised my listeners, assuming I have listeners, that I would replace my copy with a better one. So I should be pleased, right? I mean, here’s a nice copy from a reliable seller. But, man, I haven’t bought a record on eBay in years and have always tried to avoid paying top dollar. A conundrum, no? I have a feeling I know what I’m going to do with this one, especially with Christmas coming up. And please don’t remind me that I’m Jewish and don’t celebrate Christmas. MYOB.

From Dan: You heard that Konitz is gone. Dig how charming he was

https://youtu.be/6R9qyYfuCzI

After watching the clip, which is, indeed, quite charming, I replied that I regretted never seeing Konitz, although I had many opportunities.

From Dan: I saw Konitz in the 80s. I was doing a gig downtown and my friend Dave Shapiro was playing with Lee at Sweet Basil. I walked in as he was counting off the last tune of the night …Yours Is My Heart Alone by Franz Lehar at a fast tempo. He smoked the shit out of it and that memory still lingers. This is a great clip. I don’t like Lennie, but Lee plays great.

Here’s The New York Times Konitz obit. Here’s the one from WBGO.

Here’s an interview with Wynton Marsalis talking about his father.

Here’s another piece from The New York Times, talking about Giuseppi Logan and Henry Grimes.

Here’s an obit on Bootsie Barnes.

Whilst I’m in the process of going through emails and stuff, here are a few interesting exchanges with Jazz Collector readers.

From Jay: I have a quick question for you if you don’t mind. I’m curious about your opinion of the Penguin Guide(s) to Jazz by Richard Cook and Brian Morton. I know there are numerous editions (I have the 2nd and 5th) and that because Mr. Cook passed away some time ago the series is no longer being updated, still I’m curious how the books are viewed by the jazz cognoscenti.

My reply: Hi, Jay. Nice to hear from you. I don’t have an opinion because I have never read it or looked at it. I learned jazz from listening to what I liked and then checking out more from the same artist. For example, if I heard Dexter Gordon as a sideman on an album and liked him, then I would check out one of his other albums. And I’d listen to friends and other musicians who had similar tastes, and follow them. Sorry I don’t know about the book, but I can put a question on the site.

From Jay: Thanks so much for your reply! I’d be very curious to hear what others think. In my very rudimentary opinion-gathering it seems that people who developed a serious interest in jazz quite a while back haven’t paid much attention to the book, whereas jazz fans who might be less fully immersed enjoy it. I’m somewhere in between and both share your approach but love the book. One last question: Is there any jazz criticism that you do read/have read and would recommend? Again, thanks so much!

My reply: Hi, Jay. Again, my grounding is in the era of the 1950s and 1960s. I haven’t gone back and re-read a lot, but my favorites were Ralph J. Gleason, Nat Hentoff and Leonard Feather, in terms of their knowledge of the music and relationships with the musicians. There was a book a couple of years ago of interviews Gleason did in his home with some of the jazz greats. Link is below. For pure writing, Whitney Balliett of the New Yorker had a great style. I also like Gene Lees, Ira Gitler, Gary Giddins and, of the current writers, Ben Ratliff, and another recent jazz critic for The New York Times, Nate Chinen.

https://www.npr.org/2016/05/23/478884245/from-duke-to-the-dead-ralph-j-gleason-loved-it-all

From Jay: Thanks again for taking the time to reply. Most of the names I’m at least familiar with, but would like to dig deeper into a couple. Two faves of mine are an early edition of Feather’s Book of Jazz and a well-marked-up copy of Ted Gioia’s History of Jazz.

There was a question from a reader about a particular Joe Henderson record:

Diego: Hi, I wanted to ask for some advice. I’ve been wanting to get Joe Henderson’s Page One record. It is quite rare but expensive. Hard to go about it. There is many options stereo or mono, old reissues vs new reissues. Any advice? I would appreciate it! Thanks!

My reply: I have no idea of your circumstances, financial or otherwise. My feeling has always been it’s never about the record and always about the music. If you really love the music and are getting the record to listen, the Japanese pressings are typically great. If you are a collector and want a first pressing, then you either have to pay the price or wait. My philosophy was to get the music first and worry about an original pressing later. Took me 50 years to get Shades of Redd, but I always had a copy for listening — that’s how I came to love the record in the first place.

This same reader had asked a question about the quality of U.K. pressings versus U.S. pressings. He had a chance to buy a U.K. pressing and wanted to know if the sound quality was equal, better or worse. I told him to post the question on the Jazz Collector site and I promised him someone would answer. Well, he did post the question and it somehow got buried and NO ONE ANSWERED. Now is your chance, please. Wouldn’t want me to break a promise.

One more reader question:

“I am hoping you can help me find some information on a record I inherited from my grandfather. The record is ‘King Oliver and His Creole Band – Volume One’, autographed by Baby Dodds on 09-30-1945.  I have searched the web and found very limited information on the record, and potential value with the autograph by Baby Dodds. Any information you could provide would be very much appreciated.”

As I usually do when asked about an autograph, I requested a photo and copied our other friend Dan from the Jazz Collector site, who is very knowledgeable about autographs and other ephemera.  I thought this might be quite an interesting find, but alas, it was not to be. After viewing the email and the photo, here is Dan’s reply:

“Thanks for sharing. Who doesn’t love a great vintage King Oliver side!  Unfortunately, I hate to be the bearer of bad news, but the autograph is actually part of album’s cover photo and is printed on all copies of this particular album. As for value, like most things, it’s all based on market demand, album condition and grading. You are probably looking at around $25 based on what I’ve seen similar copies sell for on Popsike. Hope that helps.”

I posted the picture below, primarily the share the great shot of young Louis.

Finally, I saved a link to the following article because the headline irritated me all out of proportion: “Why Count Basie’s Band Was the Rolling Stones of Swing.” All due respect to the writer, who is clearly knowledgeable and respectful of the music, but why that headline? Why compare, why stretch something so out of time and context, when you could just as easily pay tribute to Basie and his band all on their own, with their own accomplishments? I have no idea what about it bothered me, so I figured I’d put it out there and see if anyone else has a similar visceral negative reaction. Maybe it’s just me.

Another reader sent us this link with this note: “Not sure if you caught this beautiful Lorraine Geller LP that sold for $1,200 (buy it now). There can’t be too many of these rarities left in that type of condition.” Indeed.

Here’s a question from a reader:

“Al,  I have a question for you. When you bid on a jazz lp on Ebay and the seller gives it a visual grade of lets say NM-.  You win the lp and when you receive it, you find his visual description is perfectly accurate, but when you listen to it you hear lots of clicks and a lot of background noise. What do you do, if anything?  Would you complain to the seller about the sound or just accept it the way it is?  I ask because I notice many sellers don’t give an audio grade in their descriptions, and many of these lps sell for huge amounts.  When I sell, I give an audio & visual grade, but I think I’m in the minority. Anyway, I appreciate your feedback on this question. Thanks much (and thanks for the great website), Bill.”

Here’s my reply:

“Hi, Bill. I’ll pose the question to my readers, if you don’t mind. I won’t mention your full name. I don’t buy much on eBay these days, but I would definitely get back to the seller. I wouldn’t look at it as a complaint or question the seller’s credibility and I wouldn’t do it with even a trace of hostility or anger. Rather, I would say that, yes, the visual description was accurate, but when the record played it was closer to VG or VG+ or whatever. Then I would ask the seller what he would recommend. Some sellers will take the record back and give you a full refund (if that’s what you want); others will give you a partial refund and tell you to keep the record. Most sellers will do something. If they don’t offer anything and are arrogant or hostile, then just don’t buy anything from them anymore. Personally, I’m not comfortable filing formal complaints on eBay. Can’t say why other than karma. — al”

I never did hear back from Bill on how/wheher this was resolved, so, Bill, if you’re still out there, what happened?

Here’s another question from a reader: “Do you have any information about the Crescent record label other than what is reported by Wikipedia?” Answer: I don’t but I figured maybe someone out there does. So here’s the question for any Crescent experts.

I was listening to this record today: Vi Redd, Bird Call, United Artists 14016. Part of a pact I recently made with myself to go into the collection and listen to records I’ve either never before listened to, or haven’t listened in years. This is a damn nice record, to my pleasant surprise. Anyway, on this record, there is a trumpet player identified as “Kansas Lawrence.” The clue is that he went to school in Lawrence, Kansas. I tried to identify him by his playing. At first I thought it might be Clark Terry. That was wrong. It took a quick search on the Internet to find out who it was, which any of you can do as well. The question is, can anyone identify Kansas Lawrence without looking it up. As always, we are on the honor system here at Jazz Collector.

BTW, the Vi Redd record is over and now I have on the turntable, Annie Ross Sings a Song with Mulligan. Another great record, excellent vocals, excellent arrangements, with great contributions from both Chet Baker and Art Farmer. I’m trying to decide whether this embarrassment of riches is a curse or a blessing – to have so many records, I can’t listen to all the good ones, or to have so many records that I can pull one off the shelf seemingly at random and be pleasantly surprised. I’m sure many of you will gladly volunteer to take some records off my hands to alleviate any concerns may have. It is also odd that I have this little bit of extra time on my hands to listen. I have a short respite between writing assignments, and close listening is something I rarely take the time to do anymore, so I’m having fun.

For comparison, I’ve found an example of what an original Peckin’ Time LP should look like in the following sale, though keep in mind that it’s for a record without a cover and someone is trying to flog it for $3,000+.

Now, this record is clearly an original, though $500 is a lot of money to part with for an LP and cover in VG condition at best: Sonny Clark Cool Struttin’. By now it’s been pretty well documented that clean originals of this album can go for some serious change, around ten times what this went for on a good day, so maybe $500 is a steal? I’ve bought a few avant-garde jazz LPs from this seller, cityvillerecords, and they’ve all been very conservatively graded so if it were my money I’d at least know that the seller is trustworthy, but a VG record, even a nearly sixty-year-old one, is still a VG.

Records are a strange business to be in.