Category: Riverside

Today on Ebay: What to Do With A Sealed Record?

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We’re watching a few interesting items on eBay today, including several of our own records for sale. This one is interesting: Jimmy Heath, Really Big, Riverside 333. This is one of ours. What was interesting was the choice we made. This was a sealed copy: To open or not to open? That was the question. We chose to open, to make sure this was an original pressing that we were selling. However, based on what we’re seeing with prices of sealed records, perhaps we made a mistake. So far there is just one bidder for this LP and the price is around $50. We have a feeling if the record were listed as “still sealed” there’d be a lot more activity. As it is, it is quite a nice record, featuring Cannonball Adderley as well. So, perhaps someone will get a truly mint original LP for a bargain.

Also, Miles Davis, Cookin’ Prestige 7094. This was one of those that we

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The Sound of Sonny Rollins: The Winner Is . . .

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Okay, it’s time to announce the winner of Jazz Collector’s latest giveaway. This time, you may recall, we are giving away a copy of Sonny Rollins, The Sound of Sonny, Riverside 241. This is not an original pressing and is an OJC pressing. Yet it is in near mint condition and it is great jazz vinyl featuring some fantastic Rollins from the mid-1950s. We had put this up as a way of honoring Rollins in the wake of yet another snub by the Kennedy Center Honors. Anyway, as with all of our giveaways, all you have to do to be eligible to win is to comment on the Jazz Collector site, anywhere, in response to anything, as long as the comment is made during the duration of the contest. The eligible contestants this time are:

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Jazz Collector’s Essential Cannonball Adderley

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Blipp asks on an earlier post if we can make any recommendations on Cannonball Adderley’s earlier material, in particular the Mercury records. We can certainly do that, and we’re sure others in the audience will be happy to weigh in as well. First, we will give our own Jazz Collector version of our top five Cannonball LPs altogether. Blipp has been listening mostly to the Capitol stuff, he says, and we don’t think any of those records is going to make our list. Here goes:
1. Cannonball Adderley, Know What I Mean with Bill Evans, Riverside 433. Evans and Adderley obviously had a great rapport from their days with Miles and the addition of Percy Heath and Connie Kay made for a more lyrical setting that suited both Evans and Adderley quite well. And, as one might expect, within that lyrical setting they both swing like crazy.
2.  Cannonball Adderley Quintet in San Francisco, Recorded at the Jazz Workshop, Riverside 311. The ground-breaking early quintet with Bobby Timmons and the great tracks of “This Here” (with Cannonball’s engaging introduction) and “Hi-Fly,” plus a very swinging “Spontaneous Combustion.” This LP captured the energy of the group

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Price Updates: Serge, Thad, Miles, Silver, et al

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We’ve been quite busy the past few days updating the Jazz Collector Price Guide so, if you haven’t looked lately, it’s worth taking a peek. There are more than 4,100 records in there now, and quite a lot in the $1,000-and-up category. If you want to search by highest prices first, you can do that just by clicking the word “Price” at the top of the Guide, or you can just sort by fields. If you want to sort all of the records based on price, you can click on the link for View the Complete Price Guide. Anyway, here are a few more records we’ve added to the Guide.

Johnny Griffin Sextet, Riverside 264. This was an original blue label pressing. The record was listed as M- and the cover appeared by be bout VG+. The price was $237.50.

Miles Davis, Cookin’, Prestige 7094. This was an original New York pressing that was listed in M- condition for both the record and the cover. The price was $394.

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A Pair for the $2,000 Bin & A Pair of Surprises

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As we mentioned the other day, there has been an overflow of $1,000 records. Here are a few more, including a couple for the $2,000 bin:

Lee Morgan, City Lights, Blue Note 1575. This one was pointed out earlier by one of our readers.  It was in M- condition by a credible seller and it was an original pressing. It sold for $2,655.

Barney Wilen, Tilt, Swing Vogue LDM 30.058. This was an original French pressing. The record ws what we would call VG++ and the cover was M-. This one sold for $2,250.  This one is not new to the $2,000 club: It has previously sold for $2,700 in the Jazz Collector Price Guide.

Sonny Criss, Jazz-USA, Imperial 9006. This was a surprise to see in this category, simply because

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The Incredible Rise of the $1,000 Jazz Record

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The $1,000 bin truly doth runneth over  days. It’s quite an interesting phenomenon.

Paul Chambers, Whims of Chambers, Blue Note 1534. This was an original pressing in VG++ condition for both the record and the cover. A few years ago, I bought a copy of this on eBay in similar condition for about $300. At the time, I thought I was overpaying. A few weeks ago I sold a separate copy on eBay for about $325. It was in nice condition, with a VG+ cover. This was not a record I ever expected to see in the $1,000 bin. This copy sold for $1,313.

Here’s another one I never expected to see sell for more than $1,000: Cannonball Adderley, Somethin’s Else, Blue Note 1595. This is a nice record, but has never been among the higher-priced Blue Notes. The highest price we had previously recorded for this in the Jazz Collector Price Guide was around $400. This copy was in mice M- condition for both the record and the cover. It sold for $1,475.

This one almost entered the $2,000 bin:

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Jazz Collector Honors Sonny With FREE Record

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Okay, if the Kennedy Center won’t honor Sonny Rollins, we will. In honor of Sonny’s recent 79th birthday on Monday, we will be giving away a free copy of one of Sonny’s classic LPs from the 1950s: Sonny Rollins, The Sound of Sonny, Riverside 241. Of course, this is not quite an original pressing: It is an OJC reissue. Still it is a great record, it’s in near mint condition, and it’s available free. As with all of our contests, we have one copy of the record and we will hold a drawing to determine the winner. In order to be eligible all you have to do is comment somewhere on the Jazz Collector site between now and when the contest closes, on September 21. You can comment anywhere — perhaps you want to weigh in on whether you agree with me that Sonny is being short-changed by not receiving a Kennedy Center honor. If you comment on the site between now and September 21 we’ll put you in the running for the contest. It’s as simple as that. By the way, if you want to see a funny out-take from my attempt to photograph the record, read the rest of this article.

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Updates: Thad, Beverly Kenney, Evans, Arte & Billie

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Here’s an update on some of the records we’ve been watching:

The Magnificent Thad Jones, Blue Note 1527. This was an original Lexington Avenue pressing. The record was in VG+ condition and the cover was VG++. The price was $336. A second copy of this record also sold in the last couple of days. The seller described the vinyl as VG to VG+ and the cover seemed to be about VG+. The price of that one was $199.99.

Beverly Kenney Sings For Playboys, Decca D8743. The record was in M- condition — probably unplayed, according to the seller — and the cover was VG+. The price was $399.99, the highest price we’ve seen for any Beverley Kenney record in the Jazz Collector Price Guide.

Bill Evans, New Jazz Conceptions, Riverside 223. This was an original pressing with the white label as well as the first cover. The vinyl was in M- condition and the cover was listed as VG+. The price was $709.99.

We had mentioned yesterday the Arte Shaw LP on Clef:

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For the Price Guide: Ray Brown, Zoot, Chet

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Here are a few more records that seem to be bucking the two-tier trend, which may not be a trend at all, come to think of it:

This is Ray Brown, Verve 8290. This was in M- condition for both the record and cover and it was sold by Euclid Records. It was an original mono pressing with the trumpeter label and it sold for $280.55. Curious about this record, since the price is so high and usually the Verves don’t reach these numbers. Anyone have a sense of why this record would fetch such a high price?

Zoot Sims, Zoot, Argo 608. This was an original pressing with the black label. It was in VG++ condition, both the record and the cover. The price was $351.99.

Lester Young, The President, Norgran 1005. This was an original yellow label pressing. The seller listed the condition as “good” for both the record and the cover. He said there were no scuffs or scratches, but “good” is a dangerous label: He could not know what he’s doing, or he could know exactly what he’s doing. In this case, he received a high bid of $261, so the bidding certainly reflected a belief that the record was in at least VG+ condition, if not better.

Chet Baker Sings It Could Happen To You, Riverside 278. This was an original

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All Things Considered, Some Surprising Prices

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Time to catch up with some of the items we’ve been watching this past week. We will do this in a few posts throughout the weekend. We’ll start with some of those items sold by the seller bobdjukic, who’s clearly got something going on that enables him to get wacky prices as well as staggering numbers of page views.

We’ll start with Thelonious Monk, Monk’s Music, Riverside 1102. This was a later stereo pressing, with that gold stereo stamp that many of the Riverside’s carried. Clearly not an original, which was a white label mono. One time on eBay, an original copy sold for more than $3,000. We chronicled it on Jazz Collector and it created quite a stir. See here. In any case that price for a mono was an aberration, just as we feel the price here for a stereo is an aberration. This copy, in M- condition for the record and cover, sold for $413.55. The seller actually wrote this in his listing: “Monstrously rare stereo pressing, many times rarer than the mono.” Yikes.  The other amazing thing about this record: It had more than 1,700 page views in eBay. Yikes again.

Speaking of second pressings, there was the copy of John Coltrane, Giant Steps, Atlantic 1311. This was the one with the bulls-eye label, that was characterized as being of the same provenance as the black label. This record

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