Uncategorized | jazzcollector.com

New Old Jazz, Or Old New Jazz, on Vinyl

Al — Wed, 03 Dec 2025 15:33:06 +0000

Now that I’m doing the radio show, I’m a bit more in touch with what’s going on in the world of new reissues (sounds like an oxymoron) and new discoveries of music that had previously been unreleased. For example, on newly released material, I recently ordered a record album, as in vinyl, called Horace Silver, Silver in Seattle: Live at The Penthouse. This is a 1965 live recording featuring Silver with Woody Shaw and Joe Henderson. It was recently issued on Blue Note. I have no idea what the quality of the packaging or the sound is like, so I will report to you once I get it and have a chance to listen. For reissues, I did order that Bill Evans release on Craft, Haunted Heart, also on vinyl, and a few other Blue Notes to fill in gaps in my collection of original vinyl. I’m glad the labels are back to issuing vinyl, and it has piqued my interest in buying stuff again. Not sure that’s a good thing, but, alas, I am a collector and it is what we do, is it not?

Along the same vein, I took note of two things. First, I discovered a label called The Lost Recordings while doing a search on John Coltrane. On their web page it states: “We travel the world in search of rare or previously unreleased recordings by legendary artists. Using our unique restoration process, we bring this priceless heritage back to life.” I will say, for the record, although they refer to the heritage as priceless, every one of their issues does, indeed, have a price.

They have a ton of stuff, available on vinyl, CDs, and/or downloads, including material by Coltrane, Stan Getz, Thelonious Monk, Dave Brubeck, Sarah Vaughan, Ella Fitzgerald, and many more. Perhaps I am the last one on the Jazz Collector site to know about them, but I am certainly tempted to check them out and report back here. Perhaps Coltrane Live in Finland, a double vinyl? Or Dexter Gordon and Donald Byrd, a Berlin Studio session from 1963? Just going on their site, I was feeling I could be sliding down a rabbit hole of good and interesting music. And, of course, this being the week of Black Friday in the U.S., everything seems to be on sale.

I also discovered something called the Muse Master Edition Series. They don’t seem to have their own web site yet, but it looks to me like there are at least five reissues, available at places like Acoustic Sounds or elsewhere. Titles are by Roy Brooks, Kenny Barron, Carlos Garnett, Woody Shaw, and Joe Chambers. None of these interests me, but if they get deeper into the catalogue, I’m sure there will be something that’s intriguing. That’s just the way it goes, sometimes.

The post New Old Jazz, Or Old New Jazz, on Vinyl first appeared on jazzcollector.com.

Catching Up: Bill Evans, Tina Brooks, Hank Mobley, Et Al

Al — Fri, 28 Nov 2025 16:11:44 +0000

Life has been busy. Artificial Intelligence tells me the adage “man plans, God laughs” is a Yiddish proverb: “Der mentsh trakht, un got lakht.” Who knew? While I may not believe in the actual wording, I do understand the sentiment. Fortunately, my health has been good, so that hasn’t been an issue. All of which is to say that most of the time that I’ve had to devote to my passion for jazz and jazz collecting has been put into my radio show and podcast. As I said, I love doing the radio show, so that’s not a problem. But I do sometimes feel guilty about not writing more frequently here at JazzCollector.com, especially when I go through the emails I’ve saved and realize that I’ve been saving some of them for more than half a year. In any case, I will try to catch up now, even if some of the conversations with readers are too dated to do anything about.

Starting back in July, I saved the article Celebrating Hank Mobley, from the Substack column Jazz and Coffee written by Syd Schwartz. I know there are a lot of Mobley fans out there in the Jazz Collector world, so I think you will enjoy it.

From the same author, I saved the following article Explorations With the Bill Evans Trio. The author had written the liner notes for an audiophile reissue of Explorations, which he revisits in this post. The liner notes, IMHO, are well written and informative.

The new set, called Haunted Heart: The Legendary Riverside Studio Recordings on the Craft label is just out now, with 17 alternative takes and outtakes that have never been issued. I applied for a review copy and never got a reply, so I guess it’s time to just order it – on vinyl, of course – which I will do just as soon as I finish typing this post.

Also in July, I received a note from a reader as follows:

Subject: Blue Train BLP1577 mono on side 1, stereo on side 2

“Hi, I have a copy of Blue Train, BLP1577, Liberty version, purchased in UK in 1967 that is stamped RVG, BN-LP-1577-A, with 9M on side 1, and RVG Stereo, BN-ST-1577-B on side 2. I have never seen any mention of this combination of mono on side 1, stereo on side 2 before. Have you ever heard of this?”

I replied as follows: “It sounds to me like they used whatever labels they had on hand, rather than the record being stereo on one side and mono on the other. Blue Note was prone to do that, especially during the transition to Liberty. Also, to my knowledge Blue Train was recorded in mono, so if it is stereo, it would be reprocessed stereo. If you want I could put something on my site to see what other collectors think? — al”

His reply: “It’s not the labels that are mixed mono and stereo (they are both BLP1577 – i.e. mono), but the markings on the vinyl record itself. And sure, please share on your site to see if others have come across this. Thanks.”

It’s taken a few months, but here it is if anyone has any thoughts.

Here’s one from August with a happy ending, or so it seems:

Subject: Tina Brooks

“Hi. I have a copy of Tina Brooks true blue first edition is in vgplus condition. On my turntable, one track, true blue, has a series of about eight mild pops. I’m interested in selling it but when I brought it to Fred at the Jazz Record Center he said it has it has a locked groove at that point. Is this something you would be interested in looking at or do you have any advice for me? I know of all the tricks with a toothpick, etc. but it’s such a valuable record. I really don’t wanna fool around with it. Thanks.”

My reply: “I don’t know what a locked groove is, but I’m sure I’ve encountered it.
I used to use a nickel or a quarter, but I would never try something like that on a record like True Blue. I you would like, I can put a note on my site and see if anyone has any ideas and/or if they would be interested. Not sure of an ultrasonic cleaner would help, but a collector I know swears by it. I don’t have one myself.”

His reply: “Thanks for getting back to me. I didn’t know what a locked groove is either, but it’s basically when something keeps the stylus from moving forward and keeps repeating. Well a funny thing happened when I went to pick up the record at JRC… I brought a toothpick with me figuring I would see if I could find something in the groove and get it out, so I asked Fred if he would play the record and we could find the exact spot. Well, it played just like it did on my turntable this time a bunch of pops, but no ‘locked groove’! He tried it on a second turntable and same result. So he’s putting it up for sale now with an appropriate description. Anyway, I just wanted to get back to you and I really appreciate you taking the time to ride with me.”

Here’s one I’ve been saving since September:

Subject: albums test pressing

“ I have a bunch of album test pressings that have not been played. Gene Ammons July 17, 1996; count basie big band 1994; Johnny Adams June 29, 1995; Johnny d. Lane march 20, 1997; chico freeman spirit sensitive dec 14 1994; duke ellington mar 31 1994; art pepper plus eleven may 24, 1994; and some regular albums; these are all in white sleeves with numbers on them.”

My Reply:

“Thanks for reaching out. This is not an area where I have any expertise. My site focuses on albums primarily from the 1950s and early 1960s. In my experience, collectors don’t have a great interest in test pressings, particularly reissues. I don’t think there would be much value in what you have. Having said that, I could mention the items in a post and see if anyone replies. Otherwise, you might be fine taking them to a local record store, depending upon where you are located. If you are in the New York area, the Jazz Record Center would be the place to go.”

Reply: “If you could mention it they are mainly first test press predating other presses. I am actually in rural Idaho.”

The post Catching Up: Bill Evans, Tina Brooks, Hank Mobley, Et Al first appeared on jazzcollector.com.

Back on eBay and Ain’t it Grand

Al — Wed, 22 Jan 2025 17:39:05 +0000

Now that I’m back in the business of watching rare jazz vinyl here at Jazz Collector, and doing more writing about it, I’ve become interested in expanded my experiences. Not necessarily ready to start selling records on eBay again, which is how the whole Jazz Collector thing began more than 20 years ago, but buying records on eBay? Well, that, of course, is another story. Buying records is easy, fun, and not typically harmful to one’s health, tat least not physical health, and while it does damage to one’s pocketbook, some things are just worth taking a plunge. Besides, I can always say I’m making sacrifices for my lovely audience here by testing the waters and using tools such as the GIXEN free eBay auction sniper. You may recall a few weeks ago, I bid on a record on eBay for the first time in years. I was too gun shy to use GIXEN for the first time, so I sat down at my computer, and waited for 15 minutes, watched the countdown and put in a bid with six seconds left for the record of my desire, The Unique Thelonious Monk, Riverside 12-209 from the Jazz Record Center. I bid $411 and lost. The winning bid was $416. I was disappointed, but no disheartened. I decided I would try again, this time using the GIXEN app to see if it really worked. And I did. And it did.

The following week, doing my regular posting here at Jazz Collector, I came upon this record: Donald Byrd, Fuego, Blue Note 4026. This was a deep groove pressing with the West 63^rd Street address. I had a copy of Fuego for years. I specifically remember buying it at the Titus Oaks store in Flatbush, Brooklyn. I probably paid five bucks for it, but it was in meh condition at best, with a less-than-meh cover. I’d always vowed to upgrade it if I ever found a suitable replacement for a reasonable price. Yada, yada, yada, 40 years later, no suitable replacement at no reasonable price.

Then, in 2023, I decided to shrink my collection and sold a bunch of records through Carolina Soul Records. One of the criteria I used in deciding which records to sell was this: I went through all of my shelves, and if there were records that were in poor condition that I wouldn’t want to put on my turntable, I would sell them and let some other collector deal with them, even if they were original Blue Notes. Especially if they were original Blue Notes because, as we’ve all learned, even an unplayable original Blue Note can sell for big bucks. Is there a point in owning the record just to own it even if you’re not going to play it? Please don’t answer the question – it is both rhetorical and existential, and, if you’re taking the time to read this on JazzCollector.com, we all know that the answer is yes.

In any case, that Byrd Fuego had always caused me to cringe when I went past it. Something about the tape on the front cover, the dirt on the back cover, knowing that the record was in poor shape. I put in the pile to sell and felt better immediately that it was off my shelf and out of my collection. But there was a hole where it departed, and I knew that hole had to be filled someday.

Then, I saw this copy on eBay. As I noted in the post (Eric Dolphy Autographs (?), Blue Notes And Other Stuff), I believed the record might sell for a “reasonable” price. The seller had a good reputation, the cover looked really clean and was graded in VG++ condition. Right away, I knew I’d feel much better just looking at that record on the shelf. As for the vinyl’s condition? I wrote at the time that the record looked to be in VG or VG+ condition and probably VG based on the seller’s description. In thinking about bidding on the record, I assumed VG, but was hoping for (expecting?) VG+.

Anyway, I decided to use GIXEN and see what happens. I put in a bid for about $250. What the heck, it was an original Blue Note with Jackie McLean in his prime, probably a very good record, and if it was in VG+ condition, I would have considered it a bargain. Besides, the whole point in bidding for the record on GIXEN was to serve my starving audience at Jazz Collector with firsthand, on-the-ground, in-the-trenches, personal journalism. Right?

I used GIXEN and forgot all about it. Completely. Until I got a note informing me that I had won the auction at a price of $202.50. Surprise! GIXEN did its job. Now I had to do mine. I paid. The record arrived about a week later, pretty fantastic delivery, considering it came from France during the Christmas season. I finally got around to listening to it yesterday, on my nice system in my living room, with the Linn Sondek record player and the Wilson speakers. The verdict: Well, the seller was accurate. The record looked VG+ or even VG++, but it played at what I would grade VG. Nothing terrible, no big clicks or scratches, just enough surface noise in spots to take it out of the VG+ grade, IMHO. The music itself is good, kind of what you would expect out of a Blute Note from 1959, a little bit of funk, a little bit of blues, all original compositions. I love Jackie, so it’s nice to have a listenable copy of the record again. VG is fine for me. And the VG++ cover. Now, when I look on my shelves through the Donald Byrds, I no longer have to cringe and can just smile, knowing that 40 years later, the hole has been adequately filled. Of course, if I find a cleaner copy, well, need I say more?

The post Back on eBay and Ain’t it Grand first appeared on jazzcollector.com.

Podcast: 21st Century Vocals (Mostly)

Al — Mon, 02 Sep 2024 20:08:26 +0000

This week’s theme: Vocals either recorded this century or released on vinyl in this century. Artists include Stacey Kent, Veronica Swift, Olivia Foschi, Ella Fitzgerald, Stephanie Nakasian, Emmet Cohen, Russell Hall, Kyle Poole, Benny Green, David Wong, Carl Allen, Hod O’Brien, Randy Sandke, Tom Hamilton, John Jensen, Howie Collins, Steve Gilmore, Bill Goodwin, Don Abney, Matt King, Vinicius Gomes, Marco Panascia, Mauricio Zottarelli, Jim Tomlinson, David Newton, Colin Oxley, Simon Thorpe, Steve Brown, Dave Chamberlain, Matt Home.

The post Podcast: 21st Century Vocals (Mostly) first appeared on jazzcollector.com.

Podcast: Art Tatum — “God is in the House”

Al — Mon, 05 Aug 2024 18:39:27 +0000

Today’s theme: Art Tatum. Artists include Art Tatum, Benny Carter, Lionel Hampton, Buddy Rich, Benny Carter, Louis Bellson.

The post Podcast: Art Tatum — “God is in the House” first appeared on jazzcollector.com.

Rare Records; The Loss of Michael Cuscuna

Al — Mon, 22 Apr 2024 14:59:37 +0000

I said I would continue perusing the recent auctions from The Jazz Record Center, so here is Part II, starting with Elvin Jones and Richard Davis, Heavy Sounds, Impulse AS-9160. This was ana original white label stereo promo copy with the white label. The record was in M- condition and the cover seemed to be probably VG++. This is not a record you see very often, particularly a promo copy. One of the interesting things about this album is a track called Elvin’s Guitar Blues, featuring Elvin Jones’ first recording on a new instrument, the acoustic guitar. I happen to have an original pressing of this record, so I’m putting Elvin’s Guitar Blues on the turntable now. The verdict: Well, I’m sure it was fun for Elvin to record a track on guitar, but he’s a little bit better as a drummer. Frank Foster takes a nice, short blues solo on the track. The record sold for $339.

John Jenkins, Cliff Jordan and Bobby Timmons, Jenkins, Jordan and Timmons, Prestige New Jazz 8232. This was an original purple label preview copy, that looked to be in M- condition for the record and VG++ or M- for the cover. The final price was $1,713.88 and, yes, that is a new record price for that particular record, according to the records kept by Popsike.

Freddie Hubbard, The Artistry of Freddie Hubbard, Impulse A-27. This was an original mono pressing with the white promo labels. The record and cover both looked to be in M- condition. The final price was $520, another record high.

Many of you may have seen that Michael Cuscuna passed away the other day at the age of 75. Michael was co-founder of Mosaic Records and one of the icons of the record collecting community, unearthing hundreds (thousands?) of treasures from the Blue Note and other catalogues. I did not know him personally, but I offer sincere condolences to his family and many friends. If you do a Google search you can find more information about his life and contributions to the jazz world. I copied the following from an email message I received.

Michael Cuscuna
1948 – 2024

Michael Cuscuna, a titan in the world of jazz, passed away on April 20, 2024, leaving behind a legacy that will resonate for generations.

Michael is survived by his wife Lisa, his children, Max and his wife Jackie, and Lauren, and two grandchildren, Nicolas and Penelope Cuscuna. His passing leaves a void in the hearts of all who knew him. May he rest in peace, and forever be remembered as he will be deeply missed.

Throughout his career, Michael possessed a curiosity for unearthing unissued jazz recordings, delving into the vaults of record labels looking for hidden gems. In 1975 his search led him to the great Blue Note vaults – unlocking a treasure of unissued material by the great jazz legends.

This experience would later be the impetus for co-founding Mosaic Records Inc, a boutique label specializing in complete sets of some of the most influential jazz artists. Mosaic Records, co-founded with Charles Lourie, produced hundreds of editions including works by Thelonious Monk, Sidney Bechet, Hank Mobley, John Coltrane, Lee Morgan, Dexter Gordon, Art Blakey, Tina Brooks, The Nat King Cole Trio and Miles Davis.

Michael recently received a Lifetime Achievement Award from Downbeat and here is an excerpt of one of Michael’s last interviews this past January. (full interview here).

Born in Stamford, Connecticut, in 1948, Cuscuna first got into music at the age of 9 or 10. “It was contemporary R&B on the radio at first,” he recalled recently. “But I played drums on a little starter kit and got into drum records like Gene Krupa and Buddy Rich on Verve, then Max Roach and Art Blakey. When I started to hear the music around the drums, that’s when I got completely hooked. I went through Benny Goodman, Dave Brubeck and the MJQ, until I caught up to what was going on around me around 1960.

“By age 14, I was going to Birdland, which had a peanut gallery. That’s when I heard Blakey and the Messengers, the Coltrane Quartet and Miles. They became my passion and still are. It’s the stuff that gets to you between about 12 and 25 that stays with you for life. You never absorb music in quite the same way after that.”

Many years ago, Woody Shaw said of Cuscuna, “No matter what you produce or do in your life, the thing you’ll be remembered for is rescuing all that Blue Note material.”

“Looking back all these years,” Cuscuna says today, “I’m content with that.”

I’ve known Michael for 25+ years since having the privilege of joining Mosaic Records. While many are aware of the legacy of riches he has catalogued for one of the greatest art forms, all of us who work or have worked at Mosaic also know him as a hard worker, generous and dedicated to his family.

Michael possessed an energetic spirit and drive that was infectious. When I look at the list of 200 sets for Mosaic plus all the Blue Note, Impulse and other recordings that Michael was instrumental in bringing to the public, it’s clear his passion for music drove his life-long ambitions. He was proud of his achievements while at the same time being very appreciative and grateful that he was working with many of the greatest jazz musicians and their body of work.

It’s very hard for me to convey my feelings about someone I worked closely with every day, had many lunches with and was treated to innumerable special musical memories. I’ll miss a partner, a lunch-mate, and a special friend.

– Fred Pustay

======================================================

I can’t think of any better way to describe Michael than as my mentor. His guidance was immeasurable – filled with direction, leadership, knowledge, understanding, and of course, toss in some of that incredibly sarcastic wit and sense of humor. Michael knew, like his partner and close friend Charlie Lourie, how to run the business of a jazz re-issue label when there were few and far between such companies.

He also was a true family man. I saw and heard the love he unconditionally gave to his family. It was not uncommon to hear a heartfelt “I love you” at the end of a conversation to his wife Lisa, or to see and hear the love and dedication to his children, and then, in the past few years, the stories of his grandchildren who gave him immeasurable pleasure.

Michael embraced my passion for jazz record collecting and after about a dozen years of managing the Mosaic warehouse he and Charlie gave me a job of producer, expanding the Mosaic catalog to include more pre-tape era boxed sets. I am ever in debt to the both of them.

And there are so many other Mosaic journeys in the past 36 years that I could impart to you, as I’m sure there are many others who knew him even better than I that could spin countless tales of this unique man. Seek them out. Keep Michael in your heart and on your turntables, CD players or however else you listen to the music. And be grateful and thankful he was here on this planet.

– Scott Wenzel

“Jazz is still, for me, the greatest music ever – it just ate its way into my soul, and it became a part of every fabric of my body…

I remember once I was doing a record with Dexter Gordon at 30th Street called Gotham City, and Art Blakey was on drums. During the session Art looked at me and said, ‘Man, you remind me of [Blue Note Records co-founder] Alfred Lion.’ That was the greatest line I ever heard, you know?” –Michael Cuscuna, JerryJazzMusician.com

===============================================

Funeral arrangements are in process and will be held at the Bozak Funeral Home https://www.bosakfuneralhome.com/ in Stamford, CT.

Please check their site at end of day Monday when information should be available. There will also be a web page on their site where you can post on their tribute wall.

The post Rare Records; The Loss of Michael Cuscuna first appeared on jazzcollector.com.

Brick-and-Mortar Vs. Online

Al — Thu, 10 Nov 2022 14:21:06 +0000

These days I can leave my home in The Berkshires and drive in almost any direction and, within an hour or a little more, I can cover three or four or even five record stores. Some of these stores have been around for a while, others seem to have popped up in the last few years to take advantage of the recent boon in vinyl and the growing interest in records from a younger audience. It definitely makes the hobby more fun and interesting, seeing what is happening in these stores and perusing the shelves for items of interest to me, not just as a collector but as the sole proprietor of the Jazz Collector site. I share this as a precursor to some thoughts I had yesterday while shopping in one of the relatively new strores not very far from home. I was in town doing chores and wanted to get the newly remastered Revolver. I could pay less online, but for items like this I like to buy local to support the stores and their owners. In this particular store, I was there the first day when the owner started the business a couple of years ago, and he very little in the way of jazz vinyl. But he has gradually increased the amount and quality of his inventory, and he has definitely upped his prices.

Like many stores, this store has special displays for the more collectible records. On the display shelf there was a copy of Thelonious Monk, Brilliant Corners, Riverside 226. First thing I checked was whether it was a blue label or the original white label. I have in my collection two copies with a blue label, but I’ve never had a white label and, I’m sure like it is for many of you, Brilliant Corners is a prime, foundational record for me. Monk, Newk, Ernie Henry, Pannonica, Ba-Lue Bolivar Ba-lues-are, not to mention Max Roach, Oscar Pettiford, Clark Terry and Paul Chambers.

The first thing I did was look at the label. White. Then I looked at the condition of the cover. Probably VG+. Then I looked at the price: $250. I understood the price. If you look on eBay, there have been many copies of white-label Brilliant Corners selling for $500 or more. But as soon as I saw the price, I didn’t even bother to look at the condition of the record. I dismissed the idea of buying it out of hand.

As I was walking the dog Moose the Mooche this morning, I was thinking about why. As most of you know, I’m not one to pay $250 for most records, but there was something else that was under the surface, and I think it was this: When I go into a store, I don’t expect to pay eBay prices. I look for bargains. To me, that’s the fun of going into a store – not just finding a record I want, but finding it at a fair price that I am willing to pay.

When I go into stores and the owner prices the records based on what he sees on eBay or Discogs, I get discouraged and disappointed. Thinking about yesterday, I would have paid $100 or maybe $150 for a white label Brilliant Corners and come home very happy. But shelling out $250 in cash (or credit) seemed like too much, even though the “retail value” might have been higher if the store owner had chosen to sell it on eBay. I don’t begrudge the store owner for trying to get the highest price, although my guess is he would make a very nice profit at $100 or $150.

What I was wondering as I walked Moose the Mooche this morning is whether this attitude I have about stores versus eBay – expecting lower prices in stores – is consistent among collectors out there, or is it something peculiar and specific to me. I realize having the quality collection that I have may give me a different perspective than someone who is newer to collecting. So I’m putting it out there: Brick-and-mortar stores versus online shopping? Do you have different expectations for each in terms of prices, experience, etc.?

The post Brick-and-Mortar Vs. Online first appeared on jazzcollector.com.

Happy Birthday, Sonny Rollins

Al — Thu, 08 Sep 2022 13:07:38 +0000

Yesterday was Sonny Rollins’ birthday. 92.

The first time I saw Sonny play was in 1972. He was coming off one of his intermittent hiatuses. He was doing a week at the Village Vanguard. The first night, Tuesday, it was pouring rain. Dan and I waited on 7^th Avenue. We had no idea what Sonny would sound like on his return. One of us said that we hoped he was playing more straight-ahead, not too outside like Pharoah Sanders or Arche Shepp. The guy in front of us turned around and gave us a look, half smile, half sneer. It was, of course, Pharoah Sanders. He was just one of many famous musicians in the audience that night, all to witness the return of Sonny. It was triumphant, as you would have expected. Albert Dailey on piano, Larry Ridley on bass, Dave Lee on drums. Lots of straight-ahead music. St. Thomas, It’s Easy to Remember, A Nightingale Sale in Berkeley Square, some blues. Maybe Green Dolphin Street? I don’t remember everything, but I remember the energy in the Vanguard, and it was explosive. One standing ovation after another. My recollection is that Dan and I went back every night during that gig, and every night for the next gig that followed just a few weeks later.

Over the years, I had the privilege of seeing Sonny dozens of times. The Vanguard, of course, Carnegie Hall, the Museum of Modern Art, even here in The Berkshires at Tanglewood, which was a rare treat and the last time I saw him perform. My favorite memories were at a club called the Half Note in midtown Manhattan in the early and mid-1970s. Sonny was still playing clubs in those days and in the middle of the week, the late sets, the clubs would be fairly empty. You could sit in the audience at the end of the night with just a few other people.

Sonny never coasted, no matter how few people were in the audience. I remember one time it was just me and Danny and one other table. The people at the other table were raucous and enthralled and totally into it. They stood at their table and never sat down. Sonny moved close to them and you could see the smile on his face as he played. I think it was the best set I ever heard him play.

Those mid-week nights at the Half Note were so intimate, you could talk to Sonny from your seats and, better, you could go up to him and chat at the end of the night. We didn’t do that often, but after a while he got to know us a little and probably expected to see us in the audience, since we were there every night. He was always humble. We would tell him he was the greatest, and he would smile and say, nah, what about Hawk and Pres and Trane.

Happy belated birthday Sonny. You’ve given me so much joy over the years. Now, excuse me, while I go to the other room and put Paul’s Pal on the turntable.

The post Happy Birthday, Sonny Rollins first appeared on jazzcollector.com.

Starting Points for Rare Jazz Vinyl

Al — Wed, 07 Sep 2022 16:23:58 +0000

I haven’t been watching eBay as diligently during the summer as I normally do, and I haven’t actually sold anything on eBay in more than a dozen years, so this observation may be dated, but . . . . is it just me, or are sellers consistently putting a higher start price on their auctions of rare jazz vinyl? I was just updating my watch list and flagged several titles that had high starting prices and no bidders. At first I assumed it was all from a single seller. But when I opened up the listings, they were all from different sellers. Here are some of those records, starting with Mal Waldron, Left Alone, Bethlehem 6045. This was an original red label pressing. If you can read through the seller’s tome and ‘tude, eventually you can find the condition of the record, which was listed as NM-. The cover was described as “pretty nice-very nice” and the picture shows a pretty clean front cover, with wear on the top and some old tape on the back. To me, pretty nice-very nice translates to VG+. The bidding start at $800 and so far there are no takers.

Chet Baker in New York, Riverside 12-281. This is an original blue label pressing listed in M- condition for the record and M- for the cover. The starting price is $500. The seller does mention that there “might be a slight musty smell” which is typically not a very attractive quality for a record in supposedly M- condition.

Dexter Gordon, Go, Blue Note 4112. This looks to be an original New York pressing. The record is listed in Ex condition and the cover is VG+. The starting price is $850. For the record (pun intended) the highest previous price for Dexter Gordon Go was $760, according to Popsike.

J.R. Monterose, The Message, Jaro 5004. This is an original pressing listed in VG++ condition for the record and the cover. The starting price is $800, with no bidders. This is from the seller 1molecularrman, who has several other nice items on sale now, most of which also had high starting prices but have already attracted some interest from buyers. Or, at least the listing on eBay shows a bid. These include: Miles Davis, Relaxin’, Prestige 7129. This is an original New York pressing listed in VG++ condition for the record and cover. There is one bid at $500; and, Thelonious Monk with Sonny Rollins, Prestige 7075. This is also a New York label original, listed in VG++ condition for the record and VG+ for the cover. The start price was $600 and there is one bidder.

Finally, we are watching a couple of Horace Parlan Blue Notes that are closing today: Horace Parlan, Movin’ and Groovin’, Blue Note 4028. This is an original West 63^rd Street pressing listed in VG+ condition for the record and EX for the cover. Bidding is around $565. From the same seller is Horace Parlan, Headin’ South, Blue Note 4062. This is also an original pressing, listed in VG+ for the record and VG for the cover. Bidding is at $710.

The post Starting Points for Rare Jazz Vinyl first appeared on jazzcollector.com.

Marketing, Language, Hyperbole and Collectible Jazz Vinyl

Al — Tue, 27 Jul 2021 17:43:18 +0000

Where was I? Oh, yeah, collectible jazz vinyl. The seller vinyl-house-uk has some interesting items for sale on eBay, including the Wardell Gray Memorial Album, Volume 2, Prestige 7009. This is an original New York yellow label listed in VG+ condition for the record and the cover. The bidding is already at about $775 with more than four days left on the auction. This is already the highest price ever for this record, according to Popsike. In the same lot, the same seller is offering the Wardell Gray Memorial Album, Volume 1, Prestige 7008. This is also an original New York pressing in lesser condition than Volume 2, probably closer to VG all around. The bidding is at about $140. What I find interesting in these auctions is how the seller chose to list/market them. Volume 2 is promoted as “Wardell Gray/Sonny Criss/ Dexter Gordon.” Volume 1 is “Wardell Gray/Al Haig/Tommy Potter.” Do you think those headings make a difference? I absolutely do. Somehow, I’m more interested if Dexter Gordon is on a record versus Tommy Potter. Maybe it’s just me, but it seems to be leading to a record price for a record in just VG+ condition.

Whilst on the subject of Al Haig, sort of, the same seller is offering Al Haig Trio, Vogue L.D.E 092. This is an original 10-inch test pressing with white labels. I imagine it would be quite rare, perhaps even one of a kind. The record is listed in VG+ condition and the cover is Ex. The bidding is in the $775 range with more than four days left on the auction.

Also whilst on the subject of marketing, sort of, we have Cannonball Adderley, Somethin’ Else, Blue Note 1595. This looks to be an original pressing with the West 63^rd Street label, ear, deep grooves, Van Gelder. The record is listed in VG++ condition and the cover is probably VG+ based on the description and the picture. Bidding is in the $700 range. I mention marketing because this is what the seller has to say about the record: “Simply put, one of the top-5 most beautiful, important, gorgeous and coveted jazz albums of all time. Very few jazz albums even come close.” You can click the link if you aren’t sure which seller would employ such embroidered language or, if you are a regular reader here and discerning follower, you can simply make an educated guess and you will be correct.

The post Marketing, Language, Hyperbole and Collectible Jazz Vinyl first appeared on jazzcollector.com.