Within four notes of the first solo you’ll know immediately that it was Stitt, and within two notes of the second solo, you’ll know it was Rollins. Nat Hentoff, one of the giants in jazz journalism and a personal hero, was responsible for writing the liner notes. Is it possible he missed something, or is it just a typo that somehow got past the reviewers? I have no idea, but having been a journalist for my entire career, these kinds of mistakes drive me crazy and should be caught well before they ever see the light of day. These are just a few of the examples I’ve encountered since I began doing the radio show six months ago. I’m sure you’ve all encountered many more, which you are welcome to share here. Booker Erwin? Really?

Ella Fitzgerald, Clap Hands, Here Comes Charlie, Verve 4053, and Sarah Vaughan, After Hours at the London House, Mercury 20383. Ella was the first and only of the two to make it to the turntable, but first a quick diversion. In that same conversation the other day, I was asked about my expertise in jazz, which is pretty extensive, I’d say. My reply was that, yes, I know a lot, but I used to know a lot more. A lot more. I feel like I’ve forgotten more than I knew. I used to know every musician on every record and I knew the titles of just about every bebop song after just hearing a few notes. I can’t do that anymore. My brain has been filled with too much other stuff over the years, I guess. I take this diversion because as I’m listening to Clap Hands, Here Comes Charlie for perhaps the 500^th or 600^th time, it occurs to me that I don’t remember who is accompanying Ella on this absolutely fabulous record. I’m pretty sure it is Lou Levy on piano and perhaps Mundell Lowe on guitar. But, I don’t recall Lowe on any Verve records from that era, but, then again, I recall that there’s a lot of stuff I don’t recall. And then I discover that the liner notes to Clap Hands, Here Comes Charlie absolutely SUCK, courtesy of Benny Green of the London Observer. They suck not only because they are unbearably pretentious, which they are; but because nowhere do they mention who else is on the album, as if Ella were singing with karaoke accompaniment. Anyway, it is Lou Levy on piano; Herb Ellis on guitar; Joe Mondragon and Wilfred Middlebrooks sharing the duties on bass; and Gus Johnson on drums.

Back to my original riff. When I want to listen with complete mindfulness, it is only vinyl. I have nice turntables and I like to listen to at least one album a day, but that doesn’t always happen. If I am playing music for a guest, it is only vinyl. When I want to listen as background or to go to sleep, it is typically digital, in my case Sonos. Every night we fall asleep to a playlist I have made that is ballads-only. I have about 50 of those playlists and we vary them. They are typically between one and two hours each. CDs? Never in the house, sometimes in the car. Could I tell the difference between vinyl and digital? I like to think I could, but I have no interest in doing a test. I like to listen to my records. Period. I like to think they sound better, and I assume they do. I like to hold them in my hands, place them on the turntable, land the needle in the grooves. I like to listen closely, listen attentively, listen actively. I like to read the liner notes, even on those rare instances when they don’t tell me who is on the record.

The post Clap Hands, Here Comes Vinyl! first appeared on jazzcollector.com.]]> https://jazzcollector.com/features/clap-hands-here-comes-vinyl/feed/ 16 8975 https://jazzcollector.com/blue-note/high-tide-for-jazz-vinyl/ https://jazzcollector.com/blue-note/high-tide-for-jazz-vinyl/#comments Mon, 20 Dec 2021 21:44:34 +0000 https://jazzcollector.com/?p=8872 Ella and Louis, Verve 4003. This was an original pressing with the orange and yellow label. It was listed in VG++ condition for the record [...]

Ella and Louis, Verve 4003. This was an original pressing with the orange and yellow label. It was listed in VG++ condition for the record and VG+ for the cover. The seller was Carolina Soul. The final price was $465, the highest we’ve ever seen for Ella and Louis. Music doesn’t get any better than this, IMHO. Pretty good cover too, wouldn’t you say? I didn’t realize this had become this highly valued as a collectible but, hey, if I didn’t have a copy of this record I’d be fine to pay the going rate. Maybe even sell one Blue Note and get two or three copies of Ella and Louis, just in case.

From the same seller: The Immortal Charlie Parker, Savoy 12001. This was an original deep groove pressing with the blood red label. The record was listed in VG condition and the cover was VG+. The final price was $247.50. I had thought the market for Bird on Savoy had peaked years ago. A resurgence, or is the high tide lifting all boats, including the one with Ella and Louis? And the one where Gerry Mulligan Meets Johnny Hodges, Verve 8367. This was an original trumpeter label in M- condition for the record and the cover. The final price was $247.50. And one more: The Amazing Bud Powell, Volume 2, Blue Note 1504. This was an original Lexington Avenue pressing, listed in VG+ condition for both the record and the cover. Based on the pictures, the cover looked to be in great shape. The final price was $1,500.

Another auction closed from one of the regular sellers on eBay, Vinyl-House-UK, including Donald Byrd, Byrd in Flight, Blue Note 4048. This was on original deep groove West 63^rd Street pressing. The record was listed in EX+ condition and the cover in EX condition. The final price was $1,127. Also, Jackie McLean, Bluesnik, Blue Note 4067. This was also an original deep groove, West 63^rd Street pressing, also in EX+/EX condition. The final price was $1,155.

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Here’s perhaps a case in point: Illinois Jacquet and his Orchestra, Clef 676. This was an original pressing with the trumpeter logo and David Stone Martin Cover. The record was in Ex condition (VG+ for those keeping score at home), and the cover was also VG+. The start price was $85 and there were no bidders.

I had my eye on this one because 1: It’s a record I’ve never owned; 2) It’s an original Prestige and 3) My nephew, who’s in his early 20s, has really gotten into Dorothy Ashby, which I don’t quite understand because he’s not a real jazz aficionado. He just seems to be into the jazz harp: Dorothy Ashby, Hip Harp, Prestige 7140. This was an original New York yellow label in M- condition for the record and the cover. There was just one bidder and the final price was $299.

There was an auction from the seller bobdjukic that we were watching with a few interesting items, such as Booker Ervin, The Freedom Book, Prestige 7295. This was an original yellow label with the New Jersey address. It was listed in VG++ condition for the record and the cover. The final price was $224.50, nothing out of the ordinary. And there was Miles Davis, Sketches of Spain, Columbia 8271. This was an original stereo pressing with the six-eye logo. The record and cover were also VG++ and the price was $169.16.High, but not outrageous, I would say. Finally, there was Billie Holiday, Commodore  30008. This was an original pressing, VG++ for the record, VG+ for the cover. The final price was $181.38.

This one also comes from December: Roland Alexander, Pleasure Bent, New Jazz 8267. This was an original pressing with the purple labels and deep groove. The record was in M- condition and the cover was Ex. The final price was $293. High? The last time I went to the WFMU Record Fair in Brooklyn I purchased a mint copy of this record for $50. That was in May 2015. I guess the value has gone up in less than three years. A lot.

McCoy Tyner, The Real McCoy, Blue Note 4264. This was a Liberty mono pressing. It looked to be in M- condition for the record and the cover. The final price was $305. Yes, CeeDee, those later Blue Note pressings are going up in value. A lot.

And, finally, is this record I’ve never seen from an artist I’ve never heard of on a label I’ve never heard of: Khan Jamal, Infinity, Jam’brio 42697. I apologize in advance for my ignorance of this artist and record, but I’m sure someone will fill me in. Clifford? CeeDee? Anyway, this record was in VG condition for the record and VG+ for the cover. It sold for $310.

“I have a couple of hundred “factory sealed jazz albums from late 50’s to mid 70’s. These are from a store stock I owned. I want to start selling them but I can’t tell a prospective buyer what the label looks like (ex Trumpet Verve). What is best way to offer them for sale? Many have drill holes in cover and you can see that the drill went through the orig plastic.”

And here’s my answer:

“That’s a really good question. The price difference between an MGM Verve and a Trumpeter Verve can be significant, if it’s a Lester Young or Stan Getz, for example. If it’s a Dizzy or Hampton or some other more common artist, it won’t matter as much. You can’t tell by the cutout holes. I don’t have a good answer for you. Some people want to buy sealed records just to say they’ve never been opened.
Others won’t buy sealed records at all because they can’t see the label. Are you planning to sell them on eBay or to a private party?

“I think what I would do is open a few of the Verve records to get a sense. When you are selling them, you can always say that it was sealed and unplayed and that you only opened it to see if it was an original pressing. If the few that you open have the trumpeter logo, you can say on the others that you list that you have similar records of the same vintage and they were originals (or not). Another option is to put a few of them up for sale on eBay sealed, see what you get for them and then ask the buyers if they were original pressings or later issues, such as MGM on some of the Verves. Let me know what you decide, only because I’m curious. Where are the records located? — al”

“PS — do you have any sealed Tal Farlows? My friend was a protege of Tal and I might be interested.”

Another non-deal is this LP from Japan, which I’m quite fond of but $999.99 seems a bit on the high side. Seikatsu Kojyo Iinkai was begun by pianist-reedist Yoriyuki Harada and saxophonist Kazutoki “Kappo” Umezu, and as a group ranged from trio to orchestra over the ensuing years. Their privately-pressed first LPwas recorded in 1975 during the height of the loft jazz years and also features three American players: bassist William Parker, trumpeter Ahmed Abdullah, and drummer Rashid Sinan. The copy on offer here, sans obi, is autographed by Umezu and appears to be in nice condition for the record (M-) and the jacket is a solid, spotty VG+ or VG++. Apparently Abdullah had a couple boxes of dead stock several years ago and they were accidentally thrown out in a move. Oh well!

I’m not sure if it came up somewhere in the comments on the recent Esquire post, but the question of alternate European edition Blue Note sleeves is an interesting one. I’d never seen anything from the classic era but did know that Blue Note licensed at least a few titles from Vogue (Fats Sadi, among others). Apparently this went the other way as well, judging by a Vogue UK 10″ pressing of the Elmo Hope Quintet, which I’d never encountered and which vinyl-house-uk, the seller of some fine Esquires and other titles recently, is offering. So far it’s not getting stratospheric (and presumably won’t) but my curiosity has been piqued. With a VG++ sleeve and NM- record and a price at $22.50 someone might get a deal after the auction is up next week.

Finally, in trawling eBay for semi-odd releases, I came upon this one, which not coincidentally is one of my favorite jazz records of all time: trumpeter Alan Shorter’s Parabolic LP, recorded in 1968 and released on Verve/Polydor UK under this title and in the US as Orgasm. Presumably the English record buying public weren’t ready for the latter concept (not that Americans were either, though Frank Zappa might’ve prepared some). The record features Shorter’s knotty originals played by saxophonist Gato Barbieri, bassists Charlie Haden or Reggie Johnson, and either Muhammad or Rashied Ali on drums. This M- copy is holding at $44 with half a day to go, and presumably will nudge closer to $75 or so by the auction’s end.

At any rate, thanks for reading this far, and as always happy collecting and happier listening!

I tried a similar tactic with this record, also to no avail:

Ernie Henry, Last Chorus, Riverside 266. This was an original pressing in VG++ condition for the record and VG+ for the cover. I also own a copy of this record, but I am not enamored with the condition of the vinyl or the cover. This was sitting below the $100 range with no bidders and I though I might be able to steal this for a bargain price as well, with, of course, the term “bargain price” clearly a subjective   concept, particularly as it comes to rare jazz vinyl on eBay in today’s marketplace. I put in a snipe for about $120 on this, but it sold for $135.50, so I was not really a contender. Again, it will stay on the wish list.

I’m not sure if there’s anything on my current watch list I’m ready to try for, but this one is always tempting, since I STILL don’t own an original pressing: Lou Donaldson, Quartet, Quintet, Sextet, Blue Note 1537. This is an original Lexington Avenue pressing listed in VG+ condition for the record and Ex for the cover. The start price is about $500 and I would almost certainly pay that amount for this copy. But that almost certainly will not be enough to acquire it. My guess is that this one gets close to the $1,000 bin, if not edging into it. It was just listed and there are still six days left.

Anyway, here are a few of items that recently sold on eBay, starting with Jutta Hipp with Zoot Sims, Blue Note 1530. This was an original Lexington Avenue pressing listed in VG++ condition for the record and VG+ for the cover, with some visible staining on the back cover that could be a turn off for some buyers, but obviously was not that big a turn off for the buyer of this copy, who paid $2,850.88. In fact, looking over the cover pictures again, it looks like VG+ is a pretty generous grade. I have an absolutely clean version of this record that I purchased from the Bruce M. West collection in Baltimore, thoughts of which always put a smile on my face.

Speaking of things that always put a smile on my face, someone sent me this great article about the classic album Ella and Louis, which is celebrating its 60th anniversary. I was pretty sure I once did a “desert island list,” but I can’t find it in the archives. Anyway, I’m confident if I ever did do a list or if I ever do one in the future, this record will be in the top five, if not number one. Music does not get any better than Ella and Louis.

One more from the eBay watch list: Roy Haynes, Cracklin’, New Jazz 8266. This was a purple label with no deep groove. Does that preclude it from being a first pressing? I think so. The record was M- and the cover was VG+. The final price was $135.50. Does that price indicate that it was not a first pressing? I think so.

Everybody’s favorite, bobdjukic, was back with some auctions and, as usual, some hyperbole. This was a highlight from Ella Fitzgerald, and I will give the full title because it is quite a weird mouthful: Miss Ella Fitzgerald and Mr. Gordon Jenkins (with His Orchestra and Chorus) Invite You to Listen and Relax, Decca 8696. According to the listing this is “Easily and By Far Ella Fitzgerald’s Rarest Studio Album in Existence!” I love that stuff, and then it gets topped off with the old standby “ultra-rare.” Somehow this stuff actually works. The record and cover were graded VG++, although the description makes it clear that VG++ for the cover is a wild stretch, since there is actually a partial seam split. Anyway, some how, some way, someone bid $259 for this record. I think I got my copy, in better condition, for $5 at a record show, which was not far from the going rate a few years back. One of our readers sent me this one from back in December, but I just had to make sure I covered it here, also from bobdjukic: Charlie Parker, Fiesta, Verve 8008. This was a trumpeter pressing with the black label. It was listed in VG++ condition for the record and the cover but, again, the picture and description of the cover belie the grading. This one sold for $864.54. Forget about the genius of Charlie Parker: What about the genius of bobdjukic

Finally, after the events of last week I feel like I must post this one: Jackie McLean, The New Tradition, Ad Lib 6601. This was an original promo copy listed in VG+ condition for the record and Excellent condition for the cover. It sold for $3,850.