Comments on: The Sonny Rollins Bridge: Why Didn’t We think of That?

By: Rudolf

Rudolf — Sat, 23 Dec 2017 16:44:16 +0000

better spelled KoB: Kind of Blue by Miles on CL.
Is Dayton’s still alive in Lower Manhattan?

By: Bob Friedman (Dayton Records)

Bob Friedman (Dayton Records) — Fri, 22 Dec 2017 20:57:52 +0000

What is KOB. Who is the artist? What is the label?

By: Jeff Caltabiano

Jeff Caltabiano — Fri, 28 Jul 2017 14:24:59 +0000

Thank for discussing the Sonny Rollins Bridge. Check out our social media for more about what we’re doing. Instagram: @sonnyrollinsbridgeproject; Twitter: @RollinsBridge; Facebook: @SonnyRollinsBridge
Let me know if you have any questions about the Project.

By: Clifford Allen

Clifford Allen — Mon, 26 Jun 2017 20:06:51 +0000

2700 for KOB is just absurd.

By: Michel

Michel — Sat, 24 Jun 2017 23:06:20 +0000

And by the way, the usual weekly ton of impossible to find Blue Notes….Including the weekly 1568, of course (does the “NY23 is the only real first” controversy is already closed ? after 56432 post regarding this issue, it is not sure). One sure thing : the higher prices are rising, the higher number of copies are getting available !!

By: Terryfromflorida

Terryfromflorida — Sat, 24 Jun 2017 02:23:12 +0000

Anyways, a copy of KOB just sold for 2700 with 59 bids. Yes you read that correctly!

By: geoffrey wheeler

geoffrey wheeler — Fri, 23 Jun 2017 20:58:54 +0000

English pianist, Ronnie Ball, was mentioned in another posting. For those who are interested, Malcolm Walker’s Discographical Forum published a Ronnie Ball discography. Malcolm also has a quarterly column in the IAJRC Journal. For readers oriented to discography, other fine European publications include Names & Numbers (The Netherlands), VJM Magazine (UK and U.S.), and some issues of Jazz Journal (UK). In the mid-1940s, Jazz Journal was preceded by the digest-size publication, Pickup (UK). One or several jazz publications in Australia have also offered discographies.

By: geoffrey wheeler

geoffrey wheeler — Fri, 23 Jun 2017 20:18:05 +0000

Clifford, I didn’t say it was a collector’s guide. It is more an archeologist’s venture into the arcane world of blues collectors. Probably the most famous blues and R&B collector today is John Tefteller, who lives in Grants Pass, Oregon. He operates a number of interesting websites, each an aspect of his collecting and selling interests. John has probably amassed the largest. most expensive rare blues and R&B collections on this planet. John, who is a nice friendly man, has paid prices for rare blues records that are many times more than the rarest of rare jazz LPs. He paid $37,100 for a Tommy Johnson Paramount. John also has an excellent collection of 78 sleeves. I have examples of most of what he shows except sleeves for Vocalion Race Records (rare and expensive).

The highest amount paid for a jazz 78 that I know of was $40,000 for the only known copy of King Oliver’s Creole Jazz Band 1923 recording of Zulus Ball (no apostrophe)/Workingman Blues (Gennett 5275). Russ Shor of VJM magazine is a co-owner of the disc. I have seen it, held it, studied both labels, and heard it played.

By: Clifford Allen

Clifford Allen — Fri, 23 Jun 2017 19:12:51 +0000

Petrusich’s book is not a collector’s guide, nor is it meant to be.

By: geoffrey wheeler

geoffrey wheeler — Fri, 23 Jun 2017 18:33:13 +0000

Amanda Petrusich not only writes for The New Yorker but other publications. She has also published two books. One is: Do Not Sell at any Price–The Wild, Obsessive Hunt for the World’s Rarest 78rpm Records. On the suggestion of a collector friend, I bought the book at Amoeba Music in San Francisco. Reviewers of the book in the mainstream press think the book is about all types of 78s, when in fact the focus of the book is on early country blues records and the people who collect them. I don’t think devotees of this website would be interested in this book. I have not met any of the collectors she profiles but I know some of them by reputation by reading 78 Quarterly. Not exactly living up to its name, a mere 12 issues were published between 1967 and 2005. For any die-hard early jazz and country blues 78 collector, each issue is fascinating reading. Although young Miss Petrusich is an accomplished researcher and writer, her book held little interest for me because I collect jazz 78s, nothing else. My 78 collection goes from 1917 to the 1950s. The one reason to read this book (or at least scan through it) is to gain further perspective on her writings about music.