A Random Assortment of Jazz Vinyl
Here are a few more jazz records we’ve been watching on eBay, starting with Duke Ellington & John Coltrane, Impulse 30. This was an original white label promo copy listed in M- condition for both the record and the cover, although it would be hard to tell from the main picture accompanying the listing. When selling on eBay, always strive for a nice clear picture. Although this one failed in that regard, it didn’t fail to achieve a nice collectible price, which was $316.
This is one I actually bid on: Eddie Costa, Guys and Dolls Like Vibes, Coral 57230. This was an original pressing listed in VG++ condition for both the record and the cover. I own the record, so why did I bid on it? Well . . . it was sitting with no bids with three hours left on the auction and a start price of just $10. The seller didn’t include the important information that Bill Evans is the pianist on this record, which adds to its value and, more importantly, adds to its musical quality, which, of course, is excellent. A really nice record and for my bid of $20, what would be so bad having two copies? But I didn’t win. It sold for $33.88. Somebody got a bargain.
This one also sold for a relatively low price, which surprised me since I had always thought of this as fairly collectible: Seldon Powell Sextet, Roost 2220. Perhaps the bidding was restrained because the seller doesn’t make it clear if this is an original pressing, not describing whether it has a deep groove. It’s a knowledgeable seller, so you’d assume he left out the information because there is no deep groove. Perhaps other potential buyers felt the same way. It sold for $56.
In my quest to complete the original Impulse catalog, Ellington and Coltrane is proving to be quite frustrating. It was repressed so many times. I have seen every variation on the label other than the white label and original Am-Par in person, and the few I’ve seen on eBay always sell for crazy prices, such as this. Sigh.
If this Eddie Costa on Coral was on Blue Note with RVG sound and reid Miles cover, it would fetch 500 $. Instead, Eddie and Bill are worth 35 $ on this absolute masterpiece. Absurdity.
I’ve also been trying track down the Ellington/Coltrane as well. I would prefer the original AM-PAR as the promo doesn’t do anything special for me and seems to go for a lot more money. Guess I’ll just have to keep on looking.
As far as Eddie Costa is concerned I’ll have to keep an eye out. I don’t have anything by him…yet.
Eddie Costa has always been a favorite of mine. He was known originally as a pianist. He only made 4 albums (plus 1/2 of a Newport lp)as a leader. My favorites are House Of Blue Lights on Dot and Eddie Costa/Vinnie Burke Trio on Jubilee (the fourth was a quintet on Mode with Art Farmer and Phil Woods that has been reissued many times on budget labels). He was an early influence on Bill Evans and had a distinctive percussive style. His use of the lower register on the piano was also quite original. As a sideman he worked with a who’s who of greats but another favorite of mine is the two albums he did with Coleman Hawkins on Crown. There is also a Eddie Costa Memorial album on Colpix featuring some of the greats he played with.
I had the Costa a long time back,but let it go. I found(and find)the sound on Coral records terrible! Costa’s vibes are recorded as if he and the band are in a extremely large BARN. It’s amazing how seldom vibes were recorded well. RVG knew how,as did Dick Bock..also the folks at Riverside(the “Wes meets Bags” lp,for example). I think the Guys and Dolls could have been a killer with better sound and a production not so obviously designed for the “Jazz Meets Bway” market.
As for Costa,check out his piano work with Tal Farlow-“Fuerst Set”,either on lp or a 2-cd set. Nice!
I’m confused…. and learning. So, objectively, we know that Bill Evans was the pianist on the record. Does that really matter? When listening to the record, does he do something with the chords– modal, no doubt– that translates into such a different listener experience that it doubles or triples (and more) the value? I think what my question gets at is this: What is the relationship between the quality (or characteristics) of the music on the vinyl vs. what is the price associated with the vinyl given the names in ink on the cardboard cover? Al, is there an easy answer?
Daryl asks the right questions. I am afraid the answer is negative. Not so long ago I sold this album because the theme music, and what they do with it, is just not rewarding enough.
Sometimes the presence of Bill Evans in a group is an enrichment: on Modern Art – Art Farmer (UA), George Russell’s albums for Coral (N.Y.) and, of course, on Kind of Blue.
Regarding the Sound Quality there musta have been some post-recording ading echo because on Spotify (mono) the music sounds just fine – and Bill Evans throws a long fine solo in “Guys and Dolls”.
Regarding Bill Evans effort is “Evanuesque” enough to make the price higher the answer is that it probably does not matter since there is a very strong following on Evans and completists would want this LP for sure.
Blue Note has introduced a fun Facebook App that allows fans to insert their own face into classic Blue Note album covers.
Choose between six cover artwork designs by influential designer Reid Miles and see how you would look on the cover of your own Blue Note record!
Click here to check out the app and share:
https://www.facebook.com/bluenote/app_492061697577448
“What’s wrong with having two copies?” you ask.
Absolutely nothing. And I speak from deep experience.
Jazz collecting friends long ago bestowed upon me a Native American name:
Buys Things Twice.