Catching Up: Flanagan, Dorham & A Signed Max
Let’s catch up on a few more eBay sales:
This one did sell for more than $1,000. Tommy Flanagan Overseas, Prestige 7134. When we were watching it the other day it was at about $400 and we speculated it might sell for less than $1,000. It sold for $1,440 in VG+ condition for the vinyl and the cover. Perhaps that can be considered a bargain in today’s market?
The Arrival of Kenny Dorham, Jaro 5007. This was an original pressing in VG++ condition for both the vinyl and the cover. It sold for $457. We’ve never tracked this one at more than $1,000 in the Jazz Collector Price Guide, but we’re pretty sure it has probably cracked the $1,000 barrier at some point. It’s a nice record and quite rare as well.
This one was autographed. Still not sure if an autograph enhances the value of a jazz record. Collectors can be quite picky about having their records untouched and pristine:
Max Roach, We Insist! Freedom Now Suite, Candid 8002. This was an original deep groove pressing. The seller wasn’t clear in the description and, based on what he said, we’d gauge this to be about VG+ for both the record and the cover. It was signed and dated by Max Roach in 1993. The price was $76. Seems like a good deal to me, but I happen to be a collector that likes having a record or cover signed by the artist. I was looking through some of my 78s yesterday and found an old Stan Getz 78 — Five Brothers on Prestige — that was signed in ink by Zoot Sims. Definitely put a smile on my face to see that autograph.
for me an autographed record is a minus point, I want them in virgin state. Moreover, if you were not present yourself at the moment of signing, what is the (sentimental) value, and also, who guarantees it is an authentic autograph of the artist in the first place?
It is astonishing that a label like Candid does not fetch higher price. Nat Hentoff did a great job, the albums had great artistic value, the audio was very good and the covers were 1st class.
…I can’t believe I missed out on this one !!! I admit time and again that I am a shameless “trophy hunter” when it comes to getting an LP autographed, it just adds another dimension to it. There is a direct connection between the music, the artist and the time period. I do however, side with Rudolf to a certain degree. It is nice to have an LP signed first hand by the artist, but these days that is not always possible. This one was not personalized which should makes it more valuable I think. Too bad there isn’t a photo of the original owner and Max or perhaps a ticket stub from the gig to help authenticate this one…
I’m gonna throw a curve here and say that I kinda dig it when a record cover has some history. A name on the back, a personal ex libris type stamp, some defunct record store sticker, or track notes in pen can be charming and add some life to records. That said, front cover vandalism drives me crazy. There are stamp collectors who insist on only collecting stamps that have been postmarked… But don’t get me wrong, a nice glossy NM copy is dazzling thing to behold.
I’m with Bethellodge, to a point. I l don’t mind having an old store sticker on the back, especially with the price, because it gives it a real authenticity that this was actually out there in the world.I don’t like writing, however, unless it is an autograph and then it depends on the autograph. My favorite in my collection is Sonny Rollins signing to his “friend” at the A+P, a local supermarket. I’ve written about this one before, but for some reason I can’t find the photograph. I’ll post a new one later.
I don’t mind an old store sticker, a french BIEM sticker, or the equivalent UK authors rights stickers, original price stickers and even hand written prices, it all adds to the flavour.
But I hate everything put by previous owners, like recording dates, length of each number, not to speak about comments, underlinings etc.
What I can accept is a serial number reflecting the seriousness of the collector.
I have some autographs by the likes of Lee Morgan, from Dec. 1958 onwards, but I have them on separate pieces of paper or on the concert programmes. I stopped very soon this stupid habit of asking for autographs, since it is rather insulting. When Coltrane ha
cont.
……Coltrane just has finished a tiring solo and he is taking a rest behind thescene, it is rather intrusive to bother him for an autograph. I felt ill at ease. It is stupid anyway.
To each his own Rudolf… It’s really a give and take scenario I think. Many artists enjoy meeting the fans and signing autographs after a show. If you have ever had the opportunity to catch a set in a NYC Jazz club you will find some of the most notable Jazz legends plugging their latest albums. Often selling CD’s afterwards, complete with autographs. It’s a great way to help support the musicians that we depend on to keep this art form alive. It also makes the whole experience much more intimate and social. Many greats like Lou Donaldson (for example) love it. He often asks the audience to buy his albums saying “there are still a few of them left, and I need the money ! No fusion, less confusion”
The only thing “stupid” about a fan getting an autograph is if they buy one from a seller on ebay for tens of thousands of dollars instead of supporting the artist who signed it in the first place.
don-lucky: you are right, the club circuit is different. When Dexter and Johhny Griffin did the European club circuit, the atmosphere was unlike the Concert Halls (Concertgebouw etc.)
Thanks Rudolf. It must have been a great scene back in the day… You were certainly one of the lucky ones to be able to catch guys like Dexter and Johhny. (Who needs the sutograph when you can have the real thing right ?) Personally, I would trade every autographed LP for a chance to catch Billie, Miles, Ella or Coltrane (etc.) when they were still around… At least we still have the vinyl… It eases the pain ! heh heh.