Jazz Collector Heavy Hitters Edition
I’ve been watching a few heavy hitters on eBay, starting with Miles Davis, Kind of Blue, Columbia 1355. This was an original promotional copy with the white and red six-eye label. The record and the cover were both listed in VG+ condition. The final price was $1,009. The promo copies of Kind of Blue have spiked in the time we’ve been doing Jazz Collector. They are now often appearing in the $1,000 bin and sometimes in the $2,000 in as well. Hey, an original promo copy of probably the most popular jazz record of all time, is a pretty cool thing to own, IMHO. Speaking of the $2,000 bin—or, to be more specific, the nearly-$3,000-bin—there was Tommy Flanagan Overseas, Prestige 7134. This was an original New York yellow label pressing. Based on the seller’s description, it sounded like the record was in VG++ condition and the cover was VG+. The final price was $2,970.
Not to browbeat a dead horse, but there was yet another interesting recent sale of Sonny Rollins, Saxophone Colossus, Prestige 7079. This looked to be what I would now consider to be an original New York yellow label with the GEM Albums Inc. cover. To my eyes this is still a blue cover. The seller went to great care to listen to each track and provide a breakdown of the condition, which was very nice of him. Overall, seems like a VG+, although others may think if any part of the record is VG, then the overall grading must be VG. I, for one, would not argue with that opinion. The cover is graded EX, which is not a clear designation for me, but it doesn’t matter, because a routine glance at the pictures will tell you that the record is, at best, VG. It sold for $1,000, which is still more than a M- New Jersey pressing sold for a few weeks earlier.
The WLP and promo stamp mania could be an influence from the Rock and Pop collection. New collector’s generation, new trends in Jazz collecting : emphasis on Blue Note, some Prestige and various rare and hype titles ; emphasis on great names (Coltrane, Rollins, Davis, Evans) ; rise of Impulse, decline of Verve, Norgran, many Riverside, Savoy, RCA Victor, Coral, Argo Atlantic : exept when it comes to big names ; generally lowering on quality (NMtoday is not what it used to be)…just some random impressions, not absolutely sure…
Agree Michel. It’s definitely a generational thing and that comes from someone who likes WLP.
True about the lower quality too which I assume is related to the collect ability of vinyl. Suddenly everyone with grandpa’s old records is a dealer.
Also don’t forget about the rise of Strata-East!
For years the stereo of KoB was the one to get. Apparently the Cult of Mono strikes again.
don’t forget the rise of Instagram… basically paying hundreds or even thousands of dollars for social media “cred” versus paying far less and enjoying the music in the semi-privacy of your own home.
Clifford, how true ! Instagram is the place to be for let the world know about your recently added G- / F + (humidity stain on back cover) copy of that famous BLP 1568. Or brag about this NM (Still in its original schronk wrap ?) BLP 4048. I love those hipsters.
At the age of 50 (and 25 years of buying jazz ) I guess I am somewhere in the middle of the old and new collectors. I certainly agree with Michel that the obsession of labels has gone crazy (even though I still waiting eagerly for the decline of several Savoy titles:) But for me the biggest impact of new collectors are the rise of, not only the second, but also the third, fourth and fifth pressing when it comes to Blue Note. At least here in Sweden. When I sell a mid 70s UA press of Dexter Gordons A Swingin’ Affair I expect the same price as for an fine OG of Ornettes This is our music. And usually even get a bit more…
Hey I like Instagram and I’ve been buying records since the late 80s! It’s a fun way to share my passion with other record nerds because certainly none of my friends nor family could give two flying sh*ts about it!
At the age of 50 (and 25 years of buying jazz records) I guess I am in the middle of the old and new generation of collectors. I agree with Michel that the focus on certain labels have gone crazy (even though I eagerly waiting for more than one Savoy title to decline…:) The biggest impact of new collectors as I see it is the rise of not only the second, but the third, fourth and event fifth press of loads of BN titles. At least here in Sweden, (I guess the high shipping cost from US and new custom fees also have a part in this). When I sell a mid 70s UA press of some Dexter Gordon album I expect to get the same price as for nice OG copy of Ornettes This is our music. And often even get a bit more. I would say that the prices for many later Blue Note pressings (up to white “b”) have quadrupled in 3-4 years since there are so many new buyers wanting the same titles. I also agree with Mark! Besides the showing off I have met a bunch of local collectors on IG. Even managed to do a few trades which never would have happened otherwise 🙂
the only thing more insufferable than the people that are all about IG cred are the people crying about it as though it affects them.
clarification to previous comment: it was not directed at clifford, whom i genuinely believe to be a thoughtful and good person, but rather the people who feel the need to shit on IG users just because they do things a different way. if people didn’t show others their collections to an extent, no one would ever discover anything. early blogspot sharing sites were how i got into jazz, and IG is taking over that role now.
I agree with Greg. Anyone who knows about the IG jazz vinyl community understands that it is an marketplace of information, education and trading/selling with a vitality rivaled by no other medium, including Facebook and this or any other blog dedicated to jazz vinyl. Sure, there’s a certain amount of narcism involved when posting rare records, but most posters I follow are genuine fans whose posts about their records have helped me learn and be inspired. Don’t dismiss IG as just a platform for egocentric teenager, of course it is that, but it is so much more.
My point was/is that it has driven prices higher and that there are certainly buyers who buy records for the amount of “likes” they’ll get. Of course I’m on Instagram and occasionally post records there as well, and I’ve certainly learned about records I was unaware of (especially through Mark). But there’s a disheartening side to it, too.
I wasn’t slamming your point Clifford, I just wanted to put my views out there about IG before the usual smears come in … and you are correct, at the same time many of our postings increase demand, causing price hikes. I don’t know who’d buy records solely for the amount of likes … that’ll be idiotic but there are idiots so who knows …
I do like IG and appreciate to see rare and interesting records i have already or not. IG is the reflect of Blue Note hysteria.
Many collectors posting trashed United Artist copies just mike trophies make me wonder what is the point. I remember an IG post with an absolutely trashed cover and unlistenable disc of « Candy » BLP 1590. Tenth « wow », « incredible ! » comments. I commented that for me such a record was not collectible. I had many response basically me « why do you think its not collectible ? ». Then i realize that ok, maybe a rounded / stained / teared / penciled / seams explosed cover and a pizza record are collectible in the 2019
Collectors world because they are Blue Note. Not a problem, just change of era. After all egyptian mummies too are highly collectible, and not all of them are in NM condition.
yeah, “wow” and “incredible” should only be reserved for truly unique items. But then again I am a curmudgeon.
Well, I’m a 50-something year old who’s been collecting jazz records for over 30 years (on and off) and, on balance, I enjoy IG. Sure, there are some downsides associated with a minority of ill-informed ego self-preeners. But it’s actually easy to spot and avoid them. And it’s far outweighed by the many friendly, knowledgeable and considerate people who I find on IG. I’ve learnt things from these people, discovered records I never saw before and even acquired a few additions to my collections via IG contacts. For example, I’ve just scored a lovely Esquire pressing of Sonny Rollins Plus Four that may have taken me years to find by other routes.
I guess I should get on Instagram, huh?
I think you should Al. It’s a great place to share and discuss. You never know if your copy of Shades of Redd is just waiting for you on there.
GST — do you have a separate account for just the jazz stuff? How do you find followers/community?
Al — If you follow a few of us, you will find all of us, eventually, simply by looking at the comments on our posts. I definitely recommend to any jazz collector to join the IG jazz vinyl community. It’s informative, entertaining, you can trade/buy/sell hassle free, and some of the feeds are just damn good to look at. Only downside: Prepare for serious record envy. Just like the “influencers” tend to make regular folks depressed with their picture-perfect shots from sandy beaches on remote islands, some posts of your most desirable jazz records might provoke a similar reaction.
Al I just have one account (https://www.instagram.com/gstvinyl/?hl=en) that’s mostly jazz with other genres sprinkled in. If you let us know your account name (jazzcollector is avabilable) we’ll follow you.
As far as a community you might want to follow #igjazzvinyl to find like-minded folks.
I recommend Instagram for newcomers in Jazz collecting. If you have been into this for 20+ years, its possible you will only see stuff you already know about (Blue Note is largely dominant : hipsters don’t want no Verve ?) I’m on IG for my photographs, i post records on my stories sometimes. I never review records i post, i do not think my advice would be especially interesting. With You Tube and others its very easy to listen and have an advice. For discovering records IG is interesting. If one really want to get into Jazz history, trends, social and politic background etc…, its much more rewarding to read books. I’m an old crocodile and i do think knowledge remains in books or serious internet sources like LJC or Jazz collectors and many others.
i am @jazz_peasant on IG.
Jazz vinyl community on IG is totally entertaining. Always wondered when watching ebay auctions who are the fools that over pay for low grade records. Now almost like clockwork you can wait about a week see.
What’s even more entertaining are the horrid long winded reviews by “educators” who seem to not even have a basic understanding of music theory.
It’s a stretch to say that people are discovering new music when the majority of posts are all of the same 4-500 titles of blue note, prestige, riverside, etc . But hey if “educating” people makes you feel better about overpaying for records, is an excuse to flaunt your wealth and ability to buy material things, or you want obscure the plain fact that you are just trying to sell records more power to you.
And I’m @intosomethin on IG
I am @tallswami
I have found that jazz record buyers do not appreciate it when a seller goes thru each track and gets very specific about where each flaw is. I have much better luck with higher sales when I just put VG or VG- or G. I’m not sure why this is? I personally appreciate the detailed breakdown, but I’ve sold enough lps to confidently say I’m in the minority.
Thanks @NAR : my thoughts exactly.
@NAR: Don’t be an ass, let people enjoy what they enjoy. How does this matter in the grand scheme of things exactly? But hey, if putting down others for the way they choose to go about their hobbies makes you feel better about yourself, more power to you.
Also, I find the notion that one can’t write meaningfully about music without getting into theory rather reductive. Personally when reading a review I’m not particularly interested in hearing thechnical details about chords, form, technique and so on; I much rather hear what the reviewer thinks the music is trying trying to express and how it affects them. One can be used as a jumping off point to discuss the other but it’s certainly not required. Anyway, that’s my opinion.
@ that’s not only a lack or theory. That’s also a complete ignorancy regarding social, économic background of jazz music. And really i don’t Finder dit really relevant to review Jazz albums everybody knows (or can listen to) for 30 years.