I think I must have a genetic disease which makes me predisposed to cringe whenever a jazz album I put on breaks into vibes. With almost no exception, I cannot seem to listen past the vibes and want to immediately get up and change the album. I have been passionately collecting jazz for 3 or 4 years now, and was sort of hoping I would outgrow this feeling…but just doesn’t seem to be happening. Currently listening to BN 4227 Mode to Joe – Joe Henderson and much of the music is terrific – until I hear the vibes….
Does anyone else have this affliction? Other than the obvious of just not buying anything with Bags or Bobby H, etc, not sure what to do…:(
mayby it has something to do with the fact that a “vibe’ sound isn’t straight and clear. It has a tone that changes within every strike, it ‘bends’….. unlike most other jazz instruments (exept mayby for the trombone..)
I myself love the vibes a lot. I like the dreamy sound..
I hate the harpiscord to. Bach i listen to whenn it’s played on piano or forte-piano…
I myself love vibes and I mostly dig albums where a vibes-player is on it.
But keep in mind, that there’s a different approach playing vibes. You can play them soft, like a vibe, more direct like a piano and very direct and percussive like a drummer would do. So sometimes you really can feel the difference of the approach and maybe there’s one you might like better than another.
But one thing is sometings really funny and some other time really annoying: I haven’t heard any vibes-player who isn’t humming to his playing!
I like Bags and “hummer” Teddy Charles, also Victor Feldman. Terry Gibbs a lot less. But vibes are O.K. with me as a viable jazz instrument.
What I cannot stand is jazz on flute. I love Bobby Jaspar, but unfortunately, there is almost no album without him playing flute. The flautist who comes closest to a real jazz sound is Frank Wess, but still, prefer him on tenor.
Even worse is vibory, harpsichord and harp. I am keeping two harp and flute albums just for the labels (late NY Prestige and early NJ), and, I should add, very tasteful drumming by Roy Haynes.
Oh c’mon, Dorothy Ashby is a great player and she really has that swinging Bop-tone on the harp 😉
I really love the flute, even more than the vibes. May it be Frank Wess or Seldon Powell. One of the best flutists is definitely Jerome Richardson. His playing is just fantastic!
Ceedee, I’ve never seen that photo either but this one(or another with the same photo) is on my want list. Not at that price though. That photo is just great.
With all the flutist banter happening it shocks me that the greatest of them all in the last fifty years was not mentioned: THE LEGENDARY ERIC DOLPHY. Enough said. Comments accepted.
Farmer has one disadvantage: He doesn’t play the flute 😉
I think his way of playing is really sophisticated and something own. When I was in NY, looking for couple of Farmer Atlantics,a seller told me, that there no one really liked Farmer. Hard to imagine and I’d love to hear if it’s the truth.
Kharsis: I don’t understand what you wrote… Do you mean they don’t like his music, or that he was not a nice guy??.. aah that would be ashame.. such a delicate music, full with all the emotions a jazz player could play…
My experience with Art Farmer is that you could not have asked for a nicer guy. I hosted a show for WKCR way back when and tried to arrange an interview. He sent me a letter while on tour in Europe,apologizing and promising to hook up when he returned to the states. We eventually did that interview,and his efforts in that regard were more than any young college kid should have expected. Low-key,unpretentious and a gentleman.
I think his musical talents were often taken for granted,perhaps because self-promotion was never real high on his “to do” list. He could play the hell out of a flugelhorn,though!
i’ve bought Silver’s Serenade (4131), Mono, rudy van gelder, ‘P’.. BUT with DG on side 2: does this mean it is a second pressing? On popsike i saw some with no DG
Maarten: I share your passion for Art Farmer. His was different approach from the prevailing hard attacking youngsters.
For me two albums, Farmer’s Market and Modern Art, stand out. Both are the quintessence of modern bop: the NJ with Mobley and Elvin, the UA with Golson and Bill Evans.
I heard Art live on two occasions, one in Scheveningen with the Gerry Mulligan Qrt in 1958/9 and one in London at Ronnie Scott’s.
Maarten and Rudolf. I’m with you guys on Art Farmer. My favorite is an album called Art on the Argo label. It’s a beautiful quartet album with Tommy Flanagan on piano and it’s all standards, including some that you don’t often see in jazz, such as Goodbye Old Girl and Younger Than Springtime. Excellent album.
Al, that Argo one is lovely too. Nice cover and, of course, the impeccable Tommy Flanagan. I love that album, it is on a par with the K.Dorham album on New Jazz.
Sorry for the confusion.
I think the guy didn’t mean Art Farmer as a person but as a musician. I wanted to sell a copy of “Sing me softly of the blues” and the seller mentioned, that no one is really interested in Art Farmer.
That seemed strange to me. I think that his later quartet/quintet pretty much shows his own style. Maybe it’s disliked because it’s not the usual Hardbop anymore…
I have a Liberty Mono Pressing of Kenny Burrell’s “Blue Lights Vol 1”. The record is VG/VG+ the cover is VG.. if anyone is interessted in a trade please let me know.
Hey guys, I’m looking for a copy of Sal Nistico’s “Comin’ on up” he cut for Riverside.
Does anyone have a copy he’d sell or does anyone have an idea where to find it?!
Thanks in advance.
Hello all, I just purchased an original copy at a garage sale for the grand total of $1.00. Nice bargain indeed. Cover is in very good condition, vinyl is in good condition. Does play with some surface noise and pops, but for a buck, it’s a steal. My question is, on one side it looks like someone had some substance on their fingers and their fingerprints seem to be permanently on the album. I can’t seem to remove them with a simple washing. Does anyone know I might be able to use without damaging the vinyl? Thanks
Just wanted everyone to know I am about to put Teo Maceero’s “Explorations” DLP – 6 10″ on Ebay, the cover is in VG condition, the album is VG+… I couldn’t find anywhere else to post this sorry if I interupted the conversation. I came across this website while researching the album and figured you would like to know…
Which is the first pressing of Dizzy Gillespie’s “Groovin High” LP on Savoy MG 12020 (1955)?
I’ve seen three covers from around the same time and am a little confused.
#1 has a black background, beige lettering, a beige tint to the picture and bright red Savoy labels
#2 has a white background, red lettering, B&W photo and red/mauve Savoy labels
#3 has a white background, black lettering, B&W photo and mauve Savoy labels.
Any information would be much appreciated
Thank you.
I’m listening to “Blues and the Abstract Truth” at the moment. I bought a copy for $1 at a garage sale. It looks and plays VG with the cover also in VG. This will be my third copy, my other two are in crap condition. My “original” or so I think, has the cover with Oliver with the dark Blue coloring. HERE
I’ve always been suspicious that this cover is not the original. The one I got today at the garage sale is this cover. HERE Which is the same cover as my audiophile repress. Which is the original? Also, what’s the story behind the two covers? Thanks,
I think that the Goldmine Jazz collectors price guide states that the abstract cover with Bill Evans name first is the original, but I can´t remember clearly and haven´t got a copy any more. Maby somebody can check.
Mike-re:Oliver Nelson,that is one case where I’ve always preferred the second cover over the original. Nothing captures the moodiness of the title track like the blue,head-in-hand sideshot. A timeless cover for a memorable session.
Cazoon-sounds like the Hubbard might require MORE than a “simple washing” and,if so,there are any number of LP cleaning kits that might help. Or perhaps it’ll come off after repeated applications. It’s a drag that there are listeners that make a pb&j sandwich and immediately get the urge to spin vinyl,washing of hands be damned. Nutty.
Thanks for the response ceedee. Upon closer examination the Hubbard looks as though somebody grabbed it with some kind of solvent and melted their fingerprints right into the vinyl. I guess I’ll just have to accept my semi-par copy for a dollar, until I can afford a nicer copy.
I have noticed that on a few higher priced situations of late that I have been the high bidder, but at the absolute limit of my bid via sniping program. Just today, I was the high bidder for the Clifford Jordan Blue Note LP at $1,330 (an odd amount – but the exact bid I put into the sniping program). Other recent examples are Lee Morgan Candy on 3/23 for $2,835 (again – an odd amount but the maximum bid in the snipe program) – this was my birthday present to myself…And $910 for a Hank Mobley 1550 (again – 910 was high price in sniper)…
I am starting to get a bit suspicious that something is amiss here. That being said, I have bought other records (most more moderately priced) where I was able to purchase at discounts to my high bid (and, of course, many more where my bid was too low). Has anyone else experienced this lately? Could just be a coincidence, but I am very curious…
OK…so I was following this auction in Ct. all week and begging some one at the auction for more pics. and some info.. I didn’t get much. The auction was for 18 boxes of Jazz records. From what little I saw I knew that the lot was loaded. The auction put a pre-auction value on the entire lot at 20.00 – 40.00 dollars. As I sat there and waited the auction on lot 13 began. FINAL hammer price 9,500.00 dollars AND buyer pays 24 to 27 percent fees and taxes. BUYER spent 12,000.00. I would love to know WHAT was in those boxes.
Hi…I’m Dollarsterno and hang out @ Record Collectors Guild mostly…but I usually lurk here. I really like this site. The following is a response to the same question about the 18 boxes of Jazz records I posed @ RCG. ..
“I was at the auction and bidding against the winner, after about 2k it was just me and him. There was a lot of good hard to find jazz pieces with some lps bringing in 1k a piece. Auction ended at 9,000 to an in house bidder and the buyers premium was 18% so buyer paid around $11,000. I would say he was a collector because $11,000 was probably pretty close to market value. I did not look at every single record but it was a great lot. Lots of Blue Note, Prestige, Clef, Norgran, Pacific Jazz, riverside saw one on progressive, tons of 10″, and some other really great stuff. I had set my limit at around 5k but got a little caught up in the bidding war. Condition of the vinyl was excellent.”
For any Ella fan’s out there:
Hip-o-Select (The folks who brought us the 12 Nights in Hollywood box) just released the
Ella Fitzgerald ‘S Wonderful: Ella In Japan. It’s supposed to be a great live 2-CD box… Amazon has it on pre-order, but if you go to their website http://www.hip-oselect.com/scr.public.product.asp?product_id=04C7C84E-56CE-412D-BC37-94C0AB1212A2 you can get it direct right away.
Cazoon,re:”flat edge”-it’s just that. Most lps have a rim or lip on the lead-in of the first track,in order to accomodate stacking of lps on a turntable-early Blue Notes were w/o that edge,hence “flat”. According to Cohen’s book,flat edge-aka “flat rim”- last appears on BN 1557.
I thought this was a pretty cool short little interview with Creed Taylor about the beginnings of Impulse. Nothing Revolutionary but a nice interview none the less.
http://www.plosin.com/milesahead/Covers.aspx?id=Miles-LP1
hope it “takes” this time…
I think I must have a genetic disease which makes me predisposed to cringe whenever a jazz album I put on breaks into vibes. With almost no exception, I cannot seem to listen past the vibes and want to immediately get up and change the album. I have been passionately collecting jazz for 3 or 4 years now, and was sort of hoping I would outgrow this feeling…but just doesn’t seem to be happening. Currently listening to BN 4227 Mode to Joe – Joe Henderson and much of the music is terrific – until I hear the vibes….
Does anyone else have this affliction? Other than the obvious of just not buying anything with Bags or Bobby H, etc, not sure what to do…:(
I do !
but not for jazz,only for classical.
I can’t stand harpsichord:it’s scratchy for my ears.
and loving bach I prefer piano.
Regarding the vibes you must have some kind of connection with my wife;-) She can’t stand them at all. I love vibes myself and have always done so.
mayby it has something to do with the fact that a “vibe’ sound isn’t straight and clear. It has a tone that changes within every strike, it ‘bends’….. unlike most other jazz instruments (exept mayby for the trombone..)
I myself love the vibes a lot. I like the dreamy sound..
I hate the harpiscord to. Bach i listen to whenn it’s played on piano or forte-piano…
I myself love vibes and I mostly dig albums where a vibes-player is on it.
But keep in mind, that there’s a different approach playing vibes. You can play them soft, like a vibe, more direct like a piano and very direct and percussive like a drummer would do. So sometimes you really can feel the difference of the approach and maybe there’s one you might like better than another.
But one thing is sometings really funny and some other time really annoying: I haven’t heard any vibes-player who isn’t humming to his playing!
I like Bags and “hummer” Teddy Charles, also Victor Feldman. Terry Gibbs a lot less. But vibes are O.K. with me as a viable jazz instrument.
What I cannot stand is jazz on flute. I love Bobby Jaspar, but unfortunately, there is almost no album without him playing flute. The flautist who comes closest to a real jazz sound is Frank Wess, but still, prefer him on tenor.
Even worse is vibory, harpsichord and harp. I am keeping two harp and flute albums just for the labels (late NY Prestige and early NJ), and, I should add, very tasteful drumming by Roy Haynes.
Oh c’mon, Dorothy Ashby is a great player and she really has that swinging Bop-tone on the harp 😉
I really love the flute, even more than the vibes. May it be Frank Wess or Seldon Powell. One of the best flutists is definitely Jerome Richardson. His playing is just fantastic!
This Sonny Rollins listing of a Japan-only pressing “Greatest Hits”-in stereo?!- would be forgettable if not for the great photo on the rear of cover,a picture I’d never seen before. Cool…
http://cgi.ebay.com/SONNY-ROLLINS-JAPAN-GOLDEN-DISK-/290370155437?pt=Music_on_Vinyl&hash=item439b68f3ad
Ceedee, I’ve never seen that photo either but this one(or another with the same photo) is on my want list. Not at that price though. That photo is just great.
Robert Opines:
With all the flutist banter happening it shocks me that the greatest of them all in the last fifty years was not mentioned: THE LEGENDARY ERIC DOLPHY. Enough said. Comments accepted.
I concur Robert-Eric playing”Left Alone” always does it for me.
eric is one of my personal top 5 musicians althought I prefer him an alto or bass clarinet
sometimes you must take a stand: I say, ART FARMER IS THE KING OF ‘M ALL!!
watch this clip… and what a line up: Jim Hall, Pete laRocca and steve swallow. http://www.youtube.com/watch?v=lIL1nNLGPMQ&feature=related
Farmer has one disadvantage: He doesn’t play the flute 😉
I think his way of playing is really sophisticated and something own. When I was in NY, looking for couple of Farmer Atlantics,a seller told me, that there no one really liked Farmer. Hard to imagine and I’d love to hear if it’s the truth.
correction: Walter Perkins on drums
Kharsis: I don’t understand what you wrote… Do you mean they don’t like his music, or that he was not a nice guy??.. aah that would be ashame.. such a delicate music, full with all the emotions a jazz player could play…
correction: Kharsis should be Katharsis 🙂
My experience with Art Farmer is that you could not have asked for a nicer guy. I hosted a show for WKCR way back when and tried to arrange an interview. He sent me a letter while on tour in Europe,apologizing and promising to hook up when he returned to the states. We eventually did that interview,and his efforts in that regard were more than any young college kid should have expected. Low-key,unpretentious and a gentleman.
I think his musical talents were often taken for granted,perhaps because self-promotion was never real high on his “to do” list. He could play the hell out of a flugelhorn,though!
i’ve bought Silver’s Serenade (4131), Mono, rudy van gelder, ‘P’.. BUT with DG on side 2: does this mean it is a second pressing? On popsike i saw some with no DG
Maarten: I share your passion for Art Farmer. His was different approach from the prevailing hard attacking youngsters.
For me two albums, Farmer’s Market and Modern Art, stand out. Both are the quintessence of modern bop: the NJ with Mobley and Elvin, the UA with Golson and Bill Evans.
I heard Art live on two occasions, one in Scheveningen with the Gerry Mulligan Qrt in 1958/9 and one in London at Ronnie Scott’s.
Maarten and Rudolf. I’m with you guys on Art Farmer. My favorite is an album called Art on the Argo label. It’s a beautiful quartet album with Tommy Flanagan on piano and it’s all standards, including some that you don’t often see in jazz, such as Goodbye Old Girl and Younger Than Springtime. Excellent album.
Al, that Argo one is lovely too. Nice cover and, of course, the impeccable Tommy Flanagan. I love that album, it is on a par with the K.Dorham album on New Jazz.
Modern Art and, above all, ‘to sweden with love’ ..
Don’t no the argo one, i will check it out.
Sorry for the confusion.
I think the guy didn’t mean Art Farmer as a person but as a musician. I wanted to sell a copy of “Sing me softly of the blues” and the seller mentioned, that no one is really interested in Art Farmer.
That seemed strange to me. I think that his later quartet/quintet pretty much shows his own style. Maybe it’s disliked because it’s not the usual Hardbop anymore…
Hello,
I have a Liberty Mono Pressing of Kenny Burrell’s “Blue Lights Vol 1”. The record is VG/VG+ the cover is VG.. if anyone is interessted in a trade please let me know.
Thanks.
Hey guys, I’m looking for a copy of Sal Nistico’s “Comin’ on up” he cut for Riverside.
Does anyone have a copy he’d sell or does anyone have an idea where to find it?!
Thanks in advance.
Katharsis:I don’t have “Comin’ Up”,sorry. In trying to find an image of the cover,I came across this site,though:
http://coverjazz.canalblog.com/archives/sal_nistico/index.html
Just what I needed-another site to remind me of records I don’t own!
Hello all, I just purchased an original copy at a garage sale for the grand total of $1.00. Nice bargain indeed. Cover is in very good condition, vinyl is in good condition. Does play with some surface noise and pops, but for a buck, it’s a steal. My question is, on one side it looks like someone had some substance on their fingers and their fingerprints seem to be permanently on the album. I can’t seem to remove them with a simple washing. Does anyone know I might be able to use without damaging the vinyl? Thanks
I’m sorry I meant to say an original copy of Freddie Hubbard’s ‘Open Sesame’.
Just wanted everyone to know I am about to put Teo Maceero’s “Explorations” DLP – 6 10″ on Ebay, the cover is in VG condition, the album is VG+… I couldn’t find anywhere else to post this sorry if I interupted the conversation. I came across this website while researching the album and figured you would like to know…
Which is the first pressing of Dizzy Gillespie’s “Groovin High” LP on Savoy MG 12020 (1955)?
I’ve seen three covers from around the same time and am a little confused.
#1 has a black background, beige lettering, a beige tint to the picture and bright red Savoy labels
#2 has a white background, red lettering, B&W photo and red/mauve Savoy labels
#3 has a white background, black lettering, B&W photo and mauve Savoy labels.
Any information would be much appreciated
Thank you.
I’m listening to “Blues and the Abstract Truth” at the moment. I bought a copy for $1 at a garage sale. It looks and plays VG with the cover also in VG. This will be my third copy, my other two are in crap condition. My “original” or so I think, has the cover with Oliver with the dark Blue coloring. HERE
I’ve always been suspicious that this cover is not the original. The one I got today at the garage sale is this cover. HERE Which is the same cover as my audiophile repress. Which is the original? Also, what’s the story behind the two covers? Thanks,
I think that the Goldmine Jazz collectors price guide states that the abstract cover with Bill Evans name first is the original, but I can´t remember clearly and haven´t got a copy any more. Maby somebody can check.
Mike — the one you got at the garage sale yesterday is the original cover. Congratulations. Great record.
Mike-re:Oliver Nelson,that is one case where I’ve always preferred the second cover over the original. Nothing captures the moodiness of the title track like the blue,head-in-hand sideshot. A timeless cover for a memorable session.
Cazoon-sounds like the Hubbard might require MORE than a “simple washing” and,if so,there are any number of LP cleaning kits that might help. Or perhaps it’ll come off after repeated applications. It’s a drag that there are listeners that make a pb&j sandwich and immediately get the urge to spin vinyl,washing of hands be damned. Nutty.
Thanks for the response ceedee. Upon closer examination the Hubbard looks as though somebody grabbed it with some kind of solvent and melted their fingerprints right into the vinyl. I guess I’ll just have to accept my semi-par copy for a dollar, until I can afford a nicer copy.
I agree, the cover with Oliver on it captures the record best. Thanks everyone for your responses.
I have noticed that on a few higher priced situations of late that I have been the high bidder, but at the absolute limit of my bid via sniping program. Just today, I was the high bidder for the Clifford Jordan Blue Note LP at $1,330 (an odd amount – but the exact bid I put into the sniping program). Other recent examples are Lee Morgan Candy on 3/23 for $2,835 (again – an odd amount but the maximum bid in the snipe program) – this was my birthday present to myself…And $910 for a Hank Mobley 1550 (again – 910 was high price in sniper)…
I am starting to get a bit suspicious that something is amiss here. That being said, I have bought other records (most more moderately priced) where I was able to purchase at discounts to my high bid (and, of course, many more where my bid was too low). Has anyone else experienced this lately? Could just be a coincidence, but I am very curious…
Anyone know the winner here?
OK…so I was following this auction in Ct. all week and begging some one at the auction for more pics. and some info.. I didn’t get much. The auction was for 18 boxes of Jazz records. From what little I saw I knew that the lot was loaded. The auction put a pre-auction value on the entire lot at 20.00 – 40.00 dollars. As I sat there and waited the auction on lot 13 began. FINAL hammer price 9,500.00 dollars AND buyer pays 24 to 27 percent fees and taxes. BUYER spent 12,000.00. I would love to know WHAT was in those boxes.
http://www.auctionzip.com/aflive.html?method=getLotInfo&lotref=A42C3BF404&seq=2
If the boxes include at least 12 higher priced Blue Notes, the winner has made a steal.
Hi…I’m Dollarsterno and hang out @ Record Collectors Guild mostly…but I usually lurk here. I really like this site. The following is a response to the same question about the 18 boxes of Jazz records I posed @ RCG. ..
“I was at the auction and bidding against the winner, after about 2k it was just me and him. There was a lot of good hard to find jazz pieces with some lps bringing in 1k a piece. Auction ended at 9,000 to an in house bidder and the buyers premium was 18% so buyer paid around $11,000. I would say he was a collector because $11,000 was probably pretty close to market value. I did not look at every single record but it was a great lot. Lots of Blue Note, Prestige, Clef, Norgran, Pacific Jazz, riverside saw one on progressive, tons of 10″, and some other really great stuff. I had set my limit at around 5k but got a little caught up in the bidding war. Condition of the vinyl was excellent.”
For any Ella fan’s out there:
Hip-o-Select (The folks who brought us the 12 Nights in Hollywood box) just released the
Ella Fitzgerald ‘S Wonderful: Ella In Japan. It’s supposed to be a great live 2-CD box… Amazon has it on pre-order, but if you go to their website http://www.hip-oselect.com/scr.public.product.asp?product_id=04C7C84E-56CE-412D-BC37-94C0AB1212A2 you can get it direct right away.
Word Jazz – Ken Nordine
Does anyone know who designed the cover for the original Dot release?
It looks kinda like Paul Rand, but I don’t think it was him.
Off topic (as usual…) Happy Birthday to our man Herbie !
Hi. I am new to collecting jazz vinyl. I have a few Blue Notes. I was hoping someone could tell me exactly what ‘flat edge’ means. Thanks
Cazoon,re:”flat edge”-it’s just that. Most lps have a rim or lip on the lead-in of the first track,in order to accomodate stacking of lps on a turntable-early Blue Notes were w/o that edge,hence “flat”. According to Cohen’s book,flat edge-aka “flat rim”- last appears on BN 1557.
Thanks Ceedee. I thought that’s what it might refer, thanks for the confirmation.
Creed Taylor Interview
I thought this was a pretty cool short little interview with Creed Taylor about the beginnings of Impulse. Nothing Revolutionary but a nice interview none the less.
has anyone read Tom Perchard’s biography of Lee Morgan??