I have Perchard’s but, as usual, I haven’t read it yet.
I buy more books than I can read.
The last two:Coltrane on Coltrane and the real monster:The J Coltrane reference,a monumental 4.6 pounds.
You know: JC is my number one hero.
I’ve been buying Coltrane books since 1980: I guess I’ll have read ’em all by 2099, and only if won’t buy more.
Dottore you might be interested in a new JC release.
I recently bought a new JC LP.
It is the first ? release of a JC session recorded in Düsseldorf in 1960.
The liner notes say that this is a first release with Coltrane as a leader recorded while he was touring Europe as a member of the MD Quintet.
Sidemen are Wynton Kelly, Paul Chambers and Jimmy Cobb.Later Stan Getz and Oscar Peterson sit in.
I have not yet listened to it because my stereo pick up is broken so I can t say anything about the recording quality.
Anyway here is the link. http://cgi.ebay.de/JOHN-COLTRANE-1960-DUSSELDORF-EU-LP-/230608199288?pt=B%C3%BCcher_Unterhaltung_Music_CDs&hash=item35b151de78
Jan,re Trane:Somewhere on Youtube there is-was?-a clip with Trane,Getz and Peterson playing together on a studio stage.Probably from 1960-would the lp you mention be an appearance of those same performances?
The Coltrane is available on DVD from Jazz Icons at http://www.jazzicons.com as John Coltrane Live in ’60,’61 and ’65. I believe the audio only is out on Cd.
Bill-thanks for that link. Jazz Icons 4 looks like my next purchase. Just when I thought I had my personal “debt ceiling” down where I wanted it. Now,it’s off to Ebay I go to sell more ‘stuff’!
Bill if you check on ebay.de (keywords coltrane and düsseldorf)you will find some sellers that offer worldwide shipping and accept paypal.
Hope that helps.
Thanks Jan for info: I’m out of town for Easter and have no access to my books. In a couple of days I’ll be able to clear this german session.
Ceedee is right: we discussed about Getz-Coltrane some time ago here and I’ve seen the clip.
m davis quintet with jc toured europe as part of a JATP package march 21-april 10 1960. Other musicians were: o peterson and s getz with their own groups.
Düsseldorf, march 28, Apollo Theatre (WDR studio): two recording sessions featuring JC with S Getz,W Kelly or O Peterson,P Chambers and J Cobb.Recorded too: S Getz quartet,O Peterson trio and quartet without M Davis which was absent.
5 tracks recorded:
a ballad medley,played continuosly: Yesterdays (a),Autumn leaves (b),What’s new (c) and Moonlight in Vermont (d);Rifftide (aka Hackensack) (e)
W Kelly plays a-d,O Peterson plays e
J Coltrane plays on c and e;S Getz plays on d and e
Chambers and Cobb play throughout.
so there’s only one track with two tenors.
no audience was present so applauses were overdubbed.
video on: http://www.youtube.com/watch?v=Z-2uBeMgV4I
as there were two sessions the same date, the second was Davis quintet without Miles: three tracks played by JC with Kelly, Chambers and Cobb.
-On green dolphin street
-Walkin’
-The theme
curious about the audio quality for it has been issued on vinyl.
These are exactly the tracks that are now issued on vinyl.
I hope that I will have the chance to listen to the LP tomorrow.
Tomorrow I will get my new needle.
Hi Rudolf, I was just chatting with Al offline about a Prestige issue, and we were wondering if you might be able to shed some light on something for us if you have a minute. I was comparing the different levels of over-print / boldness of fonts found on the address listed on the yellow and black fireworks labels of original copies of Workin’ with the Miles Davis Quintet (PRLP 7166) My copy has a fairly light but sharp font used for the Bergenfield, NJ address, whereas Al’s copy is more overprinted. They both have all the usual characteristics (DG, RVG etc) of a first pressing but are there any subtleties like this overprinting anomaly or variations in ink colour tone on the covers (similar to Blue Note) that might say otherwise about what would truly constitute a first pressing with Prestige ? Each Prestige album I have, be it a NY or NJ label seems to tell a different story I find…
don-lucky: I cannot comment right now. I am on my way for a wine buying trip in Piemonte. Just across the border one can find some fantastic wines (in Vaud, and even in Geneva) and in Italian Savoia (Piemonte). One would not find them here in French Savoia, although the production areas are only 30 to 150 kms away. The opposite is true too, French Savoia wines cannot be found across the border. So we keep on crossing the border.
Re Prestige, you may have a point for the NJ issues, never noticed any discrepancies on the NYC labels though. I must check for the NJ issues.
There is an other criterium for NJ issues: whether one sees HI FI, HI FIDELITY, or HIGH FIDELITY. But we need to find out the meaning. My intuition is that HI FI is the oldest, more original, since the NY issues had HI FI.
cheers, Rudolf
Rudolf, you sir are a true renaissance man ! (Sounds like you cross boarders for wine as much as I cross boarders to catch live Jazz these days…) I will send Al a photo of the Prestige label in question this weekend to forward on to you for comparison research. In the meantime, have a great trip to Piemonte and thanks for the update.
hello again from a young jazz collector in russia.
had a hard time spending all money on medium-rare lp’s and want to ask some questions about riverside and bill evans.
of course, i’ve always loved his music, but i don’t quite understand what’s happening with his records. what’s wrong with his first riverside lp called new jazz conceptions. it appears on ebay rather often and hardly goes for 30-50$ even in great condition. i know that it was printed several years before on white label and is really rare seen, but why not buy his greatly mastered record for this money..it’s not orpheum or ojc..maybe the music is not good enough? don’t think so, there is not many ballads on this lp, but there is waltz for debby and great improvisations on jazz classics..why is everybody so mad about waltz for debby lp, portrait.., and explorations? i have only one guess – every collector just already has this record..
enough thoughts..can somebody tell me, what is the difference between bill grauer productions and bill grauer production INC. labels? i never had a chance to compare same records, but have lot with INC and they play great on my system..i see that INC fetch lower prices, than BGP without INC..
and can anyone tell me what about rare white label riverside..i do not see them often, some times monk originals, but they go for too high prices for a young collector like me 🙂 are there any white label riverside that are not so collectible and play modern jazz, not dixieland or rag-time archives..
thanks everybody..really enjoy this web-page, the stories, the overviews, the words of people, who are into this for a long time..thanks again
Here’s my humble opinion on Bill Evans. “New jazz Conceptions” ist the only record that shows him more in a boppish manner. All the later LPs show Evans as the thoughtful and melancholic pianist he was throughout his career. Therefor “New Jazz Conceptions” sounds pretty much different and is more straightforward. I think this could be a reason for that his later output is more appreciated.
I would answer your other questions like this:
INC was added on later pressings (I don’t know the number by now). So earlier issues with INC are second pressings, while later Riversides always feature the INC.
The white labels were the first labels in usw (until somewhere in the RLP-220 area, I’d guess). After that, they’ve changed to the blue label (although with changing variations). So, in a nutshell – the white ones are the earliest Riverside-pressings and therefor not many are available.
Hope this helps until someone else can give exact details!
I forgot to mention that “New Jazz Conceptions” appears in two different outfits. The first is the LP with the nice photography of Evans on the cover, while the second has a not so nice painting on it. The 2nd one is available as a DG blue label pressing.
I’m from Uruguay and I have thousand of jazz collectable records from my grand grandfather.
I can write summary of catalogue if anyone interested in buying it.
Zdrastvooytye jazz.ru. Riverside had original first pressing white labels with light blue until 12-242 (Monk’s Music). I have an original 12-241 in white with light blue. I have seen 12-242 offered on EBay with white labels, but it may have been a fake OJC-pressing.
don-lucky: homo medievalis back from Piemonte. Btw, I found out that Italian boxes designed to contain 12 bottles of wine are ideal in size to store some fifty 12″ LP albums.
Re Prestige, have you contacted Al in the meantime to dig into this question in more detail? I am not sure whether I fully grasp the typographical issue.
Good evening Rudolf, I just sent a few e-mails to you regarding that Prestige label font issue complete with photos and a few additional photos showing my copy of Monk’s Music for your review and comment.(Check your junk mail just in case 🙂 ) Thanks again !
DON-LUCKY: GOT YOUR MESSAGES IN MY MAILBOX. WILL REVERT IN DUE COURSE.
I thank all of you for contributions re white label 12-242. Now has anyone seen a white DG label for 12-243 or higher up. If not, 12-242 is definitely the last white one to have been issued.
Thanks for so many responses, didn’t quite expect. Zdrastvooytye is very funny 🙂
Hmm, was the 275 new jazz conceptions white labeled? If not, that is really strange. I got recently two copies for my friends, one was with INC, other without, both were nm and sold by famous sellers, i got them less then 50$.
It’s a pity that even such great domain name doesn’t attract many people. There are few lovers of jazz out here and few lovers of vinyl, and when they meet in one person…
Very strange, but in my country real jazzvinyl fans are in their 60s and usually spend their last money on records, and young ones mostly buy reissues or just cheap europe editions to make rap/hip-hop samples. Is this picture the same in your country/countries?
I think that collecting rare jazz records is something beyond any type of collecting – you always can listen to the record, that was printed fifty-sixty years ago and get the most enjoyable sound ever..not just have it on the shelf..
Can i ask you whether you like pop-giants of jazz like Coltrane, Davis..Has the great variety of jazz records you’ve listened to changed your opinion on them?
p.s. jazz critics often use such descriptions: “easily recognized” or “highly distinguished”…do you hear the difference between musicians “with your eyes closed”? Piano, sax, bass players?
ps question: after decades of listenings you can recognise artists who have a personal style, not ’em all, but most.An example: if you play me a coltrane solo BEFORE 1957 I couldn’t know who it is, but if you play any post blue train solo I’m sure to get it at once.
I’m not a sax player but I love this instrument over the others: I have difficulties with rhythm instruments and often with trumpets. One musician you’ll be able to recognise is Bird, but if you’re listening to Sonny Criss, I think it will be almost impossible to say who it is, unless you know what he’s playing in that moment.
Anyway: listen, listen, listen.
I’m with dottor. Some musicians are instantly recognizable(Trane as mentioned, Monk, Chet Baker whom I’m not in love with but can usually recognize) and some aren’t. Also, many I can recognize as Miles Davis, or someone trying to imitate him. It takes me a bit to separate the imitators from the real thing some times. The musicians who are virtuoso players are easier to recognize. Drums and Bass are more difficult to me, but I’ve known drummers and bass players who can tell you pretty accurately who that is. Grant Green to me is a recognizable guitarist but Kenny Burrell is harder. Maybe because I prefer Green so he’s easier to pick out.
As for another question, I don’t find that most jazz fans in the US are 60+ years old although there are plenty. Jazz education hear isn’t what it should be but the music is passed on. In New Orleans, there is a decent modern Jazz scene with plenty of musicians and fans in there 20’s and 30’s.
Wow! I am so glad I found this web site! There are so many interesting, well-written articles here. I am 35 years old, and just got into collecting jazz LPs a few years ago. Before that, I mostly listened to progressive rock from the ’70s. I have been collecting vinyl since the mid-’90s, and it seems that good jazz on labels such as Blue Note, Prestige and Riverside is somewhat difficult to find compared to other types of music. However, I really got into jazz when I found a whole box of jazz albums on the Riverside label at a local Thrifty Shopper. This was a few years ago. Since then, I have found a few Blue Notes as well. My favorite album is Herbie Hancock’s ‘Maiden Voyage.’ Does anyone here have an original pressing w/New York labels and ear in the deadwax of this album in nice condition for sale? I would be able to offer $150 on a stereo or mono pressing in M- condition. Please email me at shpb4me@aol.com if you have a copy. Thanks! I am looking forward to reading more of the great articles which are regularly posted here.
Rudolf, I would agree that RLP-243 has never been released with white labels.
I have one further question: You mention that the last Riverside-pressings coexist as DG and non-DG-pressings. Could you be more specific, what the last DG pressing was, you(or anybody else)have seen?
For example, I’ve never seen RLP-424 “Young Ideas” by the JFK Quintet as a DG pressing. So I would suggest that the last DG is somewhere in the early 400-area. Thanks for helping!
Katharsis: I am not a Riverside specialist, Michel would seam much more knowledgeable. Anyway, I checked at random and found my last DG Riverside to be 414. My 413 is not DG, but my 412 is. Then I have a hiatus until 420. My 420 is not DG. Hope this helps.
Thanks Rudolf, that’s very helpful. I have huge gaps in my collection, so I can’t proof. But it’s at least good to know if I may have some second pressings.
katharsis: can you please answer my question here ?
thanks
Katharsis Says:
May 5th, 2011 at 11:45 am
According to the world famous Guide to BN first pressings, London calling has made, BN4069 ist original without DG.
Turrentine on BN is a strange thing. There are some sessions that fetch quite much money and there are other ones – may the be earliere or later sessions – that are bargains.
dottorjazz Says:
May 9th, 2011 at 3:32 pm
hi Katharsis, why BN 4069 should have no deep groove ?
I don’t have the list here that (I guess) London calling has made. But I remember that this list states, that 4069 does not have a DG originally. Am I wrong?
Thanks for reply.
4069 exists in different combinations:double deep groove or no deep groove, both with W63i label, not to mention NYC/W63i with/without deep groove.
In my research on BN originals I’m trying to document all significant variants in order to identify the “real” original.Re 4069 I think that double deep groove is the real one, and Fred Cohen states the same.
When you’ll have the list on hand, please see that 4069 is in green meaning that the details correspond to the original first pressing.What I still miss of this number is pics of deep groove labels, while no deep groove are shown.
I started this adventure last August and I’m working on it daily.
It’s simply a visual and noted view on Blue Note first pressings that can complement the beautiful Cohen’s book.
Everyone interested can download the updated edition completely free.
Every suggestion, correction and help with missing labels is much appreciated and I credit every single help, so by now, thanks London Calling, Matty Man and Maarten.
As Al will ok me, I’ll post the link of the latest issue.
Mono only….
dottorjazz,
Sounds great, please post a link! Regarding original stereo Blue Notes I have a question, are the copies with the gold foil STEREO stickers (on mono covers w/4XXX catalog numbers) earlier or later than the stereo covers with the 84XXX catalog number printed on front?
hi, another question for vinyl fans 🙂
few weeks ago bought Anita O’Day Travellin’ Light on Verve and finally got a chance to have a close look at it. I didn’t know, that it was issued in 60 with MGV prefix, but even if knew would buy with V repress in such condition for that money. But when my friend saw the record, he stated that this is late 60-s pressing, ’cause there is NO deep groove or groove guard. I didn’t agree, because as I think there was no point in mono pressing in the second half of 60s. But the record definitely looks like modern pressing, just a flat label, though it surely plays as an old-time, sounds like mono and has an old-time cover.
Who is right and who is wrong?
-Hello-
New poster here. I just found the various artists LP “Jazz Behind The Dikes”-Epic LN 3270. Nice compilation of Dutch groups with Wessel Heken Conbo, Frans Elsen Quartet, Rob Madna Trio, Herman Schoonderwalt Septet, & Tony Vos Quartet. I cannnot find a listing for this LP on Ebay, Popsike, Collectors Frenzy, etc. Any idea on value? Thanks in advance.
Best,
Steve
Rudolf, no but I was looking into it. I couldn’t decide between this one and the slightly newer one by Jeffrey McMillan. Anyone read that one?
I have Perchard’s but, as usual, I haven’t read it yet.
I buy more books than I can read.
The last two:Coltrane on Coltrane and the real monster:The J Coltrane reference,a monumental 4.6 pounds.
You know: JC is my number one hero.
I’ve been buying Coltrane books since 1980: I guess I’ll have read ’em all by 2099, and only if won’t buy more.
Dottore you might be interested in a new JC release.
I recently bought a new JC LP.
It is the first ? release of a JC session recorded in Düsseldorf in 1960.
The liner notes say that this is a first release with Coltrane as a leader recorded while he was touring Europe as a member of the MD Quintet.
Sidemen are Wynton Kelly, Paul Chambers and Jimmy Cobb.Later Stan Getz and Oscar Peterson sit in.
I have not yet listened to it because my stereo pick up is broken so I can t say anything about the recording quality.
Anyway here is the link. http://cgi.ebay.de/JOHN-COLTRANE-1960-DUSSELDORF-EU-LP-/230608199288?pt=B%C3%BCcher_Unterhaltung_Music_CDs&hash=item35b151de78
Jan,re Trane:Somewhere on Youtube there is-was?-a clip with Trane,Getz and Peterson playing together on a studio stage.Probably from 1960-would the lp you mention be an appearance of those same performances?
This is indeed possible because the liner notes say that recording was made for a TV broadcast by the WDR.(a German broadcasting company)
The Coltrane is available on DVD from Jazz Icons at http://www.jazzicons.com as John Coltrane Live in ’60,’61 and ’65. I believe the audio only is out on Cd.
I must add that I’m really happy to hear about a vinyl issue. Any chance of it being available in the States?
Bill-thanks for that link. Jazz Icons 4 looks like my next purchase. Just when I thought I had my personal “debt ceiling” down where I wanted it. Now,it’s off to Ebay I go to sell more ‘stuff’!
Bill if you check on ebay.de (keywords coltrane and düsseldorf)you will find some sellers that offer worldwide shipping and accept paypal.
Hope that helps.
Thanks Jan for info: I’m out of town for Easter and have no access to my books. In a couple of days I’ll be able to clear this german session.
Ceedee is right: we discussed about Getz-Coltrane some time ago here and I’ve seen the clip.
m davis quintet with jc toured europe as part of a JATP package march 21-april 10 1960. Other musicians were: o peterson and s getz with their own groups.
Düsseldorf, march 28, Apollo Theatre (WDR studio): two recording sessions featuring JC with S Getz,W Kelly or O Peterson,P Chambers and J Cobb.Recorded too: S Getz quartet,O Peterson trio and quartet without M Davis which was absent.
5 tracks recorded:
a ballad medley,played continuosly: Yesterdays (a),Autumn leaves (b),What’s new (c) and Moonlight in Vermont (d);Rifftide (aka Hackensack) (e)
W Kelly plays a-d,O Peterson plays e
J Coltrane plays on c and e;S Getz plays on d and e
Chambers and Cobb play throughout.
so there’s only one track with two tenors.
no audience was present so applauses were overdubbed.
video on: http://www.youtube.com/watch?v=Z-2uBeMgV4I
as there were two sessions the same date, the second was Davis quintet without Miles: three tracks played by JC with Kelly, Chambers and Cobb.
-On green dolphin street
-Walkin’
-The theme
curious about the audio quality for it has been issued on vinyl.
These are exactly the tracks that are now issued on vinyl.
I hope that I will have the chance to listen to the LP tomorrow.
Tomorrow I will get my new needle.
Hi Rudolf, I was just chatting with Al offline about a Prestige issue, and we were wondering if you might be able to shed some light on something for us if you have a minute. I was comparing the different levels of over-print / boldness of fonts found on the address listed on the yellow and black fireworks labels of original copies of Workin’ with the Miles Davis Quintet (PRLP 7166) My copy has a fairly light but sharp font used for the Bergenfield, NJ address, whereas Al’s copy is more overprinted. They both have all the usual characteristics (DG, RVG etc) of a first pressing but are there any subtleties like this overprinting anomaly or variations in ink colour tone on the covers (similar to Blue Note) that might say otherwise about what would truly constitute a first pressing with Prestige ? Each Prestige album I have, be it a NY or NJ label seems to tell a different story I find…
Hello. Anyone know who might be interested in my father’s reel-to-reel (self-recorded) tapes? Lots of jazz, old radio shows. Mostly from the radio.
Thanks!
Lisa
Here’s one for all the Sonny Rollins fans in the ‘Jazz Collective’:
It’s Tuesday nights interview with Sonny on the Checkout with Josh Jackson (WBGO 88.3FM) entitled “The Primative Sonny Rollins”
http://www.wbgo.org/thecheckout/primitive-sonny-rollins/
…Some great stories from back in the day. Enjoy !
don-lucky: I cannot comment right now. I am on my way for a wine buying trip in Piemonte. Just across the border one can find some fantastic wines (in Vaud, and even in Geneva) and in Italian Savoia (Piemonte). One would not find them here in French Savoia, although the production areas are only 30 to 150 kms away. The opposite is true too, French Savoia wines cannot be found across the border. So we keep on crossing the border.
Re Prestige, you may have a point for the NJ issues, never noticed any discrepancies on the NYC labels though. I must check for the NJ issues.
There is an other criterium for NJ issues: whether one sees HI FI, HI FIDELITY, or HIGH FIDELITY. But we need to find out the meaning. My intuition is that HI FI is the oldest, more original, since the NY issues had HI FI.
cheers, Rudolf
Rudolf, you sir are a true renaissance man ! (Sounds like you cross boarders for wine as much as I cross boarders to catch live Jazz these days…) I will send Al a photo of the Prestige label in question this weekend to forward on to you for comparison research. In the meantime, have a great trip to Piemonte and thanks for the update.
hello again from a young jazz collector in russia.
had a hard time spending all money on medium-rare lp’s and want to ask some questions about riverside and bill evans.
of course, i’ve always loved his music, but i don’t quite understand what’s happening with his records. what’s wrong with his first riverside lp called new jazz conceptions. it appears on ebay rather often and hardly goes for 30-50$ even in great condition. i know that it was printed several years before on white label and is really rare seen, but why not buy his greatly mastered record for this money..it’s not orpheum or ojc..maybe the music is not good enough? don’t think so, there is not many ballads on this lp, but there is waltz for debby and great improvisations on jazz classics..why is everybody so mad about waltz for debby lp, portrait.., and explorations? i have only one guess – every collector just already has this record..
enough thoughts..can somebody tell me, what is the difference between bill grauer productions and bill grauer production INC. labels? i never had a chance to compare same records, but have lot with INC and they play great on my system..i see that INC fetch lower prices, than BGP without INC..
and can anyone tell me what about rare white label riverside..i do not see them often, some times monk originals, but they go for too high prices for a young collector like me 🙂 are there any white label riverside that are not so collectible and play modern jazz, not dixieland or rag-time archives..
thanks everybody..really enjoy this web-page, the stories, the overviews, the words of people, who are into this for a long time..thanks again
Here’s my humble opinion on Bill Evans. “New jazz Conceptions” ist the only record that shows him more in a boppish manner. All the later LPs show Evans as the thoughtful and melancholic pianist he was throughout his career. Therefor “New Jazz Conceptions” sounds pretty much different and is more straightforward. I think this could be a reason for that his later output is more appreciated.
I would answer your other questions like this:
INC was added on later pressings (I don’t know the number by now). So earlier issues with INC are second pressings, while later Riversides always feature the INC.
The white labels were the first labels in usw (until somewhere in the RLP-220 area, I’d guess). After that, they’ve changed to the blue label (although with changing variations). So, in a nutshell – the white ones are the earliest Riverside-pressings and therefor not many are available.
Hope this helps until someone else can give exact details!
One addition: It looks like you have a fine web-domain. Unfortunately I don’t understand anything 😉
Jazzvinyl.ru
Did you see the “new jazz conceptions” that went for $275 today? Maybe you started a new trend.
I forgot to mention that “New Jazz Conceptions” appears in two different outfits. The first is the LP with the nice photography of Evans on the cover, while the second has a not so nice painting on it. The 2nd one is available as a DG blue label pressing.
I’m from Uruguay and I have thousand of jazz collectable records from my grand grandfather.
I can write summary of catalogue if anyone interested in buying it.
Valentina
jazzvinyl.ru
This might help regarding the Bill Evans LPs, here’s a link to the Riverside labelography on my website (scroll to bottom): http://33rev.com/index.php?option=com_content&view=article&id=58&Itemid=68
Zdrastvooytye jazz.ru. Riverside had original first pressing white labels with light blue until 12-242 (Monk’s Music). I have an original 12-241 in white with light blue. I have seen 12-242 offered on EBay with white labels, but it may have been a fake OJC-pressing.
don-lucky: homo medievalis back from Piemonte. Btw, I found out that Italian boxes designed to contain 12 bottles of wine are ideal in size to store some fifty 12″ LP albums.
Re Prestige, have you contacted Al in the meantime to dig into this question in more detail? I am not sure whether I fully grasp the typographical issue.
my Monk’s music is white and I do not have OJC
Good evening Rudolf, I just sent a few e-mails to you regarding that Prestige label font issue complete with photos and a few additional photos showing my copy of Monk’s Music for your review and comment.(Check your junk mail just in case 🙂 ) Thanks again !
Just checked. My Monk’s Music is double sided DG, White Label, no inc.
DON-LUCKY: GOT YOUR MESSAGES IN MY MAILBOX. WILL REVERT IN DUE COURSE.
I thank all of you for contributions re white label 12-242. Now has anyone seen a white DG label for 12-243 or higher up. If not, 12-242 is definitely the last white one to have been issued.
Thanks for so many responses, didn’t quite expect. Zdrastvooytye is very funny 🙂
Hmm, was the 275 new jazz conceptions white labeled? If not, that is really strange. I got recently two copies for my friends, one was with INC, other without, both were nm and sold by famous sellers, i got them less then 50$.
It’s a pity that even such great domain name doesn’t attract many people. There are few lovers of jazz out here and few lovers of vinyl, and when they meet in one person…
Very strange, but in my country real jazzvinyl fans are in their 60s and usually spend their last money on records, and young ones mostly buy reissues or just cheap europe editions to make rap/hip-hop samples. Is this picture the same in your country/countries?
I think that collecting rare jazz records is something beyond any type of collecting – you always can listen to the record, that was printed fifty-sixty years ago and get the most enjoyable sound ever..not just have it on the shelf..
Can i ask you whether you like pop-giants of jazz like Coltrane, Davis..Has the great variety of jazz records you’ve listened to changed your opinion on them?
p.s. jazz critics often use such descriptions: “easily recognized” or “highly distinguished”…do you hear the difference between musicians “with your eyes closed”? Piano, sax, bass players?
p.p.s sorry, too many questions, but..;)
ps question: after decades of listenings you can recognise artists who have a personal style, not ’em all, but most.An example: if you play me a coltrane solo BEFORE 1957 I couldn’t know who it is, but if you play any post blue train solo I’m sure to get it at once.
I’m not a sax player but I love this instrument over the others: I have difficulties with rhythm instruments and often with trumpets. One musician you’ll be able to recognise is Bird, but if you’re listening to Sonny Criss, I think it will be almost impossible to say who it is, unless you know what he’s playing in that moment.
Anyway: listen, listen, listen.
I’m with dottor. Some musicians are instantly recognizable(Trane as mentioned, Monk, Chet Baker whom I’m not in love with but can usually recognize) and some aren’t. Also, many I can recognize as Miles Davis, or someone trying to imitate him. It takes me a bit to separate the imitators from the real thing some times. The musicians who are virtuoso players are easier to recognize. Drums and Bass are more difficult to me, but I’ve known drummers and bass players who can tell you pretty accurately who that is. Grant Green to me is a recognizable guitarist but Kenny Burrell is harder. Maybe because I prefer Green so he’s easier to pick out.
As for another question, I don’t find that most jazz fans in the US are 60+ years old although there are plenty. Jazz education hear isn’t what it should be but the music is passed on. In New Orleans, there is a decent modern Jazz scene with plenty of musicians and fans in there 20’s and 30’s.
Wow! I am so glad I found this web site! There are so many interesting, well-written articles here. I am 35 years old, and just got into collecting jazz LPs a few years ago. Before that, I mostly listened to progressive rock from the ’70s. I have been collecting vinyl since the mid-’90s, and it seems that good jazz on labels such as Blue Note, Prestige and Riverside is somewhat difficult to find compared to other types of music. However, I really got into jazz when I found a whole box of jazz albums on the Riverside label at a local Thrifty Shopper. This was a few years ago. Since then, I have found a few Blue Notes as well. My favorite album is Herbie Hancock’s ‘Maiden Voyage.’ Does anyone here have an original pressing w/New York labels and ear in the deadwax of this album in nice condition for sale? I would be able to offer $150 on a stereo or mono pressing in M- condition. Please email me at shpb4me@aol.com if you have a copy. Thanks! I am looking forward to reading more of the great articles which are regularly posted here.
Funny story-well,maybe not THAT funny. When I first discovered jazz-and really started to get into the music-I came across this copy of Tommy Flanagan’s “Overseas” lp. After having only this photo to go by for a year or so,you can imagine my surprise when I first caught Tommy Flanagan(to me,a “swingin’ Irishman”)live at the Vanguard. Sorry about that,Tommy! And man,do I miss seeing him perform…
http://cgi.ebay.com/Tommy-Flanagan-Trio-overseas-Prestige-7632-/180663287521?_trksid=p4340.m263&_trkparms=algo%3DSIC%26its%3DI%252BC%26itu%3DMRU-11233%252BUCI%252BIA%252BUA%252BFICS%252BUFI%26otn%3D10%26pmod%3D290560819063%26ps%3D63%26clkid%3D9175204555861691444
Rudolf, I would agree that RLP-243 has never been released with white labels.
I have one further question: You mention that the last Riverside-pressings coexist as DG and non-DG-pressings. Could you be more specific, what the last DG pressing was, you(or anybody else)have seen?
For example, I’ve never seen RLP-424 “Young Ideas” by the JFK Quintet as a DG pressing. So I would suggest that the last DG is somewhere in the early 400-area. Thanks for helping!
Katharsis: I am not a Riverside specialist, Michel would seam much more knowledgeable. Anyway, I checked at random and found my last DG Riverside to be 414. My 413 is not DG, but my 412 is. Then I have a hiatus until 420. My 420 is not DG. Hope this helps.
Thanks Rudolf, that’s very helpful. I have huge gaps in my collection, so I can’t proof. But it’s at least good to know if I may have some second pressings.
katharsis: can you please answer my question here ?
thanks
Katharsis Says:
May 5th, 2011 at 11:45 am
According to the world famous Guide to BN first pressings, London calling has made, BN4069 ist original without DG.
Turrentine on BN is a strange thing. There are some sessions that fetch quite much money and there are other ones – may the be earliere or later sessions – that are bargains.
dottorjazz Says:
May 9th, 2011 at 3:32 pm
hi Katharsis, why BN 4069 should have no deep groove ?
I don’t have the list here that (I guess) London calling has made. But I remember that this list states, that 4069 does not have a DG originally. Am I wrong?
Thanks for reply.
4069 exists in different combinations:double deep groove or no deep groove, both with W63i label, not to mention NYC/W63i with/without deep groove.
In my research on BN originals I’m trying to document all significant variants in order to identify the “real” original.Re 4069 I think that double deep groove is the real one, and Fred Cohen states the same.
When you’ll have the list on hand, please see that 4069 is in green meaning that the details correspond to the original first pressing.What I still miss of this number is pics of deep groove labels, while no deep groove are shown.
I started this adventure last August and I’m working on it daily.
It’s simply a visual and noted view on Blue Note first pressings that can complement the beautiful Cohen’s book.
Everyone interested can download the updated edition completely free.
Every suggestion, correction and help with missing labels is much appreciated and I credit every single help, so by now, thanks London Calling, Matty Man and Maarten.
As Al will ok me, I’ll post the link of the latest issue.
Mono only….
dottorjazz,
Sounds great, please post a link! Regarding original stereo Blue Notes I have a question, are the copies with the gold foil STEREO stickers (on mono covers w/4XXX catalog numbers) earlier or later than the stereo covers with the 84XXX catalog number printed on front?
Where can we download this list of first pressings?
Hope it will be useful or simply nice to read.
Anyone willing to help in completing missing labels or substituting poor pics can mail me:
giorgio@studiocappiosarchi.it
here the link:
http://www.megaupload.com/?d=9KUHOGE4
comments wellcome
hi, another question for vinyl fans 🙂
few weeks ago bought Anita O’Day Travellin’ Light on Verve and finally got a chance to have a close look at it. I didn’t know, that it was issued in 60 with MGV prefix, but even if knew would buy with V repress in such condition for that money. But when my friend saw the record, he stated that this is late 60-s pressing, ’cause there is NO deep groove or groove guard. I didn’t agree, because as I think there was no point in mono pressing in the second half of 60s. But the record definitely looks like modern pressing, just a flat label, though it surely plays as an old-time, sounds like mono and has an old-time cover.
Who is right and who is wrong?
dottorjazz: thanks!
dottore: re Blue Note file. Well done! Great stuff. Thanks.
-Hello-
New poster here. I just found the various artists LP “Jazz Behind The Dikes”-Epic LN 3270. Nice compilation of Dutch groups with Wessel Heken Conbo, Frans Elsen Quartet, Rob Madna Trio, Herman Schoonderwalt Septet, & Tony Vos Quartet. I cannnot find a listing for this LP on Ebay, Popsike, Collectors Frenzy, etc. Any idea on value? Thanks in advance.
Best,
Steve