this seller has a first pressing of somethin’ else he says, but shouldn’t it have no “R” ?
he doesn’t say anything about it and in the picture that part is conviniently hidden…hmm
there are also a lot of 10′ BN for sale now on ebay… but the prices are never as high as for 12″?
You could say these 10′ are older,really first pressings of certain albums and probebly fewer of them in the market.. what makes them less desirable than 12″?
Erich, there are some interesting
Wallington 10 inch copies on ebay now.
If you will search for Wallington france and rare you will find one of them,the seller and his other offers.
Hey… that’s a very suspicious label picture! Fortunately, the seller’s updated the posting to say that there isn’t an (R). I could be wrong, but the (R) pressings also have the “43 West 61st” address on the back cover.
Hope you win… it’s my sentimental favourite jazz album!
First let me say that it is great to have Al back.
I recently found two copies of the Down Beat Record Reviews books, volumes VI and VII. They compile a years worth of record reviews from Down Beat. These contain the years 1961 and 1962. Really interesting and informative reading. Has anyone ever seen other years of these? A quick internet search turned up nothing.
I hit up a thrift store having a St. Paddy’s day sale, anything green 50% off. Found a few gems, and also some VOX records. I had never heard of this label, but noticed they had RVG stamps and “Ear”‘s and DG’s. . The three LP’s I got were George Feyer, all in in mint condition. Does anyone know if these are worth anything beyond the music?.
VOX records was a classical record company if i’m right. They fused with Turnabout and Vangaurd records.
Van gelder did do classical recordings for vox (if i’m right he did alfred brendel beethoven cycle?)
George feyer was a classical pianist.
I don’t think they are valuable records… there is one on popsike for 25 dollars.
Maarten made a very good point in suggesting 10″ albums should have a bigger value because they are more “original” than their 12″ re-issues. This is only partly true:
-many people don’t like the 10″ format, (EP’s even less);
-it is hard to find good quality 10″ albums, since (in the US a least) they mostly came without protective inner sleeves and they have been around longer, so more damage;
-often the 12″ re-issue give more music in the form of unissued takes or even new tracks (e.g. the 3 10″ Blue Note albums totalled 18 tracks; the 2 12″ reissue BLP’s (1501/02) give 23 tracks)
RE:VOX-There was a demo record on the label which was essentialy an early “audiophile listening lp”. It had the drums of Kenny Clarke-as one of the few musicians featured-with “recorded by Dr. Rudy Van Gelder”(or something like that)prominently displayed on the cover! I don’t know if that’s the one on popsike,but I would love to know if one of the readers here has heard it.Any infp?
i thought i read in an interview with rvg that he also did classical recordings, but i can’t find it anymore
ARTIST NAME: GEORGE FEYER
TITLE NAME: ECHOES OF VIENNA
LABEL: VOX ECHOES RECORDS
FORMAT: LP
COUNTRY: USA
DISC CONDITION: VG++
COVER CONDITION: VG++
YEAR PRESSED: 1956
Catalog #: VX 25 250
OTHER INFO:original first press, mono, DEEP GROOVE, RVG STAMPERS.
INVENTORY NUMBER: 21-D-75
Al and others that have commented on Booker Irvin: I now have The In Between, Sounds of Inner City and That’s It! Terrific albums! I will try to pick up the Song Book and Others on Ebay. That’s for all of the comments and guidance!
Does anyone have an interesting theory’s as to why Hank Mobley’s classic LP ‘Soul Station’ is fetching well above average prices these days ? Is it really that rare an LP or just high demand ??
The other thing I have noticed about this one is that the majority of them have the 47th address on the Lp, but the 41sr address on the back of the cover… Does a cover with a 47th address actually exist, or is this the result of a company in transition between locations at the time it was pressed /released ?
Regarding 47W63rd covers, I believe they began the same time as the 47W63 New York 23 labels, but don’t have enough original pressings to verify this. The latest pressing I have with this cover is 4020 Three Sounds Good Deal. I don’t recall having seen it on anything higher than 4022 Duke Pearson Profile. My copy of 4021 Kenny Burrell looks like an original cover but it has no address & the LP itself is a UA pressing.
Over to Rudolf, Michel, etc who no doubt have all the originals of this transitional period…
4018 is the last one I have with a 47W63 adress on the cover. I checked up to and incl. 4040. All that follow have the 61st St adress.
I did not check the labels, but know for sure that the 47W63 labels continued even beyond 4040.
Great site Maarten. Shows 47W63 cover address up to 4021, & 43W61 from 4022 onwards; however there are 2 copies of Profile on popsike that state 47W cover address (no photos sadly)
Thanks for the clarification on that LP address guys. That link below is an old favorite of mine as well, and certainly a useful resource for us aspiring aficionado… One thing I have heard from guys like Larry Cohn is that there are a few LP covers in that collection that are not originals, so it is always good practice to confirm the addresses shown on the back just in case.
there are some heavy biddings going on ebay- BN .
especially the 1540 and 1541 i like verry much.
Beautifull covers!, where F.Wolf’s photography isn’t to much swept away by reid miles’ fingers.
but way out of my price-league.
hopefully i see a second or liberty pressing one day in Amsterdam(NL) where i live.
ihave been listening to Cliff Jordan BN1565 now for a few days
and every time i think, how did i ever underestimate this record. Really a nice lp with verry tastefull musicmaking.. no over the top BN playing.
“not guilty” gives me a smile on my face the first second everytime, and the theme has a “parkerish hint to it, but without the frentic playing…
Maarten, I recently bought a very nice copy of Johnny Griffin Night Lady on Dutch Philips. It sounds great and I like it very much.
Do you know any other pressings from the fifties or sixties on Philips that you can recommend ?
Regards Jan.
Thanks a lot for your advice.
I just had a look at the Birka Jazz archive and found a lot of interesting Lps. Great site!
Really nice cover art and interesting music.
I will look for some of the Lps on ebay over the next weeks.
Do you own or did you have the chance to listen to the disc Monterose live in Amterdam ?
Sounds interesting to me.
Jan/Maarten: for me, amongst the most captive covers to have been produced ever, are 2 Dutch Philips albums:
the Miles Davis Quintet
The Cool Voice of Rita Reys.
Miles is absolutely gorgeous on this cover. Philips France, under the same catalogue number, issued the album with a picture of Miles by J.-P. Leloir, not as striking as the Dutch IMO. The Dutch version was to be found in Germany and Scandinavia. I don’t know what the Brits had done, their own interpretation, or the Dutch model, for sure not the French, Entente Cordiale notwithstanding.
Rudolf:I saw both covers on ebay today.I had not seen the Miles Davis cover before -it is really great.
And of course the Rita Reys cover even though I personally like the cover of Volume 2 better.
Topic: Reid Miles
For reasons not worth getting into, today I was looking at a copy of the Chicago album “X” (ten, from 1976). It’s the one that is designed to look like a Hershey bar. For reasons even more worth not getting into, I was reading the fine print in the liner notes and saw that the gatefold spread photo was shot by one Reid Miles.
There’s frustratingly little biographical info out there on the great Blue Note sleeve designer, and I was really surprised to see this photo credited to him.
Nosing around a little it seems he did some of the other Chicago LP photography from this era. Anyone know the story? Anyone aware of any other late-period work done by Miles?
Jan/Maarten: since you are amateurs of Jazz Photography, Ed van der Elsken should not be unknown to you.
I recently acquired the 3rd volume of jazz concerts recorded in the Concertgebouw. This one is the recording of the 1957 J.J. Johnson Quintet. The booklet has i.a. a tremendous picture of Elvin Jones with Wilbur Little.
The music is great (the only recording made during the group’s trip in Europe). Flanagan’s Over CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC
was recorded in Stockholm one week before.
For information google for “Nederlands Jazz Archief”.
Anyone know anything about Riverside Records ? I haven’t begun collecting these great LP’s yet myself, but I recently picked up a copy of RLP 9404 “The Cannonball Adderley Sextet In New York… The LP has a black label with silver lettering and a flat edge… No DG, and flimsey vinyl. All it says at the bottom of the label is Bill Grauer Productions Inc. New York City. One would expect an LP of this era to be a bit heavier. The back of the cover has the address 235 West 46th Street, New York City 36, New York… I suspect this is probably not an original pressing, what should I be looking for ???
DonLucky:
i have a blue label DG RLP 404 and i think that is a original. You probably have a “stereophonic” (i think they have a ‘9’ in front of orig. number and black label.
i have a montgommery black label riverside, 12-320, but it is french original, but thick vinyl.(although stereo, it is not on the label)
Isn’t yours a japanese.
I think all original riversides are thick (not flimsey) vinyl.
riversides are still cheap compared to BN and Perstige, and have great music
On RLP 404 i like “in your own sweat way” verry much.
don-lucky: these later Riversides can be rather flimsy, which does not mean they are not original. I have several of them which are definitely original AND flimsy. The first one which comes to mind is “A day in the City” by the Don Friedman trio. There are many more.
golden oldies;-)
i sometimes play 78rpm records… it’s a totally different music experience…you have the feeling you are listening to history, more then when you play 33rpm..
Good evening guys ! Thanks for all the feedback on my Riverside delema Maarten & Rudolf. You guys are correct, it is a stereophonic pressing, which I normally wouldn’t purchase, but this was a great price, and in excellent condition. As you may know, I am a sucker for any live recordings, especially the ones made at my favorite Jazz club in NYC, the Village Vanguard.
Hey there Don. Originals are still deep groove at 9404. Sometimes on the reissues of mike & reel with no deep groove there is a date inscribed in the deadwax. Been studying the Riverside label variations but haven’t ventured far into the 400s yet. By the way great photos of Sonny Rollins. What an experience to actually meet him. I took my son to Chicago to see him a couple of years ago. Amazing.
before one half of a century. The first booklet is titled: “Ditties and parodies, collected from all part of the United States for Walter “Fats” Pichon.” It seems that someone else handtyped this booklet for him. The other booklet is his personal lyrics-diary. About 50% is handwritten and 50% is typed. A lot of writing seems to be his personal works, mostly parodies and some lyrics. There is, for example, a “Bluberry hill”, “Only you”, “Deep Purple” etc. and his parodies on them, and lot of less know and, maybe, today forgotten songs.
There is a really lot of original lyrics in this 2 leather hardcover notebooks…
Does anone know if Blue Note 4235, Jimmy Smith’s “Bucket”, was ever pressed with the Plastylie “ear”? All of the original New York copies I have come across have VAN GELDER but no ear. Thanks!
Aaron: 4226 Don Cherry Complete Communion was the highest cat. no. pressed by Plastylite, i.e. with the ‘ear’, although apparently the last two they actually pressed were 4221 Larry Young Unity & 4169 Lee Morgan Search for a New Land.
Also, the following pre-4226 titles were pressed after the sale to Liberty & therefore have no ear: 4118 DonaldByrd – Free Form
4171 George Braith – Extension
4193 Art Blakey – Indestructible
4196 Freddie Hubbard – Blue Spirits
4203 Andrew Hill – Andrew!!
4204 Dexter Gordon – Gettin’ Around (apparently a test pressing of this around with ear)
4206 Sam Rivers – Contours
4209 Hank Mobley – Dippin’
84212 Lee Morgan – The Gigolo
4213 Bobby Hutcherson – Components
4215 Jackie McLean – Right Now!
4217 Andrew Hill – Compulsion!!!!
4218 Jackie McLean – Action
4219 Wayne Shorter – The All Seeing Eye
4222 Lee Morgan – Cornbread
Topic: Removing “Status” stickers.
Over the years I’ve painstakingly removed all kinds of stickers from LP jackets, usually with decent success. But the ones that I’ve never had any luck with are the “Status” stickers stuck on original New Jazz covers. I don’t know what they used for adhesive on those, but it won’t budge.
I have many records that could magically become New Jazz first pressings (with the purple label vinyl) if only I could get the Status sticker off the front!
Anyone care to share their top secret techniques?
Japhy – I’m not familiar with the Status stickers, but this has worked for me on other stickers(though you may have already tried it with no luck): Remove the vinyl and try heating the sticker to loosen the adhesive. I find a minute or so in close proximity to a light bulb usually does the trick.
Thanks Jason. I’ve not tried heat before, but sounds like it’s worth a shot! Obviously the whole sticker thing is easier on laminated jackets, where I’ll typically just apply some type of solvent and let it sit for a few minutes.
Japhy,I’ve not tried the light bulb application,but a hand held hair dryer can-and has-had an impact.Now,if I could just figure out how to remove magic marker off the covers…
Removing people’s names & other marker related atrocities from documents, or classic LP’s is really tough. Architects have long used a variety of methods to “correct” drafting mistakes made on mylar / vellum drawings back in the days before AutoCAD with a variety of techniques involving a vast array of erasers available, but often resorting to the blunt top edge of an ‘x-acto’ knife blade, as a great non-invasive “scraping” tool in combination with a soft eraser to remove the unwanted ink line. Even the use of black Ultra-fine (+600B) silicon carbide (wet/dry) sandpaper can work wonders if you don’t mind dulling the glossy finish on some surfaces.
One thing I have had moderate success with is nail polish remover… Note: This method is not for the faint of heart… BE EXTREAMLY CAREFUL with this stuff as one drop will eat through the glossy surface on the front of an LP or smear the printing / liner notes on the back !
Before I continue further, you may want to reconsider attempting this method of removal and just leave your LP as is… You can really #@$% up a perfectly good cover and make things much worse in the process, trust me.
For those of you who have tried everything else, but just can’t sleep at night knowing that there is marker on that otherwise fine LP in your collection, I recommend just buying another copy. Otherwise, attempt the following technique AT YOUR OWN RISK…
First, mask off the entire lp except the area of marker removal… Put a small drop of nail polish remover on the end of a Q-tip far away from your LP, let it evaporate a bit so it doesn’t drip in transit.
Second, gently rub it in a circular motion over the marker. Do this in light stages and with any luck it will dissipate the marker gradually.
I have tried this with some success on water marks as well. Ideally, this method will be most successful if you haven’t already worn down the original surface with erasers, as the paper can start to lift and bulk like that of wet toilet paper after awhile if you make the surface too damp…
Generally speaking, if I really need to get that marker off, and don’t mind dulling the surface finish, I prefer the ultra fine silicon carbide sandpaper in moderation for a safe even surface removal… Again, be careful with this stuff as it can take more than the surface finish off, especially on the later Blue Notes, as there is less surface gloss on the LP covers.
Tip: For all you autograph hounds out there, I have often used the ultra fine sandpaper method above to prep the front of those early high-gloss LP’s prior to getting them signed by the artist, as you can in fact rub off a “Sharpie” marker signature signed over a high gloss finish…
I’ve seen early issues of Bill Evans & Jim Hall’s Undercurrent with two different labels, some have the gray United Artists Jazz label, like my copy, and others with a standard black United Artists label. Is one an earlier pressing or were they just from different plants?
Hi everybody. I just listened today to Kenny Drew, Trio (1956) for the first time. Great album, and the track “Ruby, My Dear” was terrific. Could somebody let me know why he was never as popular as Bill Evans? I know he moved to Europe in 1961, but was that the only reason? Also, why did he record so few albums? I need to spend some time listening to some of his albums. Thanks, Erich
http://cgi.ebay.com/CANNONBALL-ADDERLEY-SOMETHIN-ELSE-GORGEOUS_W0QQitemZ160409871825QQcmdZViewItemQQptZMusic_on_Vinyl?hash=item25592c65d1#ht_598wt_1167
this seller has a first pressing of somethin’ else he says, but shouldn’t it have no “R” ?
he doesn’t say anything about it and in the picture that part is conviniently hidden…hmm
there are also a lot of 10′ BN for sale now on ebay… but the prices are never as high as for 12″?
You could say these 10′ are older,really first pressings of certain albums and probebly fewer of them in the market.. what makes them less desirable than 12″?
..to be correct: He says an “original copy”..
Erich, there are some interesting
Wallington 10 inch copies on ebay now.
If you will search for Wallington france and rare you will find one of them,the seller and his other offers.
maarten kools:
Hey… that’s a very suspicious label picture! Fortunately, the seller’s updated the posting to say that there isn’t an (R). I could be wrong, but the (R) pressings also have the “43 West 61st” address on the back cover.
Hope you win… it’s my sentimental favourite jazz album!
First let me say that it is great to have Al back.
I recently found two copies of the Down Beat Record Reviews books, volumes VI and VII. They compile a years worth of record reviews from Down Beat. These contain the years 1961 and 1962. Really interesting and informative reading. Has anyone ever seen other years of these? A quick internet search turned up nothing.
I hit up a thrift store having a St. Paddy’s day sale, anything green 50% off. Found a few gems, and also some VOX records. I had never heard of this label, but noticed they had RVG stamps and “Ear”‘s and DG’s. . The three LP’s I got were George Feyer, all in in mint condition. Does anyone know if these are worth anything beyond the music?.
VOX records was a classical record company if i’m right. They fused with Turnabout and Vangaurd records.
Van gelder did do classical recordings for vox (if i’m right he did alfred brendel beethoven cycle?)
George feyer was a classical pianist.
I don’t think they are valuable records… there is one on popsike for 25 dollars.
MAX: i just saw that VOX is still existing
http://www.voxcd.com/index.htm
Maarten made a very good point in suggesting 10″ albums should have a bigger value because they are more “original” than their 12″ re-issues. This is only partly true:
-many people don’t like the 10″ format, (EP’s even less);
-it is hard to find good quality 10″ albums, since (in the US a least) they mostly came without protective inner sleeves and they have been around longer, so more damage;
-often the 12″ re-issue give more music in the form of unissued takes or even new tracks (e.g. the 3 10″ Blue Note albums totalled 18 tracks; the 2 12″ reissue BLP’s (1501/02) give 23 tracks)
RE:VOX-There was a demo record on the label which was essentialy an early “audiophile listening lp”. It had the drums of Kenny Clarke-as one of the few musicians featured-with “recorded by Dr. Rudy Van Gelder”(or something like that)prominently displayed on the cover! I don’t know if that’s the one on popsike,but I would love to know if one of the readers here has heard it.Any infp?
this is one on ebay, with RVG
i thought i read in an interview with rvg that he also did classical recordings, but i can’t find it anymore
ARTIST NAME: GEORGE FEYER
TITLE NAME: ECHOES OF VIENNA
LABEL: VOX ECHOES RECORDS
FORMAT: LP
COUNTRY: USA
DISC CONDITION: VG++
COVER CONDITION: VG++
YEAR PRESSED: 1956
Catalog #: VX 25 250
OTHER INFO:original first press, mono, DEEP GROOVE, RVG STAMPERS.
INVENTORY NUMBER: 21-D-75
Dear friends,
After 4 years from my last visit to NY, I’ll be back this may.
Could somebody gimme a jazz record shop list suggestion? Both lp and cd.
Thank’s a lot.
Best regards from Spain-
I will be in New York in August for the first time. I would love to have a list of record shops too !!
Al and others that have commented on Booker Irvin: I now have The In Between, Sounds of Inner City and That’s It! Terrific albums! I will try to pick up the Song Book and Others on Ebay. That’s for all of the comments and guidance!
Erich: try to get “The Book Cooks” on Bethlehem. Fantastic interplay with Zoot, great Tucker bass and Dannie on drums.
Erich — there was a copy of The Blues Book that sold for less than $10 on eBay yesterday. I should have posted a heads-up, but I’ve been busy. Sorry about that. Also, it is Ervin with an “E.” Here’s the link on The Blues Book:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=260565915558&ssPageName=STRK:MEWAX:IT#ht_574wt_1143
Does anyone have an interesting theory’s as to why Hank Mobley’s classic LP ‘Soul Station’ is fetching well above average prices these days ? Is it really that rare an LP or just high demand ??
The other thing I have noticed about this one is that the majority of them have the 47th address on the Lp, but the 41sr address on the back of the cover… Does a cover with a 47th address actually exist, or is this the result of a company in transition between locations at the time it was pressed /released ?
Here’s a case in point, start price of around $460 for NM vinyl & G cover: http://cgi.ebay.co.uk/Mobley-Hank-Soul-Station-LP-Blue-Note-BLP4031-NM-G-196_W0QQitemZ350329784983QQcmdZViewItemQQptZUK_Records?hash=item5191484a97
Regarding 47W63rd covers, I believe they began the same time as the 47W63 New York 23 labels, but don’t have enough original pressings to verify this. The latest pressing I have with this cover is 4020 Three Sounds Good Deal. I don’t recall having seen it on anything higher than 4022 Duke Pearson Profile. My copy of 4021 Kenny Burrell looks like an original cover but it has no address & the LP itself is a UA pressing.
Over to Rudolf, Michel, etc who no doubt have all the originals of this transitional period…
4018 is the last one I have with a 47W63 adress on the cover. I checked up to and incl. 4040. All that follow have the 61st St adress.
I did not check the labels, but know for sure that the 47W63 labels continued even beyond 4040.
i believe this site is pretty reliable, but not sure
he has al the BN covers front and back(incl.10″)
i believe only a few of the hundreds are not originals
http://www.gokudo.co.jp/Record/BlueNote3/nnblue2.html
mayby helpfull
Great site Maarten. Shows 47W63 cover address up to 4021, & 43W61 from 4022 onwards; however there are 2 copies of Profile on popsike that state 47W cover address (no photos sadly)
Thanks for the clarification on that LP address guys. That link below is an old favorite of mine as well, and certainly a useful resource for us aspiring aficionado… One thing I have heard from guys like Larry Cohn is that there are a few LP covers in that collection that are not originals, so it is always good practice to confirm the addresses shown on the back just in case.
http://music.shop.ebay.com/Records-/306/i.html?_nkw=blue+note&_catref=1&_fln=1&_trksid=p3286.c0.m282#item45f1abcb8c
there are some heavy biddings going on ebay- BN .
especially the 1540 and 1541 i like verry much.
Beautifull covers!, where F.Wolf’s photography isn’t to much swept away by reid miles’ fingers.
but way out of my price-league.
hopefully i see a second or liberty pressing one day in Amsterdam(NL) where i live.
just on another (blue)note..
ihave been listening to Cliff Jordan BN1565 now for a few days
and every time i think, how did i ever underestimate this record. Really a nice lp with verry tastefull musicmaking.. no over the top BN playing.
“not guilty” gives me a smile on my face the first second everytime, and the theme has a “parkerish hint to it, but without the frentic playing…
just a thought from not a music scolar;-)
Maarten, I recently bought a very nice copy of Johnny Griffin Night Lady on Dutch Philips. It sounds great and I like it very much.
Do you know any other pressings from the fifties or sixties on Philips that you can recommend ?
Regards Jan.
JAN: the nice thing about phillips is that they have their own covers and photography
this is a nice site with some collectables from phillips.
http://www.birkajazz.com/archive/holland.htm
especialy the dutch jazz from the ’50 are nice collectables( wessel icke)
and don’t forget the dutch label FONTANA and CATFISH.
Dexter Gordon live in Paradiso,Amsterdam on catfish… realy nice.
Thanks a lot for your advice.
I just had a look at the Birka Jazz archive and found a lot of interesting Lps. Great site!
Really nice cover art and interesting music.
I will look for some of the Lps on ebay over the next weeks.
Do you own or did you have the chance to listen to the disc Monterose live in Amterdam ?
Sounds interesting to me.
Jan/Maarten: for me, amongst the most captive covers to have been produced ever, are 2 Dutch Philips albums:
the Miles Davis Quintet
The Cool Voice of Rita Reys.
Miles is absolutely gorgeous on this cover. Philips France, under the same catalogue number, issued the album with a picture of Miles by J.-P. Leloir, not as striking as the Dutch IMO. The Dutch version was to be found in Germany and Scandinavia. I don’t know what the Brits had done, their own interpretation, or the Dutch model, for sure not the French, Entente Cordiale notwithstanding.
Rudolf:I saw both covers on ebay today.I had not seen the Miles Davis cover before -it is really great.
And of course the Rita Reys cover even though I personally like the cover of Volume 2 better.
Jan: you made me discover this vol. 2 of Rita. Did not know it existed at all! For me the 2 of Rita are ex aequo. Art photography in the proper sense.
Topic: Reid Miles
For reasons not worth getting into, today I was looking at a copy of the Chicago album “X” (ten, from 1976). It’s the one that is designed to look like a Hershey bar. For reasons even more worth not getting into, I was reading the fine print in the liner notes and saw that the gatefold spread photo was shot by one Reid Miles.
There’s frustratingly little biographical info out there on the great Blue Note sleeve designer, and I was really surprised to see this photo credited to him.
Nosing around a little it seems he did some of the other Chicago LP photography from this era. Anyone know the story? Anyone aware of any other late-period work done by Miles?
Jan/Maarten: since you are amateurs of Jazz Photography, Ed van der Elsken should not be unknown to you.
I recently acquired the 3rd volume of jazz concerts recorded in the Concertgebouw. This one is the recording of the 1957 J.J. Johnson Quintet. The booklet has i.a. a tremendous picture of Elvin Jones with Wilbur Little.
The music is great (the only recording made during the group’s trip in Europe). Flanagan’s Over CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC
was recorded in Stockholm one week before.
For information google for “Nederlands Jazz Archief”.
Jan/Maarten: needless to say that all pictures in the CD booklet are by Ed.
Hey guys,
Anyone know anything about Riverside Records ? I haven’t begun collecting these great LP’s yet myself, but I recently picked up a copy of RLP 9404 “The Cannonball Adderley Sextet In New York… The LP has a black label with silver lettering and a flat edge… No DG, and flimsey vinyl. All it says at the bottom of the label is Bill Grauer Productions Inc. New York City. One would expect an LP of this era to be a bit heavier. The back of the cover has the address 235 West 46th Street, New York City 36, New York… I suspect this is probably not an original pressing, what should I be looking for ???
DonLucky:
i have a blue label DG RLP 404 and i think that is a original. You probably have a “stereophonic” (i think they have a ‘9’ in front of orig. number and black label.
i have a montgommery black label riverside, 12-320, but it is french original, but thick vinyl.(although stereo, it is not on the label)
Isn’t yours a japanese.
I think all original riversides are thick (not flimsey) vinyl.
riversides are still cheap compared to BN and Perstige, and have great music
On RLP 404 i like “in your own sweat way” verry much.
don-lucky: these later Riversides can be rather flimsy, which does not mean they are not original. I have several of them which are definitely original AND flimsy. The first one which comes to mind is “A day in the City” by the Don Friedman trio. There are many more.
this is a …..? jazz collection
golden oldies;-)
i sometimes play 78rpm records… it’s a totally different music experience…you have the feeling you are listening to history, more then when you play 33rpm..
http://cgi.ebay.com/14-000-lot-of-JAZZ-Blues-shellac-78s-pre-post-war_W0QQitemZ250605783966QQcmdZViewItemQQptZLH_DefaultDomain_0?hash=item3a5944cb9e#ht_16609wt_941
Good evening guys ! Thanks for all the feedback on my Riverside delema Maarten & Rudolf. You guys are correct, it is a stereophonic pressing, which I normally wouldn’t purchase, but this was a great price, and in excellent condition. As you may know, I am a sucker for any live recordings, especially the ones made at my favorite Jazz club in NYC, the Village Vanguard.
Hey there Don. Originals are still deep groove at 9404. Sometimes on the reissues of mike & reel with no deep groove there is a date inscribed in the deadwax. Been studying the Riverside label variations but haven’t ventured far into the 400s yet. By the way great photos of Sonny Rollins. What an experience to actually meet him. I took my son to Chicago to see him a couple of years ago. Amazing.
Hello! Sorry if a missed a place to leave this message, but I really don’t see to put it else.
However, I have to handwritten-typed lyrics booklets possessed by Walter “Fats” Pichon
http://en.wikipedia.org/wiki/Fats_Pichon
before one half of a century. The first booklet is titled: “Ditties and parodies, collected from all part of the United States for Walter “Fats” Pichon.” It seems that someone else handtyped this booklet for him. The other booklet is his personal lyrics-diary. About 50% is handwritten and 50% is typed. A lot of writing seems to be his personal works, mostly parodies and some lyrics. There is, for example, a “Bluberry hill”, “Only you”, “Deep Purple” etc. and his parodies on them, and lot of less know and, maybe, today forgotten songs.
There is a really lot of original lyrics in this 2 leather hardcover notebooks…
Here is a example of the first notebook:
http://i42.tinypic.com/52cqbq.jpg
and here is 2 examples from the second notebook:
http://i42.tinypic.com/2lc7bzr.jpg
http://i43.tinypic.com/21kctjq.jpg
I would like to sell this notebooks to a real collector, so, if someone know some who will be interested in it, please, let me know. Thank you!
Does anone know if Blue Note 4235, Jimmy Smith’s “Bucket”, was ever pressed with the Plastylie “ear”? All of the original New York copies I have come across have VAN GELDER but no ear. Thanks!
Aaron: 4226 Don Cherry Complete Communion was the highest cat. no. pressed by Plastylite, i.e. with the ‘ear’, although apparently the last two they actually pressed were 4221 Larry Young Unity & 4169 Lee Morgan Search for a New Land.
Also, the following pre-4226 titles were pressed after the sale to Liberty & therefore have no ear: 4118 DonaldByrd – Free Form
4171 George Braith – Extension
4193 Art Blakey – Indestructible
4196 Freddie Hubbard – Blue Spirits
4203 Andrew Hill – Andrew!!
4204 Dexter Gordon – Gettin’ Around (apparently a test pressing of this around with ear)
4206 Sam Rivers – Contours
4209 Hank Mobley – Dippin’
84212 Lee Morgan – The Gigolo
4213 Bobby Hutcherson – Components
4215 Jackie McLean – Right Now!
4217 Andrew Hill – Compulsion!!!!
4218 Jackie McLean – Action
4219 Wayne Shorter – The All Seeing Eye
4222 Lee Morgan – Cornbread
Geraint, thanks for the info!
Topic: Removing “Status” stickers.
Over the years I’ve painstakingly removed all kinds of stickers from LP jackets, usually with decent success. But the ones that I’ve never had any luck with are the “Status” stickers stuck on original New Jazz covers. I don’t know what they used for adhesive on those, but it won’t budge.
I have many records that could magically become New Jazz first pressings (with the purple label vinyl) if only I could get the Status sticker off the front!
Anyone care to share their top secret techniques?
Japhy – I’m not familiar with the Status stickers, but this has worked for me on other stickers(though you may have already tried it with no luck): Remove the vinyl and try heating the sticker to loosen the adhesive. I find a minute or so in close proximity to a light bulb usually does the trick.
Thanks Jason. I’ve not tried heat before, but sounds like it’s worth a shot! Obviously the whole sticker thing is easier on laminated jackets, where I’ll typically just apply some type of solvent and let it sit for a few minutes.
Japhy,I’ve not tried the light bulb application,but a hand held hair dryer can-and has-had an impact.Now,if I could just figure out how to remove magic marker off the covers…
Removing people’s names & other marker related atrocities from documents, or classic LP’s is really tough. Architects have long used a variety of methods to “correct” drafting mistakes made on mylar / vellum drawings back in the days before AutoCAD with a variety of techniques involving a vast array of erasers available, but often resorting to the blunt top edge of an ‘x-acto’ knife blade, as a great non-invasive “scraping” tool in combination with a soft eraser to remove the unwanted ink line. Even the use of black Ultra-fine (+600B) silicon carbide (wet/dry) sandpaper can work wonders if you don’t mind dulling the glossy finish on some surfaces.
One thing I have had moderate success with is nail polish remover… Note: This method is not for the faint of heart… BE EXTREAMLY CAREFUL with this stuff as one drop will eat through the glossy surface on the front of an LP or smear the printing / liner notes on the back !
Before I continue further, you may want to reconsider attempting this method of removal and just leave your LP as is… You can really #@$% up a perfectly good cover and make things much worse in the process, trust me.
For those of you who have tried everything else, but just can’t sleep at night knowing that there is marker on that otherwise fine LP in your collection, I recommend just buying another copy. Otherwise, attempt the following technique AT YOUR OWN RISK…
First, mask off the entire lp except the area of marker removal… Put a small drop of nail polish remover on the end of a Q-tip far away from your LP, let it evaporate a bit so it doesn’t drip in transit.
Second, gently rub it in a circular motion over the marker. Do this in light stages and with any luck it will dissipate the marker gradually.
I have tried this with some success on water marks as well. Ideally, this method will be most successful if you haven’t already worn down the original surface with erasers, as the paper can start to lift and bulk like that of wet toilet paper after awhile if you make the surface too damp…
Generally speaking, if I really need to get that marker off, and don’t mind dulling the surface finish, I prefer the ultra fine silicon carbide sandpaper in moderation for a safe even surface removal… Again, be careful with this stuff as it can take more than the surface finish off, especially on the later Blue Notes, as there is less surface gloss on the LP covers.
Tip: For all you autograph hounds out there, I have often used the ultra fine sandpaper method above to prep the front of those early high-gloss LP’s prior to getting them signed by the artist, as you can in fact rub off a “Sharpie” marker signature signed over a high gloss finish…
…Good luck and be careful !
I’ve seen early issues of Bill Evans & Jim Hall’s Undercurrent with two different labels, some have the gray United Artists Jazz label, like my copy, and others with a standard black United Artists label. Is one an earlier pressing or were they just from different plants?
Hi everybody. I just listened today to Kenny Drew, Trio (1956) for the first time. Great album, and the track “Ruby, My Dear” was terrific. Could somebody let me know why he was never as popular as Bill Evans? I know he moved to Europe in 1961, but was that the only reason? Also, why did he record so few albums? I need to spend some time listening to some of his albums. Thanks, Erich