your Soul Staion is a very desirable album – the label and cover addresses seem appropriate to a 1st pressing – it should have RVG and the plastolyte “P” (sometimes called the “ear”) in the run-off area, and a deep groove on both sides – the remainder of the valuation would depend on condition, vinyl & cover – in reasonable condition it would easily sell for $500, and in top conditon perhaps more than $1000
BTW, Geoff, Arick Mittler was correct in saying that the origianl Broan-Roach releases were on Emarcy, a divion of Mercury records – re-releases appeared on the Mercury label (US) – UK Mercury label exists and I don’t know if these albums were released on that label, but there should be something in small writing along the peripery that identifies it as a UK (or other) European pressing
Earl 3 of my Blue Notes meet your description spot on,the fourth one Horace Silver quintet, BN 1539 6 pieces of SILVER has 63rd St. on the label and on the cover is this on a par with the others? Moving on I have several Riverside Labels mostly Cannonball Adderley,a T.Monk and Johnny Griffin is there anything on these labels as on Blue Note Thanks again
Geoff – original BN’s up to 1543 have a Lexington ave address – your 1539 is therefore a second (or later) pressing – you need to get ahold of Fred Cohen’s book which tells all about BN labels – Riverside labels are a whole other story – most label variations/periods-of-usage, etc, can be found in the Goldmine Jazz Album Price Guide (which you should have) and the LondonJazzCollector web site, and have been discussed at various times in this newsletter
Hello. New reader here. I am more of a free jazz gentleman myself, so I was curious if anyone knew of a good reference for labels such as ESP-Disk’, etc?
I’m also interested in references for smaller labels such as EMC, Harvest, Black Saint, BYG, etc.
I notice that in 2008 The New Miles Davis Quintet UK pressing on Esquire sold for $140.00 in 2009 it sold $56.99,as I have this,does it mean Miles is loosing his value or just selling at the right time?
Geoff
There are many factors involved in the price realized, such as (1) was it an original pressing, (2) conditon, (3)reputation of the seller, and (4) just how many people interested in that LP were on board for the auction. When all is said and done, there is a variability of the price realized from time to time; most desirable albums appear to increase in price over time, but this may not be apparent in two successive auctions.
I think it is dangerous to conclude from the data you submitted that Miles is getting less popular – there is much evidence that he is not.
Andy
I guess it’s the buyer was willing to fork over $5 for a space filler – but if the recently-sold Blue Train ($3000) belongs in the high price bin, this one certainly belongs in the garbage bin
1. For the Wardell Gray Memorial album on Prestige, did the first press have the abandoned park cover, or the cover with Wardell playing?
2. Which came first for New Jazz represses, Orange status labels, or Blue Prestige Trident labels? Both have RVG etched in the deadwax, so it’s hard to tell. Might they have been pressed at the same time?
Andy –
1. I’m fairly certain the park cover was second. I say that for two reasons: (a) I’ve only ever seen promo copies with the Wardell photo; and (b) the OJC pressings feature the Wardell photo, and I believe the OJCs always use the original cover, even when the LP had an immediately-used second cover (e.g., 7038). Also, anecdotally, the Wardell photo copies have fetched the highest auction prices, so the consensus of others (distinct from my opinion based on (a) and (b)) is that the Wardell photo is the original cover. As a side note, it’s interesting that the park photo appears to be from the same photo series as that featured on 7055, the Clifford Brown Memorial LP.
2. I believe they were issued around the same time. The blue tridents were issued starting in 1964 (if I recall correctly). In the Goldmine guide, Status pressings (when listed at all) are typically listed as having been released in 1965. So both roughly mid- to late- ’60s; a toss-up for any one given release.
Perhaps they just wanted to frame the cover? I could see doing that for $5.
On a different note is this an original Booker Ervin album? Something doesn’t sit right with me, but I’m not sure what (perhaps the picture of the label taken through the plastic sleeve):
I just purchased a lot of 6 Lester Young albums. One came only in a sleeve and says on the label that is is a private label vinyl album? Can someone explain what that is? Could you create your own vinyl records at one time?
Hi everyone. Apologies if this is the incorrect forum for general advice.
I’ve recently inherited my father’s substantial jazz vinyl collection. Your site has been an invaluable resource as i go deeper down the rabbit hole of record collecting.
I am a jazz fan but relatively young & feel guilty holding on to such valuable items. Would rather pass to someone who’d truly appreciate them
Selling records that are in nice condition is pretty straightforward, but i am curious about the market for “listening copies”. I have many records where the vinyl is in nice shape, but the Jacket is in quite poor shape. They’ve either been taped up (using clear or opaque tape) or are just sitting there with entire seams split open etc.
If they are rare albums ( i.e. Blue Note originals) Is it worth it to list such LPs? Using your Price Guide / popsike etc, i can’t seem to find many sold copies where the jacket is anything worse than VG-/G+.
Would it be considered sacrilege to glue to the covers (using a hot glue gun or wood glue) and then sell them? (Of course mentioning this fact in the listing)
Generally, both the cover condition and the record condition go into determining the value, with probably the lower grade tending to influence the final grade. In other words, a Good Cover/Mint Record would probably be worth no more than a VG+/VG+ record, and probably less from what I have seen. On the flip side, a Mint Cover/Mint Record would be highly sought after due to the rarity of the combined condition. On some occasions, I have seen someone missing one of the 2 pieces (e.g., missing a cover) going after a cover only sale.
I would not attempt to repair any of these yourself. You are not going to get much value from the effort and are more likely to make it worse unless you have a lot of experience.
Wiley – yes, unless you want to keep them (why feel guilty?) it is worth listing rare/valuable/”collectible” records, even if the cover is VG-, for example. If you describe the record accurately, and provide good, clear (i.e. not iPhone) photos, you will be able to sell them. You may not get the premium price that top-end collectors pay for perfect specimens, but you will get a nice price from a happy customer. Not many of us can afford to spend $2,000 for a desirable record, so we make sacrifices – often, it’s jacket quality. Put another way, if the vinyl is clean, many collectors will tolerate a less-than-perfect jacket, and will still pay a bit of a premium for the quality vinyl.
Agree with DaveS – DO NOT repair the jackets. Better to just sell as-is, with full description.
I was ripped off. As I methodically went through my jazz collection last night, I realized that I was cheated on many records. They were not Blue Note first pressings. And it was totally my fault. I didn’t do my homework and didn’t ask questions. After comparing their sound to a real one that I purchased from “Jazzcollector,” I immediately heard the difference. The real Blue Note record is heavier and the vinyl is much better. There were many visible scuffs, but they were inaudible. Now this is real vinyl! And the sound has a wonderful combination of clarity and depth. The high end is especially revealing.
I won’t make the mistake again. If there is no mention of an ear, there probably isn’t one. All the signs have to be present. The thing that bothers me is the number of dealers who know better, yet call a record a first pressing. I previously had this argument on another forum with people who had the attitude that a seller doesn’t have the moral responsibility to reveal anything if he doesn’t want to. I remember reading in Montaigne’s “Essays,” a statement that he thought the developing practice of dissimulation in business a despicable trait that will degrade society if it takes root. Now this was written in the 16th century. Can you imagine what he would think about the corruption in our time?
But there are successful business people who are honest in their dealings. They are the ones who get my business.
I have a stack of LP’s which I was given by a friend who was cleaning out Sonny Rollins basement. Most appear to have been rarely played (if ever) and many are sealed. I would assume that many are original or first pressings, though I am not sure. Many are stamped “Demo” or “promo” The most interesting items are 2 “test Pressings” of Don’t Ask. Each consist of 2 LP’s pressed on one side (other side is blank) one disc per side. The labels are typed not printed and are from Kendon recorders in Calif. Both appear to be in M+ condition and like the others were likely, rarely played. One pair is in a manilla envelope addressed to Lucille Rollins. the other is in a Kendon jacket( in bad shape) Anyone have any ideas on potential value?They will both be sold at a later date.
I agree with you that a seller has a duty to present all details and flaws of the item that they have for sale. However, keep in mind that quite a few sellers are not collectors. They know nothing of an “Ear” nor do they have idea of what all the stuff in the deadwax means. Knowledge of that is left for those of us who fell down the rabbit hole. As a consumer it’s your responsibility to be informed, and ask questions.. if you don’t then shame on you.
You wouldn’t expect your grocer to read the labels for you, why would you expect some guy that selling his dad’s old record collection to do the same?
Whatever you get for the records, you might want to think about sending some of the proceeds Sonny’s way. I am hoping he is still earning a comfortable living, but karma might not sit well with you pulling down $3K for a mint unplayed Saxophone Colossus located in some unseen corner of an old legend’s basement. Easy for me to say as it is not my money of course.
My question to Rich would be: where was Sonny in all this? Since he’s still alive (at last count), I’m curious as to why he would not want to keep these LP’s, or put them up for sale; and since he apparently didn’t, why would he care what you do with them? Surely Sonny could not be blind to the enormous proceeds realized by some of his LP’s.
In any case, if he has truly (as Rich’s account seems to imply) abandoned this material, I don’t see why he would have any claim on it – need apart.
In response to Earl, I received this material from a friend who was working for Sonny, cleaning out his basement. When asked what Sonny wanted him to do with the boxes of assorted lP’s Sonny told him that he didn’t care, ” take them to the dump.” Knowing that I was a long time fan he brought them to my house and asked me if I was interested in any of them, I took them all, gladly. It was only after the fact that I learned of the possible value of the albums. And to Dave S., thanks for your concern regarding my Karma, I think, at least with respect to this matter,it will be OK.
Oh and Earl, Sonny is still with us. He recently moved from the town where I live to a location on the west side of the Hudson. I have heard that he has had to cancel some tour dates due to health issues. Imagine touring at the ripe old age of 83. Saw him a couple of years at a local gig (Hospital Benefit) He could barely walk to the stage, but he could still blow that horn. Still awesome after all these years.
Att. Rudolf: Do you remember my question regarding that Wallington on Prestige (PRLP 7032) auctioned by jazzrecordscenter that is supposed to have a flat rim to be an absolute original according to Fred. And you said he was mistaken the last time… well I asked him again regarding another copy that he has for sale now, and here’s what he replied: “This pressing has a beaded (rounded) rim. An absolutely original pressing of this LP has a flat rim. To that extent, it is not “original”, although the labels, dead wax and cover are identical to an original.”
So, what should I make of all this? I mean, he knows what he’s talking about, right? Beaded or flat rim? And if there are both, which Prestige LP’s in the 7000 series should have which to be a 1st original pressing? Collecting Prestige LP’s just got a whole lot more complicated it seems…
Fredrik: it is my personal opinion that the discussion on flat rim vs. beaded on the Prestige label is without sense. I saw Fred’s copy and it looks like a fine copy of this wonderful record. If you don’t have it, try your luck.
I am playing it right now and it is beautiful.
Just booked a 10-day vacation to Japan. Is there any use in carting some of my blue notes over there to see what kind of money I can get? I’m not interested in selling anything super rare, but I’m wondering if they would pay a premium for your standard original US pressing or whether they prefer their reissues.
@Christopher Brown: I was there last week, and I am pretty sure they are interested in buying original Blue Notes. Check out this want list as published by Disk Union to get an idea of what they pay: http://diskunion.net/st/about_kaitori/pdf/jazz_wantlist_201311.pdf
Am looking for a buyer for my Charlie Parker on Verve OOMJ 3268/77. Purchased in ’85? Played the first side once. Partners in a recording studio at the time, realized needed to be recorded at first playing. Never got around to digitizing it. It needs to be with a collector more serious than me. I do know it’s value to the serious appreciators.
I live in the SF Bay Area. Would rather not take it to Amoeba or the like.
I am selling 3 Sonny Stitt records all UK pressings, scrolling through some 900+ sales I can only find stitts bits on esquire,the other two,Sonny Stitt with the New Yorkers,Vogue,and Personal Appearance,HMV I cannot find a value,anyone know where to look please?
Hi Everyone: I’m a newbie on this forum. I’ve just returned to owning a turntable after over 30 years(!), and am getting back into assembling a record collection after all these decades. I listen to a great deal of jazz, and am looking forward to collecting some vintage original Blue Note pressings. My question – I would like to also purchase a high quality record cleaner, and see prices from $500 – $4,000 (+). Do you and your trusted community have any suggestions or preferences in the matter? It would be great to receive any observations that you’d care to share. Yours, Todd – toddlevin@live.com
Welcome. I consider a record cleaner essential to this hobby, especially if you plan to buy from other than a highly reputable store that probably cleans the records on their own. Nothing replicates a time capsule from the 1950s like a dirty old record. You will do your stylus and ears a world of good by investing and taking the time to clean thoroughly.
I have one of the $500 VPI cleaners that I manually apply enzyme and record cleaning fluids to before any listening of an acquired record. Once I clean them, I never worry again. I am hearing good things about the $4000 ultrasonic cleaners, but that is $4000 less to spend on records, so depending on your situation, allocate $$ appropriately.
I can email offline with more details if you would like.
you can visit the following website for a record cleaner. It was recommended to me by Steve at Atomic Records in Burbank, and it is working perfectly.
The based model is HM 16.5 and I’m satisfied. http://vpiindustries.com/main_cleaning.htm
Does anyone know anything about white Riverside label,Fantasy Inc. Berkley California.It is Johnny Griffin The Little Giant.I know the early white label was changed to blue around 1956, my copy of Little Giant is on the smaller blue label which i believe is a 2nd pressing(tell me i am wrong please)
Geoff,
The white Riverside label, Fantasy Inc. Berkley California is the Original Jazz Classics label (OJC catalog number prefix) that started in 1983. Johnny Griffin “The Little Giant” 12-304 was first released with the smaller blue label, which started with 12-272.
After a few years of searching I have finally found original near mint copies of both of Thelonious Monk’s first two 10” Blue Note LPs – Genius of Modern Music Vol.1 (5002) and Genius of Modern Music Vol. 2 (5009).
What kind of inner sleeves would these LPs originally have been manufactured with in 1951/2?
Vol. 1 had the remainder of what looks like an inner sleeve made out of a cellulose/acetate substance with a design similar to the rice paper inners but made out of a substance I have never seen used as an inner sleeve before. Maybe it is something else entirely that the former owner used as an inner.
Anyway I’d love to know if in 1951 Blue Note used rice paper inners, paper, poly bags or nothing on their 10 inch LPs.
Also would these LPs have come sealed in loose fit baggys?
Any advice will be greatly appreciated.
Thanks again Earl. One of my Blue Notes is Hank Mobley Soul Station BN 4031,63rd St. label 61st St. cover how does that rate please?
your Soul Staion is a very desirable album – the label and cover addresses seem appropriate to a 1st pressing – it should have RVG and the plastolyte “P” (sometimes called the “ear”) in the run-off area, and a deep groove on both sides – the remainder of the valuation would depend on condition, vinyl & cover – in reasonable condition it would easily sell for $500, and in top conditon perhaps more than $1000
Bob – my understanding is that there were many different stereo pressings of Getz/Gilberto issued almost immediately. Yours is one of those: http://www.discogs.com/Stan-Getz-João-Gilberto-Featuring-Antonio-Carlos-Jobim-Getz-Gilberto/release/3767179
BTW, Geoff, Arick Mittler was correct in saying that the origianl Broan-Roach releases were on Emarcy, a divion of Mercury records – re-releases appeared on the Mercury label (US) – UK Mercury label exists and I don’t know if these albums were released on that label, but there should be something in small writing along the peripery that identifies it as a UK (or other) European pressing
Earl 3 of my Blue Notes meet your description spot on,the fourth one Horace Silver quintet, BN 1539 6 pieces of SILVER has 63rd St. on the label and on the cover is this on a par with the others? Moving on I have several Riverside Labels mostly Cannonball Adderley,a T.Monk and Johnny Griffin is there anything on these labels as on Blue Note Thanks again
Geoff – original BN’s up to 1543 have a Lexington ave address – your 1539 is therefore a second (or later) pressing – you need to get ahold of Fred Cohen’s book which tells all about BN labels – Riverside labels are a whole other story – most label variations/periods-of-usage, etc, can be found in the Goldmine Jazz Album Price Guide (which you should have) and the LondonJazzCollector web site, and have been discussed at various times in this newsletter
Does anyone know when the red & silver Bethlehem labels changed form the arc-“BETHLEHEM”/silver laurel to the “BETHLEHEM” in a silver box?
Hello. New reader here. I am more of a free jazz gentleman myself, so I was curious if anyone knew of a good reference for labels such as ESP-Disk’, etc?
I’m also interested in references for smaller labels such as EMC, Harvest, Black Saint, BYG, etc.
Thanks!
Additionally, any commentary on this item would be greatly appreciated. Is 10$ a bargain? I’m really interested more in the music than the collectibility, but it seems to be an original and in slightly below-desirable condition.
http://www.ebay.com/itm/181242024900?ssPageName=STRK:MEBIDX:IT&_trksid=p3984.m1426.l2648
I have Booker Ervin Space Book PR7386 with a white label distributed by Transatlantic Records would this be a copy of the Prestige original?
I notice that in 2008 The New Miles Davis Quintet UK pressing on Esquire sold for $140.00 in 2009 it sold $56.99,as I have this,does it mean Miles is loosing his value or just selling at the right time?
Geoff
There are many factors involved in the price realized, such as (1) was it an original pressing, (2) conditon, (3)reputation of the seller, and (4) just how many people interested in that LP were on board for the auction. When all is said and done, there is a variability of the price realized from time to time; most desirable albums appear to increase in price over time, but this may not be apparent in two successive auctions.
I think it is dangerous to conclude from the data you submitted that Miles is getting less popular – there is much evidence that he is not.
All I can say is wow.
http://www.ebay.com/itm/Donald-Byrd-Byrd-Jazz-5-Transition-label-TRLP-5-recorded-in-Detroit-in-1956-/350904457492?pt=Music_on_Vinyl&hash=item51b3891914
Andy
I guess it’s the buyer was willing to fork over $5 for a space filler – but if the recently-sold Blue Train ($3000) belongs in the high price bin, this one certainly belongs in the garbage bin
I inherited Billie Holiday’s Last Autograph. It can be seen here with the relevant information.
http://www.billieholidayslastautograph.com/
A couple questions..
1. For the Wardell Gray Memorial album on Prestige, did the first press have the abandoned park cover, or the cover with Wardell playing?
2. Which came first for New Jazz represses, Orange status labels, or Blue Prestige Trident labels? Both have RVG etched in the deadwax, so it’s hard to tell. Might they have been pressed at the same time?
Thanks.
Andy –
1. I’m fairly certain the park cover was second. I say that for two reasons: (a) I’ve only ever seen promo copies with the Wardell photo; and (b) the OJC pressings feature the Wardell photo, and I believe the OJCs always use the original cover, even when the LP had an immediately-used second cover (e.g., 7038). Also, anecdotally, the Wardell photo copies have fetched the highest auction prices, so the consensus of others (distinct from my opinion based on (a) and (b)) is that the Wardell photo is the original cover. As a side note, it’s interesting that the park photo appears to be from the same photo series as that featured on 7055, the Clifford Brown Memorial LP.
2. I believe they were issued around the same time. The blue tridents were issued starting in 1964 (if I recall correctly). In the Goldmine guide, Status pressings (when listed at all) are typically listed as having been released in 1965. So both roughly mid- to late- ’60s; a toss-up for any one given release.
@Andy.
Perhaps they just wanted to frame the cover? I could see doing that for $5.
On a different note is this an original Booker Ervin album? Something doesn’t sit right with me, but I’m not sure what (perhaps the picture of the label taken through the plastic sleeve):
http://www.ebay.com/itm/321237640001?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649
I just purchased a lot of 6 Lester Young albums. One came only in a sleeve and says on the label that is is a private label vinyl album? Can someone explain what that is? Could you create your own vinyl records at one time?
@GST.. I’m pretty sure The Freedom Book was originally pressed with yellow labels, though I could be mistaken.
Hi everyone. Apologies if this is the incorrect forum for general advice.
I’ve recently inherited my father’s substantial jazz vinyl collection. Your site has been an invaluable resource as i go deeper down the rabbit hole of record collecting.
I am a jazz fan but relatively young & feel guilty holding on to such valuable items. Would rather pass to someone who’d truly appreciate them
Selling records that are in nice condition is pretty straightforward, but i am curious about the market for “listening copies”. I have many records where the vinyl is in nice shape, but the Jacket is in quite poor shape. They’ve either been taped up (using clear or opaque tape) or are just sitting there with entire seams split open etc.
If they are rare albums ( i.e. Blue Note originals) Is it worth it to list such LPs? Using your Price Guide / popsike etc, i can’t seem to find many sold copies where the jacket is anything worse than VG-/G+.
Would it be considered sacrilege to glue to the covers (using a hot glue gun or wood glue) and then sell them? (Of course mentioning this fact in the listing)
Thanks in advance!
You are absolutely right Andy: first pressing of 7295 came with yellow/black stars labels.
Wiley:
Generally, both the cover condition and the record condition go into determining the value, with probably the lower grade tending to influence the final grade. In other words, a Good Cover/Mint Record would probably be worth no more than a VG+/VG+ record, and probably less from what I have seen. On the flip side, a Mint Cover/Mint Record would be highly sought after due to the rarity of the combined condition. On some occasions, I have seen someone missing one of the 2 pieces (e.g., missing a cover) going after a cover only sale.
I would not attempt to repair any of these yourself. You are not going to get much value from the effort and are more likely to make it worse unless you have a lot of experience.
Wiley – yes, unless you want to keep them (why feel guilty?) it is worth listing rare/valuable/”collectible” records, even if the cover is VG-, for example. If you describe the record accurately, and provide good, clear (i.e. not iPhone) photos, you will be able to sell them. You may not get the premium price that top-end collectors pay for perfect specimens, but you will get a nice price from a happy customer. Not many of us can afford to spend $2,000 for a desirable record, so we make sacrifices – often, it’s jacket quality. Put another way, if the vinyl is clean, many collectors will tolerate a less-than-perfect jacket, and will still pay a bit of a premium for the quality vinyl.
Agree with DaveS – DO NOT repair the jackets. Better to just sell as-is, with full description.
I was ripped off. As I methodically went through my jazz collection last night, I realized that I was cheated on many records. They were not Blue Note first pressings. And it was totally my fault. I didn’t do my homework and didn’t ask questions. After comparing their sound to a real one that I purchased from “Jazzcollector,” I immediately heard the difference. The real Blue Note record is heavier and the vinyl is much better. There were many visible scuffs, but they were inaudible. Now this is real vinyl! And the sound has a wonderful combination of clarity and depth. The high end is especially revealing.
I won’t make the mistake again. If there is no mention of an ear, there probably isn’t one. All the signs have to be present. The thing that bothers me is the number of dealers who know better, yet call a record a first pressing. I previously had this argument on another forum with people who had the attitude that a seller doesn’t have the moral responsibility to reveal anything if he doesn’t want to. I remember reading in Montaigne’s “Essays,” a statement that he thought the developing practice of dissimulation in business a despicable trait that will degrade society if it takes root. Now this was written in the 16th century. Can you imagine what he would think about the corruption in our time?
But there are successful business people who are honest in their dealings. They are the ones who get my business.
I have a stack of LP’s which I was given by a friend who was cleaning out Sonny Rollins basement. Most appear to have been rarely played (if ever) and many are sealed. I would assume that many are original or first pressings, though I am not sure. Many are stamped “Demo” or “promo” The most interesting items are 2 “test Pressings” of Don’t Ask. Each consist of 2 LP’s pressed on one side (other side is blank) one disc per side. The labels are typed not printed and are from Kendon recorders in Calif. Both appear to be in M+ condition and like the others were likely, rarely played. One pair is in a manilla envelope addressed to Lucille Rollins. the other is in a Kendon jacket( in bad shape) Anyone have any ideas on potential value?They will both be sold at a later date.
Seth,
I agree with you that a seller has a duty to present all details and flaws of the item that they have for sale. However, keep in mind that quite a few sellers are not collectors. They know nothing of an “Ear” nor do they have idea of what all the stuff in the deadwax means. Knowledge of that is left for those of us who fell down the rabbit hole. As a consumer it’s your responsibility to be informed, and ask questions.. if you don’t then shame on you.
You wouldn’t expect your grocer to read the labels for you, why would you expect some guy that selling his dad’s old record collection to do the same?
Just my .02
Rich:
Whatever you get for the records, you might want to think about sending some of the proceeds Sonny’s way. I am hoping he is still earning a comfortable living, but karma might not sit well with you pulling down $3K for a mint unplayed Saxophone Colossus located in some unseen corner of an old legend’s basement. Easy for me to say as it is not my money of course.
Good luck.
My question to Rich would be: where was Sonny in all this? Since he’s still alive (at last count), I’m curious as to why he would not want to keep these LP’s, or put them up for sale; and since he apparently didn’t, why would he care what you do with them? Surely Sonny could not be blind to the enormous proceeds realized by some of his LP’s.
In any case, if he has truly (as Rich’s account seems to imply) abandoned this material, I don’t see why he would have any claim on it – need apart.
In response to Earl, I received this material from a friend who was working for Sonny, cleaning out his basement. When asked what Sonny wanted him to do with the boxes of assorted lP’s Sonny told him that he didn’t care, ” take them to the dump.” Knowing that I was a long time fan he brought them to my house and asked me if I was interested in any of them, I took them all, gladly. It was only after the fact that I learned of the possible value of the albums. And to Dave S., thanks for your concern regarding my Karma, I think, at least with respect to this matter,it will be OK.
Oh and Earl, Sonny is still with us. He recently moved from the town where I live to a location on the west side of the Hudson. I have heard that he has had to cancel some tour dates due to health issues. Imagine touring at the ripe old age of 83. Saw him a couple of years at a local gig (Hospital Benefit) He could barely walk to the stage, but he could still blow that horn. Still awesome after all these years.
Att. Rudolf: Do you remember my question regarding that Wallington on Prestige (PRLP 7032) auctioned by jazzrecordscenter that is supposed to have a flat rim to be an absolute original according to Fred. And you said he was mistaken the last time… well I asked him again regarding another copy that he has for sale now, and here’s what he replied: “This pressing has a beaded (rounded) rim. An absolutely original pressing of this LP has a flat rim. To that extent, it is not “original”, although the labels, dead wax and cover are identical to an original.”
So, what should I make of all this? I mean, he knows what he’s talking about, right? Beaded or flat rim? And if there are both, which Prestige LP’s in the 7000 series should have which to be a 1st original pressing? Collecting Prestige LP’s just got a whole lot more complicated it seems…
Fredrik: it is my personal opinion that the discussion on flat rim vs. beaded on the Prestige label is without sense. I saw Fred’s copy and it looks like a fine copy of this wonderful record. If you don’t have it, try your luck.
I am playing it right now and it is beautiful.
Thanks as always Rudolf!
Just booked a 10-day vacation to Japan. Is there any use in carting some of my blue notes over there to see what kind of money I can get? I’m not interested in selling anything super rare, but I’m wondering if they would pay a premium for your standard original US pressing or whether they prefer their reissues.
@Christopher Brown: I was there last week, and I am pretty sure they are interested in buying original Blue Notes. Check out this want list as published by Disk Union to get an idea of what they pay: http://diskunion.net/st/about_kaitori/pdf/jazz_wantlist_201311.pdf
Am looking for a buyer for my Charlie Parker on Verve OOMJ 3268/77. Purchased in ’85? Played the first side once. Partners in a recording studio at the time, realized needed to be recorded at first playing. Never got around to digitizing it. It needs to be with a collector more serious than me. I do know it’s value to the serious appreciators.
I live in the SF Bay Area. Would rather not take it to Amoeba or the like.
I am selling 3 Sonny Stitt records all UK pressings, scrolling through some 900+ sales I can only find stitts bits on esquire,the other two,Sonny Stitt with the New Yorkers,Vogue,and Personal Appearance,HMV I cannot find a value,anyone know where to look please?
See where Soul Station went for $810 yesterday,time to put mine up,then I play it one more time and think I will keep it for now.
Hi Everyone: I’m a newbie on this forum. I’ve just returned to owning a turntable after over 30 years(!), and am getting back into assembling a record collection after all these decades. I listen to a great deal of jazz, and am looking forward to collecting some vintage original Blue Note pressings. My question – I would like to also purchase a high quality record cleaner, and see prices from $500 – $4,000 (+). Do you and your trusted community have any suggestions or preferences in the matter? It would be great to receive any observations that you’d care to share. Yours, Todd – toddlevin@live.com
Todd:
Welcome. I consider a record cleaner essential to this hobby, especially if you plan to buy from other than a highly reputable store that probably cleans the records on their own. Nothing replicates a time capsule from the 1950s like a dirty old record. You will do your stylus and ears a world of good by investing and taking the time to clean thoroughly.
I have one of the $500 VPI cleaners that I manually apply enzyme and record cleaning fluids to before any listening of an acquired record. Once I clean them, I never worry again. I am hearing good things about the $4000 ultrasonic cleaners, but that is $4000 less to spend on records, so depending on your situation, allocate $$ appropriately.
I can email offline with more details if you would like.
Dave
I see that coltrane had a good day yesterday,Blue Train $630,Giant Steps,$577.
Hi Geoff,
you can visit the following website for a record cleaner. It was recommended to me by Steve at Atomic Records in Burbank, and it is working perfectly.
The based model is HM 16.5 and I’m satisfied.
http://vpiindustries.com/main_cleaning.htm
thanks
Oupps,
my answer to Geoff was to DaveS and Todd Levin
sorry !!!!!
Thanks anyway Rockies,i am sure they are on sale in the UK. I will see what i can find
Does anyone know anything about white Riverside label,Fantasy Inc. Berkley California.It is Johnny Griffin The Little Giant.I know the early white label was changed to blue around 1956, my copy of Little Giant is on the smaller blue label which i believe is a 2nd pressing(tell me i am wrong please)
Geoff,
The white Riverside label, Fantasy Inc. Berkley California is the Original Jazz Classics label (OJC catalog number prefix) that started in 1983. Johnny Griffin “The Little Giant” 12-304 was first released with the smaller blue label, which started with 12-272.
Aaron Thanks for that, I am putting it on Ebay ,needed to be sure of the facts.
Is there much of a market in the US for UK jazz such as Tubby Hayes, Dick Morrissey, Tony Kinsey and Ronnie Scott? Anybody Please.
After a few years of searching I have finally found original near mint copies of both of Thelonious Monk’s first two 10” Blue Note LPs – Genius of Modern Music Vol.1 (5002) and Genius of Modern Music Vol. 2 (5009).
What kind of inner sleeves would these LPs originally have been manufactured with in 1951/2?
Vol. 1 had the remainder of what looks like an inner sleeve made out of a cellulose/acetate substance with a design similar to the rice paper inners but made out of a substance I have never seen used as an inner sleeve before. Maybe it is something else entirely that the former owner used as an inner.
Anyway I’d love to know if in 1951 Blue Note used rice paper inners, paper, poly bags or nothing on their 10 inch LPs.
Also would these LPs have come sealed in loose fit baggys?
Any advice will be greatly appreciated.
Were the remnants possibly glassine?