This week’s theme: Standards played by Charlie Parker and others. Featured artists include Charlie Parker, Scott Hamilton, Chris Flory, John Bunch, Phil Flanagan, Chuck Riggs, Sarah Vaughan, Clifford Brown, Roy Haynes, Paul Quinichette, Carmen McRae, Anita O’Day, Tony Aless, Max Roach, Charles Mingus, Dave Lambert, Sonny Rollins, Barney Kessel, Hampton Hawes, Leroy Vinnegar, Shelly Manne, Herbie Mann, Max Roach, Al Haig, Percy Heath, John Coltrane, McCoy Tyner, Elvin Jones, Steve Davis, Lou Donaldson, Blue Mitchell, Horace Silver, Art Blakey,  Booker Ervin, Richard Davis, Tommy Flanagan, Alan Dawson, Bill Evans, Eddie Gomez.

This week’s theme: Jazz records recorded on Feb. 4. Featured artists include Charles Mingus, Miles Davis, John Coltrane, Bill Evans, Billy Taylor, Hal McKusick, Art Farmer, Charlie Parker, Ella Fitzgerald, Billie Holiday, Phil Woods, Jon Eardley, Paul Chambers, Red Garland, Philly Joe Jones, Louis Smith.

Within four notes of the first solo you’ll know immediately that it was Stitt, and within two notes of the second solo, you’ll know it was Rollins. Nat Hentoff, one of the giants in jazz journalism and a personal hero, was responsible for writing the liner notes. Is it possible he missed something, or is it just a typo that somehow got past the reviewers? I have no idea, but having been a journalist for my entire career, these kinds of mistakes drive me crazy and should be caught well before they ever see the light of day. These are just a few of the examples I’ve encountered since I began doing the radio show six months ago. I’m sure you’ve all encountered many more, which you are welcome to share here. Booker Erwin? Really?

In the fall of 1973, when I was 20 years old, I had the chutzpah to strut into the offices of the Syracuse New Times in Syracuse, NY, and inform them that I should be their new jazz critic. Although I was a journalism major at the Newhouse school, I had never published anything before in my life, not a word in my high school paper, not a syllable in my college newspaper. Not even an exclamation point anywhere! It was only by sheer luck that I was in the journalism school at all. My first two years in college were mostly a total waste. I didn’t get in to any of the schools to which I applied, so I had to go to Queens College, which was a couple of bus rides from my home in Bayside. I was still living with my parents for those two years, sharing a tiny room with my younger brother and sister, spending a lot more time at the race track and the poker table than in school, or anywhere else for that matter.

The luck was this: An English professor named Russ Fowler. I had him for one class in my freshman year and I liked him so much I signed up for a second class in my sophomore year. One day in year two he handed me back a paper and said this:

“You know, you’re a good writer.”

I was shocked. I looked at him as if he had just landed from Mars.

“What?” he said. “Nobody ever told you that before?”

I shook my head no.

“Well,” he said, “You are. Maybe you should do something with it.”

That was it. That was all the encouragement I needed to get out of the bad situation I was in. If Professor Fowler said I was a good writer, that was good enough for me. Within a week I had researched all of the journalism schools in the Eastern part of the U.S. and Canada and sent out a bunch of applications to transfer. Somehow, I was accepted in several schools and decided on Syracuse.

I started at Syracuse in the Fall of 1972, but my time there was interrupted because I broke an ankle slipping on some steps while cutting class in a snowstorm. Before I knew it I was back at Queens College, in a cast up to my waist, either hitchhiking to classes or taking the buses. No fun at all. In the fall of 1973 I returned to Syracuse and I pretty quickly made my fateful decision to strut into the offices of the Syracuse New Times and begin my career in journalism.

The New Times was an alternative weekly in the spirit of the Village Voice. It was pretty successful at the time and was read by most of the people on campus and just about everyone in the Newhouse school. I had no credentials at all, no clippings to look at when I approached the managing editor, Mike Greenstein. He looked me up and down. I was ready to be rejected outright. But that’s not what happened. Instead, Mike told me that they didn’t actually have anyone on staff who knew anything about jazz.

“What are you doing next weekend?” he asked.

“Nothing.”

“Okay,” he said. “Chick Corea is coming to play on campus with his band Return to Forever. You can cover the concert and we’ll set you up to do an interview with Chick.”

And that was it. My very first professional journalism assignment anywhere. Interview Chick Corea. Does it get any better than that?

Why am I telling you this story?

I’m clearing stuff out, as you know. I have 600 or so records on the current Carolina Soul eBay auction. I have another 3,000 or so records sitting in my living room committed to a local dealer. I’ve been poring through old files. For at least 20 years, since I started Jazz Collector, I’ve been looking for a copy of this Chick Corea profile. I had already found and posted two other articles from my early career, one on Charlie Parker and one on Charles Mingus. I have always wanted to post the Corea article, even if just to transform it in a digital format. But for all these years the article was nowhere to be found.

Until today. It was in a box with hundreds of other articles from my early career. Somehow it had gotten buried in there and I hadn’t seen it. I just finished reading it. Not too bad, especially considering it was my first article anywhere. I remember going to the club, Jabberwocky, and then meeting Corea in his room at a small motel near campus. He sat on his bed, I sat on a chair. Nothing very fancy at all. I remember taping the interview, and I can see that I used a lot of direct quotes in the article that I wrote. Do I still have a tape from the interview? It’s possible, maybe sitting somewhere in another box of memorabilia. Will it still be viable after 50 years? Who knows. If I ever find it, and it’s still viable, I’ll make sure to digitalize it and post it here  for posterity.

In the meantime, I’ll be sitting down at my computer this weekend copying the original article from 1973 and posting it on Jazz Collector. Stay tuned.

The post An Early Adventure in Jazz and Journalism first appeared on jazzcollector.com.]]> https://jazzcollector.com/features/an-early-adventure-in-jazz-and-journalism/feed/ 2 9166 https://jazzcollector.com/blue-note/transitioning-back-with-rare-jazz-vinyl/ https://jazzcollector.com/blue-note/transitioning-back-with-rare-jazz-vinyl/#comments Fri, 15 Jul 2022 14:08:12 +0000 https://jazzcollector.com/?p=8994 Let’s celebrate our return with a look at random rare jazz vinyl on eBay, marking the transition back to Jazz Collector with some records from [...]

Let’s celebrate our return with a look at random rare jazz vinyl on eBay, marking the transition back to Jazz Collector with some records from Transition: Doug Watkins, Watkins at Large, Transition TRLP-20. This looks to be an original pressing listed in VG+ condition for the record and VG for the cover. There is no mention of the booklet, and no pictures of the booklet, so my expectation is that there would be no booklet, making this particular copy incomplete. So far there is one bid at $750, with the auction closing in a couple of days. Whilst Transitioning, here is a new one to me: Donald Byrd Sextet, Transition 5. This looks to be a limited edition numbered reissue, and it seems to include the booklet as well. Looks pretty cool, if you are into numbered reissues. This is part of the Sam Records Artisan Series, number 138 out of 300. Since I don’t follow the reissues market as closely as original pressings, perhaps someone can enlighten us about this record and this series.

Charles Mingus, Pethecanthropus Erectus, Atlantic 1237. This looks to be an original black label pressing that looks to be in VG++ condition for the record and M- for the cover. A fine looking copy, indeed. Bidding is in the $270 range with more than two days left on the auction. Two Transitions, two Atlantics: Tony Fruscella, Atlantic 1220. This is also an original black label pressing. Looks to be like the record is in VG or maybe VG+ condition, and the cover is VG+. Bidding is close to $200, with more than two days left on the auction.

Let’s finish off today’s post with two Blue Notes: Jackie McLean, Let Freedom Ring, Blue Note 4106. This looks to be an original New York USA mono pressing in M- condition for the record and the cover. The bidding is in the $250 range and this auction also closes on Sunday. Lee Morgan, Volume 3, Blue Note 1557. This is an original pressing with the New York 23 label. The record is probably in VG condition and the cover is listed as VG+, although there is a water stain on the back cover that might bring the grade down for some potential buyers. Bidding is in the $399 range, and this is another auction that closes on Sunday.

The post Transitioning Back with Rare Jazz Vinyl first appeared on jazzcollector.com.]]>

Here are a few more:

Art Taylor, Taylor’s Tenors, New Jazz 8219. This is an original purple label deep groove pressing. The record and cover are in VG condition and the bidding is at about $100.

Bill Evans Trio, Sunday at the Village Vanguard, Riverside 9376. This is an original black label stereo pressing listed in VG+ condition for the record and cover. There are 94 bids on this record by 14 bidders. As of this writing, the bidding is at $400.

Charles Mingus, Mingus Ah Um, Columbia 1370. This is an original white label, six-eye promo copy listed in VG+ condition for the record and cover. Bidding is in the $275 range.

Donald Byrd-Gigi Gryce, Jazz Lab, Columbia 988. This is another white label, six-eye promo copy. Condition is VG++ for the record and cover. Bidding is in the $130 range. I had never recognized this record as being highly collectible, so I’m wondering if it is the allure of the promo copy or just the fact that it’s great music, a great record and right in the wheelhouse of the era as far as the artists and the style of music.

The Magnificent Thad Jones, Blue Note 1527. This is an original Lexington Avenue pressing listed in VG Condition for the record and VG- for the cover. Bidding is in the $430 range.

Then there was this: “Look at this on eBay. C’mon man. A clipped corner pressing from the mid-to-late 70s. Almost $300 and counting. Nuts, I say! Kenny Dorham, Afro-Cuban, Blue Note 1535. This is the one we wrote about last week from George Benson’s collection. At the time, the bidding was about $220. The final price was $510. No complaints here. The market is the market, which is whatever someone is willing to pay. As we’ve all seen, the market value for any Blue Note with blue and white labels and pressings with the “original” covers have only gone up in value over the years. People want them, and why wouldn’t they? Finally, there was this with the simple note: “Missed it!” John Coltrane and Johnny Hartman, Impulse 40. This was a mono pressing with a stereo stamp. The seller said it was mono, so I assume he listened to it. The record and cover were both in M- condition. The final price was $262. CeeDee, I think you’ve been around as long as I have, or close to it. Do you not have an original copy of John Coltrane and Johnny Hartman? Perhaps someone here will be willing to trade with you.

Speaking of trades, here’s a strange request from a reader, but I have to assume it is legitimate. He has a first pressing of John Coltrane’s Giant Steps with the black label and is interested in trading it for a first U.S. mono pressing of the Simon and Garfunkel album Bookends. I didn’t realize that Bookends was a collectible, let alone one on a par with Giant Steps, at least from a value standpoint. But, checking Popsike there has been an instance of a promo copy in the $1,000 bin and several others that have sold for more than $500. Live and learn. Anyway, if anyone is interested in contacting this would-be trader, you can reach out to me at alatjazzcollectordotcom and I can connect you.

Harold Vick, Blue Note 4138. This was an original mono pressing with Review Copy stamped on the back. The record was listed in M- condition and the cover was VG+. The final price was $250.20.

Miles Davis, Relaxin’, Prestige 7129. This was an original New York yellow label rated in M- condition for both the record and the cover. The final price was $529.

Zoot Sims, Down Home, Bethlehem 6051. This was an original red label pressing listed in M- condition for the record and VG+ for the cover. The final price was $455.

Sonny Rollins, Way Out West, Contemporary 3530. This looked to be an original promo copy. Record was probably VG++, cover was VG. Final price was $455.

Thad Jones and Charles Mingus, Jazz Collaborations Volume 1, Debut 17. This was an original 10-inch LP listed in M- condition for the record and VG++ for the cover. The final price was $418.79.

I was watching this copy of the original 78-RPM recording of Billie Holiday, Strange Fruit/Fine and Mellow, Commodore 526. It was at $225 when I did the post and wound up selling for $255. I just checked Popsike and, oddly, a copy sold on June 19 for $1,000. And another copy sold on May 9 for $810. The $1,000 and $810 copies were in better condition than the $225 copy, as you might expect. And further into my watchlist was still another copy of Strange Fruit that looked to be in near mint condition and this one sold for $331.

One of my all-time favorites that I never get tired of listening to: Sonny Rollins Plus Four, Prestige 7038. This was an original New York yellow label with the original framed cover. The record was in VG++ condition and the cover was VG. The final price was $775.75

John Jenkins with Kenny Burrell, Blue Note 1573. This was an original West 63^rd Pressing. The seller confidently declared that this was “easily one of the top ten Blue Note 12-inch LPS in existence.” The seller was bobdjukic so you can draw your own conclusions as to the veracity of that statement. The record was listed as VG+ and the cover as VG++. The final price was $2,381.

From the same seller: Roland Kirk, Triple Threat, King 395-506. This was, according to the seller “one of the rarest jazz albums  in existence . . . copies in good condition of this monster rarity are all but unknown.” This one was in VG condition for the record and VG+ for the cover. The final price was $841.

Here Comes Louis Smith, Blue Note 1584. This was an original West 63^rd Street mono pressing, with the ear, deep grooves, Van Gelder et al. The record and cover were in M- or VG++ condition. The final price was $1,500 and there was only one bidder. I am usually a bit skeptical about records that sell with just one bidder, but $1,500 is not an unreasonable price for this record. My skepticism with one bidder is that the seller could have a shill to get the bidding started at a high asking price and then find that no one else is interested because the start price is so high.  Same seller and same situation with Johnny Coles, Little Johnny C., Blue Note 4144. This was an original New York USA pressing, also M-/VG++ , also just one bidder, with a final price if $500. One more single bid winner from the same seller: Lou Donaldson, Sunny Side Up, Blue Note 4036. This was an original West 63^rd Street pressing with the original cover. Similar condition, M-/VG++. Final price was $1,000.

This record has risen a lot in value since we have been watching records on eBay: Charles Mingus, Mingus Ah Um, Columbia 8171. This was an original stereo pressing with the six-eye label. The record was listed in VG++ condition and the cover was VG. The final price was $239.50.

I wrote about this one skeptically as well: Wayne Shorter, Speak No Evil, Blue Note 84194. This one was pretty well trashed, graded in G+ condition. I even titled the original post “Shorter Shilling.” Turns out there was one bid at $495. I think my original instinct was on target, but you never know. Someone may have really wanted a trashed copy of a semi-original Blue Note. The other one I was watching at the same time, Wayne Shorter, JuJu, Blue Note 4182, in just VG condition for the record and the cover, sold for $621. With five bids and five bidders, this one seemed legit, albeit a bit pricey.

Watch list is still not emptied so to be continued . . . .

Here’s one more from the same seller: Miles Davis, In a Silent Way, Columbia LP CS 9875. This was a sealed copy and “guaranteed original first pressing.” The final price was $200. Just one more: Roland Kirk, Triple Threat, King 395-506. This looked to be an original first pressing and is a quite hard to find record, although, personally, I might not describe it as “insanely rare” or “rarest jazz!” or “true Holy Grail” or “monster rarity,” but, having spent my career as a journalist, I am not particularly partial to adjectives or adverbs, but that’s just a personal preference. I guess in the world of eBay, whatever works is a credo to live by. The record was listed in VG condition and the cover VG+. The final price was $841.

I can’t say any prices are an aberration anymore because the market is the market, so this is the current market for Charles Mingus, Ah Um, Columbia 8171. This was an original stereo pressing with the red and black 6-eye label. The record was listed in VG++ condition and the cover was VG. The final price was $239.50.

Stanley Turrentine, Hustlin’, Blue Note 4162. This was an original New York USA pressing with what looks like deep grooves. I seem to be having trouble lately remembering which pressings in the latter part of 4000 and 4100 series are supposed to have deep grooves, but I’m pretty sure this is one of the ones that is supposed to have them. Why this and not others that were issued in the same time frame? I’m sure someone out there knows the answer. Maybe Lion and Wolff had a premonition that nearly 60 years later collectors would be obsessed with every detail of every Blue Note pressing and they just decided to mess with our heads and are laughing their asses off from the grave. Does anyone have a better idea? Anyway, the record was probably in VG++ condition, based on the description, and the cover was either VG++ or VG+, depending on how you feel about dirt, staining and yellowing. My proclivities push me in the direction of VG+, but I know there are some of you out there who are more generous. The final price was $306.