Craft Recordings | jazzcollector.com

Old Vinyl, New Bottles, Craft OJCs

Al — Sun, 01 Mar 2026 16:30:31 +0000

The Christmas holidays have always been a time when I liked to splurge on records. I think it goes back to an experience when I was living on Long Island, and I walked into the Titus Oaks store in Hicksville on the day after Christmas, and the owner/proprietor had just finished putting a bunch of records into the bins, and I was the first to see them, and among the records were original Blue Notes, maybe 15-20 all together, and they were all first pressings in mint, unplayed condition, and they were priced at $5 each. Yes, that really happened. It was the early 1980s, and it was not a dream. I think that experience has stuck with me the rest of my jazz collecting days and I always make sure to check out local record stores during the week before Christmas. As Christmas time approached a couple of months ago, I started feeling that old urge surging through my body. I tried a couple of the local record stores but, alas, no luck. I couldn’t shake the urge, so I went online, as I mentioned in a post back in December (New Old Jazz, Or Old New Jazz, on Vinyl). I went on a little spree. I meant to write about it earlier, but, as you may have noticed, I have not been doing much writing these days. Listening, yes, doing my radio show, yes, but writing, not so much. So, we’ll start catching up now and see if I can inspire myself to sit down and do so more writing in the next week or so.

In my online adventures I stopped at a few places, Blue Note, Craft, and a label called The Lost Recordings. I bought two vinyl reissue records from Craft: The Kenny Drew Trio originally on Riverside and Miles Davis, The Musings of Miles originally on Prestige. I think I paid $39 for Miles and $18 for Kenny Drew. I bought these two records for a couple of reasons. One was to check out the new version of the Original Jazz Classics series. I admit that I hated the original OJCs, which began in 1983. While I appreciated that the music was being made available, I never liked the packaging, i.e., the thin vinyl and thin covers. I would buy the OJCs because they were not overly expensive and they could fill gaps in my collection, but I always sought to replace them with original pressings. Of course. Wouldn’t you? I had reached the point where I didn’t own any more of the original OJCs. When Craft came out with the current OJC series, I reached out to their public relations people to get review copies, but, alas, I was not placed on the list, despite my seemingly stellar credentials as not just the owner of Jazz Collector dot com, but also as the host of the Jazz Collector Radio podcast. In any case, I wasn’t getting any free copies of anything from Craft, so when the urge to buy became too strong, I bit the bullet and ordered these two records, plus the Bill Evans boxed set called Haunted Heart, which I haven’t even opened yet.

I chose the Miles and Kenny Drew records primarily because of my radio show/podcast. I have an original pressing of The Musings of Miles, but I hate bringing some of these $1,000 records into the radio studio if I can avoid it. So I could kill two bird with one stone: I could check out the new Craft OJC Series and have an alternative to bring into the studio when it came time to play the Musings of Miles, which I did on the podcast called Old Vinyl, New Bottles. I bought the Kenny Drew Trio record because I don’t own an original copy and I had decided to do a radio show/podcast on Kenny Drew. When I did do that podcast, Unsung Artists – Kenny Drew on Piano, I was able to use the Craft reissue and play a couple of tracks.

My opinion of the new Craft OJC series is different that that for the original OJCs. I really like these reissues. I liked that they used heavier vinyl, heavier cardboard, and they keep the original packaging. I’m no audiophile, but they sound great to me. There’s a slight mistake on the Kenny Drew packaging band – they refer to it is Kenny Drew’s first as a leader, when, to my knowledge, he had recorded two or three records as a leader prior to this one (a 10-incher on Blue Note, one on Norgran, and one on East-West?). But the band comes off, so it’s merely a packaging thing. For the Miles record, I had always felt that on the original record, Miles’ trumpet on the track “I See Your Face Before Me,” was recorded at too low a volume. I was hoping the reissue would fix that, but it doesn’t. Still, it’s a great record and package. Bottom line, for anyone who doesn’t own an original pressing and wants the music, I don’t think you can go wrong with these OJC vinyl pressings at their prices.

As always, I’m curious as to what others have experienced with these reissues, but I also realize that most of my most loyal readers are not here anymore since I stopped posting regularly and started doing more of the radio shows/podcasts.

BTW, in addition to the Craft reissues, I bought a few new/old Blue Notes. Hopefully, I will be inspired to listen to them and write about them sometime soon.

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Random Notes from The Jazz Collector Inbox

Al — Tue, 10 Jun 2025 12:13:57 +0000

Clearing out some emails from the Jazz Collector inbox.

A reader writes that he recently found a series of Jazz Review magazines at an estate sale. Most of these seem to be from the late 1950s and early 1960s. He’s been selling them on eBay, but if anyone is interested they can contact me and perhaps get access to some of them before they are offered to the general public. This is one of the listings that has already sold: The Jazz Review.

There will be a New Jersey Record Bash this year, June 19-June 21 at the Hilton Garden Inn in Edison, New Jersey. I used to attend this even fairly regularly, sometimes as a vendor, sometimes as an attendee, always as a buyer. It was always a good event, but I haven’t been in years. You can get details at their site 49^th Annual Jazz Record Collectors’ Bash.

Speaking of record shows, the WFMU Record fair is back in New York this year, Nov. 8 and 9 at the Metropolitan Pavilion. That was always one of the best shows around, so I’m planning to be in New York for that one, strictly as a buyer. Not looking to sell anything . . . yet.

I’m on the mailing list for Craft Recordings and they recently sent me a press release announcing reissues of six albums that are being released on vinyl in the next few weeks. They are Bill Evans, Interplay; Bill Evans Moon Beams; Here’s Lee Morgan; Introducing Wayne Shorter; Benny Golson, Gone With Golson; and Looking Ahead with Ken McIntyre and Eric Dolphy. These are part of the Original Jazz Classics collection. When the OJCs first came out on Fantasy in the early 1980s, I was not a huge fan. Didn’t like the soft vinyl and soft covers. Hey, I’m a collector of original pressings. I bought some for the music, but always tried to replace them with originals. What’s the verdict on the current crop of OJCs? Maybe I’ll pick one up, just to report back to you all. I sold or traded my original copy of the McIntyre/Dolphy record, so that’s a possibility. I’ll also take a gander at the rest of the series.

This one is about two months old, so it may no longer be relevant, but someone sent me a list of CDs she is trying to sell. Lots of Bird, Coltrane, Freddie Hubbard, Miles, Clifford Brown, Sarah Vaughan, Lee Morgan, etc. As I said, she may have gotten rid of them already, but if anyone is interested, I can try reaching out to her. Just send me an email.

Someone posed this question to me: “Do you know anything about Jell Records in Newark, NJ? In the 1960s Jimmy McGriff released a Christmas LP.” My answer was no, I do not. Anyone out there?

This one is very old, sent to me about a year ago. I put in a file and forgot about it, until now. Perhaps it is still relevant, perhaps not: I own “das Chet -Baker-Buch” an illustrated portrait by Herbert Joos. Bonz Edition Number One. 039/100 1990 Herbert Joos/Bonz Verlag. Printed in Germany. Any information about how much the book is worth and any collectors out there who would be interested in buying. I also have several Chet Baker vinyl records and CDs. Many thanks for any info and kind regards.”

Another one I know nothing about: Hello: “I’m looking for the two 45s and two 78s that Beverly Kenney recorded but these songs never appeared on albums. Any ideas or clues?”

Now that I’ve opened the inbox, I realized I was also opening up a can of worms for myself. I still have more than a dozen old emails to go through, dating back a couple of years. If I find anything interesting, and still relevant, I’ll post it one of these days. Sorry to anyone who sent me an email, expecting it to be posted on JazzCollector.com, and did not see it.

Finally, our friend Stuart Levine, who just wrote the post about Blue Note Gold in Tokyo, reports that he is looking to obtain a First Stereo, black label Riverside pressing of Bill Evans Sunday Night at the Vanguard. So if anyone can help, you know where to find me. I wouldn’t mind a black label stereo original myself. As it is, when I listen to Sunday Night at the Vanguard, I typically listen on my Japanese pressing.

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InBox: Una Mas, New OJCs, Autographs and A Rare J.R.

Al — Tue, 04 Apr 2023 14:15:02 +0000

I know it’s been a long time between posts, but there is a reason, and, fortunately, it has nothing to do with health, at least physical health, but there may be some of you out there who will question my mental health once I get around to telling the whole story, which I will do in a few days. Sorry for the intrigue and mystery, but for a couple of days I want to just do regular, routine posts, looking at rare jazz records on eBay, so I can take a little more time to write about may latest adventure in Jazz Collecting. You’ve waited this long between posts, you can wait a few days more to hear the story. Meanwhile, our old friend CeeDee has gotten impatient, rightfully so, and sent me a link to this record: Kenny Dorham, Una Mas, Blue Note 4127. This looks to be an original New York USA pressing. The cover is pretty trashed and the record plays with slight noise throughout. It is on buy-it-now on eBay for $245. Something about this listing has perplexed Mr. CeeDee because this is the note that accompanied the link: “I don’t know whether to laugh, cry or scream. I’m sure there is something missing . . . isn’t there?” Is there?

Also in my inbox was a new press release from Craft Recordings announcing that they are relaunching the Original Jazz Classics series on vinyl. The press release mentions that the first OJC issues came out in 1982, which is more than 40 years ago, which seems quite amazing to me. I was never a huge fan of the original OJCs, with their soft cardboard covers and thin vinyl. I would use them to fill in gaps in my collection, but always with the idea that I would like to replace them with originals as soon as possible. These new OJCs are being pressed on 180-gram vinyl and “housed in a replica of the original tip-on jacket. I have no idea what the original tip-on jacket means, but I hope they are using thicker cardboard so they feel more like the original original pressings. If these are nicer copies that the first round of OJCs, do you think they will have any impact on the market for first pressings. Perhaps collectors will be content with a nice reissue, but if experience is any guide, it might make the originals even more in demand as collectors/listenters get hooked on the idea of having these great music on vinyl. The first two records to be issued are Workin’ With the Mildes Davis Quintet and the Monk/Coltrane record on Jazzland. Looks like the first of the products are shipping at the end of May. Perhaps I’ll be among the first to purchase, even though I have both records, just to report on it here at Jazz Collector.

While I’m here, I will clear out some of the other items in my mailbox. This one comes from a reader looking for a buyer: “I have a programme from a Jimmy Smith gig in Birmingham, England. It is signed by Jimmy and his guitarist Nathan Page when I met him at the stage door. Would it be of any interest to anyone as I am willing to sell it?” If you are interested send me an email at alatjazzcollectordotcom and I will pass on your name and email address.

One of our readers bought a collection and sent this note: “Recently I bought a Jazz LP collection and found a sample copy. This record is a promotional press of J.R. Monterose recorded in 1963 live in Tender Trap at Cedar Rapids, Iowa. I read in a Japanese website that it was a British Spotlight recording distributed as promotional records in Japan in only 20-30 copies, but for copyright problems never released. Later it was repressed in 1993 by Fresh Sound. The sample copy is: Spotlight SPJ 152 (C 556). Do you know something more about this sample copy and his grading of rarity? I suppose, as it was written in that Japanese Web site, it’s a very rare record.” I replied that I was ignorant about this particular record, but felt pretty sure that someone in the Jazz Collector audience will have the information. So, if that someone is out there, please comment.

Finally, our friend Clifford sent this link: My Name is Albert Ayler, Fontana 6888603 ZL. The record was graded VG and the cover was just good. But the cover had signatures from Albert Ayler, Don Cherry, Gary Peacock and Sunny Murray. Per Clifford: “I’ve seen one other Ayler autograph in my life, almost exactly the same, so it’s definitely legit – the Sunny Murray signature looks like the other ones I’ve seen.” There were four bids and the final price was $1,532.

The post InBox: Una Mas, New OJCs, Autographs and A Rare J.R. first appeared on jazzcollector.com.

Review, Sonny Rollins, Way Out West, Deluxe Boxed Set, As Good as It Gets

Al — Sat, 10 Feb 2018 16:30:15 +0000

I went to my mailbox the other day and there was a record box. This was strange because I hadn’t remembered ordering any records. But there it was and I opened it. Surprise! A brand new boxed set of Sonny Rollins Way Out West. A promo copy. Understand, I’ve gotten about three promo copies in the 15-plus years I’ve been doing Jazz Collector. I don’t typically do reviews, so nobody puts me on the list. I did make the list on this one and, man, am I pleased. This is a really fantastic set, just what a reissue should be all about. Two LPs, including material that was never released at all and some material that was only issued on CD. New liner notes, including quotes from a 2017 interview with Sonny conducted specifically for the release of this set. Great Bill Claxton photographs and high-end packaging all the way around. Congratulations to Craft Recordings for doing justice to a great album on the occasion of the 60^th anniversary of its original release. A couple of bonuses on the album are

snippets of conversations between Sonny and the musicians and Sonny and producer Lester Koenig. Hey, just hearing Sonny singing a few lines of I’m “An Old Cowhand” – yippee yi yo kayah – is worth the price of admission. Not to mention his query about why there might be a problem with using the title “After You’ve Come,” instead of the accepted title of “Come, Gone.” But the real highlight is, of course, the music. First of all the sound on these LPs is excellent. The additional tracks comprise single new takes of “I’m An Old Cowhand,” “Come, Gone,” and “There is No Greater Love.” There are also two takes of “Way Out West.” The “No Greater Love” and first take of “Way Out West” are issued here for the first time.

Listening to the unreleased takes and the ones previously issued on CD, which I never heard before, you realize just how inventive Rollins was in this period. His approach to “Cowhand” is quite different than the originally issued version and you just don’t find him repeating himself anywhere. It certainly helps that he was working with Ray Brown and Shelley Manne. The fact that they had never played together before and began this session at 3 a.m. just tells you the kinds of special gifts that these three musicians had, all of them at the peak of their powers. I just took a look over at Amazon and the retail price of the boxed set is $72.19. Well worth it, IMHO.

We’ll give Sonny the final word on this, from the new liner notes by Neil Tesser. Tesser asked Sonny to talk about his quality of play on the record. Sonny’s reply:

“You know, I’m not a good guy for praising or appreciating my own work. That’s the reason I like to practice – to get better, to get to the next album. Yeah, it was OK. I had some great people. It was a unique concept; I’m glad I did it. And then William Claxton, that iconic photo. I’m glad it happened, but other than that, I’m not good at rating it.”

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