Al:

My jazz collecting the past 25 years has morphed mainly to jazz autographs. There is something about a genuine signature that makes an item come alive: This was actually in the hands of Billie, Bird, Trane, etc. One must be careful to not obtain a fake, but I have mainly dealt with reputable dealers, and over time, I have become more savvy in finds on sites such as eBay.

I did bid on this Coltrane item, but exited the bidding when it went above $2000.

The prizes of my collection are signed photographs, some contracts, some personal letters, etc. To give you an idea of some of my prized items, here is a partial list:

Jelly Roll Morton (very hard to find – I have 2, one of which is sheet music)

Bix Beiderbecke

James P Johnson (photo)

Charlie Christian

Fats Navarro (photo)

Clifford Brown (photo, Study in Brown album)

Booker Little

Serge Chaloff

Charlie Parker (2 photos, a note to Chan, a contract, a signature by his entire quartet)

Lester Young (2 photos, one 78 RPM record)

Coleman Hawkins (multiple photos, cancelled check)

Django Reinhardt (photo, concert program)

Wes Montgomery (photo)

Thelonious Monk (photo, concert program)

John Coltrane

Bud Powell

Bill Evans (photo, high school yearbook)

Billie Holiday (photo, 2 separate contracts regarding the rights to her autobiography, one signed Eleanora Fagan, copy of Lady Sings the Blues)

Lee Morgan (beautiful signed photo, paper with all 5 members of Blakey group, contract for club engagement)

Wardell Gray (10″ LP)

Bennie Moten (78 rpm)

Chet Baker (photo)

Charles Mingus (Mingus at Monterey album, photo)

Ma Rainey (royalty agreement)

Like all financial transactions, especially collecting, the price is determined by supply and demand. Some iconic figures are in high supply (Louis, Duke, Ella), but their iconic status keeps their value to at least a modest level. Iconic figures that died young (Bix, Bird, Trane, Billie) command very high prices. Then there are figures that died young that are only known to the ever-shrinking jazz market rather than the general public (Clifford, Lee Morgan, Wardell Gray, Christian, Fats Navarro). Their items are very rare, but prices aren’t at the level of the Bird, Trane items, possibly for this reason. Some more obscure figures command even less interest (Allen Eager, Wade Legge, Joe Albany, Freddie Webster).

The “what” factor values a photo, letter, or official document over a scrap of paper, napkin, etc. Until recently, a signed record album was not as valuable. However, this has changed lately, as evidenced by the recent Coltrane auction. I have seen some signed Miles Davis albums go higher than I would expect recently.

The one “signature” in my collection that turns out to be a fake is Art Tatum. There was a signed contract for chattel mortgage for a Plymouth automobile. The item came from Arline Tatum, Art’s sister. The address on the contract was his home in Toledo (I have been by the home). The signature was somewhat messy, and signed Arthur Tatum. I couldn’t let this slip by my hands, but have been suspicious. Over the years, with the help of databases on ancestry.com, I have seen a signature of Art Tatum, Sr., Art’s Father, on a marriage license, and WWI draft card, which matches the signature on my item. Further research of multiple contracts, a personal check, and Art Tatum, Jr.’s marriage license are all marked with an X. Oh well………………

Someone like you would understand the thrill of the hunt for items such as these. After a while, one becomes more selective and discerning, and don’t feel bad letting an item get away when the price is too high.

Bill

By the way, I enjoy your website.

My reply:

Fantastic. Do you mind if I post your reply on he site, preferably with your name?

I don’t go out of my way to collect autographs or other ephemera, but I am happy when I come across them. Among my most prized possessions is an copy of Sonny and Hawk, with the following signed by Sonny:

“12/13/63. To my friend at ‘A+ P’ with Holiday wishes to you & yours Sincerely Sonny R.”

A & P was a local supermarket chain. I also have an original 78 of Moody’s Mood For Love, signed by James Moody and am original Birdland program signed by Stan Getz.  — al

Dizzy Gillespie Volume 1, Atlantic 138. This looks to be an original 10-inch pressing signed on the front by Dizzy Gillespie. I’m sure Don-Lucky or one of our other readers will weigh in on the authenticity of the autograph. The cover looks to be in VG+ condition and the record is described as VG+ as well. Bidding is in the range of $110 and there’s more than a day left on the auction.

Speaking of 10-inch records, we also had our eyes on these:

Lee Konitz Featuring Miles Davis, The New Sounds, Prestige 116. This was an original pressing listed in M- condition for both the record and the cover. You don’t often find these 10-inch pressings in such nice condition, unless you happen to get lucky, as I did with the Bruce M. West Baltimore collection last year.  This one sold for $360.55

Fats Navarro, New Sounds in Modern Music, Savoy 9005. This was from the same seller and was also listed in M- condition for both the record and the cover. It sold for $113. Any theories as to why the Konitz Prestige sells for more than triple the price of the Navarro Savoy?

The Fabulous Fats Navarro, Volume 2, Blue Note 1532. This is an original Lexington Avenue pressing with the Lexington Avenue cover. The record was listed in M- condition and the cover was VG+. The price was $390. From the same seller, in the same vein: The Fabulous Fats Navarro, Volume 1, Blue Note 1531. This too was an original pressing with the original cover. It was in M- condition for the vinyl and VG++ for the cover. It also sold for $390. I was watching these records because I recently acquired copies of each of these that are duplicates for me. They are both in VG++ condition for the vinyl and the cover, and they both have the Lexington Avenue addresses on the label, deep grooves, etc. They have the West 61st Street addresses on the cover, so they are a drop less than original originals. I will probably wind up selling these on eBay, unless someone here wants to make me an offer I can’t refuse.

This one received a bid of nearly $2,000, but failed to meet the seller’s reserve price:

Jackie McLean, The New Tradition, Ad-Lib 6601. This was an original pressing listed in VG+ condition for the record and VG for the cover. The top bid was $1,975.

This one has gone up in price since we’ve been watching through the years: Webster Young, For Lady, Prestige 7106. This was an original yellow label pressing with the New York address. The record was in M- condition and the cover was VG+. The price was $535.

And then there is John Coltrane, Giant Steps, Atlantic 1311. This was an original black label mono pressing. It was listed in M- condition for the record and the cover, but the cover was clearly VG++ because of writing on the back and the record was probably VG++ as well because of a mark that made noise that was “barely audible.” It sold for $575.90.

Working With the Miles Davis Quintet, Prestige 7166. This was an original yellow label pressing with the New Jersey address. It was a review copy in mint condition. The price was $472.35. There was a time when you could get the Miles Prestige records relatively inexpensively, but not anymore.

Here’s another nice one from Prestige: Stan Getz and Zoot Sims, The Brothers, Prestige 7022. This was an original New York yellow label pressing in M- condition for the record and probably VG++ for the cover. This one has the frame cover. The price was $234.72. How often are you going to find a record like this in this kind of condition? Nice.

Here’s a Blue Note that, surprisingly, did not break into the $1,000 bin.

John Jenkins and Kenny Burrell, Blue Note 1573. This was an original pressing and it was in near mint condition for both the record and the cover. It sold for $884.

I had an eye on this because I have a duplicate copy I may be looking to sell or trade: The Fabulous Fats Navarro Volume 1, Blue Note 1531. This was an original Lexington Avenue pressing with an original Lexington Avenue frame cover. The record looked to be in M- condition and the cover was probably VG++. The price was $382. Actually, not only do I have a duplicate copy of Volume 1, I have a duplicate copy of Volume 2 as well.

The Lovely Mrs. JC, but I was able to find a nook in my new country house where there was empty space and where The Lovely Mrs. JC didn’t object to a couple of small record cabinets. Of course, The Lovely Mrs. JC hasn’t actually seen the records or the cabinets yet, so we don’t know what verdict she will eventually render. For the time being, at least, my 10-inch records are all out, all on display and all ready to be placed on a turntable. The two records above are both in my collection and, perhaps, will get a listen next time. As we’ve noted many times, one of the great things about the 10-inchers is that they are so clearly of a certain era. To my knowledge, the record companies pretty much stopped making 10-inch LPs by 1956, so you have a small window of 1950 to 1955 when these beauties were sitting on the shelves of record stores. A lot of the early 10-inch LPs were reissues of material first available on 78s — such as the two records above — but, to me, that doesn’t diminish anything about them.

We’ve also been watching a few other nice Blue Notes that closed in the past couple of days, including. Dexter Gordon, Our Man in Paris, Blue Note 4146. This was a New York USA pressing with the deep grooves on both sides. The cover and vinyl appeared to be in VG++ condition and the sales price was $349.

Lee Morgan, Lee Way, Blue Note 4034. This was an original pressing that was listed in VG++ condition for the vinyl and similar condition for the cover, although

the picture was a bit distorted. Not sure if the picture impacted the price, but this record sold for $538.80.

Jackie McLean, Bluesnik, Blue Note 4067. This seemed to be an original pressing that looked to be in M- condition for both the record and the cover. It sold for $271. There may have been some question about the deep grooves if you look at the listing and the question posed by one potential buyer. I, for one, would have taken the chance, but $271 is still a high price tag for me after all these years of seeking bargains.

Lou Donaldson, Wailing With Lou, Blue Note 1545. This was an original West 63rd Street pressing. The record was in M- condition and the cover was VG+. The seller was Euclid Records and the price was $677.

Finally, this one did not sell: Paul Chambers Quintet, Blue Note 1564. This was an original pressing. The vinyl was M- and the cover was VG++. The start price was $750 and it did not get any bids, which surprised me and probably surprised the seller as well. I’m sure this one will make it back to eBay at some point soon.

A Date With Jimmy Smith, Volume 2, Blue Note 1548. This was in near mint condition and it was sold by the same seller who sold those pristine JJ Johnson records the other day. This one sold for $792. The record features Hank Mobley, Lou Donaldson and Donald Byrd, but this is still a new high price tag for it, at least for the time we’ve been watching it.

This one was from Euclid Records: The Fabulous Fats Navarro, Volume 1, Blue Note 1531. This was an original Lexington Avenue pressing. It was listed as M- condition for both

the record and the cover. It sold for $711.01.

Horace Silver and the Jazz Messengers, Blue Note 1518. This was an original Lexington Avenue pressing. The record was M- and the cover was VG++. The price was $561.01.

Bud Powell, The Scene Changes, Blue Note 4009. This was an original West 63rd Street pressing. The record and cove were both listed in M- condition. The price was $549.

Jimmy Smith at the Organ, Blue Note 1551. This was an original West 63rd pressing. The record and cover were M-. The price was $522.

The Jazz Messengers at the Cafe Bohemia Volume 1, Blue Note 1507. This was an original pressing in M- condition. The price was $517.

I could go on, and perhaps I will later, but you get the point. Condition is critical, and if you have the condition, and it’s an original vintage Blue Note, the market has probably never been higher.

John Coltrane, Blue Train, Blue Note 1577. This was an original pressing in M- condition. The price was $710.

The Amazing Bud Powell, Blue Note 5003. This was an original 10-inch LP in M- condition, both record and cover. The price was $380. 

Miles Davis, Miles, Prestige 7014. This was an original New York pressing. The record

was M- and the cover was VG+. Price: $355.

George Wallington at The Bohemia, Progressive 1001. This looked to be in VG condition, but it came directly from Wallington’s personal collection. The price was $406.16.

Eric Dolphy, Far Cry, New Jazz 8270. This was an original purple label pressing. The record was VG++ and the cover was VG+. The price was $182.50.

Hal McKusick, East Coast Jazz, Bethlehem 16. This was an original red label pressing. The record was M- and the cover was VG++. The price was $166.

Sonny Rollins, Rollins Plays for Bird, Prestige 7095. This was an original New York pressing sold by Euclid Records. The record and cover were M- and the price was $224.50.

Johnny Hodges, Ellingtonia ’56, Norgran 1055. This was an original yellow label pressing. The record was VG++ and the cover was VG+. Price: $72.

The Fats Navarro Memorial Album, Blue Note 5004. This was an original 10-inch pressing. The record was VG++ and the cover was VG+. The price was $128.16.

The Charlie Mariano Sextet, Fantasy 3-10. This was also a 10-inch LP, in M- condition, both record and cover. The price was $130.50.

As we’re updating the Price Guide, we’ve been inputting some very nice Blue Note LPs from the past few weeks, so here are a few highlights to whet your appetite. When you do look at the Price Guide and want to see the most recent items, click the Timestamp button on the far right and have it sort the items by those most recently entered. Remember, you can sort by artist (last name, first name), label, condition, price and time posted. Anyway, here are some of the Blue Notes going into the Price Guide this weekend:  We’ve been writing a bit lately on Andy Warhol covers. Here’s one that’s familiar to most collectors: Johnny Griffin, The Congregation, Blue Note 1580. This was an original pressing in very nice condition. Price: $1,225

This was a beautiful copy of the Paul Chambers Quintet, Blue Note 1564. Price: $1,126.

Here’s a 10-inch Blue Note:  Howard McGhee, Blue Note 5012. This was in VG++/VG+ condition and sold for $158.50. I have a copy of this LP in VG/VG+ condition that I’m considering placing on eBay in the next few days. Keep an eye out for it. 

Here’s a Jimmy Smith LP that went for quite a high price: Jimmy Smith, New Sound . . . A New Star, Blue Note 1512. This was an original Lexington Avenue pressing in M-/M- condition and it sold for $293.88.

Thelonious Monk, Genius of Modern Music Volume 1, Blue Note 1510. This was an original Lexington Avenue pressing in M-/M- condition. The price was $449. While the prices for the Jimmy Smith and Monk LPs are perhaps beyond what we’ve seen in the past, how can you really argue when you see records like these in near mint condition. How many are there in the world? To think that they’ve survived more than 50 years and are still as pristine as the day they were pressed and put on the shelves. It’s remarkable, really, and such a deep connection to the music. But that’s why you’re reading this, right?

Hank Mobley and his All Stars, Blue Note 1544. This was an original pressing with the West 63rd Street address. This was in M-/VG+ condition and sold for $535.

The same dealer had these two records selling at the same time: The Fabulous Fats Navarro Volume 1 and the Fabulous Fats Navarro Volume 2. Both were original Lexington Avenue pressings in M-/VG+ condition. Volume 1 sold for $341; Volume 2 sold for $135.50. Go figure. 

Finally, here’s a 10-inch Miles Davis LP that went for quite a high price: Miles Davis Volume 3, Blue Note 5040. This was in M-/M- condition. Price: $710