This week’s theme: More Charlie Parker, all from 1945 studio recordings. Featured artists include Charlie Parker, Dizzy Gillespie, Miles Davis, Max Roach, Argonne Thornton, Sarah Vaughan, Red Norvo, Teddy Wilson, Flip Phillips, Remo Palmieri, Sid Catlett, Cozy Cole, Rubberlegs Williams, Sir Charles Thompson, and many more.

This is another weird “only one in the world” listing, but the seller seems to have specific knowledge and credibility and his asking price is “only” $2,000 as opposed to $250,000. I will use the headline from the listing: Rare 78rpm Machito ‘No Noise’ Outtake c. 1948 – Possibly One of a Kind. The seller explains that he is a collector, salsa musician and possible expert on records issued in this era. He claims that this is an alternate take disc that was mistakenly issued by Mercury. He also claims that most copies were recalled and/or destroyed for being the “wrong” take. Interesting. Not something I’ve ever heard of but, based on his knowledge and description, I have no reason to question his version and veracity. I guess the question I would have is, even if it is true and this is the only copy, is there a Machito or Flip Phillips completist collector out there who would have to own this record and would be willing to pay $2,000 for it. I guess the answer is maybe? Stranger things have happened. Perhaps not as strange as paying $250,000 for a Lester Young LP on Norgran, but somehow I don’t think that will happen either.

Here’s another record by a seller who’s chutzpah you have to admire: Hank Mobley, Prestige 7061. This looks to be an original New York yellow label. The seller lists the record in VG condition and the cover in VG+ condition, but with caveats all around. First, the seller says he has his own grading system. He wants to make sure you don’t miss this point because there are a couple of dozen exclamation points scattered in the listing. For example: “IF YOU DON’T AGREE WITH THE PICS AND OR GRADING SYSTEM DO NOT BID!!!!!!!!” I, for one, do not agree with the grading system. When I look at the pictures of the cover, what I see, rather than a cover in VG+ condition, is a cover that I would generously describe as G+ to VG- (on a good day). Weird enough. But what threw me over the top with the claim that the record was VPI cleaned and play graded “WITH MY OWN INVENTION OF REMOVING 90% OF NOISE AND DIRT ON MOST LPS.” I like that 90%. It has a nice ring to it. There is also the warning that all records might have a slight warp and surface noise, manufacturing defects and flaws. The bidding starts at $350 and the buy-it-now price is $1,200. So far there are no bids.

I was not disappointed on any level. It was a sunny day, late afternoon, and the scenery was absolutely spectacular, particularly going over the bridge, where you could see the fall colors in all of their brilliance for miles and miles up and down the river. Then I crossed the bridge and made my way to Catskill, just a couple of miles south. I remember Catskill from about 25 or 30 years ago as a really depressed, downtrodden, sleepy town that seemed to be headed toward oblivion. I had known that Hudson, NY, had undergone a gentrification transformation over the past dozen years or so, but I had not realized that Catskill fell into a similar category, starting a bit more recently. What had been a really rundown town is now quite vibrant with nice restaurants, artsy shops, a bookstore, even a theater. And, of course, it’s very own record store. Again, referring to Chronogram, Catskill is becoming to Hudson, what Brooklyn is to Manhattan. That is, a bit cooler and a bit hipper, still on the rise, not quite settled yet, but brimming with potential.

Anyway, I was able to park across the street from Spike’s and walked into a small but very neat, tidy and well-organized shop. I noticed the jazz right away towards the back on my left. There, above the several rows of records, was a wall display that was quite impressive: Max Roach and Clifford Brown at Basin Street; a nice Stan Getz on Norgran, and a few others. To be honest, I didn’t make more than a mental note of the wall display because they were all records I already own. But, the fact that each one on the wall was a true original collectible gave me cause for encouragement. No Blue Notes, but, nobody’s perfect, right?

I started going through the bins, the “New Arrivals” first and I was amazed at how many original pressings were in the lot, one after another, a bunch of Cannonball Adderley’s on Riverside and Mercury, some Gene Ammons. Again, I didn’t take much note of specific records because I had them. But then I started coming upon a few records I didn’t have. I checked out the prices on the back, and, they were actually quite fair. Not cheap, but not outrageous the way you see in some stores, where the owner has no idea what he is doing with jazz and just takes the older volumes of the Goldmine Price Guide or the highest prices on Popsike and tries to milk each record for all it’s worth.

At this point, I decided it was time to introduce myself to the owner and mention, casually, that I happen to do a Web site focused on jazz records. The owner’s name, you guessed it, is Spike, and we got along quite well. Of course, he was there to sell records and I was there to buy records, so we had a bit of a shared mutual interest from the outset. But he seems like a very nice, self-effacing guy, excited to finally have his own store after years of selling records on eBay and other online venues. You can see that he has put a lot of care into the store and, in chatting, we realized we had at least one mutual acquaintance, Joe Schwab of Euclid Records in St. Louis and New Orleans.

Anyway, Spike and I were chatting as I was sifting through the bins, and he mentioned that he had purchased a big jazz collection earlier this year, including a bunch of beautiful, mint Blue Notes that he had already sold, some in the store, some on eBay. He said the owner of that collection stored the records on shelves that were protected by Plexiglass doors, so they were pristine, including the covers. It was obvious in going through the bins, that many of the records from the collection were still in the shop, judging by the condition of the original pressings. I mentioned to Spike that I thought his pricing was fair, not underselling, but not trying to oversell. He said he generally goes by Discogs, but sticks to the more conservative end. To me, this makes sense because it keeps potential buyers coming back to the store, knowing they can do better at the location than they can do on eBay. Of course, not everyone has easy access to Catskill, NY, so there is downside to that approach as well. But, I suppose, if I had a brick-and-mortar store, I would do the same, trying to build a base of loyal customers and becoming a bit of a destination for collectors who may be in Albany, The Berkshires or even New York City.

As we were talking and I was pulling records from the pins and starting to pile them up, Spike mentioned that he also had 10-inch LPs from the same collection, but he doesn’t put them out on the shelves because no one is really interested. Now, of course, this was music to my ears, so I asked if they were in the store and he reached under the counter and pulled out a pile of very nice, 10-inch records in excellent condition, Pacific Jazz, Clef, Norgran. There was even a James Moody 10-inch Blue Note, which I already own.

As I continued piling up records, I asked Spike if we could do some kind of package price and he seemed amenable, which sparked me to add a couple of records I might not have put into the pile. In going through this process, I realized that I still have something of a jones for some of the old Norgrans and Clefs. It’s not necessarily the artists, but the packaging, the heavy vinyl, the Stone Martin covers. I’d pick them up and think about putting them back, but then I’d look at the price and it was too tempting, so I’d just put them in the pile, Louis Bellson, Flip Phillips, Charile Ventura. Records that would be of little interest to me musically, but would give me great satisfaction, looking at the covers as I peruse my collection. I guess I’m a sucker. There were some nice Clef and Norgran records, including a 10-inch Stan Getz Plays, but the price was too much to spend just to have a duplicate copy, so I left it behind for someone else. No Lester Youngs, Birds or Billie Holidays to my recollection, for those I might have gobbled up, even to have duplicates.

In the end, I wound up with a pile of 15 records, many of which I just don’t have, including a couple of Gerry Mulligan 10-inchers, as well as the afore-mentioned Bellson and Phillips LPs. There was also an absolutely pristine copy of Mulligan Plays Mulligan on Prestige, and the price was right, so that also ended up in the pile, upgrading the copy in my collection. The 15 records are pictured at the beginning and end of this post and I thought I did well for myself and by Spike, paying an average of about $25 per record. He started off with fair prices and was very easy to deal with. I left behind a few records that I would have liked, but by this time it was getting late to pick up The Lovely Mrs. JC and, having spent nearly $400 on records, keeping her waiting was not a good idea.

Back home, I’ve listened to a few of the records at this point, about what would be expected. I put on the Flip Phillips Clef record and was kind of amazed at how poorly recorded it sounded. It was as if the musicians were in a room with the door closed and someone was taping it from outside the room. Certainly not a Van Gelder, but also not up to the standard I would normally expect from this label. By contrast, I was somewhat pleasantly surprised by the Ammons record on Moodsville. He was never a favorite of mine, but this album is all ballads and he certainly knows his way around a ballad. Not quite Dexter, but quite capable and listenable.

I am looking forward to listening to all of the records, and also to visiting again with my new friend Spike. I just found out that The Lovely Mrs. JC has a train ticket for two weeks from Friday so, if you want to beat me to the punch, you have two weeks to make your way to Catskill, New York.

I’ve never thought of this record as a collectible: The Standard Sonny Rollins, RCA 3355. This was an original pressing and it was in M- condition. It sold for $122.50. It was a stereo pressing and I’m wondering, perhaps, if it is as much an audiophile collectible as much as a jazz collectible. I’m a big Rollins fan, but this is not among my favorite Sonny LPs.

How about this one: Presenting Red Mitchell, Contemporary 3538. This is an original deep groove mono pressing with the yellow label. The vinyl was listed in M- condition and the

cover was VG++. The price was $139.50.

The market for this record, and others of its era, seems to be slipping: Flip Phillips, Flip Wails, Clef 691. This was an original pressing. The vinyl was VG++ and the cover was VG+. The price was $52.50. This price was probably aided by the fact that it has a nice cover illustration by David Stone Martin.

This one sold for quite a tidy sum a few weeks back, particularly for a Verve: Ben Webster Soulville, Verve 8274. This was an original pressing in M- condition. This one has a David Stone Martin cover. I’d normally expect this to sell for maybe $100 in this condition. This one sold for $463.99. Here’s a nice Norgran: Lester Young, Jazz Giants ’56, Norgran 1056. This was a original yellow label pressing with the heavy vinyl. The record was in M- condition and the cover was VG++. The price was $105.15. And another nice Norgran:

Johnny Hodges, Creamy, Norgran 1045. We presume this was an original yellow label pressing, although the seller did not show a picture of the label and did not include the label color in his description. Perhaps we are being generous. The vinyl was VG++ and the cover was VG+. The price was $161.50, so we’ll also presume that the winning bidder thought this was an original yellow label pressing as well.

We’ll finish this batch off with: Flip Phillips, Flip Wails, Clef 691. This was an original pressing from Euclid Records and it was listed in M- condition for both the record and the cover. The price was $152.50.