Back from the weekend, so it’s time to catch up on eBay. Here are some of the records we were watching.

 Donald Byrd Sextet, Transition 5. This was an original pressing in what seemed to be M-/VG++ condition. The LP had the booklet and sold for $300.

Eric Dolphy at the Five Spot, Volume 1, New Jazz 8260. This was an original pressing with the purple label. The seller listed it in M-/M- condition, although there seemed to be ringwear on the cover, based on the photo. Still the price was $278.99.

Here’s a record we were watching because we were curious to see if it would sell. It was a nice copy of Charlie Parker on Dial, Dial 203. The dealer had a start price of $499.99 and a “Buy It Now” price of $800. As we expected, the record did not get any bids.

 Dizzy Gillespie was not part of the Blue Note stable and, to our knowledge, never recorded any 12-inch LPs for Blue Note. Here, however, is a 10-inch LP, Dizzy Gillespie, Horn of Plenty, Blue Note 5017. This was in VG++/VG++ condition and sold for $172.50.

 Here’s a nice original Prestige: Tadd Dameron and John Coltrane, Mating Call, Prestige 7070. This was in M-/VG++ condition and sold for $206.05.

 Sometimes you can get original pressings of great music and not have to pay exorbitant collector’s prices. Not often, but sometimes. Here’s a copy of a great record, Oliver Nelson, Blues and the Abstract Truth, Impulse 5. This was a stereo pressing in VG+/VG+ condition. It had the original cover and sold for $71. The music on this LP is spectacular with Eric Dolphy, Bill Evans, Freddie Hubbard, Paul Chambers and Roy Haynes.

Here’s another one that falls into the same category: Ben Webster, King of the Tenors, Verve 8020. This was an original pressing, great music, trumpeter logo in VG++/VG++ condition. It sold for $40.99.

And here’s yet another nice collectible for a reasonable price. Roy Eldridge and Dizzy Gillespie, Roy and Diz, Clef 641. This was an original pressing in M-/M- condition. It sold for $47.99.

 That’s it for today. Tomorrow we’ll look ahead on eBay and see what’s in store for the coming week. See you then. — Al

One of the pleasures of having an extensive jazz collection is that it gives you the opportunity to go back and review the history of jazz in real time, as it was happening. This is particularly the case when you look at old issues of Downbeat or Metronome, or review old liner notes, an art form that began approaching extinction with the advent of the compact disc format. In any case, allow me to share some interesting stuff from my archives.

Downbeat, January 18, 1962

Review: John Coltrane, Africa/Brass, Impulse 6

This record was a departure for Coltrane: The first time he ever played with a brass section. It is now regarded as a classic, rightfully so, particularly the title cut, which makes up the entire first side of the album. At the time, however, the Downbeat reviewer, Martin Williams, didn’t see it that way.  He gave it only two stars, out of a possible five. Here’s a sample from the review:

“I question  . . . whether here this exposition of skills adds up to anything more than a dazzling and passionate array of scales and arpeggios. If one looks for melodic development or even for some sort of technical order or logic, he may find none here.”

Downbeat, May 24, 1962

Advertisement, Riverside Records

This is a great one, an advertisement introducing a new set of albums from Riverside, including Bags Meets Wes, The Cannonball Adderley Sextet in New York, Bill Evans’ Waltz for Debby. What’s so great about it is the headline and ad copy, which goes as follows:

“It’s Spring Cleaning Time!

So throw away your worn-out old albums and stock up on a really fresh batch from the varied and ever-swinging Riverside supply.”

Think of the message – throw away your old records – and think of the Riverside catalogue at the time. It’s enough to make you cry.

Liner Notes

Tenor Madness, Sonny Rollins Prestige 7047

One of the great jazz albums of all time and the only recorded collaboration between tenor greats Rollins and Coltrane. Here’s an excerpt from Ira Gitler’s original liner notes:

“(Philly Joe Jones) tells me that Sonny was in his usual pessimistic form. After each number he would shake his head and say ‘Nothing’s happening.’ I have known Sonny since 1951 and he has always been this way. It is this constant searching and trying to improve on what he has done which has brought him about so many of the advances he has made and kept him a dynamic musician.”

That’s it for today. See you tomorrow at Jazzcollector.com. — Al