Then there was this weird Donald Byrd record:

Donald Byrd, Byrd’s Word, Savoy MG 12032. This was a sealed record. The seller is careful to say that it is “new sealed,” and doesn’t claim that it is original, which is nice, although he does say that he has reached his own conclusion but does not wish to share it. Experienced collectors will conclude that this is not a first pressing because of the way the cover sits with the white border, as well as the fact that they probably were not using shrink wrap when this record was first issued. To the community’s credit, there was not a bidding war for this record, just a single bidder at $89.99, who is probably very pleased to have a sealed copy of this record regardless of its provenance and, IMHO, will probably never even open it. Then, again . . . . on eBay I once purchased a sealed copy of Herb Ellis Meets Jimmy Giuffre on Verve. I was 100% sure this was an MGM pressing based on the listing and the picture. One hundred percent. I bought it for like $20. I got it, opened it and, tada, it was an original trumpeter logo pressing. So, I guess, even when you are sure you know, you don’t always know.

While I’m looking at whopping prices, here’s another: Hank Mobley and Lee Morgan, Peckin’ Time, Blue Note 1574. This was an original pressing with the deep grooves, ears, West 63rd address, etc. It was listed in M- condition for both the record and the cover. It sold for $2,750.

And then there are some records that don’t sell at all, or sell for relatively low prices. To wit:

Lee Konitz Meets Jimmy Giuffre, Verve 8335. This was an original pressing with the trumpeter logo. It features Konitz as well as Bill Evans, Hal McKusick and Warne Marsh, among others. The record was listed Excellent condition and the cover was VG+. I’ve always viewed this as a nice collectible, yet nobody wanted it at $35. It’s a weird world when the extremes are so out of proportion — some collectible records selling for $3,000 and more, and others not even drawing a bid at $35.

I also thought this one had some interest for collectors, particularly aficionados of jazz guitar because of the presence of Dick Garcia, but I was apparently wrong: Johnny Glasel, Jazz Session Featuring Dick Garcia, ABC Paramount 165. This was an original pressing that looked to be in VG+ condition for the record and the cover. Nobody wanted it for $9.95.

Here’s another rare jazz guitar record that I thought wouldn’t sell, but wound up getting some bids at the end: Chuck Wayne Quintet, Progressive Records 1003. This was an original 10-inch record, featuring Zoot Sims and Brew Moore. It’s a very rare record and one you don’t see very often. This copy was in M- condition for the record and VG+ for the cover. The start price was $50 and there was no bidding until the last few hours/minutes. It wound up selling for $89.80.

This seller has some nice 10-inch LPs, including: The Eminent Jay Jay Johnson Volume 3, Blue Note 5070. This is an original pressing featuring Hank Mobley and Horace Silver. It looks to be in very nice condition, graded VG++ by the seller for both the record and the cover. This one has a start price of $250 and there are no bidders so far. Also, Lou Donaldson and Clifford Brown, New Faces, New Sounds, Blue Note 5030. This is an original pressing also graded in VG++ condition. The start price on this one is $200 and there is one bid as of now. One more: Lou Donaldson, New Faces, New Sounds, Blue Note 5021. This is another one that looks great, with a sparkling cover rate in M- condition. Don’t see that too often. The cover is VG++. The current price is $275 and there are more than four days to go.

Speaking of 10-inch Blue Notes:

It looks as if that copy of Kenny Dorham, Afro-Cuban, Blue Note 5065, will sell. This is the one that was part of the group that was on sale last week for very high start prices and relisted this week with lower start prices but reserves. This one seems to have met the reserve price and is currently at $700. Several others from the group are still lingering below their reserve prices. You can check out the link on this one to look at the seller’s other items.

This one caught our eye because of the price: Jimmy Giuffre, Western Suite, Atlantic 1330. This looks like an original deep groove stereo pressing with a yellow label. The record looks to be in M- condition for the vinyl and the cover and is currently priced at more than $80. This is a nice record but not one we often track at Jazz Collector because it usually doesn’t fetch collectible prices. Wonder what the appeal on this one is. In any case, it will make it to the Jazz Collector Price Guide for the first time.

record I own has a different cover.” And sure enough when I got home I looked on the shelf under Teddy Charles and there was Collaboration West, Prestige 7028 with a different cover. And the copy on my shelf was also a New York pressing with a New York address on the label and I thought two things: 1. The first thing I thought was, this is why collectors prefer Blue Notes over Prestige: Prestige was inconsistent with its packaging, it re-released items with new covers and new packages and made it quite confusing for collectors, whereas Blue Note was consistent and focused and clear. I will have more to say on this in a later post this week because I’ve been thinking a lot about it. 2. The second thing I though was “Rudolf.” Rudolf will know the answer to this, why this record has two covers. I am pretty sure I know which is the original cover, and that is the one with the orange and black design and artwork, but even of this I am not 100% sure. That one, with the orange and black artwork, was the one that I had owned, the one that was sitting on my shelf at home. The other one, with a photographic design cover, was the one that I purchased the other day for $75 at Infinity Records. So I am hoping Rudolf is reading this and will share his knowledge of Prestige and, if not, perhaps someone else out there will have the knowledge to enlighten us.

My friend Dan called the other day. He’d just bought a copy of “Slim’s Jam”, the original 78 on the Bel-Tone label, featuring one of Charlie Parker’s early recorded solos recorded in December 1945 when he was in Los Angeles. Dan paid 40 bucks on eBay for the 78. I don’t have a copy of the 78, but I do have the cut on the original Savoy 12-inch LP, The Genius of Charlie Parker, Savoy MG-12014, so I put it on. This is a classic, of course, featuring Slim Gaillard introducing each of the musicians in his own inimitable style: “Here comes Zutty in the door with his brushes . . . This is a fun, Jack McVouty and his tenor.” And, inevitably, “Charlie Yardbirdaroonee,” who, as we soon learn, was “ havin’ a little reed trouble.”

 You’ll never know there was any trouble when you listen to Bird’s solo. It’s very soulful and almost out of context, it’s so far ahead of its time. Click here to enjoy and, remember, this was 1945.

            A few interesting items coming up in the next few days. While we can’t vouch for the dealers, here are some collectibles you might be interested in:

            Sal Nistico, Heavyweights, Jazzland 966. Closes Thursday, March 5 at 5:29 p.m. PST.  Nistico was an underrated tenor player and this LP has a great supporting cast, including Nat Adderley, Barry Harris, Sam Jones and Walter Perkins. Last we looked there were no bidders and the starting price was $9.99. This dealer has a lot of good stuff up now.

            Horace Silver, Finger Poppin’, Blue Note 4008. Closes Thursday, March 5 at 7:45 p.m. PST.  This is an original pressing that looks pretty clean, rated VG+. Price was up to $86 last time we looked, so it’s already pretty high.

            Tina Brooks, The Complete Blue Note on Mosaic. Closes Saturday, March 6 at 8:40 a.m. PST. Start price is $100 and there were no bidders when we looked. This is long out of print and, as we’ve seen with the Mosaics, they only seem to go up in value — not to mention that the music is pretty terrific as well.

            Introducing Joe Gordon on Emarcy. Closes Saturday, March 6 at 2:34 a.m. PST. This is an original Emarcy with the drummer label that looks to be in nice condition. Start price was $14.99 with no bids.

            Sarah Vaughan in the Land of Hi Fi, Emarcy 36058. Closes Saturday, March 6 at 5:30 a.m. PST. This is an original pressing that looks to be in great shape. Price is high at $39.99, but it’s not often you get a record this old and this clean. Plus it’s got some great soloing by Cannonball Adderley to back up Sarah. A great record if you don’t have it.

            Some recent prices of collectibles on eBay:

            Cannonball Adderley, Presenting Cannonball, Savoy. Original. VG++ Condition. Price: $89.88.

            Charlie Parker, Bird and Diz, 10-inch Clef MG C-512. Record and cover were VG+. Price: $100.

            Ken McIntyre with Eric Dolphy, Looking Ahead, Prestige New Jazz 8247. Cover was rated VG++, record was M-/VG++. Price was $37.51, but it did not meet the seller’s reserve.

            Horace Siler, Silver’s Blue, Epic 3326. This was a white promo label in VG+ condition. Price: $92.99.

            For Sale: The Jimmy Giuffre 3, Trav’lin’ Light, Atlantic 1282.

            This is a stereo LP with the red and purple label. Cover has a small cutout hole on the upper left. Record is in VG+ condition, has occasional light surface noise. Cover is VG++, with seams intact and a nice shine on the front.

            Unusual instrumentation on this LP with no bass and no drums, just Jim Hall on guitar, Bob Brookmeyer on trombone and Giuffre on clarinet, tenor sax or baritone sax. As you would expect, it’s a soft, thoughtful record, with a lot of interesting interplay among the musicians.  It was recorded in 1958 and features, among other tracks, the tune 42^nd Street, which was not done often as a jazz number. The album received four stars in the All Music Guide

            Here’s an interesting tidbit from the liner notes by Nat Hentoff, with Giuffre explaining why he chose to name the album after the song “Trave’lin’ Light.”

            “Because we’re traveling around the country in a light Volkswagen bus and we have a light trio (no drums, piano or bass).”

            This album is available on CD but, for some reason, was packaged with a set by Mabel Mercer, of all people. We, of course, prefer the original LP. Don’t know if the CD package includes the original liner notes. Maybe one of our readers can tell us.

            Anyway, this LP is offered for $10, plus shipping, to subscribers only. We have one copy so if you’re interested send an email to rhett@jazzcollector.com and we’ll make you eligible to buy it. We’ll conduct a drawing and announce the results in two days. Shipping for the LP is $3.50 in the U.S.; $12 to Europe and $15 to Asia.

Question For The Day

            Q: Which Duke Ellington classic made its debut under the title “Subtle Slough.”

            Answer tomorrow.

            Answer to yesterday’s question.

            Q. Which hard bop bassist went by the nickname “Home?”

A. Sam Jones, the long-time bassist with Cannonball Adderley.

Source: Liner notes to the Jones LP The Soul Society, Riverside 324. This from Cannonball, who wrote the notes:

            “’Home,’ as he is affectionately known to his friends, was tagged with that name in much the same way as Lester Young became known as ‘Pres’ – for Sam refers to everyone else as ‘Home!’”

Bonus: Here’s another interesting tidbit from those liner notes, this from Jones himself: “I never heard Jimmy Blanton in person, but his record of “Jack The Bear” with Duke Ellington influenced my direction more than any other bass performance.”

Last Chorus

That’s all for today, folks. We do this five days a week, offering new items for sale every single day exclusively to subscribers. For more information about what we do and how to subscribe, please come to Jazzcollector.com or send me a note at al@jazzcollector.com. Also, please remember that, like you, we are fans and collectors. We don’t purport to own all the knowledge and expertise about jazz and jazz collecting, so if you see mistakes, have suggestions or would like to contribute to our efforts, please let us know. Email is always the best way to stay in touch. See you tomorrow. — al