John Jenkins, Cliff Jordan and Bobby Timmons, Jenkins, Jordan and Timmons, Prestige New Jazz 8232. This was an original purple label preview copy, that looked to be in M- condition for the record and VG++ or M- for the cover. The final price was $1,713.88 and, yes, that is a new record price for that particular record, according to the records kept by Popsike.

Freddie Hubbard, The Artistry of Freddie Hubbard, Impulse A-27. This was an original mono pressing with the white promo labels. The record and cover both looked to be in M- condition. The final price was $520, another record high.

Many of you may have seen that Michael Cuscuna passed away the other day at the age of 75. Michael was co-founder of Mosaic Records and one of the icons of the record collecting community, unearthing hundreds (thousands?) of treasures from the Blue Note and other catalogues.  I did not know him personally, but I offer sincere condolences to his family and many friends. If you do a Google search you can find more information about his life and contributions to the jazz world. I copied the following from an email message I received.

Michael Cuscuna 1948 – 2024 Michael Cuscuna, a titan in the world of jazz, passed away on April 20, 2024, leaving behind a legacy that will resonate for generations. Michael is survived by his wife Lisa, his children, Max and his wife Jackie, and Lauren, and two grandchildren, Nicolas and Penelope Cuscuna. His passing leaves a void in the hearts of all who knew him. May he rest in peace, and forever be remembered as he will be deeply missed. Throughout his career, Michael possessed a curiosity for unearthing unissued jazz recordings, delving into the vaults of record labels looking for hidden gems. In 1975 his search led him to the great Blue Note vaults – unlocking a treasure of unissued material by the great jazz legends. This experience would later be the impetus for co-founding Mosaic Records Inc, a boutique label specializing in complete sets of some of the most influential jazz artists. Mosaic Records, co-founded with Charles Lourie, produced hundreds of editions including works by Thelonious Monk, Sidney Bechet, Hank Mobley, John Coltrane, Lee Morgan, Dexter Gordon, Art Blakey, Tina Brooks, The Nat King Cole Trio and Miles Davis. Michael recently received a Lifetime Achievement Award from Downbeat and here is an excerpt of one of Michael’s last interviews this past January. (full interview here). Born in Stamford, Connecticut, in 1948, Cuscuna first got into music at the age of 9 or 10. “It was contemporary R&B on the radio at first,” he recalled recently. “But I played drums on a little starter kit and got into drum records like Gene Krupa and Buddy Rich on Verve, then Max Roach and Art Blakey. When I started to hear the music around the drums, that’s when I got completely hooked. I went through Benny Goodman, Dave Brubeck and the MJQ, until I caught up to what was going on around me around 1960. “By age 14, I was going to Birdland, which had a peanut gallery. That’s when I heard Blakey and the Messengers, the Coltrane Quartet and Miles. They became my passion and still are. It’s the stuff that gets to you between about 12 and 25 that stays with you for life. You never absorb music in quite the same way after that.” Many years ago, Woody Shaw said of Cuscuna, “No matter what you produce or do in your life, the thing you’ll be remembered for is rescuing all that Blue Note material.” “Looking back all these years,” Cuscuna says today, “I’m content with that.”

I’ve known Michael for 25+ years since having the privilege of joining Mosaic Records. While many are aware of the legacy of riches he has catalogued for one of the greatest art forms, all of us who work or have worked at Mosaic also know him as a hard worker, generous and dedicated to his family. Michael possessed an energetic spirit and drive that was infectious. When I look at the list of 200 sets for Mosaic plus all the Blue Note, Impulse and other recordings that Michael was instrumental in bringing to the public, it’s clear his passion for music drove his life-long ambitions. He was proud of his achievements while at the same time being very appreciative and grateful that he was working with many of the greatest jazz musicians and their body of work. It’s very hard for me to convey my feelings about someone I worked closely with every day, had many lunches with and was treated to innumerable special musical memories. I’ll miss a partner, a lunch-mate, and a special friend. – Fred Pustay ====================================================== I can’t think of any better way to describe Michael than as my mentor. His guidance was immeasurable – filled with direction, leadership, knowledge, understanding, and of course, toss in some of that incredibly sarcastic wit and sense of humor. Michael knew, like his partner and close friend Charlie Lourie, how to run the business of a jazz re-issue label when there were few and far between such companies. He also was a true family man. I saw and heard the love he unconditionally gave to his family. It was not uncommon to hear a heartfelt “I love you” at the end of a conversation to his wife Lisa, or to see and hear the love and dedication to his children, and then, in the past few years, the stories of his grandchildren who gave him immeasurable pleasure. Michael embraced my passion for jazz record collecting and after about a dozen years of managing the Mosaic warehouse he and Charlie gave me a job of producer, expanding the Mosaic catalog to include more pre-tape era boxed sets. I am ever in debt to the both of them. And there are so many other Mosaic journeys in the past 36 years that I could impart to you, as I’m sure there are many others who knew him even better than I that could spin countless tales of this unique man.  Seek them out. Keep Michael in your heart and on your turntables, CD players or however else you listen to the music. And be grateful and thankful he was here on this planet. – Scott Wenzel

“Jazz is still, for me, the greatest music ever – it just ate its way into my soul, and it became a part of every fabric of my body… I remember once I was doing a record with Dexter Gordon at 30th Street called Gotham City, and Art Blakey was on drums. During the session Art looked at me and said, ‘Man, you remind me of [Blue Note Records co-founder] Alfred Lion.’ That was the greatest line I ever heard, you know?” –Michael Cuscuna, JerryJazzMusician.com =============================================== Funeral arrangements are in process and will be held at the Bozak Funeral Home https://www.bosakfuneralhome.com/ in Stamford, CT. Please check their site at end of day Monday when information should be available. There will also be a web page on their site where you can post on their tribute wall.

The post Rare Records; The Loss of Michael Cuscuna first appeared on jazzcollector.com.]]> https://jazzcollector.com/uncategorized/rare-records-the-loss-of-michael-cuscuna/feed/ 9 9418 https://jazzcollector.com/blue-note/more-jazz-records-more-record-prices/ https://jazzcollector.com/blue-note/more-jazz-records-more-record-prices/#comments Sat, 20 Apr 2024 17:41:25 +0000 https://jazzcollector.com/?p=9415 Back to perusing rare jazz vinyl on eBay. Last I looked, I had a bunch of items on my watch list from The Jazz Record [...]

Back to perusing rare jazz vinyl on eBay. Last I looked, I had a bunch of items on my watch list from The Jazz Record Center. They’ve had at least two other auctions of rare jazz vinyl since then, so let’s do a fairly comprehensive overview of some of the more interesting and/or expensive items. We’ll start with Miles, the New Miles Davis Quintet, Prestige 7014. This was an original New York yellow label with the green cover. The record was listed in “new condition, with a high luster” and the cover was listed in “extraordinary” condition. Sounds like it was as it was sitting on a record store shelf in 1956. This one sold for $2,155. Is that a new high? Let’s head over to Popsike and . . . yes it is, by a lot, nearly $1,000 more than the previous high. Condition counts. See below.

This one is from the auction that closed this past week: John Jenkins with Kenny Burrell, Blue Note 1573. This was an original West 63^rd Street pressing. The record looked to be in M- condition and the cover was listed as “near new condition.” The final price was $2,524. Yes, another record high.

Fred Jackson, Hootin’ ‘N Tootin’, Blue Note 4094. This was an original New York USA pressing. Again, the condition was fairly immaculate, near new and virtually new, with “Review Copy” stamped on the back. This one sold for $1,525, another record high.

Lots of Blue Notes on these lists. Let’s find another label. How about:

Bill Evans Trio, Waltz For Debby, Riverside 399. The record looked to be in new condition, and the cover was probably VG++, based on the pictures. The final price was $1,269.

And Bennie Green with Art Farmer, Prestige 7041. This was an original New York yellow label, with the coated frame cover in “extraordinary” condition. This one sold for $1,830 and I don’t even have to bother to go over to Popsike to know that this is a new record price for this record.

To be continued . . .

Oh, and Happy Record Store Day.

The post More Jazz Records, More Record Prices first appeared on jazzcollector.com.]]>

Dexter Gordon, A Swingin’ Affair, Blue Note 4133. This was also in VG++ condition for the record and the cover. I had predicted that this copy would set a new high for A Swingin’ Affair. The final price was $707. And the final answer? Yes, it did set a new high. The previous high, per Popsike,  was $705.

There are a bunch of records from the $1,000 bin sitting in my watch list. Some of these go back a couple of months. Let me clean those out as a first step in shrinking the list:

Dizzy Reece, Star Bright, Blue Note 4023. This was an original West 63^rd Street pressing. The record and cover were both rated in M- condition. The final price was about $1,091.

Donald Byrd, Byrd in Hand, Blue Note 4019. This was also an original West 63^rd Street pressing. The record and cover looked to be in M- condition. The final price was $1,175.

Grant Green, Idle Moments, Blue Note 4154. This was an original New York USA pressing, probably in VG+ condition for the record and VG+ for the cover. The final price was $1,302.

John Jenkins with Kenny Burrell, Blue Note 1573. This was an original West 63^rd Street pressing that looked to be in VG+ condition for the record and VG for the cover. The final price was $1,915.

Jackie McLean, Jackie’s Pal, Prestige 7068. This was an original New York yellow label. The record and cover looked to be in about VG+ condition, with a promo stamp on the back. The final price was $1,137.

Jutta Hipp With Zoot Sims, Blue Note 1530. This was an original Lexington Avenue pressing. The record looked to be in VG+ or VG++ condition, and the cover was graded as VG+. The final price was $2,247.

Introducing Johnny Griffin, Blue Note 1533. This was an original Lexington Avenue pressing. The record looked to be M- and the cover was VG+. The final price was $2,045.

Sonny Clark, Dial S for Sonny, Blue Note 1570. This was an original West. 63^rd Street that looked to be in M- condition for the record and VG++ for the cover. The final price was $2,605.55.

Donald Byrd, Byrd Blows on Beacon Hill, Transition 17. This was an original pressing without the booklet. The record was graded in VG++/M- condition and the cover was VG+. The final price was $1,775.

Hank Mobley Quartet, Blue Note 5066. This was an original 10-inch Lexington Avenue pressing. The record and cover both looked to be in VG+ condition. The final price was $1,625.

Horace Parlan, Us Three, Blue Note 4037. This was an original West 63^rd promo copy. The record was VG and the cover was VG+. The final price was $1,200.

Tommy Flanagan Overseas, Prestige 7134. This was an original New York yellow label. The record sounded like VG+ condition and the cover VG, based on the seller’s descriptions. The final price was $2,862.

BTW, I got an email from a guy who has a collection that belonged to Bob Scobey, the Dixieland trumpeter who died in 1963. He sent me pictures that were mostly 78 RPM records, with a few 10-inch LPs sprinkled in. He says he has a lot more photos. The collection is in the Los Angeles area. If anyone is interested, send me an email and I’ll put you in touch.

I was watching this copy of the original 78-RPM recording of Billie Holiday, Strange Fruit/Fine and Mellow, Commodore 526. It was at $225 when I did the post and wound up selling for $255. I just checked Popsike and, oddly, a copy sold on June 19 for $1,000. And another copy sold on May 9 for $810. The $1,000 and $810 copies were in better condition than the $225 copy, as you might expect. And further into my watchlist was still another copy of Strange Fruit that looked to be in near mint condition and this one sold for $331.

One of my all-time favorites that I never get tired of listening to: Sonny Rollins Plus Four, Prestige 7038. This was an original New York yellow label with the original framed cover. The record was in VG++ condition and the cover was VG. The final price was $775.75

John Jenkins with Kenny Burrell, Blue Note 1573. This was an original West 63^rd Pressing. The seller confidently declared that this was “easily one of the top ten Blue Note 12-inch LPS in existence.” The seller was bobdjukic so you can draw your own conclusions as to the veracity of that statement. The record was listed as VG+ and the cover as VG++. The final price was $2,381.

From the same seller: Roland Kirk, Triple Threat, King 395-506. This was, according to the seller “one of the rarest jazz albums  in existence . . . copies in good condition of this monster rarity are all but unknown.” This one was in VG condition for the record and VG+ for the cover. The final price was $841.

Here Comes Louis Smith, Blue Note 1584. This was an original West 63^rd Street mono pressing, with the ear, deep grooves, Van Gelder et al. The record and cover were in M- or VG++ condition. The final price was $1,500 and there was only one bidder. I am usually a bit skeptical about records that sell with just one bidder, but $1,500 is not an unreasonable price for this record. My skepticism with one bidder is that the seller could have a shill to get the bidding started at a high asking price and then find that no one else is interested because the start price is so high.  Same seller and same situation with Johnny Coles, Little Johnny C., Blue Note 4144. This was an original New York USA pressing, also M-/VG++ , also just one bidder, with a final price if $500. One more single bid winner from the same seller: Lou Donaldson, Sunny Side Up, Blue Note 4036. This was an original West 63^rd Street pressing with the original cover. Similar condition, M-/VG++. Final price was $1,000.

This record has risen a lot in value since we have been watching records on eBay: Charles Mingus, Mingus Ah Um, Columbia 8171. This was an original stereo pressing with the six-eye label. The record was listed in VG++ condition and the cover was VG. The final price was $239.50.

I wrote about this one skeptically as well: Wayne Shorter, Speak No Evil, Blue Note 84194. This one was pretty well trashed, graded in G+ condition. I even titled the original post “Shorter Shilling.” Turns out there was one bid at $495. I think my original instinct was on target, but you never know. Someone may have really wanted a trashed copy of a semi-original Blue Note. The other one I was watching at the same time, Wayne Shorter, JuJu, Blue Note 4182, in just VG condition for the record and the cover, sold for $621. With five bids and five bidders, this one seemed legit, albeit a bit pricey.

Watch list is still not emptied so to be continued . . . .

Here’s one we had our eye on with the idea of a potential bid, but the price went way beyond what we had expected (that seems to be a familiar refrain these days, doesn’t it?): Jackie McLean and John Jenkins, Alto Madness, Prestige 7114. This was an original New York yellow label. The record looked to be in M- condition and the cover was pretty close to that, probably VG++. The final price was $1,036. According to Popsike, this is the second highest recorded price for Alto Madness, behind an $1,191 winning bid from 2019.

Whilst we’re rummaging through the $1,000 bin – or shall we now refer to it as the OOF! Bin – here’s one more: Bill Evans, Waltz for Debby, Riverside 399. This was an original blue label, deep groove, mono pressing that was listed in VG+ condition for both the record and the cover. The final price was $1,101.

And not to be outdone there was Kenny Dorham, Quiet Kenny, New Jazz 8225. This was an original purple label pressing with the deep grooves. The record was listed in VG+ condition, with some “crackle.” Not a very specific term, but I guess we know what that means. The cover was also listed in VG+ condition. There was no mention of crackle, just some very light staining. The price was $2,076.

the provenance of this one was extremely appealing. It had the note from Alfred Lion to Leonard Feather, asking him to write the liner notes. Talk about a one-of-a-kind item. Plus it had the stamped Blue Note address, the big Plastylite label and the strange letterhead from Alfred Lion that for some reason says: “Alfred W. Lyons.” What is that? Just writing about it now fills me with regret at not having won it, although I am sure I will survive I did have the dubious honor of placing second in the auction. I bid $621.11 and it sold for $631.11. There’s no knowing just how how high the other bidder would have gone, so I’ll never know how close I came, unless the winner is a Jazz Collector reader and chooses to come forward.

Between the Jazz Record Center auction and a couple of others I was watching, it was, indeed, a day for heavy hitters on eBay. Here are some of the other results for those of you keeping score at home.

From JRC:

Louis Smith, Smithville, Blue Note 1594: $2,000

Ike Quebec, Test Pressing of Easy Living, which wasn’t actually released until 1987: $2,025

John Jenkins with Kenny Burrell, Blue Note 1573: $1,749.74

Jackie McLean, Swing, Swang, Swingin’, Blue Note 4024: $898

Don Cherry, Complete Communion, Blue Note 4226: $465

James Moody With Strings, Blue Note 5005: $177.50

Non-JRC:

Donald Byrd, Byrd Blows on Beacon Hill, Transition 17: $2,449

Donald Byrd, Byrd-Jazz, Transition 5: $1,875.55

Jazz By Sun Ra, Transition 10: $2,800

And the final tally is: WOW!

John Jenkins and Kenny Burrell, Blue Note 1573. This is also an original pressing that looks to be in M- condition for both the record and the cover. The bidding for this has surpassed $1,000 with only two bidders. Will it make the $2,000 bin?

Louis Smith, Smithville, Blue Note 1594. This is an original pressing. It’s at least in VG++ condition, probably M- for most collectors. The bidding is in the $800 range.

This seller has a few nice Transition records for sale now, including Donald Byrd, Byrd Blows on Beacon Hill, Transition 17. This is an original pressing with the booklet. The record is listed in Ex condition and the cover VG+ with a seam split. Bidding is in the $725 range and the auction closes later today. Also, Jazz by Sun Ra, Transition 10. This is another  original pressing with a booklet. The record is listed in Ex condition, and the cover looks to be VG or VG+, depending upon how you feel about tape on an otherwise black cover (I don’t like it, so it would be VG for me).

Horace Silver Quintet, Blue Note 5062. This was an original 10-inch pressing. The record looked to be in VG+ condition and the cover was probably closer to VG based on the description. The final price was $330. And, while we’re on the subject: Horace Silver, Finger Poppin’, Blue Note 4008. This was an original West 63rd Street pressing that looked to be in M- condition for the record, based on the descriptions. The final price was $218.50.

I also had my eye on this one and was a bit surprised to see the final price ending up in the $1,000 bin: Duke Jordan, Flight to Jordan, Blue Note 4046. This was an original pressing but it was in just VG condition for both the record and the cover. When I first posted on this record a couple of weeks ago, it was in the $700 range. The final price was $1,125.

My goodness, the $1,000 bin is overloaded, including all four of the records I was watching last week (A New Crowd For the $1,000 Bin?). They were:

Sonny Rollins Plays, Period 1204. Final price:$1,300

Kenny Dorham, Cafe Bohemia, Blue Note 1524.  Final price: $1,482

John Jenkins and Kenny Burrell, Blue Note 1573. Final price: $2,025.01 (wow!)

Paul Chambers, Bass on Top, Blue Note 1569. Final price: $1,126

And then there were:

Lester Young, Le Dernier Message, Barclay 84069. This was an original French pressing in M- condition for both the record and the cover. This one had seven bidders and 13 bids. Welcome to the $2,000 bin, Mr. President: This one sold for $2,025. Further evidence, if any was needed, that the so-called 50-year rule is not yet applying to certain records.

Since I’m browsing in the $2,000 bin, here’s one more: Tina Brooks, True Blue, Blue Note 4041. This was an original pressing from that same seller in Germany that has been stuffing the $1,000  and $2,000 bins lately, including the three Blue Notes mentioned at the beginning of this post. This one was in M- condition all the way around and sold for only $2,912. If you take a look at the seller’s current listings, you’ll see plenty more where thee came from.

Now back to the “normal” eBay auctions that we watch, starting with a record that is near the top of my own want list, since it is the only rare Sonny Rollins records missing from my collection: Sonny Rollins Plays, Period 1204. This is an original pressing that looks to be in about VG++ condition for both the record and the cover. Looks like a nice copy but, alas, it will not be mine. The bidding on this has already exceeded $900 with more than a day left. So it seems pretty safe to say this one will reach the $1,000 bin and perhaps even higher.

This one also is destined to get quite a high price, perhaps the $2,000 bin: Kenny Dorham, ‘Round About Midnight at the Cafe Bohemia, Blue Note 1524. This is an original Lexington Avenue pressing that looks to be in M- condition all the way around. The bidding is already at $830 with six days left on the auction.

Noticed a couple more nice Blue Notes this morning, including John Jenkins and Kenny Burrell, Blue Note 1573. This is an original West 63rd Street pressing from the same seller as the Dorham record. It is also in M- condition and is in the $700 range with more than six days left. This seller promises to have a nice week.

Finally, the same seller is offering Paul Chambers, Bass on Top, Blue Note 1569. This is another original pressing, also in M- condition, or perhaps VG++ for the cover. The bidding on this one is “only” in the $375 range, but I would expect this to sell for more than $1,000 in this condition, wouldn’t you?