Donald Byrd, Byrd’s Word, London C15039. This is the UK version of the U.S. Savoy. The record and cover are listed in VG+ condition. Bidding is in the $80 range with more than two days left on the auction.

Lee Konitz, Jazz at Storyville, Volume 1, Vogue LDE 129. This is a U.K. pressing of the 10-inch LP. The record is listed in VG+ condition and the cover as VG. The start price is about $60 and so far there are no bidders with nearly two days left on the auction.

Finally, I received a note and some pictures from a reader who is looking to sell a couple of early Miles Davis songbooks. I don’t know anything about these, but I’m sure they would be of interest to some Jazz Collector out there. Pictures are below. You can let me know if you are interested, and I’ll pass it on to the seller.

From Dan: You heard that Konitz is gone. Dig how charming he was

https://youtu.be/6R9qyYfuCzI

After watching the clip, which is, indeed, quite charming, I replied that I regretted never seeing Konitz, although I had many opportunities.

From Dan: I saw Konitz in the 80s. I was doing a gig downtown and my friend Dave Shapiro was playing with Lee at Sweet Basil. I walked in as he was counting off the last tune of the night …Yours Is My Heart Alone by Franz Lehar at a fast tempo. He smoked the shit out of it and that memory still lingers. This is a great clip. I don’t like Lennie, but Lee plays great.

Here’s The New York Times Konitz obit. Here’s the one from WBGO.

Here’s an interview with Wynton Marsalis talking about his father.

Here’s another piece from The New York Times, talking about Giuseppi Logan and Henry Grimes.

Here’s an obit on Bootsie Barnes.

Whilst I’m in the process of going through emails and stuff, here are a few interesting exchanges with Jazz Collector readers.

From Jay: I have a quick question for you if you don’t mind. I’m curious about your opinion of the Penguin Guide(s) to Jazz by Richard Cook and Brian Morton. I know there are numerous editions (I have the 2nd and 5th) and that because Mr. Cook passed away some time ago the series is no longer being updated, still I’m curious how the books are viewed by the jazz cognoscenti.

My reply: Hi, Jay. Nice to hear from you. I don’t have an opinion because I have never read it or looked at it. I learned jazz from listening to what I liked and then checking out more from the same artist. For example, if I heard Dexter Gordon as a sideman on an album and liked him, then I would check out one of his other albums. And I’d listen to friends and other musicians who had similar tastes, and follow them. Sorry I don’t know about the book, but I can put a question on the site.

From Jay: Thanks so much for your reply! I’d be very curious to hear what others think. In my very rudimentary opinion-gathering it seems that people who developed a serious interest in jazz quite a while back haven’t paid much attention to the book, whereas jazz fans who might be less fully immersed enjoy it. I’m somewhere in between and both share your approach but love the book. One last question: Is there any jazz criticism that you do read/have read and would recommend? Again, thanks so much!

My reply: Hi, Jay. Again, my grounding is in the era of the 1950s and 1960s. I haven’t gone back and re-read a lot, but my favorites were Ralph J. Gleason, Nat Hentoff and Leonard Feather, in terms of their knowledge of the music and relationships with the musicians. There was a book a couple of years ago of interviews Gleason did in his home with some of the jazz greats. Link is below. For pure writing, Whitney Balliett of the New Yorker had a great style. I also like Gene Lees, Ira Gitler, Gary Giddins and, of the current writers, Ben Ratliff, and another recent jazz critic for The New York Times, Nate Chinen.

https://www.npr.org/2016/05/23/478884245/from-duke-to-the-dead-ralph-j-gleason-loved-it-all

From Jay: Thanks again for taking the time to reply. Most of the names I’m at least familiar with, but would like to dig deeper into a couple. Two faves of mine are an early edition of Feather’s Book of Jazz and a well-marked-up copy of Ted Gioia’s History of Jazz.

There was a question from a reader about a particular Joe Henderson record:

Diego: Hi, I wanted to ask for some advice. I’ve been wanting to get Joe Henderson’s Page One record. It is quite rare but expensive. Hard to go about it. There is many options stereo or mono, old reissues vs new reissues. Any advice? I would appreciate it! Thanks!

My reply: I have no idea of your circumstances, financial or otherwise. My feeling has always been it’s never about the record and always about the music. If you really love the music and are getting the record to listen, the Japanese pressings are typically great. If you are a collector and want a first pressing, then you either have to pay the price or wait. My philosophy was to get the music first and worry about an original pressing later. Took me 50 years to get Shades of Redd, but I always had a copy for listening — that’s how I came to love the record in the first place.

This same reader had asked a question about the quality of U.K. pressings versus U.S. pressings. He had a chance to buy a U.K. pressing and wanted to know if the sound quality was equal, better or worse. I told him to post the question on the Jazz Collector site and I promised him someone would answer. Well, he did post the question and it somehow got buried and NO ONE ANSWERED. Now is your chance, please. Wouldn’t want me to break a promise.

One more reader question:

“I am hoping you can help me find some information on a record I inherited from my grandfather. The record is ‘King Oliver and His Creole Band – Volume One’, autographed by Baby Dodds on 09-30-1945.  I have searched the web and found very limited information on the record, and potential value with the autograph by Baby Dodds. Any information you could provide would be very much appreciated.”

As I usually do when asked about an autograph, I requested a photo and copied our other friend Dan from the Jazz Collector site, who is very knowledgeable about autographs and other ephemera.  I thought this might be quite an interesting find, but alas, it was not to be. After viewing the email and the photo, here is Dan’s reply:

“Thanks for sharing. Who doesn’t love a great vintage King Oliver side!  Unfortunately, I hate to be the bearer of bad news, but the autograph is actually part of album’s cover photo and is printed on all copies of this particular album. As for value, like most things, it’s all based on market demand, album condition and grading. You are probably looking at around $25 based on what I’ve seen similar copies sell for on Popsike. Hope that helps.”

I posted the picture below, primarily the share the great shot of young Louis.

Finally, I saved a link to the following article because the headline irritated me all out of proportion: “Why Count Basie’s Band Was the Rolling Stones of Swing.” All due respect to the writer, who is clearly knowledgeable and respectful of the music, but why that headline? Why compare, why stretch something so out of time and context, when you could just as easily pay tribute to Basie and his band all on their own, with their own accomplishments? I have no idea what about it bothered me, so I figured I’d put it out there and see if anyone else has a similar visceral negative reaction. Maybe it’s just me.

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.

While we’re on the subject of 10-inch Blue Notes, there is also:

Kenny Dorham, Afro-Cuban, Blue Note 5065. This is an original Lexington Avenue pressing. The cover is listed as VG condition with stains that are very visible in the photos. VG might be a stretch. The vinyl is graded as VG+/VG++, but I’d assume VG+ was probably accurate. There are more than four days to go and the bidding is in the $100 range.

This one comes from my friend Steve at Round Again Records in Providence: Lee Konitz at Storyville, STLP 304. This is a 10-inch pressing listed in VG+ condition for both the record and the cover. The auction is closing in a couple of hours and the bidding is in the $100 range. Round Again is one of the nice brick and mortar stores and you should pay a visit if you’re in the Providence area. I used to drop by a lot when my son was in college and grad school there, but it’s been five years since he graduated and I don’t get there nearly as often as I used to. I remember always walking out of that store with something good.

I was also watching this one from the same seller, and I was surprised it fetched as high a price as it did:

Lee Konitz, The New Sounds, Prestige 116. This was also an original pressing and it was listed in VG condition for both the record and the cover, with tape around the seams and some surface noise. Still, it sold for $133. 40. Perhaps it is the presence of Miles Davis on the LP, or perhaps it’s just that these 10-inch Blue Notes and Prestiges are hard to get in any condition. And they do look quite cool.

One more that surprised me somewhat: John Coltrane, Giant Steps, Atlantic 1311. This was a stereo pressing wight the bullseye label. The record was M- and the cover was VG++. The price was $494.44. This is a pressing that’s gone up quite a lot in value the past few years. Back when I started Jazz Collector in around 2003. I purchased a bullseye copy of Giant Steps for $50 and readers gave me hell. I guess it wasn’t such a bad buy after all.

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?

What are some people thinking? Here’s a listing I decided to watch: Gerry Mulligan, Night Lights, Phillips 600-108. This was a stereo pressing with a promo label. The record was in M- condition and the cover was VG+. If you walked into a store and saw this record for $10 and you didn’t have it, you might buy it. The seller had a start price of $126. Seriously. Not only were there no bids, but only six people looked at the listing and I think three of them were me because I was so incredulous. At least there was free shipping.

Spend 24 hours on eBay and you’ll find dozens of similar examples. The seller of this record have had more than 80 all by himself: Lee Konitz with Warne Marsh, Atlantic 1217. This was an original black label pressing in M- condition for both the record and the cover. A a nice record, to be sure, but a start price of $320? From a seller who calls himself “vinyl realist?” Give him credit, though. He did manage to sell a few records and get top dollar for them.

Zoot Sims, Down Home, Bethlehem 6051. This was an original red-label pressing in M- condition for both the record and the cover. It sold for $510. I recently picked up my first copy of this record and listened to it the other day. Quite nice: Great Zoot and nice to hear early Dave McKenna. The copy  I purchased is in M- condition for the vinyl and VG+ for the cover. Very pleased.

Sonny Rollins, The Sound of Sonny, Riverside 241. This was an original white label pressing in what looked to be M- condition for both the record and the cover. The price was $426. This one went for a little more than usual: Sonny Rollins, Sonny Boy, Prestige 7207. The record looked to be M- and the cover was probably VG++, with a couple of minor blemishes. It sold for $170.39.

Grachan Moncur III, Evolution, Blue Note 4153. This was an original New York USA pressing in M- condition for both the record and the cover. It sold for $688.90. Wow.

Lee Konitz, Tranquility, Verve 8281. This was an original pressing with the trumpeter logo. It was in M- condition for the vinyl and probably VG++ for the cover. It sold for $111.87.

Here’s a Blue Note you don’t see too often: Harold Vick, Steppin’ Out, Blue Note 4138. This was an original New York USA pressing in M- condition for both the record and the cover. It sold for $373.

Someone on the Reader Forum was looking for Booker Ervin records. Could you go wrong with this one? Booker Ervin, Groovin’ High, Prestige 7417. There wasn’t much description in the listing, but there was just one bidder and the price was $9.99. This won’t make the price guide, but it probably made one collector quite happy.

The price on this also seemed a bit low: Lee Konitz, Prestige 7004. This was an original New York yellow label in VG+ condition for he record and the cover. It sold for $87.59.

Here’s a few more Blue Notes:

Baby Face Willette, Face to Face, Blue Note 4068. This was a New York USA pressing — original? — that was in VG+ condition for both the record and the cover. It sold for $151.30.

Duke Jordan, A Flight To Jordan, Blue Note 4046. This was an original West 63rd Street pressing. The record was in VG++ condition and the cover was somewhere between VG+ and VG++. The price was $438.

Lee Morgan, The Cooker, Blue Note 1578. This was an original West 63rd Street pressing in VG+ condition for the record and the cover. The price was $461.

a business trip to Chicago 25-or-so years ago. They were sitting on a bottom shelf at the Chicago Jazz Record Mart and I was blown away and bought as many as I could fit into a carry-on suitcase, which I purchased especially for the transport of these records.

Anyway, I pulled out a few of these Prestiges from Lenny Tristano and Lee Konitz and said he could purchase any of them for $15. They all looked mint, but he wanted to hear what they sounded like and on my little Califone desktop school record player we placed a 78 with the Lee Konitz version of the Jerome Kern classic Yesterdays. I am not an expert in early Konitz so I was not familiar with this recording. My guest, however, was an expert and as soon as I put the record on the Califone he stopped everything he was doing.

“What is this?” he said.

“Yesterdays,” I replied.

“Yes it is Yesterdays. But I have never heard this version.”

I went to my 10-inch Lee Konitz Prestige and put on Yesterdays and, indeed, the version was completely different. The one on the 10-inch LP featured Miles Davis on trumpet. The one on the 78 was just a trio of Konitz, Sal Mosca on piano and Billy Bauer on guitar. My guest, who was, as noted, an expert on the music, had never heard the trio version. So we did what you would expect: We went to the computer, Googled Lee Konitz and made an interesting discovery: The version on the 78 was issued only one time, literally, on the 78 that was playing on my Califone record player. It was Prestige 755 and, really, I had no idea. My guest was quite intrigued at this rare find and I kept to my word and sold him the 78 for $15 and he was quite pleased to acquire this extremely rare copy of some pretty decent music.

Somewhere in here is a moral to this story, but I can’t figure it out now and I have to go because, believe it or not, there is another collector perusing my records right now as I type this. Who knows what we’ll discover this morning.