Whilst on the subject of Blue Notes, I have a question from a reader regarding DMM pressings from the 1980s. It is not a subject of which I have any knowledge, other than what I read on Jazz Collector, but I recall seeing recent comments about these pressings a couple of weeks ago from Maarten Kools, so I am hoping perhaps we can share our collective knowledge and wisdom.

“Hello Al, I’m a big fan on your site. For a while I have been picking up any 80’s Blue Note DMM reissues when I find them in decent shape and priced right. Many sealed and some promos (cover has gold stamp, label is normal). I find the sound quality really good for the most part. I prefer the DMM’s over many reissues thru the years, especially mastered by Walley/Capital versions. I have noticed over the past 6 months that the used Ebay/discogs prices for the DMM reissues are starting to rise. A year ago I could get a nice Blue Note DMM on Ebay for around $20. Now, they seem to be selling $40 or more for nice copies. Do you have any background on these reissues? I assume they were analog cut. Any background would be greatly appreciated. There’s not a lot of info on the web.”

Here’s a collectible that looks pretty cool to me: John Lewis and Sacha Distel, Afternoon in Paris, Versailles MEDX 12005. Thus is two one-sided, white label test pressings, with what looks to be an original cover. The records are listed in VG+ condition and the cover is VG++. My high school French is not getting me through the listing, although the language “2 tics” seems pretty clear. This one closes in nearly two days and has a start price of around $200, with no bidders.

Finally, there is A Charlie Brown Christmas, featuring the famous Peanuts characters, original soundtrack by Vince Guaraldi, Fantasy Stereo 85019. I, for one, had no idea this was a record of any collectible interest, but it has 42 bids and is currently sitting at $295. My question is: Are the bidders jazz people or Peanuts people? I have to admit having soft spot for the music, but not a $295 soft spot.

The Magnificent Thad Jones Volume 3, Blue Note 1546. This was an original West 63rd Street pressing that was listed in M- condition for the record and VG+ for the cover. It sold for $1,784. That would be a new high price for any Thad Jones record in the Jazz Collector Price Guide.

Kenny Burrell, Blue Note 1543. This was an original Lexington Avenue pressing with the cover design by Andy Warhol. The record and the cover were both in VG+ condition. We predicted that this one would break the $1,000 barrier and it did, selling for $1,215.

 Kenny Burrell, Blue Note 1543. This is an original pressing with the Andy Warhol cover design as well as the Lexington Avenue labels. This was the last of the Lexington Blue Notes. The record and cover are both listed in VG+ condition and the bidding is in the $315 range with nearly three days to go. It will fetch a hefty price.

The Magnificent Thad Jones Volume 3, Blue Note 1546. This is an original West 63rd pressing with the New York 23 labels. The record is M- and the cover is VG+. Would love to have this but, alas, I will keep searching for a copy that doesn’t cost as much. This one is already more than $400 and there are more than three days left on the auction.

Kenny Dorham, Quiet Kenny, New Jazz 8225. This is an original purple label, deep groove pressing listed in VG+ condition for both the record and the cover. With five days to go the bidding has stretched beyond $500 and this one will almost certainly enter the $1,000 bin.

For as long as I’ve been collecting, it’s nice to know that there’s always something new to learn. Here’s a record I’ve like for a long time: John Lewis and Sacha Distel, Afternoon in Paris. I’ve only owned this as an Atlantic recording, black label, of course, and I frankly had no idea that it was originally issued in France under the Versailles label, Versailles, MDX 12 005. I just checked out the liner notes on my Atlantic pressing and it makes no mention of Versailles. It does mention that Barney Wilen was only 19 years old at the time of the recording, which is pretty incredible considering how well he plays on this record and how mature he sounds. Anyway, this copy was in VG++ condition for the record and M- for the cover, which was the soft cover that seemed to be typical of the European pressings in those days. This copy sold for $630. The highest price we’ve recorded for the Atlantic pressing in the Jazz Collector Price Guide has been $121.

This is by far the highest price we’ve seen for this record: Bennie Green, Soul Stirrin’, Blue Note 1599. This was listed in M- condition for both the record and seemed to attract a bidding war among three or four potential buyers. The winning bid was $825.67. I’m sure the presence of Sonny Clark helps to inflate the price. I always liked that they used “Jug” as a pseudonym to hide one of the tenor players, obviously not worrying too much that anyone would be able to identify Gene Ammons, and not worrying too much about contractual obligations. It’s as obvious, but not quite as creative, as the use of Buckshot La Funke to disguise Cannonball Adderley on one of the Louis Smith Blue Notes.