Not a good start as I pore through some of the higher priced jazz vinyl. The first is Walter Davis Jr., Davis Cup, Blue Note 4018. This is an original pressing with the West 63^rd Street address. Great record. I, for one, have never owned an original pressing of this record, but I did purchase a United Artists copy from my old friend Red Carraro for $10 back in the 1970s or 1980s. I still have it. This copy on eBay looks totally beat. The seller didn’t have the nerve to describe the condition. But he did have the nerve to put a price of $1,500 on the record.

Paul Chambers, Whims of Chambers, Blue Note 1534. This looks to be an original Lexington Avenue pressing. The seller has graded the record as VG+ or VG++. He’s also graded the cover at near mint. The picture shows a cover that is probably closer to VG, with a seven-inch seam split. So, looking at the cover and the seller’s grading, I, for one, would have a hard time being confident that the record is either VG+ or VG++. But the seller says he has lowered the price by $500 and $300, so for just $1,150 this could be yours.

Finally, after passing United Artists Blue Notes at prices of $1,000, here we come to a seller who knows what he is actually doing: The Jazz Record Center. I like this one J.R. Monterose, Blue Note 1536. This is an original Lexington Avenue pressing that looks to be in M- condition for both the record and the cover. The bidding is already past $500 with five days left to go in the auction, and more than 125 views in the past 24 hours.  This record has sold for more $2,000 in the past. Based on the condition of the record, and the reputation of the seller, I, for one, wouldn’t be surprised to see it get up there once again.

OK, now that I’ve found the Jazz Record Center auction, let’s see what else they have.

Thelonious Monk, The Unique, Riverside 209. This is an original white label pressing. The record and cover seem to be in around VG++ condition. I don’t know if I am pleased or displeased to see this listing. The copy I have of this record stinks. The record has surface noise and the cover has tape. I’ve played several tracks on my radio show/podcast and have always been disappointed. I promised my listeners, assuming I have listeners, that I would replace my copy with a better one. So I should be pleased, right? I mean, here’s a nice copy from a reliable seller. But, man, I haven’t bought a record on eBay in years and have always tried to avoid paying top dollar. A conundrum, no? I have a feeling I know what I’m going to do with this one, especially with Christmas coming up. And please don’t remind me that I’m Jewish and don’t celebrate Christmas. MYOB.

The Jazz Record Center had another auction a couple of weeks ago that I missed and was mentioned by a commenter on the previous post. I’m actually sorry I missed that one because it was loaded with autographs. Here are a couple of examples, most prominently Billie Holiday At Jazz at the Philharmonic, Clef 169. This is the 10-inch LP with the infamous “Billy” Holiday on the David Stone Martin cover. It is supposedly signed by Billie and, because it is the Jazz Record Center, I would be confident that they would have done their research. The final price was $852.99. To me, if the signature was truly authenticated, I would put the value on this as “priceless” and I would have treasured it forever. Not to mention it is a great album and amazing cover. But, alas, I wasn’t paying attention.

How about a signed Chet Baker EP: Chet Baker Plays the Compositions of Russ Freeman, Pacific Jazz EP4-8. Typically I would have no interest in EPs, although I do own quite a few, but this was potentially signed by Chet. It sold for $330.

Then there was Walter Davis. Jr., Davis Cup, Blue Note 4018. This was also signed and was an original West 63^rd Street pressing. The listing describes it as having some surface noise, but the indication seemed to be that this may have been common to all or most original pressings of Davis Cup. The cover was probably VG++. The record was signed, “To Jose, Walter Davis piano, ’77.”

When I look at the condition of the record, the reputation of the seller, the provenance — i.e., it is an original pressing – it seems to me that the presence of the signature actually detracted from the value and from the final selling price. Do you agree? Do we have a sense why a rare, Blue Note with the artist’s signature in pen, would actually be worth less than a copy without the autograph?

I will share one bit of personal experience that gives me somewhat of a sense why that may be. A couple of years ago, you may recall, Herbie Hancock was doing a book tour and was right in my neighborhood. I popped by and had him sign my copies of Maiden Voyage and Takin’ Off. As soon as I saw he was signing it in black marker I had immediate regrets. I should have brought a ball point pen, I remember thinking. But it was too late, he had marker in hand and was scribbling away at the top of my precious albums. The results are below. I should have just had him sign the book I had just purchased instead. Normally I would much prefer a personally signed record, but there’s something about that big marker that turns me off. Maybe it’s just me.

He said VG+ for the vinyl but described it as nearly perfect. Also, VG- for a cover that sounded at least VG to me, although looking more closely at the picture, VG- may be the thing. Anyway, the bidding was in the $400 range and I thought I might take a shot. It sold for $710, but we’ll never know how high the winning bidder bid, since he only had to top the second highest bid. If someone offered me this record for $710 in this condition would I take it? Probably, based on my belief that the record is in better condition than VG+.

That New Jersey pressing of Sonny Rollins, Saxophone Colossus, Prestige 7079, which started the previous discussion, sold for $934 in M- condition. So we are getting very close to the $1,000 bin for New Jersey pressings. I like it. Who wouldn’t want a yellow label Saxophone Colossus with the original cover?

We were also watching:

John Coltrane, A Love Supreme, Impulse A-77. This was an original white promo copy listed in VG++ condition for the record and VG+ for the cover. It sold for $1,083.77. Not quite a record, but a $1,000-binner nonetheless.

Phil Woods, Woodlore, Prestige 7018. This was the one in VG condition for the record and cover. It sold for $449. Then there was Woodlore in M- condition for the record and VG for the cover. This one had no bidders when we first looked at it and we were once again tempted. Never mind. It sold for $1,391.

Walter Davis Jr., Davis Cup, Blue Note 4018, original pressing, VG++ for the record and the cover. Final price was $905.67

Lester Young Trio, Mercury MG-C-104. This was an original 10-inch record with the David Stone Martin cover. The record and cover seemed to be in M- condition. The final price was $720, which, to me, was surprisingly high on a couple of levels. One, there seems to be less demand for 10-inch records overall and, two, Lester is kind of in that pre- Blue Note/Prestige category for collectors. Of course he is a genius and his influence immeasurable, but as far as the collector mentality, I have expected Lester to slip a bit. I’m glad he hasn’t. For the record, as I type this I am in my small studio apartment and, hanging to my left is one of my favorite jazz portraits of all time, a signed copy by the photographer, Bill Gottlieb. If you look carefully at the photo below you may be able to see my reflection in the President:

We also have our eyes on Phil Woods, Woodlore, Prestige 7018. This looks to be an original New York yellow label pressing, listed in VG condition for the record and the cover. The price is about $80, so it might be worth a risk to fill in a gap in the Jazz Collector collection. Last week the same seller sold a slightly nicer VG+ version of the same record for $460. He must have bought some nice collection to have two copies of Woodlore, right? And while, we’re on the subject, here’s yet another copy of Woodlore on eBay. This one is in M- condition for the record and VG for the cover. The start price is $300 and so far there are no bidders. It seems like the Vinyl Gods may be having some fun at my expense this week, throwing all of these temptations my way.

The seller of that last Woods record, Bearlbebop, has also been active the past few weeks and has some other nice records for sale, including this one straight off my wish list: Walter Davis Jr., Davis Cup, Blue Note 4018. This looks to be an original West 63^rdStreet pressing that looks to be in VG++ condition for the record and perhaps the same for the cover. The start price is $600.

Sonny Clark Trio, Blue Note 1579. Original West 63^rdStreet pressing, Mint condition for the record and the cover, $2,425.

Walter Davis Jr., Davis Cup, Blue Note 4018. Original West 63^rdStreet pressing. Mint condition for the record and the cover, $2,413.

Hank Mobley and Lee Morgan, Peckin’ Time, Blue Note 1574. Original West 63^rdStreet pressing, Mint condition, $2,137.

Sabu Martinez, Palo Congo, Blue Note 1561. Original West 63^rdStreet pressing, promo copy, Mint condition, $1,580.

Kenny Burrell, Blue Lights Volume 1, Blue Note 1596. Original West 63^rdStreet pressing with the Andy Warhol cover. Mint condition for the record, perhaps slightly less for the cover, $1,221.

Lou Donaldson, Wailing With Lou, Blue Note 1545. Original New York 23 pressing, probably VG++ condition for both the record and the cover, $1,225.

That’s it for now. I could go on, but my fingers have gotten sore from typing in all of those numbers.

Another reader sent me a question about this record:

John Coltrane, Cosmic Music, Coltrane Records AU4050. The listing states that this is: “The first pressing unmixed version personally approved by Coltrane and significantly different from all subsequent pressings.” I must admit that this record comes at a time in Coltrane’s life and career where his music had gone past my ability to comprehend and/or enjoy it, so I know very little about this record. I am hoping that some of our readers — Clifford? — can offer some enlightenment. As for this particular copy of the record, it is in VG+ condition for the record and VG for the cover. The start price is $525 and so far there are no bids.

Here’s one from near the top of my want list: Walter Davis Jr., Davis Cup, Blue Note 4018. This is an original West 63rd Street pressing listed in Ex condition for both the record and the cover, which sounds like VG++ to my grading sensibilities and nomenclature. The bidding is in the $470 range with more than a day left, but it has not yet reached the seller’s reserve price. I recall seeing Walter Davis Jr. many times with Sonny Rollins in the early 1970s, so perhaps it is appropriate that a Rollins rarity from my want list is also sitting on eBay right now, to wit: Sonny Rollins Plays, Period 1204. This is an original pressing listed in VG++ condition for the record and VG+ for the cover. Not sure if I agree with the cover grading based on the picture, but it’s still a nice piece and one I would love to own. Considering that the start price is $800, this will not be my copy, however.

Here’s one that’s always puzzled me a bit: Red Garland, Groovy, Prestige 7113. This is an original New York yellow label pressing listed in M- condition for the record and the cover. I’ve never quite understood why this record, of all the Garlands on Prestige, seems to attract the highest prices from collectors. I would have thought the quintet records with John Coltrane would be of greater interest, but that does not seem to be the case. Any theories? Personally, I love the Garland records with Trane and definitely prefer them over the trio recordings. But that’s just me.

Wayne Shorter, JuJu, Blue Note 4182. This was an original mono New York USA pressing with the ears, Van Gelder, etc. It was listed in M- condition for both the record and the cover. It sold for $641.55.

The same seller as the Walter Davis and Wayne Shorter records also had some Riversides and Savoys that fetched some relatively healthy prices. To wit: Elvin Jones, Elvin!, Riverside 408. This was an original mono pressing with the deep grooves. The record was in VG++ to M- condition and the cover was M-. The final price was $317, quite high for this record, although if it was on Blue Note it would undoubtedly fetch more.

Johnny Griffin Sextet, Riverside 264. This was an original blue label, deep groove pressing in M- condition for both the record and the cover. The final price was $451.

Curtis Fuller Jazztet with Benny Golson, Savoy12143. This was an original deep groove pressing with the blood red labels. It sold for $388. I once had a sealed copy of this record. I was sure it was a second pressing with the maroon label. I opened it, of course, and, voila, it was an original pressing. After writing about it on Jazz Collector I wound up selling it to one of our readers for $325. We both got a good deal at the time, although I never replaced the record and I have no idea what I did with the $325, so perhaps there’s a lesson to be learned somewhere in there.

Sometimes here at Jazz Collector we get interesting and random comments on older articles. Or comments get buried under newer comments. There’s a tab on the right size of the home page (and subsequent pages) for “Recent Comments.” I’m not sure if many of you ever click it, but it’s a good idea. For example, I’m not sure how many of you

may have seen the comment comment from Geoffrey Wheeler on the Billie Holiday/Benny Goodman 78 mentioned earlier:

Regarding the Goodman-Holiday blue wax-blue label recording of “Your Mother’s Son-in-law” (Col. 2856-D), this is one of a number of recordings that (E) Columbia asked John Hammond to record for them through (Am.) Columbia. American Columbia was on the verge of bankruptcy and had little money to pay for recording sessions, especially jazz-oriented recordings which had a very small market. Under the arrangement, Hammond would oversee the recording sessions and American Columbia would be permitted to release their own issues, paying only mechanical, pressing, and business costs. The “crack” noted in the listing write-up is likely a “lam,” which is a crack that does not break the surface of the record. It’s called a “lam” because the pressing is laminated. This recording was issued in England on (E) Columbia (CoE CB786). I regard this as the “first” true issue since (E) Columbia paid for the session and American Columbia did not. I have a copy of the letter setting forth terms of the agreement. Col. 2856-D usually commands a high price, whereas CoE CB786 does not, perhaps because many American collectors mistakenly think the American pressing is the first issue. I have the (E) Columbia issue (but not the American issue), for which I paid about 1/15th of the auction price of this American Columbia. I’ve been collecting 78s since 1942 and LPs since 1949.

Thanks to Geoffrey for this information. One day I will go through  the entire site and catalogue all of this stuff and we will have a great history of jazz recordings right here all in one place.

Here’s one more you may have missed and may be of particular interest to readers in Germany:

I have inherited A collection of albums from my uncle Peter it was the famous bass player out of Germany PETER TRUNK . He played alongside with Gillespie, along with playing on this album Lucky Thompson Lord, Lord, Am I Ever Gonna Know? (1961) and Cees See too, just to name a few. He’s albums are all German bought . Now I have an original first pressing BlueNote Miles Davis Vol.2 1502,
Matrix BN-LP-1502-A. BN-LP-1502-B. And With all the correct credentials of a first pressing, like the cursive big P ,which they call the EAR , a hand Etched RVG, not stamped and 9M also hand etched. I also have Miles Davis ‘kind of blue’, an original BN-
CS 8163 . Matrix XSM47326-1A, XSM47327-1AE. Now they are in there original sleeves and the covers are in fairly good condition . The records themselves play wonderful. now would anybody know who I would talk to to add to their personal collection and not a retail collector of some sort. For these were owned by my uncle Peter and I want them to be appreciated just like he did when he listen to them. Like I said they are from Germany with a Musikhaus Hummel red/gold sticker on the cover and on the record label which was placed over the category number on the first sides of each of these albums. Any buddy to give me any information would be helpful. And like I said this is just a few. I have some my uncle Peter’s original works to which if you look online, they go from anywhere $500 to 2500 . I have some artists signatures with a little quotes saying how thankful they work for Peter assisting them with his great mind for music. Any help would be greatly appreciated at this time .

Walter Davis Jr., Davis Cup, Blue Note 4018. This looks to be an original pressing listed in M- condition for both the record and the cover. The auction closes later today and so far there are no bidders at a start price of about $750. I would expect this one to sell, wouldn’t you?

This seller has a lot of nice items on eBay this week, including Art Blakey, A Night at Birdland Volume 2, Blue Note 1522. This looks to be an original Lexington Avenue pressing in M- condition for the record and VG+ for the cover. The start price is $350 with no bidders so far. There is also a buy-it-now price of $700.

Here are a couple more Blue Notes that sold over the weekend:

Dexter Gordon, A Swingin’Affair, Blue Note 4133. This was an original mono pressing listed in M- condition for the record and the cover. It sold for $498.89.

From the same seller there was Sonny Rollins, Newk’s Time, Blue Note 4001. This was also an original pressing in M- condition for the record and the cover. It sold for $673.89.