ATTN Blue Note LP Collectors: What Got You First Interested??

Randy Darrah

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Aug 15, 1996, 3:00:00 AM8/15/96

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Here is the first of my questions concerning record
collecting,specifically Blue Note LPs.

There seems to be a world-wide demand for Blue Note LPs. However, as
much as I look through records, I cannot find any at all. I realize that
Blue Note artists were from the NYC area (for the most part) and rarely
played outside that area, thus limiting their exposure to the rest of the
country. As a result of this, BN LPs did not sell in even modest
quantities outside of the East Coast. I can attest to their rarity from
the fact that I do not see any, in any condition, at all. But this is
not my question.

I am interested in finding out WHY you are seeking out these long lost
and hard to find LPs? Also, WHEN did you first become interested in BN
jazz?

Did your Dad play them for you when you were young, thus making you
search for the sounds you heard as a child? This is a very common reason
that collectors give, including myself.

Did you expose yourself to this music on your own? Were you old enough
at the time these LPs were "current" thus able to buy something new and
different and taking a chance you may or may not like it?

Do you collect them just because they are rare records and not so much
for the musical content?

I am curious because the demand for these LPs today seems to be much
greater than when they could be had brand new for $4.98. I am not a
collector of BN LPs and I actually know very little about the music
itself. I would just like to know why everyone is now looking for these
LPs. For the music or for the rarity factor? Or for other reasons?

Thanks in advance for your time and input.

Randy

PS: The same questions can be asked for Prestige and other 50s jazz
labels in big demand today. What is drawing so many people to this
material these days?

Culbert B. Laney

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Aug 16, 1996, 3:00:00 AM8/16/96

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Lots of good questions. Even though I am far from an LP
collector, let me try to provide some answers.

In article <4v0b40$n...@taco.cc.ncsu.edu>, Randy Darrah
{ rlda...@unity.ncsu.edu> writes:

|> Here is the first of my questions concerning record

|> collecting, specifically Blue Note LPs.

|>
|> There seems to be a world-wide demand for Blue Note LPs. However, as
|> much as I look through records, I cannot find any at all. I realize that
|> Blue Note artists were from the NYC area (for the most part) and rarely
|> played outside that area, thus limiting their exposure to the rest of the
|> country. As a result of this, BN LPs did not sell in even modest
|> quantities outside of the East Coast. I can attest to their rarity from
|> the fact that I do not see any, in any condition, at all.

This is exactly the reason I gave up record collecting ... most
used record stores have 20 copies of Elton John LPs or fusion
LPs from the 1970s, but very little vintage jazz, except for
cheap late-70s or early-80s reissue pressings.

|> But this is not my question.
|>
|> I am interested in finding out WHY you are seeking out these long lost
|> and hard to find LPs?

People have various reasons including:

*Sound quality. Very often the original LPs sound much better
than the CD reissues, either because the master tapes have
degraded over the years, or because the CD reissue was
botched in some way, or, and this is debatable but believed by
some, good LPs played on a really good turntable usually
sound better than even the best CDs.

*Cover art. The tiny CD booklets simply cannot compare with
the lush thick full-size cardboard sleeves of many vintage LPs.
Also, many CD reissues substitute cheesy new cover art for
the original cover art; even when the original cover art was
not too good, the new cover art meant to give the CD a more
"modern" appeal is almost never even that good. Sometimes the
original LP has a fancy foldout cover or a booklet that
the CD does not or cannot reproduce.

*Collectibility. Original or early pressings often become
collectors items. Just like first printings of books, people
often value the originals even when they offer no particular
advantages over subsequent reissues. In the case of LPs,
the first pressings often sound better than subsequent
pressings, sometimes dramatically so, if for no other reason
than that the first pressing usually receives more careful
treatment.

*Out-of-print. Some albums are not available on CD and
may _never_ be available again.

|> Also, WHEN did you first become interested in BN jazz?

Around 1988.

|> Did your Dad play them for you when you were young, thus making you
|> search for the sounds you heard as a child? This is a very common reason
|> that collectors give, including myself.

No. My dad had a few records --- honkey tonk piano, Little
Richard, etc. --- which my mother let me stomp on for fun
as a toddler, which story my father never tires of recounting.
My family picked up other records during my childhood years,
including, bullfight music, Stauss Waltzes, Puff the Magic Dragon,
soundtrack to Paint Your Wagon, and so forth. No jazz.
In fact, the first time I remember hearing jazz was as
a child. I remember distinctly watching a film strip,
probably in 5th grade, in which they showed a clip of
a "jazz" band; I thought "wow, jazz really stinks, I'm
_never_ going to listen to jazz." In restrospect, I
realize it was probably some sort of early-70s funky
fusion pop-jazz band, which I still hate.

|> Did you expose yourself to this music on your own?

Yes.

|> Were you old enough at the time these LPs were "current"
|> thus able to buy something new and different and taking a
|> chance you may or may not like it?

No. In my 20's, I got tired of alternative rock and just
figured, for no particular reason, that jazz had to be
better. I bought a copy of the Rolling Stone Guide to
Jazz Records, made up a list, and started buying.
My best early purchases included Thelonius Monk "Monk's
Dream" on Columbia, Art Blakey's "Moanin'" on Blue
Note, Eric Dolphy's "Out to Lunch" on Blue Note,
and a Blue Note compliation that led me to buy a lot
of other Blue Note albums. I also bought a number of things
which did nothing for me, including some Columbia compliations
and the Smithsonian collection (sorry). Overall, though,
by sticking mainly with classic reissues, I had a high enough
success rate to keep me interested.

|> Do you collect them just because they are rare records and not so much
|> for the musical content?

I tried, I really tried, to collect LPs. I found a couple or
original Impulse! LPs, but nothing special. At the time,
even the Liberty reissues of Blue Note LPs were selling for
$20, when you could find them, and that was not even anything
near mint condition. If you live in a big city like New York,
or know enough to do mail order, that's another thing.
Otherwise, you just have to be lucky to live near a store
that looks for good stuff, and does not price it into the
stratosphere; that, in my experience, is extremely rare

|> PS: The same questions can be asked for Prestige and other 50s jazz
|> labels in big demand today. What is drawing so many people to this
|> material these days?

As far as the music goes, I think at least part of it is
the "live in studio" recording technique that was used,
of necessity, until the late 1960's. In the old days, it
might take a few hours to record an ordinary small group
jazz album, not including rehearsal time; these days,
it might takes days, or weeks, or months. Also, I think
the simpler recording styles suit jazz much better than
today's processed pop-rock-derived recording styles (in
fact, I think the simpler recording styles and live-in-the-
studio playing was much better for rock, as well as jazz,
but that's another story, as well as a sort of long
time theme for me when it comes to music, predating
my interest in jazz by many years).

While the market for pre-1970s jazz has never been huge,
it does seem to be growing faster than the general population.
When you consider that most of the original albums sold
in the thousands --- tens of thousands was extraordinary --- its
not hard to understand why these have become rare and valuable
collectors items. For me, having exhausted most of the
obvious choices, t is usually enough of a challange
finding what I want on CD. If I had started collecting
earlier, and had a good depth of quality jazz LPs, I might
have stuck with LP, but as it was...

Bert

Kurt Nordwell P500

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Aug 16, 1996, 3:00:00 AM8/16/96

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I can tell that you are from the triangle area. Check out Roots in Carrboro.
The owner is extremely helpful and can probably answer any question you might
have. He sells alot of jazz vinyl.

A very satisfied unafiliated customer,

Kurt

Brian Sullivan

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Aug 17, 1996, 3:00:00 AM8/17/96

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Hey, I'm just a jazz-fan with a limited collection, but I will answer
your question from my perspective:

Reason (1): The Reid Miles album cover designs. He had an approach to
cover design that I just didn’t see elsewhere--brilliant IMO. It may
sound a bit strange, but I’ve purchased many BN’s due to his designs.

Reason (2): The music of course...simply the best. Although I’m
still in the process of building my jazz collection---currently under
300 pieces...a minor fraction of some of the other poster’s
collections---but I would say that the BN’s represent my most highly
prized albums. I don’t know...it just seems to me that the music
contained on those records is somehow immortal, if that makes any
sense. Even though the recording quality may not have been the
greatest, I’ve yet to hear any current works that reach those levels.

Oh yeah, my dad also played them a lot back in the day.

-Brian

HAROON

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Aug 18, 1996, 3:00:00 AM8/18/96

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In article <4v0b40$n...@taco.cc.ncsu.edu>, Randy Darrah <rlda...@unity.ncsu.edu> writes:
>Here is the first of my questions concerning record

>collecting,specifically Blue Note LPs.

>
>There seems to be a world-wide demand for Blue Note LPs. However, as
>much as I look through records, I cannot find any at all. I realize that
>Blue Note artists were from the NYC area (for the most part) and rarely
>played outside that area, thus limiting their exposure to the rest of the
>country. As a result of this, BN LPs did not sell in even modest
>quantities outside of the East Coast. I can attest to their rarity from

>the fact that I do not see any, in any condition, at all. But this is

>not my question.
>
>I am interested in finding out WHY you are seeking out these long lost

>and hard to find LPs? Also, WHEN did you first become interested in BN
>jazz?
>

I first started buying Blue Note LP's just to find samples for
Hip-Hop work. I would read the backs of some of my favorite artists and
see maybe "Contains sample of 'Wind Parade' by Donald Byrd" and then go
seek out that sample. In a couple weeks it became a little more then
just hunting for samples, I started buying alblums just to listen to,
even if it had not one once of sample friendly material.

>Did your Dad play them for you when you were young, thus making you
>search for the sounds you heard as a child? This is a very common reason
>that collectors give, including myself.
>

Nope

>Did you expose yourself to this music on your own? Were you old enough

>at the time these LPs were "current" thus able to buy something new and
>different and taking a chance you may or may not like it?
>

I'm 16 now . . so yes I exposed myself to the music on my own
in about 93.

>Do you collect them just because they are rare records and not so much
>for the musical content?
>

>I am curious because the demand for these LPs today seems to be much
>greater than when they could be had brand new for $4.98. I am not a
>collector of BN LPs and I actually know very little about the music
>itself. I would just like to know why everyone is now looking for these
>LPs. For the music or for the rarity factor? Or for other reasons?
>
>Thanks in advance for your time and input.
>
>Randy
>
>

The demand is going up because of Hip-Hop music . . young kids
want to hear where their favorite producer/DJ molded his tracks from.

>PS: The same questions can be asked for Prestige and other 50s jazz
>labels in big demand today. What is drawing so many people to this
>material these days?
>
>

/------------------------------------------------------------------------\
| Haroon Ali (The Supreme Kool Dj Foul Child) |
|------------------------------------------------------------------------|
| E-Mail TR...@Oak.Grove.IUP.EDU WWW Http://www.iup.edu/~trkd/ |
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Geoff Gray

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Aug 19, 1996, 3:00:00 AM8/19/96

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Brief thoughts (and perspective) on finding LPs in general, and
Blue Notes specifically...

In article <4v0b40$n...@taco.cc.ncsu.edu>, Randy Darrah <rlda...@unity.ncsu.edu>

asks:

>Here is the first of my questions concerning record
>collecting,specifically Blue Note LPs.
>
>There seems to be a world-wide demand for Blue Note LPs. However, as
>much as I look through records, I cannot find any at all. I realize that
>Blue Note artists were from the NYC area (for the most part) and rarely
>played outside that area, thus limiting their exposure to the rest of the
>country. As a result of this, BN LPs did not sell in even modest
>quantities outside of the East Coast. I can attest to their rarity from
>the fact that I do not see any, in any condition, at all. But this is
>not my question.

One of the things a veteran collector quickly learns, is that "timing is
everything" in finding records. I've seen used BNs for sale all over the
US, at a variety of prices. The challenge, of course, is finding the items
you want at a price you're willing to pay, yet not later kicking yourself
for paying too much, or lamenting "the one that got away". Some BNs _are_
rarer than others; however, I'd say your statement above is based more
on your limited experience rather than actual BN LP sales "patterns" per
se. Plus, with the various numbers of BN re-issues over the years from
various countries (which I posted fairly lengthily about earlier this year),
one's chances of finding BN _music_ has improved, if not the perfect-con-
dition, first-edition pressings prized by some.

>I am interested in finding out WHY you are seeking out these long lost
>and hard to find LPs? Also, WHEN did you first become interested in BN
>jazz?

I've been interested in LPs since I was a wee lad; bought my first 45
at age 7 or 8, and my first LP (not a BN!) soon after. I'm 35 now, so
that's 25+ years of collecting.

There are a good variety of reasons to collect music generally,
whether on LP or other media; as I'm sure you know, BN holds a
special place in jazz history for its recordings, the artists recorded,
and the quality of its releases' presentation. While the Rudy van
Gelder recording technique may not be universally lauded, nor may
everyone love the Reid Miles/Francis Wolff LP cover graphics/photos, both
are distinctive and well-known worldwide.

And of course, there is the music itself, from styles ranging from
"swing" (Bechet) to "avant-garde" (Coleman).

>
>Did your Dad play them for you when you were young, thus making you
>search for the sounds you heard as a child? This is a very common reason
>that collectors give, including myself.

Not my father, but other relatives.

>I am curious because the demand for these LPs today seems to be much
>greater than when they could be had brand new for $4.98. I am not a
>collector of BN LPs and I actually know very little about the music
>itself. I would just like to know why everyone is now looking for these
>LPs. For the music or for the rarity factor? Or for other reasons?

Several additional reasons -

* There are more people interested in the music worldwide, including
younger listeners, whether to hear the original music, or to incorporate
it into newer genres (such as 'hip-hop' or other sampling)

* Newer musicians look to BN artists' styles as points of comparison,
as well as "springboards" for their own developments

* Some have reservations about the sound quality of different BN re-issues,
preferring the sound of the originals (such as monos) to later LP re-
issues or CD remasters. There are still listeners who prefer LPs to CDs,
for varying reasons

* Non-musical reasons, such as the covers, rarity of items, re-sale
value of rare items worldwide

>PS: The same questions can be asked for Prestige and other 50s jazz
>labels in big demand today. What is drawing so many people to this
>material these days?

Finally, there's sheer curiosity about the past, in comparison to
the present, musically and otherwise....

Regards, Geoff Gray, c/o IBM Corporation * Standard disclaimers apply.

Brad Richman

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Aug 19, 1996, 3:00:00 AM8/19/96

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Reading this thread has made me curious about a related topic. Of
course, most RMBers have extensive jazz collections, and we all have our
favorite records, but what were among the first you purchased?

I know I got into jazz about seven years ago when I arrived at college
(got my feet wet senior year in high school), and sifting through all the
newly reissued CDs was tough. I bought some duds, and some that are
still among my favorites.

So here are some of my earliest jazz purchases/discoveries:

Miles Davis - At the Blackhawk and Dave Brubeck - Carnegie Hall Concert
(taped from step-father's vinyl collection -- my first two, played many a
night driving around in high school. Must've thought I was one cool cat
at the time -- while friends would pop in Minor Threat, I was "the jazz
man"!?)

(First CDs:)

John Coltrane - Blue Train
Miles Davis - Kind of Blue
John Coltrane - Giant Steps
Art Blakey - Album of the Year (long gone)
Tony Williams - Spring (traded it in because it was too weird -- got it
again last year)
Jimmy Smith - The Sermon
Freddie Hubbard - Hub-Tones
Charles Mingus - Mingus Ah Um
Weather Report - Black Market and Heavy Weather (how many of you started
with fusion, come on admit it)

Well that's all I can think of. I'll be curious to see what others list.

-- Brad

Allen Welsh

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Aug 19, 1996, 3:00:00 AM8/19/96

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Brad Richman wrote:
>
> Reading this thread has made me curious about a related topic. Of
> course, most RMBers have extensive jazz collections, and we all have our
> favorite records, but what were among the first you purchased?

My first important jazz record was Prestige 7094, Cookin' with THE Miles
Davis Quintet. Got it back in the early 60s.

A couple of years ago, I hired somebody to make me a round, dining room table
top, black, with a replica of the PR 7094 label in the center. Best damned
dining room table I've ever seen. Helluva record too.

Dr. Don Koldon

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Aug 19, 1996, 3:00:00 AM8/19/96

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In article <4vad54$4...@news.cais.com>, Brad Richman <bric...@acca.org> wrote:

> Reading this thread has made me curious about a related topic. Of
> course, most RMBers have extensive jazz collections, and we all have our
> favorite records, but what were among the first you purchased?

Charles Mingus - The Clown - Atlantic
Don Cherry - Complete Communion - Blue Note
Eric Dolphy - Out to Lunch - Blue Note

Introduced to these three by a saxophonist I was playing with in an
"R'n'B"/soul band (remember those?), oh so very long ago!
--
DK

CLAY MOORE

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Aug 19, 1996, 3:00:00 AM8/19/96

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Brad Richman wrote:
>
> Reading this thread has made me curious about a related topic. Of
> course, most RMBers have extensive jazz collections, and we all have our
> favorite records, but what were among the first you purchased?
>

Brad,

I started getting into jazz back in about '73, when I was in high school. I don't
remember what my absolute first was, but I was just starting guitar and so I was looking
for guitar players at first. Here's a few I recall:
John McLaughlin Extrapolation
Larry Coryell Fairyland
Wes Montgomery Greatest Hits

However, the one that really kicked my butt and got me to practicing like my life
depended on it was Pat Martino Live!. I was never the same.

Clay in Austin

Hillary Brown

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Aug 19, 1996, 3:00:00 AM8/19/96

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In article <4vad54$4...@news.cais.com>, Brad Richman <bric...@acca.org> wrote:

> Reading this thread has made me curious about a related topic. Of
> course, most RMBers have extensive jazz collections, and we all have our
> favorite records, but what were among the first you purchased?

I started with the 1990 Broadway musical City of Angels and went from
there to Manhattan Transfer and New York Voices. After that, I discovered
Jon Hendricks, and from his singing I got interested in listening to the
instrumentals that inspired his vocalese.

Hillary

--
You say Carmina, and I say Carmine-a
You say Burah-na, and I say Burana
Carmina, Carmine-a, Burah-na, Burana
Let's Carl the whole thing Orff

Brian Sullivan

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Aug 20, 1996, 3:00:00 AM8/20/96

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Brad Richman <bric...@acca.org> wrote:

>Reading this thread has made me curious about a related topic. Of
>course, most RMBers have extensive jazz collections, and we all have our
>favorite records, but what were among the first you purchased?

>I know I got into jazz about seven years ago when I arrived at college

>(got my feet wet senior year in high school), and sifting through all the
>newly reissued CDs was tough. I bought some duds, and some that are
>still among my favorites.

>So here are some of my earliest jazz purchases/discoveries:

>Miles Davis - At the Blackhawk and Dave Brubeck - Carnegie Hall Concert
>(taped from step-father's vinyl collection -- my first two, played many a
>night driving around in high school. Must've thought I was one cool cat
>at the time -- while friends would pop in Minor Threat, I was "the jazz
>man"!?)

>(First CDs:)

>John Coltrane - Blue Train
>Miles Davis - Kind of Blue
>John Coltrane - Giant Steps
>Art Blakey - Album of the Year (long gone)
>Tony Williams - Spring (traded it in because it was too weird -- got it
>again last year)
>Jimmy Smith - The Sermon
>Freddie Hubbard - Hub-Tones
>Charles Mingus - Mingus Ah Um
>Weather Report - Black Market and Heavy Weather (how many of you started
>with fusion, come on admit it)

no problem, I basically started out with fusion--still about 60% of
what I have now--and I remember my first jazz purchases being as
follows:

Donald Byrd - "Places and Spaces" & " Black Byrd"
Herbie Hancock - "Head Hunters"
John Coltrane - "A Love Supreme"
Bob James - "Bob James 111"
Miles Davis - "Bitches Brew" & "In A Silent Way"

About three years ago I began to get some of the older stuff like the
ones you mentioned above like "Kind of Blue, " "Giant Steps,"etc. Now
I'm hooked. I'm still discovering alot of the hard & post bop stuff
now. Oh BTW, I picked up quite a few of your suggestions from a while
back. Thanks!

-Brian

James Pritchett

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Aug 20, 1996, 3:00:00 AM8/20/96

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Brad Richman (bric...@acca.org) wrote:
: Reading this thread has made me curious about a related topic. Of
: course, most RMBers have extensive jazz collections, and we all have our
: favorite records, but what were among the first you purchased?

First jazz recordings purchased about '72 (on Lp of course)

1) Miles Davis Kind of Blue

2) Duke Ellington Indigos

3) Wes Montgomery Full House (Live at Tsubos)

4) Mahavishnu Orchestra The Inner Mounting Flame

5) Eberhard Weber The Colours of Chloe

and I still love (& listen to) all of them...

--

/ l l l \

Jp
pja...@gwis2.circ.gwu.edu

DRick47540

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Aug 20, 1996, 3:00:00 AM8/20/96

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The jazz CD that got me first hooked was Dave Brubeck's "Time Out",
although I'm not as enchanted with it as I once was. Memorable early
purchases include:

Miles Davis "Round About Midnight"
Charles Mingus "Mingus Ah Um"
John Coltrane "Giant Steps"

Miles Davis "Kind of Blue"

I feel the need to mention that before I bought any of these I was lent a
copy of "Bitches Brew" and was fascinated by it.

Just to piss off the people who think this group talks too much about Blue
Note, my first Blue Note was Wayne Shorter's "Adam's Apple".

Dave

Joseph Zitt

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Aug 20, 1996, 3:00:00 AM8/20/96

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Brad Richman wrote:
>
> Reading this thread has made me curious about a related topic. Of
> course, most RMBers have extensive jazz collections, and we all have our
> favorite records, but what were among the first you purchased?

The first I recall getting were:

James Blood Ulmer: Tales of Captain Black
Art Ensemble of Chicago: Urban Bushmen
Music for 1000 Musicians (or something like that -- an ECM compilation)
Ornette Coleman: Dancing in your Head
Cecil Taylor: Unit Structures

... and then I got into the hard stuff :-)

Message has been deleted

Dale Smoak

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Aug 20, 1996, 3:00:00 AM8/20/96

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My theatre teacher in high school sent me home from a cast party with seven
LPs by trumpet players. He knew I played trumpet in the band. I don't
remember what some of the records were, but at least one of them was by
Jonah Jones, and there were also two Miles Davis albums: _Sketches of
Spain_ and _Friday and Saturday Nights at the Blackhawk_.

I bought Freddie Hubbard's _Windjammer_ and Chuck Mangione's _Chase the
Clouds Away_ as new releases, but got bored with them quickly.

I also got Roscoe Mitchell's _Nonaah_ and Anthony Braxton's _Creative
Orchestra Music 1976_ as new releases--they were probably among the first
ten records I bought--and found them considerably more interesting than the
Hubbard and Mangione albums.

After that, I chased Davis, Coltrane, Mingus, Charlie Parker, Gillespie,
and the Art Ensemble, and have pretty much taken it from there for the past
twenty years.

--
Dale Smoak | da...@shore.net
| http://www.shore.net/~dales/

Steve Schwartz

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Aug 21, 1996, 3:00:00 AM8/21/96

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In 1957, while a teenager living in Los Angeles I heard a record on the radio. Jazz
Showcase Introducing : The Mastersounds. This was the West Coast's answer to the
MJQ. Monk Montgomery, Fender electric bass; Buddy Montgomery, vibes; Richie
Crabtree, piano and Benny Barth, drums. It was on World Pacific. That was my first
LP. I still own it.
Then I remember hearing a Willis "Gator Tail" Jackson record on the air, probably
KNOB-FM out of Long Beach. I walked into one the many record shops along Adams
Blvd to purchase it and when I walked in the door something else hit me up side the
head. I asked the clerk, "What is THAT?". I turned out to be "Blues And Roots" by
Charles Mingus. I bought them both.
Soon after, in the bins at my local White Front store I spied an LP with some guy
holdong a white plastic alto saxophone. I was really on my way!

Always know,

Steve

gran...@grove.ufl.edu

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Aug 21, 1996, 3:00:00 AM8/21/96

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On 15 Aug 1996, Randy Darrah wrote:

> There seems to be a world-wide demand for Blue Note LPs. However, as
> much as I look through records, I cannot find any at all.

Well, they are out there if you look hard enough. Over the weekend, I
finally got my first original Blue Note albums: Wayne Shorter's _Super
Nova_ and _Lee Morgan_. Granted, it took years for me to find an original
Blue Note, but they can be found.

> I am interested in finding out WHY you are seeking out these long lost
> and hard to find LPs?

I can't speak for anyone else, but I am interested in Blue Note products
because, in my opinion, they are simply the best and most consistent jazz
label of all time. I think it's quite possible that from 1960-75 they only
released a handful of bad records, and I can't name what those would have
been (I only say this because I know a label can't be perfect, but I've
never heard a bad Blue Note [recent stuff like US3 does not count]).

This is slightly off-topic, but I have a problem with "collectors" who buy
stuff by people they don't even like or know, and then try to resell it at
amazingly high prices. To me, that mentality goes against the nature of
music, in that it is to be shared with everyone and not hoarded by greedy
people. To me, that purposely keeps people from getting exposed to new
artists. I have seen people selling albums for as high as $80, and I think
that it outrageous. I enjoy vinyl because of its different (I won't say
better) sound quality from cd and beacuse of the larger artwork, but I
will not pay more than $10 for an album. Any more than that, and you might
as well buy the cd and at least ensure the artist is getting some
royalties. In all the talk about how great vinyl is, it seems nobody
mentions that when you buy wax, the only person getting paid from it is
the person selling the record.

> Also, WHEN did you first become interested in BN jazz?

I first got semi-serious into jazz 3 years ago, when I took a History of
Jazz class. Up to that point, I had always wanted to know more about jazz,
but being from Nashville, it was sort of hard to find stuff. Although that
class just covered the basics (Miles, bebop, etc), it did increase my
desire to get more knowledgable about the music. So I started reading
books and magazines relating to jazz, and most importantly, I started
buying jazz records (or CDs). I quickly realized that almost anything on
Blue Note sounded good to me, so BN immediately became one of my favorite
labels.

Anthony

Gary Croisatiere

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Aug 21, 1996, 3:00:00 AM8/21/96

to

In article <koldon19-190...@ppp241.starnetinc.com>,
kold...@ally.ios.com (Dr. Don Koldon) wrote:

>>In article <4vad54$4...@news.cais.com>, Brad Richman <bric...@acca.org> wrote:
>>
>>> Reading this thread has made me curious about a related topic. Of
>>> course, most RMBers have extensive jazz collections, and we all have our
>>> favorite records, but what were among the first you purchased?

Sun Ra - Nothing Is
Miles Davis - Collectors Items
Coltrane - The Atlantic Years
T. Monk - Underground
C.Mingus - The Atlantic Years

Miles Davis was on 8 track tape, all the rest LP's.

Gary
--
Triangle Music / "The Blues Source"
>>>>>>> World-wide blues mail order service <<<<<<
tri...@newnorth.net / Phone-fax 715-479-6615

MSBeller

unread,

Aug 21, 1996, 3:00:00 AM8/21/96

to

When I was about 14-15, I spent a summer in NYC working for my hip, film
producer uncle. He had a cool record collection. When I left at the end
of the summer, I stuffed some into my bag, including a few jazz LPs along
with the Rolling Stones and Santana. I took the jazz LPs more out of
curiosity and thought the covers were really cool.

Well, those LPs were Dexter Gordon's "Tower of Power", Coltrane's "Love
Supreme", and Rollin's Prestige side with Thelonious Monk. I don't know
if I "got it" really at first, but let's just say I kept coming back to
them over and over again through the years until gradually jazz took over
my listening life. Nearly 20 years later I am a jazz addict.

When my uncle found out I had them a few years back, he nearly tore my
head off. I guess he thought they had just vanished some how in one of his
moves or something. But when he flipped through the jazz record
collection I had amassed, and recognized my love for the music... he
understood. However, he still took his records back, the bastard :-)

Cool uncle, huh?

- Mike Beller
msbe...@aol.com

Marc Sabatella

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Aug 21, 1996, 3:00:00 AM8/21/96

to

> what were among the first you purchased?

I was introduced to jazz through albums that belonged to friends and/or my high
school band director, including Maynard Ferguson's "Chameleon" and the "M.F.
Horn" series, as well as Spyro Gyra's "Morning Dance" and Chuck Mangione's
"Feels So Good" (phooey on those who say Kenny G will never introduce anyone to
"real" jazz). Also, the Pablo Basie albums. I listened to a big band station,
and developed a major fascination with Harry James. I still am pretty sure
that "Ultra" was majorly cool, even though I haven't heard it in ages. Anyone
know were I can find a recording of this?

My father had "Workin' With The Miles Davis Quintet" which I thought sucked.
He also had an album that attempted to present a historical persepctive of
jazz; this was probably made around 1950 or so and featured Billie Holiday,
Lester Young, and one cut ("I Can't Get Started") by Diz. I didn't listen to
this one much either. The one recording of my father's that I did listen to
was by an incredibly (technically) gifted and apparently obscure lounge pianist
named Bob Allen - anyone know anything about him? My father picked it up while
traveling on business at the hotel Bob was playing at.

The first jazz album I ever bought, probably around my senior year of high
school, was a live recording of Oscar Peterson at the Newport festival in the
1950's, playing with his trio (Ray Brown, Herb Ellis), and guests Roy Eldridge,
Sonny Stitt, and Jo Jones. The album title was some unwieldy attempt to
describe the event in few enough words to fit on the spine.

I think I was given Dave Brubeck's "Time Out" as a gift, but I'm not sure if
it was before or after the OP I bought.

I think that soon after that, I bought a Brubeck album, either "Jazz: Red Hot
And Cool" or a two-fer of early recordings that I think was called "Stardust".

Then there were a couple of Doc Severinsen albums. I played those to death.
Especially "Rhapsody For Now", with the killer versions of "My Love" and "The
Look Of Love".

This was just about when CD's were first coming out, but my first couple of
dozen recordings were all LP. My first CD was Jon Faddis' "Legacy". I had a
collection of ten or so CD's before I got around to buying a player. Come to
think of it, though, I didn't own a turntable until even later. Mostly, I
taped my purchases using friend's equipment (and kept the LP, of course;
nothing unethical here).

In one way, I'm envious of those of you who jumped right in with the classics,
but in other way, I'm not.

--
Marc Sabatella
--
ma...@fc.hp.com
http://www.fortnet.org/~marc/
--
All opinions expressed herein are my personal ones
and do not necessarily reflect those of HP or anyone else.

James Pritchett

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Aug 22, 1996, 3:00:00 AM8/22/96

to

gran...@grove.ufl.edu wrote:

: On 15 Aug 1996, Randy Darrah wrote:

:... will not pay more than $10 for an album. Any more than that, and you

might : as well buy the cd and at least ensure the artist is getting some
: royalties. In all the talk about how great vinyl is, it seems nobody
: mentions that when you buy wax, the only person getting paid from it is
: the person selling the record.

This sort of bothers me, in that the vast majority of pieces I buy are
used and my fave artists are getting 0 for my love of their music. I always
rag on bootleg buyers for the same reason. But I DO buy new vinyl when
it is available (notice the Columbia return to ANALOG vinyl recently)
and sure bought my share of the Blue Note Connoisuer series and Impulse!
when they came out. I have not found one cd that sounds near as good as
the same vinyl, so I only get cd's that I can't find on Lp. Perhaps us
used buyers should set aside 5% or so and send to the artists (or
their estates) to indicate our support for them. Any thoughts on this??

gran...@grove.ufl.edu

unread,

Aug 23, 1996, 3:00:00 AM8/23/96

to

On 22 Aug 1996, James Pritchett wrote:

>Perhaps us used buyers should set aside 5% or so and send to the artists (or
> their estates) to indicate our support for them. Any thoughts on this??

This would be cool...except for the fact that I'd have no idea where to
send money to. I know there are organizations for musicians that have
become down on their luck, but is there somewhere for people to send
donations to express our love for their music?

Anthony

Lew Green

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Aug 23, 1996, 3:00:00 AM8/23/96

to

>PS: The same questions can be asked for Prestige and other 50s jazz
>labels in big demand today. What is drawing so many people to this
>material these days?

The music.

host

unread,

Aug 24, 1996, 3:00:00 AM8/24/96

to

>>>In article <4vad54$4...@news.cais.com>, Brad Richman <bric...@acca.org> wrote:
>>>
>>>> Reading this thread has made me curious about a related topic. Of
>>>> course, most RMBers have extensive jazz collections, and we all have our

>>>> favorite records, but what were among the first you purchased?

I use to go to the Sunday shows at the Filmore Auditorium in San Francisco - in 1966 Bill Graham
booked the Charles Lloyd Quartet which included Keith Jarrett and Jack DeJohnette (I don't
remember the bass player) - the music amazed me. I bought Lloyd's Dream Weaver and Discovery LPs
the next week. It was jazz from then on.

Best, Kent Bray

JFR

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Aug 25, 1996, 3:00:00 AM8/25/96

to

My first jazz experiences sound a lot like Clay's:

1975 From Genesis and Pink Floyd into experiments with
Inner Mounting Flame - Mahavishnu and Romantic Warrior - RTF

1976 I was taking guitar lessons from a guy that was heavily into Wes
and Pat Martino and this led to Martino's "Conciousness" and "The
Visit", then Wes stuff, then Coltrane stuff, then the rock and pop
stuff was history for me. Then all of my extra time and money was into
learning jazz guitar and collecting jazz records and nurturing these
obsessions.....and kinda still is....

JFR

In <32192B...@ix.netcom.com> CLAY MOORE <cmo...@ix.netcom.com>
writes:

>
>Brad Richman wrote:
>>
>> Reading this thread has made me curious about a related topic. Of
>> course, most RMBers have extensive jazz collections, and we all have
our
>> favorite records, but what were among the first you purchased?
>>
>

scooter

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Aug 26, 1996, 3:00:00 AM8/26/96

to

In article <4vad54$4...@news.cais.com>, bric...@acca.org says...

>
>Reading this thread has made me curious about a related topic. Of
>course, most RMBers have extensive jazz collections, and we all have our
>favorite records, but what were among the first you purchased?

I was introduced to instrumental music at an early age -- my bro is a
professional trumpet player in the Phoenix area. He listened to many things
-- jazz, of course, but also turned me onto people like Rafael Mendez, the
great classical trumpet player (heard he did ONE jazz album -- would pay
dearly to hear it...). My brother took me to my first jazz concert -- Maynard
Ferguson. I was about 12 or 13 years old. The year was 1972-73 (can't
remember...)

Among the first albums I bought...

MF Horn 1-5 (Yeah, the concert did it to me...)
Quincy Jones - Smackwater Jack
Chuck Mangione - (The quartet album with the cover of Chuck sitting on a
folding chair -- this should be reissued...)
Miles - Sketches Of Spain
Diz - Groovin' High
Wynton Kelley - Smokin' At The Half Note
Bobby Bryant - Swahili Strut (A BB album with studio players from LA --
probably never to see the light of day again <sigh>...)
Chick Corea - Light As A Feather
George Benson - White Rabbit
Freddie Hubbard - Red Clay, Straight Life, Sky Dive & First Light -- and an
Atlantic anthology...
Woody Herman - Heavy Exposure
Bill Watrous - Manhattan Wildlife Refuge & Tiger Of San Pedro (c'mon Sony --
get off yer butt and release these on CD...)
Randy Weston - Blue Moses (read note to Sony above...)

Well, I shared <g>. Now I'm depressed 'cause I remembered some good music (at
the time) that I can't listen to now. <sigh>. Feels like Mingus time to
me...

Lew Green

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Aug 26, 1996, 3:00:00 AM8/26/96

to

l...@primenet.com (Lew Green) wrote:

>The music.

Well... on reflection, there is a second answer:

The money.

Some of these are worth a lot, and dealers scramble like crazy for them, and to
snap up collections. Many dealers also have "scroungers" who seach for them.
I would estimate that in urban areas, at least 50% of the collectible pieces
that do turn up individually in stores are immedietely bought by mail-order
dealers or thier scouts... In the case of something like record surplus in LA --
closer to 80%... So this does feed the phenomenon.

And some collectors, the other big driving force is of course: The Sound.

Lew

Heino Nicolaisen

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Aug 26, 1996, 3:00:00 AM8/26/96

to

I´m looking for the record "Priestess" by Gill Evans.
Who knows anything about it ( where is it to buy?).
Thanks!!

e-mail Heino.Ni...@t-online.de

Lew Green

unread,

Aug 27, 1996, 3:00:00 AM8/27/96

to

<gran...@grove.ufl.edu> wrote:

>I can't speak for anyone else, but I am interested in Blue Note products
>because, in my opinion, they are simply the best and most consistent jazz
>label of all time.

Gosh, where were you when we needed you a while back! You missed that thread...

>This is slightly off-topic, but I have a problem with "collectors" who buy
>stuff by people they don't even like or know, and then try to resell it at
>amazingly high prices.

They are not collectors. They are dealers. But not all are this mercenary
(some yes, yich, wretch)... Some dealers became such in "self-defense"...
they are ardent jazz-a-holics, vinyl lovers, and also compulsive completist
collectors... but not being rich they could not afford to amass a superlative
collection. So they became dealers in order to do so. Armand Lewis comes
to mind in this regard. And then there is my friend Tom Burns. Tom loves this
music and has dedicated his life to it, even subsidizing a jazz record label
(Capri) with his modest income selling "rare" jazz LPs. I have personally seen
Tom pay an extra-ordinary amount of money for a mega-rare jazz LP (often to a
collector or musician) where he stands to make a miniscule mark-up.

>To me, that mentality goes against the nature of
>music, in that it is to be shared with everyone and not hoarded by greedy
>people.

Well, this would be nice in Shangri-la, but it was a business back then, and is
a business now. And most performers want to make good money and deserve to...

>To me, that purposely keeps people from getting exposed to new
>artists.

I don't understand this... Does the previous reference to theoretical hoarding
by greedy people keep others from discovering _today's_ new artists -- or the
old ones? New artists are on CD... this has _no_ effect on it at all... other
than record collecting probably turns more new people on to jazz as a genre,
and may lead to increased sales for new artists. Does it keep people from
discovering the older (vinyl, 50's-70's) artists? How? Because they are
"hoarding" all the copies of the LPs? And you said _purposely_... A
conspiracy? "Let's not let more people discover how great BN's are -- so we
can hog all the LPs?" That's just not true...

>I have seen people selling albums for as high as $80, and I think
>that it outrageous.

Well, I spent $1800 each for my tonearm and cartridge... is that outrageous?
It was a luxury, yes... and my previous ones were about a third of that... but I
had the cash at the time, and I could hear a difference... and at the time I
seriously listened to 2-3 hours of music per night... And I'm in showbiz, and I
pull up at fancy restaurants in a pick-up truck, not a BMW... to me $50,000
cars are "outrageous"... but I can understand it...

As far as $80 albums... that's very moderate -- depending which ones. First
off, I can't help some yahoo putting an $80 price tag on a common LP, worth
$8... I can only defend true collectible jazz LPs. In real jazz collecting...
I'll use your years, most BN's from 1960-61 go for $50 to $150 each, for the
mono first pressing in _true_ near-mint condition, both LP and cover. Do you
know how rare it is to find the art work perfectly preserved? No tape, no
writing on the cover, no split seams or ringwear? Much of the collector value
is for the cover/art... And one can get "the music" for much less, buying a
decent first pressing LP in not-so-great cover. Or a stereo copy. Next comes
the "NY, usa" Blue Notes 1962-65ish... These are generally $30-60 mono NM, a bit
less for stereo. And a few tougher titles like Mobley's "Workout" and such go
for $100 easy... Next come the Liberty's (8)4251 onward... and these go for
$10-30 for the earlier ones... and easily below $10 an LP for the later. The
Wayne Shorter Super Nova you mentioned, is easily available in used LP store
bins in major cities for under $10... These mid 70's BN's sold more than the
older ones, and many are around.

Now, these prices (vary from place to place, higher in high rent/cost towns like
NY and SF) ... These prices are for the _first_ pressing only! There are second
pressing, thirds, fourth and fifths! All at increasingly lower prices on 90% of
these issues! If one culls the bins in almost any major city... And is willing
to take any clean vinyl reissue of a blue note: Blue labels, UA, DMM's... One
could easily amass a good collection of BN titles and average around $10 each.
Even more complete if you average around $12-15... This is not outrageous,
comparable to CD, and many of the titles are not yet out on CD... And the
Japanese CD's are $20 ot $25 (due to currency problems)... So again, this is
not outrageous. On top of this, many of these titles are available on CD, or
from Mosaic, and more will continue to be... So how does the few first pressings
going for collectible prices keep people from being exposed to the music?
In fact everytime I learned about a really rare/expensive jazz LP... (a $500 one
more so than an $80 one)... I'd run out an buy the cd, or a re-issue, just to
hear the music, and see what the fuss was about. Also, the almost the entire
BN catalog, has been systematically been reissued in Japan for the last 18 years
or so... On lovely vinyl issues, with nice reproductions of the original cover
art. These used to be $15-18, but are up to $35, due to the currency
imbalance... but that's not the fault of greedy record hoarders. And used
copies of these are often available.

>I enjoy vinyl because of its different (I won't say
>better) sound quality from cd and beacuse of the larger artwork,

Aha! And for some people it's worth a premium. You have people wanting the
originals who _do_ vastly prefer the sound (including me)... You have people
wanting to hear the mono mixes (including me, but not all record collectors)...
You have compulsive compleatist collectors (not me) who would be on stamps or
coins if they didn't love jazz... And you have people in Asia and Europe
collecting our jazz records (as I'm now collecting thiers)... And why not? How
many of our favorites artists would have starved without their love for jazz in
the 60's and in fact to this day? I live in tiny Cambria, CA, and so does Red
Holloway, but he has to go to Europe 6 months of the year to make a living.
So anyway, you have all these people wanting the originals... And there are so
few... (but there are plenty of reissues to around... the music is _not_ being
hoarded!)

>but I

>will not pay more than $10 for an album.

Well, if your on a budget that's understandable. But if your a rich guy, then
sorry, IMO your being cheap (for I realize, noble, idealistic, semi-socailist
values)... Let's take Tommy Flannagan "Overseas" on Prestige. According to
Tom Burns only 300 copies were pressed, half promos. How many near-mint ones
have survived? 10%? How many of those have really near perfect covers? 10?
This is an LP that one copy every two years turns up! I'd gladly pay $500 for
one... maybe more for the one with the perfect cover... Now, should this copy
be no more than $10? Who gets it? You? Is this fair to the selling collector
who bought it and preserved it for 40 years, while most others thrashed their
copies... Should that seller or his widow only get $10? What if it's a
musician selling his LPs? What if it's the musician who recorded it?

Is the music available... yes... There's a Japanese vinyl issue (I have) and I
think CD as well... The record is actually not much in demand musically, and I
think fantasy/OJC hasn't bothered to stock it... but they could anytime at $9.99

I may be buying some LPs from the original collection of a musician who's super
dedicated but went into teaching. He played his LPs only once to tape them,
perfectly preserved them for 30 years... Has dedicated his life to jazz and is a
working guy. Now should he sell 50 of his let's say medium-rarity records to
you at $10 each... or to me at $80 each? Or to a store for 50cents so they can
afford to re-sell them for "no more than $10"... Which would be more fair?

>Any more than that, and you might
>as well buy the cd and at least ensure the artist is getting some
>royalties.

This is not acurate... and I'm living on royalties right now, so believe me I am
sensitive to the subject. Okay first off... the "valuable" jazz LPs, are 97%
from the 1950's and early 1960's... According to several threads here in the
past, and my own research... almost all your favorite BN's from those years were
"buy-out" deals... Flat rates. Most of the Prestige and other stuff too.. So
when you go buy the new batch of re-issue CDs... When you buy you're OJC's...
no one is getting a nickel in royalties. And believe me, even in little sliver
of the market jazz represents, there are 100's to 1000's of CDs sold for every
first pressing of the LP at $80 to a collector. That is the real shame here...
OJC/Fantasy, and Blue Note (or atleast Mosaic) could easily voluntarily
set-up royaly funds... but as far as I know they don't. Would we all (with all
the price griping) agree to pay an extra buck or two a CD for the BN
connoisseurs, or OJC reissues... if it was going to the artists? Nothing short
of a serious boycott campaign IMO could cause this to come about.
And I have no idea how it could be done.

>In all the talk about how great vinyl is, it seems nobody
>mentions that when you buy wax, the only person getting paid from it is
>the person selling the record.

Or on a used CD... But that has always been part of the bargain. And for
artists with royalty deals, people dumping LPs to go CD is giving them a
double dip... As will the "next" format after CD perhaps give David Murray
a boost around 2010.

I'm friends with one of the largest private jazz collectors in the country.
He has 30,000 lps... but also 2000 cds of newer music... If it hadn't of been
for record collecting, he'd have never become such a compleatist nut and
bought all those CDs...

Also, it is not just for the rich. I know a very working-man jazz drummer in
Texas, who tours, and lives on a budget, and combs stores around the country,
and records shows, and answers ads, and goes to moving sales... and invests
sweat equity and has a great collection. And as I've pointed out in other posts
there first or early pressings of many great sessions, that are only of modest
cost... more than $10, but $15 to $40 is not unreasonable... try collecting
50's/60's baseball cards at those prices. And we get to listen to what we
collect!

Finally, even with the mercenary aspects, and certainly the capitalist ones...
I think jazz record collecting, of first pressings or reissues, or whatever...
only increases awareness and love of jazz... and ultimately helps today's
and tommorows artists.

>> Also, WHEN did you first become interested in BN jazz?

Well, let me also answer Randy's original question... I got interested, really
interested after I'd aquired about 150 japanese reissues of BN LPs... at once...
and finally started listening to them about 6 months later, and went, "woah!" I
was into softer stuff... Got a call one night from a friend who's business
didn't survive the recession... "Lew, I can't pay my rent... I'm selling my
records, get over here with some cash" I go, "You can't do that". He goes,
"I sold the turntable 6 months ago. If you don't come over they go to record
surplus in the morning"... I went to the ATM then to his place. I basically let
him pile up what I should get. I owed a lot more than the cash I'd brought.
About 20% of my total savings by the time we were done, and they was lean
times for me... but we went to the bank the next day and I got him more cash.
And among other things I went home with all these "blue notes"... that I thought
they played too damn fast on...

Well my friend and Linn "dealer" Michael Frasier once told me... (Now, here's
a guy with a baby grand piano, 5000 classical LPs alone, builds his own hi-fi
gear, and has always sold and repaired hi-fi systems or Linn turntables)...
He said to me during my classical phase, after I'd bought my first couple big
band and one ben webster record, he said about jazz, and especially post-bop...
"one day you'll come to realize it's the greatest music ever made..." I was
_very_ doubtful. Two years later I ran into him and told him he was right...
That's why I still keep the later Coltrane records I don't like... he told me
one day I would.

Lew

Matt Wenham

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Aug 27, 1996, 3:00:00 AM8/27/96

to

gran...@grove.ufl.edu wrote:

> This is slightly off-topic, but I have a problem with "collectors" who buy
> stuff by people they don't even like or know, and then try to resell it at
> amazingly high prices.

It's called investment. As long as people continue to pay the inflated
prices, folks will ask them. It's a case of how badly do you want this
pressing?

Matt Wenham.

Edward SantoPrieto

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Aug 27, 1996, 3:00:00 AM8/27/96

to

My father was an avid jazz man, so along with Machito, Puente, Noro
Morales I grew up on Miles, Diz and Bird. But I remember back when I
was 16 or so (in '70/'71) at an older musician's home, sitting
transfixed listening to Trane's live version (w/Roy Haynes on Drums)
of "My Favorite Things". I was amazed at what the man was doing. From
that day on, I was never to "hear" the same. As soon as I could, I
bought the album. Then it was on to a rediscovery of the '50's Miles,
Art Blakey, Monk, Hubbard, and so on. I picked up blue note recordings
because that's how it was done in those days, if you were into Jazz,
you had to buy Bluenote. My first Bluenote purchases were Blakey and
Morgan's Sidewinder.

Steve Cox

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Aug 27, 1996, 3:00:00 AM8/27/96

to

Marc Sabatella wrote:
>
>
> In one way, I'm envious of those of you who jumped right in with the classics,
> but in other way, I'm not.
>

I'm with you, man. I came to jazz via rock, fusion, and new age in the 80s. In high
school I was a Yes fanatic. When I was younger my mom had a Weather Report album
called "Mr. Gone" which I absolutely loved (still do, even though it seems to be
almost universally despised). When I checked out "Mysterious Traveller" from the
library though, I wasn't into it: too abstract and not enough cool synthesizer stuff.
In college I started getting to new age stuff, Patrick O'Hearn, Michael Hedges (who I
still admire), Jerry Goodman.(Private Music and Windham Hill) By the end of college, I
was getting heavily into fusion and jazz, and that's about the time I started
collecting jazz and fusion exclusively. My first cassettes (no LPs, my little boombox
was all I had) included:

Miles Davis - The Man With the Horn
Miles Davis - Decoy
Miles Davis - Bitches Brew (had some trouble with this one)
Jaco Pastorious - Invitation (loved it from the word go - still do)
Weather Report - Mysterious Traveller (I was ready for it this time)
Al Dimeola - Electric Rendezvous
Spyro Gyra - Alternating Currents

The first real jazz album that hooked me was "Monk's Dream". Shortly after, I started
buying CDs, although my choices still didn't always hit:

Miles Davis - Kind of Blue

John Coltrane - A Love Supreme
Michael Hedges - Taproot
Michael Brecker - Now you see it, now you don't
John Mclaughlin - Electric Guitarist
The Chick Corea Electric Band
Sun Ra - Purple Night

Charles Mingus - Mingus Ah Um

Dave Brubeck - Jazz goes to college
John Zorn - Naked City

Steve Cox

LMRuse

unread,

Aug 28, 1996, 3:00:00 AM8/28/96

to

it was released on antilles (the island jazz label) in around 1984. to my
knowledge it never came out on cd. you cd try mole jazz in london to see
if theyve got it. its a good lp with great solos by lew soloff and george
adams, and its always been a favorite of mine. not much in the way of
evans' writing, though.

Charles R. Sullivan

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Aug 28, 1996, 3:00:00 AM8/28/96

to

Heino.Ni...@t-online.de (Heino Nicolaisen) writes:

>I´m looking for the record "Priestess" by Gill Evans.
>Who knows anything about it ( where is it to buy?).

Verve VER826770. One of my favorites. That and the Live at the Public
Theatre Vols. I and II series. (evidence 22089 and 90 or storyville 5003
and 5) cdconnection (telnet cdconnection.com) has them.

Tuba player Bob Stewart also has a wonderful version (of the Billy
Harper tune "Priestess") on one of his
albums, but I can't remember the album name.

Charlie Sullivan

Patrice Roussel

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Aug 29, 1996, 3:00:00 AM8/29/96

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^^^^^

Really? The two main sax solo players are Arthur Blythe and David Sanborn.
Could have I missed Adams?

|> evans' writing, though.

Patrice.

--

Patrice L. Roussel
prou...@ichips.intel.com

WJOL1

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Sep 6, 1996, 3:00:00 AM9/6/96

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Dad's copy of "Koln Concert" and "Getz/Gilberto"

LMRuse

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Sep 7, 1996, 3:00:00 AM9/7/96

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ive been seperated from my copy of the lp for a few years, but i think
george adams was the soloist on "orange was the color of her dress, then
silk blues" that ends side two. if youve got the lp with you, cd you let
me know if im wrong. soloff does that brilliant high-note trumpet solo
halfway through "priestess"

AlanLawren

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Sep 17, 1996, 3:00:00 AM9/17/96

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David Murray - Morning Song

US PS

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Feb 13, 2024, 7:56:32 AMFeb 13

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