neal umphred

ORGANISSIMO RECORD COLLECTORS I might append the above post with this: Most jazz albums released in stereo in the '50s are probably in "true" stereo, although they may not always feature the same performances as those on the same album's mono counterpart. Also, the use of elctronically rechanneled stereo on jazz albums did not really become "normal" until the early and mid '60s. For instance, Blue Note stereo albums were not issued in "fake" stereo until the company was purchased by Liberty. Hope this helps! NEAL

EVERWON I do not spend a whole lotta time on line. It seems absurd to me that posting in any style is considered "rude" or "impolite". If someone were to send in a lengthy post in all CAPS, I probably wouldn't read as it is a strain on the eyes. So is sans serif print, which is the most common type on the net. Ho hum and blah blah blah. . . NEAL PS: Thanks for alla the Welcomes. They are truly appreciated.

MICHAEL FITZGERALD Funny. Here I thought I was making things easier to read for those of us with glasses. . . NEAL

BILL NELSON The first jazz record album price guide was by Charles Johnson and done for O'Sullivan-Woodisde around 1985. It was a noble effort, quite different in layout from Osborne or my book (I had just published the 1985-86 ROCK RECORD ALBUM PRICE GUIDE for the same company), and included a lot of EPs, which were almost irrelevant at the time. Unfortunately, it carried on the Osborne tradition that I was attempting to render historical: common records were ludicrously overvalued (Miles' Columbia albums of the '60s were in the $40-50 range at a time when they were comfortably under $10 almost anywhere in the known universe). At the same time, really rare records were astonishingly undervalued. I fought (vainly, alas) to get Don Woodside to allow me to redo all of the values assigned in the book but was assured that Mr Johnson knew jazz better than I and that I should stick with rock & roll. . . This was followed, years later, by the Goldmine effort: if you have seen Mr Leonard's guide, you will know why it was deleted. I am responsible for two "Jazz Record Album Price Guides" that were published by Krause, but I need to make a point here. The books with my name on them are my books. That is, all of the copyrights are mine, including the "dress", or "look", of the book. They were published by Kruase using the Goldmine name. The books with Mr Neely's name are Krause's books (that is, Tim does "work for hire" with all of the rights in KP's name) using the Goldmine name. This might explain a few things about these books, such as why Goldmine changed the discographical layout so drastically. "Their" book couldn't look like my book. Hope this helps! NEAL PS: Hope Organissimo reders don't mind some of my affectations, such as bold print, the use of ellipses, or an occasional "blah blah blah". . .

ORGANISSIMO MEMBERS Thanks for remembering me (especially Michael Fitzgerald). This is my first post and I will be brief: Most major label stereo jazz albums from the '50s are in "true stereo" (if by "true" one simply means two different signals emanating from two channels). "Fake stereo", or "rechanneled stereo", or "reprocessed stereo", etc., was basically a best-left-forgotten phenomenon of the '60s. Hope this helps! NEAL UMPHRED