dsockel

Three for Shepp by Marion Brown on original Impulse and Frank Wess' Southern Comfort on original Prestige.

I also use the IKEA Expedit shelves to store over 1,000 records. It does a nice job. The wood however is pretty soft and the frequent movement would probably sway the shelving ever so slightly and eventually crack or pull out a screw or two. Perhaps you can put your stereo on casters and move it into the closet?

Pretty Nice Score Today All of the following for $150 and should grade out VG+/VG+ --Horace Silver Trio vol. 2 5034 Lexington Deep Groove --Oscar Peterson Plays Pretty 10" DSM cover Mercury --Hank Jones Piano Mercury 10" DSM cover --Art Pepper Surf Ride Savoy Deep Groove --Leroy Vinnegar Walks Stereo/Contemporary --Sarah Vaughn and Billy Eckstine Irving Berlin Mercury --Eddie Heywood Emarcy --Terry Gibbs Swinging' Emarcy --Roy Haynes Out of the Afternoon Orange and Black label Impulse --Lou Donaldson Signifyin' Argo Yellow label Promo --Error Garner Contrasts on Emarcy. Not blue back however --Stanley Turrentine Always Something There Blue and White label Liberty --Jo Jones Trio on Everest Had to drive an hour outside of town and dig through a lot of crap. Had to buy some the extra records here that I wouldn't usually want just to make sure the seller couldn't figure out what I was really drooling over.

Thought I'd pass on a bit of information from another forum (http://www.stevehoffman.tv/forums/showthread.php?t=152823) "I received e-mail from Orrin Keepnews today (!) in which he explained the rationale for changing the artwork on the two albums in question. Here is what he wrote: Nick Phillips has passed on to me your questions about the repackaging of the first two Riverside Monk albums. Since I usually enjoy turning back in mind to the time period you're asking about, I am happy to respond. Our basic intention in both cases was the same: a couple of years after those albums were initially issued, there had been a dramatic upsurge in Thelonious's acceptance by the jazz public -- and also in the general acceptance of Riverside as a leading jazz label. These two factors led us to make some upgrading moves designed to further improve our image and increase sales. Those earliest Monk albums belonged to our initial period as a struggling, underfinanced newcomer; both seemed likely to benefit from more aggressive marketing. So we replaced the original Monk/Ellington cover (an at-the-piano photo taken at the Van Gelder Studio) with a full-color reproduction of a French Impressionist painting. Our new cover for the second album was even more adventurous -- our newly-hired staff publicist had come up with the idea of creating an imitation postage stamp featuring an antiqued profile of Thelonious. I don't think we did any other up-graded repackaging, but the general idea of switching from black-and-white to full color on just about all albums had begun for us with the multiple-Monk photograph used on our third Monk album, Brilliant Corners. I hope this recap answers your questions; if not, feel free to make use of my email address to ask more. Orrin Keepnews"

Is there any way to tell which were the first pressings on the Inner City label? I realize that they were primarily a re-issue label in the US for European labels. I have seen blue labels with buildings in the background, brown labels with a buildings in the background, solid blue with IC and other solid colors with IC. Thanks. Dave

Another guy here in Atlanta wrote "NURSE" in large letters in permanent marker across the back of all his records. Great stuff but really ruins the collectibility. Probably have picked up 10-20 of records over the years.

Montovani Persuasive Percussion Series Pablo's "Best of" series Jazztone label Anything Digital remastered, especially the MCA Impulse series Keith Jarrett on ECM (never can get enough copies accumulated)

I will hold off on my opinion until someone posts a picture of those legs!

Too bad its not worth what a Beatles Butcher cover repasting is worth.

Damn, I thought at first you got that honey at the bottom of the your post

I think his location has a good bit to do with it. St. Louis/E. St. Louis was a very active and vibrant african-american city in the 50s-70s. It was a northern city in that the population had money and could afford to buy records. Similar to Chicago, Detroit, Cleveland, etc. (Contrast this with some southern cities like Atlana where I now live.) A lot of the stuff we like to collect was sold there. Lastly, I might be that when the Japanese collectors hit the US hard (I wasn't collecting records back then so help me here) and cleaned out alot of places, may be St. Louis was passed over? Couple these demographics with a smart, active collector with a nose for buying up collections over the years, and that probably explains it.

Free Blown Jazz by Tony Scott and Jimmy Knepper on Carlton. Features Bill Evans, Clark Terry, Paul Motian, Sahib Shihab. Anyone know anything about this one?

I have spoken to Ron at Music Matters. The cover art is licensed from Blue Note, plus they also secured access to all the photos taken by Francis Wolff that were not originally used. Music Matters has a gatefold and puts some of these additional session images inside the jacket. Looks nice.

I was organizing my collection today and discovered 2 copies of Jimmy Smith's Crazy Baby 4030 (DG, 63rd streets). One copy had the blue-green type face that matches the car and the woman's outfit. The other cover had yellow type that stands out more. 1) Is there any difference between the two (original v. second printing)? 2) Are there other BN's released at the same time with different covers? Thanks. Dave