Forums

I also have that impression that pre-1950 Jazz sells hardly at all, and that the 1950s used to do better  a decade ago while the 1970s are comparatively popular at the moment (as shown also by things like the Jazz Dispensary reissue series which has its focus there)... And yes, that could be a pattern of aging generations but I believe it's simply a matter of fluctuations in taste... At least when it comes to vinyl sales rather than CDs since those older generations seem to care mostly about CDs...

Re- the observations of Mikeweil, Niko and Ghost: From what I have observed, all this is hit and miss and you have to be lucky to find the right buyers at those record fairs. But it does happen. Somehow with all the purchasing I have done during the past 2-3 years my "stock" of jazz records for sale increases despite all I've sold.  Sometimes it is a matter of me upgrading (such as an LP that can go because I bought its contents and MORE on a 2-LP album), sometimes because in the end I do already own this or that record I just brought home. Usually the latter is either a case of a pressing with a totally different cover but exactly identical contents, or a matter of me saying "what the heck" because the records were very cheap and I figured it just was not worth the effort to go back home first to check and then return downtown again. Overall what I have is way too little for a record fair (which are nothing to enthuse about in my area anymore anyway) so I display them at my fleamarket stalls. I also find that pre-1950 vinyl moves rather slowly, and from what I see in the Special Offer bins of the few remaining local record shops this is a general trend. But even modern jazz from the 50s and early 60s is not as hot as I had figured (neither on CD). Though my prices are very affordable, I'd say. Or maybe my offers are too "obscure" for the general jazz layman listener - e.g. a Brew Moore LP from his Danish period has been sitting in my crates for quite some time by now. Same for some Uptown CDs. (BTW - Uptown would be another favorite "boutique label"  !!) So, to forestall idle inquiries, last year I decided to mark the divider panel in the crates (that shows what is inside): JAZZ - SWING - BOP - COOL No Free, no Jazz Rock, no Fusion! This has gotten me a few smiles and laughs ... As for pre-Swing Era jazz, this has always been only a small part of what I try to sell, but amazingly last year, over the course of 3-4 fleamarkets, I sold off almost all of it! Most of them to buyers who looked like "40" was quite a few years away. It is an amazing experience if a couple picks your Bennie Moten LPs from one crate and you then have to advise them that that other Bennie Moten LP that you have in your "Swing" crate (for better exposure of the artist) and that they pulled out too offers no new contents over what they just picked from that Oldtime Jazz section!   As for "boutique labels", quite a few of my records are on such collector labels, but most buyers at such events do not seem savvy enough to appreciate them. Though amazingly one Paul Howard Quality Serenaders LP on the The Old Masters label I really had bought from the Special Offers section by mistake (because I did not remember all of its contents are on that RCA LP I have by this band) was snapped up at the first fleamarket I took this record to afterwards.   So, overall it all looks indeed like a niche market within the niche market of jazz - even modern jazz from the 1945-65 era that goes somewhat beyond the "usual suspects" of the big names. To me it seems like it is not the lack of interest as such among a generation of (relative) youngsters but the lack of interested younger listeners who are prepared to explore a style of jazz  DEEPLY and go significantly beyond the usual suspects. And of course this hurts collector or boutique labels, in particular. (But maybe that deeper interest will mature as they get older - but if the collector labels wil then still be around except in the secondhand sections is anybody's guess. )  

Sam Fuller!  (I once went to a burlesque house to see this film.) 

I saw whatever tune(s) they recorded in SF. I've seen quite a few of their annual performances over the years. It's an interesting project. Some years are better than others. That was a good one.