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

Chet Baker Sings. 10" Pacific jazz PJLP 11 $8 at an antique store. VG+/VG

Art Ensemble of Chicago -- Bap Tizm on original Atlantic. Should be an interesting listen.

Missed out on a VG copy on eBay. Went for over $65!

I found a real nice first press 63rd street of Paul Chambers Bass on Top at the record store for $2!. Problem is that there was no cover. Anyone have a spare one they are open to selling or trading? Also picked up an original Jazzmen Detrot on Savoy with Burrell, Flanagan, Chambers and Kenny Clarke. Very cool cover.

Great picture, Michel. Any other cool ones?

Bud Powell Jazz Giant Original yellow Label Norgran DSM Cover. I'll visually grade it as VG/VG+. but for $10 I am a very happy camper

Original: "Mainstream 1958 East Coast Jazz Scene" on Savoy Features Wilbur Harden : Flugelhorn Coltrane : Tenor Tommy Flanagan : Piano Doug Watkins : Bass Louis Hayes : Drums Paid $20 so not cheap, but in VG+ shape and I think fairly rare

Thanks for all the responses. As Porcy wrote, everything with a Plastilyte P is definitely pre-Liberty. There are also the list (above 15 titles) that were recorded during the P era, but not released until later. 4074 and prior (with a handful of exceptions like 1597 Burrell) were originally released as double sided deep groove. The deep groove was made by a collar in the stamper. Looking at my collection, I have quite a few New York USAs that do not have the P. I didn't realize Liberty repressed that many. Oh well. How many Flat Edge Lexington's have you guys ever seen? I think I have 1.

I am trying to figure out the whole New York USA deep groove issue. I understand (or I think I understand) the chronology of the labels themselves. What I don't understand is how one side of a record can be deep groove and the other not deep groove yet assumed to be pressed at different plants? Aren't records pressed with A and B side stampers at the same time at the same plant (for example the Plastilyte plant)? Are the stampers (plates) deep groove or does the pressing plant make a deep groove? I guess can understand how one stamper can be deep groove and the other not, if for example side A of the original stampers wore out quicker than B, and it got replaced with a non- deep groove stamper. So is the point that both sides of the record had to be pressed at the same plant at the same time? Do we know for certain that the desirable Plastilyte "P" means anything for certain during the New York USA era? Does it really mean the everything with a P was pressed pre-Liberty takeover? And anything without a P was after the sale to Liberty? Another question: How long do stampers last? Weren't BN production runs relatively small? Any thoughts on clarifying this for me is much appreciated.

Should I try to strip off the old residue or leave it alone?