Collectible vinyl jazz records run the gamut from some of the earliest blues, ragtime, and Dixieland 78 RPM recordings to bebop, hard bop, and free jazz LPs. Along the way, the genre includes big band swing, West Coast cool, and international flavors.
For collectors of jazz on vinyl, several names are legendary, but not the ones you might first expect. Sure jazz fans want their Louis Armstrong, Miles Davis, Cab Calloway, and Dave Brubeck, but the names they tend to gravitate to are those of the record labels that recorded the work of these and other geniuses of the art form.
One of the first labels was Brunswick, which in the 1920s was one of the biggest record manufacturers in the U.S. Back then the discs were made out of shellac and ran at 78 RPM. Brunswick artists (along with those of subsidiary label Vocalion) included the likes of Duke Ellington and Fletcher Henderson—in the 1930s, the company pressed Artie Shaw and Gene Krupa 78s.
Brunswick did such a good job that when England’s Decca records decided to start a U.S. subsidiary, it hired Jack Kapp of Brunswick to run the new company. One of Kapp’s lasting achievements was an 11-year relationship with Louis Armstrong, who recorded 166 tunes for the label. By the 1950s, Brunswick would rerelease many of its recordings from the 1930s and 1940s on LP, bringing Jelly Roll Morton, Art Tatum, Cab Calloway, Count Basie, and Dixieland jazz by the New Orleans Rhythm Kings to new audiences.
Another early jazz label whose 78 records are considered rare and collectible is Bluebird. It began as a budget label for RCA Victor but quickly evolved into a home for the blues, particularly the work of Chicago artists Big Bill Broonzy, Leadbelly, and Sonny Boy Williamson. Blues aside, one of the label’s best-known artists was Glenn Miller, who cut "In the Mood" and many other classics for Bluebird.
Continuing in this colorful vein is Blue Note records, which was founded in 1939 as a home for jazz exclusively. Saxophonist Sydney Bechet was one of the label’s first finds, but Blue Note really hit its stride after the war with recordings by Anita O’Day, Lester Young, Thelonius Monk, Art Blakely, and Max Roach. In the 1950s, Miles Davis, Gerry Mulligan, Charlie Parker, Lionel Hampton, Sonny Rollins, John Coltrane, and Kenny Burrell (and that’s just the tip of the iceberg) had all recorded for Blue Note.
For Blue Note collectors, one of the main differentiators in the value of a vinyl LP is the pressing location. The key is the address on the labels on both sides of a record. Pre...
This pressing differentiation is also true for Prestige Records, home to Django Reinhardt and Stephane Grappelli in the 1930s, Duke Ellington and his Orchestra in the 1940s, and Sonny Stitt, Zoot Sims, and the Modern Jazz Quartet in the 1950s. For Prestige, catalog numbers from 7001 to 7141 with a New York City address on the label are generally the most sought after.
Meanwhile, in California, Chet Baker, Gerry Mulligan, Bud Shank, and Laurindo Almeida were recording 10- and 12-inch discs for Pacific Jazz Records, which was founded in 1952 before being gobbled up in 1957 by Liberty Records. These days, Blue Note distributes Pacific’s short-lived, but highly regarded, catalog.
One of the unexpected outlets in the 1950s for some of the original jazz pioneers was Hollywood. For example, Louis Armstrong’s trumpet work and vocals on the soundtrack for the 1956 film High Society contributed to its brisk sales (Bing Crosby’s duet with Grace Kelly, plus other tracks by Frank Sinatra, probably didn’t hurt the disc, either). And Armstrong had another movie-related hit in 1963, when an LP version of Hello Dolly! was released to capitalize on his best-selling single from the film of the same name.
Best of the Web (“Hall of Fame”)
Association of Vogue Picture Record Collectors
The Remington Site
Clubs & Associations
Other Great Reference Sites
Most watched eBay auctions
Recent News: Jazz Vinyl Records
Source: Google News
Library donations to Mayfield jazz project questionedWWL, May 5th
"Those dollars (from the library foundation) went into this facility," not salaries, he said recently as he played one of the Miles Davis jazz records the public library system is providing the Jazz Market and showed off the mostly empty area where he...Read more
Disc reviews: Ilona Domnich, John Patitucci, Hiatus KaiyoteBuffalo.com, May 5th
Here's a jazz education story impossible to resist: Bassist John Patitucci's grandfather – who had heard records by Eubie Blake and Earl Hines during prohibition – encountered a treasure trove of '60s jazz records left for the garbage on the street...Read more
Ron Miles With the Atrium Jazz Ensemble at Orchestra Hall, May 8Jazz Police (blog), May 5th
But his parents played jazz records and soon a Mingus concert and listening to Return to Forever's Stanley Clarke led him to switch to the bass. Anthony studied bass at the University of Wisconsin Eau Claire, then headed to New York, building a...Read more
Saturday Night Special: Good Vibes with Adam Kolker at Jazz Central, May 2Jazz Police (blog), May 1st
Meditacions (Satchmo Jazz Records), co-led with Catalan drummer Xavi Maureta, received the award for "Best Modern Jazz CD" from the Catalan Jazz Society in 2002. Other CDs include Change of Time (OmniTone Records, 2002), Sultanic Verses ...Read more
Financier Robert Appel On His Love Of Ellington, Jobim And Dreams For Jazz At ...Forbes, April 29th
He also collects old jazz records and listens to what he calls “old stuff” on YouTube. “I'm a Jobim, bossa nova freak, also Ellington and Big Band music of the '40's,” Appel said. Currently the chief of Appel Associates, a money management and...Read more
Surf Jazz is the new music waveSurferToday, April 25th
As a result, Surf Jazz Records has signed with Billy Yeager, Bobby Rodriguez, and Vincent Mascola. Yeager, who has already written and recorded over 1400 musical compositions, is a passionate surfer and multi-instrumentalist. His latest work, "Shades...Read more
As national jazz sales dwindle, genre alive and well in IthacaThe Ithaca Voice, April 19th
Rambach is the founder of Music Matters, Ltd., a label with exclusive rights from Universal Music to reissue the classic Blue Note jazz records. Rambach limits himself to a 3,500 copy limit for each album he re-presses but still sells roughly 1,000...Read more
Detroit-born drummer inspired by city's jazz legacyDetroit Free Press, April 18th
He heard all the classic jazz records but also grew up with AM pop music, Motown, James Brown and the Beatles. He was serious about the trumpet but technical difficulties with the instrument and an increasing predilection for the drums led to a switch...Read more