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Post by clifford on Jan 14, 2020 21:08:04 GMT
Okay I'll play.
What do you think constitutes a 'large' collection?
5000+
Is there a number that is 'too many'?
15,000-20,000
Would you ever dispose of records simply because you had run out of space?
Sure, though I do have a storage unit (grumble grumble).
Do you have ever utterly unbreakable rules in your collecting, such as no reissues under any circumstances?
No water damaged covers.
Do you have a price limit?
Yes.
Do you only collect jazz?
No, of course not. I also collect field recordings/"world" folk and classical musics, punk and related fuzz, psychedelic rock, progressive/fusion, blues (both country/ragtime and postwar electric), contemporary/20th century composers, noise, experimental music, and stuff like that.
Can you foresee a time when you won't collect?
Yes, I hope that by the time I "retire" I can just appreciate what I have or have memories of.
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Post by dottorjazz on Feb 1, 2020 20:37:15 GMT
After years of lurking, I finally caved and signed up. Arrrgh, that rabbit hole is deep. Interesting topic, old, as it looks, some of y'all may have changed your perspective since this thread went up and those chanting "quality over quantity" may have added a few hundred records to your collection. wellcome to djpari, at last. 5 years ago when this topic started, I declared to own 772 12": now they are 755. I've bought exactly 50 new records in five years, sold 67 and have another group of 52 on my sale list. I'm waiting for my first 2020 acquisition that should arrive on Monday. My collecting habit is still alive.
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Post by DobermanBoston on Feb 2, 2020 1:45:56 GMT
What do you think constitutes a 'large' collection?5000+
Is there a number that is 'too many'? No.
Would you ever dispose of records simply because you had run out of space? I don't know. There are records I could part with if I had to for that or some other reason.
Do you have ever utterly unbreakable rules in your collecting, such as no reissues under any circumstances? Sure. VG+ record/VG- cover is as low as I'll go unless it's something really special. I want my records to sound good. I'll take a nice reissue over a beat original as a general rule.
Do you have a price limit? Three. An everyday one, a "wanted list" one, and an "offer I can't refuse" one. I've had the latter when some estate sales came in to stores whose owners I am friendly with.
Do you only collect jazz? It's my primary interest now. But I love and collect 60s psych (my first love), country, classical of all types, and punk/hardcore too.
Can you foresee a time when you won't collect? Doubt it. My interest in collecting (37 years and still going) has outlasted my interest in photography (4 years), performing in bands (26 years), playing team sports (3 years), and others. I still enjoy swimming and I still follow current affairs too.
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djpari
New Member
Yeah, baby!
Posts: 16
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Post by djpari on Feb 3, 2020 17:31:41 GMT
wellcome to djpari, at last. 5 years ago when this topic started, I declared to own 772 12": now they are 755. I've bought exactly 50 new records in five years, sold 67 and have another group of 52 on my sale list. I'm waiting for my first 2020 acquisition that should arrive on Monday. My collecting habit is still alive. It appears that you are the perfect case for the quality-over quantity argument. While 755 albums may not be a huge amount for the average collector, it is my guess that the vast majority of titles in your collection are first pressings in pristine condition, and this is something that all collectors will appreciate. I hope that I too will get to the point one day where my priority is not to add more records to my collection, but to upgrade existing titles. But as of now, there are still many titles that I will have to add. In any case, grazie per il caloroso benvenuto, dottore.
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Post by alunsevern on Feb 4, 2020 9:29:40 GMT
I can't resist answering...
What do you think constitutes a 'large' collection?
I think anything below about 1,000 is a reasonable number for someone who likes to collect.
Is there a number that is 'too many'?
Whatever number is too many to play -- ever. But to try and put some numbers on this, I think over say 3,000 is 'large' And anything over say 5,000 is 'too large'. I once had a friend who was suddenly and very seriously bitten by the collecting bug (this was back in the mid-90s). He scoured charity shops and car boot sales and flea markets virtually every day. He would buy in almost any condition but his real joy was finding original pressings at rock bottom prices. If they were playable (in the broadest terms) he would buy them. Within a couple of years he progressed to buying entire collections. He was at that time living in a large house and one room was entirely shelved on all four walls for vinyl. He filled it. He used to say, "I just want every record I see -- every record I read about."
And then one day he began to say that the sheer bulk of his collection -- its lack of focus, its overwhelming diversity, its lack of discrimination -- made him feel almost physically nauseous and eventually he sold every single record.
I'm not sure this story has a moral but what it taught me is that in a much smaller way it was possible for me to head in the same direction. I had begun to buy records that were either rare or seemed destined to become rare, and I became aware that this included recordings of music of a kind that I no longer listened to. I had bought the record itself rather than the music. See below.
Would you ever dispose of records simply because you had run out of space?
Yes, I have done this and would probably do it again. Many years ago I sold every record I owned that wasn't jazz and this probably halved the number of records I had. Again, see below.
Do you have utterly unbreakable rules in your collecting, such as no reissues under any circumstances?
I love utterly unbreakable rules, especially if I have invented them. Nothing that isn't jazz. No vocals. Nothing that I don't plan to listen to. Nothing that on listening disappoints -- repeatedly. Nothing that is less than say Ex or preferably Ex+ in condition. (Oddly enough, my LP rules are very close in spirit to my book buying rules -- for example, I don't buy books that I don't want to read; I don't buy first editions because they are first editions; I don't -- generally speaking, although there are a long list of sub-rules attached to this -- keep books that disappoint or that I am fairly confident I will not wish to reread at some point...)
Do you have a price limit?
Definitely. I would never pay more than about GBP40.00 for a record -- not under any circumstances. Doing without is part of the pleasure, part of the discipline. Renunciation is as important as acquisition.
Do you only collect jazz?
Yes.
Can you foresee a time when you won't collect?
Yes, and that time is getting closer and closer. Age focuses the mind wonderfully.
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Post by dottorjazz on Feb 4, 2020 20:21:16 GMT
... the vast majority of titles in your collection are first pressings in pristine condition, and this is something that all collectors will appreciate. I hope that I too will get to the point one day where my priority is not to add more records to my collection, but to upgrade existing titles. But as of now, there are still many titles that I will have to add. perfectly shaped: I'm really proud of the quality of my collection. the reasons why the number is decreased in the last 5 years are quite simple: 1) it's getting very difficult to find what I'm looking for, scarcity and price 2) I do listen as a daily habit: sometimes, but not too often, I decide that a record does not deserve to stay on my shelves, and I never consider its rarity. don't like it, straight on my sale list. 3) mistakes: quite rare but I still do, and are records I COULD have bought but didn't, 2 in 2019 and they do not get out of my mind. 4) if I could have ALL records I'm looking for, what left to do? search (and research) is what I love and do everyday. and I'm not retired yet.
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djpari
New Member
Yeah, baby!
Posts: 16
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Post by djpari on Feb 5, 2020 14:08:31 GMT
... the vast majority of titles in your collection are first pressings in pristine condition, and this is something that all collectors will appreciate. I hope that I too will get to the point one day where my priority is not to add more records to my collection, but to upgrade existing titles. But as of now, there are still many titles that I will have to add. perfectly shaped: I'm really proud of the quality of my collection. the reasons why the number is decreased in the last 5 years are quite simple: 1) it's getting very difficult to find what I'm looking for, scarcity and price 2) I do listen as a daily habit: sometimes, but not too often, I decide that a record does not deserve to stay on my shelves, and I never consider its rarity. don't like it, straight on my sale list. 3) mistakes: quite rare but I still do, and are records I COULD have bought but didn't, 2 in 2019 and they do not get out of my mind. 4) if I could have ALL records I'm looking for, what left to do? search (and research) is what I love and do everyday. and I'm not retired yet. That really is the way to go. I often find myself wondering when or if I will ever be able to listen to all my records on a regular basis. Far too many times I get a new record, I listen to it, I enjoy it, I file it and it's months or even years until I will pull it off the shelf again. Is this really worth the investment? I don't know, but I guess that's what retirement is for. I am hoping for good health and financial security so I will be able to sit in my music room, drink wine and listen to music all day.
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Post by gst on Feb 5, 2020 18:24:37 GMT
What do you think constitutes a 'large' collection?
One more than I currently have so around 2K
Is there a number that is 'too many'?
I may have reached that point for myself.
Would you ever dispose of records simply because you had run out of space?
No.
Do you have ever utterly unbreakable rules in your collecting, such as no reissues under any circumstances?
I try to buy things that are at least graded VG+ or better.
Do you have a price limit?
Yes, although it has changed over the years.
Do you only collect jazz?
No, but mostly jazz/blues
Can you foresee a time when you won't collect?
Yes, and it's something I actually look forward to. I don't see it as a loss of interest more that I would be content with what I have.
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djpari
New Member
Yeah, baby!
Posts: 16
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Post by djpari on Feb 5, 2020 21:13:07 GMT
Can you foresee a time when you won't collect?
Yes, and it's something I actually look forward to. I don't see it as a loss of interest more that I would be content with what I have. This is a very humbling goal and realization, and I look forward to reaching this point as well. I don't think it'll be tied to a specific number. I'll probably wake up one day and say "that's it, I'm done." And begin a new phase in life, like collecting shot glasses.
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Post by Doom Girl on Apr 30, 2020 21:59:47 GMT
The saxophonist I have listened to most during my decades-long interest in jazz is undoubtedly John Coltrane, followed by a host of other lesser (to me) lights: Ayler and Adderly, Barbieri, Coleman, Desmond, Ervin, Fortune, Gordon and Golson, Handy and Henderson, Irakere,* Jarman and Jefferson, Konitz and Kirk, Lloyd, Mulligan, Nelson, Odean Pope, Parker, Rollins, Sanders, Shorter and Shepp, Tchicai and Turrentine, Vinson, Woods, Young, Zorn and Zoot, among others. (* Cuban band with Paquito D’Rivera on sax)
Damned with faint praise by Morton and Cook, regarded as less than serious by many aficionados, alto (and occasional tenor) saxophonist Richie Cole and his discography remain a secret passion of mine. My collection currently includes these notable albums, the best, for me, being the first two on Muse:
1977, New York Afternoon, Richie Cole (Muse) 1978, Alto Madness, Richie Cole (Muse) 1979, The Live-liest, Eddie Jefferson, w Richie Cole and Eric Kloss, alto sax (Muse) 1979, Hollywood Madness, Richie Cole w Eddie Jefferson (Muse) 1982, Return to Alto Acres, Richie Cole w Art Pepper (Palo Alto Jazz Records) 1983, Some Things Speak for Themselves, Richie Cole (Muse) 1987, Popbop, Richie Cole (Milestone) 1988 Signature, Richie Cole (Milestone) 1993 Profile, Richie Cole (Heads Up Records) 1998 Richie and Phil & Richie, Richie Cole and Phil Woods (32 Jazz) 2001 Inner Mission, Richie Cole, featuring Randy Brecker (Origin Records) 2006 Rise’s Rose Garden, Richie Cole & the Alto Madness Orchestra (Jazz Excursion) 2007 Shade, Richie Cole (Origin Records) 2014 Vocal Madness, Uptown Vocal Jazz Quartet with Richie Cole (House Kat Records) 2015, Mile Hi Madness, Richie Cole (Akashic/CD Baby)
Cole wasn’t exactly born with a silver sax in his mouth, but this is not far from the truth. His father owned a jazz club in Trenton, New Jersey and Richie got his first sax at the age of 5 and began serious study at 10. He was mentored by several top saxophonists, most notably Phil Woods, and developed a straight-ahead bop style notable for its technical brilliance. When still young, he developed a fondness for the elderly jazz vocalist Eddie Jefferson and often recorded with him. Jefferson was the putative inventor of the “vocalese” style of singing, in which he set lyrics to famous jazz tunes and solos, such as on “Moody’s Mood for Love” or pieces developed from Charlie Parker and Coleman Hawkins solos. Cole’s association with Jefferson was an early indication that, like Louis Armstrong or Dizzy Gillespie, he regarded “entertainment” as a major part of jazz.
In 1981, Ben Sidran produced a film “Live from New York: The Jazz Life” that featured Richie Cole’s quintet at the Village Vanguard (directed by Parker Y. Bird, lol), which is of interest for several reasons, not least that it shows what this famed New York jazz club was like in its prime: remarkably small, walls covered with photos of some of the famous players it hosted, the crowded audience seated at miniscule candle-lit tables, owner Max Gordon himself, with cigar and telephone at hand. The film also has some views of Seventh Avenue, with its other venues and the late night crowds – will New York ever return to this again? This was a typical Richie Cole set. Of special interest is the presence in the band of pianist Bobby Enriquez – the “Filipino Wildman.” Enriquez was an exciting musician, and entertainer, playing the keys with not only 10 fingers, but also fists and forearms – no Bill Evans here. There are few good video records of this remarkable pianist in action.
The film shows Cole at his best and worst – some fascinating saxophone pyrotechnics, a bit of sensitive work on the ballad, but also some mind-numbing repetition and the usual sophomoric Cole-clowning with a corny tune based on a fifties era TV show – this time the theme to the weekly cop show, Dragnet, with Sgt. Joe “just the facts ma’am” Friday. (Cole has also recorded a tune based on the theme to I Love Lucy). But what strikes me about this set is the great fun that the audience is having. I’ve witnessed some extraordinary music at the Vanguard – most notably by bands led by Woody Shaw and Archie Shepp – but never an audience clearly having such a great time.
Finally, here’s a track I never thought I would find online. Maybe this is the main reason I like Cole and his music. It brings back fond memories of playing alto in the high school “dance band.”
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Post by sztiv on May 4, 2020 20:16:23 GMT
I know that tune from a Todd Rundgren LP.
Who recorded it originally?
This was a tune they played in the clubs of my youth.,
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Post by Doom Girl on May 4, 2020 20:55:20 GMT
It is by Smokey Robinson and the Miracles. Smokey also did a pretty duet version in concert with Linda Ronstadt.
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Post by Doom Girl on May 5, 2020 18:31:56 GMT
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Post by gregorythefish on May 6, 2020 15:05:59 GMT
Awww man, that one sucks. He was still actively working and creating. I bought a local pianist's collection from his widow. Guy's name was Brian Trainor. He wasn't well known outside of the Delaware County area, but while I was there, his widow and kids talked all about how much Brian loved playing with Richie Cole. They had dozens of unreleased jam sessions, but those were not for sale.
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Post by Doom Girl on May 6, 2020 18:22:16 GMT
Awww man, that one sucks. He was still actively working and creating. I bought a local pianist's collection from his widow. Guy's name was Brian Trainor. He wasn't well known outside of the Delaware County area, but while I was there, his widow and kids talked all about how much Brian loved playing with Richie Cole. They had dozens of unreleased jam sessions, but those were not for sale. Richie Cole was one of the last living links to the bop tradition. Some of his last albums were quite good, although it was the first few on Muse that I enjoy the most. I am listening to Brian Trainor’s MONK AND ME album as I write. (It’s available on YouTube for anyone interested.) He was a good player. I think Brian must have had some treasures in his collection! MONK AND ME features guests Richie Cole and Steve Marcus. I think the latter is the tenor and soprano sax player of Count’s Rock Band fame. His first two albums on Vortex –TOMORROW NEVER KNOW and COUNT”S ROCK BAND – were among the first of the jazz-rock fusions and featured most of the players from the Free Spirits - Larry Coryell, Bobby Moses and Chris Hills. (It’s always intrigued me that THE FREE SPIRITS album was engineered by Van Gelder – its there in the dead wax.) Anyway, Richie Cole did not follow the fusion path – stayed true to the bop legacy, including even to a bit (a lot?) of Gillespie’s dizziness (and kindness) thrown in. Cole and Marcus both turn in some nice sax work on the Trainor album.
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