Agree. I visited Jazz Center about a year ago and for me it was like visiting a Muesum or a Shrine. I think Fred should be admired for keeping this music available when so many places closed. It’s a more personal experience than online. Thanks again.
Great interview Ken! I could listen to this information and stories for hours. 1983, wow. I didnt know jazz from a knothole then. Fred started business when I graduated highschool lol. Perspective, heh. Thank you sir 👍🏻
Nice video, Ken! Last time I was in New York and visited the store, I had a copy of the book in my hands but ended up putting it back and bought more records instead. I’ll have to get myself a copy next time! Cheers
Interesting video, it funny how the Japanese are always Johnny on the spot with unappreciated American culture. They seem to know what’s going to be important and possibly rare well before most Americans even realize how nonchalant we’ve been... early American guitars, Levi’s, records, motorcycles and hot rods and associated pop culture items .... I need to move to japan right away ..lol
I think the Blue Note catalog is a very strong catalog, but what they had that other labels didn't is the superbe cover art. It creates an image and sells the dream of the golden age of Jazz. I can stare at those covers for hours.
I know Fred states that it's simply "trendy" that BlueNote rose to such levels of collectible popularity but I believe the amazing cover photos/art by Francis Wolff and impeccable recording sonics by Van Gelder (on many of the label's issues) played no small role in creating the value to collectors. Plus Wolff and Lion just had a knack for identifying and recording musicians that others weren't yet recognizing on the scene.
Great video Ken! One question: can you help me indentifying the tune that’s playing in the background of the interview from ~03:09 (with the muted trumpet)? Thanks!
Today People respect Blue Note for its output in the same way Soul fans respect Motown. When you think of the Jazz that came after the second world war, most of the famous players all respect the Blue note label. The albums catch your eye better because of the album covers. Prestage records made more radio and jukebox friendly sounds but Bule Note is better packaged so more people respond to that label. Fred sounds like a lovely man and not a guy who is just a record dealer he has his customer's interests close to his heart. He thinks music label information should be understood by anyone who wants to know about that, not just the big record collectors and dealers. That, for the most part, is a good thing but it does push the price up when any jazz fan can date a record. May be before this wonderful interview you should have unplugged his telephone!
Great interview. Is that book available online too? I bet Fred has a TON of great stories. Glad to see the "PT. 1" in the title and can't wait for future episodes. 👽🖖"Na-nu"
Oh, of course. Perhaps a bit tongue in cheek , taking a shot at some who collect just because it’s trendy to say I owe let’s say for example 50 MM. I think Blue Note recordings are important as a example of this unique American art form. So important we don’t forget.
Gary Gray I think Fred sometimed sees things from a sales standpoint. Blue note is popular because it is incredible and soulful music and the label had so many artist who consistently made great music. And the great artwork and sound quality
Ken Micallef JazzVinyl Audiophile Right, there are (valid) reasons why Blue Notes are more popular than records made by Savoy, which are also engineered by Van Gelder: production, branding, album art, and quality of manufacturing. Beyond that, as with any other commodity with a cult following, trendiness inevitably becomes a factor and exaggerates the item's higher value
Great video Ken. So Fred mentions in the video that he doesn't give any thought to reissues. As someone in the market for the book that is a detractor to me. Although I am very interested in first pressings I will never likely buy any, especially monos. I only own one early mono pressing and that is likely it for me based solely on affordability. I am a Liberty man myself and enjoy collecting Liberty pressings (or the 1970 Liberty/UA pressings) as well as the sound of Van Gelder mastered Liberty pressings. I was hoping to gain some insight on the Liberty era as well but I guess Fred doesn't cover that in his book. I am interested in the more minute details of the Liberty era, such as the fact that Horace Parlan's Up & Down was the only Parlan release to get repressed during the Liberty era but only with only unused NY label stock but a new cover. I guess Fred's book doesn't go into this era. Does anyone else know where to look for more information on the Liberty era besides the LondonJazzCollector page?
Fred's book was a gargantuan task and took years to write. What, he's supposed to cover all the reissues too? Your question re Parlan has nothing to do with actual pressing details, which is the focus of Fred's book. Once you understand what qualifies a first pressing, the other pressings fall into place. In the next video going up tonight, Fred says, "Libertys sound fantastic." Beyond that, perhaps you should collect all the Libertys, as Fred collected, all the Lexingtons (with help from another collector) and write your own book. And I'm not kidding. Fred covered the first pressings, you could cover the final pressings.
@@kenmicallefjazzvinylaudiop6455 I'll help write that! I'll track down all the Liberty/UA pressings and everyone else can send me first pressings so that I can, ahem, do a "comparison". Now if we could only convince Larry C. to allow access to his remaining collection-are you in? lol :-)
@@kenmicallefjazzvinylaudiop6455 you know the subject is most definitely interesting enough to undertake the massive task. It would likely have to be crowd sourced information and pictures, as I couldn't afford the time and resources to collect all the Liberty Blue Note pressings. Does Fred not talk about how many runs of certain pressings each original received. For a hypothetical example, if a certain record didn't have a side 2 DG that would make it a second run of the pressing, or something like that? I find pressing run information just as intriguing as pressing identifier information because if first runs were truly between 2,500-4,000 then most people have second or later runs in their collection.
@@Maquis1943 I'm most definitely interested. I have been trying to compile a list of the blue/black label 1970 pressings myself and I've so far got 10 different Blue Note pressing additions under my belt on Discogs. It's a bit addicting to search for and locate rare pressing runs of Liberty and Liberty/UA era Blue Notes.
Fred: “Trendy.” Brilliantly said, by Fred. My local record store puts a high premium and non-negotiable price on EVERY Blue Note record, even the less popular artists during the Liberty / UA years, but I can haggle the price down if they have a first press “Eastern Sounds” by Yusef Lateef. SMH!
Globalisation.....the rise of the East Asian and Eastern European bourgeoisie.Also lest we forget the internet(1990 pre AOL). I collect Impulse on vinyl and RVG cds, which cost £5 in the UK. However Micallef has given me the Tone Poet virus and i will be visiting NYC this year to meet Jimmy on the streets of NYC. Keep The Faith
Agree. I visited Jazz Center about a year ago and for me it was like visiting a Muesum or a Shrine. I think Fred should be admired for keeping this music available when so many places closed. It’s a more personal experience than online. Thanks again.
Hi Ken!☺
I own a copy of the book and it is Very Informative and a must have in Any Jazz collectors library. I Appreciate this upload!😉
Great interview Ken! I could listen to this information and stories for hours.
1983, wow. I didnt know jazz from a knothole then. Fred started business when I graduated highschool lol. Perspective, heh.
Thank you sir 👍🏻
One thing for me about Blue Note - the art design and covers are just so damn beautiful and cool. Fantastic video.
Was always waiting for an interview with fred. He is an important and knowledgable figure in jazz collecting. Thanks ken!
Another excellent interview! Thanks for constantly finding great content.
Very interesting. I‘ll go for the book. Greetings from Germany.
Nice video, Ken! Last time I was in New York and visited the store, I had a copy of the book in my hands but ended up putting it back and bought more records instead. I’ll have to get myself a copy next time! Cheers
Fantastic series Ken. Fred was fascinating and as always, I enjoyed it. Great questions! I ordered his book as well. Thank you.
So great Ken.... Thanks 😎
Interesting video, it funny how the Japanese are always Johnny on the spot with unappreciated American culture. They seem to know what’s going to be important and possibly rare well before most Americans even realize how nonchalant we’ve been... early American guitars, Levi’s, records, motorcycles and hot rods and associated pop culture items .... I need to move to japan right away ..lol
Big thumbs up ken! Thanks as always for sharing. -Greg
Fascinating stuff! Thanks Ken
I think the Blue Note catalog is a very strong catalog, but what they had that other labels didn't is the superbe cover art.
It creates an image and sells the dream of the golden age of Jazz. I can stare at those covers for hours.
Excellent....as usual.
Dam, I need that book.
I have the book. That’s a very nice Technics reel to reel behind Fred.
ThxK 💎
Very interesting
Are the price stickers directly glued on the covers? I can't see any protective covers...
directly on covers, come easily with a fingernail.
I know Fred states that it's simply "trendy" that BlueNote rose to such levels of collectible popularity but I believe the amazing cover photos/art by Francis Wolff and impeccable recording sonics by Van Gelder (on many of the label's issues) played no small role in creating the value to collectors. Plus Wolff and Lion just had a knack for identifying and recording musicians that others weren't yet recognizing on the scene.
Great video Ken! One question: can you help me indentifying the tune that’s playing in the background of the interview from ~03:09 (with the muted trumpet)? Thanks!
i have no idea. that was in store music.
Today People respect Blue Note for its output in the same way Soul fans respect Motown. When you think of the Jazz that came after the second world war, most of the famous players all respect the Blue note label. The albums catch your eye better because of the album covers. Prestage records made more radio and jukebox friendly sounds but Bule Note is better packaged so more people respond to that label.
Fred sounds like a lovely man and not a guy who is just a record dealer he has his customer's interests close to his heart. He thinks music label information should be understood by anyone who wants to know about that, not just the big record collectors and dealers. That, for the most part, is a good thing but it does push the price up when any jazz fan can date a record.
May be before this wonderful interview you should have unplugged his telephone!
Great interview. Is that book available online too? I bet Fred has a TON of great stories. Glad to see the "PT. 1" in the title and can't wait for future episodes. 👽🖖"Na-nu"
Ken, How can we get that book?
jazzrecordcenter@verizon.net or 212 675 4480
Very Interesting Fred’s take on BN being trendy. Ergo MM. I enjoy the recordings , it’s not about label to me. 50/60’s BN is in my wheelhouse
Peace
This video is about BLUE NOTES. Plenty of my other videos discuss other labels.
Oh, of course. Perhaps a bit tongue in cheek , taking a shot at some who collect just because it’s trendy to say I owe let’s say for example 50 MM. I think Blue Note recordings are important as a example of this unique American art form. So important we don’t forget.
Gary Gray I think Fred sometimed sees things from a sales standpoint. Blue note is popular because it is incredible and soulful music and the label had so many artist who consistently made great music. And the great artwork and sound quality
Ken Micallef JazzVinyl Audiophile Right, there are (valid) reasons why Blue Notes are more popular than records made by Savoy, which are also engineered by Van Gelder: production, branding, album art, and quality of manufacturing. Beyond that, as with any other commodity with a cult following, trendiness inevitably becomes a factor and exaggerates the item's higher value
@@dgmono Also, Blue Note had a better and bigger roster than Savoy.
Great video Ken. So Fred mentions in the video that he doesn't give any thought to reissues. As someone in the market for the book that is a detractor to me. Although I am very interested in first pressings I will never likely buy any, especially monos. I only own one early mono pressing and that is likely it for me based solely on affordability. I am a Liberty man myself and enjoy collecting Liberty pressings (or the 1970 Liberty/UA pressings) as well as the sound of Van Gelder mastered Liberty pressings. I was hoping to gain some insight on the Liberty era as well but I guess Fred doesn't cover that in his book. I am interested in the more minute details of the Liberty era, such as the fact that Horace Parlan's Up & Down was the only Parlan release to get repressed during the Liberty era but only with only unused NY label stock but a new cover. I guess Fred's book doesn't go into this era. Does anyone else know where to look for more information on the Liberty era besides the LondonJazzCollector page?
Fred's book was a gargantuan task and took years to write. What, he's supposed to cover all the reissues too? Your question re Parlan has nothing to do with actual pressing details, which is the focus of Fred's book. Once you understand what qualifies a first pressing, the other pressings fall into place. In the next video going up tonight, Fred says, "Libertys sound fantastic." Beyond that, perhaps you should collect all the Libertys, as Fred collected, all the Lexingtons (with help from another collector) and write your own book. And I'm not kidding. Fred covered the first pressings, you could cover the final pressings.
@@kenmicallefjazzvinylaudiop6455 I'll help write that! I'll track down all the Liberty/UA pressings and everyone else can send me first pressings so that I can, ahem, do a "comparison". Now if we could only convince Larry C. to allow access to his remaining collection-are you in? lol :-)
@@kenmicallefjazzvinylaudiop6455 you know the subject is most definitely interesting enough to undertake the massive task. It would likely have to be crowd sourced information and pictures, as I couldn't afford the time and resources to collect all the Liberty Blue Note pressings. Does Fred not talk about how many runs of certain pressings each original received. For a hypothetical example, if a certain record didn't have a side 2 DG that would make it a second run of the pressing, or something like that? I find pressing run information just as intriguing as pressing identifier information because if first runs were truly between 2,500-4,000 then most people have second or later runs in their collection.
@@Maquis1943 I'm most definitely interested. I have been trying to compile a list of the blue/black label 1970 pressings myself and I've so far got 10 different Blue Note pressing additions under my belt on Discogs. It's a bit addicting to search for and locate rare pressing runs of Liberty and Liberty/UA era Blue Notes.
Sam records is from Portugal? How so?
Fred corrected me in an email. France!
@@kenmicallefjazzvinylaudiop6455 you had my brain in a knot for a minute there. Thanks for the videos.
@@joaor100 Sometimes my tongue and brain is in a knot!
@@kenmicallefjazzvinylaudiop6455 cleanfeed-records.com/ Cleanfeed was probably the label that crossed the wires.
Sam records is amazing
Fred: “Trendy.”
Brilliantly said, by Fred. My local record store puts a high premium and non-negotiable price on EVERY Blue Note record, even the less popular artists during the Liberty / UA years, but I can haggle the price down if they have a first press “Eastern Sounds” by Yusef Lateef. SMH!
Unless you’re rich or you sacrifice a lot to buy original BN lps forget it. I have to settle for reissues.
Globalisation.....the rise of the East Asian and Eastern European bourgeoisie.Also lest we forget the internet(1990 pre AOL). I collect Impulse on vinyl and RVG cds, which cost £5 in the UK. However Micallef has given me the Tone Poet virus and i will be visiting NYC this year to meet Jimmy on the streets of NYC. Keep The Faith
The Japanese bought Blue Notes and kept the interest and the label alive when no one else gave a shit. Now they're not so flush. Give an inch.
The Bible.
Sorry Ken, the music in the background sucks big time, why doing this?