Last Refreshed: October 12, 2021
Personal communications to: londonjazzcollector (at) outlook (dot) com
WELCOME TO LONDONJAZZCOLLECTOR, NOT LIKE MOST OTHER SITES
This is a vinyl jazz-lover’s education and opinion sharing site, which I started back in 2011. The emphasis is on the music and musicians rather than auction prices, though that is sometimes relevant. Every week or so a new post features a vintage modern jazz record from the Fifties and Sixties, including one or two tracks from the original vinyl ripped to MP3 most recently at 320 kbps to illustrate the music written about. Most record photos enlarge to full screen up to 1920 x 1280 px including vinyl etchings. The liner notes can be read full screen in crisp sharp text. It’s all high resolution so not very phone-friendly, sorry.
If you love modern jazz on vinyl, grab some floor space and make yourself at home, you are in good company. Over five million page views worldwide to date, 2,000 page views a day, and interesting comment discussions, often from people who know more than me. If you can add anything, weigh in, current and past posts always open.
What LJC is not
LJC is a unique information resource for jazz vinyl lovers, record collectors and sellers. It is not a record trading site, that is what Ebay and Discogs is for. I do not spend my time writing here to help sellers avoid fees. I do not buy records from unsolicited offers. I delete posts from people looking to sell records. Hopefully that is clear.
LJC generates no income. I do not earn any revenue from this site. The ads here are placed by WordPress, and as a WordPress-hosted site I am not permitted to place adverts, even for good causes. I do not promote up and coming artists. I do not offer downloads or support piracy. I do not give platform to any political viewpoint, there are plenty of other sites where people can sound off, though I do believe passionately, that Black Vinyl Matters.
LJC blog, website, and forum*
In addition to regular blog posts, you will find permanent pages of information about modern jazz, vintage vinyl, the evolution of record labels, hi fi improvement, eBay bidding tips, and plain whimsy – click on the headings under the top banner picture. Its not just a blog, it’s a website.
If you prefer a more informal exchange of views with other readers, I started a free *forum (hosted by ProBoards), popular topics like Saturday Night Spin, What’s on your turntable. I merely moderate rather than contribute, it’s your space, for you to use as you wish.
All previous posts for a particular artist or record label are found by clicking on the topic list in the sidebar (over 1,000 posts to date), There is a complete list of artists with a post right hand sidebar, alphabetical order, in brackets after the name is the number of records posted for that artist. Click on the name to retrieve all their posts or enter their name or record title in the search box top right of the banner.
You get mostly original writing here, and mostly intelligent comments. Please see Comments Policy before posting. Personally, I find comments here a useful return on my effort. I already know what I think, so other people’s comments expand my knowledge and viewpoint. Have your say, all comments welcome, but keep it civil.
Who is LJC? Here are some of the hipster “alter-egos” who appear occasionally in my blog, with a little help from Photoshop. None of them are me. My true identity is a private matter, I like to keep it that way. I am always happy to engage personal correspondence off-blog, email address top of page, special interest in clearing up vinyl mysteries, helping people out.
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My name is Andrew, LJC for short. Pictured right, my avatar, Professor Jazz, the character “Louis Balfour“, host of TV spoof “Jazz Cub” running-sketch played by comic actor John Thompson. Great!”. It’s not me. I have no social media presence: no Facebook page, no Twitter account, no Linked-In profile, no Instagram account, no YouTube Channel. It is entirely possible that I am a figment of my own imagination.
How did it all happen?
After decades of wearing a suit and tie, I found myself retired, with time on my hands and no interest in the usual retirement “time-wasters”: golf, cruises, or a second career in consultancy. I am simply a life long music lover and amateur writer, no connection to my former work-life, which was interesting, but on reflection, an even greater waste of time.
A “liberal” arts education was followed by a lifetime working in both private industry and the public sector. Possesed of a life-long passion for music and good hi-fi, a love of photography and computer technology; part-time philosopher (no previous convictions), writer, humourist and observer of the human condition: blogging seems a natural next step. You get all that in just one blog: LondonJazzCollector. It wasn’t the best choice of name, I made it a long time ago, I guess I have to live with it.
Briefly in 2016 I started another WordPress blog following my interest in wine, Age Improves With Wine, especially French white wine, and rosé. Unfortunately this proved exhausting, many other people write about wine, some for a living. Recently I have revived it with new content, we will see if that lasts.
Asked occasionally “What do you do?” I describe myself as full time self-unemployed. I am retired, which allows me lots of freedom to do as I wish. My interest in jazz and vinyl is just the last decade, unlike some whose knowledge has been built up over a lifetime. Making up for lost time, this blog features the fruits of “panning for gold” in London’s remaining record stores, bidding on eBay, shopping on-line, and inspiration from other jazz collectors.
Starting with an interest mainly in original Blue Note, the holy grail in audiophile and musical performance, you will also find here original Prestige, Impulse!, Contemporary, Riverside and other labels, some West Coast jazz, a bit of Free, and European including a smidgin of British Jazz and UK release of US recordings. A few Japanese pressings are including, and being in the UK, inevitably some UK releases of US recordings. Most recently, the quality of reissues from original tapes – all analogue process – has transformed the reissue scene, expect some modern audiophile reissues among the posts.
All records here are from my personal vinyl collection. When not much is coming in, I look on my shelves for something of interest to write about. Failing that, I make something up. I welcome guest posts, if you have an artist or topic you would like to write about, 1,000-2,000 words, email me your idea.
You can expect the big musicians of Modern Jazz but also some lesser players you may not be au fait with (we often do a little French in passing). Many other bloggers cover funk, soul, dance, psych, so you will not find much of that here. You won’t find the attribute “new” has much traction here either. Of all the music produced in the last fifty years, how likely is it that something is worthy of attention just because it is “new” ? Everything was new once.
A little more on what this blog is about…
Why “Modern Jazz”? Think of it as “fine wine-tasting for the ears“: an infinite variety of sensuous tastes with no unpleasant after-effects that I know of. The Fifties and Sixties were an intensely creative period in all the arts, no less in Jazz, with the period 1956-66 the golden era. After the mid- Sixties, Modern Jazz fragmented, and many of its finest exponents became what the medical profession refer to as “dead” , moved to Europe, or worse still, Hollywood, invested in a new wardrobe, or just followed the money, and who can blame them.
Why vinyl? A (vintage) vinyl record stores analogue-recorded music in an analogue medium. Good modern vinyl equipment , including power conditioning and quality of interconnects, can retrieve that analogue information and reproduce it much as it would have sounded when performed. At its best, the resulting sound offers a fresh, immersive and exciting musicians-in-the-room experience superior to any digital source at any price, however modern.
Why vintage vinyl? The mid-50’s to the mid 70’s was the golden age of vinyl. Every process from recording through to manufacturing was analogue, in the hands of master engineers. Not everything produced was outstanding, but with the right engineers and quality pressing, the best sounding records ever were produced. From the mid ’80’s attention became focussed on the Compact Disc format, solid state engineering and digital processes. Many jazz reissues produced in the Eighties onwards became progressively worse Budget-level vinyl reissues (under £20) are mostly digital copies transferred to vinyl, even hyped as “audiophile” merely because on 180gm vinyl. Some engineers believed they could “improve” vintage recordings with modern studio equipment. The cheapness of the CD has made it difficult to manufacture quality vinyl at a competitive price.
Most recently, however, only in the last couple of years, truly audiophile mastering and manufacture at an affordable price has come of age. With original tape sources, all analogue processes, and quality pressing, some Vinyl LPs can deliver remarkable sonic performance, however mostly only in stereo format. Mono remains largely the domain of vintage vinyl.
Any special kind of Hi Fi required? Yes, I am afraid so. Unlike “old vinyl”, unfortunately, with rare exceptions, “classic old hi-fi” does not cut it. If it’s of any interest my set up is here, (last updated December 2018) or see the “For Audiophiles” page in the blog header.
Hey LJC, I don’t have “golden ears”. Any point in this hi-fi stuff?
No-one has golden ears. Everyone can detect quality audio if they ever get the opportunity to hear some. The problem is that your ears are wired via the mouth to the brain. Hi Fi is a world of expensive equipment, strong and differing opinions, some of it salesmanship, some of it guesswork, some of it just plain wrong, and often just a minority forged out of hard-won ruthlessly-honest comparative experience.
The brain’s main purpose is helping you survive, so it will give lots of well-intentioned advice: expectation bias, confirmation bias, expert opinion, all that group-think stuff, you can learn to recognise and ignore its’ whinny little voice. Attend instead to your feelings and your emotional reaction to the music. Does it engage you, draw you in? Or does it leave you uninvolved, wondering what to play next?
In no time at all really, you will be able to say with confidence “I prefer this, it sounds better to me than that”, or no it doesn’t, or I can’t hear any difference. You will arrive at your own judgement, and not hang on other people’s opinions, certainly not mine. When you reach this point, you are in charge, and it gets a little easier. To pick up on this theme graduate to the Zen and the Art of Active Listening page.
My takeaway from a decade of upgrading hi-fi is that the main components are the least important part of your system, provided you chose reasonably good ones in the first place. (Beware the equipment snobs that hang out in hifi forums) Your equipment is almost certainly capable of sounding better than it does initially. To hear how good requires improvement in the purity of power supply, earthing, quality interconnects much too expensive to supply with the original component, support infrastructure racking, and the ultrasonic cleaning of vinyl.
Those who scoff are usually equipment snobs who has never tested any of these accessories, because they know they make no difference. Arrogance and Ignorance are a match made in heaven, they depend on each other for survival. There is only one authority, and I’m afraid it’s you. Bummer.
A few last questions…
Are you now or have you ever been a DJ? Nope
Do you like to go clubbing or hanging out at gigs, looking cool? Nope
So would you describe yourself as a “square” then? Not square, more sort of round. Well, oval, really…
That’s it. Feel free to make comments (see comments policy), offer corrections, give advice, and make other recommendations from your own experience. It’s all good.
Note regarding Intellectual property and copyright.
”Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal “
Owners of intellectual property are quite rightly closing down piracy and theft of their work: Madonna needs still more money, she’s a Material Girl. At 60, she needs a pension.
Music and pictures posted here are for personal education and research, not for commercial gain, nor for the gratitude of file-sharers. There are no whole albums here, the vinyl is long since out of print and accessible only through online auctions and second hand stores. The “track selection” is one or at most two tracks at 160 or 320 kbps MP3 files ripped from original vinyl and streamed through the embedded WordPress player. Not hi fi quality, no downloads. No-one loses revenue from anything posted here, and I make no revenue from it, to the contrary, I pay WordPress for file storage. I notice when I post about a record, the available copies on Discogs sell out very quickly, perhaps record sellers benefit.
The small adverts on this blog are placed by WordPress to help keep blogging a free service. Files are not hosted on third party file sharing sites. You can be confident everything you click on here is spam and virus free, will still be here tomorrow, requires no toolbar add-in, and sorry lads, no teen dating introductions in your area.
I do not endorse copyright theft, though almost all of the recordings here are over 50 years old the musicians are long dead, or soon will be (1963 is the technical legal watershed) . If you are copyright holder of any sounds or images here, please contact me directly at the email address below. If you think you may be one of the long dead musicians, get professional help, or leave a sign: a medium will get back to you soon as possible.
The content of this web-blog is for personal, non-commercial use only. In the event that there is a problem with copyrighted material, the copyright infringement is unintentional and non-commercial. Material will be removed upon request by the copyright owner.
All original writing and pictures on this blog are my copyright. You are free to use them in any educational or personal context, without alteration, though not in any commercial activity without my express prior permission. Original material uploaded to other sites should be credited to this source. I take pride in my work, I don’t like finding it online under other people’s names, which does occasionally happen, or repurposed with the WWW.LONDONJAZZCOLLECTOR.WORDPRESS.COM “watermark” trimmed off. I put it outside the image not to spoil it.
Note to buyers and sellers of vinyl
I often get requests to identify if a relative’s collection is valuable or suggest what can best be done with them. I try to answer emails promptly and honestly. If you are looking to dispose of a collection of jazz records, I am not a dealer or buyer, but I am able to give advice, put you in touch with people (UK based) who can help .
Readers ask me where to find vintage vinyl jazz treasures in London. You might as well ask me at which second-hand stall can you find a Van Gogh, which is the riverbed where you can find gold nuggets, or where exactly do I dig for diamonds? Good stuff is rare. You trawl, like whales sifting plankton. Every now and then, you get lucky. More often than not, you make do with something interesting, or maybe nothing at all.
Note to fellow record collectors
I am always happy to take questions, help identify provenance, make good a gap in my subject coverage, any missed point of detail, and for you to share any anomalies or interesting finds. It’s what collectors do.
Personal communications to:
LondonJazzCollector ( at ) outlook (dot) com
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