LJC Visitors Profile

Last Updated: January 26, 2022

WordPress, my blog host, introduced information on the country of origin of visitors to LondonJazzCollector site – calculated by page views. Around half of visitors here arrive from search engine queries, some of them searches like “Zoot Trubshaw Quintet Five Go Mad in Harlem download“. Naughty, naughty.

The most frequently visited record pages are those for the Blue Note Label, which like to think are unique on the web, and certain artists – Ornette Coleman and John Coltrane always figure prominently, then its a thousand different things. Great!

Total page views have passed the five million mark in the eleven years since LJC started in August 2011. Not bad considering I am assured this vinyl thing is just a passing fad and no one is interested in modern jazz nowadays, or so  record companies say.

As you might expect, the largest source of visitors is from the US, Northern Europe and Japan.  Less expected is the number of visitors from outside the Anglophone world, a timely reminder that music a universal language. Hi, and welcome, Jazz Spoken Here. (Or perhaps its those guys in the embassies whiling away their time online)

Who is missing are countries without widespread access to the Internet (or whose servers refuse identification) and people who have not yet had their basic needs in life met.


12 thoughts on “LJC Visitors Profile

  1. Good morning London Jazz Collector,
    I’m hoping you can help me out, Please .
    I have a Miles Davis album (Kind of Blue) I’ve been trying to research this album and the more I research I do the more I do, so confusing.
    With that being said can you tell me if my 6 eye lp with the numbers a nd letters being on side 1 are XLP-47324-1AJ and side 2 being XLP- =47325-1AJ cover says Columbia records guaranteed high Fidelity Lp CL1335 is ??? What press? And the worth, if possible, Thank you in advance for any information you may be able to provide to me. Good Day.


    • Everything known about KoB laquers and matrix codes is written here –

      Columbia Matrix Codes – case study: “Kind of Blue”

      Matrix pairs 1AJ/1AJ look like they come from the early years of the 60’s. Everything about the Columbia label is here

      Columbia US labels

      It is not a rare record, on the contrary, probably one of the biggest selling jazz records ever. What a copy of KOB worth depends entirely on vinyl and cover grade, where you are trying to sell it. and how good your salesmanship is. The best guide is to look at Discogs and see what other sellers are asking for similar copies.


  2. I have to thank the writers of this blog again. I, formerly, had no idea about the importance of a mono setup to get high fidelity from mono records. I have been noticing that good mono Blue Note records didn’t have their celebrated full, rich sound. While cheaper stereo re-issues sounded fantastic. Then I read the article on this site about mono devices and cartridges. The light bulb went off in my head, so to speak. I’m using a highly specialized stereo stylus made by Soundsmith. (For those in Europe who are unfamiliar with Soundsmith, they specialize in re-tipping cartridges.)

    I would like to get a good mono cartridge, already setup on another tonearm. I have a VPI Scout, which has a tonearm with a fixed head shell. I would have to buy a new tonearm for this setup. It’s something I can’t afford at the moment. I wish I had one of those Technics turntables with their standardized, removable head shells. They are very versatile and easy to upgrade.


  3. Thank you for this blog. I used to frequent the Manhattan jazz club scene until I had to move. I keep telling people that there is nothing like seeing a great jazz group at a small club, like The Village Vanguard. One sits a few feet from these masters of improvisation. I distinctly remember Reggie Workman’s group. They started suddenly with such force and beauty, I felt my hair stand on end. As I glanced at photos and drawings of Coltrane, I was thinking: How can mere mortals reach such artistic heights? Yes, I was on sacred ground and lucky to see Reggie’s group play.


    • Fortunate indeed, Seth. The few live jazz concerts I have attended (Chick Corea, Christian Scott, Herbie Hancock) have all been a big disappointment – open air, everyone mic’d into the PA, mixed and booming out from banks of speakers overhead, you might as well have on the CD for all the difference it made being “live”.
      I think, Coltrane, Live at the Village Vanguard… now where did I leave the keys of the time machine?


          • Yep, East Side Jazz Club in Leytonstone, hosted by the very wonderful Clive Fenner and his trio. There’s been some fine gigs so far this year including Alan Skidmore, Jim Mullen and Bobby Wellins. Check it out!


            • Great tip re East London Jazz Club- a friendly Tuesday night venue in Leytonstone (close to tube). I followed up on this and saw an excellent performance featuring Denys Baptiste and Gary Crosby. They played a Hard Bop and ballad set that regulars here would savour. The decor in the recently decorated function room above ‘Tommy Flynn’s’ pub resembles the photo of LJC’s Music Room but the acoustics are probably not as good!
              This club is well-worth a visit a deserves your support. I’ve written about it here:-


        • I would love to check out the London jazz scene. The only other place I saw a live jazz show was in San Francisco, California. I saw Sam Rivers before he passed away. I had no idea that he was so weak with illness. He played the piano with such delicate beauty that he received three standing ovations. It was in an arts center about the size of a movie theater. That was, indeed, a wonderful experience.
          I think it’s easier to see the jazz masters in small Manhattan clubs because, unfortunately, fewer Americans, than Europeans, appreciate real jazz. Many people in the U.S. have never heard jazz and often confuse it with certain rock forms. Then there are those rude people who eat and talk while the musicians are playing. I avoid those supper clubs like the plague.
          But the good news is that many new, small clubs have opened in Manhattan. I’ve met people who traveled across the country just to see some live music. Many stay in youth or elder hostels to avoid the exorbitant New York hotel prices.
          We do, however, have many jazz aficionados. But we’re such a large country that they rarely get a chance to see a live show.
          There’s an audio site called audiokarma.org. In the jazz section of the music forum, jazz enthusiasts post photos of their jazz collection. There are thousands of beautiful albums in that data base, from places all over the country. It’s such an impressive source of information, I think it should be preserved for its cultural significance. But alas, there are too many Americans like the philistine character played by Jack Palance in Jean-Luc Godard’s film masterpiece, “Le Mépris,” who uttered the ironic line, “Every time I hear the world culture, I take out my checkbook.”


  4. I’ve used your Blue Note and Atlantic label identification cheat sheets about a hundred times now. I’ve only recently started exploring your blog and I must say I’m happily addicted.

    Keep it up!


  5. Just come across this fantastic site.Picked up a lot of these records back in the eighties when they went for a fiver max! Also missed some british stuff at the time due to naivity doh.!Now fifty and still hooked.Keep up the good work


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