The Blue Note Thread

RHANDMJ said:
Valid, and successful vinyl stores I know of all deal extensively in used vinyl. The margins on new vinyl are not as high, and the cost of returns eats into that. However, not all are equal.

There are those who achieve high margins by taking advantage of customers needing cash. They pay low for records and price high. These are bottom feeders. For example, here in Toronto Sonic Boom is known for that.

Then there are those who are fair, and have built a business based on honest treatment of customers. They will usually pay 40-50% of Discogs median value. That gives them a 50% markup, notwithstanding factoring in that some will not move, and some will sit in inventory for longer than others. In Toronto, Rotate This is known for that.

The first type may move lots of product, but they won't get the prime used records that knowledgeable collectors will know the value of.

The second type achieve higher profits by virtue of being able to attract better records, and can achieve higher turnover - which ultimately more than makes up for the gap in gross margin while establishing superior customer loyalty.
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Where I'm at, the record shops like to lowball your trade-ins and act as if you don't know squat about vinyl records. Maybe I haven't built the right relationship with them. But I do kind of want to bring in a stack of valuable records just to see how low they will go with their offer.

In most situations I'd say you're better off selling things online or locally directly to other record collectors. Takes more time, and can be a hassle if you have a lot to unload, but you'll get back considerably more money. Don't get me wrong, I like to support local record stores when I can, but I'm not trading in or selling my records to them because 50 cents to a buck a record is just insulting (and these aren't beater albums). Also, I noticed that most record stores around me, just price off Discogs, and oftentimes significantly higher. So, are we all just pricing albums based off the last 10 sales on Discogs now?
 
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zdkaiser said:
Where I'm at, the record shops like to lowball your trade-ins and act as if you don't know squat about vinyl records. Maybe I haven't built the right relationship with them. But I do kind of want to bring in a stack of valuable records just to see how low they will go with their offer.

In most situations I'd say you're better off selling things online or locally directly to other record collectors. Takes more time, and can be a hassle if you have a lot to unload, but you'll get back considerably more money. Don't get me wrong, I like to support local record stores when I can, but I'm not trading in or selling my records to them because 50 cents to a buck a record is just insulting (and these aren't beater albums). Also, I noticed that most record stores around me, just price off Discogs, and oftentimes significantly higher. So, are we all just pricing albums based off the last 10 sales on Discogs now?
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In the absence of anything better, I suppose Discogs median is better than nothing. Easy for a store too, they just scan the record's barcode.

Astute stores know to check the sales history, not just the median value, to be sure there are no outliers affcting value in either direction.
 
Anyone get there Joe Pass For Django Tone Poet ? Inquiring minds would like to know, thoughts ? Mine is a week or so out shipping with some other things.
 
Ghost said:
Haven't heard either of these but after Destination Out I'm all ears on McLean. Still need to grab For Django, Latin Bit, and that Sonny Red though
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I'd recommend getting those 4 at UDiscover as you'll get 2 of them at $19 and free shipping. You can select to receive them separately which is always ideal for preorders.
 
Looks like the new Lee Morgan Caramba BN Classics is going to be a gatefold sleeve like the original release. That's a bonus given this series and the BN80s tend to have very basic jackets.
 
zdkaiser said:
Looks like the new Lee Morgan Caramba BN Classics is going to be a gatefold sleeve like the original release. That's a bonus given this series and the BN80s tend to have very basic jackets.
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The originals were actually unipak. Very similar to gatefolds but the slot/access is from the inside rather than the outside. The front part is also a single sheet of card rather than the pocket that gatefolds tend to have. Im more partial to gatefolds I think because they feel more sturdy and the record itself is easier to get to (although I tend to store my records outside of the sleeve anyway in the outer).

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Selaws said:
The originals were actually unipak. Very similar to gatefolds but the slot/access is from the inside rather than the outside. The front part is also a single sheet of card rather than the pocket that gatefolds tend to have. Im more partial to gatefolds I think because they feel more sturdy and the record itself is easier to get to (although I tend to store my records outside of the sleeve anyway in the outer.

View attachment 129332
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I think Ornette's New York is Now was the same.
 
There was some talk about John Patton a while back (either here or in the Jazz thread) and I just wanted to give a shout out to this fantastic album. The speed is break-neck and the interactions are blinding (especially between Patton and Grant Green). Its just incredible.

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A post below from Joe Harley about Tone Poet's some of you might find interesting.

I've been asked to write about the process of title choosing for the Tone Poet series:

1st, its important to note that the titles chosen are not the results of group meetings and careful analysis at Blue Note. Before the series launched, there's no doubt some of that went on of course, as you would expect for any new series involving more costly production.

I have a fairly simple methodology: I listen every evening I'm at home, which is everyday unless in L.A. I do keep up with new releases, but most often I'm playing potential candidates for the Tone Poet program. I make notes on everything I'm listening to...many I know very well from years of listening. But I do like to reacquaint myself with everything before putting something on the potential go-list.

Fortunately the Blue Note family of labels is a VERY large musical tent. And luckily, my own tastes in jazz are very broad...from straight-ahead bop to avant-garde to B3-based soul-jazz and all the stops in between.

Occasionally, Cem Kurosman (who runs the Classic Series for Blue Note) and I will haggle over a title or two, but I simply pick what moves me musically. I do try and pair the records up for monthly releases with some contrast in style...something a bit more adventurous paired up with something more inside for instance. (Practical matters like shifting release dates can sometimes mess with this plan, so don't hold me to it lol.)

I absolutely love the passion that jazz lovers have...and that they enjoy sharing that passion with others, including me! Naturally, every ones taste is a bit different. I hear it all: "Enough with the hard bop!!! PLEASE, NO MORE "free jazz". "You need to focus on the B3 groove music that has been ignored so long". "Why do you like Grant Green and Stanley Turrentine so much?".

But...I wouldn't have it any other way. Music at it's best IS passion so naturally folks feel strongly about what they want.

What I can say is that we have SO many great albums in the pipeline...many have already been mastered. There's plenty of incredible music coming, and it comes from a wide stylistic swath from the Blue Note family of labels. I don't expect everyone to love everything I do. But I think nearly everyone will find something (and many somethings) that they will enjoy. Expect some surprises as well!
 
JohnnyCashFan said:
A post below from Joe Harley about Tone Poet's some of you might find interesting.

I've been asked to write about the process of title choosing for the Tone Poet series:

1st, its important to note that the titles chosen are not the results of group meetings and careful analysis at Blue Note. Before the series launched, there's no doubt some of that went on of course, as you would expect for any new series involving more costly production.

I have a fairly simple methodology: I listen every evening I'm at home, which is everyday unless in L.A. I do keep up with new releases, but most often I'm playing potential candidates for the Tone Poet program. I make notes on everything I'm listening to...many I know very well from years of listening. But I do like to reacquaint myself with everything before putting something on the potential go-list.

Fortunately the Blue Note family of labels is a VERY large musical tent. And luckily, my own tastes in jazz are very broad...from straight-ahead bop to avant-garde to B3-based soul-jazz and all the stops in between.

Occasionally, Cem Kurosman (who runs the Classic Series for Blue Note) and I will haggle over a title or two, but I simply pick what moves me musically. I do try and pair the records up for monthly releases with some contrast in style...something a bit more adventurous paired up with something more inside for instance. (Practical matters like shifting release dates can sometimes mess with this plan, so don't hold me to it lol.)

I absolutely love the passion that jazz lovers have...and that they enjoy sharing that passion with others, including me! Naturally, every ones taste is a bit different. I hear it all: "Enough with the hard bop!!! PLEASE, NO MORE "free jazz". "You need to focus on the B3 groove music that has been ignored so long". "Why do you like Grant Green and Stanley Turrentine so much?".

But...I wouldn't have it any other way. Music at it's best IS passion so naturally folks feel strongly about what they want.

What I can say is that we have SO many great albums in the pipeline...many have already been mastered. There's plenty of incredible music coming, and it comes from a wide stylistic swath from the Blue Note family of labels. I don't expect everyone to love everything I do. But I think nearly everyone will find something (and many somethings) that they will enjoy. Expect some surprises as well!
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Thanks for sharing this @JohnnyCashFan.

I find the part about people complaining to be especially funny. Imagine just a few years ago if they were told all these titles would be readily available for a fantastic price and in outstanding quality, they would have bitten your arm off. People have just become spoilt.
 
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