TEST IMAGE. Record sleeve.

Blue Note pressing

€180,00
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TEST IMAGE. Record sleeve.

Sound & screen›Record›No. T-024

1964

Blue Note pressing

Kept by Jan in Rotterdam

▶  Hear Jan tell it, 14 min

TEST DATA. An original pressing, sleeve worn.

€180

In your bag· see the bag
About this one
TEST DATA. An original Blue Note pressing from 1964, mono, with the deep groove and the Van Gelder stamp in the run-out.
TEST DATA. Playing. It is not sealed and it is not mint, and a record from 1964 that has been played is a record that was loved.
Condition

How it looks

TEST DATA. Sleeve has ring wear on the front and a split of about three centimetres at the bottom seam. Labels clean, no writing. Vinyl has light surface marks under a lamp.

How it works

TEST DATA. Played all the way through on both sides. Light surface noise in the quiet passages, no skips, no groove damage. Cleaned on a machine before listening.

Every photograph on this page is of this exact piece.

The facts
Year1964
Made byUnseend
Made inthe United States
Weight250 g
ObjectNo. T-024
In the box
TEST DATA. Record and original sleeve, in a new inner and a protective outer.

Kept 1984–2026 · 14 objects

Everything Jan passed on

Who kept it

Jan, Rotterdam

Jan's shelf

TEST DATA. Forty years of audio, one piece at a time, all of it working. Fourteen objects came here in June 2026, each with his name on it.
I never sold one. I just kept buying the next one and moving the old one up a shelf.
In Jan’s own wordsOpens here

TEST DATA. It started with a deck I could not afford, in 1984, secondhand even then. I had a shelf I had built for books and no books worth putting on it, so the deck went there, and that is the shelf this whole thing grew out of.

I was working nights at the time. You come home at six in the morning and you cannot sleep straight away, so you sit with headphones on and listen to a side of something, and after a year of that you start to hear the difference between machines. That is how it happens. Nobody sets out to own fourteen of anything.

Everything after that went on the same shelf, and when the shelf filled I built another one above it. My wife counted three at one point and said nothing. She counted nine about four years later and said something.

I never sold one. That is the part people find odd. The old one simply moved up a row, and the row above that, and eventually up to the loft, but it never left the house and it never stopped working, because a thing that stops working gets fixed. I can solder. I am not a technician and I would not pretend to be, but a belt is a belt and a capacitor is a capacitor, and most of what goes wrong with this equipment goes wrong in the same four places.

The receiver is the one I would keep if I could only keep one. It came from a man in Schiedam who was emigrating and wanted it gone that weekend. It had been serviced properly, once, by somebody who knew what they were doing, and you can tell. Whoever ends up with it should leave it alone and just use it.

I kept the receipts. All of them, in the boxes, with the date and what I paid written on the back in pencil. I do not know why I started doing that and I am not going to claim it was foresight. But it means that for almost every piece here I can tell you exactly what it cost and exactly when, and that felt worth handing over with them.

What I did not want was for this to be sold as a job lot to a dealer who would split it up and put it on a marketplace with a photograph taken on a kitchen floor. Forty years of Saturdays deserves better than that. It does not have to be a museum. It just has to be honest about where it came from.

So take the shelf as well, if you want it. I built it badly in 1984 and it has held up better than I have.

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