356. The CAKE: “World of Dreams b/w Stand By Me” (Decca/ Teichiku – DS-498) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan only 1968 picture sleeve single issue that only occasionally turns up but never in a shape as this beaty here. The Cake - three teenage girls that were discovered while singing along to records in a New York nightclub by two hotshot managers. They are rushed into a recording studio, signed up to a major label deal and whisked off to Hollywood in a matter of weeks where they are treated like stars and consort with rock royalty. It sounds like a story spun from myth. But all this did happen and more. They were the daughters of Sgt. Pepper, a baroque girl group who wrote psychedelic madrigals and sang blue-eyed soul with rock ‘n’ roll attitude. This trio of brash and beautiful teenage New York City girls Jeanette Jacobs, Barbara Morillo and Eleanor Barooshian jumped onto the rollercoaster of the 60s music scene just as it hit its peak and spiraled into a downward curve. The Cake were formed in ‘66 and baked by ‘68, releasing two albums that have been cherished ever since by music enthusiasts as curios of the time. They released one single in Japan, which tanked quickly to the depths of obscurity and is now quite a hard one to get a hold off. Top copy that comes housed in eye-catching picture sleeve that breathes out cute sixties psychedelia from the get go. First copy I see in ages. Price: 350 Euro

357. CAN: “Delay 1968” (Japan Record – JAL-2301) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japan 1st press original all complete with obi. Japan 1st original pressing of much in demand Can LP. Getting harder to track down these original Japanese pressings. "As long as Can plays SOUL they are unbeatable", said the great Conny Plank as Holger Czukay was dusting off the tapes that became "Delay 1968" in the early '80s. Top condition, never seen or had a copy of this LP that is so perfect and just immaculate on all fronts. Impossible to ever find or upgrade to a better copy and I do not even attempt at exaggerating here. Price: 250 Euro

371. CANNED HEAT: “Evil Woman b/w Amphetamine Annie” (Liberty/ Toshiba Musical Industries – LR-2292) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan only picture sleeve issue that comes on RED WAX!!!! Hardly ever turns up for sale and one of the rarest Japan only Canned Heat EP issues. Price: 100 Euro

374. The CANNONBALL ADDERLEY QUINTET Featuring NAT ADDERLEY: “Them Dirty Blues” (Riverside/ Nippon Victor – SR-7001) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan very first press issue all complete with first issue obi. “Recorded in early 1960, Them Dirty Blues contains two classic jazz compositions: Nat Adderley’s "Work Song" and Bobby Timmons’ "Dat Dere," the sequel to "This Here." This was alto saxophonist Cannonball Adderley’s second quintet with brother Nat Adderley (cornet), and features Bobby Timmons on piano (who plays on four tracks and was replaced by Barry Harris on the remaining five), Sam Jones on bass, and Louis Hayes on drums. Them Dirty Blues was originally released on Riverside until Adderley made the switch to Capitol where he brought several master tapes with him, including these sessions.” (All Music Guide) Scarce Japan 1st original pressing housed in fragile flip back sleeve and with obi present. Price: 150 Euro

381. CARAVAN: “S/T” (Polydor – 23MM0134) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint/ Insert: Near Mint). Absolutely top condition, impossible to ever upgrade upon. Very first Caravan album, very first Japanese press issue all complete with obi. The five first Caravan albums are all, one for one, masterpieces of Canterburian progressive art rock. Right from the start the band made an artistic statement that put everyone on his toes. And even till this day, their first LP is a monster. Rare Japanese original pressing in top condition. Price: 150 Euro

398. CHAMBERS, PAUL with JOHN COLTRANE: “Jazz Delegation from the East – Coltrane, Chambers’ Music” (Imperial/ Nippon Victor – SMJ-7046) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare very first Japan original press issue all complete with rarely seen first issue obi. “The first sessions as a leader for bassist Paul Chambers were recorded while he was a member of the Miles Davis Quintet. The first six selections feature Chambers with pianist Kenny Drew, drummer Philly Joe Jones and (on four numbers) the immortal tenor saxophonist John Coltrane. This somewhat obscure date includes such jazz standards as "Dexterity" and "Stablemates" along with "Easy to Love" and three straight-ahead group originals. Coltrane dominates the numbers he is on, although his sound was not quite mature yet. Although none of this music is classic, it does give listeners a valuable early look at these important jazzmen.” (All Music Guide) First copy I see with obi and in top shape, elusive for eternity. Price: 250 Euro

410. CHARLES TOLLIVER: “New Tolliver” (Baystate – RVJ-6025) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan first original press issue all complete with obi. This one came out before it was rereleased on the Strata-East label. An overlooked gem from trumpeter Charles Tolliver -- not as well-known as his Strata East sessions with Music Inc, but equally great! The sound here is a bit different than some of Tolliver's other albums of the 70s -- as the group features the guitar of Nathan Page in place of the usual piano -- working with an incredible rhythm duo of Steve Novosel on bass and Alvin Queen on drums, both players who gel together beautifully here, making the album a rhythmic delight throughout! Page's guitar often has these weird little edgey moments, which seems to bring out the same in Tolliver -- adding in a new complexity to his well-known style of far-reaching lines on trumpet. The album's got 4 long tracks, nicely hung together with a sound that's searching, but never too loose to swing. Top condition. Price: 250 Euro

413. CHARLIE CHRISTIAN: “Charlie Christian at Mintons” (Columbia Records – SL-5001-EV) (Record: Near Mint/ Heavy Gatefold Jacket: Excellent/ Attached 4 paged Booklet: Near Mint/ OBI: Excellent). Bloody rare Japan 1st original pressing all complete with rare first issue obi as released in November 1969. If there is such a thing as a Holy Grail of bebop, this disc is it. While the sound quality may be lacking, Christian’s guitar experiments are sublime. This disc is indispensable as an essential document in jazz history, and this first original Japanese pressing boasts cleaner sound than most. Charlie Christian is to jazz what Robert Johnson is to the blues – a pioneer, an exceptional guitarist, a man who died way too young and a player only truly appreciated after he passed away. Christian introduced a whole new soloing vocabulary to jazz and the electric guitar itself. Cut in May of 1941 this music features, among others, electric guitar pioneer Charlie Christian, Dizzy Gillespie then a young trumpeter just beginning to emerge from Roy Eldridge's shadow, the cool toned tenor of Don Byas, a young drummer who was radically altering the approach of jazz drummers named Kenny Clarke, and a little known house pianist named Thelonious Monk. There are two reasons this music is so vital. First, the performances are outstanding. Christian is transcendent in his soloing. His lines are crisp, and swing hard as anyone, and for this listener THE reason to pick up this disc. He is afforded the opportunity to really stretch out and dig into the music that the standard three minute record of the day simply could not allow, just listen to "Swing to Bop" and "Up on Teddy's Hill". Gillespie is in a transitional phase of his playing, only just beginning to come into his own, but one hears glimpses of his greatness on "Kerouac". Monk is identified as the pianist on "Swing to Bop" and "Stomping at the Savoy". One has to strain to listen even as he solos as the piano is very soft, most likely far from the mic, but one hears enough to tell his playing is still stride based and displays little of his trademark style. These performances of Monk and Gillespie at such a stage gives the fan a perspective of just how young they were, and how far they would come. As with Robert Johnson and the similarly baffling English folk finger-stylist Nick Drake, there exists no film of Charlie Christian playing guitar. He died at just 25 years old, a trailblazer cut down by tuberculosis. Who can imagine what Charlie Christian would have brought to the bebop era, or even rock and roll? He was a rare talent. Rare Japanese 1st original press with amazing silver toned Columbia obi. Only the 2nd time ever I see a copy complete with obi!!! Price: 50 Euro

414. CHARLIE HADEN LIBERATION MUSIC ORCHESTRA: “Liberation Music Orchestra” (Impulse – AS-9183) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Japan Lyrics Insert: Near Mint/ Company Inner Sleeve: Excellent/ Direct Import OBI: Near Mint). Original US 1st original pressing –that comes with the Japanese first OBI issue, being an obi indicating that this LP was directly imported from the US and made available in ltd numbers before a domestic press would see the light of day. These Import Obi’s are damned rare as they are solely the front and always fall off of the record when taking it out of its protective sleeve, making that only a few are actually preserved. A fascinating and utterly stunning recording that comfortably straddles the lines of jazz, folk, and world music, working up a storm by way of a jazz protest album that points toward the Spanish Civil War in particular and the Vietnam War in passing. Haden leads the charge and contributes material, but the real star here may in fact be Carla Bley, who arranged numbers, wrote several, and contributed typically brilliant piano work. Also of particular note in a particularly talented crew is guitarist Sam Brown, the standout of "El Quinto Regimiento/Los Cuatro Generales/Viva la Quince Brigada," a 21-minute marathon. Original Japanese 1st pressing – which sounds amazing. Nice condition US original with Japan ONLY import obi. Price: 175 Euro

420. CHERRY, DON: “Mu Second Part” (BYG/ Nippon Columbia – BYG-28) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Excellent). Japan 1st original press issue all complete with insert and obi. “This classic pair of recordings captures Don Cherry near the height of his global quest to absorb as much music as possible from different cultures and funnel it back through his jazz sensibility. It's one of the earliest, and most successful, experiments in what would later come to be known as world music. He wisely chose his fellow Ornette Coleman cohort Ed Blackwell -- a drummer steeped in the traditions of New Orleans, African music, and free jazz -- for his partner. Despite his reputation as a trumpeter, Cherry spends a great deal of time here on piano, flutes, and vocals. His piano playing, while relatively simple, is fluid and melodic, owing a good deal to Abdullah Ibrahim. Likewise, his singing -- heavily influenced by Indian karnatic song -- is endearingly bright, heartfelt, and lovely. But, above all, his trumpet playing is stellar. When Cherry hits his ringing, clarion passages, he projects a purity of sound that few other trumpeters could match. Blackwell matches him sound for sound, with rolling West African-derived rhythms, Basin Street marches, and the most overtly musical tone of any drummer this side of Max Roach. The Mu sessions have long held legendary status and it's not difficult to hear why. Highly recommended.” (All Music Guide) Price: 100 Euro

427. CHERRY, DON: “ORIENT - Don Cherry no Atarashii Sekai” (BYG – YX-4012-13) (2 LP Set: Near Mint/ Gatefold Jacket: Excellent ~ no defects but has foxing due to age inside the gatefold/ OBI: Near Mint). Rare Japan only release complete with the very rare OBI present. 1st original copy ever to cross my path with OBI attached. A beauty from Don Cherry – and one of his rarest records! This set was originally only ever issued by the Japanese branch of BYG Records in the early 70s, and it features 2 live performances from France, both of them great! Don's in a spare trance-like mode here – working with one trio comprised of bassist Johnny Dyani and percussionist Okay Temiz; and another trio with Han Bennink on percussion and Moqui on tambura. Tracks from both sets are very long and stretched-out – a mixture percussion, trumpet, flute, piano, and occasional vocals, often done in a globally expansive style. Titles include "Si Ta Ra Ma", "Orient", "Eagle Eye", and "Togetherness". Killer spiritual jazz slide and only released in Japan. Top copy! Price: 350 Euro

428. CHERRY, DON: “Blue Lake” (TOHO/ BYG – YX-4022~3) (2LP Set: Near Mint/ Gatefold Sleeve: Near Mint/ Obi: Near Mint). Original press, Japan only release that came out in a run of approximately 500 copies. Has been a long time since I had an all complete copy with obi. Much in demand especially with obi flashing its colors and this copy is probably the best you can possibly hope for, perfect condition. Without a doubt the rarest title in the Don Cherry catalogue since original copies just never surface. Cherry’s global approach and experimentations on Blue Lake depict his nomadic musical-self transitions between pocket trumpet, flutes, piano and chanting. The disc gets underway with tom-tom drum crescendos spilling over Cherry’s Alice Coltrane-like arpeggio runs on piano and humming chants, before segueing dramatically into the frenetic brass playing and Okay Tamiz’s polyrhythmic percussive displays. Wooden sounding drums—as well as gongs, bells, chimes, and "small" instruments also come into the action. The legendary South African bassist Johnny Dyani and percussionist Okay Temiz are seemingly the ideal accompanists for Cherry’s Oriental induced outings. Dyani’s plucked and arco bass get accompanied by a wistful clay flute, wind-like chimes, and sensitive drum tapping, resonates with a certain archaic magic. The second movement is much more rhythmic and borders on an outpouring of emotion. It settles the rhythm into gear with a meditative and melodic humming chant offered to the crowd by Cherry. In all, the disc features masterful improvisational interplay by what would seem greater than a mere threesome; the experience is captured exquisitely. Moreover, this original vinyl copy sound so much fuller than the needle drop bootleg copy Akarma flooded the market with years ago. A joy to hear this disc the way it is supposed to be heard. Rare original in perfect nick with rare obi present! Price: 350 Euro

429. CHERRY, DON & JON APPLETON: “Human Music” (Flying Dutchman – FDS-121) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Direct Import Obi: Near Mint) Rare US pressing in top notch condition that was directly – upon its release – imported to Japan and for this the whole thing got adorned with a “Direct Import Obi” and Japanese liner notes insert. The obi is damned rare and always missing, first time in all these years I see a copy with the first issue obi present! A fantastic record and one of the rarest ever on Flying Dutchman! The set is an amazing collaboration between trumpeter Don Cherry and pioneering electronic musician Jon Appleton -- one of those rare meetings of the minds that goes far deeper than you'd expect! On the set, Cherry's trumpet, flute, and percussion is heavily processed by Appleton -- often in ways that are organic enough to keep with Cherry's other experiments of the time, and with the "Human Music" title of the set -- but sometimes with the more playful feel of Appleton's other music from the time. The mix of electronics and improvisation is amazing -- years ahead of its time and with a haunting sound that works perfectly against Cherry's style of restrained spiritualism. The LP's got 4 long tracks -- "Boa", "Oba", "Abo", and "Bao" -- all recorded live in the studio! Rare obi is quite a catch, never offered before first issue obi. Price: 150 Euro

456. CLARK, GENE: “White Light” (A&M Records/ Pony Canyon – C19Y4005) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Promo issue with promo sticker on back of sleeve. Comes with obi. “Gene Clark’s 1971 platter, with its stark black cover featuring his silhouette illuminated by the sun, was dubbed White Light -- though the words never appear on the cover -- and if ever a title fit a record, it's this one. Over its nine original tracks, it has established itself as one of the greatest singer/songwriter albums ever made. After leaving the Byrds in 1966, recording with the Gosdin Brothers and breaking up the Dillard & Clark group that was a pioneering country-rock outfit, Clark took time to hone his songwriting to its barest essentials. The focus on these tracks is intense, they are taut and reflect his growing obsession with country music. Produced by the late guitarist Jesse Ed Davis, Clark took his songs to his new label with confidence and they supported him. The band is comprised of Flying Burrito Brothers’ bassist Chris Ethridge, the then-Steve Miller Band-- pianist Ben Sidran, organist Michael Utley and drummer Gary Mallaber. Clark’s writing, as evidenced on "The Virgin," the title cut, "For a Spanish Guitar," "One in a Hundred," and "With Tomorrow," reveals a stark kind of simplicity in his lines. Using melodies mutated out of country, and revealing that he was the original poet and architect of the Byrds’ sound on White Light, Clark created a wide-open set of tracks that are at once full of space, a rugged gentility, and are harrowingly intimate in places. His reading of Bob Dylan’s "Tears of Rage," towards the end of the record rivals, if not eclipses, the Band’s. Less wrecked and ravaged, Clark’s song is more a bewildered tome of resignation to a present and future in the abyss. Now this is classic rock.” (All Music Guide). Spot on, this shit rules! Virginal condition. Price: 75 Euro

459. CLEAR CUT: “S/T” (Rough Trade/ Japan Record – RTL-5) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Big Sized Pop Group Poster: Near Mint/ Obi: Near Mint). Rare Japan only compilation LP that came out in 1981. It brings together tracks by such sonic luminaries out of the UK underground scene that was then in full swing such as Josef K; The Fall; Orange Juice; The Gist; Girls At Our Best; Red Crayola; The Raincoats; Delta 5; This Heat; Essential Logic; Scritti Politi and Robert Wyatt. Just a deadly line-up. All complete copy! Price: 75 Euro

468. COB: “Moyshe McStiff and the Tartan Lancers of the Sacred Heart” (Polydor – 2383161) (Record: Near Mint/ Extremely Fragile Gatefold Jacket: Near Mint). TOP Original UK copy of monster acid folk gem. As far as the music is concerned, I guess you all know the deal. COB were ex-Incredible String Band founding member Clive Palmer’s band and after quitting the Incredible String Band when their debut album was canned he simply vanished from the scene, only to surface again a year later in the disguise of COB, which aptly stood for Clive’s Original Band. “Moyshe McStiff and the Tartan Lancers of the Sacred Heart” has a hymnal, rural English vibe attached to it that is definitely heading towards folk infested waters instead of cross-mutating into a folk-rock sound. Palmer’s vocals are just exquisite, calm, soothing, levitating even at times which only attributes to the completely acoustic nature of this disc. “Let It Be You” (the best love song ever recorded, every time I play it makes me cry like a baby) and “Heart Dancer” are some of the tracks on the LP that are just mesmerizing in their beauty and execution. But it would be totally unfair to slag of COB as just another folk band. Nope, they sound quite exotic at times, otherworldly and even lysergic due to enriching their tonal palette with unusual instruments for that day like the harmonium and dulcitone. It makes the group sound at times even completely spaceward bound and psychedelic such as the track “Martha & Mary” will show and unveil upon spinning it. But it’s this naive charm and willingness to sound different that makes Moyshe McStiff and the Tartan Lancers of the Sacred Heart such a magical album. Although maybe too low-key for some, it is definitely to these ears one of the best English folk albums out there. The band effectively hit a rural English country folk-psych sound that’s visionary and highly original, completely different to the Stringband. To me it is a classic UK psych tinted folk album that defies even the greatness of Trees, Mellow Candle and Spirogyra and you know when you are catapulted into those regions you better sound good and deliver the goods. And COB definitely lives up to that promise. Probably the best copy for light-years around. Price: Offers!!!!

472. COLD SUN: “Dark Shadows” (World In Sound – RFR-030) (Record: Near Mint/ 10 Inch Record: Near Mint/ Textured Heavy Gatefold Jacket: Near Mint/ Booklet: Near Mint). Hyped to the stars Texas psych monster, released for the 1st time in 1990 by Rockadelic. This is the 2nd authorized press version of 2008, complete with unreleased live recordings that come on an extra 10 inch. And let me start of with this – yes believe the hype, this disc is just fantastic. Anyway, just if you have any doubts, here is what the dudes of the Acid Archives have to say about the music. “Austin band with an obvious Elevators influence recorded this amazing LP in 1970. There’s no hints of prog or hard rock on this beast though, just 100% psychedelia. Truly inspired original and uncompromising stuff, it actually sounds like the logical next step after “Easter Everywhere” and “Bull of the Woods” – great Texas desert psych. Most songs are long and winding, full of echoey fuzz, Roky-inspired vocals, autoharp and some harmonica. It never gets into boring hippie jams though. It is more like entering a state of mind than listening to a regular album. The lyrics are also some of the best I’ve ever heard, managing to be totally strange and psychedelic without getting the least pretentious. Possibly one of the best and most important psych reissues ever. Roky’s first backing band, Bleibalien, were essentially made up of members from Cold Sun. Fantastic LP!” (Acid Archives blabber). So for once the AA made sense, just believe the hype, this LP is so bloody awesome it will haunt your sleeping hours and waking days. Simply great!! Sadly long gone and deleted deluxe issue hlouswed in thicker than life gatefold sleeve. Price: 150 Euro

476. The ORNETTE COLEMAN QUARTET: “This Is Our Music” (Atlantic/ Nippon Victor – ATL-5053) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan very first original press issue from 1961 all complete with very first issue OBI. “With two landmark albums already under its belt, the Ornette Coleman 4tet spent nearly a year out of the studio before reconvening for This Is Our Music. This time, Billy Higgins is replaced on drums by Ed Blackwell, who has a similar knack for anticipating the ensemble's direction, and proves a more fiery presence on tracks like "Kaleidoscope" and "Folk Tale." The session is also notable for containing the only standard (or, for that matter, the only non-original) Coleman recorded during his tenure with Atlantic - Gershwin’s "Embraceable You," which is given a lyrical interpretation and even a rather old-time, sentimental intro (which may or may not be sarcastic, but really is pretty). In general, though, Coleman disapproved of giving up his own voice and viewed standards as concessions to popular taste; as the unapologetic title of the album makes clear, he wanted to be taken (or left) on his own terms. And that word "our" also makes clear just how important the concept of group improvisation was to Coleman's goals. Anyone can improvise whenever he feels like it, and the players share such empathy that each knows how to add to the feeling of the ensemble without undermining its egalitarian sense of give and take. Their stark, thin textures were highly distinctive, and both Coleman and Cherry chose instruments (respectively, an alto made of plastic rather than brass and a pocket trumpet or cornet instead of a standard trumpet) to accentuate that quality. It's all showcased to best effect here on the hard-swinging "Blues Connotation" and the haunting "Beauty Is a Rare Thing," though pretty much every composition has something to recommend it. All in all, This Is Our Music keeps one of the hottest creative streaks in jazz history going strong.” (All Music Guide) Damned rare pressing with first issue OBI!!! Price: 300 Euro

480. COLEMAN, ORNETTE: “The Music of Ornette Coleman” (Nippon Victor – SX-2013) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Damn, another never encountered before Ornette slide, Japan very first pressing all complete with obi and housed in Japan only gatefold sleeve with attached booklet. Same as the above but this is the more affordable STOCK copy. Top condition. Highest recommendation. Price: 200 Euro

496. COLEMAN, ORNETTE: “The Skies of America” (Record: Near Mint/ Jacket: Near Mint – still housed in shrink/ Insert: Near Mint/ Obi: Mint – still covered in shrink). Japan original pressing in top shape and damned hard one to find with obi present. “Here's what is known about Coleman’s first recorded orchestral symphonic work: After hiring conductor David Measham and the London Symphony Orchestra, British musicians' union rules prohibited Coleman from using his own quartet to play on the record. As a result, he had to re-examine the work without the concerto grosso form and, to fit the work on a single LP, he had to cut many of the recurrent themes of the work. It is also known that the recording quality isn't the greatest. So what? The bottom line is this: In the 21st century, Skies of America, which was Ornette’s first attempt at employing his newly developed harmolodic theory (whereby using modulation many players could solo at once using different keys), still sounds ahead of its time. Though there are 21 bands marked on the cover, this is a single unbroken work with many of the themes recurring -- either in that they had long been present in Ornette’s musical iconography, or would become so. Coleman himself solos beautifully in the middle of the disc, from "The Artist in America" on and off until the work's end with "Sunday in America." This is loaded music: politically, emotionally, and also spiritually. The dissonance doesn't seem so profound now, but it still rubs against the grain of Western harmonic principles in all the right ways. It's difficult to find the sense of what chord is dominant in Coleman’s composition, and for that alone it's valuable. But also, it's compelling listening on a level that music such as this is not yet the cultural norm or even close to approaching its standard -- which means that it is not yet fully possible. Ornette’s was an opening volley, thrown down as a gauntlet that has yet to be picked up. This is still dangerous and rewarding music.” (All music Guide). Still housed in shrink and with rare cap obi present. Tough one. Price: 75 Euro

506. COLTRANE, ALICE: “Alice Coltrane with Strings – World Galaxy” (Impulse Records – YP-8580-AI) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Japan 1977 pressing – PROMO issue. Great shape of indispensable spiritual jazz slide. Price: 100 Euro

508. COLTRANE, JOHN & ALICE COLTRANE: “Cosmic Music” (Coltrane Records – AU-4950) (Record: Near Mint/ Gatefold Jacket: Excellent – fain trace of ring-wear). Amazing condition first sleeve issue with first issue labels original pressing. Rare Coltrane’s self-released private press album that came out in 1967. This is the very first pressing of the record, which came housed in a “Black & Grey” unlaminated gatefold jacket design with a black margin on the right-hand side. So this copy here is the very first pressing! It also has the original, first label (pink Coltrane label with ‘paisley’ motif on the label) and was the first, unmixed version of the album which was the original, Coltrane-approved mix – the one he personally supervised. The second version is very similar to the first, but with some significant differences. The second pressing has a cover with a black and later a white right-hand margin on the front cover with a dedication to Martin Luther King. This means that it was issued after Martin Luther King’s assassination (April 1968). This later version uses second label (all-pink label with black print, without paisley motif) and utilizes the Alice Coltrane, which is slightly different from this very first issue. This one here is just a top near perfect copy, sounds stellar and is just too beautiful too handle almost. Amazing music which to these ears sounds light-years better and more interesting as compared to the even later altered mix that was used for the Impulse edition which added strings and other stuff. So, First original private press on Coltrane’s own imprint … great copy. Price: Offers!!!

514. COLTRANE, JOHN: “Soultrane” (TOP RANK/ Victor Records – RANK-5013) (Record: Near Mint/ Fragile Flip-back Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Rare Japan very first press original from 1961!! All complete with mega rare obi and in TOP condition! “In addition to being bandmates within Miles Davis mid-'50s quintet, John Coltrane (tenor sax) and Red Garland (piano) head up a session featuring members from a concurrent version of the Red Garland Trio: Paul Chambers (bass) and Art Taylor (drums). This was the second date to feature the core of this band. A month earlier, several sides were cut that would end up on Coltrane’s Lush Life album. Soultrane offers a sampling of performance styles and settings from Coltrane and crew. As with a majority of his Prestige sessions, there is a breakneck-tempo bop cover (in this case an absolute reworking of Irving Berlin’s "Russian Lullaby"), a few smoldering ballads (such as "I Want to Talk About You" and "Theme for Ernie"), as well as a mid-tempo romp ("Good Bait"). Each of these sonic textures displays a different facet of not only the musical kinship between Coltrane and Garland but in the relationship that Coltrane has with the music. The bop-heavy solos that inform "Good Bait," as well as the "sheets of sound" technique that was named for the fury in Coltrane’s solos on the rendition of "Russian Lullaby" found here, contain the same intensity as the more languid and considerate phrasings displayed particularly well on "I Want to Talk About You." As time will reveal, this sort of manic contrast would become a significant attribute of Coltrane’s unpredictable performance style. Not indicative of the quality of this set is the observation that, because of the astounding Coltrane solo works that both precede and follow Soultrane - most notably Lush Life and Blue Train - the album has perhaps not been given the exclusive attention it so deserves.” (All Music Guide). Rarely seen Japan 1961 very first original press issue in top shape with rare OBI. Price: 400 Euro

516. COLTRANE, JOHN: “Standard Coltrane” (Prestige/ Victor Records – SMJ-7076) (Record: Near Mint/ Fragile Flip Back Jacket: Excellent – has small 1cm tear on opening/ Obi: Near Mint). Damned scarce Japan 1st original press issue.  (All Music “John Coltrane had yet to move into his modal post-bop phase in 1958 when he recorded a session for Prestige Records on July 11 with trumpeter/flugelhornist Wilbur Harden, pianist Red Garland, bassist Paul Chambers and drummer Jimmy Cobb, the results of which were issued in 1962 as Standard Coltrane. His groundbreaking modal work with Miles Davis on Kind of Blue was still a few months into the future, which makes this set more historical than vital or transitional, although it's pleasant enough, featuring Coltrane on several standards, including a ten-plus-minute version of "Invitation." Other Coltrane material from this 1958 Prestige era ended up on the albums Stardust (1963) and Bahia (1965).”Guide). Great condition and eclipses the US pressing in scarcity by far. First time ever I have a copy with first issue obi. Wicked!!! Price: 250 Euro

519. COLTRANE, JOHN: “Last Trane” (Prestige/ Victor – SMJ-7374) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Scarce Japan first original pressing all completely with rarely seen obi. “Despite its title (which was due to the original LP containing the last of Prestige's John Coltrane material to be released for the first time), this album does not have Coltrane’s final recordings either of his career or for Prestige. These "leftovers" are generally rewarding with an alternate take of "Trane's Slo Blues" (called "Slotrane") being joined by three slightly later numbers ("Lover," "By the Numbers" and "Come Rain or Come Shine") taken from quintet sessions with trumpeter Donald Byrd, pianist Red Garland, bassist Paul Chambers and either Louis Hayes or Art Taylor on drums. Enjoyable if not essential hard bop from John Coltrane’s productive Prestige period. Rarely offered very first Japan original press issue complete with fragile flip back sleeve and obi in pristine condition. Blows the US original pressing out of the gene pool by lightyears. Price: 300 Euro

521. COLTRANE, JOHN: “Dakar” (Prestige/ Victor Records – SMJ-7312) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint). Damned rare very first Japan original pressing in great shape. This is the never offered before rare TEST PRESS issue!!! Dakar (1957) presents half-a-dozen numbers recorded April 20, 1957 by an ensemble credited as the "Prestige All-Stars." On the bandstand for this date are John Coltrane (tenor sax), Cecil Payne (baritone sax), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), and Art Taylor (drums). Although at the time these were considered "leaderless" units, upon hearing the interaction of the participants, modern ears might desire to qualify that statement. Japan very first press issue that came out in the early 1960s. Stamped label TEST pressing in top shape – one of a kind item. Price: 350 Euro

531. COLTRANE, JOHN: “Ole” (Atlantic – SD-1373) (Record: Near Mint/ Jacket: Mint – still housed in shrink/ Company Inner Sleeve: Near Mint/ Direct Import Obi: Near Mint). Damned rare Japan direct import copy that comes with rare Direct Import obi. “When he recorded Olé Coltrane in 1961, Trane was already transitioning over to Impulse! Records, and his playing reflected the greater freedom that the new label afforded him. In the original liner notes, he is quoted as saying (in a classic understatement), "I like to play long." On the 18-minute showpiece "Olé," one can imagine the profound satisfaction he must have felt, when for the first time, he was free to let his playing stretch out across the record grooves. This is trance music of the highest order. Recorded one year after his former boss Miles Davis released Sketches of Spain, Trane's "Olé" resonates with the mystical sounds of the North African Moors who once ruled the Iberian Peninsula. While Sketches of Spain is big on Gil Evans' sweeping orchestrations and flamenco grandeur, "Olé" explores the Eastern-influenced musical modes of Islamic Spain in a more stripped down and earthy manner. Just two days after recording Africa/Brass, his stunning debut album for Impulse!, Trane took old band mates McCoy Tyner and Elvin Jones into the studio for a rendezvous with some talented new friends. Joining them there were Trane's equally intense and innovative counterpart, Eric Dolphy, the very young trumpeter Freddie Hubbard, and bassists Reggie Workman and the Art Davis. This dream team provided a great deal of musical empathy, liberating the conception and size of Coltrane's solos, spurring him to unknown heights. Everyone except Elvin Jones solos on "Olé," shaping the song with ever increasing freedom into the masterpiece that it is. Eric Dolphy's flute solo is unforgettable, communicating genius in a voice that no one could fail to identify. The interplay of the two basses lends an eerie mysticism to the song, with Art Davis' strong rhythmic bow-work suggesting the entrancing dance of Istanbul's Whirling Dervishes. "Dahomey Dance" is a more traditional sounding blues, with Trane switching to tenor sax. If not for the double-bass frontline and Dolphy's blissfully unconventional solo, this song could easily be mistaken for a missing gem from Miles' Kind Of Blue sessions. A transitional record, Olé Coltrane successfully navigates the line between Trane's sonically challenging later years and his earlier accessibility. A magnificent milestone in Trane's artistic growth, this is an essential recording for any collection.” (All About Jazz). Top shape, sleeve still housed in shrink. Tri-color (Green White & Red) Atlantic pressing. Price: 100 Euro

532. COLTRANE, JOHN: “Giant Steps” (Atlantic – SD-1311) (Record: Near Mint/ Jacket: Mint – still housed in shrink/ Company Inner Sleeve: Near mint/ Direct Import Obi: Mint) Damned rare Japan direct import copy that comes with rare Direct Import obi. “History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane’s debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind Of Blue, before commencing his efforts on this one. Coltrane is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind Of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane’s tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound." Coltrane’s polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening. He wastes no time as the disc's title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of "Countdown" does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral "Naima" was the last tune to be recorded, and is the only track on the original long-player to feature the Kind Of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty.” (All Music Guide). Top shape, sleeve still housed in shrink. Tri-color (Green White & Blue) Atlantic pressing. Price: 150 Euro

537. COLTRANE, JOHN: “Black Pearls” (Prestige/ Nippon Victor – SMJ-7252) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Mint). Freakingly rare Japan very first press issue all complete with obi in virginal shape!. A picture of an odd moment in the development of tenor saxophonist John Coltrane`s style, this 1958 session includes some imperfect settings for his sheets-of-sound technique. Donald Byrd sits in on trumpet with Red Garland on piano, Paul Chambers on bass and Art Taylor on drums. Coltrane`s sound fit the Miles Davis band better, but his ideas soar out beyond the moment, and the limitation of the group only reminds the listener of Coltrane`s bold originality. Price: 300 Euro

538. COLTRANE, JOHN: “Settin’ The Pace” (Top Rank/ Nippon Victor – MJ-7034) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). A rarely offered Japan very first press issue of the early 1960s all complete with damned rare obi. The whole affair is in stunning condition. This is John Coltrane from the period when he was a member of Miles Davis’ legendary 1950s quintet, accompanied by fellow quintet members Red Garlands and Paul Chambers. This is Coltrane in a relaxed bop mode, making some swinging, relaxed jazz in the vein of Sonny Rollins and Stan Getz (the latter in his more boppish mode). This is not the fire-breathing saxophonist of the mid-'60s, but a player who was beginning to push against the boundaries, all the while playing with thoughtful, imaginative lyricism. It's a set of little-known pop tunes of the era, with the exception of Jackie McLean’s "Little Melonae." Anyone who likes the mainstream jazz of the '50s, or Miles’ music of that time, or Coltrane fans who want to hear their idol in an easygoing context, should pick this up. Price: 300 Euro

550. COLTRANE, JOHN: “Impressions” (Impulse Records – SH-3020) (Record: Near Mint/ Flip Back Jacket: Excellent/ Insert: Near Mint/ Obi: Near Mint). Very first 1964 Japan original press issue all complete with rare first issue obi. Rare Japanese 1st original press issue from 1964. To make it even more eye-popping salacious is that this one here is the mega rare WHITE label PROMO issue, just never ever offered for sale before!!! Great condition. “Impressions is an album that, more than just giving the listener certain sensations, plumbs the depth of Coltrane's feelings. It does this while providing an incredible array of his musical concerns which makes this record indispensable. There's an A-flat blues; the stunning original ballad "After the Rain," and "India," on which two bassists simulate a drum choir. Finally, there's the remarkable title track, on which Coltrane develops several motifs in succession, moving in and out of a maze of tonalities - but always with the inevitable fervor and logic of a charging train.” (John Doe, Excerpted from the liner notes of the CD issue). Rarely seen 1st Japanese stereo pressing from 1964!!!! All complete with mega rare OBI & WHITE label PROMO issue. Price: 500 Euro

553. COLTRANE, JOHN: “Live At The Village Vanguard Again!” (Impulse Japan – SH-3085) (Record: Near Mint/ Laminated Flip Back Jacket: Near Mint/ Obi: Mint). Bloody rare Japan 1st original press issue from 1967. All is in pristine condition, never seen this 1st press issue before until now, let alone in such an immaculate state as this one here. Five years after that triumph, Coltrane returned to the Vanguard with his New Thing quintet, expanded to a sextet for the occasion: Coltrane on soprano, tenor, and bass clarinet; Pharoah Sanders on tenor and flute; Alice Coltrane on piano, Jimmy Garrison on bass, Rashied Ali on drums, and Emanuel Rahim on percussion. This album contains only two songs: "Naima" and "My Favorite Things," which were perhaps the two most celebrated numbers, or overplayed chestnuts, of the Coltrane catalogue. Here they are given a treatment like no other. Absolutely fantastic Coltrane slide – this is the very rare 1st original Japanese pressing with 1st issue obi in absolutely stunning condition. Never seen a copy before all complete. Price: 250 Euro

557. COLTRANE, JOHN: “Golden John Coltrane” (Victor Records/ Prestige – SMJX-10030) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). Scare Japan ONLY Coltrane issue all complete with OBI. Rarely seen WHITE label PROMO issue. Brings together a string of Coltrane compositions/ recordings for his Prestige days such as “Russian Lullaby – Soultrane – Four – Lover – Tenor Madness – Violets For Your Furs – Woody ‘N’ You”. Comes housed in lavishly textured gatefold jacket that gets flanked by lovely gold-toned obi. Another quite elusive edition in the ever-expanding Coltrane discography. Price: 150 Euro

564. COLTRANE JOHN/ ARCHIE SHEPP: “New Thing at Newport” (Impulse – AS-94) (Record: Near Mint/ Gatefold Jacket: Near Mint – still housed in SHRINK/ Insert: Near Mint/ First Issue OBI: Near Mint). Rare US original Stereo issue with bloody rare Japan very first “Direct Import” wrap around OBI!!!. TOP CONDITION, best ever. This one was of the last appearances of the classic John Coltrane Quartet which it made at the Newport Jazz Festival in 1965. The tension among band members is evident upon hearing the versions of "One Down, One Up" and "My Favorite Things.", slowly signaling that a change in direction was looming just around the corner. Coltrane’s performance is moving...yet weary due to the strains that ran through his band, yet it is great to hear him during this final transitional period. Coltrane was already gazing beyond the yonder cause he wasn't getting the sound he wanted and by the end of the year he would take a different direction, hiring Pharoah Sanders and wife Alice Coltrane for the band. Tenor saxophonist Archie Shepp’s earlier afternoon New Thing performance on the other hand was pure Fire Music and he launched engaging versions of "Call Me by My Rightful Name" and "Gingerbread, Gingerbread Boy" with Bobby Hutcherson on vibes. Just stunning and a classic recording!!! Bloody rare with Japan first issue obi, only 2nd time ever I see a copy with this very first obi. Gatefold sleeve still housed in shrink for export – best condition possible! Price: 300 Euro

570. COLTRANE, JOHN: “Om” (Impulse – AS-9140) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve/ Near Mint Direct Import Obi: Near Mint). Top condition 1st original pressing that comes with the rare Import Obi! “Condemned by many critics as John Coltrane’s worst album, Om suffers only in comparison to the great works that preceded it. Also issued in 1965, Ascension had stunned the jazz world with the blunt force of its innovation -- a swirling maelstrom of noise, it was an answer to the challenge that had been posed by Ornette Coleman’s Free Jazz several years earlier. For all the sonic assault that Pharoah Sanders and Coltrane mustered up on Ascension, however, it contained some surprisingly clear solos and had the feel of a well-thought-out interplay between all of the musicians on the date, including classic quartet members Elvin Jones, Jimmy Garrison and McCoy Tyner. Om in contrast, seems more like a pure release of energy. Expressions of sanity and organization by the rhythm section seem detached from the wall of sound that Sanders and Coltrane have erected. The best moments come when Coltrane breaks away from Sanders for solos -- echoes of Love Supreme can be heard in the repetitive, circular themes. Regardless of its seeming chaos, this is a deeply spiritual work, and can be seen as a darker, more unhinged version of the invocations heard on that album. Indeed, Om resonates with passion and yearning, but has a frantic edge that suggests that opening up to all of that powerful spiritual energy might have been a frightening experience. The music isn't perfect, as the thematic flow sometimes seems a bit segmented, and talented members of the band are relegated a little too far to the background. Regardless, Om doesn't deserve the dismissal it has been given by critics. It is an important work in the history of free jazz that opens up considerably by the end of its 29 minutes, revealing the expansive contents of a jazz master's mind.” (All Music Guide). Stunning 1st press original copy with rare first issue OBI. And one of Coltrane’s finest moments in my book. Price: 250 Euro

573. COLTRANE, JOHN: “Sun Ship” (Impulse – AS-9211) (Record: Near Mint/ Gatefold Jacket: Near Mint / Insert: Near Mint/ Company Inner Sleeve/ Near Mint/ Direct Import OBI: Mint). Stunning first original press copy, that comes with Japan insert and rarely seen Direct Import obi. “Recorded on August 26, 1965, Sun Ship was the final recording by Coltrane’s quartet. After nearly four years together, this band had achieved a vital collective identity. When Coltrane moved toward metrically free styles of rhythm and melody), the quartet's rhythmic pulse and collective interplay evolved accordingly. The title track opens with a splintered theme. Garrison and Jones group dramatically around the leader's call, then rhythmically abstract the pulse; they imply a central rhythm more than state one. Tyner crafts a monumental solo full of crashing modulations and heated single lines. Coltrane reenters at full tilt, alternating throttled upper-register cries with crunching bass declamations, using multiphonics and altissimo as the levitating rhythm boils around him. Garrison and Jones are featured on "Ascent" and "Attaining," where they unveil bold new solutions for coming in and out of tempo, and manipulating dynamics while maintaining an amorphous yet authoritative ebb and flow. The gyrating, oceanic waves of "Dearly Beloved" suggest earlier balladic explorations such as "Alabama," with Coltrane’s keening tenor providing a taut melodic focus for the multi-layered, nearly ritualistic rhythms surrounding him. Tyner’s great chordal waves and contrapuntal motion build to a surging climax before the saxophonist reenters to bring them all home. On "Amen," the saxophonist announces a spare modal theme that evokes swing, but refracts it through free jazz. While a summation for this quartet, Sun Ship is also an exciting if unfinished prelude to Coltrane’s final period of transformation.” (All Music Guide). Damned rare original pressing with rarely seen Direct Import OBI!!! Price: 150 Euro

579. COLTRANE, JOHN: “Impressions” (Impulse – IMP-88067) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – some foxing visible inside the gatefold sleeve/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan Impulse press issue all complete with insert and Obi. This is the rarely seen WHITE label PROMO issue. First promo I encounter in over a decade. Top shape. Price: 150 Euro

580. COLTRANE, JOHN – ARCHIE SHEPP: “New Thing at Newport” (Impulse – IMP-88071) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Second press issue of classic Impulse title and the first Japanese pressing to come in a gatefold sleeve for this one – following the flip back jacket issue from some years earlier. Still, one of the more difficult to track down Impulse pressings with obi. Top condition – will be hard to improve upon. Just love these high-quality Japanese pressings from the early 1970s. getting more difficult each year in finding those in affordable and nice condition. Price: 75 Euro

589. COLTRANE, JOHN: “Coltrane Live at The Village Vanguard Again!” (Impulse – IMP-88110) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japanese pressing all complete with obi and insert. 2nd domestic press issue that came out in 1972. Absolutely fantastic Coltrane slide. All Coltrane is totally indispensable in my book. Top condition with obi. Price: 75 Euro

591. COLTRANE, JOHN: “Kulu Se Mama” (Impulse – IMP-88125) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint some foxing inside gatefold/ Insert: Near Mint/ Obi: Near Mint). Top condition Japanese press issue all complete with obi and insert of seminal Coltrane classic. WHITE label PROMO issue. It is rare to find Kulu Sé Mama on somebody's desert-island list of recordings by saxophonist John Coltrane. Why, is a mystery. Despite the brooding intensity of the cover photo, the performances are accessible and delightful, and, as an artifact, although it was recorded over three sessions in summer and fall 1965 in New Jersey and Los Angeles, with two lineups, the album hangs together beautifully. Released in January 1967, six months before Coltrane's passing, it was one of the last LPs to be assembled by Coltrane in collaboration with Bob Thiele, his longtime producer at Impulse!. It features Coltrane in two different settings. "Vigil" and the spiritual ballad "Welcome" showcase Coltrane with his classic quartet in June 1965. Dating from October 14, 1965, it adds tenor saxophonist Pharoah Sanders, Donald Garrett on bass clarinet and second bass, second drummer Frank Butler and percussionist-vocalist Juno Lewis to the quartet and is a bit of an oddity. Lewis’ chanting and colorful percussion make this a unique & essential entry in Coltrane’s Astral Jazz discography. Price: 150 Euro

602. COLTRANE JOHN: “Coltrane In Japan” (Impulse Japan – IMR-9036C) (3 LP Set: Near Mint/ Outer Box Set: Near Mint/ Individual Inner Sleeves: Near Mint/ Booklet: Near Mint/ Obi: Excellent). Japan only released 3 LP box set that scorches the earth and liquefies the air with molten lava. A beast and essential to say the least. Price: 100 Euro

604. COLTRANE, JOHN: “John Coltrane No Isan” (Impulse Records Japan – SR-3026~28) (3 LP Set: Near Mint/ 3 Individual Record Jackets: Near Mint/ EP 7 Inch Single: Near Mint/ EP Single Picture Sleeve: Near Mint/ Faux Leather Box Set: Near Mint/ Picture Booklet: Near Mint/ OBI: Near Mint). Top condition Japan ONLY 3 LP box on Impulse with bonus EP single. Comes housed in heavy faux-leather box set. Complete with rare OBI present as well. This was released only in Japan on 10th of July, 1969!!! Complete with always missing 7-inch single present! Not an easy one to catch on these shores so an obligatory item for any self-respecting Coltrane buff. Price: 200 Euro

615. COLTRANE, JOHN/ ARCHIE SHEPP: “New Thing At Newport” (Impulse – A-94) (Record: Side A: Excellent with a handful of sleeve lines visible ** Side B: Near Mint/ Gatefold Jacket: Near Mint – small lower left cornet drill hole) Very first 1966 US MONO pressing that comes housed in study gatefold sleeve. Very first MONO issue & the record itself has a serrated outer edge as only present with very first press issue!!! Great condition and damned scarce issue. Price: 175 Euro

618. COLTRANE, JOHN: “Ascension” (Impulse – AS-95) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – super clean sleeve with only some foxing visible inside the gatefold). Original US first pressing, this being the damned rare VERSION 1 issue with “Van Gelder” machine-stamped in the dead wax. To add some icing to the cake, this is the rare STEREO pressing, surfaces less frequent than the mono version and is preferred if you want to enjoy its full cacophonous free roaming splendor. And for you record minutiae out there – this copy here has the ultra-rare label variation – side A has the slightly textured paper as label there where side B has the non-textured smooth paper label. Only 2nd time ever I see this variation, hardly anyone knows about it but possibly the rarest label paper print variation out there. Music needs hardly any introduction, groundbreaking recording with Coltrane ripping the air to pieces, setting the standard for free improvisation to evolve into. Together with fellow scenesters such as Freddie Hubbard, Art Davis, Elvin Jones, McCoy Tyner, Pharaoh Sanders, Archie Shepp, John Tchicai, Dewey Johnson, Marion Brown and Jimmy Garrison, this beast reads like a who is who of the free-roaming-jazz community. Stuff of legends that shreds the air to pieces. Top condition and next to impossible to ever improve upon. Price: 300 Euro

628. COMPOSERS WORKSHOP ENSEMBLE: “S/T” (Strata-East – SES-1972-3) (Record: Excellent/ Jacket: Excellent). 1973 US original copy of classic Strata-East slide with Warren Smith at helm guiding the troupe into spiritually and free intoned sound excursions. One of the Strata East label titles that are getting thin on the ground and are quickly drying up due to the hype and the buzz it generates. Excellent copy all the way through….Price: 125 Euro

649. COWELL, STANLEY: “Musa – Ancestral Dreams – Stanley Cowell Solo Piano” (Strata East/ Tokuma – JC-7501) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shape Japan 1st original pressing all complete with insert and damned rare obi. A solo piano set from Strata East main man Stanley Cowell – but a record that's got enough soul and spirituality to rival a full group recording! Although working alone here, Cowell's touch on the keys is astounding – often flowing and highly rhythmic, with a pulsating sense of energy that makes even the mellower tracks sparkle with soulful imagination. A number of tracks are intimate explorations of themes heard more famously on albums done with Charles Tolliver – but which come alive in a whole new way here in Stanley's solo setting! Most work here is on acoustic piano, but Cowell also picks up the electric keys for the tune "Travelin Man" – done here as an overdubbed "duet", and one of the hippest tunes on the entire record! Price: 300 Euro

670. The CURE: “I’M A Cult Hero B/w I Dig You” (Cult – CT-1000) (7 Inch Single Record: Near Mint/ Poster Sleeve Jacket: Near Mint/ Sticker: Mint). Another scarce old skool Cure bootleg, recorded in 1979. Vital early Cure recordings. Does not turn op that often anymore. Price: 50 Euro

682. CYRILLE, ANDREW: “What About?” (BYG Records – Actuel 16 – 529.316) (Record: Near Mint/ Gatefold Jacket: Excellent – upper middle seam rubbing). Clean original French press original. “It is a shame that more jazz drummers have not created solo recordings of this quality, or that the ones who do make solo recordings so often choose much less interesting conceptual formats than Cyrille did on this afternoon of drumming in Paris in the late '60s. The selections are each clearly defined as to where they are going and present an overwhelming sense of love for the drum set, as if each movement around its rims and cymbals could become a chapter in a life story. A player who had created a free jazz style from hard bop beginnings mostly by being dropped into the sound maelstrom of the Cecil Taylor ensembles, Cyrille here is delighted by the availability of space, the chance for cymbals to completely ring out, for silence to so richly bolster his movements, be they slow-and-steady shuffling or the intense prancing of a jazz drum master. While there are many listeners who run from solo percussion recordings as if they were muggers in the night, this is one that really deserves a chance. It is intensely musical, not indulging in the all-too-often course of presenting indulgent rhythmic tricks or philosophical meanderings about the spiritual meaning of the drum. Cyrille himself got into this latter bent on some of his duo recordings with Milford Graves, but here approaches his creations as if he had managed to rise above most stereotypical notions of jazz drumming. This is one of the most refreshing sets of drum solos ever recorded, also superior to other sets this artist himself has recorded for other labels such as the Italian Ictus.” (All Music Guide). Just stellar and one of the more difficult ones to locate on this celebrated label. Price: 65 Euro

685. D.A.F – DEUTSCH AMERIKANISCHE FREUNDSCHAFT: “Die Kleine Und Die Bosen” (Trio Records – AW-1057) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Imprinted Inner Sleeve: Near Mint/ Obi: Near Mint). All complete Japan 1st original press issue. “After the near-apocalyptic shrieks of Ein Produkt, DAF toned down just a touch, but only just, for Kleinen und die Bösen. Coming out on Mute as the album did, it helped not merely in establishing the group's cachet, but the label's and, in turn, the whole genre of experimental electronic music in the '80s and beyond. The cover art alone, with the group's name boldly printed white-on-black in all capitals, next to part of a Soviet propaganda poster, practically invented a rapidly overused industrial music design cliché. At the time, though, the group was ironically the most rock they would ever get, with bassist Chrislo Haas and guitarist W. Spelmans joining Robert Gori and Gabi Delgado. The first half of Kleinen was a studio recording with Krautrock-producing legend Conrad Plank, who did his usual fantastic job throughout. The beats are sometimes hollow and always ominous, treated with studio touches to make them even more so, while the squalling, clipped guitar sounds often make nails-on-chalkboards sound sweet in comparison. Delgado’s husky vocals and Gorl’s spare-but-every-hit-counts drumming on "Osten Währt Am Längsten" are particularly strong, while the electronic rhythms of "Co Co Pino" and all-out slam of "Nacht Arbeit" can't be resisted. The live side, recorded at London's Electric Ballroom, is even more all-out most of the time, starting with the complete noise fest "Gewalt," and then shifting into a series of short, brusque tracks. Delgado pulls off some blood-curdling screams over the din. The musicians themselves sound like they decided to borrow Wire’s sense of quick songs while cranking the amps to ten; the resultant combination of feedback crunch and electronic brutality is, at times, awesome to behold.” (All Music Guide) Price: 65 Euro

689. DANDO SHAFT: “S/T (RCA Neon – SRA-5525) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ OBI: VG++ has wrinkles on right side and small seam split). Japan 1st original pressing complete with rare NEON obi. WHITE Label TEST pressing. Probably the most accomplished Dando Shaft album. Stunning example of pastoral UK soft psychedelic folk, which oozes out a great vibe. Never seen before complete Japanese first press issue with obi and test pressing. “The major change on Dando Shaft's second album was the addition of singer Polly Bolton, whose lead and harmony singing added considerable color and appeal to the group's vocal blend. The band might have been edging just a bit closer to the folk-rock mainstream, too, with a more standard rhythmic and melodic base to some of the tunes. Generally, though, they remained in the same mindset as they were on their 1970 debut: just barely rock-influenced folk, similar to Pentangle but folkier, and given to a greater emphasis on mandolin, violin, and unusual tempos. While something like "Whispering Ned" sounded as traditional as British folk-rock got, other songs nodded a bit toward the more wistful romantic pop song tradition, like "Sometimes," "'Til the Morning Comes," and "Waves Upon the Ether." The nature imagery of the debut was still present, too, if not as prominent, in songs like "Riverboat" (one of the highlights, with its lovely Bolton vocal).” (All Music Guide) Top copy but obi has some wrinkles. Either way, copies with obi just do not surface at all so this one comes cheap. Would go for offers on this if obi was pristine so you have a steal here. Price: 575 Euro

709. DEE DEE BRIDGEWATER: “Afro Blue” (Trio Records – PA-7095) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition 1974 Japan only issue and very 1st original pressing. If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70’s to the present day. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). 'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue’. It is arguably one of the finest albums in its genre. Top condition, virginal on all fronts very first press issue all complete with OBI and insert. Indispensable!!! Price: 100 Euro

711. DEEP PURPLE: “River Deep – Mountain High b/w Listen, Learn, Read On” (Polydor – DP-1622) (7 Inch Single Record: Excellent ~ Near Mint/ Flip Back Picture Sleeve: Excellent ~ Near Mint/ Lyrics Insert: Near Mint). Scarce early deep Purple Japan only single issue in outstanding condition that was released in May 1969. The single looks fantastic but I could hear some faint surface noise on the run-in groove that last for a few rotations and dies down. No visual imperfections. Price: 350 Euro

712. DEFIANT ONES: “Golden Hit Pops” (Victor – SWG-7151) (Record: Excellent – has a scuff on side B that causes a few clicks/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ OBI: Near Mint). Freakingly rare Japan only issue. WHITE label PROMO that comes with never offered before OBI present! Graded with 5 bloody stars in the Pokora book. So far the story on these guys is a bit shady to say the least but apparently these kids where on a tour of duty towards Vietnam. During a stopover in the Far East, they were stationed in Japan for a while at the Atsugi Naval Air force base. Apart from gearing up for war, they gigged around the local bar scene surrounding the base, which is where a talent shout of Victor Records noticed them and signed them up for an on the spot one-off recording deal. As might be expected, The Defiant Ones brought forth a string of cover tunes, just like any well-greased and oiled garage combo. The five-piece band (aged all between 19 and 22) recorded their usual live set during two sessions, respectively on April 27th and May 17th, 1969. Next to bringing forth the usual Beatles’ covers, they also launch into some wicked cheesy organ infested and wicked fuzz derailed covers such as “Hello, I Love You”, “You Keep Me Hanging On”, “Purple Haze”, “White Room” and the totally lysergic mind-twisted version of “Fire”. The whole album sounds gloriously primitive – like your typical one single only Mid-West US garage sensation at that time, except that these dudes were allowed and lucky enough to cut a whole LP while being stationed in Japan. Snotty vocals pop up here and there filled with teenage angst and acne-infected unanswered love, cheap and paraplegic farfisa organ key action, derailed crude anthropoid fuzz riffage, embryonic bass throbbing and postnatal drum action. “Purple Haze” sounds nothing like the recount of an acid trip but instead is the sonic variant of getting high on cheap kerosene and downers, making it just an infectious listening experience, brimming over with almost barbarian simplistic fuzz action. Glorious. “You Keep Me Hanging On” is vibrating with a coital longing that sounds almost fetal in its teenage rendition. It just gives me the chills and I do get off on it, just marvelous. When the needle hits “Fire”, things get truly spastically insane, apoplectic and maniac in its execution as if facing the firing squat while being high on acid. Fuzz, Acid and Bullets (here swapped for that sneering felonious farfisa wailing organ). The vocalist goes AWOL here, the guitarist riffs through his membranes and the farfisa player is dodging mushrooms flying through his head. Primitively demented and caveman like it its performance, this is gold dust in sound here! When they charge into “Jumping Jack Flash”, the Uncle Sam-supplied amphetamine is finally kicking in and it shows, they are off the tracks now and aiming for the natives. These guys were just high on acne medicine and rocked it out, hoping to make it back alive from Vietnam if sent there and in the meantime dodge any bad bullet vibes by rocking out. They were after all the Defiant Ones…and they ride hard in my book. Total ace in a primitive, teenage snotty and nerdy psyched out kind of way. Highest recommendation if vintage teenage garage angst gets you off. It sure gets my rock off…never offered before all complete with OBI WHITE label PROMO issue. Price: Offers!!!!!

721. DESPER, BOB: “New Sounds” (Rose City Sound) (Record: Near Mint/ Jacket: Near Mint – still housed on original shrink!). Bloody rare & still in shrink top copy original of this suicidal downer folk masterpiece. “The Pacific Northwest is a dark, dank place, with a suicide rate higher than Keith Richards on a four day binge. Even their most articulate native son, Kurt Cobain, drowned in the sea of despair and offed himself. And what’s the cause of this environmental depression??? It may be the constant grey skies and rain, it may be the extremely high runaway and homeless rate or it just may very well be the music of Bob Desper. Bob recorded his New Sounds LP in one take at the local Rose City Sound studios. Just him, his acoustic guitar and an amazing insight to the dark side of the human psyche. So dark in fact, that only a blind man can see it. Bob is that man, and on this LP he taps into a place that very few people have visited. His voice is quiet with an edge sharper than a Ginzu knife. His lyrics reflect a lonely man who recognizes the shortcomings of human kind. This LP gives me goose bumps each and every time I play it. Side one starts off with “Darkness Is Like A Shadow”. A spooky, echoey tune where Bob introduces a topic that becomes a re-occurring theme throughout the entire LP, the fact that people with eyesight are blind to the things that are truly important in life. “It’s Too Late” and “Lonely Man” follow and continue the introspective soul search, all accompanied by Bob’s extraordinary guitar playing. The fourth and last cut on side one is “To A Friend Of Mine”. This is where I usually start thinking about going into the bathroom and slitting my wrist with a razor blade just to prove to Bob that I could begin to understand what true suffering is. This 15+ minute journey is, in my opinion, the most flawless chunk of downer/loner folk music ever recorded. Side two is good, but pales in comparison to it’s flip side. Songs are “Let It Shine For You”, “Don’t You Cry For Me”, “Liberty” and “Time Is Almost Over”. (RH – Acid Archives). Spot on, just a massive LP of higher-key and loner folk. Talking about real feelings, then this beast is not holding back. This album is so down, everything will look like up to you. Tremendous slide…and this being a perfectly clean original copy. Price: Offers!!!

760. DOLPHY, ERIC: “Last Date” (Fontana/ Nippon Phonogram – SGD-54) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition high-quality pressing. “Allegedly Dolphy’s final recorded performance, this session in Hilversum, Holland, teams the masterful bass clarinetist, flutist, and alto saxophonist with a Dutch trio of performers who understand the ways in which their hero and leader modified music in such a unique, passionate, and purposeful way far from convention. In pianist Misha Mengelberg, bassist Jacques Schols and drummer Han Bennink, Dolphy was firmly entwined with a group who understood his off-kilter, pretzel logic concept in shaping melodies and harmonies that were prime extensions of Monk, Coleman and Cecil Taylor. These three Dolphy originals, one from Monk, one from Mengelberg and a standard are played so convincingly and with the utmost courage that they created a final stand in the development of how the woodwindist conceived of jazz like no one else before, during, or after his life. Utterly masterful on his flute during "You Don't Know What Love Is," Dolphy’s high-drama vibrato tones are simply out of this or any other world, perfectly emoting the bittersweet intent of this song. The ribald humor demonstrated during "Miss Ann" is a signature sound of Dolphy’s alto sax, angular like Monk, jovial and more out of the box while he digs in. Where "Epistrophy" might seem standard fare to some, with Dolphyon bass clarinet it is based on voicings even more obtuse than the composer's concept, bouncing along the wings of Mengelberg’s piano lines. The post-bop blues of "South Street Exit" is tuneful while also breaking off into tangents, with Bennink’s crazy drumming acting like shooting, exploding stars. As the definitive track on this album, "The Madrig Speaks, the Panther Walks" demonstrates the inside-out concept, with mixed tempos changed at will and a 6/8 time insert with Dolphy’s choppy alto merging into playful segments as the title suggests -- a most delightful track. The ridiculously titled "Hypochristmutreefuzz" might be the most understated fare in its more simple angularity, as Schols plays his bass in the upper register while the band dances around him. Last Date is one of those legendary albums whose reputation grows with every passing year, and deservedly so. While it reveals more about the genius rhythm section than Dolphy himself, it also marks the passing of one era and the beginning of what has become a most potent and enduring legacy of European creative improvised tradition, started by Mengelberg and Bennink at this mid-'60s juncture.” (All Music Guide). One word – Indispensable!!! Price: 40 Euro

771. DONALD BYRD: “Off To The Races” (Blue Note Records/ Japan – BLP-4007) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near MINT/ Insert: Near Mint/ Inner Sleeve: Near Mint) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high-quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all off, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 250 Euro

777. DONALDSON, LOU: “Midnight Sun” (Blue Note/ King Records – GXK-8173) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition with obi high-quality Japan ONLY issue of unreleased Blue Note material. “Recorded in July of 1960, Midnight Sun sat unissued in Blue Note's vaults until the early '80s, when it was issued as part of their LT series. Like many of the previously unreleased albums in the series, it's clear that the only reason this remained in the vaults was because the label was releasing too many records, not because the session itself was second-rate. Granted, there are a couple of awkward moments on the date, but for the most part, Midnight Sun is as strong as any of the hard bop records Donaldson released in the early '60s. Part of the reason the quality is so high is the fact his supporting quartet is so strong. Pianist Horace Parlan has a number of fine moments on the record, and Lou’s longtime rhythm section of bassist Ben Tucker, drummer Al Harewood and conga player Ray Barretto is as reliable as ever. Any dedicated Donaldson fan should search for this record; even if it doesn't reach the heights of Blues Walk and Here ‘Tis, it still has plenty of fine music.” (All Music Guide). Japan only issue in impeccable condition. Price: 100 Euro

788. The DOORS: “L.A. Woman” (Victor Records/ Electra – SWG-7513) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint). Original 1st Japanese pressing from 1970 complete with rare “Now” shaped obi. Rarely offered or seen WHITE label PROMO issue. Comes on the Elektra Guitar Player label. Top condition and superior sound & pressing. First time ever I could lay my hands on a promotional copy with obi. Seriously scarce on these shores. TOP COPY!! Price: 500 Euro

790. DORHAM, KENNY: “The Arrival Of Kenny Dorham” (Top Rank/ Nippon Victor Records – RANK-5063) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Bloody rare all complete with OBI Japan 1st original pressing. Never ever surfaced a copy with obi and in this pristine condition, elusive forever. A somewhat obscure Kenny Dorham LP that sees the excellent hard bop trumpeter in a quintet with baritonist Charles Davis, pianist Tommy Flanagan, bassist Butch Warren, and drummer Buddy Enlow. The straight-ahead music includes features for Davis (“When Sunny Gets Blue”) and Warren, but Dorham consistently takes honors, particularly on his “Stage West,” “I’m an Old Cowhand,” “Stella by Starlight,” and “Lazy Afternoon.” Top condition Japan 1961 original pressing with obi. One of a kind and damned rare. Price: 300 Euro

797. DORHAM, KENNY: “’Round About Midnight at The Café Bohemia” (Blue Note/ King Records – GXK-8013/ BLP-1524) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). High-quality Japanese press issue of one of Blue Note’s finest sets. “During the spring and summer of 1956, trumpeter Kenny Dorham recorded two studio albums with his Jazz Prophets, a small hard bop band involving tenor saxophonist J.R. Monterose and a rhythm section of pianist Dick Katz, bassist Sam Jones and drummer Arthur Edgehill. On May 31 of that year, Dorham’s group performed live at the Café Bohemia with Bobby Timmons at the piano and guitarist Kenny Burrell sitting in on all but the first of four sets. Originally engineered by Rudy Van Gelder proved to be an exceptionally fine evening of live jazz. The word "understated" has sometimes been used to describe the music played by Dorham’s band on this night in 1956; this is only appropriate if Dorham is compared with intense individuals like Fats Navarro or Dizzy Gillespie. Dorham’s jazz was perhaps more intimate and accessible precisely because his horn had an earthier tone, almost like that of a cornet. Sometimes compared with Ted Curson, Richard Williams or Freddie Hubbard, Dorham sounded a lot like the profoundly gifted and vastly underappreciated Johnny Coles, particularly during ballads like "Autumn in New York" and "Round Midnight." There are also intimations of Miles Davis, Nat Adderley and even young Don Cherry. This music is designed for relaxing and grooving out. It will greatly assist anyone who is traveling by night or trying to make it through to the end of another day.” (All Music Guide). So good, it almost hurts! Price: 75 Euro

798. DORHAM, KENNY: “’Round About Midnight at The Café Bohemia – Volume 2” (Blue Note/ Toshiba – BNJ-61003) (record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Follow-up and final set of that legendary set at the Café Bohemia. Definitely the high-water mark in Dorham’s catalogue. Clean as a whistle Japanese pressing that will have your nose glued to the speakers and give you frostbite! Price: 55 Euro

799. DORHAM, KENNY: “Afro-Cuban” (Blue Note Records/ Japan – BLP-1535) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near MINT/ Insert: Near Mint/ Inner Sleeve: Near Mint) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high-quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all off, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 225 Euro

819. DUNKLEY, ERROL: “Militant Man” (Lovella International – LK-1001) (Record: Near Mint/ Jacket: Near Mint, still housed in original shrink). Top copy original press issue of top roots LP. Originally released in Canada on the Lovella International label, Errol Dunkley’s rare showcase LP “Militant Man” from 1980, which was recorded at Channel One Recording Studio in Kingston JA with such great musicians as Sly Dubar (drums), Robbie Shakespeare (bass), Jackie Mittoo (piano), Ossie Hibbert (keyboard) and Sky Juice (bongo drums). What makes Errol Dunkley’s music so interesting is his own intense vocal style, copied from no one. It’s one of the most expressive voices in reggae music as can be fully experienced while listening to this album. Except for “Girl Be True”, the tracks featured here are extended versions – dub following the vocal cut. The singer not only excels on the four lovers tunes, but also sounds really great on the two roots killers, “You’ve Been Bad” and “Militant Man”. Having the vocal cut combined with the dub version is the icing of the cake. Top shape original!!! Price: 250 Euro

828. DYLAN, BOB: “Bringing It All Back Home” (CBS Sony – SONP-50326) (SEALED original complete with Insert and Cap Obi). Impossibly rare Japan very first press issue – SEALED. One Dylan slide you never put in your rear-view mirror ever! When Dylan entered Columbia Records’ Studio in mid-January 1965 and instantly blew out an 11-song LP in three days, he didn’t merely go electric, invent folk rock and transition from an acoustic troubadour to a boundary-pushing rock & roller. He conjured performances that would completely reimagine how pop music communicated – not just what it could say, but how it could say it. “Some people say that I am a poet,” he wrote coyly in the prose-poem notes on the back cover. Now, he was ready to test the limits of what that meant, rewiring himself for a singularly revolutionary moment. The fallout-shelter sign in the cover shot was on point: Bringing It All Back Home was the cultural equivalent of a nuclear bomb. It was here that he eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words. Still sends the chills down my spine. Obligatory ear candy and mind food. Still sealed Japan 1st original press issue… go ballistic! Price: Offers!!!!

829. DYLAN, BOB: “Another Side of Bob Dylan” (CBS Sony – SONP-50286) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Excellent – age discoloration). Clean Japanese original for cheap. Price: 30 Euro