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1264. IAN CARR
With NUCLEUS: “Solar Plexus” (Vertigo/ Nippon Phonogram – SFX-7402) (Record: Near
Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ Vertigo Obi: Excellent).
Rare Japan 1st original press issue all complete with damned scarce obi.
Seminal sounds from trumpeter Ian Carr and his Nucleus group of the early 70s –
maybe one of the few jazz rock groups that was ever able to work with a fair
bit of jazz in their sound! Unlike his contemporaries, who often started in
rock first, then added some horns – Carr was already coming off an important
60s legacy, co-leading a group with tenorist Don Rendell – so the vibe here is
like an extension of that very rhythmic, very tonal modern work – but with the
addition of electrified instrumentation – thanks to the guitar work of Chris
Spedding and keyboards of Karl Jenkins – who plays some fantastic electric
lines throughout, Harry Beckett, Kenny Wheeler and other UK jazz scene
luminaries! The vibe is maybe a bit in the territory of early 70s electric work
by Miles Davis and Donald Byrd but there's maybe a farther-reaching concept at
play on many of the records, at a level that always helped the group cross over
to the prog crowd, and move beyond just a straight jazz audience. Just a
stunning classic. Much sought after Japan 1st original press all complete with
Vertigo OBI. Price: 400 Euro |
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1265. ICHIYANAGI TOSHI: “Opera From the Works of Tadanori Yokoo by Toshi Ichiyanagi (1969)” (2LP set – The End Records - Picture Disc) (2 LP Picture Disc Record: Mint/ Gatefold Jacket: Near Mint ~ Mint/ Attached 4 Paged Insert: Mint). Totally MINT copy – UNPLAYED condition. Never seen or had a copy as perfectly clean as this one. Archive quality. Unbelievable beautiful copy of this eye-popping original monster!!! Without a single doubt one of the greatest mind-blowing psych and Fluxus artifacts to ever have hit the streets. Housed in lavishly designed 2LP foldout jacket, this gorgeous disc is one of the rarest and most sought-after Japanese psychedelic, avant-garde artifacts, a real object d’art, revitalizing one of Japan’s best ever psychedelic avant-garde head-on collisions. Released in 1969 on the private End Records and now one of Japan’s most sought after vinyl artifacts, “Opera from the Works of Tadanori Yokoo by Toshi Ichiyanagi” is a brain ripper and an eye popper of a disc. Visually it is without a single doubt one of the most beautiful LP’s ever to be released, a 2 LP picture disc decorated lavishly by Tadanori Yokoo’s Fluxus inspired psychedelic artwork. Upon folding open the disc, you get treated to a 4 paged inner booklet of 24 carefully designed postcards depicting posters done by Tadanori up until 1969 for various theatre troupes such as Terayama Shuji’s Tenjosajiki. In short it is a visual delight that will cause temporary dysfunctional catharsis on the eyes. But apart from the visual grandeur and overload you are bound to be hit senseless with, the music embedded within this LP set and accompanying picture discs is so overwhelming you will have a hard time trying to come to terms with it upon attempting to digest it properly. In one word: sensory nimiety on all fronts. The man responsible for it was avant-garde composer Ichiyanagi forging a diabolical pact with the psyched-out band the Flowers (spearheaded by Uchida Yuya) and illustrator Tadanori. Together they delivered (with the help of other luminary artists coming out of various fields such as Kara Juro, Takakura Ken as the most prolific ones) an unique amalgamated mixture of lysergic demented psychedelic assault-like stunt rock, a aural whirlwind filled with acid folk ramblings, tape collages, field recording excerpts, radio commercial snippets, roaring jet engines, electronic music excursions into the vast unexcavated canyons and dungeons of your mind, squealing sound fragments of frogs mating in a nearby pond, drowned out enka escapades, kayokyoku excursions into no-man’s land, Takakura Ken nasal singing, spoken word fragmentation bombs by Kara Juro amongst others, traffic noises, sonic sound clusters of blistering fuzzed out psychedelic mayhem, stratospheric static electronic hissing, radio news broadcast flashes, vintage electronic tape music escapades, chirping cricket orchestras in a distant background and so much more non-adaptive and deranged sonic activity. This disc leaves no stone unturned and is probably one of the best records ever made. Upon listening to this, you hardly need anything else anymore. Highest Recommendation. Rare as hell does not even come close to describing the scarceness of this 2 LP picture disc set and then I am not even mentioning the visual splendor of the overall packaging – music and museum piece qualities all folded up into one single item, the dream artifact of every self-respecting lover of outward sounds and collective deranged discs – highest rank of collectability and musical demented splendor – a killer on all fronts that no other disc can match…. Perfect top copy!!! Near Mint copy – hard to ever find a better one and a one-off chance to own it in this condition. Price: Offers!!!! |
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1266. ICHIYANAGI TOSHI: “Moving Pulse” (Audio Technica – AT-6601) (Record: Near Mint/ Gatefold Sleeve with attached booklet: Near Mint/ Obi: Mint). Hopelessly rare electronic masterpiece by Ichiyanagi, only released as a stereo test record 7-inch way (plays 33/3 rpm) back in the late sixties. One of his rarest pieces ever to have seen the light till this day. I can be very brief about this sonic artifact; it is just a brain ripper and an eye popper of a disc. Visually it is without a single doubt one of the most beautiful 7-inches ever to be released, housed in a eye-popping gatefold sleeve decorated lavishly by one of the up and coming Japanese Fluxus visual artists. Next to that a booklet is attached in the gatefold sleeve, fully illustrated within scores and much more, just awesome. The music on the other hand sheds some more light on the poorly documented Japanese early electronic music scene as give insight into Ichiyanagi’s creative process as he messes up new studio technologies and sets out to map deep space by means of all obliterating bleeps, whooshes, static hissing, and white noise are almost impossible to locate. The end-result is ear bleeding austere sonic landscapes that are just gorgeous and one of the best electronic experiments ever to be entrusted to vinyl. It is even far more superior to the some of those early Japanese electronic music series and sounds more radical and right up in your face. Recorded in the NHK studio (established in 1954, 4 months before the German Cologne Studio) it documents never-before or elsewhere released sonic experiments by Ichiyanagi, released only as an audio test record back in the day, being somewhere in the late sixties. And for those hipsters who valuate their musical tastes molded on other people’s list, reference works and books, check out your “Ni Hon No Denshiongaku – Japanese Electronic Music” book by Kawasaki Koji on page 521. There you have it listed so start drooling. Hyper rare with obi and comes bloody cheap here, so you better jump on it…Price: 200 Euro |
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1267. ICHIYANAGI TOSHI: “Obscure Tape Music of Japan Vol. 5 – Music for Tinguely” (Omega Point - OMEGA POINT Archive Series OPA-005LP) (Record: Near Mint/ Jacket: Near Mint). Long Out of print LP of only 300 copies. Ichiyanagi is the best-known composer for domestic and foreign avant-garde music fans. Especially in his brilliant 60's, he made some ear-blistering great tape music. But most of compositions remained buried in his private vault, never published on discs or if they saw the light of day altogether, they were issued in tiny editions. This LP consists of his obscure three tape works. "Music for Tinguely" was made from junk objects of kinetic sculptor Jean Tinguely. "Appearance" is live electronic music. It's not only première performance but also John Cage and David Tudor participated in performance. The whole composition is gloriously noisy and can be defined as hard core vintage electronic music!! "Music for Living Space" was composed for inner space of 'Sun Tower' of World Expo in Osaka. Computer generated voice reads architect Kisyo Kurokawa's manifest. I all utterly strange and dementedly wicked electronic music!! Price: 100 Euro |
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1268. ICHIYANAGI, TOSHI: “Music For
Tinguely” (Editions OMEGA POINT – OPA-005LP) (Record: Mint/ Jacket: Mint/
Insert: Mint). Limited to 300 copies only release that came out in 2006.
Stunning archival release of tape/ musique concrete & electronic music by
Ichiyanagi recorded during the period 1963 - 1969. “Music for Tinguely: Toshi
Ichiyanagi, contains material that is far more historically important than its
modest packaging would betray. The centerpiece of the disc is an
extraordinarily fine piece of pioneering industrial electronic music,
Appearnces (1967), recorded not in Japan, but New York City; Ichiyanagi’s
graphic score was realized on this occasion by John Cage at the electronic
console, with David Tudor on bandoneon and two unidentified players on violin
and trumpet. From the sound of it, Ichiyanagi’s score appears to have
represented "points in space" in some way, as instrumental pitches
appear in various ranges and then the electronics wring various additional
sounds out of them. There is definitely a historical relationship between the
pointillism of Webern and other, later kinds of avant-garde music that one
might not normally think is related to it, but this aspect is not always easy
to illustrate; this, however, is a cogent witness to that historic
relationship. Beyond that, Appearances is a righteous noise jam that any young
industrial musician would happily claim for his or her own. The title work,
Music for Tinguely (1963), sounds almost as though it would have had to have
been recorded in a scrap yard, with its ominous sonic sheets of clinking metal
and glass sounds, but all of the sound sources were taken from sculptures by
Swiss kinetic artist Jean Tinguely. The third piece, Music for Living Space
(1970), is the least impressive of these works; however, it involved the most
effort on the part of Ichiyanagi who programmed an entire Japanese language
lecture into IBM's computerized speech program, the same one that sang
"Daisy Bell." IBM's primitive program in 1970 didn't speak Japanese
with ease, and a high number of hours went into creating Music for Living
Space. Nevertheless, it opens with a bed of chant-like singing, which certainly
stakes a claim for Ichiyanagi in such technique, way ahead of the curve, the
origin of which remains a hotly contested subject among European purveyors of
techno.” (all music). Long evaporated into this
air release, 300 copies only and unveiling some of the best tape/ experimental
sounds ever to be put down on wax. Price: 100 Euro |
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1269. ICHIYANAGI Toshi, KOSUGI Takehisa, RANTA Michael: “Improvisation Sep. 1975” (Iskra Record – Iskra-002) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). TOP copy that comes complete with insert and credit paper paste on back present – Best copy ever!!! Privately released in a tiny edition of only 200 copies, “Improvisation September 1975” quickly attained a heavy weight status within circles of those aware of the disc’s existence and hardcore collector freaks as an almost impossible to retrieve masterpiece that got stuck in the cracks of history and private collections. Iskra Records was a small privately run venture that apart from this title also released the Takayanagi Masayuki “Eclipse”. A couple of years ago, a bootleg version appeared of it and they acclaimed it to be identical to the original. Almost everyone took their words for granted since hardly anyone had ever encountered an original copy. So here is the disc in its original glory and far removed from the gold laminated boot version. Sound-wise the original also sounds so much fresher and clearer than its dodgy counterfeited bastard son. The music on the other hand is deliriously bounder crossing, ignited out of a match made in heaven between ex-Taj Mahal Traveler Kosugi Takehisa forging an alliance with avant-garde composer Ichiyanagi Toshi and the contemporary repertoire percussionist Michael Ranta. Together they set loose some free droning escapades filled with ring modulated tones, percussive clatter and processed minimal electronics, making the music to explore similar sonic hemispheres and universes as the Taj Mahal Travelers did. Mind-liftingly great listening experience and highly obscure disc that will never ever again cross your path again, at least not during this lifetime. Needles to say, this baby has our highest recommendation. The music is just stellar. Price: Offers!!! |
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1270. IGGY POP & JAMES WILLIAMSON: “Kill City” (Radar Records – RAD-2) (Record: Near Mint/ Jacket: Excellent). UK original pressing. Largely overlooked but totally awesome successor to Raw Power. I live in Kill City where the debris meets the sea, it's a playground to the rich but a loaded gun to me. Right on, one of the best records ever made. Point final. Price: 40 Euro |
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1271. IGGY POP: “Zombie Birdhouse” (Chrysalis – WWS-81589) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Japan original pressing all complete with 4 paged insert and obi. WHITE label PROMO issue. In 1982, after Iggy’s contract with Arista lapsed, he was offered the opportunity to work with Blondie mastermind Chris Stein, who not only produced Zombie Birdhouse, but originally released the album on his own short-lived Animal Records imprint, and Iggy seemed to approach the album as his opportunity to let loose with every musical and lyrical impulse. After the perverse attempt at a dance-pop album that was Party, Zombie Birdhouse certainly seemed like the right idea; Rob Duprey who handled the keyboards, guitars, and programming and wrote most of the music, came up with a set of interesting pop tunes, skeletal but full of ideas and sharp angles, often suggesting a less pretentious and more emotionally direct corollary to the arty approach of the David Bowie- produced The Idiot. Iggy belched out a bizarre mélange of lyrics in a weird way that is highly compelling and making the album one of his greatest but sadly also one of his most overlooked and discarded albums. Which is a shame as Zombie Birdhouse is just stunning! Rare Japan press with obi & white label promo. Price: 75 Euro |
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1272. IKE REIKO: “Sukeban Blues Mesubachi No Chosen” (Solid Records – SD-506) (EP Record: Mint/ Picture Sleeve: Mint). Ultra-limited EP release that sold out in the blink of an eye – one-time limited pressing of only 500 copies. Killer sexy girl boss/ iroke vibes by Ike Reiko, until now unreleased soundtrack bits of Ike in full swinging action. Totally indispensable if you are into sexy voiced and bad attitude Japanese early 1970’s violent and erotic starlets. How can you possibly go wrong with something like that? Highest recommendation but sadly enough due to the limited pressing and high quality of this release, they went instantly out of print upon their release date and are already quite sought after. Music is killer btw… Price: 75 Euro |
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1273. INAGAKI JIRO & HIS BIG SOUL MEDIA with SATO MASAHIKO: “Bridge Over Troubled Water” (Columbia Records – NCB-7010) (Record: Near Mint/ Gatefold Jacket: Excellent – some faint storage wear visible around spine/ Insert: Near Mint). Great copy of freakingly rare and much in demand Japanese groove and jazz slide that never pops up for sale. A sweet funky and groovy set with lush loungey vibe presiding throughout from the mighty Inagaki Jiro & His Big Soul Media flanked by all round keyboardist Masahiko Sato who here is playing both acoustic and electric piano! The unit’s sound on this LP is really enigmatic, reminiscent to some of the fuller American jazz sides at the end of the 70s, but executed with flying colors, tones, and changes that apparently only seem to dribble out with a clear distinctive palette unique to these Japanese players. It must be some pathological molecular variant that runs through their collective DNA that makes their sound and music so highly unique. There are certainly funky and deep groovy elements to the album, adhering to it a sound that's a bit more sophisticated and not nearly as modern or out-there as some of Sato's other recordings, but with enough echoes of them to keep things interesting, scrumptious, at times wild and always utterly groovy. Other players include Ryo Kawasaki, attributing some blistering bluesy and acidic guitar injections, flanked, and fronted at the right moment by the always stellar Shunzo Ohno with his delirious trumpet playing that in unison bring out a blissful and elated feel not unlike a sonic volcanic eruption of pure ecstatic funky bliss. Damned rare 1st press original … next to impossible to dig up on these shores and comes with highest recommendation. Don’t hold your breath, once it is gone, it will take maybe another decade for the next copy to surface. Price: Offers!!!!! |
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1274. INAGAKI JIRO & HIS SOUL MEDIA: “In The Groove” (Columbia Records – NCB-7021) (Record: Near Mint/ Jacket: Near Mint with faintest trace of barely visible faint foxing only against white background/ Insert: Near Mint). Here you have it – almost never ever pops up for sale of this much in demand killer Japanese groovy funky jazz slide, 1973 first original pressing. From its formation on in 1969, Inagaki Jiro & His Soul Media has advocated the fusion of jazz and rock. With the release of "Rough & Elegance" LP the previous year, Jiro Inagaki rerouted from Jazz Rock to gaze his attention more towards a Funk/Soul musical horizon for which he augmented his troupe with bassist Akira Okazawa, guitarist Tsunehide Matsuki & Norio Maeda who took charge of the arrangements & compositions. So, with this follow up recording "In the Groove" Inagaki took that detour to the next step with a careful blend of Jazz, Funk, Soul music and injected it with a Latin groove, bringing the sharpness of jazz to the fore by impregnating it with a rock feel to create that extra edge, and allowing the funk to infiltrate in order to exude power and elasticity. The final result surfs on a strong, sophisticated, single-mindedly “cool music” elan that could not simply be pigeonholed by existing genres such as jazz-rock, jazz-funk, and fusion. All was arranged in the same sound engineering approach as The Crusaders, which Jiro Inagaki was paying attention to at the time. And his aim was on target. Soul Media acquired a “sophisticated black feel” with “In The Groove”, before heading off for its final destination that would become “Funky Stuff”. So essential mind food but so bloody damned rare… amazing condition copy and next to impossible to dig up on these shores so act now or hold your peace forever. If it had an obi you would have to mortgage your house in order to get it so seen in that light this baby here might be just within grabs…. Price: Offers!!!! |
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1275. INCREDIBLE STRINGBAND: “The 5000 Spirits of the Layers of the Onion” (Victor Japan– SWG-7574) (Record: Near Mint/ Jacket: Near Mint/ 6-paged Insert: Mint). First Japanese press out of 1972, bloody rare to track down these days and released in ltd quantities back in the day. Totally mint copy WHITE label PROMO issue. Musically and lyrically, what lay at the heart of this magisterially titled The 5000 Spirits or The Layers of the Onion (which came out in 1967) was what seemed to be a casually weird and strangely lovely variation upon two distinct traditions. These were American folk music as distilled by Guthrie, Seeger, and, especially, Dylan whose cryptic and quite possibly profound poetry of the mid-‘60s was a pronounced influence on Williamson and the trickster-storyteller heritage the pair inherited from the myriad bards and minstrels scattered across Scottish history. Conspicuously absent from the ISB concoctions of these and subsequent years are an active engagement with goings on in the political sphere. Their allegiances at this time were to a whimsical and romantic brand of mystical adventurism, the goal of which was to transmute the stuff of everyday experience into a breezily exotic ether, leaving its breathers in a state of occasionally wistful cheerfulness. This is the rare Japanese 1st press on the blue Electra label. Top-notch copy. Japanese press just never ever surfaces…Total MINT copy. Price: 150 Euro |
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1276. INCREDIBLE STRING BAND: “The Hangman’s Beautiful Daughter” (Elektra/ Victor Records – SWG-7560) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ 4-paged Insert: Near Mint/ 2 Additional Inserts: Near Mint/ Cap OBI: Mint – still encapsuled in original shrink) Impossibly 1972 rare Japan 1st press original on the “Guitar Player” logo Elektra imprint. This is never offered before complete issue with rare yellow colored Capsule OBI present!!! Took me only 15 years to track down a copy with obi. “Continuing the inventiveness of ‘The 5000 Spirits’, the duo reaches their peak on this frequently brilliant record, creating some of the most mesmerizing psychedelic folk ever recorded. It opens with a masterful 3-song salvo from Williamson. ‘Koeeoaddi There’ is an evocative and utterly compelling childhood memoir, ‘The Minotaur’s Song’ is a crazed mock-operatic nonsense song delivered with impressive conviction and ‘Witches Hat’ manages to be silly, spooky and pretty all at once. The side ends with Heron’s notorious ‘A Very Cellular Song’, which divides fans, I find some sections preferable to others but there is no denying its uniqueness or ambition. On side 2 they come a little unstuck as the atmosphere becomes heavier and more portentous, largely unleavened by their trademark lightness of touch. There are wonderful things on it though – Heron’s ‘Swift As The Wind’ is an intense Indian blow-out, Williamson’s ‘Waltz Of The New Moon’ is another startling odd and beautiful song and his sitar-tinged closer ‘Nightfall’ is perhaps the most beautiful thing they ever recorded.” (RMJ – Galactic Ramble). Stellar UK psychedelic folk slide, this is the high-quality 1st original Japanese pressing, MINT condition complete with mega rare OBI, never seen a copy with obi ever before. Bloody seriously rare! Price: Offers!!!! |
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1277. INCREDIBLE STRING BAND: “U” (Elektra/ Victor Records – SJET-8315‾6) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Insert: Excellent). Rare Japanese 1st press copy complete with never seen before rare obi and insert booklet, as released in 1970. “Even by the Incredible String Band's own standards, U was an eclectic enterprise. The outfit once described by their producer Joe Boyd (in a 1997 piece in The Guardian) as "the first world music group" had already been weaving folk, rock, blues, mysticism, and the sounds and instruments of several continents into a unique mosaic for four years and half a dozen albums before U appeared in 1970. U was not just more of the same; it was a lot more of the same, the double album filling up nearly two hours of music. The two-LP set boasted a pretty staggering diversity, from an Indian sitar-paced instrumental and whimsical psychedelic folk minstrelsy to American nineteenth century saloon raunch and tunes that skirted confessional singer-songwriting, old-time country-folk, barrelhouse blues, and straight-out rock'n'roll.” (Richie Unterberger). As essential – if not even more – that all the early ICB albums, this album gets overlooked most of the time but is as astonishing as the rest. Original Japanese pressing with obi…does hardly ever turn up, so better make a move quickly on this one since it comes quite cheap. Price: 175 Euro |
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1278. INDIAN SUMMER: “S/T” (RCA Neon – SRA-5518) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ OBI: Excellent – has some foxing stains visible on back side of obi due to age). First original Japanese pressing in top shape. Awesome copy of this totally underrated hard guitar prog feast. This one is next-to-impossible to find with the rare RCA Neon obi present, only the 2nd copy ever I see with obi in my lifetime. Due to the ageing stains on back of obi the reserve for this one is reasonable but then again, a one of chance to wheel in a true Japanese press rarity. Price: Offers!!! |
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1279. INO NOBUYOSHI & LESTER BOWIE: “Duet” (Paddle Wheel Records – K28P-6367) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint – wrinkle on back side). First press Japanese 1985 original that comes housed in textured sleeve. Great head on collaboration between two of the East and West finest improvisors. Lester Bowie brings his Art Ensemble of Chicago chops to the table there were bassist Ino injects his lifelong collaborative efforts and skills honed with Terumasa Hino, Ishikawa Akira, Isao Suzuki, Takayanagi Masayuki and countless others heavy scenesters. A clash of two titans of improvised music. Top copy. Price: 50 Euro |
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1280. INOMATA TAKESHI & SOUND LIMITED: “Drum & Wadaiko” (Teichiku Records – SL-1325) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Rare – with obi present – Japan first original pressing of groovy jazz shaker. Brilliant and vibrant cross-over slide that successfully blends Japanese oriental vibes with heavy jazz fumes and delirious organ lines. Brimming over with sharp brakes and ass-whipping grooves, Inomata Takeshi creates a real intoxicating atmosphere on this one, with the Wadaiko (Japanese percussion) upfront and ripping the stale air to smithereens. Everything is smack and packed in place, evolving around the percussion as lysergic guitar lines and pulsating organ riffs spin off into deep space. Every track is blessed with a groovy late sixties vibe, fusing oriental exotism with lounge-core and Tupperware madness. Really nice cross-genre mind bender on a swing, loved by DJ’s and adorned by Japanese jazz heads. Rare to find this one as a first pressing from the late sixties, all complete with rarely seen first issue obi. Disc is real nice with an occasional hairline, heavy gatefold sleeve is EX with only a few faint mildew aging spots visible on back. A totally intoxicating and bewitching slide that brings the sunshine back into your grey existence. Highest recommendation!!! Price: 300 Euro |
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1281. INSPIRATION & POWER 14 FREE JAZZ FESTIVAL 1: “S/T” (Trio Records – PA-3006~7) (2 Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Booklet: Near Mint). Rare 1st original press with 1st issue GREEN OBI!!!! TOP CONDITION & with OBI!!!! Here you have a copy of the hideously rare 2 LP that documents a free jazz and improvisation festival that was staged in downtown Tokyo over the course of two weeks in June-July, 1973. As you might know, records that document the Japanese free jazz scene are almost impossible to track down. This one in particular gives a detailed overview of what was happening during the hey-days of the early seventies. The highlights on this disc are amongst others one of the most stunning pieces of sonic assault terrorism ever put down on vinyl by Takayanagi Masayuki's New Direction for the Arts ensemble, bringing forth a tremendous earlobe shattering version of “Mass Projection” that will certainly drive the cats completely nuts into the curtains and kerosene-infuse your otherwise sorry ass sex life. Furthermore are their stunning performances included by bass wonder Yoshizawa Motoharu, the Itaru Oki Quintet, Now Music Ensemble, Masahiko Togashi & Masahiko Sato, Yosuke Yamashita Trio etc. A highly recommended document that comes in a foldout cover graced with a beautiful ink drawing. Cool music and visual arts go hand in hand on this record. Needles to say that this sucker is also quite rare and rarely resurfaces. 1st time I have a true 1st pressing of this beast!!! TOP CONDITION!!! Price: 350 Euro |
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1282. INSTANT COMPOSERS POOL – HAN BENNINK & WILLEM BREUKER: "New Acoustic Swing Duo" (ICP – 001) (Record: Near Mint/ Handmade Die Cut Spiral Jacket with silkscreen back and signed on front next to spiral die cut by William Breuker: Near Mint). Top copy. The very first LP from Instant Composers Pool was issued by Han Bennink and Willem Breuker in 1968. It was called New Acoustic Swing Duo (ICP 001). The silkscreened cover is designed and done by Han Bennink himself and only came with the very first pressing of the LP that was initially released in an edition of 250 to 300 copies. "The very first release on the ICP label was "New Acoustic Swing Duo" a duo by Willem Breuker and Han Bennink, who until then was perhaps best known for playing in Eric Dolphy's infamous "Last Date" and with giants like Sonny Rollins and Dexter Gordon. The musical brilliance is as high as the records historic relevance. "New Acoustic Swing Duo" was recorded in Amsterdam in two different sessions during the winter of 1967 with just the right amount of tape saturations and distortion. All compositions are credited to Breuker, fusing elements of the American post bebop/free jazz legacy from Albert Ayler or John Coltrane with elements of Twentieth Century composition and musique concrète, thus setting itself as one of the cornerstones for what was to come both aesthetically and historically. Both players are informed on every jazz idiom possible. As a jazz drummer Bennink's expression would lie somewhere between Sunny Murray's textural approach and Baby Dodd's long ride cymbal rolls, but far from that he also exploits extended techniques from musique concréte (Han made a lot of his own percussion instruments) or Debussy's appeal for unusual pitched sounds. Self-taught jazzman Breuker was also a known authority on Kurt Weil, and incorporated eccentrically musical elements taken from Vaudeville theatre or circus music. The opener "Music for John Tchicai" who was one of the first European free jazz players, pretty much explains itself with the title alone. In dedicatory fashion to the Danish-Congolese saxophonist, the musicians start out in full blast mode, with both musicians churning out fierce blasts of sound before evaporating into a Bennink solo full of non-western instruments, like a slope in the composition, which reminds one of African patterns. Breuker slowly joins in with a smooth glissando and precisely placed split tones, blending American jazz tradition into the piece, before ascending furiously along with his musical partner into a wild and unrestrained improvisation. Over the following short tracks, a showcasing of extended technique takes place. With Han Bennink scrobbling along his homemade rattles and various Chinese and Middle Eastern small percussion items, as well as his drum set. On "The Impalpable Blues", the accuracy of the titles displays itself once again. With Han even swinging for a couple of bars, Willem's playing is constantly threatening to transform itself into a blues solo, but effortless keeps fading away, almost like someone was pressing play/pause behind the mixer. "Mr. M.A. de R. in A" begins with Breuker playing Arabic scales on his clarinet contrasting with Bennink's textural cymbals and rolling drums. During the whole record the use of silence is brilliant, creating an expansive notion of space and time. Even if it's incorporated just due to changing of instruments during the playing, neither musician ever loses track of where the other is at, and how his playing complements the others at every possible point. Nonetheless the most challenging moment of the record is it's last track "Gamut", which ends the performance just like it started in an incendiary post-bop improvisation. Breuker blows an absolute whirlwind of fire music from his Horn, along with Bennink's post-bop infusions. "Gamut" constantly oscillates between quiet and loud, with the drummer dominating the more silent parts with his multi timbral juxtaposition, and the Reeds player the louder ones, performing gigantic sequences of high-pitched overtones and phrasings, with communication never breaking down and being almost instinctively ever-present until the very last moment of the record. The closer seems to encompass all the previous action in a single one, but in a totally new agglomeration. With superb dynamic shifts, intricate rhythmic changes and above all, a feeling of artistic freedom, one may wonder that the album title "New Acoustic Swing Duo" may not seem so uncanny after all. Although not always aesthetically coherent with more traditional jazz practices, the disc stands as one of many landmarks for the evolution of its artistic practices and sentiments." (Thumpasaurus). Great shape, 1st privately released issue of 1968, complete with handmade cut out spiral cover/ Cut out gimmick spiral cover by Bennink, making each cover unique. Just never turns up. Killer slide!!! Price: 400 Euro |
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1283. INSTANT COMPOSERS POOL: “ICP-002” (ICP002) (Record: Near Mint/ Jacket: Near Mint). 1st original pressing housed in silkscreened jacket. TOP COPY!!!!! Second release on the Instant Composers Pool or ICP label but actually the first release to bear the Instant Composers Pool moniker. The first LP on the label (ICP001) was actually credited as Instant Composers since it was a duo recording of Bennink and Breuker. For this one, Breuker steps aside for a moment and Bennink get flanked by Misha Mengelberg and John Tchicai. Noteworthy on this groundbreaking recording are the sidelong tracks respectively called Amagabowl Part I and part II and the tracks Sweet Smells and Vietcong. The whole affair was recorded on May 13th and 14th 1968. It is a brilliant time piece of that era, opening up with dysfunctional piano lines by Mengelberg, against which Tchicai splatters out fractured sax lines punctuated by Bennink’s multi-facetted drum shifts and swirls. Staring off as a fragile and delicate excursion into mercurial free form territory, it isn’t before long or the trio’s insanely beautiful ravaging of high-energy forms come to the foreground, zooming in and out of the well-balanced delicate sounds of thunders before veering into ravaging blizzard like attacks. The three of them build on the apocalyptic energies of Bennink’s skin shifting, alternated by Mengelberg’s almost the Luciferian piano playing against which Tchicai splatters saxophone riffage ranging from almost alien-like marching bands squawk towards absinthial-huffing through bottom-end reed pumping. This is a classic and a true jewel of European free hardcore jazz. They sure ain’t coming any better than this. Highest all time recommendation. Price: 200 Euro |
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1284. INSTANT COMPOSERS POOL: “Lunchconcert for Three Barrelorgans – Willem Breuker” (Instant Composers Pool – ICP-003) (Record: Near Mint/ Jacket: Near Mint). One of the rarest and hardest to track down ICP records. First time ever I have a copy to spare of this one and then it is in near mint condition to boot. Apart from being the rarest ICP disc, it definitely also classifies as the most weird and oddly strange one. This surely is some demented shit that will infest your earlobes and I wonder if they can take this barrel organ extravaganza after being terrorized with FM sugary crap for the best part of the day. Recorded live at the Dam in Amsterdam on March 26, 1969 during lunch time, this collision course jam dementia of three barrel organs must have scared the casual passerby that day shitless and having them running for the nearest air shelter to dodge this sonic raid on the senses. Voices of passers-by pop up here and there, commenting on the sonic pollution taking shape before their eyes before hiding out in some nearby bunker in order to hang on to that last grain of sanity they may still possess. Anatomically atonal, disenfranchised disorientated insanity, mentally deficient sonic mayhem and pixilated unsoundness are some of the diluted impressions of musical grandeur I get catapulted into upon spinning this disc time after time. This is simply some of the greatest music ever recorded, which will saturate every mentally disturbed and eccentrically distracted. This disc gives a whole new meaning to improvisation, field recordings, outsider music or even so-called “real people music” and makes all the other improv discs sound like Little Red Riding Hood having a “Dejeuner Sur l’Herbe”. Music won’t get more “outsider” or “real” than this disc here, so start heading for the trenches and enjoy it. Just massive and all time possible highest recommendation. Bloody rare 1st original press. Price: 150 Euro |
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1285. INSTANT COMPOSERS POOL/ HAN BENNINK & DEREK BAILY: “S/T” (Instant Composers Pool – ICP-004) (Record: Near Mint/ Jacket: Near Mint). Original 1st issue, red & white ICP label. A clash of the titans so to speak and in a sense that sums up this record quite adequately since it was the very first of many collaborations between Derek Bailey and Han Bennink. What else can you expect from an interchange between two of the greatest improvisers ever except that it is a true marvel. Sad part is seemingly that this recording in question will probably never be reissued since apparently the master tapes to most of those early ICP albums have regrettably been lost, anyway, I may be wrong but I overheard a conversation once where this was claimed to be so by some people apparently “in the know”. Whatever. Those already familiar with Derek Bailey and Han Bennink should know what to expect from these two great free improv players, but this partnership really is a stunning one, one that will boggle your mind and ears and not necessarily in that order. The year is 1969, pre-dating other duo interaction between these two…dinosaurs. Although this clash took place in 1969, the album here still sounds as crisp and fresh like it was only happening yesterday; the music has not aged one tiny bit. Bennink and Bailey explore space and timbre in a surprisingly sophisticated way, sustaining freeform within the automatic constraints of their suburb interplay with Bennink trashing around wilder than a manic obsessive and Bailey’s mesh of discontinuous lines and phrases, punctuating Bennink’s moves and clattering percussion like a bee buzzing around a flower. Layers of tonal space are deconstructed, space is fractured and a highly abstract approach fuses neatly with chaotic atonal dissonance that again seems at times to be based on some arcane Archimedean formula. Bennink’s is as usual all over the place, rolling drumbeats that shift from steady pulses to all out attacks, pushing Bailey’s dynamics in all kinds of directions. Together they gel well into one body of disenfranchised energy keeping the music in constant flux which is quite stunning to bear witness to, even after all these decades since it was recorded. Just…impressively massive. Price: 150 Euro |
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1286. INSTANT COMPOSERS POOL: “ICP-005”
(ICP005) (Record: Near Mint/ Jacket: Near Mint). Another highlight in the
history of European free jazz is again a disc on the illustrious ICP label,
this time being Instant Composers Pool 005. Recorded on March 3rd,
1970), The Instant Composers Pool collective was for this occasion expanded to
a quartet with Mengelberg, Tchicai, Bennink and guitarist Derek Bailey. The line-up alone
is on paper already strong enough to cause momentary lapse of reason to occur.
And in reality, it also delivers the goods. The quartet draws much of their
visceral power from the individual player’s interaction through the underlying
tension they built up. Right from the start, they dive headfirst into freely
improvised dialogue with Bailey tapping off staccato grips of notes and
oscillating harmonics of such force that that they blur into Bennink's detailed, high-end percussion, cross-breed with Tchicai’s paint-peeling sax lines and Mengelberg’s lyrical piano playing. From there on it just gradually snowballs into a wide
array of creative ideas that peak and volcanically erupt into mercurial gushes
of well-balanced and delicately crafted free improvisation that feels as
abstract as a leather-clothed nun in high pin heels trampling on your scrotum.
I guess you get the picture, delicately crafted streams of hot lava one tried
to channel in vein towards unpopulated areas. Instead they still scorned and
burned the earth where they passed through and leaving dead bodies in its wake.
Same story here, just hot, hot, hot. Price: 150 Euro |
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1287. INSTANT COMPOSERS POOL: “ICP-006 – Group
Composing” (ICP006) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT).
Original pressing in TOP condition, 1st press issue with red & white
labels. Best copy imaginable. Another slab of great European improvisation.
Here is what Eugene Chadbourne had to say about this thrilling masterpiece: “The
name Instant Composers Pool has become synonymous with the extended ensemble of
Misha Mengelberg, closely identified with both his compositions and his amusing
outlook on life. These associations mean the use of the name in conjunction
with this early-'70s recording may wind up hiding a crucial and astonishing
document of group improvisation. The German, Dutch, and British scenes come
together for this extended piece of music, spilling over two sides and titled
simply "Groupcomposing." The players featured are some of the most
famous and well respected from these countries, interacting in a hustle bustle
of energetic attacks and contrasting moods that is bound to make fans of the
European free improvisation scene jump up and down, and why not since the
people downstairs are probably already horrified. Some of these listeners,
again, think Instant Composers Pool and imagine written charts, somewhat
similar to what Willem Breuker cooks up. This album is much more like the acclaimed
Topography of the Lungs release from roughly the same era, and in fact that
album's three participants are all on hand here: Derek Bailey playing electric
guitar with a tone that will make listeners want to raid the fridge, Evan
Parker demonstrating how to play frantically and subtly at the same time, and
Han Bennink approximating a windstorm on percussion, all fairly well recorded
for this period. Mengelberg is also more on the case than he often is in these
types of settings — he uses space, but does more than just sit back
smoking and watching the others freaking out. Paul Rutherford is great on
trombone, and so is the drummer's underrated brother Peter Bennink on both
dangerously addled alto saxophone and preposterous bagpipe. Followers of this admittedly
very challenging music all have their favorite events where the music just
seemed totally inspired, one startling scenario developing after another
on-stage. That, boy howdy, is just what this record is like.” (Eugene
Chadbourne). Another milestone recording that to these ears is indispensable if
you have even the slightest interest in free adventurous music with an edge
towards the adventurous, unexpectedly and dangerously intense.....Impossible to
ever upgrade upon!!!! Price: 200 Euro |
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1288. INSTANT COMPOSERS POOL: “S/T” (ICP – 007/008) (2 LP Record Set: Near Mint/ Round Chocolate type Circular Box with Velvet Rim: MINT, top condition). TOP COPY, best one around, chocolate box is virginally clean which is nothing short of a small miracle! Original 1st Dutch pressing, only the very first issue of this magical 2 LP set was released and housed in a delicately round chocolate box set. Original 2 LP Box, known as either the “Chocolate box” or “Cheesecake Box” as issued by the Instant Composers Pool collective. The records inside the box are flawless, looks like it has hardly been touched and played The box itself is perfectly in shape. The killer free-blowing line-up includes some hardcore heavyweight players such as Han Bennink, Willem Breuker, Gunter Hampel, John Tchicai, Misha Mengelberg, a. o. documented some of Breuker's work from 1968-70. Privately issued by ICP, Holland 1970, ICP 07/08, Box & records are in stunning condition. Truly a rare item, hardly turns up these days and one of the cornerstones of the European hardcore jazz avant-garde. Mega recommended. This is the very rare original issue of Instant Composers Pool 007/008, a two record set, in a special designed box, often referred to as a CHOCOLATE BOX, with velvet at the sides. ICP 007/008, this is the original black & red label heavy vinyl issue, from 1970. With the original inner sleeves, corners original folded in the plant, to fit them in the round box. Box has so splits and is in perfect shape. Records are Near mint. TOP COPY!!!!! Price: 450 Euro |
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1289. INSTANT COMPOSERS POOL
– HAN BENNINK & MISHA MENGELBERG: “Instant Composers Pool
010” (Instant Composers Pool – ICP-010) (Record: Near Mint ~ MINT/
Jacket: Mint). True 1st original 1971 pressing with typographical styled labels.
Latter pressings have different label type settings. TOP CONDITION. Killer
slide of early European free jazz trench-warfare action dating back to March 23rd, 1971. This slide of
mercurial interplay documents the head-on collision and subsequent radioactive
fallout that emanated out off the explosive interaction between skin mangler
and enfant terrible of the drums Han Bennink and ivory-key/ piano and Putney
synthesizer deconstructionalist Misha Mengelberg. This disc is the evidence of
an ear-peeling encounter between those giants of the Dutch unequivocal free
jazz scene, sucking out apocalyptic energies from each others interaction and
igniting ravaging high-energy forms as a result of it. Primitive fury and
minimal free blowout aesthetics fuse neatly into one, making this document so
god damned awesome. Rare 1st pressing in top condition. One of the cornerstones of
the European free jazz scene of that day. Ear-bleedingly great and
indispensable. Pristine condition, impossible to upgrade upon!!! Price: 150
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1290. INSTANT COMPOSERS POOL/ BENNINK HAN: “Solo” (Instant Composers Pool – ICP-011) (Record: Near Mint/ Jacket: Near Mint). Signed and dated by Han Bennink and this copy is as mint as clean as can be. Han Bennink’s first extant solo recording. Recorded in 1971~72, Bennink reveals himself here to be a chameleon with a massive setup composed not only of drums but of exotic percussive and wind instruments, along with what the liner notes could only describe as tins and home-made junk. Amid a wave of cymbal crashes and furious tom rolls, Bennink spits out volcanic gibberish. The growls, howls and spluttering outbursts weave in and out of his rhythms, beginning at the point where the other ends and vice versa. He simply pushes jazz’s rhythmic possibilities of the drum as just a percussive instrument to their absolute limit. This is the sound of a man becoming his drum. The jacket is also a statement of self-sufficiency since it is a mixture of printed and hand assembled collage art with a Dutch flag, a piece of a note book pasted to the higher right corner, a bird’s feather near the middle and 3 flying birds have been drawn in the right-hand corner. All is original and in top condition. It perfectly suits the music, which is lo-fi as can be and like the jacket also entirely home-made. This is DIY from way back in 1972…Price: 250 Euro |
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1291. INSTANT COMPOSERS POOL - MISHA MENGELBERG 10-TET: “Tetterettet” (ICP – 020) (Record: Near Mint ~
Mint/ Jacket: Excellent ~ Near Mint) Original 1977 first pressing on the highly
collectible ICP label. “The
"Tetterettet" series, besides representing a substantial raid on the
"t" drawer of a typesetter's box, were a series of compositions for a
ten-piece group by Dutch pianist Misha Mengelberg. He is often likely to fling
one or two of these sections at a concert audience,
and the more the better. This brilliant '70s release from the Dutch jazz scene
has an entire side of these pieces, more evidence than ever before that as a
composer, Mengelberg created with this collection of pieces an incredibly
satisfying balance of his noisy avant-garde instincts and obvious flair for
both serious and comic written themes. A great instrumental lineup was
assembled to play this music, which includes many complicated passages and
stops on a ten-cent coin, about which it should be pointed out that the Dutch
version of a dime is even smaller and thinner. Mengelberg’s longtime rhythm
section partner drummer Han Bennink is joined here by bassist Alan Silva, who
along with guest saxophonists Peter Brotzmann and John Tchicai make sure a
certain sort of meat is served when it comes to ensemble improvising sections.
No fear of surly rioting here, the music is meticulously controlled, with the
"Tetterettet" material seemingly organized to moderate a flow of
different improvised groupings. The presence of players such as cellist Tristan
Honsinger and Michel Waisvisz on his self-invented electronic
"cracklebox" means some of this improvisation gets pretty far out.
Trombonist Bert Koppelaar is a lesser-known but dynamic and inspired soloist
from this period who also wrote the illustrious tune "Ludwig's Blue
Note." (All Music
Guide – Eugene Chadbourne). One of the rarest and most delirious insane recordings on the highly collectible ICP records
imprint. Top copy, 1977 first original pressing. Price: 150 Euro |
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1292. INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA:“Concert A Prades Le Lez” (Le Temps Des Cerises – 01) (Record: Near Mint/ Jacket: Excellent). French original private press issue of a rare French militant jazz prop-art improvised music slide with eclectic African, Arabic or Spanish influences recorded in 1971 by a combo spearheaded by Francois Tusques, featuring Joe Maka, Guem, A. Winkler, M. Marre and other fringe players. At this point in time, Tusques found himself at a crossroads of the explosion of “new jazz” and post-68 revolutionary agitation. He accompanied the struggles for emancipation and continued to play music à la at the same time free, meticulous, fun and moving. At the beginning of the 1970s, free jazz seemed to be at an impasse. As a response, François Tusques created the Intercommunal Free Dance Music Orchestra, an outfit/ big band that brings together musicians of various origins and wanted to be less elitist than the majority of the reigning free jazz groups. Instead, he aimed at a less elitist approach by focusing on ethnic inspired dance sounds and find through that portal a more popular dimension for his creative vision, rediscovering through music and jazz a certain cosmopolitanism and opening up his musical approach to African music, French, Spanish, Chilean, Portuguese revolutionary songs, and regional, Basque or Breton sounds. With that as background, it comes at no surprise that his music got a political vibe, seeing him perform in places of struggle and social upheaval, in factories on strike and in homes for immigrants. It became the backbone for which he created the collective Le Temps des Cerises that self-produced & released the majority of the recordings. This one here kickstarted it all and sheds some light on another colorful side of Tusques’ musical explorations. Just fantastic and a personal highlight for me in his oeuvre. Price: 250 Euro |
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1293. INTERNATIONAL HOLY HILL JAZZ MEETING – 1969: “S/T” (MENO
Liechtenstein & CB Records – No. 6769) (2 LP Record Set: Near Mint ~
Mint/ Gatefold Jacket: Near Mint ~ Mint). First original pressing –
German private press issue that saw the light of day back in 1969 in a small
limited run. A record renowned for always
surfacing in bad condition. This is the first time however I could lay my eyes
upon a mint copy!!! Impossible to upgrade upon!!! A true “holy” modern/free
jazz gems of the late 1960s. The original double LP was issued by Meno Liechtenstein’s
CB Records – he was also the
organizer of the “International Holy Hill Jazz Meeting” in
Heidelberg/Germany. The sound quality is fairly good as can be expected
for a below-the-radar private press issue of that day. But bare in mind, this
was a low-key operation and a cheap pressing so do not expect any Blue Note
type of high fidelity audio honey dripping. Nevertheless this was a legendary
moment in European free jazz – performances all recorded on a single
Sunday in 1969 – but which stand as some of the most powerful music of
the time! The vibe here is often in the best spirit of early FMP, or maybe the
most outside work of MPS – and the recording quality equals the best
avant jazz on both labels – with very long performances on each track that
represent the pinnacle of all players involved! One side alone is worth the
price of admission – a searing track titled "Finally",
performed by an octet with Peter Brotzmann at the helm, alongside Evan Parker
on tenor and soprano sax, Fred Van Hove on piano, Paul Rutherford on trombone,
Peter Kowald on bass, and Pierre Favre on drums. Favre returns on "Let's
Talk About The Weather" – played by a trio with Kowald on bass and
Irene Schweizer on piano. Other tracks include "Five To Five" and
"Gluga Gluga Blues" by the Joki Freund Quintet, "In Memory Of
John Coltrane" by Marion Brown, "Vibration" by the group of
saxophonist Joe Fiera and trombonist Ed Kroger, and "Circus Live" by
a quartet led by Rolf Kuhn on electric clarinet, with Joachim Kuhn on piano and
Stu Martin on drums. As you know a viciously rare slide, not many copies were
pressed and so far most copies that surface are at best in VG++. This copy here
is NM〜M on all fronts, gatefold jacket is crispy and clean with no damages and
both records appear to be unplayed. Seems like a dead stock mint copy.
Impossible to find better, ever. Killer with absolutely no filler. Price: Offers!!! |
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1294. 2. INTERNATIONALES
NEW JAZZ MEETING AUF BURG ALTENA: “Various Artists with PETER BROTZMANN
TRIO – ALAN SKIDMORE QUINTET & MIKE OSBORNE – THOMASZ STANKO
QUINTET – NEW JAZZ ENSEMBLE ’71 & KARIN KROG – ALBERT
MANGELSDORFF QUARTET & THE TRIO JOHN SURMAN/ BARRE PHILLIPS/ STU MARTIN”
(JG Records – JG 027/28) (2 LP record: Near Mint/ Gatefold Jacket: Near
Mint). Bloody rare 1971 German private press set that contains the most furious
Peter Brotzmann Trio ever recorded on wax, blowing
his illustrious Machine Gun even out of the water as far as sonic violence is
concerned. Bloody rare original that just about never ever surfaces. Killer
free roaming jazz head fuck from start to finish and one of the best recordings
out there to blow your earlobes to Kingdome Come! Price: Offers!!! |
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1295. INTERSYSTEMS: “Number One” (Allied – IS 1S) (Record: Near Mint/ Jacket: Mint ~ Still in shrink). Hideously rare and largely still undetected Canadian private press on the highly collectable Allied Records label that fuses sound poetry nonsense Dadaism with experimental, avant-garde, electronic music and weird psyched-out & frazzled-up effects that defies all reason and meaning. Released way back in 1967, this was Intersystems first release, and right from the start depicted them as avant-garde freaks with a taste for the psychedelic surreal as they go on to exclamate, rant, recitate and create their demented texts and word juggleries in a curiously zombie-like tone, all set against a primitive buzz-humming static noise, freaky dusty electronics and musique concrete background. The weirdness on display dwells in similar regions as Bill Bissett and See Hear albums. But Intersystems even manages to outdo both of them to such an extent that the recitations and ramblings of emphatically spoken vignettes of lysergic apocalyptic poetry are spiked up with surreal punctuations of demented musique concrete weirdness. The end result is very estranged hell-broth piece of sound art that has to be heard in order to be believed. This disc is rocking my boat for already the better part of the decade and finally I am psyched to be able to offer this spare copy. Over the top brilliance in disguise and should appeal to everyone into weird stuff, avant-garde junk noise, crackbrained ravings, atmospheric psychedelic backdrop art-scum, Dadaist thundering low-fidelity outbursts of mutant spoken weird hallucinatory rants and rambles, oscillating jangled mix of dusty gnawing sound FX, frenzied sonics, hallucinated hog-wild declamations and unhinged sound art. A total must!! Amazing original copy, don’ believe they come any better than this one here. Price: 550 Euro |
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1296. IOWA EAR MUSIC: “S/T” (Corn Pride) (Record: Excellent/ Jacket: Excellent). Original 1976 private pressing. As is usual the case with strange and obscure avant-garde records, US Creel Pone is bound to make a nice bootleg of it, giving it finally some extra exposure and bringing a whole new audience to this initially overlooked music. So in cultivating a good tradition, I – in return – hijacked their descriptive mumbo jumbo, so boot the text so to speak. "This one’s certainly a mold-breaker; closer in spirit to Cage/Tudor’s “Indeterminacy” than the sort of bedroom solo composer/producer/performer LP’s that have been the creel pone archetype thus far... improvisors were set up in 4 different isolation booths in the studio in Iowa State University’s recording studio during the ‘67-’75 seasons. These simultaneously occurring sound-events captured in real time, then collaged via tape & electronic processing by the studio-head Michael Lytle afterwards. There are brief snatches of amazingly dense, if even inept euro-style improvising; all dove-tailed with some great bits of zonked analogue electronics, vocal droning, and climactic, tape-speed warble free drumming (which, inexplicably erupts at one point into a reading of “lonely woman” for cavern-reverb trumpet and square-wave sequenced moog bass !!!) My favorite thing about this LP is that no one piece stays in one place for longer than a few minutes until the chopping block is brought out and a static-feeling improv is fiercely juxtaposed against a blast of pitched up stereo-echo blast along the lines of “several species of small furry animals gathered together in a cave and grooving with a pict”. It’s inspiring to know that this sort of free-wheeling electro-acoustic improv-tomfoolery was taking place even in the most Midwestern of geographies during the early 70s... There are certainly echoes of the work of similarly-minded ensembles such as MEV, Gruppo Nuova Consonanza, and New Phonic Art, although natch this is considerably more ad-hoc/rough-around-the-edges... fans of Mimaroglu & Hubbard’s “Sing Me A Song Of Song My” will find parallel here, even if it’s a rougher, a-political one...” (creel pone/ Mimaroglu). Spot on, an outsider electronic masterpiece coming to you straight out of a sonic wasteland. So necessary, it will knock you flat out. Price: 200 Euro |
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1297. I.P.E.M. - V.A./ MUZIEK IN VLAANDEREN – MUSIC IN FLANDERS: “S/T” (Alpha Records – DBM-N257) (Record: Near Mint/ Fold Out Jacket: Near Mint) Hideously rare and seldom offered album documenting the early sixties and early seventies electronic music and musique concrete excursions of Belgian composers affiliated with the IPEM studios. Barely documented, in writing as well on disc, electronic music of the Low Countries is highly innovated and extremely robust in its approach to sound. Unlike their contemporaries like Jan Boerman and Dick Raaijmaekers, Belgian composers such as Louis De Meester, Lucien Goethals, Peter Beyls and Raoul De Smet have a tendency to be more radical as far as their approach to sound is concerned. This essential compilation of early Belgian electronic music excursions is filled with mind-bending sweeps in the electro-acoustic score contrasting with razor sharp biting main themes, voltage fluctuations, changing speed and pitch, rarely articulated rhythmic manners, rectangular waves of thermal noise, harsh electronic sound clusters that follow each other in rapid succession in order to build very well defined figures with a pronounced beat all with decreasing and increasing intensity, sinusoidal sounds and so much more. A delirious listening experience. All compositions were created between 1962 – 1974. Hideously rare and in top-notch condition. This disc is too good to be described in words. A killer from beginning to end. Rare as hell. Price: 300 Euro |
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1298. IRVINE, WELDON: “In Harmony” (Strata-East – SES-19749) (SEALED ORIGINAL). 1974 US first original press issue in SEALED condition. Weldon Irvine meets Strata East – and the result is one of the keyboardist’s funkiest albums ever! The set’s more jazz-based than the soul/funk outings Weldon cut for RCA and his own label – with great focus on Weldon’s lines on clavinet and Fender Rhodes – supported by sweet guitar lines and lots of heavy percussion – often a mix of drums and congas, which really sounds great. Pianist Virginia Joe Jones joins the group on a few cuts – but the main star here is definitely Weldon, who sparkles wonderfully on some spiritual keyboard solos… A dead-drop classic in perfect nick, what can a mortal possibly ask more for. Give me your best shot. Price: Offers!!! |
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1299. ISHIKAWA AKIRA & HIS COUNT BUFFALOS with RINSYOE KIDA: “Tsugaru Jongara Bushi – Drum & Tsugaru Shamisen” (Teichiku Records – SL-111) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). TOP COPY, complete with OBI, 1st copy I have in 5 years time. Fantastic hybrid Japanese rare groove masterpiece. This disc fuses rural Tsugaru shamisen strummings with tinsel-downtown heavy funked up and jacked down jams, interlocking perfectly with the heavy shamisen pickings. Ishikawa Akira’s bongo furies and swirling percussive undertows form the backbone against which Rinsyoe unleashed weather-beaten rural rhythms that in its turn get answered by funky city slickers of the Count Buffalos back band (of Uganda fame amongst others). For this occasion, the Buffalos are made up out of Mizutani Kimio (only on the opening track), bass wonder Terakawa Masaoki, Shikawa Hideo on the ivory keys, Muraoka Takeru on sax and Hashima Koji on trumpet. Together they create a highly inflammable mixture balancing on the razor’s edge of seemingly contradictory styles such as rural shamisen minyo outings, brass rock, heavy lethal butt-shaking funk, psyched out jazz rock moves and traditional Japanese music. Upon glancing on the various styles one has the intention to shake one’s head and walk away, supposing this mixture is doomed for failure. But then one fails to put into the equation the musical craftsmanship these key-players of the Japanese early seventies underground bring to the foreground and make this combustible mixture work, taking off towards previously unheard musical horizons. Heavy bass riffing providing a steady almost hypnotic backbone for the swirling brass lines to unravel themselves, hurling themselves in and out of focus whilst sharp wrist-slashingly poignant guitar cuttings intersect with the almost dervish-like percussive rattles, all fusing into one unison with the ancient shamisen pluckings, making this disc a vicious butt-shaking dance floor monster. Hard to believe we are talking about 1973 here. The dynamic of the recording and the interplay of the musicians is almost mesmerizing, especially since Ishikawa is going back in his drum and percussive lines towards ancient and traditional rhythms one still find in wadaiko playing, creating a back rhythm against which everyone is allowed to break loose. In short, a fascinating and entrancing recording that hardly sees the light of day and is hard to come by, especially since all the hip Tokyo DJ’s are hunting this one down to spice up their club dates, infusing with some domestic swinging flavors out of times long gone. This disc has it all, break beats, heavy guitar jamming, funky rhythms, exotic-like rural strummings, alienating countrified feel, percussive mayhem, etc….in short a floor burner. Rare masterpiece in top-notch condition, original 1973 press and still not reissued till this day…just all time highest possible recommendation. Price: 350 Euro |
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1300. ISHIKAWA AKIRA & COUNT BUFFALOS: “Electrum” (Victor – SMJX-10104) (Record: Near Mint/ Gatefold Jacket: Near Mint). Stupidly rare killer Japanese psychedelic jazz slide. One of the greatest Japanese spiritual psyched out jazz slides ever recorded, high in demand but sadly next to impossible to dig up in its original form. Original 1970 1st pressing in great condition. Bloody rare in this nick and one of the unheralded awesome Japanese psychedelic jazz rock albums ever. Ishikawa assembles again a killer line-up around him, which consists out of Akira Ishikawa: Drums. Kiyoshi Sugimoto: Guitar, Masahiko Satoh: Piano, Clavinet; Takeru Muraoka: Tenor & Soprano Sax; Hiroaki Suzuki: Electric Piano; Masaaki Terakawa: Bass. With this line-up, the Buffalos rip the sky to pieces and inflame the atmosphere surrounding you, liquidizing the air with aggressive and electrifying progressive jazz-a-delic moves, Sugimoto’s electric acidic guitar chops give the whole affair a lysergic touch, catapulting the overall sound towards psychedelic jazz rocking heights that leave no stone unturned. In all, a vintage Japanese psyched out jazz classic that touches similar sonic depravity as Uganda, Dema, flashes of Innocent Canon and Ishikawa’s African Rock slide. Total brain peeling killer. Extremely rare in such a jaw-dropping clean condition as this copy here, so go berserk. Price: Offers!!!! |
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1301. ISKRA 1903 - BAILEY, DEREK; PAUL RUTHERFORD & BARRY GUY: “Iskra 1903” (Incus – INCUS-3/4) (2 LP Record: Near Mint/ Gatefold Jacket: VG++ - has sticker residue in upper right corner and some foxing due to age). Original 1st pressing, Incus Records SKY-BLUE turquoise blue colored label. Comes housed in first edition sleeve as well. Released in 1972, following a recorded live gig at the ICA London on August 1970 and May 1972. Original press. Iskra 1903, named after a newspaper founded by Lenin, has had several incarnations. This one was the first: Paul Rutherford (trombone and piano), Derek Bailey (guitar), and Barry Guy (double bass). The first revelation here is that Rutherford plays piano, and that he's a worthwhile improviser on that instrument. The second is that this music, for all its uncompromisingly unpremeditated and atonal character, contains a great deal that beguiles and fascinates. Each of these non-quartet pieces is beautiful in itself, and all share a very similar musical approach, which means that during a casual listen one is not aware of shifting personnel so much as of a multi-leveled performance. There's a general sense of continuity between all of the pieces on display here which gives them the feel of a continuous performance while the changes in line-up keep it varied on closer inspection. Trying to catalogue the music on the other hand is a bit more difficult and I personally am of the impression that is cross-borders several styles albeit being confined to their own sonic spectrum. Call it improvisation, free jazz, avant-garde, contemporary music or even psychedelic if you like, Iskra 1903 fits all of these nametags like a glove. But that aside this 2 LP set still stands firm as one of the most interesting documents to shed a glimpse at the budding UK improve scene of the early seventies. Each time I put this sucker on it sends chills running down my spine in eager anticipation to the sound palette to unfold before my eyes and ears. It just rocks and rocks hard. Stellar music and getting a tough one to dig up very first Incus pressing with first Sky Blue colored labels. Price: 175 Euro |
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1302. ISRAEL VIBRATION: “The Same Song” (Top
Ranking Records – Side A Matrix: DSR7911A/ Side B matrix: DSR7911B) (Record: Excellent ~ near
Mint/ Jacket: Excellent). Original 1978 Jamaican pressing on the green colored
Top Ranking label. “One of the most exciting debuts
of the roots era, Same Song boasted
the cream of Jamaican musicianship backing the vocal trio, including Sly &
Robbie, Augustus Pablo, Mikey Chung and Ansel Collins. Producer Tommy Cowan
took special care with this record and insured that the all-star cast never
overwhelmed the vocalists. This was a real danger, as Israel Vibrations were
far from the most powerful of singers. Other vocal groups of the day could
easily hold their own in the midst of the deepest roots and dub, but the Vibes
needed sympathetic arrangements to best showcase their unique sound. In fact,
it was their very vocal vulnerability that was the trio's appeal. The almost
reedy quality of the Vibes' singing, the feeling that they were struggling just
to gather the strength to even reach this paltry level of vocal thrust, was
part of the charm. The group's actual physical disabilities just made their
stylings all the more poignant. It was Same Song’s Rastafarian themes and the trio's obvious
religious devotion, which made this such a cultural classic, even if the album
doesn't have that almost melancholy quality of the Abyssinians nor the righteousness and fire of Burning
Spear or Black Uhuru. Instead, the Vibes brought an almost child-like quality
to roots, a naïveté hither unknown in what was otherwise a
streetwise genre. The very simplicity and straightforwardness of the lyrics
reinforces this feeling. The Vibes message of "Why Worry" sums up
their personal philosophy of finding answers, hope, and salvation through
prayer. The title track, a real charmer and hit to boot, insists that
"we're all going to sing the same song," but their fervid delivery
gives even this seeming platitude real power. Even when presented with the
brutality of life, as on "Licks and Kicks," the album's only true
political song, the trio still attribute the violence that inspired the song to
Jah's will. One comes away from the album convinced that the trio have
entrusted themselves to Jah, and, with that, all of life's complexities have
fallen away. The meek shall inherit the earth, the Bible states, but as the
Vibes prove, the meek aren't necessarily voiceless victims, and even the
meekest amongst them can, in the right setting, be the loudest Same Song is a
shout of belief, so heartfelt, as to quiet all else around it.” (All
Music Guide). Top condition Jamaica original pressing, hard to find better of
all time best killer roots LP. Price: 150 Euro |
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1303. ISRAEL VIBRATION: “The Same Song” (EMI Japan – bEMS-81257) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Damned scarce Japan original pressing all complete with insert and obi. Killer record and one of the finest reggae recordings out there. Rarely seen Japanese pressing, hard filled next to the Jamaican one for good measure. Price: 100 Euro |
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1304. IT’S A BEAUTIFUL DAY: “S/T” (CBS Sony – SOPL-134) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Japan 1st original pressing all complete with rare obi. Has been quite some time since I had an all-complete copy of their debut LP. Rare Japanese real time pressing of this West Coast gem, here in TOP condition and complete with rarely seen capsule obi. “This classic early progressive rock album sets its stall out immediately, opening with the band’s most famous song ‘white Bird’ – a mesmerically beautiful piece, with floating male and female vocals borne aloft on a bed of classical guitar, hypnotic organ, virtuosic violin and Latin-esque percussion. A similar style is maintained for most of the first side, though ‘Wasted Union Blues’ is heavy psychedelica, built around a harsh distorted guitar riff. Side 2 is given over to more overtly progressive and complex material, with the instrumental ‘Bombay Calling’ given way to the ghostly ‘Bulgaria’ and the dynamic 10-minute ‘Time Is’. A superb West Coast artifact.” (RF Endless Trip). Bloody rare Japanese 1st original pressing from 1969 complete with never seen CAPSULE OBI present. This is no small feat, always missing, here all is present is TOP condition, impossible to upgrade upon. Sounds awesome on this high quality Japanese pressed vinyl. Highest recommendation. Price: 275 Euro |
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1305. IT’S A BEAUTIFUL DAY: “It’s A Beautiful Day At Carnegie Hall” (CBS Sony – SOPL-126) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Horizontal Capsule Obi: Near Mint/ Insert: Near Mint). Rare Japanese real time pressing of this West Coast gem, here in TOP condition and complete with rarely seen capsule obi. This is an excellent live album containing an incendiary performance of the band live at the prestigious Carnegie Hall, infusing it with a sunny West Coast vibe. The three big hits from the first album, “Hot Summer Day”, “Bombay Calling” and “White Bird” are all stretched out to greater than 8 minutes each. But, even the shorter songs have interesting jamming interludes. As with many of the San Francisco groups to gain prominence during the late '60s and early '70s, It's a Beautiful Day is best experienced in the interactive and reciprocal atmosphere of a live performance. Vocalist Patti Santos is stellar throughout and reignited the teenage crush I had on her. The band uses their ability to stretch and reshape familiar works into spell binding excursions towards new horizons. Stunning live performance and along with the Airplane, the Dead and Quicksilver one of the best discs to shed a light on that scene. Rare Japanese pressing with obi in total mint condition. Price: 250 Euro |
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1306. IT’S A BEAUTIFUL DAY: “The Best of It’s A Beautiful Day” (CBS Sony – SOPM-95) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Near Mint/ Obi: Near Mint). Japan only compilation album from 1973 that comes housed in unique sleeve art. Price: 50 Euro |
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1307. ITARU OKI TRIO: “Satsujin Kyoushitsu” (Jazz Creaters – No Number) (Record: Near Mint/ Jacket: Mint). Top copy and it has been a while since I last had a copy of this head twister. Rare Free Jazz private pressing, released in an edition of 300 copies way back in the early seventies. Itaru Oki is a vastly under recorded Japanese free jazz heavy weight but the name should ring a bell if you check the entries on the magisterial “Power and Freedom 14” 2 LP set that contains a blood churning contribution by Itaru Oki. Here you have one a copy of a rare album of Itaru (Trumpet, flute, cowbells, triangle, bells, Indian bells, wood block, etc)) operating as a leader while being flanked by other under documented heavy weights Hozumi Tanaka (drums, gongs, timpani) and Keiki Midorikawa (bass, piano, gong). On this recording, the trio launches into fire blowing compositions that display a slowly enchanting atmosphere reminiscent to Don Cherry's eastern toned sound spheres before it all erupts into a fire belching free jamming assault on the senses, vicious and hard bopping, like spewing out hot chunks of lava. These guys meant business straight from the start, not giving a fuck about how the punters might conceive their sonic racket. The percussive maelstrom keeps on grinding down like tornado belching up debris on some deserted shoreline while the bass sounds like sawing and shopping away lumber in a Canadian forest. While this is the background crescendo, Itaru keeps on spewing out venomous sulfur induced fumes from his horn, making the whole experience lethally toxic to the exposed listener. After the hiatus grinds down to a slower pace, the trio ventures into more spread open improvisational territories, still burning with a craving intensity that spews out a shamanistic sense of beauty brimming over with sacred percussive rattles and shakes. More space is created for challenging interplay, demonstrating the greatness of each individual participant in this blood-curdlingly amazing slab of heaviness. Everything I expect a fantastic free jazz disc to have is embedded within this LP's grooves, heavy fixes everywhere you look, communal interplay, individuality and bliss-like cut in interventions. Hideously rare but sadly undetected piece of Japanese Free Jazz History. Private pressing and this is a dead mint copy, so go berserk, you won’t be disappointed. Price: 350 Euro |
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1308. ITARU OKI: “Genso Note” (Offbeat Records – ORLP-1010) (Record: Mint/ Jacket: Near Mint/ Obi: Mint). Extremely rare Japanese free jazz gem, recorded and released in 1976. Itaru Oki is a vastly under recorded Japanese free jazz heavy weight but the name should ring a bell if you check the entries on the magisterial “Power and Freedom 14” 2 LP set that contains a blood churning contribution by Itaru Oki. He was much taken by Togashi’s distinctive ‘speed and space’ approach to the rhythmic development of free jazz, and he deployed a similar oceanic pulse on early albums like Satsujin Kyoshitsu (Classroom for Murderers) and the album in question here, Genso Note (Phantom Note). Recorded on September 11, 1975, the band consisted out of Itaru Oki (tp), Yoshiaki Fujikawa (altsax), Keiki Midorikawa (cello, b, p), Yasushi Tanaka (ds), Gozo Yoshimasu (poetry). Fujikawa’s screaming alt sax explosions, Midorikawa’s cello and bass pulsating throbbings, Oki’s trumpet outbursts, Yoshimasu’s screaming poetry slurs and Tanaka’s precision percussion work are the main ingredients for this exploratory sonic marvel that travels into fire belching free jamming assaults on the senses, vicious and hard bopping, like spewing out hot chunks of lava. These guys meant business straight from the start, not giving a fuck about how the audience might conceive the sonic racket. The percussive maelstrom keeps on grinding down like tornado belching up debris on some deserted shoreline while the bass sounds like sawing and shopping away lumber in a Canadian forest. While this is the background crescendo, Itaru keeps on spewing out venomous sulfur induced fumes from his horn, making the whole experience lethally toxic to the exposed listener. After the hiatus grinds down to a slower pace, the quartet ventures into more spread open improvisational territories, less heavy loaded but nevertheless burdened with the same intensity and urge to spontaneously combust on the spot. More space is created for challenging interplay, demonstrating the greatness of each individual participant in this blood-muddlingly amazing slab of heaviness. Everything I expect a fantastic free jazz disc to have is embedded within this LP’s grooves, heavy fixes everywhere you look, communal interplay, individuality and bliss-like cut in interventions. But it isn’t before long they divert again into frenzied, hard boiling atmospheres of free interplay that is not bound to take any prisoners along the way. Hideously rare but sadly undetected piece of Japanese Free Jazz History. Highest possible recommendation. Price: 300 Euro |
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1309. ITSUTSU NO AKAI FUSEN: “Flight – Part 2” (URC Records – URG-4007) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ 4-paged insert: Excellent) Released in 1971 on the legendary URC record label, which was an abbreviation for Underground Record Club, one of the first labels to document early Japanese psych, folk and acid folk scene. This disc is together with “Flight Part 1” one of the all-time best records by this group. The name may not immediately ring any bells, but the band’s front man was Nishioka Takashi who also brought the previous year one of Japan’s most sought after acid folk relics being “Tokedashita Garasu Hako aka Melting Glass Box” record. This disc also dwells into some soft psych and acid folk imbedded regions filled with brilliant vocalizations, delicate mindsets, pastoral images, lysergic mind-numbing atmospheres and delicate lysergic instrumentations that will ooze your mind to relaxing heights after the fall out of an acidic hallucinatory rampaging trip. Great record and getting quite rare these days. Still up to this point largely undetected and ignored by most, this is still an excellent and stunningly beautiful soft psychedelic and acid folk perfumed record. Highly recommended. Price: 50 Euro |
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1310. IVERS, PETER with YOLANDE BAVAN: “Knight of the Blue Communion” (Epic – BN-26500) (Record: Near Mint/
Jacket: Excellent). First original US pressing of this all-time masterpiece of
a disc. “After playing harmonica for
Boston’s Beacon Street Union, Harvard music graduate Peter Ivers went solo and
recorded this for Epic, with Sri Lankan jazz diva Yolande Bavan. Steeped in
blues harp history, but with an ear for the European avant-garde, Ivers
concocted an indulgent and multilayered canvas for Bavan’s impressive voice.
Opener Cat Scratch Fever starts as a funky blues affair, descending into a
disorienting jazz experiment before coming full circle. It’s something of a
template for the rest of the album but, like Beefheart, whose influence is
clear, Ivers never gets into anything long enough to form clichés.
The lumbering, folky Dark Illumination bristles with expectancy: a pounding
beat explosion is just around the corner, but never comes. Such delicious and
satisfying tension is all over the record.” (Record Collector) Price: 150 Euro |
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1311. IVERS, PETER: “Terminal Love” (Warner: BS-2804) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Original 1974 US pressing of this deceptively normal but oddly strange weird record that ranks in my personal top 10 of all time best records ever. “Terminal Love” was Ivers’ second album, following “Knight of the Blue Communion” (Epic), and displays an odd mixture of high-pitched voices, unusual songs structures and twisted lyrics. The album was co-produced by Ivers and the free jazz bass player Buell Neidlinger (who auditioned for the 1975 Magic Band). Before embarking on a solo career, Ivers was a member of the Beacon Street Union member and later down the line the controversial host of "New Wave Theater" TV show. Apart from that, Ivers is best known for writing "In Heaven" (The Lady in the Radiator Song) in the David Lynch film "Eraserhead". Still as far as “Terminal Love” goes, it demands an acquired taste and I am sure most of you hip cats won’t be able to take it down in one swallow. When I first discovered the album many moons ago, I could not fully grasp it on a first hearing, in fact I didn’t understand what all the fuzz was about, it just sounded plain normal. But on the second or third listen it suddenly began to make sense to me. I began to like it and the LP became weirder and weirder, slowly shedding of its superficial jacket of normality and fading into a damned weird unclassifiable disc. And like some weird drug, it wormed its way into my brain and wouldn't let go. I've listened to it every day since then. In fact, it's become my favorite album. I've never heard anything else like it. I have a weird feeling that I will never hear anything like it again. In short, he presents a collection of demented pop-jazz ballads, which in a way could be labeled as Captain Beefheart crossbreeding with and fronting a band like Chicago or something. Anyway, any categorization will do this album injustice, it is just one of the single most and utterly weird discs to ever see the light of day. And it only gets better and better the more you dive into it, until it will be your favorite record ever and Ivers will start haunting your waking hours and dreams. Top US original copy without the usual cut out, so jacket is square and perfect. Price: 100 Euro |
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1312. J.A. SEAZER: “Subete No Hito Ga
Shindeiku Toki Ni – When Everybody Is Going To Die b/w Kubitsuri No Ki
– Hunging Tree” (CBS SONY – SANA-86120) (EP Record: Excellent ~
Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). One of
the rarest J.A. Seazer releases that only saw the light of day as an EP release
way back in 1971. This is a yellow label promo issue in top condition. First
time ever in all these years I have a copy for sale of one of Japan’s greatest
psychedelic – deeply haunting acid folk slides ever recorded and only
released as shown here without ever showing up on any of his albums. This is a
pity as the music is simply bewitchingly beautiful and resonates like a
cinematic pan across your mental landscape, filled with ubiquitous echoes. This was J.A.
Seazer’s debut recording and as soon as someone could lend an ear to it, the
disc became a dark beacon among 1970s underground psychedelic folk records. It’s not just a
question of fulfilling the basic criteria of good songwriting, vocal ability
and instrumental prowess – and here we’ve already left most of the acoustic
private press competition behind – but intangible elements such as
atmosphere, presence, and artistic vision marks the record’s
apex, with both lyrics and music traversing Seazer’s path from poetic resonance
into the far reaches of haunted psychedelic folk vibes. It is one of the
early Japanese psychedelic underground’s defining moments that is graced with a
sense of shamanistic poetry and a gift for unexpected impact. A skeletal
approach that brims over with undercurrents of depth, deceptively intense yet
meticulous in its musical detail. Impossible to dig up and only released in
tiny numbers as a single, this is simply a beast!!! Price: Offers!!! |
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1313. J.A. SEAZER: “JASHUMON” (Victor Records
– SF-1021) (Record: Excellent ~ Near Mint/ Heavy Gatefold Jacket: Near Mint/ 4 Paged
Fully Illustrated Insert: Mint/ SF OBI: Near Mint). Impossible to get 1st original pressing out of
April 1972 in stunning top condition. NEVER OFFERED BEFORE all complete with
OBI and in EX~NM condition – one of the rarest slides to seep out of
Japan. Hard to believe but here is one of those much rumored about but actually
never ever offered up for sale holy grail out of the deep bowels of Japan’s cum
psych avant-acid bowels. Anyway, now you know about the bloody rarity status,
let's talk music. So here I will briefly focus on Jashumon. It was J.A.
Seazer's first ever-full work for the Tenjosajiki Company. By 1971 had the
Tenjôsajiki Troupe's field of interest had shifted into the direction of
legends, the incorporation of superstition and traditional Japanese
entertainment into theatre, together with a renewed interest in visual and aural
spectacle effects. These were set to use to heighten the sense of surrealism.
The troupe's most renowned piece, “Jashûmon” (Gate Of The
Heretics), premiered in April of 1969 at the Nancy International Theatre
festival in France, followed by an European tour, passing through the Mickery
Theatre in Amsterdam in June. In January 1972 the troupe returned to Japan,
where they performed Jashûmon in Tokyo, followed in May by a recording of
the play in Osaka by RCA Victor. The Jashûmon play itself doesn't relate
to religious heresy or to a historical incident but instead refers to a brutal
massacre that occurred near by a city gate. The central plot of the plays is
centered around a young man who is forced to choose between his mother and a
prostitute he loves. The whole of the play is presented as a rock opera
conducted by J.A. Seazer, dwelling into the realms of Shinto-Buddhist rituals,
lecture and street entertainment, interwoven with a pulsing rock sound, giving
off dark and ominous sounds. The set-up of the play consisted out of a main
stage with six platforms erected along the sides and rear of the seating area,
augmented with a watchtower that was constructed in the center. The stage
itself was draped in red and completed with reproductions of paintings by Ekin
depicting obscene scenes of lust and violence. The musical accompaniment on the
other hand anticipates perfectly to the overall mood with songs evoking the
demons from hell, the taboos of unconscious or forbidden feelings, esoteric
chanting of Buddhist rites, Oedipal yearnings and terrible guilt, starting of
gently, slowly building up and becoming more insistent until it finally
overflows in a bombastic climax filled with juggernaut organ workouts, Magma
choruses, guitar fuzz breakouts and fully out-there acidic opera-like
vocalizing. The play was clearly an experience to be captured by the senses.
Extremely rare original press, does never show up, so make your move now before
this one slips away and you have to wait another lousy decade to get a glimpse
of one. TOP copy all complete with OBI – making it one of the rarest and
also one of the greatest primitive heavy psych slides from Japan, KILLER. Price:
Offers!!! |
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1314. J.A. SEAZER: “J.A. Seazer Recital - Kokkyo Junreika" (Victor – SJX-130) (Record: Near Mint/Jacket: Near Mint ~Mint/ 4-Paged Insert: Near Mint). Top copy, impossible to upgrade. Hyper rare original 1973 pressing, without a single doubt one of the all-time impossible to get Japanese heavy psychedelic rock artifacts. Copies do not turn up since sales in 1973 were so depressingly low that maybe only a few hundred are still in existence and circulation. That hype all aside, the music is the key issue here and this sucker is one of the greatest psychedelic gems to ever seep out of Japan. Recorded live on February 1973 at the Nippon Seinenkan Hall it was Seazer's first recorded artifact (apart from two singles) out of the Terayama Shuji styled Tenjosajiki Troupe. Still sonically the music it inhabits the same deranged realms. Here Seazer gets flanked by the Akuma no Ie band hosting the always-on-duty lysergic lead guitar wonder Mori Takeshi. The theatrical vocalizations are taken care of by fellow Tenjosajiki female howlers and actresses such as Ran Yoko, Shinko Keiko and Showa Seigo, providing a swelling highly trance-inducing and Magma reminiscent hyped-up choir backings. The overall sonic character of this recital dwells into the realms of esoteric Buddhist pilgrimage rock hymns, filled with magic and incantation, creating a total sonic environment surmounting the genres of theatre and music. A real psychedelic brain ripper with some progressive touches in the vein of Magma, early time Pink Floyd Carl Orff's Carmina Burana and esoteric chanting. Get the picture??? A real monumental and highly valuable historical document. Also, the cover art gracing the jacket adds some extra icing to the already spiked cake, courtesy to the illustrator Oikawa Masatsu who created an accompanying surreal oriental psyched out drawing. The design only is already worth the entrance fee so wait till you get fully exposed to the soundzz embedded within the grooves of this disc. It will beam you up to other planetary life. Dangerously beautiful and ass-whipping exciting psych. Last copy to pop up on a Japanese auction site with obi attached sold for the sum of 8500 euro, so seen against that light you have a real bargain here on your hands. One of the rarest Japanese psychedelic rock artifacts in existence. Don’t think twice, these babies just don’t surface. Hardly ever offered before original copy in top condition original 1st press issue with 4 paged insert present, so serious offers are invited for this one. Haven’t seen a copy in over a decade. Comes housed in tremendous acid-leaking jacket art and with fully illustrated hippy doped up vibe pictures 4 paged insert. This one sold almost next to nothing at the time it was released making it after all only one of the rarest Japanese psychedelic records ever so hit me with your best shot…Price: Offers!! |
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1315. JACKIE MITTO and the SOUL VENDORS: “Evening Time” (Coxsone – CSL-8014) (Record: Excellent ~ Near Mint – top shape only 2 faintly visible sleeve hairlines/ Flip Back Jacket: Near Mint ~ Mint). Absolutely top condition UK first original pressing from 1968 on the blue Coxsone label. Featuring a particularly natty cover photo of Mittoo set off by a very mod-looking standup organ, palm trees, and a trio of island lovelies, Evening Time further plies its groove exotica theme with bounce-and-grind gems from the rocksteady and early reggae days. The year was 1968, and Mittoo had already risen to the top of the competitive Kingston music scene, first as a member of the Skatalites and then as the session leader of Clement Dodd's venerable Studio One label. This collection includes 12 tasty instrumentals culled from the slew of material he cut with such Studio One bands as the Soul Syndicate, Sound Dimension, and the Soul Defenders. The top-notch solos and infectious grooves make it clear why Mittoo -- both as an organist and arranger -- helped make Studio One rhythms the most heavily versioned in reggae's long history. And with such highlights as the noirish "Drum Song" and a fine take on the Prince Buster hit "One Step Beyond" topping things off, Evening Time qualifies as the perfect record for Mittoo fans! Next to impossible to ever upgrade upon. Looks like it was just released yesterday. Price: Offers!!!! |
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1316. JACKS: “Vacant World” (Express – ETP-8089) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert Mint). Officially released in 1968, this is the 1st pressing, 2nd issue that came out that same year, only difference is the catalogue number but apart from that the disc is as rare as the 1st issue. Hideously hard to track down these days, especially in a stunning condition as the copy you have here. I guess every single one of you who is subscribed to these pages knows the story of the band by now but just in case some points to keep in mind. This was the only disc with guitarist Mizuhashi in the groups ranks. He quit as soon as the recording session was over, ending almost immediately the classic line-up. Compared to their fellow GS practitioners who squirted out lyrics mainly confined to boy meets girl and other sweet oozing problems, The Jacks generated dark, morbid and melancholic images, embodying the darker side of teenage angst and its decaying innocence, exposing their audiences on more than one single occasion to the creeping horrors looming out of their lyrical juxtapositions. The Jacks definitely didn’t have any intention to wear flowers in their hair in order to conquer Tokyo, the equivalent of San Francisco, like saliva driveller Scott Mc Kenzie put forward in his hippie theme song. The Jacks were the sole G.S. band whose total repertoire consisted out of their own material spiced up with Japanese lyrics, there where their contemporaries mainly focused on songs sung in exotic katakana English. Another characteristic that distinguished The Jacks from the other combos was their own unique sound, without making overt references to contemporary US or British psych, that steered away from duplicating foreign role models. Their acidic fuzz-laden whiplash set against a folk intoned backbone made them embody a conceptual demarcation with other G.S. sound producing combos. The Jacks were a highly unique phenomenon. This is a rare first press in top notch condition, highly collectible and probably never ever to cross your path again (beat up copies will be offered to you, beauties like this one – forget it). One of the cornerstones – if not THE cornerstone – of the Japanese psych pantheon. Impossible these days in such nice condition with obi present. Price: 500 Euro |
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1317. JACKS: “Super Session” (Express – EP-7726)
(Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Bloody rare and never
encountered before WHITE LABEL PROMO ONLY on RED VINYL!!!!!! First
original 1969 pressing complete with always missing obi. Second Jacks album,
recorded before the band would disband. This one is hard to compare to their
illustrious first album, but still it has the Jacks sound imprinted well into
the new compositions, albeit they sound quite different and more desolate. Bad
omens are looming over the band, which is for sure. Still apart from the
Tsunoda Hiro composition “Joe No Rock”, this album sounds like the ideal
companion album to Hayakawa Yoshio’s first solo album “Kakkoii…” as far
as desperation and overall gloominess is concerned but with one difference that
this LP here is a band outing, the Jacks. And although demise is closing in on
them, the still manage to sound as outer worldly as humanly possible, depraved,
dark and close to nuclear fall out. Bleak music for even bleaker times,
micro-dotted with teenage angst and lysergic fumes, the Jacks ruled and even
now they never fail to amaze me. Fantastic, album and bloody rare with the obi
present. Getting impossible to get especially a red wax copy & white label
promo issue with obi, first time ever I have a top copy like this. Price:
Offers!! |
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1318. JACKSON, MILT: “Meet Milt Jackson” (Stateside/ Savoy – SR-7068) (Red Wax Record: Near Mint/ Textured Flip Back Sleeve: Near Mint). Rare and pristine condition – Japan 1st original pressing that comes on glorious RED wax. Just cannot get enough vibes in my life and this one is just the itch I can scratch to satisfy my needs. Stellar Milt Jackson slide, with Milt on vibes, Eddy Jones on bass, Kenny Clark on drums and Frank Wess on tenor and flute. Legendary Savoy slide. Top condition, time-machine tele-warped shape on red wax. All hyperbole aside, just impossible to ever upgrade upon, virginal condition. Price: 50 Euro |
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1319. MILT JACKSON: “Jazz ‘N’ Samba” (Impulse – SH-3053) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan very first press issue. “This may not be Milt Jackson's purest album – but oh how we love it! Milt's working here more in a Verve pop jazz mode than a highbrow third stream one – with bossa backings on about half the album, and good small combo work on the rest. The first half features Jimmy Heath on tenor, Tommy Flanagan on piano, Richard Davis on bass, and Connie Kay on drums – all grooving nicely next to Milt's vibes on tracks like "Blues For Juanita", "Gingerbread Boy", and "Big George". The real charmer, though, is the second half – which has Milt playing with the same group, minus Flanagan, plus 2 guitarists for that bossa sound. Lillian Clark sings vocals on 2 cuts – "Jazz N Samba" and "Kiss & Run" – and the side also features the great groover "Jazz Bossa Nova", and the incredible "The Oo-Oo Bossa Nova", which features Joe E Ross from Car 54 going "Oo Oo!" on the breakdowns!” (Dusty Groove). Top condition Japan 1st press issue, complete with fragile flip back sleeve and obi…Price: 75 Euro |
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1320. JACKSON, MILT: “And the Thelonius Monk Quintet” (Blue Note/ Toshiba EMI – LNJ-70089) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shelf Japanese press issue all complete with insert and obi. The July 2, 1948, date with Monk was recorded eight months after the pianist's first recordings as a leader. Jackson, responding to the demands of Monk’s music with his customary fluid grace, is key to these definitive early recordings of "Evidence," "Misterioso," "Epistrophy," and "I Mean You." Kenny Hagood -- perhaps best known as the vocalist who sang "Darn That Dream" on Miles Davis’ Birth of Cool -- joins the group on two standards. Hagood impresses as he croons unperturbed over Monk and Jackson, whose busy, intertwining lines make for a pleasantly bizarre accompaniment. Price: 50 Euro |
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1321. JACQUES BERROCAL: “Musiq Musik” (Futura Records – FUT-259)
(Record: Near Mint/ Jacket: Near Mint). Top copy. First and rarest album
from Jacques Berrocal on the legendary SON series of Futura Records. Composed
by Jacques Berrocal, with Dominique Coster and Roger Ferlet and mixed by Jef
Gilson. It features a myriad of instruments (trumpet, bells, percussions,
trombone, Pakistani horn, flute shénaï, Tibetan conch shell, double
horn, horn of ramadan, cymbals, cornet, harmonium, whistles, balloon, ropes,
explosives. A true masterpiece of deep listening. TOP copy, impossible to
upgrade upon. Price: Offers!!!! |
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1322. JACQUES BERROCAL: “Catalogue” (D’Avantage – DAV-03) (Record: Near Mint/ Triple Gatefold Jacket: Near Mint/ Imprinted Inner Sleeve: Excellent). Original 1979 pressing. "Released in 1979 in a limited edition on his own d'Avantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Berrocal associates including Potage (co-founder of the d'Avantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s. Not content with manhandling a toy piano on 'Tango' (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on 'Incontrolablslaooo' and 'Faits Divers,' moving from a 60-a-day smoker's cough to a terrifying sequence of gargles and vomits. The grungy free rock of 'No More Dirty Bla Blaps,' the Portsmouth Sinfonia-like spoof Dixieland of 'Rideau,' the distressing punk of 'Signe Particulier' and all manner of fields recordings and cut-ups in Berrocal's Artaudian theatre style, combining the excesses of glam and punk cold-wave to post-1968 Situationist perspective. With the same creative attitude documented through the mythic d'Avantage label (1976-1979) Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. Catalogue represents the most experimental and complex of Berrocal's records, as historical as contemporary modern, classic and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jacques Berrocal and discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patak and John Fothergill on NWW's second album, but that's another story." (Forced Exposure on the CD reissue). Original 1979 French pressing, just fantastic Dada-esque album that is just all over the place, making it a key-stone recording in late 1970s European cum-psych-avant underground scene. Magical on all fronts. Price: 350 Euro |
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1323. JACQUES BERROCAL: “Paralleles” (dAvantage
– DAV-01) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint, has
small import sticker on sleeve). Original French pressing. For some reason this
LP is a bitch to dig up but finally, here is a copy so clean it will make you
temporarily go snow-blind. “Jacques Berrocal has been very active since the
beginning of the 1970s. No one in France could mix jazz, improvisation,
rock'n'roll, punk, no wave, spoken words and industrial music like him. He also
had a central position in the creation of d'Avantage, a collective record label
that issued some of the most particular sessions of the mid-late Seventies. At
the same time he was working on never ending sessions for records that were
never issued. Jacques and his band were the Apostles of the non-urgency,
enjoying recording in unusual situations, with no rules, improvising on
undefined structures or using non-musical material mixed with ethnic
instrumental solos. In 1976 d'Avantage issued a wonderful record LP titled
Parallèles featuring, among the others, Bernard Vitet, Roger Ferlet,
Pierre Bastien, Michel Potage, Daniel Deshays, with the intervention of Vince
Taylor, the dark diamond of rock'n'roll who inspired David Bowie's Ziggy
Stardust. Just a couple of years later Berrocal collaborated with Steven
Stapleton to create the first Nurse with Wound record LP. Parallèles
features very different styles; acoustic solo and duo for trombone and cornet
as well as a large ensemble 25 minutes long piece dedicated to the Futurist
Russolo (again, two years later, Mr. Stapleton dedicated his first NWW record
to the same Italian artist). Also to mention are 'Post-Card', recorded in a
Pigsty in 1976, and the legendary 'Rock'n'roll Station', a mini-concert for
voice (Vince Taylor), double bass (Roger Ferlet) and bicycle (Jac Berrocal).
Thirty years later Jacques Berrocal is still there, where nothing is waiting
for him, totally outside the rules, out of fashion thus indémodable.” (Jazzloft) Total massive zonked out masterpiece that balances of the tightrope
of free improvisation; whisky drenched rock’n’roll, gutter-glam, thundering
low-fidelity outbursts, detuned switchblade psychedelics and outsider art. One
of those classic recordings that will never ever leave my personal collection
of polychromatic sonic adventures. Price: 350 Euro |
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1324. JACQUES THOLLOT: “Quand Le Son Devient Aigu, Jeter
La Girafe A La Mer” (Futura – FUT-2023) (Record: Near Mint/ Jacket: Excellent).
One of the hardest to track down Futura releases – hardly ever shows up. An astonishing wonderful solo album by the drummer known for his work
with Don Cherry, Joachim Kühn, Sonny Sharrock, and Steve Lacy amongst
others. Released in 1971, Thollot take on this album all controls into his own
hands and deploys the drums, percussion, piano, organ and electronic effects,
which he succeedingly knows to wave into a tight fabric of beautifully crafted progressive
and experimental music and drum solo infested soundscapes. He was after all primarily a
percussionist and proves he was way to restless to stick to only that as he sets
out to deploy other instruments and dabbles with an array of electronic
effects. Maybe he was destined to be the French Robert Wyatt minus the angelic
voice? In all a beautiful synergy of delicate, way out and indescribable
sounds. Getting tough to dig up these days in such a superb nick as this copy
here. A classic and one of the highlights, like many
other Futura releases, of the French psyched out avant-garde. Price: 250 Euro |
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1325. JACQUES THOLLOT: “Resurgence” (Musica Record – MUS-3021) (Record: Mint/ Jacket: Mint). Another solitary musical alchemist who like Robert WYATT refused to be just a drummer. Coming from the world of jazz he produced a first mythical album made up of collages, short, strange and eccentric pieces before making three other albums which confirmed his liking for a music defying classification and drawing on jazz, rock, classical music, experimental and contemporary music to create an original, unclassifiable result based around strange, delirious, beautiful, fragile, intangible themes evocative of SATIE and certain other contemporary composers. One of the best current musicians and composers. Very spiritual in its execution with a strong Canterbury feeling resonating throughout all of the tracks, such a killer record and his hardest to track down in TOP condition. Price: 150 Euro |
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1326. JAH CHILDREN INVASION: “Various Artist – Jah Children Invasion” (Wackie’s – Wackie-2393) (Record: Excellent ~ Near Mint/ Jacket: Excellent – back of sleeve is brownish due to paper quality and age of item – no damages or anything). Original 1983 Wackie’s slide. Although the Wackies label released a steady stream of superb artists' albums and stunning dub sets across the '80s, in many ways their compilations were the cream of the label's crop. Reggae music, even in New York City, continued to be driven by singles, and thus the compilations were a showcase of some of Wackies' best work. This here is no exception, brilliant Wackies comp with Sugar Minott, Lloyd Hemmings, Milton Henry, Love Joys, Harold Butler, Jezreel, Wayne Jarrett, Max Romeo, etc. All killer, no filler dubby lovers rock, original first press original in amazing condition!. Price: 100 Euro |
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1327. The JAM: “The Modern World b/w Bricks And Mortar” (Polydor – DPQ-6080) (7-Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Damned scarce 1978 Japan only single issue with matching Japan only sleeve design of rarely seen Paul Weller/ Jam artifact. Top condition first press issue!!!! Price: 400 Euro |
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1328. The JAM: “This Is The Modern World” (Polydor Records – MPF-1312) (Record: Near Mint/ Jacket: Near Mint/ 4 Page Insert: Near Mint/ Obi: Mint). Pristine condition and all complete. The Jam's speedily conceived less spiky, more melodic second album, This Is The Modern World, appeared just six months after their seminal debut and revealed a lyrical progression and maturity with such songs as "Life From A Window" and the blazing single, "The Modern World," Weller’s powerful statement of intent. The album’s lyrical content, which, as its title promised, is a snapshot of a day in the life of the declining British Empire during the late 1970s. A classic!!! Price: 75 Euro |
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1329. JAMAL, AHMAD: “Ahmad Jamal At The Top – Poinciana Revisited” (Impulse – AS-9176) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint – still firmly housed in shrink and never opened up/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Direct Import Obi: Near Mint). US original pressing of splendid but largely overlooked Impulse title. This was directly imported to Japan – hence the shrink for import still present on sleeve + comes with seriously rare and never offered before Direct Import Obi proudly flashing its colors. Wonderful open-ended Ahmad Jamal music from the end of the 60s – and a set that really shows his growth as a player at the time! The "revisited" in the title refers to Jamal's earlier success on Argo records with a recording of "Poinciana" – one that forever made the tune his, thanks to a long-flowing approach that took the familiar standard, and turned it into the perfect foil for Jamal's expressive piano style. But the vibe here is very different – even more open than before, with a beautiful 9-minute reworking of the tune that's worth the price of admission alone! The trio features Jamil Sulieman on bass and Frank Gant on drums. Time-machine copy, virginal all the way – still housed in shrink and complete with damned rare Direct Import Obi!!! Price: 150 Euro |
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1330. JAMAN QUARTET: “Sweet Heritage” (Mark – MC-5970) (Record: Excellent ~ Near Mint – 2 faintly visible but non-sounding sleeve hairlines/ Jacket: Near Mint). Top condition US original press issue. 1974’s Sweet Heritage is James Edward Manuel’s only release, the pianist better known as Jaman. His eponymous group was formed in 1970; they toured the US and Canada steadily in the years that followed. But despite a life lived deep within the music, Jaman only recorded one single LP, 1974’s Sweet Heritage. Pressed in tiny quantities by the Mark Records custom service, and issued with a stock landscape cover, Sweet Heritage featured the regular Jaman group with Jaman himself on keyboards, Jim Kerzdorfer – Bass & percussion; Nasara Abadey – drums & percussion; Dhui Mandingo – congas & percussion; Dennis Williamson – cello; James Clark – guitar and Beverly Johnson Ross & JoAnn Crosby handling the vocals, performing a groovy mixture of covers and originals. The whole LP showcases an ensemble in complete control, and with the flying, spiritual sound of ‘Free Will’ and the corking, Latin-tinged ‘In The Fall of The Year’ – both Jaman originals – the album has since attained something of a legendary status. “Sweet Heritage” offers some seriously deep and mighty groovy jazz-funk that wouldn’t be too special if it wasn‘t for the infectious playfulness and blissful audacity of the six tunes. It is a soulful and spiritual jazzy infested affair that exhorts quite an intoxicating spell when jamming it as the recording quality is crystal clear and out-of-this-world while the music itself is as fluid and blessed with an asymmetric groove, a peculiar mix of liquid electric madness mixed with a psychic loose polyrhythmic funk grooves. Absolutely fantastic. Top condition original so… Price: Offers!!!! |
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1331. JAMES WHITE & THE BLACKS: “Melt Yourself Down” (Selfish Records – BEL-12004) (Record: Mint/ Jacket: Mint/ Insert: Mint). Japan only release from 1986 and extremely hard to get these days. Track listing is: Super Bad, Melt Yourself Down, Cold Sweat, Boulevard of Broken Dreams, Hell on Earth, These Foolish Things and Hot Voodoo. A founding member of New York's no-wave scene in the late 70s, Chance lent his name to any number of cutting edge and avant-garde projects, from Lydia Lunch's brainchild Teenage Jesus & The Jerks to his own band The Contortions, and later James White & The Blacks. The no-wave scene sought actively to eschew conventional rock 'n' roll boilerplate while incorporating jazz and funk influences. Chance, along with Lunch, Suicide, and DNA, among others, placed himself right at the forefront of that movement, and many of today's scenesters owe him a debt of gratitude for blazing such a discordant trail. On this Japan only release that remains still unreissued, James and cohorts whip up a storm with his trademark saxophone, confounding distinctions between neo-punk styles, pop-funk and free jazz. In other words this live set sets your living room a blaze, it burns right through your skull and will fuck you up for days on a row. Probably – at least in my book – the defining James White album ever to be put down on wax. A true killer in the true sense of the word. Wicked from start to finish….. Don’t tell me I did not warn you…Price: 75 Euro |
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1332. JAN DUKES de GREY: “Mice and Rats In the Loft”
(Transatlantic – TRA-234) (Record: Near Mint - with NO heat mark - really clean vinyl with only one or two sleeve lines barely visible/
Gatefold Jacket: Excellent with attached plastic inner - has a tiny drill hole in center that does not stand out). TOP COPY, 1st original UK pressing, record is the cleanest ever with NO heat mark! In one
word, this disc is massive. Loose and raw, this LP possesses a built-in sense
of intuitive taste which gives it immediacy and potency with everything flying
frenziedly around, pregnant with a furious torrent. It ranges right up there
with classics like Comus' First Utterance and Simon Finn's Pass
the Distance, Jan Dukes De Grey's 1971 LP Mice and Rats in the Loft is a brilliant work of psychedelic folk with a seething undercurrent of
malevolence. After their first album, the duo of Derek Noy and Michael Bairstow
enlisted drummer Denis Conlan into their ranks and quickly disposed all notions
of pop song craft to which they might have initially aspired. The final result
was this beast, opening up with an un-commercial 19-minute sidelong "Sun Symphonica," a dervishly
dynamic work of epic genius, fusing together a hippie paean to the sun with
progressively darker and more twisted realms of sonic dementia. Infused with
references to medieval idioms popular in British folk of this period and
impregnating it all with a fireball energy that opens up whole sonic vistas you
never dreamt were there. Axe wielding 12-string guitar, violin, cello, flute,
clarinet, recorder, harmonica and a dizzying assortment of percussion, the trio
plays with the eager of an experienced free jazz ensemble, excreting two sides
opening up like a suite rising in intensity and energy until something just
have to give due to the lysergic potion it all got stewed in. As "Sun Symphonica" trudges on
through its many moods and phases, it gradually becomes clear that a distinctly
pagan formula is at work, busting its true for virtual anonymity. By the
15-minute mark, the track is a swirling maelstrom of simmering instrumental
fragments flying around the stereo channels in a lunatic dance, as the
"sunshine" mantra returns once more. Side two sees the song
experiences a radical break with structure and turns into a seething echo
chamber of wicked guitar improvisation. The final track is also by far the
strangest, the eight-minute title track, which creates a hypnotic whirlpool of
electric fuzz guitar The energy and ferocity which have been mounting since the
needle hit the first groove slowly accumulating in an almost vertical assent
which comes on like a whirlwind. with musical behemoth’s energies peaked to the
fullest. Just jaw droppingly great and rare as peglegged golem on Christmas
eve. Top copy!! Hard to upgrade upon this one. Price: Offers!!!! |
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1333. JANSCH, BERT & JOHN RENBOURN: “Bert And John – Kieri Na Deai” (Transatlantic/ Victor Records –
SWG-7546) (Record: Near Mint/ Jacket: Mint, still in shrink/ Capsule Obi: Mint,
still in shrink/ 2 Separate Inserts: Mint/ Booklet: Mint). Rare Japanese
pressing all complete with hardly ever seen first press issue capsule obi. Top
condition mega rare WHITE LABEL PROMO issue complete with 2 inserts and
booklet. Bert Jansch released two albums simultaneously in August 1966. ‘Bert
And John’ was the first full album to feature him in partnership with John
Renbourn and presented their contrasting but sublimely sympathetic approaches
in the year before their playing laid the foundations for Pentangle. John
Robinson’s notes elucidate brilliantly how Jansch and Renbourn’s creative and
personal outlooks - as well as their guitar techniques - meshed so well, born
out of endless jamming together at the flat they shared. “‘Bert And John’ is a
slim volume,” he says, “but a powerful one. If ‘Jack Orion’ sounds like a night
out amid the traditionalists and the modernists of the London folk scene,
simultaneously ribald and academic, boozy and
purposeful, ‘Bert and John’ is like the vulnerable morning after, the album
returning to the concerns of the modern world in a rather more subdued mood.”
Just never surfaces with obi. Insanely rare white label promo, copies just do
not surface…only one I ever seen with obi of this subliminal killer UK folk
slide, so… Price: 500 Euro |
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1334. JANSCH, BERT & JOHN RENBOURN: “Bert & John” (Transatlantic/ Toshiba EMI – IRP-80943) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original top shape and all complete with obi. WHITE label PROMO. Second press issue that also hardly ever surfaces as sales were minimal. Classic UK folk slide by two corner members of Pentangle demonstrating their beguiling shops. Beyond essential brain and mind food. Price: 100 Euro |
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1335. JANSCH, BERT: “It Don’t Bother Me” (Transatlantic/ Victor Records – SWG-7555) (Record: Near Mint/ Textured Heavy Gatefold Jacket: Near Mint/ Booklet: Mint/ 4 Page Insert: Mint/ Additional Label Catalogue Insert: Mint). Top condition Japan 1st original pressing of Pentangle kingpin. Jansch recorded his second album in 1965, just after his self-titled debut earlier that same year. The sessions were a step-up from the intimate, field-recording setting of his first album, although still not labored over too much in the studio. "I figured that the faster I put down the tracks, the faster I could get out of the place," he told NME, “So I just ordered about a dozen bottles of wine, put the microphone in front of me and off I went, for three hours." The lyrics of It Don't Bother Me shift vividly between pure poetic imagery and the hollow resonance of pain. The LP's underrated title song stands as a manifesto for the way Jansch lived at the time. "My Lover," featuring guitarist John Renbourn, has almost sitar-like drones, while "Lucky Thirteen" is a captivating, melancholy instrumental that shimmers with brilliant fingerpicking. It Don't Bother Me remains another essential British folk LP that belongs next to Nick Drake, Roy Harper and John Martyn in every record collection. Price: 50 Euro |
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1336. JANSCH, BERT: “Nicola” (Transatlantic/ Victor Records – SWG-7568) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ Booklet: Mint/ 4 Page Insert: Mint). Top condition Japan 1st original pressing of Pentangle kingpin. “Jansch's third solo album is perhaps too lightly dismissed by both folk critics and the artist himself. Bowing slightly to commercial pressures, he allowed orchestration to be used on five of the 12 tracks. Actually, the orchestrated cuts aren't that bad at all, and the remainder are pretty much keeping with the character and high standard of his other '60s work. Nine of the 12 cuts are Jansch originals, and ably display his nimble guitar work, incorporation of blues, traditional British Isles folk influences into a contemporary style, and his Donovan-esque vocals. For the first and only time, he played both electric and acoustic guitars on this LP; it's also his first work to feature drumming. Some of the orchestrated numbers, especially "Woe Is Love, My Dear," were actually deemed to have potential as singles. That didn't happen (the cut "Wish My Baby Was Here" would have been a better choice in any event), but that doesn't take away from their fey period charm.” (All Music) Price: 40 Euro |
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1337. JARMAN, JOSEPH: “Song For” (Delmark/ TRIO Records - PA-7023) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Highly essential free jazz masterpiece. Rare original Japanese pressing that only sporadically pops up its head. PROMO issue. Has been ages since I last had a copy complete with obi. This disc, the Japanese original pressing, just NEVER turns up, at least with obi intact and everything is in top condition. Only the 2nd time in 12 years I have an all-complete copy with OBI. On “Song for” Jarman gets assisted by the following hot rods of the AACM stall - Joseph Jarman (alto saxophone, recitation), Fred Anderson (tenor saxophone), Bill Brimfield (trumpet), Christopher Gaddy (piano, marimba), Charles Clark (bass), Thurman Baker, Steve McCall (drums). The four very diverse improvisations include one that showcases a Jarman recitation, a dirge, the intense "Little Fox Run," and the title cut, which contrasts sounds and a creative use of silence. Overall, this music was the next step in jazz after the high-energy passions of the earlier wave of the avant-garde started to run out of fresh ideas. Highly essential and this Japanese immaculate press with obi is rare……Price: 175 Euro |
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1338. The JAZZ COMPOSERS ORCHESTRA: “Communication” (Fontana/ Nippon Victor – SFON-7076) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original 1Japan first pressingall complete with rare first issue obi. The group features the world-beating line-up of consisting out of amongst others, Carla Bley, Paul Bley (piano); Steve Lacy (Soprano sax); Jimmy Lions (alt sax); Roswell Rudd (Trombone); Archie Shepp (trumpet); John Tchicai and Milford Graves (drums). Totally bewildering early Fire Breathing Music that would blossom into bloom some years earlier, but all the chief players and musical components are already fully in place on this recording. All of the participants are at the top of their game, Lacy wails throughout and Graves never misses a beat. The sound takes elements of wall-destroying free jazz and welds it to a black backbone that mixes tar-thick percussive rattles, enormous bottom end soprano soloing and heavenly wood bass throbbing to conjure the kind of ritualistic wipe-out of the Hermann Nitsch Orchestra almost a decade later. The whole group mints a form of improvisation that is as dense as it is fleet and ferocious. Pretty fantastic. The sonic outcome is hyper-active with fast/slow spindly runs and spinning odd circular patterns over which saxophone and trumpet link horns and further extrapolate the brief, barbed architectures, playing classic US free jazz moves but with the kind feel for extrapolated space. Amazing amount of detail in here, with the players working speed-of-thought transmutations of whole jazz histories. Just stunning, a gemstone of a recording. A great marriage of an almost orchestral & big band compositional vision and break-out firebrand performances from the new US punks on the brink of becoming expatriates, The Jazz Composers Orchestra at this point in time remains a key free jazz side!! Price: 200 Euro |
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1339. The JAZZ COMPOSER’S ORCHESTRA: “S/T” (JCOA Records – LP-1001/2) (2 LP Record Set: Near Mint/ Silver Foil Outer Box Set: Near Mint/ Booklet: Near Mint/ Additional Insert: Near Mint). Original first US press issue, all complete with book and additional insert – TOP condition. “German-born composer/trumpeter Michael Mantler and Carla Bley his then-wife were instrumental in developing within jazz the idea of self-sufficiency and independence from established record companies. Their creation of the Jazz Composer's Orchestra, with recordings released on their own label, was the culmination of this endeavor, and the first recording was one of the masterpieces of creative music in the '60s. Mantler had come from the European avant-classical tradition and sought to provide an orchestral framework supporting some of the most advanced musicians in avant-garde jazz -- and he succeeded magnificently. His style tends toward the brooding and darkly romantic with harsh, cynical edges, a perfect foil for the robust, shackle-breaking improvisations found herein. The cloudy, roiling swirls that open "Communications #8," echoed by Bley’s stabbing piano chords, lay the groundwork for inspired soloing by Don Cherry and Gato Barbieri. Subsequent pieces include an amazing feedback showcase for Larry Coryell and a gorgeous, somber work featuring bassist Steve Swallow and trombonist Roswell Rudd. All of this is a preview for, well, "Preview," an utterly incendiary flight by Pharoah Sanders over a pounding rhythm by the orchestra, a piece that will leave the listener bruised, battered, and exhilarated. Except that the best is yet to come: a 34-minute, two-part composition, a concerto for Cecil Taylor and orchestra, that finds the pianist at the height of his powers, just beginning to enter the third phase of his development where he fused ultra-high energy playing with rigorous logic and heartbreaking beauty. The breadth of this piece, its expansiveness, and its tension between order and chaos is one of the single high watermarks of avant-garde jazz. Communications is a masterwork in and of itself and laid the basis for stunning work by others in decades hence, notably Barry Guy and his London’s Jazz Composer’s Orchestra. It's an essential document for anyone interested in avant jazz and late-20th century creative music.” (All Music Guide). Utterly bewitching recording. Top copy. Price: 50 Euro |
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1340. JAZZ CONTEMPORARIES: “Reasons In Tonality” (Strata-East/ Trio Records – PA-7083) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ 4 Paged Booklet Insert: Near Mint). Clean Japanese original press issue. Superb set Recorded live at the Village Vanguard, N.Y.C. February 13, 1972. One of the Great spiritual jazz slide that emerged from the Strata East label. Uncut and pure beauty of the Spiritual Jazz. Amazing line-up with George Coleman (tenor sax), Julius Watkins (french horn), Clifford Jordan (tenor sax), Harold Mabern(piano), Larry Ridley (bass) and Keno Duke (drums). Scarce original spiritual jazz slide on that sounds very much like it could be a lost session for some classic Coltrane session: soaring brass, levitational chord progressions that stagger over on the right end of the piano, with the band playing perfectly in unison. Bloody amazing how something can sound at once so casual and so spirited! Price: 100 Euro |
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1341. JAZZ FESTIVAL IN NEMU: “S/T” (Toshiba Records – TP-9011~2) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Another elusive brain-drain of a slide – complete with impossibly rare OBI. Ear-shriveling and blistering live performances by Japan’s finest jazz combos including appearances by the Terumasa Hino Quintet, Yosuke Yamashita Trio, Toshiyuki Miyama & The New Herd, Sadao Watanabe Quartet, Nobuo Hara and His Sharps & Flats and last but not least the Masahiko Sato Trio. This has always been an elusive slide that at times does pop up but always without the obi. First time ever I could lay my hands on a pristine condition copy all complete with obi – making it bloody rare. As you know with these originals, no obi no life and this one fits perfectly into that category. If free thinking Japanese jazz of the early 1970s is your thing, well look no further, this is the shit! One of the scene’s defining moments filled with thundering hard bop, free spirited and improvisational avant-jazz outbursts that brim over with originality and sonic density beneath a riptide of Western influences, creating a unique language in unswerving Japanese jazz! Top shape 2 LP set all complete with insanely rare obi. Price: Offers!!!! |
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1342. JAZZ IN BRITAIN ’68 ~ ’69: “Featuring Poll Winners John Surman – Alan Skidmore – Toney Oxley” (Decca – ECS-.2114) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original 1st UK pressing in fantastic shape and comes housed in laminated jacket. UK jazz slides in top shape are a tough score these days. This one is just in fantastic condition and brings you a peak at the key players of the UK jazz scene of that day. Skidmore and Oxley steal the show here, bewitchingly beautiful music. Price: 200 Euro |
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1343. JAZZ IN TOKYO ’69 with YAMASHITA YOSUKE TRIO – SATO MASAHIKO TRIO + 1 – NISHIMURA AKIO QUARTET – MATSUMOTO HIDEKO QUARTET – INOMATA TAKESHI QUINTET – MINE KOSUKE QUINTET – HONDA TAKEHIKO TRIO + JAMSESSION: “Jazz in Tokyo ’69 Vol. 1 & 2 – Recorded Live At Hibiya Music Ball, August 30, 1969” (Nippon Columbia/ Takt – PSS-10011~2-CT) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Attached Picture Insert: Near Mint/ Obi: Excellent ~ Near Mint). White label PROMO issue of jaw-dropping rare Japan free jazz beast that the year later gave birth to the Summer Jazz In Tokyo 2LP! Never seen a copy before until NOW! Freakingly rare and obscure 1970 release throwing together the crème de la crème of the Japanese freewheeling jazz community & modal jazz heads into one mosh-pit – clashing and banging heads together in one big freedom fest. The whole affair on display was recorded live one hot summer day in the open-air arena of Hibiya Yaon Ongakudo on August 30th, 1969. Here you can actually “hear” the summer heat unleashed by these combos breathing down your neck and catering to all of your sonic wishes ranging from fierce magma molten free jazz blowouts to funked up and out butt-swinging head-spins. And what a glorious, mouth-watering line-up you get assaulted with. The whole affair gets pulled into a frenzy by Sato Masahiko Trio + 1, reigning in the herd before Yamashita Yosuke Trio is let loose to leave behind the amphetamine fueled fire music basement and seeking sanctuary into the arms of the on-storming Nishimura Akio Quartet with a Coltrane inspired improvisational spiritual piece. Bewitchingly beautiful that makes me feel like diving headfirst into a pool that got emptied only yesterday! Takehiko Honda Trio brings back some sanity to the gravel-pit with a laxative-induced Quaalude driven rendition of “Hey Jude”, slowly descending into a dissonant orgy of geriatric uncut pleasure. We are in Japan after all so some lethargic Beatles pastiche is never out of place, with a drummer pounding the skins & cymbals like beheading some mischievous tribesman. Then, rolling out Kosuke Mine Quintet to light some kerosene under your ass and get those butt-cheeks, grooving like a hermit on PCP. Man, I would give my right testicle to be there and witness this shit! Fierce improvisational interplay interlocks with steamy and groovy jazz workouts, blessed with a gift for suddenly unexpected impacts that hurtle in and out of focus and giving you the listener enough bewildering emotions to provoke tears and fist shaking tirades in order to sing to this recording’s splendor and awe-inspiring beauty. It all culminates into one fireball that is the Inomata Takeshi Quintet followed by a smothering jam session. Lick your decals off baby, this is a heavy funky and groovy showdown, filled with rhythm shakes and liquid guitar lines that simmer under your skin for all eternity, before meandering into a jam session. Killer stuff from start to finish! If every summer sounded like this, I would have a hard time getting my act together again and rejoin a modern-day reality of grey suits and Corona deniers, instead hoping to remain locked & moving to this beast’s asymmetric groove. Just a fantastic 2 LP slide, allowing you a peak at the Japanese jazz scene one sunny day in August 1969. Just brilliant! Never seen a copy of this beast with obi let alone a white label promo/ test press one so don’t be shy and go heavy! None of your friends might have ever seen a copy - for you hipsters who live by those standards and want to show off on Instagram…Price: Offers!! |
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1344. JAZZ MEETS INDIA: “S/T” (MPS – CRM-646)
(Record: Near Mint/ Laminated Gatefold Jacket: Near Mint/ Booklet: Mint). First
original German pressing on MPS. Killer LP that featured the all-star stellar
line-up of Irène Schweizer: piano; Uli Trepte:
acoustic bass; Mani Neumeier (Guru Guru): drums; Dewan Motihar: sitar, vocals;
Keshav Sathe: tablas; Kusum Thakur: tambura; Manfred Schoof: trumpet, cornet;
Barney Wilen: soprano and tenor saxophones. Like Dusty Groove already commented
on the reissue of this LP: “A
landmark record – and most likely the best of the late 60s Jazz Meets The
World series on MPS! The album features a unique ensemble comprised of a few
core parts – The Indian Trio of Dewan Mothihar on sitar and vocal,
Keshave Sathe on tabla, and Kusum Thakur on tambura; the Irene Schweizer Trio,
here heard not as "out" as on other recordings, and with a
contemplative, modal sound; and the jazz horns of Barney Wilen (tenor and
soprano sax) and Manfred Schoof (trumpet and cornet) – adding in a level
of improvisation on top of the rhythmic progression and sonic experimentation
of the other two parts of the whole. The album's got three long tracks –
"Yaad", "Brigach & Ganges", and "Sun Love"
– all of which create a unique blend of Indian music, modal rhythms, and
European jazz – somehow managing to filter all the elements together
without any colonialist overtones, and coming up with a sound that's even
greater than the sum of its parts!”. Just a killer LP
with absolutely no filler. Original 1st pressing in TOP condition
with the always-missing booklet included. Just massive and a totally addictive
slide. Price: 250 Euro |
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1345. JAZZ MEETS INDIA: “S/T” (MPS Records – YS-2308-MP)
(Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint/ Insert: Mint/ OBI:
Near Mint). First original 1970 Japan pressing all complete with rare first
issue obi. Killer LP that featured the all-star stellar line-up of Irène
Schweizer: piano; Uli Trepte: acoustic bass; Mani Neumeier (Guru Guru): drums;
Dewan Mothihar: sitar, vocals; Keshav Sathe: tablas; Kusum Thakur: tambura;
Manfred Schoof: trumpet, cornet; Barney Wilen: soprano and tenor saxophones.
Like Dusty Groove already commented on the reissue of this LP: “A landmark
record – and most likely the best of the late 60s Jazz Meets The World
series on MPS! The album features a unique ensemble comprised of a few core
parts – The Indian Trio of Dewan Mothihar on sitar and vocal, Keshave
Sathe on tabla, and Kusum Thakur on tambura; the Irene Schweizer Trio, here
heard not as "out" as on other recordings, and with a contemplative,
modal sound; and the jazz horns of Barney Wilen (tenor and soprano sax) and
Manfred Schoof (trumpet and cornet) – adding in a level of improvisation
on top of the rhythmic progression and sonic experimentation of the other two
parts of the whole. The album's got three long tracks – "Yaad",
"Brigach & Ganges", and "Sun Love" – all of which
create a unique blend of Indian music, modal rhythms, and European jazz –
somehow managing to filter all the elements together without any colonialist
overtones, and coming up with a sound that's even greater than the sum of its
parts!”. Just a killer LP with absolutely no filler. Original 1st pressing complete with OBI
in TOP condition – never seen a copy all-complete with obi before. Just
massive and a totally addictive slide. Price: 250 Euro |
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1346. JAZZFESTIVAL BALVER HOHLE: “Auschnitte Vom New Jazz Programm 1974 & 75” (JG Records – 036~039) (4 LP Record Set: Near Mint/ Outer Box: Near Mint/ Insert: Near Mint). This box set is a really shy bird. Privately released in 1975 on the small JG Records imprint, documented a unique free jazz festival that in 1974, at short notice, was organized by Karlheinz Klüter, in the unlikely setting of the Balve Cave in the Hönne valley of the Sauerland, Germany. It was a great success and was repeated in the following years. This collection here offers, spread over 4 LP’s, a snapshot of sorts and a reminder of the healthy jazz scene which had developed in West Germany at the time. The audiences were large and enthusiastic, sounding more like a rock gig than the usual smatter of polite handclaps which greeted performers of the free jazz combos. A wide range of performers graced the festival and almost all the one’s present here get almost a side-long to express their sonic freedom principle such as Jazzcrew Stuttgard; SOS (trio with John Surman, Mike Osbosborne & Alan Skidmore); Jan Wallgren Orkester; Eero Koivistoinen Quartet; Emil Veglicky Trio; Gustav Brom Bigband; Stivin-Dasek Tandem; Contact Trio; Franz Koglman – Steve Lacy Quintet and Krzysztof Zgraja – Barre Philips Duo. All of the music on display is only available on this set and sheds some insight into the mid-1970’s European jazz underground’s defining moments, ranging from tornadoes of dusty noise to intuitive group interplay, incinerating deep subterranean high-tension music, apocalyptic waves of free interplay, creating an arresting experience. This set rarely surfaces and this one is pristine all way round. Top copy! Price: Offers!!!! |
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1347. JEFFERSON AIRPLANE: “Crown Of Creation b/w Lather” (RCA Records – SS-1854) (7 Inch Single Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scarce Japan only picture sleeve issue that came out in 1968. Comes housed in acid leaking sleeve art. Price: 75 Euro |
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1348. JEFFERSON AIRPLANE: “Surrealistic Pillow” (RCA Victor
– LPM-3766) (Record: Near Mint/ Jacket: Near Mint – still in
original shrink). Bloody rare US 1967 ORIGINAL MONO press in NM condition!!! Top
copy, 1st original US
pressing. Second LP by the Airplane and it cemented their reputation as one of
the finest acts to seep out of the Bay area at that time. Although that at the
time the critic Robert Christgau slagged it off as “an amplified Peter, Paul
& Mary” album, the general consensus is that it is a psychedelic classic
and I fully have to share myself behind that opinion. “Surrealistic Pillow” is
wicked; Slick’s vocals are a welcome replacement for Signe Anderson and gels
perfectly well with Kaukonen’s acid spiked guitar play, Cassidy’s bubbling bass
pulsations and Balin’s balladeering vocals. A classic that should have a
prominent place in any collection. Top copy first US pressing, still housed in
original shrink-wrap. MONO pressings are damned scarce on the ground and most
copies floating around are in questionable condition. This one here is a very
first original pressing, sleeve still housed on original shrink and the disc
itself seems virtually unplayed and is also in absolutely TOP condition. Impossible to ever find a better one or needing an upgrade. Best copy possible.
Price: Offers!!! |
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1349. JEFFERSON AIRPLANE: “Surrealistic Pillow” (Victor – SHP-5640) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ MINT with no stains inside gatefold/ OBI: Mint). Bloody rare 1st press original all complete with never seen before first issue obi!!! CLEANEST copy ever, impossible to upgrade upon, jacket is inside virginally white, obi is untouched and record has had any play at all. So conservatively graded this one is Near Mint ~ MINT condition all the way, a true sight for soar eyes. Original 1968 Japanese press of this quintessential album. Comes with Japan only gatefold version with completely different back cover design. Historical disc that may not be missing from any collection. Best copy ever of this rare Japanese first press. Kaukonen is again all over the place and stellar. MINT COPY....they do not exist better than this one here offers are invited for this one. Price: Offers!!! |
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1350. JEFFERSON AIRPLANE: “Hippie No Shuchou - After Bathing At Baxter’s” (Japan Victor SHP 5684 – Japan only 1968 issue) (Gatefold Jacket: Near Mint/ Record: Near Mint/ OBI: Near Mint). Bloody rare Japan ONLY Jefferson Airplane release, complete with hardly ever seen/ hardly ever offered before 1st issue OBI present. J.A’s After Bathing At Baxter's in Japan only laminated psychedelic gatefold cover. Only '68 first pressing has this cool sleeve. A really beautiful copy of this subliminal West Coast acid drenched psych monster. This is the original Japanese press, released in 1968, housed in a totally different mind-blowing cover designed by Tanaami Keiichi. A real sight for sore eyes that NEVER surfaces. Almost, if not a full-blown XXX rarity that is so rarely offered for sale. Great condition and the jacket has no storage or ring ware whatsoever. Comes with the OBI, making this copy complete. Obis has never been offered for sale anywhere before (apart from on these pages) and this is the most perfect condition copy to have ever graced my eyes…. Impossibly rare with obi present, so… Price: Offers!!!! |
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1351. JEFFERSON AIRPLANE: “Hippie No Shuchou - After Bathing At Baxter’s” (Japan Victor SHP 5684 – Japan only 1968 issue) (Gatefold Jacket: Near Mint/ Record: Near Mint). Rare Japan ONLY Jefferson Airplane release. J.A’s After Bathing At Baxter's in Japan only laminated psychedelic gatefold cover. Only '68 first pressing has this cool sleeve. A really beautiful copy of this subliminal West Coast acid drenched psych monster. This is the original Japanese press, released in 1968, housed in a totally different mind-blowing cover designed by Tanaami Keiichi. A real sight for sore eyes that hardly surfaces in good condition. Almost, if not a full-blown XXX rarity that is so rarely offered for sale. Great condition and the jacket has no storage or ring ware whatsoever. Price: 250 Euro |
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1352. JEFFERSON AIRPLANE: “Bless Its
Pointed Little Head” (RCA Victor – SHP-6039) (Record: Mint, Unplayed/
Gatefold Jacket: Near Mint/ Obi: Mint). First original Japanese pressing
complete with another obi variation, all in top condition. This is the rarely seen WHITE LABEL PROMO issue. “Jefferson Airplane's first live album demonstrated the group's development as concert performers, taking a number of songs that had been performed in concise, pop-oriented versions on their early albums -- "3/5's of a Mile in 10 Seconds," "Somebody to Love," "It's No Secret," "Plastic Fantastic Lover" -- and rendering them in arrangements that were longer, harder rocking, and more densely textured, especially in terms of the guitar and basslines constructed by Jorma Kaukonen and Jack Casady. The group's three-part vocal harmonizing and dueling was on display during such songs as a nearly seven-minute version of Fred Neil’s folk-blues standard "The Other Side of This Life," here transformed into a swirling rocker. The album emphasized the talents of Kaukonen and singer Marty Balin over the team of Paul Kantner & Grace Slick, who had tended to dominate recent records: the blues song "Rock Me Baby" was a dry run for Hot Tuna, the band Kaukonen & Casady would form in two years, and Balin turned in powerful vocal performances on several of his own compositions, notably "It's No Secret." Jefferson Airplane was still at its best in concise, driving numbers, rather than in the jams on Donovan’s "Fat Angel" or the group improv "Bear Melt"; they were just too intense to stretch out comfortably. But Bless Its Pointed Little Head served an important function in the group's discography, demonstrating that their live work had a distinctly different focus and flavor from their studio recordings.” (William Ruhlmann AMG).A psychedelic classic that still twists my head around
till this day. Top copy, impossible to upgrade upon. Never seen this obi
variation and first time I can lay my hands on a White label promo issue. Rare
to say the least. Price: 375 Euro |
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1353. JEFFERSON AIRPLANE: “Crown
Of Creation” (RCA – SHP-6001) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Rare
1968 first original Japanese pressing complete with hardly ever seen 1st issue obi. Amazingly clean first pressing without any issues. Record is virginal. jacket and obi clean as can be. Top copy. As far as I know, first time that a true first Japanese pressing with 1st issue obi is offered for sale. Seriously rare. Price: 350 Euro |
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1354. JEFFERSON AIRPLANE: “Crown Of Creation” (RCA VICTOR – LSP-4058) (Record: Stone MINT/ Jacket: MINT, still in original shrink wrap w/ original store price sticker upon the shrink/ Company Inner Sleeve: Mint/ Gatefold Insert: Mint). Original 1968 US 1st original pressing in unbelievable TOP condition, impossible to score in a condition like this one. Best copy imaginable!!!! Price: 300 Euro |
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1355. JEFFERSON AIRPLANE: “Golden Album” (RCA Victor – SRA-5121) (Multi Colored Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint). Top & perfect copy. Hideously rare Japan only released Jefferson Airplane slide that comes in Japan only gatefold jacket and is pressed on multi-colored vinyl. Original 1960s pressing and hyper rare. Amazingly rare original 1968 Japanese only 14-track promo sample LP on the Victor label, pressed on incredible Psychedelic multicolored vinyl. Superb unique laminated gatefold picture sleeve with Japanese text & lyrics inside. Rarely surfaces these days and this copy is really clean. Bloody rare!!!! Price: 450 Euro |
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1356. JEFFERSON AIRPLANE: “Bark” (Grunt/ Victor
Records – R4P-5028) (Record: Excellent/ Gatefold Jacket: Mint/
Poster-like 4-paged Insert: Near Mint/ Quadradisc 4-Channel OBI: Mint). Japan
ONLY Quadraphonic 4-channel issue all complete with insert and OBI. First ever
copy I encounter all complete with obi of this Jefferson masterpiece. “Bark, Jefferson Airplane’s seventh album, was an album of firsts: it was the first
album in almost two years, the first made after the arrival of violinist Papa
John Creach and the departure of band founder Martin Balin and the first to be
released on the group's own Grunt Records label. It was also the first Airplane
album made after the onset of that familiar rock group disease, solo
career-itis. Rhythm guitarist Paul Kantner had released his Blows Against the
Empire and Hot Tuna, the band formed by lead guitarist Jorma Kaukonen and
Bassist Jack Cassady had released two albums since the last Airplane group
release Volunteers. Bark, perhaps as a result, was not so much a group record
as a bunch of songs made by alternating solo artists with backup by the other
group members. Kantner’s tunes were science-fiction epics reminiscent of Blows;
Kaukonen’s "Feel So Good" and the instrumental "Wild
Turkey" were indistinguishable from Hot Tuna music, while his lilting
ballad, "Third Week in the Chelsea," was nothing less than his
resignation from the band, rendered in song; while Grace Slick’s two
contributions were characteristically idiosyncratic. The album's surprise was
"Pretty as You Feel," a chart single that emerged out of a jam
between new drummer Joey Covington, Cassady and
Kaukonen. All of which is to say that there were some excellent songs on Bark,
even if the whole added up to less than the sum of the parts.” (All Music Guide).
Beautiful and very rare Japan only Quad issue all complete with insert and OBI!!! Price: 400 Euro |
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1357. JENKINS,
LEROY – THE JAZZ COMPOSERS ORCHESTRA: “For Players Only” (JCOA Records/ Trio Records Japan
– PA-7134) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint/ Obi:
Near Mint). Original Japanese pressing all complete with scarce obi. “One of seven albums commissioned
by the Jazz Composers Orchestra, violinist Leroy Jenkins’ For Players Only is one of the more loosely organized and, for
all its charms, most scattershot of these works. Jenkins, who came to prominence in the superb
avant-garde trio the Revolutionary Ensemble, is
both an extraordinarily riveting and creative violinist and a composer of
intricate, blues-based pieces with an underlying plaintive quality that is
quite appealing. For this live recording project he assembled a who's who of
the New York improvising community of the mid-'70s and presented them with an
odd, fairly awkward structure. The first half of the composition is arranged in
suite-like fashion, with briefly stated themes fleshed out by various small
groups within the orchestra. It's a nice, loose mix with enticing instrumental
flavors, notably the then-young James Emery’s guitar and Charles Brackeen’s soprano
sax and a lovely pastoral theme midway through. Jenkins came up through
Chicago's AACM, one of whose tenets was the performer's ability to fully
realize a solo recital, regardless of instrument. He puts this credo to an
unusual test in the second half of this composition by having each orchestra
member play consecutive, individual solos, one after another with no backing,
sometimes building on the preceding one, sometimes not. It's a strangely
disjointed performance; some of the solos (lasting about one minute each) are
intriguing and enjoyable, others desultory. Jenkins himself ends the work with
a striking, keening passage but the total effect is decidedly less than the sum
of its parts. Over the course of his career, Jenkins composed a number of knotty pieces, and For
Players Only ranks right up there.” (All Music Guide). Indispensable free jazz classic! Price: 40
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1358. The
JESUS AND MARYCHAIN: “Upside Down b/w Vegetable
Man” (Creation – Creation-012) (EP Record: Near Mint/ Gatefold Picture
Sleeve: Near Mint). Rare blue cover variation first pressing. “Fuck shoegaze this is pure rock & roll! And when I
say rock & roll, I mean ROCK & ROLL!
As pure, dirty, sexy and violent as it meant to be originally. I know there's
this old cliche about Mary Chain's sound, you know Beach Boys meet Velvets or
the Ronettes fronting the Suicide or Neubauten nailing the Shangri-Las, but
this is totally true. William Reid's chaotic, manic industrial noises are
probably the closest thing ever to Ron Asheton, period. I really don't get all
this art-fag nonsense about them... If the Cramps were from the Highlands they
will sound and look just like the Reid brothers. This single kick-started
Creation's dignity and re-established Britain's proud on producing genuine rock
& roll acts/records. And it's no exaggeration saying this single's one of the most important ever in rock & roll. A guy called
Neil Taylor who used to write for the NME said to Primal Scream leader, and
Mary Chain's drummer during 'Psychocandy' era Bobby Gillespie, that they were
the best band since the Pistols... And still remains I should add... 'Upside
Down' stands still as a landmark JAMC song and Syd Barrett's 'Vegetable Man' is
incredible as well. Dig!” (White Trash Soul). Couldn’t have said it any better and so to the point.
Absolutely killer!!!! Price: 75 Euro |
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1359. The JESUS AND MARY CHAIN: “Upside Down b/w Vegetable Man” (Creation Records – CRE-012) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Original 1984 UK press. Another sleeve variation of this head-splitting awesome slide. Price: 50 Euro
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1360. JESUS AND MARY CHAIN: “Never Understand b/w Suck Ambition” (Blanco Y Negro – NEG8) (Record: Near Mint/ Fragile Sleeve: Near Mint). 1985 UK original pressing. If you were to do a smash-up with some sort of abstract Phil Spector pop-sensibility diluted with some Throbbing Gristle bacterial fungi, The Jesus and Mary Chain's “Never Understand” would pretty much come out as a half breed outcome. In complete glorious and infectious disharmony. The first noticeable thing to explode right in your face with this record is the sheer density of the feedback waves. They are made of diseased screwdrivers, grit and zombie-like infected Labradors. And this curiously agonizing mixture washes over your brain and face relentlessly, continuously and gloriously. The spastic demented & amphetamine fueled glory comes courtesy of three incoherent syllables - i.e. "uh huh huh." The gospel apocalypse in full swing and so addictive! Flip the 12" over and you get a Subway Sect cover and Suck. The latter seems to be a pastiche of the A-side - the Reid brothers taking the piss out of themselves, their critics and most of all, you. Or perhaps they really thought this piece of utter shit was a great song. Back at the time, some wondered whether the only thing that stopped the JAMC from being wank was the feedback. It was their angle - their USP (unique sonic point). True, the colossal noise quotient certainly helped. This is a blessed and bruised beyond repair fantastic degrading experience that feels like running around beefed up on Thorazine and engaging into a bare-knuckle fight with a Pitbull high on crack. Price: 40 Euro |
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1361. JESUS AND MARY CHAIN: “Psychocandy” (Blanco Y Negro/
Warner Pioneer Japan – P-13193) (Record: Near Mint/ Jacket: Near Mint/
Obi: Near Mint/ Insert: Near Mint). One of the best records to seep out the
mediocre decade that was the 1980s. It is a glorious one, filled with never-ending
feedback and beats, all cranked up to
ten and beyond, along with plenty of echo. Still some of Psychocandy is also beautifully
wasted pop, with echoes of the Velvet Underground; some other influences coming
over like the Beach Boys being trapped in a wind tunnel full of broken glass
and bees with the VU simultaneously; or sounding like both happening all at
once. The Jesus and Mary Chain were a band without a
middle. There was only melody and noise, beauty and violence, love and hate. Scarce
Japanese first press original from 1985 in top condition, giving that much
needed feedbacking noise and extra edge. Price: 150 Euro |
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1362. The JESUS AND MARY CHAIN: “Cutmedeadnailmedownandkickmyhead” (No Label – LP-JMC-10) (Record: Near Mint/Gatefold Jacket: Near Mint) Obscure 1985 released UK bootleg show of the Mary Chain taped during 2 different live shows and of good sound quality. For the Mary Chain diehards, probably THE BEST ever bootleg on vinyl! And quite rare. Allegedly a 'Live at Westminster Abbey' recording but actually from a mini Creation Records tour of 1984. No track-list printed on the beautiful psych-punk sleeves or the labels, but it's almost sure that contains recordings from two (still unknown) different venues. Overall, a brilliant sounding boot, from the classic line up (I assume) of Reid/Reid/Hart and Gillespie with great guitar mix and well-chosen covers ("Barracuda", "Ambition", "Vegetable Man") alongside classic now toons. Early Chain at its most chaotic and fuzziest! White trashy soul to the max, kills from start to finish!. Price: 60 Euro
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1363. JETHRO TULL: “Akuma No Yakusoku (Witch’s Promise) b/w The Teacher” (Reprise/ Victor Records – JET-1961) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent) Scarce Japan only single issue that comes housed in unique sleeve art. Top shape. Price: 175 Euro |
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1364. J.K. & CO: “Suddenly One Summer” (White Whale – WWS-7117) (Record: Near Mint/ Jacket: Near Mint). Pristine and virginal condition US first original pressing. Amazing Canadian dreamy/ dark psych gem blessed with a downer feel and great guitar outbursts. Conceived as a concept album, at least half of the record is full of quintessentially great psychedelia, see: “O.D.”, with its drug-addled madness, wild guitar playing and soaring vocals and “Magical Fingers of Minerva”, a sitar-based rocker that ends with trippy complications. The gorgeous acoustic track “Nobody,” the pop rocker “Christine,” and the dramatic finale, “Dead,” are just a few of the standout compositions. The album plays from strength to strength — never falling off the deep end. A respectable blend of fluffy sunshine pop, folk, and headphone-friendly drugged-out weirdness, surprisingly a lot better than what most of the other one-(non)hit wonders of the era were coming out with. Totally underrated! Top condition!!! Price: 375 Euro |
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1365. JOACHIM KUHN Featuring Alphonse Mouzon: “Hip Elegy” (MPS Records/ Teichiku – KUX-9-P) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ Obi: Excellent). Japan original pressing – promo issue. Joachim Kühn, often awarded Europe's best jazz pianist, considers "Hip Elegy" a favorite among his own albums. It is a volatile mix of electric fusion, Latin and jazz rock, played by a funky all-star band and it hasn't lost any of its appeal. A great album of funky fusion for MPS! Keyboardist Joachim Kuhn heads up the group, but he's got some great rhythm backing from Alphonse Mouzon on drums and John Lee on bass, which makes the record groove way way more than some of his other titles! The keys are nice and spacey, and Philip Catherine plays trippy/jazzy electric guitar on most of the cuts. The lineup also includes Terumasa Hino on trumpet, and Nana Vasconcelos on an array of percussive touches. Spacey 70s MPS at its freshest and funkiest! Price: 75 Euro |
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1366. The JOACHIM KUHN GROUP: “Bold Music” (MPS Records/ Columbia Records Japan – YS-2413-MP) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Japanese original first press issue from February 1971that comes housed in thicker-than-life gatefold jacket and with rare obi. The title Bold Music says everything and nothing, this is a challenging and ambitious avant-jazz date that features Joachim Kuhn tackling everything from piano to alto sax to antelope horn. It's nevertheless most audacious for tempering its outré leanings with soulful, melodic grooves and insistent rhythms that make the music more accessible and more idiosyncratic. Working in collaboration with bassist/cellist Jean-Francois Jenny-Clark, drummer Stu Martin and percussionist Jacques Thollot, Kuhn fuses improvisational skronk and sound-library smoothness to make a record that occupies both extremes of the MPS label sound at the same time. Somehow, Bold Music is both free and easy, and that's a rare feat indeed. Killer slide! Price: 75 Euro |
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1367. JOAO GILBERTO: “S/T or Aguas De Marco” (Polydor Japan– MP-3084) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). TOP COPY in embossed jacket complete with OBI!!!! First time I have a copy of this one with the 1st issue obi present. Original 1973 Japanese pressing on high quality vinyl, following the Brazilian press. According to these humble ears, this disc is without a doubt one of the single greatest recordings ever made, sparse but ringing with beauty. João Gilberto, sometimes referred to as the “White Album” of bossa nova, appeared in 1973, and featured a cool, almost mystical sensibility, his first discernible departure from the original sound of a decade earlier. It is an album that gains it's power by merely implying instrumentation. It creates atmosphere from it's lack of it. “less is more” and definitely so. It features Joao Gilberto singing and playing, and occasionally Sonny Carr joins in with some of the most precise percussion I've ever heard. The album begins with a genuine classic, quickly abandons lyrics in the following track, then vocals altogether. The voice returns for a beautifully sung ballad and follows it up with an intense samba. Side two takes the same formula and puts it in a different order with equally great results. Simply put, this is a masterpiece of minimalism. One integral characteristic of Bossa Nova, its minimalism, is carried to extremes: other than João's acoustic guitar, the only other instrument here is the sparest drums by Sonny Carr. The disc explains why all the other Bossa Nova interpreters worship João Gilberto: his complex, meandering harmonies and his acute sense of rhythm, his unembellished singing, and his masterful art of microphone singing: all these elements can be admired and enjoyed here. The recording is clear and quite intimate; the chosen songs are classic Bossa Nova tunes. Simply one of the best discs ever made. Too much beauty for one to handle. Rare pressing sounding so much better than the CD version due to the fact that the CD was taken from later sound sources since the masters to this gem were lost soon after the disc was released. The most essential disc you will ever hear. Price: 175 Euro |
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1368. JOHN CARTER & BOBBY BRADFORD QUARTET: “Flight for Four” (Flying Dutchman – FDS-108) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint – still housed in shrink/ Direct Import Obi: Mint/ JAPAN ONLY Flying Dutchman Fold Out Insert – mini poster: Mint). Freakingly rare Japan direct import issue with never seen before Direct Import OBI and poster insert. Still housed in shrink!!! Brilliant but sadly largely overlooked killer West Coast free jazz slide!!! Carter and Bradford, both Texans living in Los Angeles, were recommended to each other by a mutual friend and fellow Lone Star State expatriate, Ornette Coleman, with whom Bradford had played in the early 1960s. They found themselves to be very much kindred spirits, and formed a group with bassist Tom Williamson and drummer Eldridge “Bruz” Freeman, brother of Chicago saxophonist Von Freeman. Originally working as the New Art Jazz Ensemble, they were encouraged to change their name, likely by Bob Thiele, who produced this album. Musically, the record is breathtaking. Consistently exploratory yet melodic and bluesy enough to hold the attention of any even mildly curious listener, the five compositions crackle with energy without ever erupting into clichéd blare. It’s easy to hear why Ornette Coleman thought these two guys should work together—they’re practically two sides of the same person. Carter juggles tenor saxophone, clarinet, and flute, expressing himself in a lyrical and introspective manner on each instrument. His phrases keen and murmur, enticing the listener to ever-greater focus as the tracks go on. Bradford, too, is a clear and forceful thinker on his instrument, the trumpet, never spewing streams of high notes or trilling pointlessly; he’s as suffused with the blues as his partner. Behind them, Williamson and Freeman surge and recede, dance with and around each other, and maintain a rock-solid foundation even as they do some exploring of their own. The album opens with an almost martial drum pattern, which kicks off “Call to the Festival,” apiece which recalls Ornette’s work of a decade earlier, but is thoroughly modern at the same time. The hard-charging “The Second Set” and the mournful “Woman” follow, each of the four players exploring every aspect of the collective sound they’re building. On the latter track in particular, Thiele’s production choices come strongly to the fore, particularly his heavily reverbed treatment of Freeman’s drums and the massive, throbbing bass sound, all of which is impeccably captured on this LP. And when the full ensemble comes all the way together, as on the passages that open and close “Abstractions for Three Lovers,” you almost can’t believe what you’re hearing. By the time the album ends with the clearly built-for-the-stage burner “Domino,” the only fitting response is to press “Play” again. This is an amazing, joyous record that will reward any jazz fan who seeks it out. Top condition US first original pressing!!!! Price: 400 Euro |
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1369. JOHN CARTER & BOBBY BRADFORD QUARTET: “Flight for Four” (Flying Dutchman – FDS-108) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint). Brilliant but sadly largely overlooked killer West Coast free jazz slide!!! . Top condition US first original pressing!!!! Price: 150 Euro |
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1370. JOHN CARTER/ BOBBY BRADFORD: “Self Determination Music” (Flying Dutchman – FDS-128) (Record: Near Mint/ Gatefold Jacket: Near Mint) US first original pressing with Van Gelder machine stamped in the dead wax. Top notch condition of amazing slide that is slowly and steadily on the rise. A landmark recording -- one of a handful of early documents of the avant-garde LA scene, featuring a nimble quartet headed up by the inventive frontline of John Carter on reeds and Bobby Bradford on trumpet, over the fluid rhythm team of Tom Williamson on bass and Chicago expatriate Bruz Freeman on drums! Carter and Bradford's energetic approach followed its own line of development, much in the way that other small cells of improvisers were developing their own take on the "new thing" in the post-Coltrane/Coleman environment of the late 60s and early 70s throughout the country. The compositions unfold in a way that implies both multi-linear improvisation and composed events, but blurs the line between the two, all the while played with a great deal of fire and few of the intellectual abstractions of other free players! A killer slide & top condition!!! Price: 175 Euro |
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1371. JOHN CARTER & BOBBY BRADFORD: “(Secrets)” (Revelation – REV-18) (Record: Near Mint/ Jacket: Near Mint). Original 1973 US original pressing, released in a tiny run on the small Revelations label. Initially calling their quartet The New Art Jazz Ensemble, they made their debut album Seeking in 1969 for the small Revelation Records, followed by recording for the Flying Dutchman label before returning back to Revelations for this beauty. Their music was very much in the same orbit as Ornette's with darting linear compositions and freedom from chordal structures blended into a marvelous fresh sense of swing and blues roots. Carter's virtuosity on clarinet, flute and saxophone sets the benchmark for the music that this group strives for and achieves. Distinctive for their rich vibrant tones and articulation, Carter and Bradford bring a variety of colors, moods and rhythms to their vibrant brand of modern jazz. They manage to achieve an air of precision with a music that thrives on interplay and looseness. Every performance resonates with beauty and adventure. Largely overlooked gem that as of recently has found a new audience, making that Secrets is becoming slowly a hot ticket in town… Price: 100 Euro |
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1372. JOHN LEE HOOKER: “Best
Of John Lee Hooker” (Victor Records – SJET-8323M) (Record: Near Mint/ Jacket:
Near Mint/ 4-paged Insert: Near Mint/ OBI: Mint). Rare Japan only issue –
Japan 1st original pressing all complete with rare green colored
SJET obi. King of the rural endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves are at once both
ultra-primitive and timeless. Totally addictive sound, stripped down sound and
blessed with a bottom-of-the-well gravel voice that sucks you in straight from
the start. Utterly beautiful and killer Japanese pressing. Price: 75 Euro |
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1373. JOHN’S CHILDREN: “Midsummers Night’s
Scene” (Bam Caruso – PABL-059) (Record: Near Mint/ Jacket: Near Mint/ Imprinted
Inner Sleeve: Near Mint). Killer 4 track compilation on the fantastic Bam
Caruso imprint that came out in 1988. Marc Bolan at helm before embarking on
his Tyrannosaurus Rex trip. Top shelf UK freak beat psych mayhem. Price: 30
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1374. JOHN’s CHILDREN: “A Midsummer Night’s Scene” (Bam Caruso – KIRI-095) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). UK original pressing collection rare singles of the Bolan band that came out in 1988. This band started their career in Surrey and were earlier known as The Few and The Silence. They were discovered by Simon Napier-Bell who once was a manager of The Yardbirds. He brought them to London and they were renamed John's Children by him. Because of their limited muscial ability the band didn't play on the first two singles. The backing tracks were recorded by sessionmen and only Andy Ellisons vocals appear on the 45's. Their first 7-inch "Smashed Blocked" done well in the USA and it reached the Top 100 over there. White Whale offered them a record deal and the result was the eminently forgettable "Orgasm" album. The songs were played live in the studio by the band and overdubbed with screams and shouts from the Beatles movie "A Hard Day's Night". Thankfully their singles were much more better and Bam Caruso compiled back in 1987 (Bam Caruso KIRI 095) all the 45's. And you might know that Marc Bolan was a part-time member and recorded with them two 7-inches ("Desdemona" and "A Midsummer's Night Scene"). All in all a fine mod/pop-art band that will please fans of The Creation, The Eyes, The Who ect.Price: 40 Euro |
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1375. JOHN ST. FIELD: “Control” (Movie Play – S-32.738) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Freakingly rare 1st original press, was only released in Spain at the time in a tine run that slipped completely under the radar, making that these days copies are way scarcer than you might think. One of the rarest Spanish released albums is this magickal one by John St Field aka Jackie Leven of latter-day Doll By Doll. From the liner notes: “The Scottish singer and guitarist produced this album long before he was the wild front man of the critically acclaimed rock ensemble Doll By Doll. Jackie says that it follows an intense period of taking LSD in many different locations and circumstances. The result, drug inspired as it may be, is music still as artistic as ever. The sheer diversity of styles, tones and lyrics in this harmonic production made this album a great success. Even the issues covered again show us a great deal of variety. However, although this isn't the typical Jackie that we all know and love, it gives an interesting glimpse into the earlier psyche of one of the greatest living contemporary artists – you'll see a side to Jackie that you didn't know existed. Jackie Leven recalled the following about the album: “It is a fairly influence-free album in my opinion: I was listening at the time to a lot of American West Coast rock, also great players like Bert Jansch, but I can't honestly hear direct influences in the music, other than the desire to be good. Also, I made a album under the alias of John St Field, mainly because I was in trouble with the forces of law and order at the time and felt that it was wise to change my identity for a while. However, I cannot truly recommend changing your identity, taking lots of acid and making a record all close together. It is a bit of a strain but it is a lovely record I still enjoy listening to of a dark evening. The album was never released except briefly in Spain in 1973 and this was wholly because once I'd finished it, I continued living a life that had nothing to do with career structures and record companies could not continue working with an artist who had all but disappeared.” This is without any doubt one of the best and finest folk/ psych/ acid folk and probably all of the former but nothing even that comes close to comparison or generalization – albums of the early seventies. It is all of these styles encapsulated into one but then again it surpasses styles and trends and lives on its own elusive sphere that fails categorization and clear-cut definition. This album will definitely take you places but it will move you like no album has ever moved you before. Why? Well, it comes over like awakening from a deep slumber when unconsciousness spills hesitantly over into aspects that really slow mix in with the rest of your mind. Here emotions and perceptions get transmitted by means of Jackie's rearranging of the universe into patterns reflecting his art. It will be one of the most beautiful and compelling albums you will ever hear during your lifetime. Take my word for it. Price: Offers!!!! |
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1376. JOHNSON, MATT: “Burning Blue Soul” (4 AD/ warner Pioneer – P-11148) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Near Mint/ Obi: Near Mint). Japan first original press issue from 1981. PROMO issue. Matt Johnson’s work thrives on the tension between accessible pop and dissonant experimentation; between joyful wonder and despairing bleakness. Burning Blue Soul was a more disjointed solo album he released under his own name in 1981 before these tensions were fully integrated. The meandering tape-collages that serve as framework fuse neatly with the ghostly production values. Combined with the isolated vocals, the guitars wet with reverb, the basslines slithering eerily along the nether regions of a song, this baby is bound to suck you into its nebula. Thick guitar hailstorms come and go. Textures vacillate from vaulted cathedrals of sound to barely discernible structures. Just a genius record that is so often overlooked but slowly is attaining some well-deserved recognition. Top condition. Price: 150 Euro |
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1377. JOHNSON, RUDOLPH: “Spring Rain” (Black Jazz Records/ Toei – OPL-2004) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). White label PROMO issue. Japan first original pressing all complete with insert and OBI! One of the few albums ever cut by reedman Rudolph Johnson – a hell of a saxophonist, and one with a great ability to combine the spiritual with the searing – a bit like Joe Farrell at his CTI best, but not as freewheeling – nicely focused, and a little bit funky in all the right parts – in ways that make this album one of the real standouts on the legendary Black Jazz label! The groove is nice and hard, and plenty dark – with lots of sharp edges around the offbeat rhythms, and a "bite" that makes the album one of the heaviest titles on the label. Other players include John Barnes on piano, Reggie Johnson on bass, and Ray Pounds on drums – and titles include the great "Diswa", which has sort of of a tight jazzy hip hop sample feel to it, plus "Mr TJ", "Little Daphne", and "Spring Rain".~ Dusty Groove These Japanese original press issues with obi are since a decade ago completely vanished. Here you have a pristine condition copy so… Price: 400 Euro |
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1378. JOHNSON, RUDOLPH: “Spring Rain” (Black Jazz/ Toei Geion – OPL-2004) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Japan original first press issue all complete with Obi and insert. Same title as the one listed above but this is a stock copy. Top shape of essential Black Jazz title. Dead cheap, copies with obi have completely dried up. Price: 300 Euro |
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1379. JONES, BRIAN: “Brain Jones Presents the Pipes of Pan at Joujouka” (Warner Pioneer – P-8176S) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Gatefold 4 Page Insert: Excellent/ Additional Triple gatefold Insert: Near Mint) Impossibly rare Japan very first original rare Japan press from 1971 all complete with inserts and damned rare first issue OBI with 2000 Yen stated on it. Top condition. This stunning classic provides a glimpse into a primordial, shrieking world of ancient blood rites, trance rituals, and a throbbing, unfettered fertility -- the world of Morocco's Berber mystics. Under the guidance of Brion Gysin, Brain Jones ventured into the Riff Mountains to record these Master musicians and their thousand-year-old wail. Their drum and reed corps riveted generations of wide-eyed (and drug-addled) wanderers from Europe and America. Jones processed their melodies through acid-era studio effects that heighten their transportive qualities. Nevertheless the disc succeeded in capturing a very special time and place, when adventurous kids, stoned on the idea that anything was possible, first found a gateway to the beyond among the pastoral people of a little mountain village deep in the heart of Morocco. Pressed on Japanese high-quality vinyl, a true gem of a disc. Of course, it comes with the highest possible recommendation. Never surfaces in MINT condition with inserts and first issue OBI!. Price: Offers!!!! |
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1380. JONES, ELVIN: “And Then Again” (Atlantic – SMJ-7366) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan very first press original issue all complete with rare first issue obi. Jones employs his brothers, Thad and Hank, Charles Davis, Paul Chambers, Hunt Peters, and Art Davis in a program that could have come from the early to mid '60s Blue Note catalog. Horace Silver’s funkiness is wedded to knotty, swinging hard bop figures adorned in rhythm by Jones, especially on Davis’ "Azan" and Melba Liston’s "Len Sirrah." Rare original with very first issue OBI! Price: 75 Euro |
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1381. JONES, ELVIN & RICHARD DAVIS: “Heavy Sounds” (Impulse – AS-9160) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Direct Import Obi: Near Mint). US 1968 original FIRST press issue for export to Japan with Impulse and abc Logo frames joined together and with NO “R” mark next to it and comes with rare Direct Import Obi and Japan only insert. Heavy Sounds, indeed – a beautiful little set of dark-edged soul jazz from the mid 60s – co-led by bassist Richard Davis and drummer Elvin Jones! The sound here is a bit different than any work ever released by either player as a leader – and is almost more in the vein of Blue Note or Prestige work of the same period – hardbop turned towards more soulful notes, but also still touched with a degree of modernism. A key element in the group is Frank Foster on tenor – whose blowing here is superb, and really on a par with his own albums as a leader from the time – marking a strong sound away from too many years of Basie influences! Frank does a killer job on his own "Raunchy Rita", taken here in a nice sexy groove, and stretched out nice and long with a very sinister feel – and other tracks include "ME", "Summertime", and "Elvin's Guitar Blues", which actually features Jones on guitar! Price: 300 Euro |
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1382. JONES, ELVIN & RICHARD DAVIS: “Heavy Sounds” (Impulse – AS-9160) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Top condition US 2nd pressing from 1970 with Impulse and abc Logos separated and with the “R” mark next to it. Top condition, hardly ever surfaces this clean. Price: 150 Euro |
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1383. JONES, ELVIN & RICHARD DAVIS: “Heavy Sounds” (Impulse – YP-8532-AI) (Record: Near Mint/ jacket: near Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Pristine condition Japan high quality pressing complete with obi. Heavy Sounds, indeed -- a beautiful little set of dark-edged soul jazz from the mid 60s -- co-led by bassist Richard Davis and drummer Elvin Jones! The sound here is a bit different than any work ever released by either player as a leader -- and is almost more in the vein of Blue Note or Prestige work of the same period -- hardbop turned towards more soulful notes, but also still touched with a degree of modernism. A key element in the group is Frank Foster on tenor, whose blowing here is superb, and really on a par with his own albums as a leader from the time, marking a strong sound away from too many years of Basie influences! Frank does a killer job on his own "Raunchy Rita", taken here in a nice sexy groove, and stretched out nice and long with a very sinister feel -- and other tracks include "ME", "Summertime", and "Elvin's Guitar Blues", which actually features Jones on guitar! Price: 75 Euro |
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1384. JONES, ELVIN: “Coalition” (Blue Note – BST-84361) (Record: Near Mint/ Jacket: Near Mint ~ Mint – still housed in shrink/ Insert: Near Mint/ Obi: Near Mint). Top condition US first original pressing all complete with insert and Direct Import Obi for export to Japan. A stunning early set as a leader from Elvin Jones – both a tremendous demonstration of the free energy he let loose after the passing of John Coltrane, and a set that's also still got some key Coltrane-esque elements! As with other Jones albums to follow, Elvin's got some key reedmen on hand – George Coleman on tenor, and Frank Foster on tenor, alto, and bass clarinet – both given plenty of room to run around with long solos on the open space of the record – yet without ever blowing off their heads as much as some of the younger players who'd work with Jones. There's no piano at all on the set – just the rock-slid bass of Wilbur Little, and additional congas from Candido next to Elvin's drums. The tracks have a haunting quality that mixes modal grooving with spare moments. Awesome set. Price: 125 Euro |
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1385. JONES, THAD: “Detroit – New York Junction” (Blue Note Records/ Japan – BLP-1513) (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 |
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1386. JONES, THAD: “The Magnificent Thad Jones” (Blue Note Records/ Japan – BLP-1527) (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 |
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1387. JONI MITCHELL: “S/T” (Reprise/ Warner Pioneer Japan – P-8099R) (Record: Near Mint/
Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan 1st press in outstanding condition. “Joni Mitchell’s
debut release is a concept album. Side one, subtitled "I Came to the
City," generally exhibits songs about urban subjects that are often dour
or repressed in some way. "Out of the City and Down to the Seaside,"
by contrast, is a celebration of nature and countryside, mostly containing
selections of a charming, positive, or more outgoing nature. What sets this
release apart from those of other confession-style singer/songwriters of the
time is the craft, subtlety, and evocative power of Mitchell’s lyrics and
harmonic style. Numbers such as "Marcie," "Michael From
Mountains," "The Dawntreader," and "The Pirate of
Penance" effectively utilize sophisticated chord progressions rarely found
in this genre. Verses are substantive and highly charged, exhibiting careful
workmanship. "Song to a Seagull" has graceful and vivid lyrics about
the joys of freedom set to a haunting, wide-ranging vocal line. Conversely,
"Cactus Tree" explores the downside of a no-strings-attached approach
to life, the fear of committing to a relationship (ironically wedding these
words to a hopeful melody and pulsating guitar texture). "Marcie"
utilizes poignant, twisting music set to desolately lonely lyrics about a
jilted woman; the recurrent use of red and green imagery in the verses is
especially clever. Character studies such as "I Had a King" and
"Nathan la Franeer" are painfully bleak in contrast to the lithe
domestic scene of "Sisotowbell Lane" and the winsomely reserved love
song "Michael From Mountains." Unusual in her oeuvre are the
overlapping dialogue prose manner of "The Pirate of Penance" and the jaunty
honky tonk stylings of "Night in the City." Mitchell sings in a
light, gossamer, at times diffident manner; vocal harmony is sparingly employed
here. David Crosby’s production is simple and effective. This excellent debut
is well worth hearing.” (All Music Guide). Such a beautiful record, original
Japan 1st press. Totally essential!!! Price:
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1388. JONI MITCHELL: “Clouds” (Reprise Records – P-8100R) (Record: Near Mint/ Gatefold Jacket: Excellent/ Insert: Excellent/ Company Inner Sleeve: Near Mint/ Rock Age Flower Obi: Excellent). Rarest version of Clouds complete with rarely offered Rock Age OBI present. “Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsureness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell’s classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell’s riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen.” (All Music Guide). Spellbindingly awesome and delicate in nature and its execution. Price: 375 Euro |
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1389. JONI MITCHELL: “Clouds” (Reprise Records/ Victor Records – SJET-8163) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Die Cut Wrap Around OBI: Mint). Rarest version of Clouds complete with die cut OBI present. “Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsureness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell’s classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell’s riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen.” (All Music Guide). Spellbindingly awesome and delicate in nature and its execution. Absolutely virginal condition – impossible to ever upgrade upon. Price: 400 Euro |
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1390. JORDAN, CLIFFORD: “Clifford Jordan in the World” (Strata-East – SES-1972-1) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original US pressing – not the circulation fake/ boot issue that gets passed of as an OG. “Whether at the helm of a record date or as a sideman, Clifford Jordan was known for giving his all. These studio recordings were originally made for Strata East, a label known for its adventurous spirit. The tenor saxophonist leads two separate groups. The sextet selections include trombonist Julian Priester, pianist Wynton Kelly, bassists Wilbur Ware and Richard Davis, drummer Albert Heath and trumpeter Don Cherry. Jordan’s pensive "Vienna" is given an extended workout, with Cherry’s somewhat abstract playing fitting in rather well. The second piece, Jordan’s "Doug's Prelude," is also a bit brooding, showcasing the leader, Priester and Kelly.” (All Music Guide) Top condition US original…. Price: 200 Euro |
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1391. JORDAN, CLIFFORD: “Clifford Jordan In The World” (Strata-East/ Trio Records – PA-7018) (Record: Side A = Near Mint - Side B = VG++ has a few visible lines/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Original and scarce Japanese first original pressing all complete with obi. Whether at the helm of a record date or as a sideman, Clifford Jordan was known for giving his all. These studio recordings were originally made for Strata East, a label known for its adventurous spirit. The tenor saxophonist leads two separate groups. The sextet selections include trombonist Julian Priester, pianist Wynton Kelly, bassists Wilbur Ware and Richard Davies drummer Albert Heath and trumpeter Don Cherry. Jordan’s pensive "Vienna" is given an extended workout, with Cherry’s somewhat abstract playing fitting in rather well. The second piece, Jordan’s "Doug's Prelude," is also a bit brooding, showcasing the leader Priester and Kelly. Price: 300 Euro |
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1392. JORDAN, DUKE: “Flight To Jordan” (Blue Note/ Toshiba EMI – BST-84046) (Record: Near Mint/Coating Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition high quality Japanese pressing of classic highflying Blue Note title. “Jordan just didn't have the personality to be a headliner. But that's just a guess, and it's based partly on this wonderful 1960 album—his only one as a leader for Blue Note. On Flight to Jordan, the pianist shines in three ways. First and foremost, Jordan is a magnificent composer. He wrote all six tunes on the original album, plus one of the two CD bonus tracks. All are spot on. There are four hard bop workouts that stand up to any the Jazz Messengers track of the era. There is also one achingly beautiful ballad, one magnificent slow, draggy blues and one standard. For the writing alone, Jordan earns my admiration. Second, he's clearly a terrific leader. How do I know? He lets the two horns—tenor Stanley Turrentine and trumpeter Dizzy Reece —steal the spotlight on almost every tune. They are a formidable front line. If you didn't know it was Jordan's album, you'd think it was a hornman leading the crew. They are that dominant. Jordan must have had supreme confidence in his own ego to arrange the tunes like that. Finally, Jordan is a fine pianist—nimble and melodic. I particularly love his soft, bluesy lines on "Deacon Joe," his exquisite solo on the ballad "Star Brite" and the gentleness of the closing piano trio on "I Should Care." Yes, it's a bop record, but it's the slow stuff that really separates Flight to Jordan from standard Blue Note fare.” (All About Jazz). A classic Blue Note that oozes with all that title suggests...This is the best sounding pressing out there. Was released in a limited run in 1998, pressed on 180 gram virginal Japan-pressed vinyl, directly taken from the Rudy Van Gelder master tapes and cut my sonic maverick supreme and living mastering legend Kotetsu Toru (revered by audiophile nuts) & comes housed in fully coated sleeve. Also the rarest Japanese high quality audiophile pressing out there. Press quantity was not that high at the end of the 1990-ties so these babies do not turn up too often. Price: 100 Euro |
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1393. JORGE BEN: “Mas Que Nada Original” (Overseas Records/ Teichiku – UPS-165-V) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: VG++ ~ Excellent – has a couple of wrinkles). Japan original press with obi – Japan only issue and one that does not surface that much. A groundbreaking blend of samba and soul that forever went onto transform the face of Brazilian music! The record works off the groove set down by Jorge's hit "Mas Que Nada" and takes the blend of bossa, samba, and jazz, and infuses it with a sense of folksy soul delivered by Jorge's raspy vocals and acoustic guitar work. So essential it hurts! Price: 75 Euro |
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1394. JORGE BEN: “Negro E Lindo aka Brajiru No Hoshi” (Philips –
SFX-5002) (Record: Near Mint/ Gatefold Textured Jacket: Near Mint/ Obi: Near
Mint). Rarely offered 1971 Japanese first original pressing that comes housed
in a Japan only textured gatefold jacket art and also complete with cool obi. Negro é Lindo is a worthy successor for the great
album Jorge Ben had released in the previous year. Jorge now takes his sound
further toward a tropical Soul, a style that was his unique invention. But
there are also still those hypnotic Samba grooves. Clearly, Negro é
Lindo belongs to those master albums Jorge Ben bestowed to the world. A seminal
set from – one that mixes samba soul with more baroque arrangements from
the legendary Arthur Verocai! The record's got a different feel than some of
Jorge's other work – almost a wider vision of music that ties his usual
funky style to some of the more ambitious modes being explored by Marcos Valle
and Edu Lobo at the time – expressed here in some larger instrumental passages
that shade the tunes lightly, while still letting Jorge step out strongly on
vocals and the usual mix of tight percussion and raspy guitar. With a good
handful of records, Jorge Ben enriched Brazilian Pop and beyond, international Pop music. Negro é Lindo is one of them. Price: 250 Euro |
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1395. JOY
DIVISION: “From The End To The Beginning – A Tribute
To Ian Curtis 15 july 1956 to 18th May 1980. You’re No Good For Me”
(private – No Number). (EP Record: Near Mint/ Picture Sleeve: Near Mint).
Rare Joy Division bootleg single that consist of one track recorded in 18 July,
1977 and was part of the Warsaw demo sessions. Here Joy Division sound raunchy
and almost completely punked out. Brilliant, raw, abrasive…Price: 50 Euro |
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1396. JOY DIVISION: “Lost Control” (No Label – JD-Lost-7) (Milk Colored Record: Near Mint/ Jacket: Excellent). Classic Joy Division bootleg from fays long gone. Clean and clear concert recording of the band’s legendary performance at the Bowdon Vale Youth Club, Altringhan, March 14th, 1977. Tracks include: She’s Lost Control – Shadowplay – Leaders Of Men – Insight – Disorder – Glass – Digital – Ice Age – Warsaw – Transmission – I remember Nothing – No Love Lost. Good recording quality and comes pressed on white/ milky colored vinyl. Does not turn up that often and one of the better boots of Joy Division in action. Price: 75 Euro |
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1397. JOY DIVISION: “Love Will Tear Us Apart” (Nippon Columbia/ Factory – YW-7421-AX) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). No words are needed. Clean as a whistle Japan original pressing all complete with rare obi. Getting tougher and tougher to unearth on these shores. Price: 150 Euro |
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1398. JOY DIVISION: “Closer” (Factory/ Nippon Columbia – YX-7338-AX) (Record: Near Mint/ Jacket: Near Mint/ Printed Inner Sleeve: Near Mint/ 4-Paged Illustrated Insert: Near Mint/ Obi: Near Mint). Rare original Japanese first pressing of 1984 in top condition with all inserts and obi present. There is no opener quite like, ‘Atrocity Exhibition’. Those grinding, buzz saw guitars and Ian Curtis imploring you, “this is the way, step inside”. If Unknown Pleasures didn’t end on a dark enough note, Joy Division’s second album, Closer had no intentions of letting up. A masterpiece and totally indispensable! You know you need this, I know I do…. Getting so tough to unearth in top shape and this baby here is just perfect – next to impossible to ever upgrade upon! Price: 250 Euro |
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1399. JOY DIVISION: “Still” (Factory – FACT40) (2 LP Set: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Ribbon: Near Mint/ 2 card Inner Sleeves: Near Mint). Original 1981 UK pressing Joy Division 2 LP set on Factory Records. UK 1st press vinyl LP in heavy card hardback gatefold sleeve with die cut Hessian card inner sleeves with hessian outer sleeve and white ribbon present. The matrix numbers are as follows: Town House ~ The Chicken Won’t Stop ~ The Chicken Stops Here - Fact 40 A 1 and Fact 40 B1. The set was released in 1981 as a collection of rare Joy Division recordings alongside the band's very last concert performance at Birmingham High Hall. And aimed at quickly curtailing the bootleg industry that followed the death of Ian Curtis. Factory Records collected a number of outtakes and unfinished songs along with a recording of the last gig the band played. Undoubtedly as compelling as they were live - with Curtis’s spastic dervish act making corporeal the bleak, intense muse that informed their work - the sound of the live recording is thinned out as it lacks producer Hannett’s fairy dust. The studio material fares much better, with “Dead Souls” as crucial as anything on Unknown Pleasures or Closer. The same goes for the post-punk glory of “Glass”, containing the DNA of white R&B in its grooves. Other tracks like “Ice Age” sound less complete in their thrashy approach. Still, it is a great and beguiling set. Top original copy of this highly influential album – hard to improve upon and getting scarcer by the minute. Price: 375 Euro |
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1400. J.R. MITCHELL: “Live” (Doria Records – JRM-101) (Record: Near Mint/ Jacket: Near Mint). 1980 original private pressing of totally overlooked amazing spiritual jazz slide. The overlooked part will certainly change as people will catch up to this discarded and forgotten masterpiece by Byard Lancaster drummer/ percussionist sideman who came to prominence on the Live at Macalester College LP that came out on the Dogtown label. Here he operates with his own unit, released on his own private Doria Records imprint in 1978 and under his own moniker, flanked by John Neves (bass) Sonelius Smith (piano) and Gary Hammond (soprano/ tenor sax). A beautiful little gem of a record, free flowing late night spiritual jazz slide that is at times delicately executed as well as adventurous in its approach. Centered around Mitchell’s drumming, the whole affair breathes out a warm organic flow, dashed with intuitive injections by each member, oozing out a freely drifting liquid effusion of live recorded cool nocturnal improvisations. This record has been slept on but needs its place into the limelight. A really nice little sucker! Great!!! Price: 250 Euro |
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1401. JUDY HENSKE & JERRY YESTER: “Farewell Alderbaran” (Straight – STS-1052) (Record: Near Mint/ Gatefold Jacket: Excellent – small tag tear inside gatefold upper middle/ Company Inner Sleeve: Near Mint). US 1969 acid psych original in top shape. WHITE label PROMO issue with matching promo sticker on sleeve. Brilliant husband and wife duo Judy Henske and Jerry Yester's 1969 folk-psych-rock-cabaret masterpiece Farewell Aldebaran has gained a near mythical totem-like status over the years. The album has in the last couple of years been cited with a frequency that propelled it unto almost everyone’s want list. For example, Richie Unterberger's seminal Unknown Legends of Rock 'n' Roll dragged out of obscurity after which the disc popped up in Mojo's list of positively essential and undeservedly obscure albums and finally hip scenesters like the No Neck Blues Band folks introduced the disc to the new generation kids on the block by roping in Yester into producing their Revenant release Sticks and Stones. Yester as well as Henske had been heavily ensconced in the West Coast folk rock scene; Yester as a member of the Lovin' Spoonful and producer for L.A. songwriters like Tim Buckley, and Henske as a solo performer and recording artist, who was championed by the likes of Jack Nietzsche. Their first collaborative release, Farewell Aldebaran, was a hugely ambitious one and varied, with Yester providing the towering arrangements to Henske's breathtaking vocalizing efforts and intensely lyrical writing. They kick the album off with a vicious demented track burner of s song and then proceed to try their hand at pathos filled and desperation-ridden country rock and oblique protest ballads with a whiff of fractionalized surrealism. The song "Rapture" is an absolute tour de force of massed vocal melodies ascending skyward as Henske sings, "She will betray you/as she sings/her voice in the hot sun/is calling/in rapture you die/flying and falling." There honestly isn't another record even remotely like it, and it's to their credit that they were able to make an album so diverse hang together so well. An instant classic and hard to come by in a condition as clean and beautiful as this one. Price: 175 Euro |
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1402. JULY: “The Second of July” (Essex Records – 1015LP) (SEALED copy). Long deleted killer LP that is comprised of demos & outtakes from the July album. Released way back in 1995, July released only one LP during their lifetime. There’s no way to overstate the excellence of the album, with its eerie sound, Indian-influenced chord sequences, studio trickery (tape loops/phasing), and heavily reverb-laden vocals. But that’s not where the story ended. Even before that quintessential psychedelic album was made, band leader Tom Newman was experimenting with home recording equipment. In 1967, he installed basic recording facilities in the bedroom of his flat in an old Victorian house in Ealing. There, he and guitarist Peter Cook tried out ideas, coming up with many of the standout songs from the July album. The demos they recorded display the kind of confidence that Newman feels was lacking in the album proper (yes, the ultra- famous psychedelic classic album!) that they recorded in 1968. Let’s go back to the near-beginning of it all, to a flat in a Victorian house in Ealing, and listen in on demos recorded with DIY alacrity by a studio whiz, tracks which will change the face of psychedelia, eventually, after decades of obscurity. Price: 40 Euro |
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1403. The JUNKIES: “Live In NYC 1975” (Private/ Nowhere Records – J-01) (7 Inch EP Record: Near Mint/ Picture Sleeve: Near Mint). Late 1980s Japan only extremely limited private press/ boot issue of about 150 to 200 copies of a live recording of the illustrious Junkies, a band comprised out of Johnny Thunders, Walter Lure, Richard Hell and Jerry Nolan. First of all how can you go possibly wrong with a band name like that? Before even glancing at the member’s line-up, I instinctively knew this was going to be lethally good. And no mistake, it just is – making you feel live diving head-first into the amphetamine-fueled burned out basement that once was your secret sanctuary. But no more. Price: 150 Euro |
