Q-R Ethnic Recordings U-V S-T O-P W-X K-L M-N V.A. I-J Y-Z G=H E-F C-D Compact Disk A-B

980. ICCHUSETSU KOTEN MEISAKUSHU: “S/T” (Teichiku Records – GM-6019~24) (6 Lp Set: Near Mint/ Booklet: Mint/ Outer Cloth Covered & Embroided Box Set: Near Mint/ Obi: Near Mint). 1983 original pressing, all complete with rare OBI and book. Well this is some seriously rare shit, it was ranked quite high on my mental want list for eons, but I never could encounter a copy, nor did I ever see one. That is until now and what a sight for soar eyes it is - as well as upon spinning it, coming over as a massage of liquid honey for your membranes. This is a massive 6 LP box set with thick annotated book and housed in cloth bound box with relief print and obi. The music embedded inside the records’ grooves bring to hear a musical tradition going back 350 years and transports the listener to some stripped down and bare-butt naked aural soundscapes that defy all categorization and transcendent fleeting fashionable styles and musical cultural gutter crap we get bombarded with on a daily basis. This is high art executed in esoteric deep subterranean manner, creating an arresting experience. Austere kotostrummings gel seamlessly together with deep wailing female vocals, creating an atmosphere where the tiniest gestures could trigger minimal apocalyptic waves of sound. It is a mesmerizing experience, trance-inducing to the listener maybe where diminutive fingerpicking leads to exploratory sonic worlds. The Spartan & unornamented female vocalizations have a bewitching effect, existing on their own plane, both impervious to and not responsible for trends as we know it of any kind. Blessed with a poetic resonance, the barren setting creates some defining moments into a shamanistic sense of poetry through sound. These enhancements give the already skeletal music undercurrents of undefinable depth that is deceptively intense, yet casual in its feel and meticulous in its musical detail and lyrical economy. Listening to this, it sends shivers down your spine, making you gasp in disbelief about a musical world you did not know existed but yet will bring you an unbound stream of pleasure. This is the shit! Some serious deep sonic marvels to get completely lost in. Rare and obscure to say the least, all complete copy with thick annotated book, lavishly packaged and illustrated cloth box and obi. One of the musical highlights of the past years, deep, uncompromised, unhip and eargasmatic when subdued to it. This is the point of no-return real deep listeners eventually get to … although many are called, few actually reach this point of utter bliss. Best musical experience ever! Price: 500 Euro
981. 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 mans 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!!! Unplayed MINT copy – impossible to ever find a better one and a one off chance to own it in this condition. SOLD
982. 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
983. 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: 150 Euro
984. ICHIYANAGI TOSHI & KURI YOJI & Unaccredited ONO YOKOO: “Yabunirami no Konsaato” (Salon De Coo – Private 1966). (EP Record on Red Wax: Mint/ Illustration Book: Mint/ Rice Paper Dust Jacket: Mint/ Binding: Mint/ Attached EP jacket: Mint). Signed and date copy!!! Published privately in an edition of 400 numbered copies (??) by illustrator and animation underground artists Kuri Yoji in 1966, this copy here being numbered 380. Another totally elusive Japanese avant-garde item that ranks high on many a want list but sadly enough fails to appear to the surface. Not surprisingly so since it was released in an ultra limited run way back in 1966 by Kuri Yoji himself. But after much digging and pulling strings, I could turn up a mint unplayed copy of this gem. The music can be regarded as some of the finest ever created by Ichiyanagi, starting of with grinding processed violin noise, slowly making way for a lone prepared piano that plucks out an atonal array of disjointed notes, spiced up with occasional eruption of sighs, puffs and shrieks exalted by no one else but Ono Yokoo (she was Ichiyanagi’s wife at the time). The addition of Ono Yokoo to the creative process is a shot right in the compositional bull’s eye since her exploratory use of space is nothing but kaleidoscopic! The second side (the whole affair plays at 33 RPM) sees again Yokoo in action, set against some dusty well-controlled noise made up out of a few dissonant plucked grinding prepared piano notes & string-scrapes. The sheer lust of raw sonic dust and boulders that engulfs the aural landscape meanders slowly into a powerful morass of shifting pulses and grinding metal strings, eventually coming together and pile up into a delicate jumble of Yokoo’s disembodied voice working its spellbinding atonal magick. Ichiyanagi and Yokoo proof here that as early as the mid-1960s they were at the very nexus of electronic noise and environmental sound art, creating hallucinatory microdot-inflected avant-garde soundscapes that had the ability and power to transport the listener to a distant, frozen-crystal wasteland that was filled with cries of rage and anguish and which made them stand eyeball to eyeball with the apocalyptic doom of the Cold War era. Just massive, highly obscure and hopelessly rare piece of visual and aural art. First spare mint copy to crawl my way in 9 years time. Price: 250 Euro
985. ICHIYANAGI Toshi, KOSUGI Takehisa, RANTA Michael: “Improvisation Sep. 1975” (Iskra Record – Iskra-002) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: is Xerox copy). TOP copy with credit paper paste on back present – Best copy ever!!! Insert is missing but has a high quality Xerox copy. 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. SOLD
986. I.D. COMPANY: “S/T” (HorZu Black Label – SHZE-801 BL) (Record: Near Mint/ Jacket: Excellent/ Company Inner Sleeve: near Mint). Original 1st German pressing. “Krautrock masterpiece extends exploratory tendrils down two seemingly incompatible lines of investigation, each occupying one side of this LP and each fronted by a different powerhouse vocalist. Anyone initiated into the soul piercing hoodoo grammar of Dr. John's Gris Gris will find much to get emotionally wrung out over here, especially with Frumpy vocalist Inga Rumpf's uber masculine and completely wasted sounding vocals occupying center stage. Conversely, side B for much of it's length relinquishes warmth and happy wasted hoodoo vibes in favor of flinging you unceremoniously into a frequently harrowing psychic melee fronted by the hysteria tinged and Leslie cabinet shattered vocals of a young pre-Slapp Happy Dagmar Krause. Residual echoes of jazzy jamming cling to the edges of this amorphous febrile mass, but that only reinforces the deliriousness of the endeavor by offering the listener an olive branch only to yank the rug out from under your feet as you approach.”(Vdoandsound). Spot on a seldom turns up in such a nice condition. Price: 200 Euro
987. IGGY AND THE STOOGES: “Raw Power b/w Search And Destroy” (CBS SONY – SOPB-244) (EP Record: Near Mint/ Picture Sleeve Jacket: Near Mint). Freakingly rare Japan only Stooges EP release that comes housed in Japan ONLY sleeve art. WHITE LABEL PROMO ISSUE in top condition. One word: BRUTAL. A right in your face slab of uncut kerosene mixed with amphetamines and an onslaught of lovely unholy noise. Amazing condition. Price: Offers!!!!
988. 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

989. IKEDA SATORU: “Moo…” (Private Press/ ALM Records – LM-1057) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – some faint foxing/ Insert: Mint). One of the rarest Japanese free jazz/ Improvisation slides ever! Released in an edition of only 50 copies and this one never surfaces. Only the 2nd time in over a decade I see a copy of this howler. So far only a handful of copies are accounted for. Monster rarity Japanese private solo improvisation free jazz slide recorded and privately release as a tiny minuscule edition in the Osaka/ Kansai region during that unholy year of 1977!! Ikeda was a Japanese saxophone outlaw, tackling the Alto, Soprano and Flute. This, his sole recording before he sank back into the deep black waters of anonymity is one that has a massive depth of range to it, with blurry semi-audible sounds which he by turns illuminates and obliterates. Some beautifully on-point playing here, running from tiny illuminated bubbles of breath through to gorgeous sunrise tones, with Ikeda playing in a gentler and more straightforwardly gorgeous style than his predecessors Abe and Takagi. Nevertheless, Ikeda was truly gifted and has a phenomenal facility with phantom upper-register squeals, developing a whole vocabulary from lonesome sonic highs, bringing a semi-wild ritual edge to the deal, meandering into jabbers of unknown tongue and rippling darts of breath from his saxophone and flute. First time ever a copy is offered for sale. Another slab of delicate sax and flute improvisations and another building stone into that select circle of amazing Japanese free blowers. Hideously rare private press artifact that was pressed by Kojima for Ikeda’s own minuscule private imprint. Price: Offers!!!!

990. ILYAS AHMED: “The Vertigo Of Dawn” (Time-Lag – Time-Lag-042) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint). “Much anticipated first proper release after a string of ear tugging & increasingly impressive private press cdrs. A real shinning spirit in these somewhat goofy times of “folk-psych” abuse, this guy nails it like its in his DNA. Way beyond a simple formula, this is a complete tonal voyage. Opening the album with a dark ritual of dueling reeds and buzzing drones, things than erupt into some seriously burning psych raga excursion built from totally heavy, jamming, acoustic guitar licks, eastern grooving hand percussions, stoned backwards or fuzzed-out electric guitar splatters, and subtle creaky drones. The vocals are nearly unintelligible but swirl beautifully through most songs like floating smokey ripples. woozy, head bobbing, and completely THERE. yow…” (Label Description). Price: 75 Euro

991. IMADA MASARU TRIO + 1: “Maki” (Victor Records – SMJX-10106) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent – lower middle seam split & wrinkle on back). Freakingly rare and impossible to dig up 1970 Japan 1st press original with OBI! Copies without obi do surface from time to time and almost always the sleeve has serious issues. This copy here is the never seen before WHITE label Promo complete with never-offered-for-sale OBI. A minor miracle and in amazing condition. Released on the legendary Victor Records “Ni Hon Jazz Series”, Imada Masaru’s “Maki” is one of the rarest & most revered Japanese jazz slides to see the light of day. The line-up consisted out of: Imada Masaru – piano, Mimori Ichiro – Tenor Sax, Mizuhashi Takashi – bass and Ozu Masahiko – drums. The trio & quartet on this recording gels together like a cohesive and steady unit, moving forward in a poetic, be it a slightly introspective fashion, guided by Imada’s intuitive piano playing. Nothing hollow and out of focus here, these lads execute the job in a beautifully painful manner, floating on polyrhythmic modal grooves and driven by Imada’s understated molecular shifting piano-lines, sparsely adorned with minimal talking drums, straightjacketed demonic bass riffs and the occasional sax howl. They manage to create a hypnotic and arresting listening experience that only seasoned scenesters can achieve by dissecting all of their movements into fractious pieces floating on an intuitive approach, a system of Dickensian severity that results in a bewitchingly eargasmatic modal groove that is brimful of poetic resonance. Therefore, it stands shoulder to shoulder with the best recordings of that golden age but unfortunately sales were back in 1970 depressingly low, making that this maverick here is one of the most sought after Japanese modern jazz slides to seep out of Tokyo’s underbelly. Especially all complete copies with obi are virtually nonexistent and to make the whole deal even more mouthwatering, this baby here is a white label PROMO issue. Top condition but damned oh so elusive with the obi present. Obi has a wrinkle on back and a 1cm lower seam split, for the rest perfection all round. It is nothing short of a miracle that the obi is here to begin with so…. Only know of a couple of people owning a complete copy of this beast so…you need to go to periscope depth in order to wheel this white whale of Japanese jazz into your collection. Price: Offers!!!
992. INA LONDAHL: “Menneske Min Ven” (Harvest – 6C 064 38097) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Original Inner Sleeve with Pictures and Lyrics: Near Mint) Largely unknown fantastic Danish progressive folk psych album out of 1973 that reminds me of Carol Of Harvest. Female vocal hallowed Danish progressive folk moves, long tracks, spellbinding female vox, liquid guitar insertions and amazing songs. Really fantastic album. Just never surfaces and totally overlooked masterpiece. A truly fantastic slide from the European high north - sadly totally unknown to most and hardly ever surfaces, but the music is spell bindingly awesome. Once this gets out there and people begin to notice this gem, it will explode for sure... Price: 200 Euro
993. 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!!!
994. 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: 400 Euro
995. INOMATA TAKESHI & SOUND LTD: “Sounds of Sound L.T.D.” (Columbia/ Takt – HS-7001) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Mint). Bloody rare – if not the rarest of all Japanese spiritual funky jazz albums. So far, complete copy has NEVER been offered for sale before in any list – it is just that rare. Only the 2nd time ever I see an original press copy all complete with always missing obi. Original and freakingly rare and next-to-impossible to get complete copy as pre-released way back in 1970 – all in NM condition. Collector and music freak’s wet dream come true. Headed by jazz drummer Inomata, “Sounds of Sound Ltd” is a beast of Jazz Soul Funk & Jazz Rock spiced up with sprinkles of acidic psychedelia. Around the vortex of Inomata cluster-fly the crème of the crème of Japan’s 1970 jazz/psych cum underground players such as Uematsu Takao on sax, Shunzo Ohno on trumpet, Ryo Kawasaki on guitar, Yokota Toshiaki on flute, Jun Suzuki on bass & Shigemichi Domoto on trombone. The general outcome is a real killer bomb of a disc filled with groovy breaks, ominous delirious playing, swirling dervish like head spinners filled with tantalizing solo flute and organ infested strong beat doped up grooves such as on Mustache (which ends by Hey Jude chorus), building up into the massive and dynamic jazz funk Joint and crashing down in full flamed greatness on the melodic jazz with vintage soul light shining through on Monster. A unique and highly addictive piece of Japanese 1970 underground spiritual soul psych jazz. This copy here is the rare original pressing complete with obi and so far I have only seen 2 copies with obi. Regular copies already go through the roof if they surface at all, this one here is with obi so go figure. Original 1970 pressing and not the reissue!!!! Never offered before in any list, this copy is the best around, impossible to upgrade upon and a “one of a kind” item….and the music just KILLS!!! So make your move or cry forever. SOLD
996. INOMATA TAKESHI & SOUND LIMITED:INNOCENT CANON” (King Records – SKK-3011) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Poster Insert: Mint). One of the RAREST Psychedelic Jazz Rock albums to come out of Japan, rubbing shoulders with Ceremony as far as scarcity is concerned. Never turns up, first original copy that came out in 1971 to cross my eyes in over 15 years. Released on King Records “New Emotional Work Series” that also sprouted out Love Life Live + One, Singers 3, Flute Adventure and others. Nothing innocent about this record – because the groove is hard and heavy, wild and trippy – a really heady brew of funky jazz and more psychedelic influences – all recorded with some weird sounds in the background too! The album's a great one from Japanese groove pioneer Takeshi Inomata – and it's almost a fusion of earlier 60s funky jazz with some of the more tripped-out modes slipping out of the heady jazz scene and the doped up psychedelic rock era. Vamping rhythms and full-on organ grinds are undercut by fuzzed-out, demented and lysergic guitar parts and soaring & trippy organ lines – all augmented by some spoken, almost adlib rap Japanese passages, sound effects, and production styles that abstract out some instruments into very unusual modes. There's plenty of soulful and funky moments throughout and Mizutani’s acid-spiked psychedelic guitar playing rules throughout, ripping the skull off of any caveman’s head. All killer with absolutely no filler, this is one of the all time best psychedelic jazz and heavy doped up funk records ever to seep out of Japan. Sadly originals just never surface and this is the first one ever to seep out the psyched out Japanese netherworld. PROMO issue, record is dead mint, always-missing poster insert is present and jacket is also EX~NM with no defects, perfection all way round. Sadly impossibly rare, amazingly awesome and it makes your brain go in meltdown mode Here you have a mint copy. Stupidly rare 1971 original in the best condition imaginable. Never seen a copy for sale anywhere, that rare, so make your move and hold your peace forever!!! Price: Offers!!!!
997. INCREDIBLE STRINGBAND: “The 5000 Spirits of the Layers of the Onion” (Victor Japan – Blue toned Electra label – SWG-7574) (Record: Near Mint/ Jacket: still in shrink and 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. 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
998. INCREDIBLE STRING BAND: “The Hangman’s Beautiful Daughter” (Elektra/ Victor Records – SWG-7560) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint) 1972 rare Japan 1st press original on the “Guitar Player” logo Elektra imprint. This is hardly ever offered WHITE LABEL PROMO ISSUE!!! “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, NM condition & white label PROMO copy to boot, never seen promo of this one before. Price: 150 Euro
999. 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: 150 Euro
1000. INDEX: “”S/T” (VOXX – VOXX.200.023) (Record: Near 2int/ Jacket: Near Mint). Truly amazing 1967 basement garage-surf dementia that will floor anyone with a decent set of ears. “primitive surf-garage-psych with off-key teenage vocals and an unreal soundscape; imagine Dick Dale jamming with 1966 Velvet Underground in an airplane hangar after a night of booze & Quaaludes. Great band originals share the stage with unparalleled Byrds deconstructions, while some of the feedback and drone passages are bordering on avant noise. A true missing link item bridging the early and late 60s sounds.” (Acid Archives). 1983 reissue of this ultra rare slide. So good. Price: 50 Euro
1001. 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
1002. INSTANT COMPOSERS POOL – HAN BENNINK & WILLEM BREUKER: "New Acoustic Swing Duo" (ICP – 001) (Record: Excellent ~ Near Mint/ Hand Painted/ Designed Jacket with silkscreen back: Mint). 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 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 other's 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 it's artistic practices and sentiments." (Thumpasaurus). 1st privately released issue of 1968, complete with handmade & hand painted cover by Bennink, making each cover unique. Just never turns up. Killer slide!!! Price: Offers!!!
1003. 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
1004. 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
1005. 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
1006. 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: 125 Euro
1007. 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
1008. 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
1009. 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: 200 Euro
1010. 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: 200 Euro
1011. 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!!!
1012. 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!!! 
1013. 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
1014. 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: 150 Euro
1015. 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: 400 Euro
1016. IRON BUTTERFLY: “In-A-Gadda-Da-Vida” (Atlantic – MT-1054) (Record: Near Mint ~ Mint, appears to be Unplayed/ Gatefold Jacket: Near Mint ~ Mint/ OBI: Mint). Original Japanese 1st press issue housed in Japan only thicker-than-life gatefold jacket. And complete with seriously rare 1st issue obi Perfect copy!!!! Still surprised how viciously good this one sounds after having heard it for a zillion times. One of the most addictive riffs of all time? Obi on it looks so damned nice, top copy, they do not come better than this one. Price: 150 Euro
1017. 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!!!
1018. ISHIKAWA AKIRA & COUNT BUFFALOS: “Electrum” (Victor – SMJX-10104) (Record: Near Mint/ Gatefold Jacket: Near Mint). WHITE LABEL PROMO issue, just hardly ever surfaces!! Stupidly rare killer Japanese psychedelic jazz slide, only the 2nd time in all these years that I can lay my mittens on a copy and the 1st time I see a promo one. 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 immaculate 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 great condition as this copy here, so go berserk. Price: Offers!!!!
1019. ISHIKAWA AKIRA & COUNT BUFFALOS: “Electrum” (Victor – SMJX-10104) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent ~ Near Mint). WHITE LABEL PROMO issue, just hardly ever surfaces!! Mega rare all complete copy with…OBI!!!! Just about never surfaces with the obi present and intact! Stupidly rare killer Japanese psychedelic jazz slide, only the 2nd time in all these years that I can lay my mittens on a copy and the 1st time I see a promo one. 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 immaculate 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 great condition with the OBI flashing is delirious colors with pride as this copy here, so go berserk. Copies with obi are …. virtually impossible to dig up so…SOLD
1020. 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: 150 Euro
1021. 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
1022. 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

1023. IT: “Viaje – Musica Electronica Libre” (Movie Play – S-32.866) (Record: Near Mint/ Gatefold jacket: Near Mint). Original Spanish pressing from 1976 in outstanding condition. A legendary electronic masterpiece issued by this duo of electro-acoustic musicians from Spain and Argentina, Eduardo Polonio and Horacio Vaggione, together they deploy synths, electric guitars, organs and bass and squash them all up together in sundry sense befouling ways. On the A side, they're tangled into an overpowering threshing machine of spitting electronic mayhem, while the B side moves the proceedings into overtly acidy territory, everything ratcheting down and expanding outward into a delirious psychedelic electronic whirlpool. Price: 250 Euro

1024. 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: 275 Euro
1025. 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: 125 Euro
1026. 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: 75 Euro
1027. 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!!!
1028. J.A. SEAZER: “JASHUMON” (Victor Records – SF-1021) (Record: 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 NEAR MINT 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!!!
1029. JACKS: “Super Session” (Express – ETP-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!!
1030. JACKSON C. FRANK: “S/T” (Columbia – SX-1788) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Excellent). Original 1965 UK pressing, MONO issue. “Jackson C. Frank's original 1965 album, produced by Paul Simon, is a lost classic, daringly complex and honest, filled with virtuoso playing that is all the more impressive for the offhanded way that Frank and company (including a young Al Stewart on one track) make it look so easy. There is a convergence elements here that may confuse the uninitiated, because of their seeming contradictions -- a flashiness and assertiveness on the acoustic guitars and the approach to singing on numbers like "Don't Look Back" and "Yellow Walls" that are byproducts of Frank's early history as a rock & roller, a depth and complexity of blues playing that derives from life as much as from talent and dexterity; and the meld of American and English folk sounds is like nothing that any listener has heard from either side of the Atlantic anywhere else. Some of these elements paralleled characteristics of Simon's work -- he, like Frank, had been a devotee of rock & roll before he turned toward folk music, and also assimilated American and English folk influences while staying in London -- but Simon's resulting work was smoothly commercial and mostly comforting and upbeat, and even playful, whereas Frank's music seems laced with and pointed toward an overpoweringly serious and sad take on life and living. "Blues Run the Game," "Yellow Walls," "My Name Is Carnival," and "You Never Wanted Me" all help make album kind of overpowering -- but it's the downbeat nature of those same songs that likely would have prevented Jackson C. Frank from being anything much more than a major cult favorite at the time. Today it's just a brilliant piece of essential listening, (All Music Guide). Awesome condition UK original pressing, record is totally clean, sleeve is EX with no defects or damages, small creases in the lamination and humidity stain on back. Hard to improve upon. Price: Offers!!!
1031. 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!!!!
1032. 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
1033. 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
1034. 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: 300 Euro
1035. 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
1036. JAMAL, AHMAD: “Tranquility” (ABC Records/ King Records Japan – SR-3019) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan 1st original press issue from 1969 all completely with hardly ever seen first issue obi present. WHITE label PROMO issue. “This hard-to-find recording is of value if only to hear Jamal’s interpretation of two Burt Bacharach – Hal David gems from the '60s, "I Say a Little Prayer" and "The Look of Love." Since the early '50s, Jamal has managed to generate commercial appeal within the piano trio format by crafting memorable arrangements without resorting to clichés. He treats the entire trio -- not just the piano -- as his instrument and has mastered the use of space and dynamic variation in shaping his distinctive group sound. Jamalb has a keen sense of formal structure; his concise renderings of standards and pop tunes always offer a fresh take on the familiar by deconstructing and reconstructing melodic, harmonic, and rhythmic themes. This collection is no exception. Jamal himself a major innovator in modern jazz is able to continually find inspiration in the developments of other jazz artists. Though he remains open to new trends in jazz, Jamal’s music always retains its essential uniqueness. While not to be ranked amongst his greatest works, Tranquility is a very fine recording and any opportunity to hear this master should not be missed. Along with bassist Jamil Nasser and drummer Frank Gant, Ahmad Jamal makes beautiful and accessible trio music conceived with great depth and clarity.” (All Music Guide). Never before encountered Japan original press all complete with obi. Seriously rare and hard to get original press issue. Price: 150 Euro
1037. JAMAL, AHMAD: “Freeflight” (Impulse Records – AS-9217) (Record: Excellent ~ Near Mint/ Gatefold Jacket: VG++ ~ Excellent – some storage wear visible/ Company Inner Sleeve: Excellent). Original US pressing – WHITE label PROMO issue. This set from the 1971 Montreux Jazz Festival has one of pianist Ahmad Jamal’s finest recordings of the early '70s. Performing with bassist Jamil Sulieman Nasser and drummer Frank Gant, Jamal shows that his basic style has evolved since the 1950s but is still quite recognizable. He uses the electric piano as a double for color and stretches out on three numbers (including a remake of his hit "Poinciana") in addition to playing a five-minute version of Herbie Hancock’s "Dolphin Dance." An excellent effort. Price: 35 Euro

1038. JAMAL, AHMAD: “Ahmad Jamal At The Top – Poinciana Revisited” (Impulse – AS-9176) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). US original pressing of splendid but largely overlooked Impulse title. 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. Price: 60 Euro


1039. 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: 70 Euro
1040. 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!!!!
1041. JANSCH, BERT & JOHN RENBOURN: “Bert And John – Kieri Na Deai” (Transatlantic/ Victor Records – SWG-7546) (Record: Excellent ‾ 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 capsule obi. 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. Price: 400 Euro
1042. The JAZZ COMPOSERS ORCHESTRA: “Communication” (Fontana – 681 011) (Record: Excellent ~ Near Mint/ Laminated Fragile Gatefold Jacket: Excellent). Original 1965 Dutch first pressing in very nice condition. Comes housed in fragile gatefold sleeve. 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: 100 Euro

1043. 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

1044. 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
1045. 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!!
1046. 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
1047. 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
1048. JEAN MARC FOUSSAT: “Abattage” (Pyjama – 1301) (Record: Excellent/ Jacket: Near Mint). Rare French private press rarity of musique concrete and tape splicing grandeur!!! Algerian-born sound engineer Jean-Marc Foussat crafted Abattage back in 1981, one of the most creative collages of the era: brutal and frenzied musique concrete that ran the gamut from electronics to found sounds and from vocals to guitars. Foussat surely sonic electronic and totally alienated fragmentation bombs with using his guitar-manipulated dementia as guiding torch, he succeeded in creating an estranged and disaffected sound palette. The music is dark, strange, at times even a bit comical with flashes of corny one hit pop wonder tape collages bursting out through the ether as a guttural scream sputtering out of blackness, making this disenfranchised sound palette certainly not of this world. A morphogenetic cluster of whirl-like inorganic low tones, piano stirrings and guitar raping that evoke a weird incantation out of at times thickly layered liquid sounds that absorb the sounds of instrumentalists and its own synthesized reactions. Foussat’s creative bite of tapes, multi-instrument abuse, musique concrete, environmental noises and found sound bites is choked up as an extended bombast of retching avant-garde sound art intravenously distorted with an abstract frenzy that mirrors the uncertain marvels to haunt the world since the rise of recorded sound. The end result is some seriously heavy period-vintage weird hell broth float with bare accompaniment, creating some organic free floating debris and minimal soundscapes, a phantom cloud of destitute sonic collage art bordering on the euphoric as well as on the disemboweled excessive dissonant harmonic. A trip on its own. Begorrah! There's enough wild energy in Jean-Marc Foussat’s outpourings to restrain the basic needs of a small French village (wine, bread, electricity, sex) for about the next ten years… this twitching, grinning octopus of music plays anything and everything he get his tentacles on, from guitars, pianos, the mighty EMS synth and assorted bric-a-brac, plus he did the (very original) field recordings and engineered his own sessions, composed and edited everything — his only collaborator is Jean--Francois Ballèvre on the piano on one track ! 
If your hunger is for wild, unexpected combinations of far-flung freewheeling ideas, then this record (with the exception of first Faust LP, which oddly enough it does kinda resemble) absolutely takes the biscuit; lets cut to the chase, because the piano with pneumatic drill track is one of the most effective and most intensive examples of such demented mixings, but then you also get such things as truck drivers delivering huge vats of good French wine, screams, hammerings and poundings, and — I personally guarantee it — absolutely the wildest synth playing you have heard in your life. I can't over-exaggerate the value of the unfettered, screaming barbarity of Foussat’s insane EMS work, which will ignite your spirit like a fucking sky-rocket and launch you 100 miles into the stratosphere.” (Ed Pinset) A true ear-opening experience and the best discovery of the last 5 years!!! Copies rarely turn up and it is still an undetected masterpiece!!!! Price: 150 Euro
1049. JEAN-PIERRE MASSIERA & Co.: “Phantasmes” (Crypto – ZAL-6420) (Record: Near Mint/ Jacket: Near Mint). Here's one more key piece of the puzzle from the mad Gallic genius that is Jean Pierre Massiera, here laying out the deliciously wrong and exquisitely questionable cosmic disco template he'd carry to a different set of unforgettable ends in the course of his work with Venus Gang, Rockets and Visitors in their second incarnation. Cosmic disco-psych record by the mad French producer-musician, responsible for les Maledictus Sounds, the cult Horrific Child or Chico Magnetic Band and Soraya. Nothing but good stuff if you like weird records with FX and strange noise, even some proto rap on it. Massiera even used some sounds from Chico Magnetic Band for this LP. This is a totally slept on production from Jean Pierre Massiera, handled and carved out in his signature legendary crazy style. Another weirdo concept cosmic-funky-disco-rock-psych record that touches some ground with his les Maledictus Sounds, injecting vibes from his psych piece Horrific Child or even his Chico Magnetic Band. Nothing but excellent stuff if you like strange records with effects electronic noises, proto rap jam, rock guitar, funk bass, revert loops! JP Massiera even used some sounds samples from his Chico Magnetic for this LP. Rare and in demand and this copy is the cleanest out there, just near mint condition on all fronts. Price: 150 Euro
1050. JEANNEAU, FRANCOIS: “Une Bien Curieuse Planete – Such A Weird Planet” (Palm – PALM-22) (Record: Near Mint/ Jacket: Near Mint). Original 1975 French first pressing in top shape and the amazing companion piece to the Jacques Thollot Watch Devil Go LP which was recorded in the same year for the same label with many of the same personnel. Une Bien Curieuse Planete mates the sax, flute and synth of Jeanneau and the bass work of J.F. Jenny-Clark (both featured on Watch Devil Go) to Magma keyboardist Michel Grailler's piano and synth, with Bernard Lubat taking Thollot's place at the kit for a series of highly peculiar pieces that alternate between gorgeously woozy synth dominated library music-like curios, free jazz blowouts and straighter stretches of jazziness, the album split about evenly between these poles, though it's deceptively frontloaded with a lengthy piece that’s one the album's straightest, so don't be deceived...Such an amazing slide and another hard to dig up Palm Records release that is just indispensable as anything else on the label. Top copy!!! Price: 175 Euro

1051. JEFFERSON AIRPLANE: “Surrealistic Pillow” (Victor – SHP-5640) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ MINT/ 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 so serious offers invited for this one. Price: Offers!!!

1052. 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!!!
1053. 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 never seen/ never offered before 1st issue OBI present. This is only the 2nd time ever I can have an all complete copy with obi. 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 soar 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. Copy with obi has never been offered for sale anywhere before. Price: Offers!!!
1054. JEFFERSON AIRPLANE: “Volunteers” (RCA Japan – SHP-6086) (Record: Near Mint/ gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare 1st Japanese press original complete with the FIRST ISSUE OBI, which is kind of a big deal. 1st Japanese 1st press issue ever to cross my eyes with the obi present. Killer slide with Kaukonen’s lysergic chops infesting the disc all over the place. Just fabulous. All time classic that gets frequent heavy rotation on this side, Top condition. Price: 275 Euro
1055. JEFFERSON AIRPLANE: “Bless Its Pointed Little Head” (RCA Victor – SHP-6039) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). First original Japanese pressing complete with obi, all in top condition. STOCK COPY. “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. Price: 200 Euro
1056. 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: 300 Euro
1057. 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: 400 Euro

1058. 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: 350 Euro

1059. 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
1060. 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 Euro
1061. JERONIMO: “Time Ride” (Bacillus Records – BAC-2010) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint). Top copy, German first original pressing in absolutely top condition, textured embossed gatefold jacket is between Near Mint and Mint, record is also untouched, final upgrade copy! Splendid heavy bluesy & psyched out German sledgehammer jammer with swirling key action and sneering guitar riffs, ripping the system apart like piles of cheap hay! A whiplash assault that moves around like a pit-bull on crack. Fantastic album. These are getting damned hard to find in perfect condition so … Price: 300 Euro
1062. JERPE, BILL: “S/T” (Shortwheel Records – SW-100) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). US original press that is blessed with a shamble VU-styled basement vibe. Recorded in a makeshift motel room studio in the winter of 1969 and self-released in a micro-edition in 1970, this folk-rock gem must be counted among the earliest self-produced “private press” LPs…With it’s stripped-down production, and ‘basement tapes’ atmosphere, Bill Jerpe’s album offers listeners an unvarnished glimpse into the Hudson River Valley’s vibrant music scene in 1970. Top shelf DIY psychedelic folk not unlike F.J. McMahon’s “Spirit Of The Golden Juice”. “Jerpe's only album is an odd duck in the singer/songwriter world. Unlike most of the genre, it is clearly rock rather than folk. Nonetheless, despite electric arrangements, the production (heavily reverbed vocals mixed so high that the instruments sound almost muffled) keeps these songs from reaching their full rock potential. Jerpe is obviously influenced by Dylan (The voice is Dylan circa "Nashville Skyline"), but I could see this album appealing to Velvet Underground or Bowie fans (it doesn't sound like either of them, but has a certain underground vibe). The songs aren't exactly hooky, but have enough weird moments with pianos, slide guitars and falsetto vocals to make them memorable. Despite the low budget production, this music is quite colorful. Add all of this to the mildly eerie cover photos/art and this album is as distinctive as anything in the genre. The songwriting is decent to very good, and this neat record will appeal to a wide variety of quirky tastes. Jerpe had some earlier 45s with his last name spelled "Hjerpe". (AM – Acid Archives). Virtually unheard for 45 years, this is a top condition original first pressing. SOLD
1063. 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

1064. 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


1065. 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: 100 Euro
1066. The JESUS and MARY CHAIN: “Barbed Wire Kisses” (Blanco Y Negro/ Warner Pioneer Japan – P-13664) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan all complete original pressing, promo issue. The Jesus and Mary Chain’s Barbed Wire Kisses (B Sides And Moreis an essential and for me a fantastic LP by the band that had me smacked out of my head upon playing it numerous times when I first discovered it. It was as if a deep layer of what the group had been creating up to that point (1988) had been revealed, cracked open like a box of shady, compelling delights, with this collection. OK some of the tracks one has heard when flipping over certain Mary Chain singles but here rarities also lurk in the shadows and there is something about wading through this selection of tracks together and as a whole that conjures up a thrillingly malevolent atmosphere that really is on another level. Barbed Wire Kisses lifts the stone and allows you to explore the dark world underneath it all and get lost all over again in its illustrious splendor. I kind of like it under these shadows here. Rare Japan original. Price: 100 Euro

1067. 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


1068. JETHRO TULL: “This Was a.k.a. Nichiyoubi No Insho” (Reprise/ Warner Pioneer Japan – P-8074R) (Record: Mint/ Gatefold Jacket: Mint/ Rock Age Flower OBI: Mint/ Insert: Mint). Bloody rare 1st Japan press, BLUE LABEL PROMO issue and adorned with the highly collectible and insanely rare “Rock Age Flower Obi”. Top copy, the whole affair is in NM to mint condition, just impossible to upgrade upon and packed with eye-mesmerizing beauty for days on end. Price: 450 Euro
1069. JETHRO TULL: “Aqualung” (Reprise Records – P-8073R) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). Very first Japan 1971 original pressing with 2000 Yen noted on obi & jacket and “Warner Brothers Pioneer” printed on obi and jacket – later pressings have higher price noted on obi and jacket and just “Warner Pioneer stated. This is the rare very first pressing. Price: 200 Euro
1070. JETHRO TULL: “Benefit” (Reprise – P-8076R) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Excellent/ Rock Age OBI: Near Mint). Top condition Japanese 1st pressing all complete with rare “Rock Age” flower obi in top condition. Hardly ever surfaces so pristine as this sucker here. Price: 500 Euro
1071. JETHRO TULL: “Benefit” (Island – 6339.009) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Poster: Near Mint). Original 1st press German copy on the Pink Island Label. Comes in a Germany only gatefold jacket. Poster is present and in Top condition. COMES WITH RARE POSTER INCLUDED & ALL IS IN NM CONDITION!!! Price: 300 Euro
1072. JETHRO TULL: “Golden Jethro Tull” (Reprise Records Japan – SWG-7183) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Attached Insert: Near Mint/ OBI: Near Mint). Rare original all complete with OBI, never had a copy all complete with obi before. Japan only issue that comes in a Japan only gatefold jacket. Track listing includes: 1. Bouree - 
2. Witch's promise
 - 3. Sweet dream - 
4. Beggar's farm - 
5. Driving song - 
6. Serenade to a cuckoo - 
7. Love story
 - 8. Living in the past - 
9. My Sunday feeling - 
10. Fat man - 
11. The teacher
 - 12. For a thousand mothers. Hardly ever surfaces on these shores and the obi is damned rare. Amazing condition. SOLD
1073. 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: 100 Euro
1074. JOAO GILBERTO: “S/T or Aguas De Marco” (Polydor Japan– MP-3084) (Record: Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). TOP COPY in relief 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: 125 Euro
1075. JOAO GILBERTO: “S/T” (Polydor Brazil – 2451.037) (Record: Near Mint/ Embossed Jacket: Excellent - has a couple of aging spots but no damages). Rare 1973 Brazilian 1st original pressing housed in embossed jacket. Brazilian 1st pressing is getting damned rare. The original masters were destroyed in fire so all subsequent reissues and later pressings are taken from records that are around, making the 1st original Brazilian pressing the closest in sound to the original master tapes. One of the key records out of Brazil. Great copy, record is clean but jacket as a few molding spots due to age. TOP CONDITION!!!! Price: 250 Euro
1076. 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
1077. JOHN LEE HOOKER: “Never Get Out Of These Blues Alive” (Probe/ Toshiba Records – IPP-80488) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japan original first pressing – red wax & white label promo complete with obi. The unparalleled John Lee Hooker recorded Never Get Out Of These Blues Alive within two days in 1971, working together with young Blues stars Van Morrison and Steve Miller, among others. John takes centre stage delivering the hard-edged Blues he's known for, whilst giving his fellow musicians enough space to jam along. Stellar performances by Charlie Musselwhite on blues harp and Miller & Elvin Bishop on guitar top off the album. Top condition Japan original press with damned scare obi! Price: 150 Euro
1078. JOHN LENNON & YOKO ONO: “Unfinished Music No.2 – Life With The Lions” (Apple Records/ Toshiba EMI Japan – EAS-80701) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Bloody rare Japanese press that comes with obi, rarely seen. John Lennon and Yoko Ono's second collaborative album consists of five tracks: all of side one is taken up by “Cambridge 1969”, a live recording at Lady Mitchell Hall in Cambridge of Lennon playing an electric guitar backup to Ono's singing and screaming. Rolling Stone described Yoko's vocals as sounding like “a severely retarded child being tortured”, so with a review like that you know already that you cannot go wrong. The opening moments feature Yoko's piercing wails and John's atonal guitar feedback. Immediately the tone for “Life With The Lions” is set be it a calculated confrontational one. “Cambridge 1969” can to some extent be seen as the precursor to Lou Reed's “Metal Machine Music”, a duet of pain from singer and guitarist that is harrowing in the extreme. A thrill to listen to, a real challenging piece of music, even to today's standards. Although it is a live recording, it is clear that they went into this performance with a good idea of the type of sounds they were going to make. “No Bed for Beatle John” is an Oriental plainchant, with Yoko singing about an incident during her miscarriage (the hospital's refusal to give John a bed as he stayed with his wife), while John sings counterpoint softly in the background about his upcoming divorce to Cynthia and other matters. It's an interesting look at two minds on different planes. It gets followed by “Baby's Heartbeat”, a recording of Yoko's fetus that sounds remarkably alien, succeeded by two minutes of silence to represent the baby's passing from this world. On “Radio Play”, John coaxes short bursts of sound from the radio by flipping the dial quickly. Of the three experimental albums that John and Yoko made, “Life With The Lions” is probably the most deserving of serious study. One of the greatest of all time avant-garde rock albums? To these ears not one second is wasted here, a truly remarkable disc, one of the best! Price: 75 Euro
1079. JOHN LENNON & YOKO ONO: “Wedding Album” (EMI Odeon – EAS-80702) (Record: Mint/ Gatefold Jacket: Mint/ Outer Box Set: Mint/ Obi: Mint/ All Inserts: Complete & Mint). Reputed box set, in stunning mint condition. So what do we have here, a stunning copy of this great avant-garde gem containing the outer box, Japanese obi, fold out LP jacket with disc in mint condition, bunch of inserts, snapshots, book, card, marriage certificate, postcard…everything is present making this a complete set, nothing missing and all in mint condition. The music on the disc on the other hand dwells in similar regions as the “Two Virgins” LP, composed of conceptual Fluxus offerings by John and Yoko. Demented and wicked stuff. Rarely seen in such immaculate condition. Price: 150 Euro
1080. JOHN RENBOURN GROUP: “A Maid In Bedlam” (Transatlantic Records/ Nippon Columbia – YS-7019-LA) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan first original press issue with obi. “A Maid In Bedlam s credited to the John Renbourn Group, not to him alone, and that is an important distinction, since this is not another album of Renbourn’s acoustic guitar stylings. It really is the work of a group, consisting of Renbourn on guitar and vocals, his Pentangle partner Jacqui McShee on vocals, Tony Roberts on vocals and wind instruments, Sue Draheim on vocals and fiddle, and Keshav Sathe on tabla and finger cymbals. The song list consists of traditional British folk music dating back to the Renaissance, with three instrumentals mixed in with the vocal numbers and one -- the concluding hymn "Talk About Suffering" -- an a cappella performance. The most familiar number to contemporary listeners is likely to be "John Barleycorn," if only because of the Traffic recording, and the Renbourn Group is careful to present a different arrangement with an altered time signature. The arrangements are traditional, with the singers giving the words a madrigal feel. It's true that the tabla is not a traditional British instrument, but as Sathe plays it, it resembles a bodhran enough to get by. Thus, A Maid In Bedlam works as a collection of music that inspired the members of Pentangle in their contemporary folk-rock, played by some members of that band and their associates.” (All Music Guide). Larely overlooked stunning folk slide by Pentangle headpin. Top copy. Price: 75 Euro
1081. 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
1082. 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: 350 Euro
1083. The JOKERS: “S/T” (Fading Sunshine – FS-001). (Record: Near Mint/ Jacket: Near Mint). This is the limited to 50 copies ONLY marbled color wax version. This, until now un-excavated gem out of the deep bowels of the Iranian 1970s underground was one of the biggest surprises of last year to hit my nerves. Flabbergasted …. still trying to catch some air, this is one vicious beast, the Speed, Glue & Shinki of bloody Iran!!! “Hailing from Tehran, Iran, the Jokers were arguably Iran's heaviest underground rock group during the early 70's. Having visited the UK for a short period, Vaheed, the lead singer and guitarist of Jokers returned to Iran with new ideas and influences. After hearing groups like MC 5 & Cream, the Jokers decided to pursue this type of sound, and subsequently recorded a heavy psychedelic blues album in a garage circa 1972 using nothing more then a reel to reel and two microphones. Filled with heavy fuzz, loud wah guitars and screaming vocals, the album sounds unlike any rock artifact unearthed from Iran so far. Sadly no record label would release their album, so they continued to perform at local venues, and even managed to get a performance at the German Embassy before disbanding. Here for the first time ever is a limited edition pressing taken directly from the reels they recorded in 1972. Fully licensed, this is a one time pressing only. The 500 copy LP is housed in a heavy old style paste-on jacket with heavy cardboard stock.” (label description). Without a single doubt, this is the best release of that unholy year 2010. Long gone and sold out, in a flash they were gone ….. KILLER IRANIAN HEAVY PSYCH all blessed with that basement feel…..Price: 75 Euro

1084. JONES, ELVIN with the Jimmy Garrison Sextet Featuring McCoy Tyner: “Illumination” (Impulse – IMP-88126) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original press issue from 1973 all complete with insert and Obi. “Until this one saw a reissue, this was one of the more elusive Impulse sets of the 1960s. Recorded in 1963 and co-led by John Coltrane’s drummer and bassist – Elvin Jones & Jimmy Garrison - the music is most significant for introducing Sonny Simmons and Prince Lasha, who are joined in the sextet by underrated baritonist Charles Davis and Trane’s pianist McCoy Tyner. Each of the musicians except Jones contributed an original; the music ranges from advanced hard bop to freer sounds that still swing. While Garrison’s contributions are conventional (this was his only opportunity to lead or co-lead a date), Jones is quite powerful. However, it is the playing of both Simmons, who tears it apart on English horn during "Nuttin' Out Jones " and Lasha that make this early "New Thing" date of greatest interest.” (All Music Guide). Just a stunning slide I keep on returning to on a regular basis. Price: 55 Euro

1085. JONES, THAD: “The Magnificent Thad Jones” (Blue Note/ EMI Music Japan – BLP-1527) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint).In 1956, trumpeter Thad Jones as making his way forward as a leader and apart from his important role with the Count Basie Orchestra, having recorded for the Charles Mingus owned "Debut" and Period labels. But this release for Blue Note most firmly established him as one of the premier musicians and composers in modern jazz; it's titled "Magnificent" for many great reasons. There are several precedents set here; the initial foray out of Detroit for the young pianist and fellow Michiganian Barry Harris, the identifying of a personalized small group, as well as individual sound of Jones, and his ability to easily bring great jazz icons together as a team. With Detroit's Billy Mitchell on tenor sax, Percy Heath’s bass, and stellar drummer Max Roach, this quintet makes truly great jazz music together. Starting with Heath’s spooky bass lines surrounding "April in Paris" melting into the silky smooth tenor of Mitchell, you immediately know you're in for a unique listening experience. Jones’ singing soul on his horn comes through best on the ballads "If Someone Had Told Me," in tandem with the pristine piano of Harris during "I've Got a Crush on You," and in duet with Kenny Burrell on "Something to Remember You By." Not forgetting to follow in the footsteps of Dizzy Gillespie/ Miles Davis/ Clifford Brown examples before him, Jones bops strong and proud on "If I Love Again," spurred on by Roach constantly mutating the rhythm changes, and using counter-melodies while jousting with Mitchell on "Billie-Doo." The single, definitive, and most enduring piece is the near-11-minute "Thedia," a classic post-bop case study that everyone should know and revere. The musicianship being at such a lofty plateau, so intelligently selected and executed and is generally regarded as the very best work of Jones, later big-band recordings with Mel Lewis notwithstanding.” (All Music Guide). 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 of, 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. Price: 100 Euro
1086. 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: 150 Euro
1087. JONI MITCHELL: “Ladies Of The Canyon” (Victor Records Japan – SJET-8251) (Record: Near Mint/ Gatefold Jacket: Near Mint/ First Issue SJET Obi: Mint). Unbelievably clean copy all complete with mega rare 1ststate obi. First pressing that was released in 1970 under the Victor World Group banner. 2nd press issue with Reprise obi is a common one, however the 1st press original with SJET obi is a damned difficult one to unearth, especially in a condition like this one here. First copy to drift back into my hands after an absence of 10 years, it is that rare. Price: 450 Euro
1088. JONI MITCHELL: “Clouds” (Reprise Records Japan – P-8100R) (Record: Mint/ gatefold Jacket: Mint/ Insert: Mint/ Obi: Mint). Japan 1st original pressing all complete with obi and in top – virginal condition. “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). So beautiful and so perfect, what is not to like about this LP. Spellbindingly awesome and delicate in nature and its execution. Virginal Japanese original with OBI. Price: 150 Euro
1089. JONI MITCHELL: “For The Roses” (Asylum Records/ Toshiba Japan – IAP-80703) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Original Japan 1st original pressing with very first obi present. For the Roses was Joni Mitchell’s first release after her commercial and critical breakthrough album Blue. Searching for balance in her life after a tumultuous relationship with James Taylor and trying to escape the craziness of Los Angeles, Joni trekked back up to Canada, bought herself a piece of land and wrote most of these songs while in retreat. The album is a transitional project in Mitchell’s canon, going from her folk roots to some new jazz experimentations. The record revolves around the concepts of fame and glory in the rock'n'roll era, with sharp criticism directed at the music industry. Another high water mark for Joni, ear-waxingly delicious!.Price: 150 Euro
1090. JORDAN, CLIFFORD: “Glass Bead Games” (Strata- East/ Tokuma Records – JC-7503) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint/ Obi: Near Mint). Japan original with rare obi. Glass Bead Games is arguably the crown jewels of the Strata East label, an amorphous shelter that treads an unusual path between post-bop, 70’s avant-garde and spiritual jazz, with a groove. Several tracks are portraits dedicated to icons of a recent generation – Powerful Paul Robeson, Cal Massey, John Coltrane, Eddie Harris – stylistic references but played with its own intelligence and respect. Jazz Times articulates well Clifford Jordan’s fullness of expression and distinctive voice: “No better representation exists of Jordan’s narrative gifts (on Glass Bead Games) – his lyricism, wit, mastery of changes-playing and vocalized tone, broad and burnished at all tempos and harmonic contexts, equally comfortable deploying the bright colors of the upper register and the dark hues of the tenor’s bottom.” Clifford’s execution offers the right amount of unpredictability, always fresh and interesting. Definitely one of the high water recordings to see the light on the label. Rare Japanese press original with obi, these babies do not turn up too often anymore. Price: 300 Euro
1091. 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
1092. 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
1093. JOTHAN CALLINS & THE SOUNDS OF TOGETHERNESS: “Winds Of Change” (Triumph Records – 006) (Record: Near Mint/ Jacket: Excellent – crackled spine/ 4 Paged Insert: Near Mint). Original 1975 US pressing that comes all complete with the always-missing 4 paged insert. Featuring Callins on trumpet and bells, Joseph Bonner on piano and tambourine, Cecil McBee on bass, and the team of Roland Duval and Norman Connors on percussion, Winds of Change is sonically not so far removed from the Strata East style of jazz that was gaining force in the ‘70s – not without reason, as the lineup features many of the same characters in regular rotation on that wonderful record label.Callins’ Winds of Change is pretty firmly rooted in a jazz scene that combined free playing with mysticism and Pan-Africanist beliefs and in doing so creating moments of gentle, floating lyricism, filled with shimmery percussive effects and laconic solos. Callins and his group recorded this one-off majestically sounding artifact, buoyed up by McBee’s full and resonant bass, generating rhythms that are ethereal while supported by Connors’ all tambourine and brushwork, with Callins’ trumpet bringing to mind Miles Davis’ or Booker Little’s more melancholic excursions. It’s with the title track, however, that things get in overdrive. Duval and Connors brew up fiery polyrhythm’s in tandem with Bonner’s angular piano. At his most intense, Callins spirals into atonal passages and flights on the upper register; but overall there is something subdued in his playing, very steady and very organic, almost hovering above the ensemble, with slow-moving elegance, but at the insistent riff of McBee’s bass the group switches gears to an empowered, gospel-inflected groove. One should not underestimate the impact of Bonner’s piano with its beautiful, crystalline patterns, nor McBee, who is mainly responsible for atmosphere with his resounding, elastic bass runs. The best “spiritual jazz” is always found at this nexus between personal meditation and militant action, and Jothan Callins’ Winds of Change plays out that paradox with as much brilliance as any of its better-known contemporaries. Clean original pressing with the insert present. Fantastic slide! SOLD
1094. 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
1095. JOY DIVISION: “Atmosphere” (Nippon Columbia/ Factory – YW-7422-AX) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Another slab of essential sonic debris, rare Japanese original all complete with obi. So good, unrivaled and timeless….no music collection without Joy Division. Price: 85 Euro
1096. JUDY HENSKE & JERRY YESTER: “Farewell Aldebaran” (Straight – 1C054-90+928) (Record: Mint/ Laminated Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent). Rare German original mint copy housed in a German ONLY laminated gatefold cover. 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. 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: 75 Euro

1097. 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: 125 Euro