FRESH ADDITIONS <Semi-Rare & Cheap Records>
Rare Records Catalogue
Fresh Additions
<Semi-Rare & Cheap Records>
Visual unhinged goods
V.A. Q-Z I-P A-H

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  • Separate little list that will put up amazing condition but cheap and semi-rare slides and spare copies of records that do NOT feature on our Rare Records Catalogue.
  • This little list will be updated every 10 days or so with a handful of new additions of super clean killer records that are cheap or offered below market value, our “collateral damage” offerings so to speak that drifted into our orbit.
  • As opposed to our main Rare Record Catalogue – we do not sent out an update mailing list for this little venture. So better check in ever so often to not miss out on any dead cheap and EX & NM killer sonics.
  • Only EX/ NM condition records will be offered so…cheap and clean fun for days.

UPDATED September 1st, 2023

1. ALLEN, DEAVID & EUTERPE: “Good Morning” (Virgin – VIP-4053) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Top shape Japanese press issue by Gong head honcho. Awesome. Price: 30 Euro
2. AMMONS, GENE: “The Happy Blues” (Prestige/ Victor Records – SMJ-6611) (Record: Near Mint/ Jacket: Excellent – some foxing spots visible/ Insert: Near Mint/ Obi: Near Mint). Clean Japanese press original. Gene Ammons in a mighty nice setting -- working here in an open-ended jam session style that brings all his best live energy into play at the studio of Rudy Van Gelder! The set's got a crackle that really goes beyond the earlier, shorter bop recordings from Ammons -- and a bit more darkness than some of his 60s sessions too -- a really wonderful balance of open and tight playing, not just from Jug's tenor, but also from Art Farmer on trumpet, Jackie McLean on alto, and Duke Jordan on piano! Rhythm's handled by Addison Farmer on bass and Art Taylor on drums -- and the mighty Candido also adds in some congas, to really give things a kick. Price: 35 Euro
3. AMMONS, GENE And His All Stars: “Groove Blues” (Prestige/ Victor Records – SMJ-6555) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean Japanese press issue with obi of classic slide. One of the tasty blowing session albums that Jug cut for Prestige – remarkable in the quality of the players (Coltrane, Mal Waldron, Pepper Adams, and others), and in the relaxed easy groove of the solid soulful tracks. There's 4 long cuts, and they all swing nicely nicely nicely! Price: 35 Euro
4. The ANIMALS with ERIC BURDON: “San Francisco Nights – When I Was Young b/w Monterey – Good Times” (MGM – SKM-1077) (4 Track EP Record: Excellent ~ Near Mint/ Flip Back Picture Sleeve: Near Mint/ Lyrics Insert: Excellent). Japan only picture sleeve 4 track ep from 1968. Classic Burdon slide, Japan only four-tracker. I bloody love the Animals, fail to see why no other out there shares my love for them, just top shelf psyched out garage mayhem. Price: 25 Euro
5. AOYAMA MICHI: Manhattan Blues – Onna Blues b/w Otoko Blues – Jonetsu No Hatoba” (Crown Records – LW-1115) (4 Track EP Record: Excellent/ Flip Back Picture Sleeve: Near Mint). First original pressing from November 1967 in great condition. Absolutely ear-blisteringly awesome four track EP by Aoyama Michi, the unsung queen of the soulful rock bottom Enka blues with a voice that seems to emanate out of the darkest depths of the bottom of the well. The lid is off, Aoyama emerged, singing in a highly like a wintered through witch singing from out of the grave. She is deep, her parental Afro-roots blood lineage also seeps through and give her that soulful character no other Enka singer ever possessed. The backing is fabulously executed, giving the whole an extra deep resonating dimension as if it came from beyond the depths of the ocean. Listening to Aoyama just makes the hairs on your neck rise up, while you desperately make a last run for that strychnine syringe in order to administer that last fatal shot towards heaven and subsequently hell. This one throws together 4 tracks that initially appeared on 4 different single issues. Still a tough one to unearth in nice shape so….go for it, you won’t regret it. Price: 40 Euro
6. ART BLAKEY et les Jazz-Messengers: “Saint Germain Vol. 2” (Victor Records – LS-5170) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan very first press issue from 1959 (!!!!!) – same as the one listed above but obi is missing in action so you have a steal here. Top condition copy and follow-up volume for the Messengers gig at Saint Germain. Rarely surfaces this perfect and with obi present. Those early (first) Japanese pressings sound ballistically awesome. Super pressing and mastering. Price: 35 Euro
7. ART BLAKEY & JAZZ MESSENGERS: “Caravan” (Riverside/ Victor Records – SR-7036) (Record: Near Mint/ Flip Back Jacket: Near Mint). Rare Japan 1962 very first press issue in outstanding condition. “By the time that jazz icon/bandleader/percussionist Art Blakey and his Jazz Messengers began recording for Riverside in the fall of 1962, Blakey had already been the spiritual center of the group for nearly 15 years. The unprecedented caliber of performers who had already passed through the revolving-door personnel reads like a who's who of 20th century jazz. On Caravan he is joined by a quintet of concurrent and future all-stars. Likewise, it could be argued that each has never again been presented in such a fresh or inspired setting as on these recordings. In order to establish with any authority just how heavy (even for purveyors of hard bop) the players in this band are, they need only to be named: Curtis Fuller (on trombone), Freddie Hubbard (trumpet), Wayne Shorter (tenor), Cedar Walton (piano), and Reggie Workman (bass). With Blakey firmly at the helm, these Jazz Messengers deliver a scintillating synergy that doesn't sacrifice intensity for the sake of cadence. The trademark give-and-take that graces the laid-back and sophisticated pop and jazz standards "Skylark" and "In the Wee Small Hours of the Morning" likewise is responsible for the palpable energy brought to the sizeable contributions from Shorter and Hubbard -- which make up half of the album's material. The title and leadoff track liquefies Ellington’s original arrangement and ignites it, fueling this extended fiery interpretation. The melody snakes in and out of Blakey’s strident flurry of syncopation. Another highlight is Shorter’s interjectory solo, recalling his ability to succeed John Coltrane in Miles Davis’ coterie. Among the original compositions, Shorter’s upbeat "Sweet 'n' Sour" stands out as the most cohesive and ensemble-driven, although the singular group dynamic is well applied to the lively "This Is for Albert" as well. By contrast, Hubbard’s "Thermo" is more angular -- taking full advantage of the musicians' aggressive chops.” (All Music) Top shape 1962 original! Price: 50 Euro

8. ART BLAKEY & ELVIN JONES: “S/T” (Atlantic/ Victor Records – SMJ-7392) (Record: Excellent/ Flip Back Jacket: Near Mint). Rare Japan 1966. Meeting of two titans of jazz, Japan only issue, housed in fragile flip back sleeve. Price: 40 Euro

9. AYLER, ALBERT TRIO: “Spiritual Unity” (ESP Records/ Victor Records – MJ-7101/ ESP-7001) (Record: Near Mint/ Jacket: Excellent). Rare Japan first original pressing – MONO in great shape. Killer with absolutely no filler that will clear the cobwebs out of the empty canyons of your deserted mind! Price: 50 Euro
10. BLEY, PAUL: “Open To Love” (ECM/ Trio Records – ECM-4006) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Near Mint/ Obi: Near Mint). Pristine and virginal copy all complete with obi and inserts. Price: 25 Euro
11. BOOKER LITTLE 4 & MAX ROACH: “S/T” (United Artists/ King Records – SR-3038) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Japan 1970 first original pressing all complete with insert and obi. Virginal condition. “Trumpeter Booker Little at the beginning of his tragically brief career. The first six selections find the distinctive soloist playing with a quintet also including the young tenor George Coleman, pianist Tommy Flanagan, bassist Art Davis and drummer Max Roach (who was his regular employer at the time). Little contributed three now-obscure originals and also plays two standards and an early version of Miles Davis’ "Milestones." Overall, this forward-looking hard bop set is easily recommended.” (All Music Guide). Pristine first Japan press issue with obi. Price: 25 Euro
12. BROWN, MARION: “Afternoon Of A Georgia Faun” (Odeon – OP-88011) (Record: Near Mint/ Jacket: VG++). Scarce Japan original 1st press issue – WHITE label PROMO. “Difficult as it may be for younger listeners to believe, there was a time when ECM released adventurous improvised music. Back near its inception in the early '70s, the label issued a wide variety and decent number of challenging avant-garde recordings that represented some of the most forward-looking musical thinkers of the time. One of these was Marion Brown, who, at the time of this session, was about midway between his extreme post- Coltrane explorations and the luscious, down-home evocations of Georgia that he would create for Impulse! over the next few years. He gathered 11 musicians, including a couple from the then current Miles Davis Bitches Brew band (Chick Corea and Bennie Maupin), the then little-known Anthony Braxton, Andrew Cyrille, and the late great vocalist Jeanne Lee for two side-long, wide-ranging pieces. The first, the title track, is a wonderful, percussive evocation of pastoral Georgia, something along the lines of what the Art Ensemble of Chicago were doing around the same time, but without the satire and with a greater sense of serenity. As the flutes, reeds, voice, and piano enter, there is no idea of "soloing"; instead, each contributes to the ongoing, evolving texture of the piece, creating a fabric that's as cohesive as it is unplanned. The remaining cut, "Djinji's Corner," is a bit more fleshed out, a little more "traditional" in one way, though still quite unusual for the time. Again, a reference point might be Art Ensemble works from around the same time, here a mélange of free horns and intense percussion, with Jeanne Lee soaring over the top, mixing words and glossolalia, similar to her stellar work on Carla Bley's Escalator Over the Hill. The effect is more eerie and spiritually infused than the preceding piece, with keening, bowed cymbals and deep pulses from the lower clarinet family. It gradually builds to something of a frenzy, but in an unforced manner that shows it to be merely another approach to the territory explored earlier. Afternoon of a Georgia Faun is a lovely, inspired album, a key work in Marion Brown's oeuvre and a recording that belongs in any collection of contemporary jazz.” (All Music Guide). Rarely seen Japanese press original. Price: 35 Euro
13. BOW WOW WOW: “Teenage Queen b/w Elimination Dancing” (RCA – RPS-73) (EP Record: Near Mint/ Poster Like Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Beautiful Japanese original press issue of classic UK post punk slide. Love the artwork on this one with Annabel flashing all her colors and assets. Always had a soft spot for Bow Wow Wow!!! Price: 25 Euro
14. BURRELL, DAVE: “Echo” (BYG Records/ ACTUEL – Actuel 20/ 529.320) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint) Actuel 20, rare French original pressing from 1969!! Rarely seen brown label variant with large Buddha logo. One of the greatest titles to be released on the label, totally burning, all incinerating blast of unrelenting power and freedom. This is IT. Personnel for this monger consists out of Clifford Thornton (cornet), Granchan Moncur III (trombone), Arthur Jones (alto), Archie Shepp (tenor), Dave Burrell (piano), Alan Silva (bass), Sunny Murray (drums). Heavy-duty workout, not for the faith hearted. All time classic and indispensable in any self-respecting collection. Rare to say the least. Price: 30 Euro
15. BURTON, GARY: “Seven Songs For Quartet And Chamber Orchestra” (ECM/ Trio Records – PAP-9009) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Promo issue – Japan original. Sounding as fresh today as it did in 1973, Seven Songs places the Gary Burton Quartet in an orchestral context, with compositions of Michael Gibbs – inspired by Messiaen and Charles Ives as well as Miles and Gil Evans – and exceptional soloing by Mick Goodrick, Steve Swallow and Burton himself. The production is exemplary: Seven Songs set a new standard for recordings of orchestral jazz. Price: 25 Euro
16. The CANNONBALL ADDERLEY QUINTET with STRINGS: “Great Love Themes” (Capitol – CP-7565) (Red Wax Record: Near Mint/ Fragile Flip Back Jacket: Excellent ~ Near Mint). Very first Japanese original pressing – housed in flip back sleeve. This is the rare TEST Pressing – white label on RED wax. A romantically backed cannonball, features a divine violin section. With nonchalance, he gladly gets along well with the nicely picked waltzy and bossa melodies. Price: 35 Euro
17. CARTER, RON: “Pastels” (Milestone/ Victor Records – SMJ-6162) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Virginal condition Japan original pressing all complete with obi. Price: 25 Euro
18. CHARLATANS: “The Ones Who Started It All” (Shark – Shark001) (Record: Near Mint/ Jacket: Near Mint). Amazing LP by Frisco’s finest. Unreleased recordings by the Charlatans dating back to 1966 ~ 1968. Codeine and the rest, killer no filler. Has been a while since I came across a copy of this one. In need of a massive re-appreciation. Price: 30 Euro
19. CLARKE, STANLEY: “Children Of Forever” (Polydor – MP-2325) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent). Awesome Japanese original pressing. A dead cheap record but also quite an amazing slide!!! Quite possibly the hippest album that Stanley Clarke ever cut – a stretched-out soulful batch of jazz-tinged tracks – very much in the same spirit as the more righteous soul jazz underground of the time! In a way, the record would be much more at home on a label like Strata East than it would at Polydor – thanks to vocals from Andy Bey and Dee Dee Bridgewater – and a group lineup that includes Pat Martino on guitars, Art Webb on flute, Lenny White on drums, and Chick Corea on keyboards! Corea produced, and there's a bit of the free-floating style of Return To Forever here – but the overall vibe is a lot more soulful too, and reminds us a fair bit of some of the earliest work by Norman Connors or Carlos Garnett – both of whom used Bridgewater as a vocalist in similar settings. For all of those out there who stare blindly at dick-enlarging wall pieces of records to impress there Instagram followers with but who fail to recognize amazing music at dead cheap give-away-prices, this one is for you!!! A real stunner of an album, so don’t look away in disgust because you know it will floor you and devaluate your Instagram respectability in a flash, so yes….you need this, do yourself a favor. Price: 30 Euro
20. COLEMAN, ORNETTE: “The Shape of Jazz To Come” (Warner Pioneer/ Atlantic – P-7510A) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japanese press issue of subliminal jazz slide. Price: 35 Euro
21. COLTRANE, JOHN: “The Believer” (Prestige/ Victor Records – SMJ-6558) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean like your bride on her wedding night Japanese pressing with obi of all time classic. “The Believer offers an early glimpse at the talents of a still-developing Coltrane. Recorded in the late '50s while he was still a member of the Miles Davis Sextet, this early solo outing finds Coltrane confident but just beginning to explore the kind of modalities with which he would soon revolutionize the world of jazz. One of the reasons Coltrane is so at ease here is the familiar setting: he's joined by fellow Davis cohorts Paul Chambers and Red Garland among others. Drummer Louis Hayes provides a Latin-inflected beat on "Nakatini Serenade," as Coltrane and Donald Byrd soar above the rhythm section. The understated Rogers & Hammerstein standard "Do I Love You Because You're Beautiful" presents Coltrane the balladeer waxing lyrical over the subtle dynamics. Things to come are hinted at briefly in flurries of notes here and there, and it's fascinating to listen to the early work of this developing genius.” (All Music Guide). Price: 40 Euro
22. JOHN COLTRANE: “Impressions” (Impulse Records – SH-3020) (Record: Near Mint/ Flip Back Jacket: Excellent/ Insert: Near Mint). Very first 1964 Japan original press issue,1st original press issue from 1964. Great condition. “Impressions is an album that, more than just giving the listener certain sensations, plumbs the depth of Coltrane's feelings. It does this while providing an incredible array of his musical concerns which makes this record indispensable. There's an A-flat blues; the stunning original ballad "After the Rain," and "India," on which two bassists simulate a drum choir. Finally, there's the remarkable title track, on which Coltrane develops several motifs in succession, moving in and out of a maze of tonalities - but always with the inevitable fervor and logic of a charging train.” (John Doe, Excerpted from the liner notes of the CD issue). Rarely seen 1st Japanese stereo pressing!!!! Price: 50 Euro
23. COLTRANE, JOHN: “Live At The Village Vanguard” (Impulse/ King Records – SH-3021) (Record: Near Mint/ Flip Back Jacket: Near Mint). Equally scarce 1964 press issue. Again another always-elusive pressing that comes housed in a fragile laminated flip back sleeve with matching obi. These birds are so shy one needs serious binoculars to spot them at all but here is one flying low enough for you to catch it before it remains hidden for another decade or so. Top shape! Price: 50 Euro
24. COLTRANE, JOHN: “Africa / Brass” (Impulse – IMP-88090) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – some foxing inside the gatefold/ Obi: VG++ - upper seam split/ Insert: Near Mint). Original Japan second press issue Impulse pressing all complete with obi. WHITE label PROMO issue. First Japanese pressing to be housed in a gatefold sleeve. Coltrane’s first release for the Impulse label. Rare Japanese pressing that sounds fantastic. They are getting damned scarce these last years and hardly ever turn up anymore as clean as this one. Archival copy. Price: 50 Euro
25. COLTRANE, JOHN: “Africa Brass” (Impulse/ MCA Records – VIM - 4609) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint with some faint foxing inside gatefold/ Insert: Near Mint/ Obi: Near Mint). Later Japan press issue all complete with obi and insert. Price: 30 Euro
26. COWELL, STANLEY & DAVE BURRELL: “Questions/ Answers” (Trio Records – PA-7089) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint) Amazing duo improvisations from two of the hippest pianists of the early 70s -- Stanley Cowell and Dave Burrell, coming together here on a rare Japanese-only album -- one that features two long tracks that each take up a side of the disc! The vibe is maybe a bit more avant at times than some of Stanley's work on Strata East, but there's also a great balance between the voices of the two players too -- and the sense of spontaneous creation is wonderful throughout, and always balances individual expressions with deeper ideas -- ringing out in the loud, lively space of Ino Hall in Tokyo. The record contains two long tracks -- "Questions" and "Answers" -- both long improvisations by the pair. Price: 25 Euro
27. CRASS: “Reality Asylum b/w Shaved Women” (Crass Records) (Single Record: Near Mint/ Poster Sleeve: Excellent). Shortly after the release of The Feeding Of The 5000, Crass released their debut 7" single on their own record label - Crass Records - for the princely sum of 45p. Being so cheap, how could anyone not buy it? Reality Asylum was a version of the song that the pressing plant in Ireland had refused to deal with when due initially to go on Feeding Of The 5000 and after hearing it, it was very easy to understand why it had caused offence. Sung - or rather, spoken - by yet another Crass member going by the name of Eve Libertine, it was completely at odds with any preconceived notion of what this Punk group called Crass should sound like. No Punk Rock record was this but more a soundscape, a cut-up collage of sounds taken from the radio interspersed with a child's prayer. And yes indeed, it was very blasphemous and in more ways than one: "I am no feeble Christ, not me. He hangs in glib delight upon His cross, above my body. Lowly me. Christ forgive ? Forgive? Holy He. He holy, He holy. Shit He forgives. Forgive? Forgive? I? I? Me? I? I vomit for you Jesu. Christy Christus. Puke upon your papal throne. Wrapped you are in the bloody shroud of churlish suicide. Wrapped I am in the muddy cloud of hellish genocide. Petulant child. I have suffered for you where you have never known me. I too must die. Will you be shadowed in the arrogance of my death? The voice of Eve Libertine was authoritative, confident and sincere; pronouncing the words precisely in a calm and measured tone: "He hangs upon His cross in self-righteous judgement. Hangs in crucified delight. Nailed to the extent of His vision. His cross. His violence. Guilt. Sin. He would nail my body to His cross. As if I might have waited upon Him in the garden. As if I might have perfumed His body. Washed those bloody feet. This woman that He seeks. Suicide visionary. Death reveller. Rake. Rapist. Gravedigger. Earthmover. Lifefucker. Jesu. You scooped the pits of Auschwitz. The soil of Treblinka is rich in your guilt. The sorrow of your tradition. Your stupid humility is the crown of thorns we all must wear." If Reality Asylum was indeed an exercise in freedom of speech that caused eyebrows (and for some - hackles) to be raised then the record's flip side was an exercise in raising questions - along with the tempo. With Eve Libertine again taking on lead vocals, Shaved Women starts with her screaming out like a clarion call to the world: "Shaved women collaborators!" Then to the sound of a hurtling train the phrase "screaming babies, screaming babies" picks up the rhythm and runs with it accompanied by Eve continuing to scream: "Shaved women collaborators, shaved women are they traitors? Dead bodies all around. Shaved women instigators, shaved women shooting dope. Shaved women disco dancing." Bloody awesome. Price: 50 Euro
28. CURSON, TED with Eric Dolphy, Kenny Drew; Jimmy Garrison; Roy Haynes, etc: “Plenty of Horn” (Nippon Columbia – YW-7577-AX) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine condition Japanese pressing with obi. A great set – cut when Curson was at the height of his youthful powers, and inspired by modernist ideas he'd picked up from Mingus and other contemporary jazz outsiders – including tenorist Bill Barron, who also plays on the LP! The recording is a perfect document of a time when the hard bop was folding into the new thing – in modes that were experimentally, yet never too far out – and always remembering to swing when needed, as in the case of some of Jackie McLean's best Blue Note work of the early 60s! The album's quite an obscure one – given to its original issue on the mostly-pop Old Town label – but it's a real gem in Curson's catalog. Price: 25 Euro
29. DAVE BRUBECK AND JAY & KAI: “At Newport” (Columbia – PL-5038) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Excellent ~ Near Mint). Very first Japan original pressing from 1958. Price: 25 Euro
30. The DAVE BRUBECK QUARTET: “Newport 1958” (Columbia – YL-128) (Record: Near Mint/ Flip Back Jacket: Near Mint). Very first Japanese press original from 1959 in great shape. Price: 30 Euro
31. The DAVE BRUBECK QUARTET: “Jazz Impressions Of New York” CBS/ Nippon Columbia – YS-475-C) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint). Rare 1965 Japan first original pressing in top condition. Recorded in New York, New York between June 16 and August 21, 1964.Quite an enjoyable LP, contains 11 songs written for the soundtrack of the long-forgotten television series Mr. Broadway. It pays tribute to New York in a more abstract way than Jazz Impressions of Japan celebrated Japan for Brubeck had to concern himself with having the music fit in with the show. In general these themes and the melodic improvisations of Brubeck and altoist Paul Desmond hold their own without the show although none of the songs became standards. It's amazing how well Brubeck captures the vibe of New York City, especially given the fact that he is a California native. But Brubeck knew the Big Apple well, and his ability to invoke the mood and overall atmosphere of New York is uncanny. This is especially apparent on the sprightly waltz "Spring in Central Park," which conveys a blithe, carefree spirit. Other pieces, particularly "Lonely Mr. Broadway," are more somber, revealing the dejection sometimes associated with life in the big city. Alto saxophonist Paul Desmond is in fine form here, as are drummer Joe Morello and bassist Gene Wright, and together they incite terrific group interplay. Brubeck himself performs unrestrained solos on many of these outstanding tunes, most notably on the upbeat "Summer on the Sound." Price: 50 Euro
32. DOLLAR BRAND: “The Children Of Africa” (Enja/ Polydor Japan – 28MJ3240) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Virginal Japan original press issue from 1983 all complete with obi and insert. Incredible 1976 LP from South African jazz musician Abdullah Ibrahim aka Dollar Brand with his The Children Of Africa LP.  Workings as a trio with Abdullah on piano, Cecil McBee on bass, and Roy Brooks on drums, the LP is steeped in themes of Africa with deeply moving moments of deep, meditative musicianship, occasionally reduced to just a plucked bass and tickling of drum.  The highlight is surely the extended, spiritual 'Ishmael', where Ibrahim also picks up soprano sax and sings, whilst 'Yukio-Khalifa' and the more wistful 'The Dream' focus more on the dynamic pairing of piano and bass.  Beautiful and future-proof late-night listens. Pristine Japan original. Price: 30 Euro
33. DOLPHY, ERIC: “Eric Dolphy In Europe Vol. 1” (Prestige/ Victor Records – SMJ-7212) (Record: Near Mint/ Flip Back Jacket: Near Mint). Rare Japan very first original pressing from 1964. The first of set recorded during in Copenhagen during Sept. 1961 by the unique Eric Dolphy, this date has the strongest program of the trio. Dolphy is heard on a definitive "God Bless the Child" playing unaccompanied bass clarinet, switches to flute for "Glad to Be Unhappy," romps on the bass clarinet on "Oleo," and plays alto for a duet with bassist Chuck Israel on Randy Weston’s "Hi-Fly." Joined by a supportive Danish rhythm section (pianist Bent Axen, bassist Erik Moseholm and drummer Jorn Elniff) on the two quartet tracks, Dolphy is in excellent form throughout the well-rounded release. So an essential set it hurts not having this. Very first Japan original press issue. Pristine condition! Price: 50 Euro
34. DOLPHY, ERIC: “Last Date” (Mercury / Nippon Phonogram – SFX-10572) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japanese press with obi. On June 2, 1964, Eric Dolphy played bass clarinet, alto saxophone and flute with a trio of Dutch musicians for a Netherlands radio show called "Jazz Magazine." Most of the time, the show's sessions were broadcast live and were not recorded; Dolphy's set was taped because he was leaving before the day of the show. It was fortuitous. On June 29 he died in Berlin after collapsing onstage; the doctors assumed that the black American jazz musician was on drugs. But Dolphy had slipped into a diabetic coma, and without treatment he never regained consciousness. The Dutch recordings became his album "Last Date." The all-Dutch rhythm section features renowned drummer Han Bennink, the closest living personification of the Muppet's Animal. For someone who later worked with Peter Brötzmann and Derek Bailey, Bennink really sits back on this one. Still, the whole of the recording is astonishing and breathes out an intimate improvisatory feeling, delicate yet brimming over with poetic and shamanistic beauty that keeps you on the edge throughout the session. Misha Mengelberg rules on the ivory keys and his idiosyncratic playing style fuses neatly with Dolphy’s free floating avant-outings. One of the most beautiful jazz records ever to put down on wax. Price: 25 Euro
35. DOLPHY, ERIC: “At The Five Spot” (Prestige – SMJ-6572) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan pressing with obi. Rare Japan 1964 original 1st pressing in amazing condition. “This is the second of three sets that document the Erik Dolphy/ Booker Little quintet's playing at the Five Spot. It features a group made up of pianist Mal Waldron, bassist Richard Davis and drummer Ed Blackwell really stretching out during long versions of Little’s "Aggression" and the standard "Like Someone in Love." Dolphy’s playing -- whether on alto, bass clarinet or flute -- always defied categorization, while Little (who passed away less than three months later) was the first new voice on the trumpet to emerge after Clifford Brown’s death in 1956. An excellent set that records what may have been Dolphy’s finest group ever, as well as one of that era's best working bands.” (All Music Guide) Indispensable! Price: 35 Euro
36. DOLPHY, ERIC: “Last Date” (Mercury / Nippon Phonogram – SMX-7009) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ Attached Picture Booklet: Near Mint/). Bloody rare 1st original Japanese press issue that comes housed in ultra-fragile flip back JAPAN ONLY gatefold sleeve – complete with always missing attached – later issues use same numbering but have a heavy gatefold sleeve without the attached booklet. On June 2, 1964, Eric Dolphy played bass clarinet, alto saxophone and flute with a trio of Dutch musicians for a Netherlands radio show called "Jazz Magazine." Most of the time, the show's sessions were broadcast live and were not recorded; Dolphy's set was taped because he was leaving before the day of the show. It was fortuitous. On June 29 he died in Berlin after collapsing onstage; the doctors assumed that the black American jazz musician was on drugs. But Dolphy had slipped into a diabetic coma, and without treatment he never regained consciousness. The Dutch recordings became his album "Last Date." The all-Dutch rhythm section features renowned drummer Han Bennink, the closest living personification of the Muppet's Animal. For someone who later worked with Peter Brötzmann and Derek Bailey, Bennink really sits back on this one. Still, the whole of the recording is astonishing and breathes out an intimate improvisatory feeling, delicate yet brimming over with poetic and shamanistic beauty that keeps you on the edge throughout the session. Misha Mengelberg rules on the ivory keys and his idiosyncratic playing style fuses neatly with Dolphy’s free floating avant-outings. One of the most beautiful jazz records ever to put down on wax. This is the ultra-rare Japanese 1st pressing complete with booklet. Obi is missing so cheap as hell. Top all the way and seriously rare. Price: 40 Euro
37. DORHAM, KENNY: “Quiet Kenny” (Prestige/ Victor – SMJ-6513) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent – repaired upper seam tear). Insanely clean Japanese later pressing of cornerstone jazz killer. Comes dead cheap so… Price: 40 Euro
38. EVANS, GIL: “Big Stuff!” (Prestige/ Victor Records – SMJ-7543) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Japan original pressing with cool Victor first issue obi. Gil Evans was already a major force in jazz arranging through his work with Claude Thornhill and Miles Davis, but this 1957 date was his first opportunity to record as a leader. The midsize group will recall his influence on the Birth of the Cool sessions. Rather than the uniform instruments of the conventional big band, Evans picked his instruments individually for what they could contribute to distinctive tone colors. Thus the band includes a French horn in the brass and a reed section of soprano and alto saxophones and bassoon. The result is a series of highly distinct textures and a clarity that illuminates each piece. Evans's inventiveness extended to applying his gift for complex harmonies to Leadbelly's "Ella Speed," a sign of the openness that would later lead him to the music of Jimi Hendrix. The excellent soloists here include Evans's longtime associate John Carisi on trumpet, Lee Konitz on alto, and a young Steve Lacy on soprano. Price: 35 Euro 
39. FARMER, ART QUARTET: “Perception” (Baybridge – UPS-2204-B) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Mint/ Insert: Mint). Virginally untouched Japanese PROMO issue. An amazingly beautiful set of tracks from Art Farmer – playing here with superb accompaniment from a young Harold Mabern on piano, in a laidback quartet format that really lets Art open up! Art's playing is fresh and creative throughout – never too over the top, and always blown with that subtle genius that he was bringing to his work in the 60s – a pure exercise in understatement, with a quality that seems to make the notes fall out of the air by themselves. Rhythm is by Tommy Williams on bass and Roy McCurdy on drums. Price: 30 Euro
40. GATO BARBIERI: “The Third World” (Flying Dutchman Records/ King Records – SR-3165) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near mint – has some minor foxing inside gatefold/ Insert: Near Mint/ Obi: Mint/ Additional Tour Obi: Near Mint). Clean as a whistle Japan high-quality original press issue all complete with 2 obis. Price: 35 Euro

41. GORDEN, DEXTER: “Dexter Rides Again” (CBS SONY – SOPU-35-SY) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Top condition Japan original press issue. Classic early bop material from Dexter Gordon – originally issued as 78s in the 40s, and packaged here in a hip 50s album with a very groovy cover! The set features work from 1945, 1946, and 1947 – with Gordon in different three different groups – one with Leo Parker on baritone and Tadd Dameron on piano, one with Leonard Hawkins on trumpet and Bud Powell on piano, and one with Argonne Horton on piano. Price: 25 Euro

42. HARRIS, BARRY: “At the Jazz Workshop – Recorded Live in San Francisco with Sam Jones, Louis Hayes” (Riverside/ Nippon Victor – SR-6123) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned rare Japan 2nd pressing from 1976 –all complete with obi + WHITE label PROMO issue. Pianist Barry Harris’ second recording as a leader (he led a set for Argo in 1958) finds him at the age of 30 playing in the same boppish style he would have throughout his career. Teamed up with bassist Dam Jones and drummer Louis Hayes, this live recording is an excellent example of Harris’ playing. Highlights of the enthusiastic straight-ahead set include "Is You Is or Is You Ain't My Baby," "Moose the Mooche" and "Woody'N You." Top notch condition with obi. Price: 50 Euro