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

* 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 January 31st, 2018.
1. The ANIMALS: “Inside-Looking Out” (London Records/ King – SLH-69) (Record: Excellent/ Flip Back Jacket: Excellent/ Insert: Excellent). Original Japan that came out in August 1966. Common wisdom suggests the (original) Animals started hitting the skids after they dumped Alan Price and producer Mickie Most. Certainly both men had a hand in the recording of the Geordies' unforgettable string of 1964-65 smashes ("House of the Rising Sun," "Don't Let Me Be Misunderstood", "We Gotta Get Out of This Place" etc.), but frankly, the Animals improved after ditching the pair. This LP covers the material the band recorded with new keyboardist Dave Rowberry and ex-Dylan producer Tom Wilson. Simply put, it's Animals at their peak, combining fierce performances with a new facility in the studio. Moreover, it makes a strong case for Eric Burdon as the most powerful and incendiary R&B singer to ever come out of Europe, let alone the British Invasion. Burdon never sounded so committed, soulful and inspired than on the strutting "See See Rider," the ferocious "Inside Looking Out" and the agonizing "Ginhouse Blues". Yet Burdon's gut-busting never overwhelms the other Animals, whose excellent ensemble playing keeps Eric's occasional hysteria in check without sacrificing emotion. First original pressing, nice condition but side 2 has a long non-sounding hairline scuff. Always a bitch to find in good condition, this one is EX so not bad at all. Price: 40 Euro
2. ART ENSEMBLE OF CHICAGO: “Certain Blacks” (America – 6098) (Record: Near Mint/ Jacket: Near Mint). Original France only issue, 1st original pressing. On Certain Blacks the core four of Roscoe Mitchell, Joseph Jarman, Lester Bowie and Malachi Favors enlist two guests to aid them in the LP-sized journey into deep blues forms: Chicago Beau on tenor, piano and harmonica and Julio Finn blowing second mouth harp. Drummer Don Moye wasn't yet with the band. His precursor William Howell favors a somewhat more rhythmically orthodox approach to the kit and a propensity for hard- boiled beats. Assuming the moniker Edward, Jr., Mitchell focuses his attention on the mighty bass sax. His corpulent lines blast and etch away at the Studio Decca rafters pouring forth with pathos-rich potency. Built on a simple vocal mantra and gospelized riff, the side-long title cut stretches far and wide and posits no shortage of righteous ebullience. The horns cavort and swirl around a rhythmic center eventually dispersing into solos cropped by boisterous shouts and unison returns to the staple aphorism. Jarman's switch to vibes leavens some of the momentum, but the six lock back on the groove thanks to Favors stout ostinato. A snippet of telling banter at the close betrays some surprising dissention at odds with the professed unity behind the piece. Side B divides in two with another Beau composition "One for Jarman and a rollicking cover of Sonny Boy Williamson's "Bye Bye Baby that revels in the syncopation-suffused ambience of a South Side rent party, heavy on the funk. The former tune features the Beau's ivories dancing in line with a lush contingent of horns, plumb bob bass and drums through a tropical-tinged reverie.” (Derek Taylor – All About Jazz). Spot on! Price: 40 Euro
3. AYLER, ALBERT: “My Name Is Albert Ayler” (Debut/ Freedom Japan – K18P-9385) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original Japanese pressing of rare Ayler slide, virginal condition Price: 25 Euro
4. AYLER, ALBERT: “Ghosts” (Freedom/ Trio Records – PA-9710) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Rare but 2nd press issue in top condition of killer and highly essential Ayler side with Gary peacock and Don Cherry to flank him. Hardly surfaces and damned cheap. Price: 30 Euro
5. AYLER, ALBERT: “Recorded Live At The Village Vanguard In Greenwich Village” (Impulse – AS-9155) (Record: Excellent/ Gatefold Jacket: Near Mint). Killer Ayler slide that just open up to the hallucinogenic horn power of Ayler’s 1966 and 1967 Greenwich Village sets where he shares the stage with Joel Freedman, Bill Fowell, Beaver Harris, Sunny Murray, Alan Silva, Henry Grimes and brother Don on trumpet. Totally essential!!! Price: 25 Euro
6. AYLER, ALBERT: “Recorded Live At The Village Vanguard In Greenwich Village” (Impulse – YP-8548-AI) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Excellent). Rare Japanese top condition, 2nd press issue with obi from 1976 and getting a bitch to find as well. Killer Ayler slide that just open up to the hallucinogenic horn power of Ayler’s 1966 and 1967 Greenwich Village sets where he shares the stage with Joel Freedman, Bill Fowell, Beaver Harris, Sunny Murray, Alan Silva, Henry Grimes and brother Don on trumpet. Totally essential!!! Rare with obi present. Price: 40 Euro
7. BENTWIND: “Sussex” (Delval – DV-007) (Record: Near Mint/ Jacket: Near Mint). Long gone and deleted Delval issue of Canadian heavy psych rarity from 1968. This one always fries my cranium to a close meltdown with Riverside blasting at full volume through my speakers and igniting a riot in the neighborhood. Killer but getting so damned hard to pull. Price: 75 Euro
8. BIG BROTHER & THE HOLDING COMPANY: “S/T” (Mainstream – S/6099) (Record: Near Mint/ Jacket: Excellent ~ Near Mint - has a faint trace of ringwear on upper side, neglectable). Original US first pressing, stereo copy. Price: 40 Euro
9. PAUL BLEY TRIO: "Closer" (ESP Disk - BT-5006) (Record: Near Mint ~ Mint/ Jacket: Mint - still in Shrink/ Capsule OBI: Mint, still housed in original Shrink). Top condition copy, Japan first origiginal pressing of 1975 of classic ESP slide that was recorded back in 1965. Killer line-up with Barry Altshol on percussion, Paul Bley on piano and Steve Swallow on bass. Hard to find pristine Japanese pressing with obi. All is housed in shrink. Price: 40 Euro
10. BLONDIE: “Eat To The Beat” (Toshiba EMI Japan – WWS-81255) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Poster Insert: Near Mint/ Imprinted Inner Sleeve: Near Mint/ 4 Paged Liner Notes: Near Mint). Original Japan 1st press from 1979. “Just as Blondie’s second album, Plastic Letters was a pale imitation of their self-titled debut, Eat To The Beat, their fourth album, was a secondhand version of their breakthrough third album, Parallel Lines - one step forward, half a step back. There was an attempt, on such songs as "The Hardest Part" and "Atomic," to recreate the rock/disco fusion of the group's one major U.S. hit, "Heart of Glass," without similar success, and, elsewhere, the band just tried to cover too many stylistic bases. "Die Young Stay Pretty," for example, dipped into an island sound complete with modified reggae beat (a foreshadowing of the upcoming hit "The Tide Is High"), and "Sound-a-Sleep" was a lullaby that dragged too much to be a good change of pace. The British, who had long since been converted, made Eat To The Beat another chart-topper, with three major hits, including a number one ranking for "Atomic" and almost the same success for "Dreaming," but in the U.S., which still saw Blondie as a slightly comic one-hit wonder, the album was greeted for what it was -- slick corporate rock without the tangy flavor that had made Parallel Lines such ear candy.” (All Music Guide). Price: 35 Euro
11. BRAXTON, ANTHONY: “Recital Paris 1971” (Futura Records/ Epic Japan – EPIA-53905-F) (Record: Near Mint 〜 Mint/ Jacket: Near Mint/ Insert: Mint). Rare disc on the ultimately collectible Futura label. Original First Japanese pressing in top shape. Well you have to hand it to Braxton as a young guy, he had guts. Who else would be crazy enough in those days to dedicate the two sidelong pieces on the LP to Jonnhy Hodges and David Tudor. That alone already says enough about what a radical musician young Braxton was. Brilliantly executed free blowing saxophone improvisations that let the hairs on your neck stand up, fierce and proud. Great!! Rare 1st original Japanese Press FUTURA issue. Rare. Price: 25 Euro
12. BRAXTON, ANTHONY: “S/T” (Actuel/ BYG/ TOHO Records Japan – YX-8005) (Record: Near Mint/ Gatefold Jacket: Excellent/ Insert: Near Mint). Rare Japan first original pressing from 1971 in top shape. Mild foxing inside gatefold. Braxton first excursion for the legendary BYG/ Actuel label. Amazing and essential stuff. Price: 25 Euro
13. BRAXTON, ANTHONY: “This Time…” (BYG Actuel/ TOHO Records Japan – YX-6036) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Original 1st Japanese press issue of subliminal Braxton slide. “From the opening contrabass clarinet gurgle, it's clear this is no ordinary free jazz album, despite the fact it was released on the quintessentially volcanic free jazz imprint BYG Actuel. This Time features Anthony Braxton on alto and soprano saxophones, clarinet and contrabass clarinet, flute, sound machine, chimes, and voice, Leo Smith on trumpet, flügelhorn, horns, logs, and siren, Leroy Jenkins on violin, viola, flute, mouth organ, and electronic organ, and Steve McCall on drums, percussion, and darbouka in a striking display of vintage AACM multi-instrumentalism. That instantly recognizable Chicago mix of dazzling virtuosity and toy town tinkles and toots still sounds as fresh and crisp as it did when it was recorded back in January 1970; as well as exploring the further reaches of virtuoso improvisation and surrealistic poetry (on the title track), Braxton also throws the windows of the cage (pun intended) open onto the outside world: "In the Street" was recorded where it says it was -- in the street. The other pieces are generically titled ("Solo," "Small Composition," "Composition," etc.) – Braxton’s idiosyncratic algebraic/geometrical titles don't feature here -- but are about as far from generic as you could hope to get. Wild, wonderful, insanely creative, and absolutely timeless.” (Dan Warburton). Spot on description of quintessential free jazz slide!!! Price: 25 Euro
14. BROWN, MARION: "Solo Saxophone" (Sweet Earth Records - SER-1001) (Record: Near Mint/ Jacket: Near Mint). Top condition US original pressing - private press issue that saw the light of day in 1977 and sees Marion Brown blowing his lungs out at the absolute peak of his powers. Rarely surfaces but largely overlooked masterpiece that is in desperate need of reappraisal. Price: 35 Euro
15. CAMAYENNE SOFA: “La Percee” (Editions Syliphone Conakry – SLP-52) (Record: Near Mint/ Jacket: Near Mint). Great Mandingo sounds as always, plus the sweet down tempo headnodding afrobeat tune Samba-Mana An offshoot of the popular Guinean band Sextet Camayenne, Camayenne Sofa dominated West Africa's hit parade during the 1970s. Their many hits included the chart-topper "Were Were." The group struggled with many personnel changes. Original members Bossély Keita, Mamadou Camara, and Salia Camara left to form their own group, Kaloum Star, while drummer Papa Kouyate was recruited for Miriam Makeba’s Quintet. Guineen and vocalist Ange Miguel went on to perform with Tambourinis. Camayenne Sofa has continued to perform, under the direction of the sole remaining founding member, Jean-Baptiste Williams. Bass player Francois Koivoqui has assumed the role of "orchestra chief," while the band's vocalists include Mamady Camara, Youssouf Ba, and Zeze.” (Craig Harris, All Music Guide) This classic Guinean pop ensemble possesses without a single doubt one of the grooviest sounds to be found on the that day African continent. While the music displays a certain roughness and a free-floating incoherence, there are still several juxtaposition-like elements that bubble up which make them such a highly original band, all fusing neatly into one adhesive and trance-inducing sound such as the keening, shrill vocals; the disjointed reverberating echoey guitar lines; the driving, aggressive and tribal percussion grooves consisting out of an unusual mix of indigenous rattles and shakes, all beefed up and kept in line by a swirly little organ. Camayenne Sofa obviously refrained from polishing their sound and opted to keep in the so vibrant rough edges, which makes their music so highly unique and compelling. It only made their music so much more energetic and jaw-droppingly great as opposed to the vast majority of African pop albums of that era. After sitting through this one, you will be blasted off onto a whole new musical quest, taking you through previously unchartered plains and savannas. Highly recommended! Price: 50 Euro
16. CASH, JOHNNY: "At Folsom Prison" (CBS - S-63308) (Record: Near Mint/ Jacket: Excellent). Classic and totally indispensable slide. Original 1968 Dutch first pressing that sounds killer. Price: 25 Euro
17. 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
18. CHIEF COMMANDER EBENEZER OBEY & HIS INTER-REFORMERS BAND: “Immortal Songs For Travellers” (Decca – WAPS-378) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). 1977 original press of Nigerian classic. Great condition!!! Price: 25 Euro
19. CHINA CRISIS: “Working Fire With Steel” (Virgin/ Victor Records Japan – VIL-6090) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Insert: Near Mint). Scare 1984 Japan original pressing of New wave classic. “China Crisis main men Gary Daly and Eddie Lundon Gary Dally and were great songwriters searching for that one song that would make a difference. "Working with Fire and Steel" was that song. Although they had hits before, and they would have hits after, no other song defined China Crisis essence more. With its percolating beat, Daly’s hiccupping vocals, and a smashing chorus, it was the perfect modern pop song. With that said, there was also so much more to China Crisis than that one song. This, their sophomore album, features songs cut from the same cloth as "...Fire and Steel," including "Animals in Jungles" and "Hanna Hanna," but also reveals a band with deeper meaning and ambitious ideas. Lundon’s sweet backing vocals (and lead vocals on the pretty "Wishful Thinking" and "When the Piper Calls") balance out the quirkiness of Daly’s voice, creating a perfect combination. Although they were pigeonholed as a 'synth pop' band, China Crisis was much more. All that mattered to them was the song, and this album is chock full of intelligent, well-written pop songs. Producer Mike Howlett (who was a member of Gong) added much to the sonic blend, allowing the melodies to shine while toughening up the band's sound (the addition of a full-time drummer and bassist helped to thicken the sound as well). Even the softer moments, like "Here Comes a Raincloud," and "The Soul Awakening" are full of life and excitement. Apart from their own matured sound on this release, there are traces of rock, pop, and jazz floating between the lines. It was only a matter of time before they were compared to Steely Dan. But that came on the next album....” (All Music Guide). Sadly overlooked masterpiece that still sounds very much vibrant to these ears. Price: 25 Euro
20. CHERRY, DON: “Mu Second Part” (BYG Records – Actuel 28/ BYG-28) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Scarce Japanese original pressing. Classic Don Cherry title on the legendary BYG Actuel label. Sounds light-years better than the common French pressing.
21. CHERRY, DON & GATO BARBIERI: “Togetherness” (Cicala – BL-7068J) (Record: VG++ has visible so-called sunburn but surprisingly plays EX~NM/ Jacket: Excellent, has some mildew spots visible and lower middle seam split). Rare 1974 first original pressing of very scarce Don Cherry title. This LP features tenor-saxophonist Gato Barbieri (at the beginning of his career) and trumpeter Don Cherry teaming up with a French rhythm section for the trumpeter's five-part "Togetherness." While Cherry plays pretty free, he sounds conservative next to the often-violent wails of Barbieri. Great free flowing and free blowing slide, fire music in motion and killing it. Comes dead cheap…. Price: 35 Euro.
22. COLEMAN, ORNETTE TRIO: “At The Golden Circle, Stockholm, Vol. 1” (Blue Note – GXF-3018) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st original pressing all complete with obi. Ornette’s 1965 trio with bassist David Izenzon and drummer Charles Moffett is easily the most underrated of all his bands. This band certainly had no apologies to make. Coleman was deep into creating a new approach to melody, since Haden and Cherry had honed his harmonic sensibilities. Izenzon proved to be the right bassist for Coleman to realize his ambitions. A stunning arco as well as pizzicato player Izenzon offered Coleman the perfect foil. No matter where Coleman’s soloing moved the band, Izenzon was there at exactly the same time with an uncanny sense of counterpoint, and he often changed the harmonic mode by force. The first of these two volumes from December 3 shows Coleman in a playful, mischievous frame of mind, toying with the trio ads well as the audience on "Faces and Places" by inserting standard bop phrases and song quotes into the heart of his free soloing. On "Dee Dee," Coleman moves along to rhythmic counterpoint by Moffett, pushing Izenzon into the unlikely role of beat-keeper -- not simple for such an amazing improviser. But it's on the closer, "Dawn," that the band gels as one inseparable, ethereal unit, cascading through scalar invention and chromatic interplay as if it were second nature.” (All Music Guide). Such a stunning slide, perfect in every way. That aside, top condition first press issue. Price: 40 Euro
23. COLTRANE, JOHN: “Africa/ Brass” (Impulse – SNY-3) (Record: Near Mint/ Flip Back Sleeve: Near Mint). Scarce 1961 Japan first original domestic pressing in top condition. Hard to find these 1961 originals in acceptable condition and this one is flawless. Price: 60 Euro
24. COLTRANE, JOHN: “Sun Ship” (Impulse – IMP-88129) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint). Japanese high quality pressing of classic Coltrane slide. Original first press issue in top condition. Price: 25 Euro
24. COLTRANE, JOHN: “Live At The Village Vanguard” (Impulse – AS-9124) (Record: Excellent ‾ Near Mint/ gatefold Jacket: Near Mint). Clean US pressing – 2nd press – of another vital Coltrane slide with in the line-up Pharoah Sanders and Alice Coltrane. Price: 25 Euro
25. DENNY, MARTIN: “Martin Denny’s Exotic Sounds From The Silver Screen” (Liberty Records/ Toshiba Musical Industries – SLBY-1008) (Red Wax Record: Near Mint/ Fragile Flip Back Jacket: Near Mint). First original Japanese pressing that was released in June of 1962. Comes housed in Japan only jacket art as it was a Japan only issue. Record comes pressed on beautiful red wax. This one rarely surfaces, especially in a condition like this one here. Price: 65 Euro
26. DOLPHY, ERIC: “Last Recordings” (DIW – DIW-25020) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint). Released way back in 1988 in an edition of only 500 copies and housed in a gorgeous foldout jacket, this was a Japan only release of Eric Dolphy’s last live appearance at Paris on June 11, 1964. He got assisted by Donald Byrd (trumpet), Nathan Davis (Tenor sax), Jacques Dieval (piano), Jacques B. Hess (bass), Franco Manzecchi (drums) and Jacky Bambou (congas). Utterly lyrical and moving pieces that include “Springtime” (over 19 minutes!!), “245”, “G.W.” and “Serene”. This disc was released on CD by DIW in Japan only got an ultra limited vinyl issue of it at the time that sounds absolutely stellar. Just beautiful and housed in a high quality gatefold cover. This item is in top-notch condition, as new, and mint all the way. Hardly turns up anymore and one of the finest Dolphy recordings out there.
27. DRAKE, NICK: “Five Leaves Left” (Island Records – SVLP-163) (Record: Near Mint/ gatefold Jacket: Near Mint). Late press issue of classic slide. Price: 25 Euro
28. DYLAN, BOB: “The Bootleg Series Vol. 7 ~ deluxe LP Edition ~ No Direction Home: The Soundtrack – A Martin Scorsese Picture” (Columbia Records – C2L 93937-1) (4 LP Record Set: Near Mint/ 2 x Gatefold LP Jackets: Mint/ Booklet: Mint/ Postcard: Mint). Long deleted and gone issue that saw the light of day way back in 2006. Top condition heavy duty box set. Essential to any self respecting Dylan aficionado. Price: 125 Euro
29. FRY, MARK: "Dreaming With Alice" (Akarma - AK-126) (Record: Near Mint/ Gatefold Jacket: Near Mint). Reissue of fantastic 1972 UK Acid Folk record par excellence. The record rests somewhere between Donovan’s erotic mysticism and the woodsy romps of Comus. At the time of the album’s recording, there was a renewed interest in surrealism in Italy, and this influence can be felt throughout the record. Although it pretty much stays within the conventions of psych-folk, trace elements of prog can also be discerned. In fact, it’s not difficult to picture Goblin finding inspiration in Dreaming. Price: 25 Euro
30. GATO BARBIERI: “Chapter One: Latin America” (Impulse Records – IMP-88139) (Record: Near Mint/ gatefold Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Japan first original press issue all complete with obi. “Chapter One: Latin America was a huge step forward musically for the Argentinean-born saxophonist, even as it looked to the music of his heritage. This turned out to be the first of four chapters in his series on Latin America, and for it he teamed not with established jazz musicians, but instead folk and traditional musicians from his native country, and recorded four of the album's five cuts in Buenos Aires -- the final track, a multi-tracked solo piece, was recorded in Rio de Janeiro. The music found here doesn't walk a line between the two worlds, but freely indulges them. The enormous host of musicians on the date played everything from wooden flutes to electric and acoustic guitars, bomba drums and quenas, and Indian harps and charangos, creating a passionate and deeply emotive sound that echoed across not only miles but also centuries. At the helm was Barbieri, playing in his rawest and most melodic style to date, offering these melodies, harmonies, and rhythms as a singular moment in the history of jazz. While the entire album flows seamlessly from beginning to end, the A-side, comprised of Barbieri’s own "Encuentros" and J. Asuncion Flores and M. Ortiz Guerrero’s classic "India," is the clear standout. That said, the four-part suite that commences side two -- "La China Leoncia Arreo la Correntinada Trajo Entre la Muchachada la Flor de la Juventud" -- is a work of such staggering drama and raw beauty that it is perhaps the single highest achievement in Barbieri’s recorded catalog as an artist. Simply put, this album, like its remaining chapters, makes up one of the great all but forgotten masterpieces in 1970s jazz.” (All Music Guide). Top condition, impossible to upgrade upon. Price: 40 Euro
31. The GREAT KAI & J.J.: “S/T” (Impulse Records – IMP-88116) (Record: Near Mint ~ Mint/ Gatefold Jacket: Excellent/ Obi: Near Mint/ Insert: Near Mint). This lively Impulse! set was the first recorded reunion of trombonists J.J. Johnson and Kai Winding.  With pianist Bill Evans, either Paul Chambers or Tommy Williams on bass, and Roy Haynes or Art Taylor on drums, the two trombonists are in melodic and witty form on such tunes as "This Could Be the Start of Something Big," "Blue Monk," "Side by Side," and "Theme from Picnic." Recommended. Price: 20 Euro
32. GRIFFIN, JOHNNY: “Introducing Johnny Griffin” (Blue Note/ EMI Music Japan – BLP-1533) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). “Johnny Griffin played fast—very fast. The evidence is here in Griffin's very first album, Introducing Johnny Griffin. It's a 1956 date with a quartet that includes Wynston Kelly on piano, Curly Russell on bass and Max Roach on drums. For 70 years, Griffin was a jazz giant, and this album, his first as a leader, is among his very best. And fastest. Griffin could play the hell out of a ballad. His sound is soulful and full-bodied. Two numbers in particular—"These Foolish Things" and "Lover Man" show off Griffin's beautiful tone. But it's speed you're looking for, and you've come to the right place. The very first number, a Griffin original called "Mil Dew," is blazingly fast. So is "Cherokee," the album's closer, but you expect that on "Cherokee." You don't expect it on Jerome Kern's "The Way You Look Tonight," which may be the fastest take of that song ever recorded. And you don't expect a blazing solo on Cole Porter's "It's Alright With Me," but Griffin delivers. He is fast, absolutely, but also crystal clear, and clever. He is a bebopper (or hard bopper?) of the first order. Johnny Griffin would go on to create many great albums. Arguably his best—"A Blowin' Session" with fellow tenors John Coltrane and Hank Mobley—came just one year later. But it's clear from the very beginning, from this album, that Johnny Griffin was destined for a legendary career. It starts here.” (All About Jazz) 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: 55 Euro