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41. KAI WINDING and J.J. JOHNSON: “Trombone For Two” (CBS Sony – SONP-50352) (Record: Near Mint/ Jacket: Excellent/ Cap Obi: Near Mint). Clean Japan original press issue all complete with cap obi. “The J.J. Johnson & Kai Winding quintet became one of the more unlikely successes of the mid-'50s, recording nine albums during their two years of steady collaborations. Their first Columbia LP has such likable songs as "Give Me the Simple Life," "Trombone for Two," "It's Sand Man," "Let's Get Away from It All" and "This Can't Be Love." With pianist Dick Katz, bassist Paul Chambers (who would soon join Miles Davis) and drummer Osie Johnson, the focus is almost entirely on the competitive but complementary trombonists. The results are bop-based but full of surprises, tasteful but not always predictable, this one will be hard to find.” (All Music Guide) Price: 35 Euro

42. KAMIJO TSUNEHIKO: “Dareka Ga Kaze No Naka De b/w Hashi” (King Records – BS-1476) (Single Record: Excellent/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). 1971 Japanese soulful groove jiver. The B-side is where it is at again…smoked out male vocals not unlike a Tom Jones on herbicides backed up by a choir of female vocals, throbbing bass and wild horn section, setting the dance floor on fire. Comes with great picture sleeve. Another largely undetected butt-shaker par excellence! Killer track. Price: 40 Euro
43. KATSU SHINTARO: “Zatoichi b/w Zatoichi Hirori-Ha” (Daiei Records – D-1) (Single Record: Excellent/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint/ Promo Picture Photo Card: Mint). 1967 Japan first original pressing by everyone’s favorite blind swordsman. Katsu was an outrageously individualistic actor who became a living legend playing a blind master swordsman, Zatoichi. "Katsu-shin", as he was affectionately known, was adored by millions. Raised as a son of a master of nagauta, "long song" accompanied by shamisen, often used as dance accompaniment in kabuki, he was gifted with a great singing voice. He even began by teaching nagauta and aged 17 performed it in kabuki. Still it was with Zatoichi that he broke through worldwide, a persona that has the soul of a monk, the skill of a samurai'. From 1962 until 1989, Zatoichi (Ichi the Blind), the blind masseur and sword master, slashed his way through the Japanese silver screen and into the Japanese people's zeitgeist- and hearts. Here you have Katsu performing two title songs from the series, sang in a gravel and smokey voice, lending it for prime male enka serenades. Stuff of legends and highly enjoyable. I ride hard for this stuff. Comes with promo picture present. Price: 30 Euro

44. The KENNY CLARKE – FRANCY BOLAND BIG BAND: “Sax No End” (MPS/ Columbia Records – YS-2414-MP) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent). Scarce japan original pressing all complete with obi. Drummer Kenny Clarke, realizing that American music is often more appreciated in Europe, eventually moved to the continent and hooked up with the Belgian pianist/arranger Francy Boland, and, in 1961, they formed a long-lasting, incredibly popular bebop-based big band. The Clarke/Boland Big Band featured some of Europe’s best jazz musicians of the time (Ronnie Scott, John Surman) plus some of the great American musicians who had relocated to the continent themselves (Jimmy Woode, Johnny Griffin). SAX NO END, from 1967, is a powerfully swinging session, a mixture of the wallop of Count Basie and the modernism of Gil Evans and Bob Brookmeyer. Price: 30 Euro

45. KIKUCHI MASABUMI + GIL EVANS: “S/T” (Fontana – PAT-1065) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan clean and a virgin’s ass pressing with obi. Classic Japanese jazz slide by Masabumi teaming up with Gil Evans and a big band orchestra that include guitar shredder Takayanagi Masayuki. Beautiful from start to finish and a great entrance point for Japonized jazz grooves. Price: 25 Euro
46. The ROLAND KIRK QUARTET: “Meets The Benny Golson Orchestra” (Mercury/ Nippon Victor – SM-7147) (Record: Excellent/ Flip Back Jacket: Near Mint). First press 1964 Japan original pressing – housed in flip back sleeve with languette still attached. Price: 35 Euro
47. KONITZ – SOLAL: “European Episode” (Fontana – FOX-7012) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Very first Japanese press issue for dead cheap. No obi but all the rest is here and the sound is amazing. Price: 30 Euro
48. KONITZ – SOLAL: “Impressive Rome” (Fontana – FOX-7014) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Very first Japanese original pressing in beautiful condition. No obi so this baby comes cheap. Highest recommendation. Price: 30 Euro
49. KONITZ – SOLAL: “European Episode” (TAM – YX-4060) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Absolutely top condition & impossible to upgrade upon killer Japanese press issue. Price: 35 Euro
50. KONITZ – SOLAL: “Impressive Rome” (TAM – YX-4061) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Absolutely top condition & impossible to upgrade upon killer Japanese press issue. Price: 35 Euro
51. KROG, KARIN & DEXTER GORDON: “Some Other Spring – Blues And Ballads” (Baybridge Records – ULS-1695-B) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). “The talented Norwegian singer Karin Krog sings standards and her own "Blue Eyes" on this enjoyable collaboration with tenor saxophonist Dexter Gordon. Krog, a versatile vocalist, sounds perfectly at home on such tunes as "Some Other Spring," "How Insensitive," "Jelly, Jelly," and "Shiny Stockings." Dexter is in excellent form (he had lived in Europe at that point for eight years) and the group is completed by pianist Kenny Drew (who switches to organ on "Blue Eyes"), bassist Niels Pedersen and drummer Espen Rud. This is one of the most accessible Karin Krog releases around and is recommended.” (All Music Guide). So sweet, it almost hurts. Scare Japanese pressing with rare obi. Price: 25 Euro
52. KROG, KARIN: “Jazz Moments with Karin Krog” (Sonet/ Teichiku Records – UPS-2019-N) (Record: Near Mint/ Jacket: VG++ - lower middle seam split). Japan original pressing. Originally released by Sonet Records this is the very first Japanese press issue of a 1966 session features an all-star line-up. A young Jan Garbarek is featured on two tracks and the stellar rhythm section is made up of Kenny drew on piano, Niels Henning-Orsted Pedersen on bass and Jon Christensen on drums. One of the cornerstone recordings out of the Norwegian jazz scene, indispensable in my book. Top condition. Price: 30 Euro
53. LACY, STEVE: “The Straight Horn of Steve Lacy” (Candid/ CBS SONY – SOPC-57006) (Record: Near Mint/ Jacket: Near Mint). Killer Lacy slide, Japan press issue out of 1971. This version is also one that hardly never shows up but of course is not as rare as the flip back version that came first. Great condition and great sounding Japanese pressing. Price: 30 Euro

54. The LIME SPIDERS: “Slave Girl” (Hybrid – RIB-1) (Record: VG++ ~ EX – has some slight paper sleeve lines all over plays EX/ Jacket: Excellent). Original press issue of psyched out garage artifact from down undah. “Using a blueprint based on the fuzz-tone aesthetic of North American garage psychedelic bands from the '60s, Sydney, Australia's Lime Spiders chimed in with their own punk-informed take on the genre during the '80s heyday of new wave and hair-spray metal. Along with more high-profile garage revivalists like The Cramps, the Lime Spiders took a natural and nostalgic trip back from punk's lo-fi ways to the music of '60s trash stars like the Count Five and Question Mark & Mysterians. This kinetic EP includes some of the band's best and earliest material, including their first two singles, "Slave Girl" and "Beyond the Fringe," and a mix of other originals and classic covers. And while renditions of the Liberty Bell’s "That's How It Will Be" and the Haunted’s "1-2-5" are impressive, the tunes by Spiders vocalist Mick Blood ("Slave Girl," "25th Hour," and "Can't Wait Long") are the standouts. Eschewing some of the overtly psychedelic '60s touches and concocting an updated blend of crunching guitars, snarled vocals, and bottom-heavy bass and drums, the band come up with a surprisingly original sound over the EP's five songs. Along with the group's first full-length LP, The Cave Comes Alive, Slave Girl is a must for fans of the garage revival genre.” (All Music Guide). When growing up as a kid, this was my poison of choice that kept MTV far and away… still blows me to smithereens. Price: 25 Euro

55. MARCUS, STEVE: “The Lord’s Prayer” (Atlantic – MT-2013) (Record: Near Mint/ Japan ONLY Gatefold Jacket: Near Mint). Japan original 1970 pressing. A wonderfully mixed-up, messed-up batch of jazzy tracks from the great Steve Marcus – working here at the height of his late 60s powers on Atlantic's ultra-cool green & turquoise colored label! As with other Marcus albums of the time, there's kind of a long haired, freewheeling energy to the set – jazz that's still steeped in some of the best modern and soulful styles of the 60s, yet also touched a bit with some of the rock experiments at the time – not really in the instrumentation, but in the way the whole group approaches the groove. Marcus blows some mighty tenor sax – and the lineup also includes Herbie Hancock on electric and acoustic piano, Miroslav Vitous on bass, and Bob Moses on some pretty heavy drums. Some cuts have some hip larger arrangements. Comes housed in Japan only gatefold sleeve art that has some cool live pictures in the gatefold! Price: 30 Euro
56. 8. McCOY TYNER: “Reaching Fourth” (Impulse – IMP-88083) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint – has folding crease). Stupidly clean Impulse Japanese original pressing with obi for cheap. Price: 50 Euro

57. McLEAN, JACKIE: “4 5 and 6” (Prestige/ Victor Records – RANK-5019) (Record: Excellent/ Flip Back Jacket: Near Mint/ Insert: Excellent). Japan very first original press issue from 1961. “In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. 4, 5 and 6 presents McLean’s quartet on half the date, and tunes with an expanded quintet, and one sextet track -- thus the title. Mal Waldron, himself an unconventional pianist willing to explore different sizings and shadings of progressive jazz, is a wonderful complement for McLean’s notions, with bassist Doug Watkins and drummer Art Taylor the impervious team everyone wanted for his rhythm section at the time. The quartet versions of "Sentimental Journey," "Why Was I Born?," and "When I Fall in Love" range from totally bluesy, to hard bop ribald, to pensive and hopeful, respectively. These are three great examples of McLean attempting to make the tunes his own, adding a flattened, self-effaced, almost grainy-faced texture to the music without concern for the perfectness of the melody. Donald Byrd joins the fray on his easygoing bopper "Contour," where complex is made simple and enjoyable, while Hank Mobley puts his tenor sax to the test on the lone and lengthy sextet track, a rousing version of Charlie Parker’s risk-laden "Confirmation." It's Waldron’s haunting ballad "Abstraction," with Byrd and McLean’s quick replies, faint and dour, that somewhat illuminates the darker side. As a stand-alone recording, 4, 5 and 6 does not break barriers, but does foreshadow the future of McLean as an innovative musician in an all-too-purist mainstream jazz world.” (All Music Guide). Price: 40 Euro

58. MELVINS: “With Yo’ Heart, Not Yo’ Hands/ Four Letter Woman/ Anal Satan” (Sympathy For The Record Industry – SFTRI-81) (Red Wax EP Record: Near Mint/ gatefold Picture Sleeve: Near Mint). Original 1990 first pressing on clear red wax. Price: 30 Euro
59. MILES DAVIS: “Miles Ahead – Orchestra Under The Direction of Gil Evans – Miles Davis + 19” (Columbia – YS-304) (Record: Excellent/ Flip Back Jacket: VG++ - Middle lower seam split clearly visible/ Company Inner Sleeve: Excellent). Japan very 1st original press issue that comes in Japan only alternate sleeve art. “This album is perhaps most significant for the process it set in motion -- the collaboration between Gil Evans and Miles Davis. This album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans and Davis, who hadn't worked together since recording the critically admired but commercially unsuccessful sides that would later be issued as The Birth of the Cool. Columbia also allowed Evans to assemble a 19-piece band for the recordings, at a time when big bands were far out of fashion and also at a time when the resulting recordings could not be released until two years in the future. Davis was also expected to carry the album as its only soloist, and manage not to get lost among a cast of supporting musicians that included a huge horn section. To a large extent, he succeeds. Evans’ arrangements in particular are well-suited to the format, and he and Davis formed a deep and close partnership where ideas were swapped back and forth, nurtured, and developed long before they were expressed in the studio. Davis gets off to a great start, with the hyper-kinetic "Springsville," which seems to almost perfectly embody Evans’ and Davis’ partnership with its light, flexible exchanges between soloist and orchestra. He is strongest on the ballads, though, where his subdued and wistful tone rises high above the hushed accompaniment, especially on "Miles Ahead" and "Blues for Pablo". The upbeat "I Don't Want to Be Kissed (By Anyone but You)" is another strong song, but shows the weakness of the format as Davis intersperses a charming, bright, technically challenging solo with a blasting horn section that occasionally buries him. It is a fine end, however, to an album that gave a hint of the greatness that would come as Evans and Davis fine-tuned their partnership over the course of the next several years.” (All Music Guide). Price: 25 Euro
60. MILES DAVIS: “Bags’ Groove” (Prestige/ Nippon Victor – SMJ-7137) (Record: Excellent/ Flip Back Jacket: Near Mint). Rare Japan first original pressing in great condition. Very 1st issue housed in fragile flip-back sleeve. “There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session – featuring Thelonius Monk -- which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins. Or Horace Silver’s uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of "Airegin" flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches Of Spain epic. The fun and slightly maniacally toned "Oleo" features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc.” (All Music Guide). Damned rare, later pressings followed on Top Rank and then the late 1960s equally rare gatefold sleeve version, but this baby here was that very first press issue. Eat your heart out! Price: 50 Euro
61. The MILES DAVIS SEXTET & The THELONIUS MONK QUARTET: “Miles & Monk At Newport” (CBS/ NIPPON COLUMBIA – YS-392-C) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Company Inner Sleeve: Excellent). Original Japan 1st press issue that came out in 1965, housed in a fragile flip back sleeve. Featuring the Miles Davis Sextet and the Thelonious Monk Quartet recorded in 1958 and 1963, respectively, this classic album features two of jazz music's most famous groups at the peak of their powers. This 1958 recording from Miles Davis is, in fact, one of the finest live documents of the classic Kind Of Blue-era group featuring John Coltrane and Cannonball Adderley, along with the great Bill Evans on piano. Monk's group as usual featured tenor-man Charlie Rouse, with help from Pee Wee Russell on clarinet, and they really stretch out on two ten+ minute tracks. Top condition and gloriously sounding Japan 1st original press, just about never ever surfaces with all complete and in a condition like this beauty here. Price: 40 Euro
62. MILES DAVIS: “In Person Vol. 2 – Friday & Saturday Nights At The Blackhawk, San Francisco” (Columbia – PSS-90-C) (Record: Excellent/ Flip-back Jacket: Near Mint). Original 1964 press issue. No Obi. Price: 45 Euro

63. MILES DAVIIS: “Sketches of Spain” (CBS Sony – 18AP-2057) (Record: Near Mint/ Jackate and CAP OBI: Mint, still housed in shrink with Miles 25 sticker on shrink/ Insert: Mint). Top copy, virginal Japanese high-quality press issue. Still housed in shrink with “Miles” sticker still on the shrink. Comes with Cap obi and the whole package is as clean as a virgin hooker’s pulsating ass!!! Price: 40 Euro

64. MILES DAVIS: “Circle In The Round” (CBS SONY – 36AP-1409~10) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ 2 Inserts: Near Mint). Top shape Japan 1st original press issue. Price: 30 Euro

65. MINGUS, CHARLES: “The Clown” (Atlantic/ Nippon Victor – SMJ-7271) (Record: Near Mint/ Fragile Flip Back Sleeve: Near Mint). Rare Japan original 1st press issue all complete with rarely seen first issue obi. “The Clows was Charles Mingus’ second masterpiece in a row, upping the already intense emotional commitment of Pithecanthropus Erectus and burning with righteous anger and frustration. With Pithecanthropus, Mingus displayed a gift for airtight, focused arrangements that nonetheless allowed his players great freedom to add to the established mood of each piece. The Clown refines and heightens that gift; instead of just writing heads that provide launch points for solos, Mingus tries to evoke something specific with every piece, and even his most impressionistic forays have a strong storytelling quality. In fact, The Clown’s title cut makes that explicit with a story verbally improvised by Jean Shepherd from a predetermined narrative. There are obvious jazz parallels in the clown's descent into bitterness with every unresponsive, mean-spirited audience, but the track is even more interesting for the free improvisations led by trombonist Jimmy Knepper, as the group responds to Shepherd’s story and paints an aural backdrop. It's evidence that Mingus’ compositional palette was growing more determinedly modern, much like his increasing use of dissonance, sudden tempo changes, and multiple sections. The Clown introduced two of Mingus’ finest compositions in the driving, determined "Haitian Fight Song" and the '40s-flavored "Reincarnation of a Lovebird," a peaceful but melancholy tribute to Charlie Parker; Mingus would return to both throughout his career. And, more than just composing and arranging, Mingus also begins to take more of the spotlight as a soloist; in particular, his unaccompanied sections on "Haitian Fight Song" make it one of his fieriest moments ever. Mingus may have matched the urgency of The Clown on later albums, but he never quite exceeded it.” (All Music Guide). Price: 50 Euro
66. MINGUS, CHARLIE: “Blues & Roots” (Atlantic Records – SAL-5004) (Record: Excellent/ Fragile Flip Back Jacket: Near Mint). Rare Japan first original press issue. Released in 1960, Blues & Roots is about as aptly titled as albums get, revealing some of Mingus’s more unexpected musical influences...or, at least, they’re unexpected if you think the man grew up listening to a diet of non-stop jazz. As Mingus explained in the album’s liner notes, the record came about as a result of Nesuhi Ertegun suggesting that he record an entire blues album in the style of “Haitian Fight Song” (which made its debut on Mingus’s 1957 Atlantic album, The Clown) in order to silence critics who were saying that Mingus didn’t swing enough. “He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy,” wrote Mingus. “I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed.” On that front, Blues & Roots would seem to have been a success: the All Music Guide says outright that “it ranks as arguably Mingus’s most joyously swinging outing.” It’s also worth noting that Elvis Costello cited the album in a Vanity Fair feature where he put together a 24-hour soundtrack for his life: “8 A.M. The day is picking up pace. Mingus is playing loud in the kitchen, something is boiling. Damned rare Japan 1st original pressing. Price: 35 Euro
67. MODERN JAZZ GIANTS: "Invitation To Modern Jazz" (United Artists - SMJ-7007) (Record: Excellent/ Fragile Flip Back Sleeve: Near Mint/ Obi: Near Mint). Damned rare early 1960s Japan original pressing of great vintage jazz slide featuring Art Farmer, Modern Jazz Quartet, Lee Morgan, Benny Golson, Gerry Mulligan and Philly Joe Jones. never seen a copy with first issue obi before...a steal. Price: 25 Euro
68. MONK, THELONIUS: “Greatest Hits” (Riverside/ Victor – SR-7049) (Record: Excellent/ Flip Back Jacket: Excellent) Scarce Japan very 1st original press in nice shape. Price: 25 Euro

69. MONK, THELONIUS with ART BLAKEY’s JAZZ MESSENGERS: “Blue Monk” (Atlantic/ Victor Records – SMJ-7082) (Record: Excellent/ Fragile Flip Back Sleeve: Near Mint). Damned rare very first japan original press issue that saw the light of day in 1962. “Most of the titles on this album are derived from Monk’s vast catalog of bop standards. Both co-leaders are at the peak of their respective prowess with insightful interpretations of nearly half a dozen inspired performances from this incarnation of the Blakey-led Jazz Messengers. This combo features Art Blakey (drums), Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass). Immediately, Hardman ups the ante with a piledriving lead during "Evidence" that underscores the heavy-hitting nature of this particular jazz confab. Monk counters with some powerful and inspired runs that are sonically splintered by the enthusiastic -- if not practically percussive -- chord progressions and highly logistic phrasings from the pianist. The inherent melodic buoyancy on "In Walked Bud" contains a springboard-like quality, with Griffin matching Monk’s bounce measure for measure. Griffin’s incessant efforts create a freshness to the tune that often escapes other less inspired readings. From Blakey’s boisterous opening on "Blue Monk" through to Monk’s single-note crescendo during the finale, the Jazz Messengers provide a lethargic propulsion that showcases the melody's bluesy origins. This directly contrasts the up-tempo charge of "Rhythm-A-Ning." The quirky yet catchy chorus glides with the dual-lead horn section as the entire arrangement is tautly bound by the understated Debrest and Blakey. Griffin’s "Purple Shades" is the only non-Monk composition that this aggregate recorded. This smartly syncopated blues seems better suited for the Jazz Messengers than for Monk. However, the pianist's opening solo alternately shimmers and shudders with Debrest as well as Griffin and Hardman, who demonstrate their own pronounced capabilities over Monk’s otherwise occasional counterpoint.” (All Music Guide). Damned rare Japan original 1st pressing that comes housed in Japan unique cover design. Price: 35 Euro

70. MORGAN, LEE: “Take Twelve” (Riverside/ Victor Records – SR-7062) (Record: Excellent/ Flip Back Jacket: Excellent). Original 1962 Japan first original press issue. Take Twelve was trumpeter Lee Morgan’s only recording during an off-period that lasted from mid-1961 to late 1963 – at a time when he was cut loose from Blakey’s Jazz Messengers due to his troubling heroin habit. Morgan leads a stellar quintet with tenor saxophonist Clifford Jordan, pianist Barry Harris, bassist Bob Cranshaw and drummer Louis Hayes through four of his originals, Jordan’s "Little Spain," and the title cut, an Elmo Hope composition. The superior material uplifts the set from being a mere "blowing" date but it generally has the spontaneity of a jam session. It's one of Lee Morgan’s lesser-known dates. Price: 35 Euro
71. MORGAN, LEE: “Here’s Lee Morgan” (Top Rank/ Victor Records – SRANK-5000) (Record: Excellent/ Flip Back Jacket: Near Mint). Japan 1st original press issue in great shape. An excellent early session from a young Lee Morgan – a set that we'd rank right up there with his best Blue Note material of the time! The set's from a time when Lee's trumpet was a key force in the Jazz Messengers – and there's definitely a Messengers vibe going on here, thanks to drums from Art Blakey – who works in a quintet alongside Clifford Jordan on tenor, Wynton Kelly on piano, and Paul Chambers on bass. Jordan's tenor has a nice sharp edge – and like some of the Wayne Shorter sessions for Vee Jay, there's a nice sense of darkness here that's a bit different than some of Morgan's usual moments. Price: 30 Euro
72. The NEON BOYS: “That’s All I Know - Love Comes In Spurts b/w High Heeled Wheels) (No Label) (7 Inch Record: Near Mint/ Picture Sleeve: Near Mint). Great grey area release of Hell and Verlaine in action in NYC in 1973. Price: 25 Euro
73. NORDSTROM BENGT: “Frippe” 8Onlott – MLR-7001) (EP Record: Near Mint/ Silk Screen sleeve: Near Mint). Released in an edition of only 50 copies, all coming in individual designed sleeves. Swedish free jazz de max. The man behind Bird Notes label and the sole release of him you can get for cheap. Forget the original Bird Notes, the will cost you the price of an organ transplantation, so this might be as close as you can get and still be baffled with the awesome sounds within. Nordstrom rules big time!!! Price: 30 Euro