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Price: 30 Euro
57. RYPDAL, TERJE: “Whenever I seem To Be Far Away” (ECM/ Trio Records – PAP-9027) (Record: Near Mint/ Jacket: near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original 1st press – PROMO issue. “Whenever I Seem To Be Far Away is, by common consensus, one of Terje’s early masterpieces. Rypdal has said that he sometimes felt conflicted in his early years, pulled in different directions by the urges to compose orchestral music and to develop an improvising language as a guitarist drawing upon the sonorities of rock rather than jazz. The demands of the mediums could seem contradictory. Not on Whenever I Seem To Be Far Away, however. “Terje Rypdal pursues his own way with purity, clarity and inspirational complexity,” the reviewer in the Los Angeles Free Press declared. “He touches you on an improvisational level and a compositional level. I never heard an electric guitar sound so natural in an orchestral setting before.” An important contributor here was Mladen Gutesha, the Saravejo-born conductor and arranger who worked on several ECM sessions which framed improvisers with string players, including Keith Jarrett’s In The Light, Luminessence and Arbour Zena, and Nana Vasconçelos’s Saudades. On the title piece of Whenever I Seem To Be Far Away (subtitled “Image for Electric Guitar, Strings, Oboe and Clarinet”), the players of the Südfunk Symphony convincingly echo the yearning quality of Terje’s singing electric guitar, with moving results.” (ECM). Price: 25 Euro
58. RYPDAL, TERJE: “After The Rain” (ECM/ Trio Records – PAP-9055) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st press original – PROMO issue. If Terje Rypdal's previous album, Odyssey was up your alley, then you will like After the Rain. While this album has the atmospheric ECM "house sound" found on their other releases of this era, After the Rain sounds more like a Terje Rypdal solo album than Odyssey. This is due to the fact that there is not a group playing on this album. It is only Terje Rypdal playing all of the instruments. Inge Lise Rypdal (Terje's wife) provides wordless vocals on a few of the songs. Price: 25 Euro
59. SAIRAIJI HIROMI: “Hatoba b/w Futari No Nakimichi” (Columbia – SAS-1552) (Single Record: Excellent/ Picture Sleeve: Excellent/ Company Inner Sleeve: Excellent). 1971 Japan original press issue of all time greatest but so unknown beached belly-up & bottom of the grave Enka wailing chanteuse Sairaiji Hiromi. PSF records Hideo Ikeezumi introduced me to her and we both cultivated a secret but long lasting heavy love for Sairaiji’s output. This is the deep shit, merely 19 years old at the time, she succeeded in sounding like a 95 year old hag at the brink of oblivion. It makes the hairs on my neck stand up straight for weeks on end after I play this at full volume. Enka never got as good, as deep, as depraved and as rurally fucked up as Sairaiji’s debut. Bloody insane killer shit!!! Price: 30 Euro
60. SHEPP, ARCHIE: “Live At Donaueschingen Music Festival” (MPS Records – YS-2101-MP) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1969 Japanese pressing. Top copy. Getting tougher and tougher to dig up these beauties with obi these last couple of years. One can argue that 1967 was Archie Shepp's peak year. In a way I adhere to this (although that his career was filled with peaks, just see his output on the Actuel/BYG label a couple of years later) with recording of one of his most out there albums "The Magic of Juju". Still, "Live at the Donaueschingen Festival" can be seen as some sort of an extent to which the Juju magic sound translates live. Split over two sides, the album gives some insight into one spun out piece. Archie Shepp's solos are frequent and extreme and are about to adhere a new meaning to the term Fire Music. Still not all is heavy breathing free shronk, there are also quieter moments with Grachan Moncur III, Roswell Rudd and Jimmy Garrison interlocking in some mesmerizing interplay. Also interesting is he audience’s reaction which at best can be described as emphatic. Some of them are awestruck, some are obviously put off. I guess it was just the impact of this new unheralded tsunami of free interplay that took them by surprise after having being subdued by middle of the road modal jazz for the last two decades. Again a classic in the free jazz canon, this is the original Japanese pressing of that day, complete with heavy gatefold cover and obi. Simply a must in my book Price: 30 Euro
61. SHEPP, ARCHIE: “On This Night” (Impulse – AS-97) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). US pressing in outstanding condition. “Tenor saxophonist Archie Shepp’s third release for the Impulse label collects valuable loose ends recorded between March and August 1965. Among the highlights are a passionate reading of Duke Ellington’s "In a Sentimental Mood" and the title piece, a moving tribute to W.E.B. DuBois, featuring the haunting soprano vocalist Christine Spencer employing a distinct 20th century classical influence, with Shepp on piano. Shepp is the solo horn on these dates, playing at peak form with contributions from vibraphonist Bobby Hutcherson early in his career, David Izenzon or Henry Grimes on bass, and four rotating drummers, including Rashied Ali, J.C. Moses, Joe Chambers and Ed Blackwell playing a variety of percussion.” (All Msuic Guide). Price: 40 Euro
62. SIMON & GARFUNKEL: “Wednesday Morning 3 AM” (CBS Sony – SOPM-100) (Record: Excellent/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint/ Cap Obi: Near Mint). Clean Japanese pressing with obi of always stellar Simon and Garfunkel ear-waxing sounds. Price: 30 Euro
63. SLAP HAPPY HUMPHREY: “Chiheisen b/w Sentimental Street” (Public Bath – PB14) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Original 1994 pressing of noisey take on Morita Doji folk songs by Hijokaidan front man backed up by the lovely vocals of Angel In Heavy Syrup lead chanteuse Mineko Itakura. Price: 35 Euro
64. SMITH, JIMMY: “All About Jimmy Smith” (Verve/ Nippon Phonogram – SMV-9001 (1~2) (2 LP Record: Near Mint/ Outer Box: Near Mint/ Insert: Near Mint/ Obi: Excellent) Scarce Japan 1970 original press all complete with obi and insert. Comes housed in thick fancy box set. Price: 30 Euro
65. SONNY CLARK TRIO: “S/T” (Top Rank Records/ Victor Records – RANK-5032) (Record: Excellent/ Flip Back Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). The legendary “Time” album. Mega rare Japan very first press original MONO. “This lesser-known Sonny Clark session (his only studio album not made for Blue Note) is sometimes issued under drummer Max Roach’s name, too. They are joined by bassist George Duvivier for a set of generally obscure Clark originals including "Minor Meeting," "Blues Mambo," and "My Conception" (which is taken as an unaccompanied piano solo). Although not obvious while listening to his recording, Clark’s life was in decline and this would be his penultimate date as a leader.” (All Music Guide). Beautifully sounding Japanese first original MONO pressing. Price: 30 Euro
66. SONNY STITT & ZOOT SIMS: “Inter-Action” (Baybridge – UPS-2008-B) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Mint/ Insert: Mint). Virginally untouched Japanese PROMO issue. A nice little set by Sonny Stitt and Zoot Sims – recorded in Chicago after the two had played together at the Plugged Nickel in the Windy City! Backing is by the trio of pianist John Young – who gives the album a rolling bottom groove that shows off the Chicago sound of the early 60s quite nicely – and both Stitt and Sims respond with some strong solo work on their own part, opening up a bit more than on other sides at the time. Sonny plays both alto and tenor. Price: 30 Euro
67. 13th FLOOR ELEVATORS: “I’ve Seen Your Face Before” (Big Beat – WIK-82) (Record: Excellent ‾ Near Mint/ Jacket: Near Mint). Original infamous live recording release that saw the light of day in 1988. Despite their commercial success, it was in California that problems began developing around the Elevators in general, and Roky Erickson in particular. After returning to Texas around Christmas, the band played a large number of gigs during early ‘67, but their performances were getting uneven and unpredictable. Nothing illustrates this better than the notorious Houston Mustic Theatre Tape, from February ‘67. Through a twist of fate, this is the best documented concert in the entire Elevators annals. Apart from the professional live recording, there exists a poster, old ticket stubs, detailed comments from band members, and personal reminiscences from audience members. How unfortunate then, that the Elevators decided to drop more LSD than usual before the concert, and went on stage zonked out of their skulls. While the crowd was yelling and IA:s tape deck was rolling, lead guitarist Stacy Sutherland entered a profound hallucinatory stage, which he described years later as: “...Everybody turned into wolves, and I thought that our band was evil, because of some of the things we had advocated. And I was tryin' to escape the room, I didn't know what I was gonna do, but I was gonna get out of there. I didn't want anything to do with it, because everybody was turning into animals...”. While on stage, Sutherland entered a dissociated spiritual space wherein an angel gave him three “prophecies”, all of a negative nature. This vision would continue to haunt the guitarist, and informed some of the lyrics he later wrote for the band’s final LP, Bull Of The Woods. On top of these heavy acid vibes, the revolving stage of the venue contributed to the musicians’ confusion. On the live tape, you can hear drummer John Ike Walton desperately trying to hold the gig together, while Roky forgets his lines or his vocal mic, Stacy’s guitar leads abruptly come and go, and the whole thing is pretty much out to lunch. As a freak document of a very freaky night, it has its moments, but for the Elevators legacy we would have been better off without it. To add insult to injury, when the recording was made available in the late ‘80s, the clueless people involved simply put it out with zero corrections of the raw mix, which means that it sounds even more bizarre than it had to. Furthermore, it was incorrectly listed as coming from La Maison, which didn’t even exist by early ’67. For the bold or curious, the concert can be found on Big Beat’s I’ve Seen Your Face Before – Live LP” (Patrick Lundborg). Historically so great and I love it. Price: 30 Euro

68. TAYLOR, CECIL:Nuits De La Foundation Maeght Vol. 1” (RCA Records/ Shandar – RCA-6085(M) (Record: Near Mint/ gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1973 Japanese pressing all complete with rare obi. Price: 30 Euro

69. TRISTANO, LENNIE: “S/T aka Kyojin Lennie Tristano” (Atlantic – MJ-7087) (Record: Near Mint/ Flip Back Jacket: Near Mint). Stupidly rare Japan very first original MONO press issue all complete with first issue obi. Damned rare 1959~1960 Japan first original pressing. Later pressings turn up often and for cheap but a true 1st pressing is something out of another world. Obi got lost in the mists of time so comes dead cheap for a virginal original pressing. Price: 30 Euro
70. TURRENTINE, TOMMY with MAX ROACH QUINTET: “S/T” (Overseas Record/ Teichiku – ULS-1807-V) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Clean and mean high-quality Japan press issue in outstanding condition and all complete issue OBI. “When he recorded this album, his lone date as a leader, trumpeter Tommy Turrentine (who was a member of Max Roach's group along with his brother, the soon-to-be famous tenor Stanley Turrentine) seemed to have a potentially great future. Unfortunately, ill health would eventually force his retirement. Turrentine's set for Time actually features the musicians of Roach’s quintet (including brother Stanley, trombonist Julian Priester, bassist Bob Boswell and Roach himself) plus pianist Horace Parlan. The trumpeter contributed five of the seven songs (which are joined by Horace Parlan’s "Blues for J.P." and Bud Powell's "Webb City") on this fine straight-ahead hard bop set. All the musicians play up to par and the results are swinging and fit securely into the modern mainstream of the time.” (All Music Guide). Stunning. Price: 30 Euro
71. The VILETONES ’77: “Screamin Fist b/w Rebel” (Man’s Ruin Records – MR-055) (Single Record: Near Mint/ Thick Card Gatefold Picture Sleeve: Near Mint). Long gone reissue that came out way back in 1997 of Totono, Canada’s greatest Punk Rock band, the Viletones. The a-side’s a great, high-energy moronic punk banger that’s surprisingly tough for 1977; “relentless” is an over-used term in a genre defined by the two-minute-or-less song, but the word certainly fits here. On the flip, “Rebel” is a raw but engaging mid-tempo punker with its sixties roots showing, reprising the quick-paced ranting of the first number. Just a killer punk rock single in the purest form– Highest recommendation!!! Price: 25 Euro
72. WALDRON, MAL: “Mal 1” (Prestige/ Victor Records – SMJ-7430) (Record: Near Mint/ Jacket: Near Mint). Top condition Japan original press issue for dead cheap. Impossible to upgrade upon. Classic mal slide. Price: 30 Euro

73. WALDRON, MAL: “All Alone” (GTA/ Globe Records – SMJ-6124) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – some foxing on back sleeve/ Insert: Near Mint/ Obi: Near Mint). Clean Japanese pressing all complete with obi. Originally released in Italy on GTA in 1966, this is the 2nd Japanese pressing of that post-Bop face slasher. Austere, minimal, stark and highly atmospheric solo piano album, All Alone. The brooding title track is one of the most haunting explorations of solitude. It was also influenced by Billie Holiday, with whom he worked during the last years of her life, and who inspired many of Waldron’s compositions. While playing this late at night, goose bumps pop up all over your skin and you just hope it ain’t no Covid-19 come down that makes you reach out for that quick fix of bleach to pop into your veins. Desolation rules!! Damned a hard one to track down with obi there. Price: 30 Euro