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

1. AKASAKA KOUME: “Minyo Ohako Shu” (Columbia – ALS-4172) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original pressing from 1966 in pristine condition. La grande dame de Minyo...Akasaka was a force to be reckoned with. A voice like a bell, a power like a freight train and a deep repertoire that goes back decades into time, she had all the right ingredients to have an impact upon all who fell under her sonic spell. This LP is a killer set brought forth by her, pristine condition and with obi. This shit ain't gonna get better than this. Enka Minyo that puts all the rest to shame. Absolutely killer with no filler. Price: 100 Euro
2. AMATSU HAGOROMO: “Niizuma Kagami” (Teichiku – NL-2008) (Record: Near Mint/ Jacket: Near Mint). Amazu was born in 1928 and passed away in 1982. During her lifetime she was active as a minor Roukyoku singer who recorded most of her material in between 1950 and 1958. On this recording here, Amazu accompanies herself on a roughly strung rural Tsugaru shamisen, bringing forth highly agitated Roukyoku or Naniwa Bushi as it is also called. Naniwa Bushi was basically short and lively songs accompanied by recitation that developed out of long and monotonous bosama performances of kudoki during the early decades of the 20th century. Naniwa Bushi or roukyoku thus developed out of a variety of popular sung narrative styles that were popular during the Edo period, especially those known as chongare and saimon. Up until the late 19th century these styles were almost solely performed by quasi-religious beggars known as gannin bozu (or petitioned monks) and yamabushi (mountain ascetics). These monk-like performers toured the cities and countryside, spreading the chongare and saimon styles wherever they went, whose narratives in time merged into and became Naniwa Bushi. The effect of Naniwa Bushi on itinerant performers during those early days was tremendous and the new genre included a large variety of vocal styles, ranging from speech-like recitation to lyrical singing, all accompanied by harsh weather-beaten Tsugaru shamisen strummings (the use of Tsugaru shamisen in Naniwa Bushi is solely confined to the high north region of Japan following the Naniwa Bushi craze to hit the Tsugaru region around the 1910’s and lasting for several decades). For this particular recording, Amazu opens up with an agitated wailing recitation for which she accompanies himself on a heavily bashi-slashed shamisen, wailing away like a beached seal during mating season. While her nasal vocal tone keeps on beating down your ears like a harsh northern wind unleashing its full force on the snow covered barren landscape, his shamisen slapping hits you unrelentingly in the face like a soar cracked whip, viciously and violently. The whole record consists out of two side long tracks, which form one long epic tale filled with wailing female vocals and spoken narrations, never too long because always Amazu turns up in between them whacking you back, forth and sideways with her beached whale like nasal vocals. Her voice reverberates and resonates all over this recordings, a deep gravel female voice unlike anything you have ever heard. It is bewitchingly transcendent, witch-like intoxicating and above all she delivers a ear-bleedingly awesome, captivating and tantalizing experience that it is hard to keep a focus on what really is going on. In short, this is EPIC…a Spartan and almost skeleton experience that can only emanate out of an underdog operation. EPIC on all fronts. Original early 1960s pressing. Price: 50 Euro

3. ANTHOLOGIE DE LA MUSIQUE CLASSIQUE DE L’INDE: “S/T” (Ducretet – Thomson – 320 C 096-7-8) (3 LP Set: Excellent/ Booklet: Near Mint/ Outer Box Set: Excellent). Legendary box set that came out somewhere in the very early 1960s. An exquisite compilation put together in honor of the cultural philanthropist Alain Danielou. When I first heard this album, my hair stood on end. I’m fairly familiar with the Indian Classical genre, but this was a whole new experience. The majority of the instrumental pieces are performed in the northern Indian style, which has taken some of its influence from the Mughal Empire and therefore has a more Middle Eastern flavor. The vocal performances are sung in the South Indian style, which was never touched by the Mughal Empire, and therefore draws more influence from Dravidian folk music. The effect of these vocal pieces is positively spine chilling. Being accustomed to the North Indian vocal style, I’m used to, (and reasonably fond of) the somewhat grandiose, melodramatic delivery of North Indian Ragas, especially when dealing with pieces which are designed to be a lament, or a dirge. The South Indian Ragas, by contrast, are performed cold. Surprisingly, having been stripped of the roller coaster vibrato, and overacted presentation of the Northern style, these songs come across as even more desolate. I can’t be sure if these Ragas were actually meant to be laments, because I don’t understand the language, (most of them are sung in Kannada, the regional language of Karnataka) but the loneliness, and haunting quality of the melodies is palpable, even though some of them are sung at a relatively fast tempo. I suspect some people may find the style a little disturbing. Price: 250 Euro

4. ANTOLOGIA DEL CANTE FLAMENCO: “S/T” (Columbia – PMS-91~2-H) (2 LP Set: Near Mint/ Box: Excellent ~ Near Mint/ 26 Paged Booklet: Excellent). Eargasmatic box set documenting the key figures of the early days flamenco scene. Rural, vibrating, swinging and passionate music that comes over as burning oil on my legs. Fantastic. Price: 35 Euro
5. ASCH MANKIND SERIES – MUSIC FROM THE VILLAGES OF NORTHEASTERN NIGERIA: “S/T” (Asch Mankind – AHM-4532) (2 LP Set on Yellow Wax: Near Mint/ Box Set: Near Mint/ Booklet: Near Mint). Stunning collection of field records, which was later reissued on the Folkways label, this here is the 1st issue on the Asch Mankind imprint and it is a head spinning collection of tribal activity. Highest recommendation. Price: 75 Euro
6. ATRIUM MUSICAE DE MADRID: “Musique Arabo-Andalouse” (Harmonia Mundi – HM-389) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Pristine condition, original French pressing. Originally recorded in 1976, this disc of Arab-Andalusian music was well ahead of its time in the varied sound palette with which the musicians re-created an old musical genre. It has been perennially popular, and it took decades before it appeared in Harmonia Mundi's budget Musique d'Abord line. The Arab music of medieval Spain went largely unnotated, but, like other contemporary performers who have taken up this repertory, the ensemble Atrium Musicae Madrid relied on North African oral traditions with direct historical links to the Spanish Golden Age. These traditions preserve suites of two or three instrumental pieces (the suite is called a nouba), perhaps beginning with an unmeasured improvisation called a taqsim and proceeding with melodies that increase in speed. The real variety is in the instrumental treatments, with each of the ensemble's seven members playing at least three instruments in a constantly shifting kaleidoscope of sound that includes all of the major instruments of the Arab classical tradition and quite a few that will be unfamiliar to most Western listeners. Part of the disc's appeal is that it brings home the much greater sophistication of Arab music of the period as compared with European traditions. Brief notes in the booklet appear in English, French, and German; they give only a general historical introduction to the music. Harmonia's new minimal packaging promises more extensive notes on the Musique d'Abord website, but those turn out to be only a slightly expanded version of the ones appearing on the disc itself. This release will whet the listener's appetite for later releases, including those by ensemble leader Gregorio Paniagua himself, that treat the Arab contribution to Iberian culture in greater detail.” (All Music Guide). Price: 50 Euro
7. ATRIUM MUSICAE DE MADRID: “Musique de la Grece Antique” (Harmonia Mundi – VIC-28067) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Totally mint copy of this austere, obscure, acid folk-like and stone death cold avant-garde sounding gem of a record. I spare you all too long explanations and attach here the review the guys of Aquarius records penned down about this disc, which is spot-on to the point. “Unlike any Greek music we'd heard before, sounding more like a soundtrack to a film featuring pagan rites, very ceremonial and mysterious in nature. Unlike any "real" recording of Greek music I could imagine. What we now know is that the concept of this recording is that it's a partially-imaginary reconstruction by an unusual Spanish world-music ensemble of what the music of ancient Greece MIGHT have sounded like, based on what little historical documentation is available regarding musical practices of the period. Each track references some papyrii or other (so the spoken and sung texts are supposedly historically accurate) and the music is played on what are assumed to be authentic types of instrumentation (including a reproduction of an hydraulic organ!). As we said, much of the music is ritual-sounding, with chanting and bells. It has quite an occult vibe. There are also tracks of beautiful, folky female vocals backed by plucks of the lyre. Add to that stirring horns, droning flutes, percussive crashes, eccentric vocal flourishes, and much more. This disc is sometimes creepy, often lovely, always fascinating. A "lost treasure" vibe (as if some ancient Greek philosopher had invented some sort of anachronistic "marble cylinder" recording technology, recently unearthed by archeologists!) it's still totally amazing!” (Aquarius Records). Over the top great mind bending soundscapes. Can’t recommend this on enough. Japanese audiophile pressing. Price: 40 Euro
8. AZUMAYA URATARO: “Nogitsune Sanji” (Teichiku – NL-2163) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Wailing rasping voice storytelling singer Azumaya gets backed up by sparse koto and shamisen and at times get reinforced at crucial moments by a responding team female vocals that drift off into the void. Great rokyoku performance where Azumaya’s narrative singing takes on a variety of nasal forms without missing a beat throughout. The dynamic on this recording here is especially of interest, a live atmosphere created by the interaction of Azumaya and the Shamisen player that at times reminds me of an experimental jazz session. Great record, first time ever I encounter a copy, original late 1960s pressing. Top condition. Price: 75 Euro
9. BALI – GAMELAN MUSIC FROM SEBATU: “S/T” (Archiv Production – 2565 015 ~017) (3 LP Record Set: Near Mint/ Gatefold Book Like Jacket: Excellent/ Attached Book – Fully Illustrated Pages: Near Mint). Here are three albums of gamelan music recorded in the open air with two Neumann KM 74 microphones. The Gong Kebyar orchestra rehearsed each piece prior to recording until it was absolutely ready and bristling with energy. The set is a project of Jacques Brunet who has worked extensively with the music of Southeast Asia since the early '60s. Brunet explains what the outdoor recording process did to the sound, making bass frequencies more elusive while emphasizing higher tones, something that certainly works to the advantage of the heavily clanging metallic sounds that march in with the force of an invading army as "Surja Kanta" begins the second side of the first disc. The weaving melodic lines hovering between the blown bamboo flutes (suling) -- always slightly in the background -- and the ten-key pemugal metallophone in the lead role, is really captured perfectly. The recording lacks artificial ambient sound or any of the kind of distracting extraneous noise that often mars outdoor recordings, meaning it is something of a small wonder in that there is constantly the illusion of studio quality recording. As for recording outside, there is definitely a difference in sound between indoor and outdoor recordings of instruments associated with certain musics that have the mystical qualities of gamelan, so the producer was wise in his approach. The three discs feature mostly religious music, with three pieces from the dance music repertoire at the end. At the time of its release it was considered the top end of recorded gamelan productions, and many listeners feel it hasn't been surpassed yet.” (Eugene Chadbourne). Price: 100 Euro
10. The BALINESE GAMELAN: “Music From The Morning Of The World – Recorded in Bali by David Lewiston” (Nonesuch Records – H-72015) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original US 1st pressing in great condition. Among the best known of the Nonesuch Explorer series, this album recorded in Bali introduced to the world at large the magnificent machine-gun ferocity of the Ramayana Monkey Chant of the Ketjak Dance, a piece which has found its way into car adverts and Kenneth Anger films alike, and which may have become the Pachelbel’s Canon In D of World Music. Compared with the original vinyl pressings, the CD reissues of Explorer titles allow for vastly improved tone color and imaging (the gamelan orchestras featured here were among David Lewiston’s first stereo recordings) Music From The Morning Of The World samples several formats and tunings of gamelan playing; Balinese gamelan, compared to its more sedate and meditative form in neighboring Java, jumps like Duke Ellington. While on the island, Lewiston ferreted out a rarely heard Angklung (bamboo tube, as opposed to the better known metallophone) gamelan, also included here. The recordist acknowledged that this collection, the first as an Explorer set devoted to Balinese culture, has become a cult favorite over the years. “Having the recordings be as good as the music makes all the difference.” (the Wire). Price: 50 Euro

11. BONBAI NENBUTSUZEN: “S/T” (Ni Hon Bukkyou Fukyuukai) (2 LP Record Set: Excellent/ Outer Box with Laminated Gold Lettering: Mint/ Book: Mint/ Separated small booklet: Mint/ 2 Hand Drawn Temple Monk Hand Drawn Calligraphy Slides: Mint). Totally mind altering Buddhist temple field recording that defies all attempt at categorization. Recorded live in the field in between December 1971 and January 1972 on the grounds of the Kyoto based Kandai Honzan Manpukiji. Bloody rare and obscure private pressing 2 LP box, self-released by some Buddhist monks of the aforementioned temple way back in 1971/2. This private press turned out – once I was introduced to it about 10 years ago – one of my all time favorite hardcore field recordings ever. Unfortunately, copies were scarce and I did not manage to dig up another one until now. The gods must have been smiling after all. This totally vanished obscurity out of 1972, depicts some sonic activities taking place on the far edged fringes of Japan’s sonic landscape. I categorize the disc amongst psychedelic and devastating field recordings, with a strong emphasis on the psyched-out character of this recording and accompanying artwork. The record follows sessions carried out by some seriously “way-out-there” Buddhist Zen monks. Interlarded by the sound of howling dogs, the wind blowing through the forested region, the dusty noisy sounds of the winter chill blowing hard descending into a crescendo of all engulfing maniacal fury that collides eventually with the myriad chanting of the monks, and their almighty cacophonous percussion etc make this sound document such a hardcore and bewildering listening experience that has yet to meet its rival. In short it is a mesmerizing recording, strange and beautiful. This 2 LP set is heavy with musical possibility, and is of profound musical substance, blending it easily with an overwhelming vocal onslaught, bizarre tonalities, startling vocals, inherent improvisation moves and apocalyptic high frequency dog barking sounds. Just mesmerizingly great arresting listening experience. This 2 LP box set comes with a detailed booklet documenting the maniac fury and the high-tension sonics on display here. So if you are eager to dive into another totally obscure and weird private pressing world, then I do not believe it comes more obscure and under documented than early 1970s private press records released by temples and monks. This set is the perfect place to start but unfortunately, these recordings were released in such small quantities and only offered for sale at the time at these local temples at the time that now they virtually never turn up anymore. The music on the other hand is so out-there that no experimental group in the Western world would ever be brave enough to release this kind of music and yet these monks just acted it out while meditating at their local temple. Awesome. Price: 250 Euro

12. CAMBODGE: “Musique Instrumentale” (CBS – CBS65522) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Excellent). Original 1973 pressing. Stunning recordings of traditional Cambodian traditional music made and recorded in 1972 in Phnom-Penh. It gives a beautiful selection that captures the percussive, hypnotic sounds of Cambodia during those turbulent years in the 1970s but bringing forth sounds from a long history. Lots of zither like instruments, strange strings and things, wind instruments and percussive rattles. Beautiful. Price: 25 Euro
13. LE CHANT DU MONDE – BERBERES DU MAROC: “Ahwach” (Le Chant Du Monde – LDX-74705) (Record: Mint/ Triple Gatefold Jacket: Mint). Stunning tribal Berber desert music. Ahwash is a Moroccan music style of art, the ahwach art consists of several people playing on the same rhythm while chanting, this is a famous style mainly in the south of Morocco and the mountain regions. Price: 50 Euro
14. LE CHANT DU MONDE – INDE MUSIQUE TRIBALE: “Musique Tribale du Bastar” (Le Chant Du Monde – LDX-74736) (Record: Mint/ Triple Gatefold Jacket: Mint). This set focuses on the music of the Muria and the Maria. In essence it is vocal and collective music with at times numerous and various instruments to back the vocalists up but with the sole function to give a rhythmic undertone and it is mainly the music of youths. The songs which are generally monodical vary in their melodic material, their formal structure (responsorial, antiphonal, strophical with asymmetrical division), as well as in the use of other techniques; head voices of the boys, higher than the girls' register, whistling, the distribution of interventions in alternating song. As for rhythm, its most striking characteristic can be found in some of the dances for both boys and girls; it is a superimposition of different rhythmic systems, which do not depend on a shared time unit. The musical instruments are used primarily to set the rhythm, which accounts for great diversity of membrane drums. There are also wind instruments to spice up the sonic palette even more and rendering this recording in something out of this world. Just stunning. Price: 40 Euro
15. LE CHANT DU MONDE – LADAKH: “Musique de Monastere” (Le Chant Du Monde – LDX-74705) (Record: Mint/ Triple Gatefold Jacket: Mint). “Flanked by the Himalayan and Karakoram mountain ranges, Ladakh nowadays is a district in the Indian state of Jammu and Kashmir. Although politically part of India, culturally it is defiantly within the Tibetan sphere of influence. Many Buddhist orders established themselves in Ladakh after the Chinese annexation of Tibet. Ladakhis and Tibetans share the same culture, religion and ancestry. The Chinese invaded Ladakh in 1962 and stole a third of its territory. Ironically, although diminishing territorially this reinforced Ladakhi-ness. India closed the region to outsiders until 1974 while India fought off incursions from Pakistan and China. Routine border skirmishes between Pakistan and India continue to the present day. These field recordings were made in 1976. Much of Chant du Monde's album consists of ritual music from the monasteries. Rarefied music from a land, which has preserved the traditional Tibetan courtesies and customs, religious practices and learning.” (Ken Hunt, All Music Guide). Price: 50 Euro
16. LE CHANT DU MONDE – Les Percussions Africaines par Guem: “S/T” (Chant du Monde – FM107LP) (Record: Excellent/ gatefold Jacket: Excellent). Price: 20 Euro
17. Le CHANT DU MONDE – INDIENS D'AMAZONIE: “S/T” (Le Chant du Monde – LDX-74501) (Record: Mint/ Triple Gatefold Jacket: Mint). Recorded by Richard Chapelle. First original pressing. The whole affair was recorded deep in the Amazonian jungle during 1971 ~ 1972 and captures the primitive sounds of 6 different Indian tribes as well as sounds from the jungle coming to life. Just stunning and one of the best recordings to capture lost tribes in South America. Price: 50 Euro
18. LE CHANT DU MONDE – ANTOLOGIE DE LA MUSIQUE INSTRUMENTALE ET VOCALE DES PEUPLES DE L’USSR: “Azerbaidjan & Turkmenistan” (Chant Du Monde) (Sealed Copy). Amazing desert sounds from this desolate region, blows me to smithereens every time I play it. Devastatingly awesome. Price: 40 Euro
19. LE CHANT DU MONDE – ANTOLOGIE DE LA MUSIQUE INSTRUMENTALE ET VOCALE DES PEUPLES DE L’USSR: “Caucase Du Nord – Volga - Oural” (Chant Du Monde) (Sealed Copy). Another stellar collection of rural & remote recordings recorded in the far regions of the USRR. Again, recordings from a pocket in time that ceased to exist, the music on the other hand is awesome, filled with a diversity of intruments, wind, string and percussion. Pagen traditions and rites reverberating endlessly. Killer material. Price: 40 Euro
20. COLUMBIA JAPAN – GAMELANS DE BALI: “S/T” (Columbia – XM-12-AM) (Record: Record: Mint/ Jacket: Mint/ Obi: Excellent/ Booklet: Mint). Beautiful Japanese issue of this slide originally recorded and released by French ethnomusicologists. Price: 25 Euro
21. COLUMBIA JAPAN – MUSIQUE DE VALEES HIMALAYENNES: “Cachemire” (Columbia – XM-15-AM) (Record: Record: Mint/ Jacket: Mint/ Obi: Excellent/ Booklet: Mint). Beautiful Japanese issue of this slide originally recorded and released by French ethnomusicologists. Price: 25 Euro
22. COLUMBIA WORLD LIBRARY OF FOLK AND PRIMITIVE MUSIC: “British East Africa – Collected by Alan Lomax” (Columbia Masterworks – SL-213) (Record: Near Mint/ Heavy Gatefold Jacket: Excellent/ Attached Descriptive Notes: Near Mint). Price: 70 Euro
23. COLUMBIA WORLD LIBRARY OF FOLK AND PRIMITIVE MUSIC: “Australia & New Guinea – Collected by Alan Lomax” (Columbia Masterworks – SL-208) (Record: Near Mint/ Heavy Gatefold Jacket: Excellent/ Attached Descriptive Notes: Near Mint). “Volume 5 of the World Library has one side dedicated to aboriginal tribal music of Australia and the other to music of New Guinea. Aboriginal people, or Indigenous Australians as they want to be called, are one of the oldest people in the world, and this recordings of traditional tribal music represent man's music in its most “primitive” form. When listening to this recordings, it's important to know that this music is just one element of a whole system of expression that includes body gestures, paintings, etc… and that it serves tribal functions, mystical beliefs and the profound inter-relations between Man and Nature. The most important features of the music are singing along with rhythm provided by various sticks and drums and the famous didgeridoo, a hollow tube of wood played by blowing into it with a vibrating movement of the lips. New Guinea is one of the largest island in the world with a population of a thousand different tribes with an equivalent amount of different languages and dialects. The recordings were made with different tribes in Eastern New Guinea and in the Papua territory of the island.” (World's Jukebox). Price: 75 Euro
24. COLUMBIA WORLD LIBRARY OF FOLK AND PRIMITIVE MUSIC: “Indonesia – Collected by Alan Lomax” (Columbia Masterworks – SL-210) (Record: Near Mint/ Heavy Gatefold Jacket: Excellent/ Attached Descriptive Notes: Near Mint). Price: 70 Euro
25. COTE D'IVORE: “Musique Guere” (Vogue - King Records – K18C-5186) (Record: Mint/ Jacket: Mint/ Inert: Mint). Japanese pressing of this French field recordings LP that originally came out on the Vogue label. The whole affair was recorded by Hugo Zemp in the field between 1965 and 1967. Zemp is among the most prolific and influential ethnomusicologists of the past 30 years. On these recordings he examines the fascinating world of musical tradition surrounding the balafon, a West African xylophone with calabash resonators, which is emblematic of the Senufo people of the Côte d'Ivoire. The vocal renditions are stupefying, trance inducing even. Awesome bone-chilling recording. Price: 20 Euro
26. DAIHONZAN – DAIKAKUJI: “Hannyashingyo – Kannongyo – Wasan” (Teichiku – NT-1379) (Record: Near Mint/ Jacket: Near Mint/ Insert Booklet: Near Mint). Headspinning madness from these Kyoto monks embarking on a droned out chanting trip that will catapult your sub-consciousness towards the next level of enlightment. Totally stoned vocal minimalist excursions only accompanied by the occasional sparse bell sound. This is quite some hardcore shit here, utterly psychedelic yet very comforting in its execution. Top copy, hardly ever offered and top Buddhist droned out monk dementia!!!! Price: 50 Euro
27. ECCHU OWARI BUSHI – TOYAMA NO UTA: “S/T” (Toshiba Records – TF-6003) (Record: Near Mint/ gatefold Jacket: Near Mint/ Obi: Near Mint). Bloody rare Japan original pressing complete with obi. This one was released somewhere in the late 1960s and it is one of the most bewitching rural recordings that I have heard so far. The main focus is on the sidelong recording that juxtaposes male and female voices interacting against a background of sparse percussive rattles set against a wash of droned out zither-like sounding shakuhachi flutes, creating a mesmerizing listening experience. Brutally beautiful and totally mesmerizing listening experience. Price: 200 Euro
28. ENVOUTANTE AFRIQUE NOIRE: “S/T” Disques BAM – LD-5409) (Record: Near Mint/ Jacket: Near Mint). Original French pressing. Great collection of African field recordings taken at various locations and includes the following head spinning cuts: 1. Musique Azande – recorded near Bangui displaying some dervish-like Xylophone action; 2. Musique Baya recorded at Fort Crampel in the Central African Republic – murming chants; 3. Musique Lobi – recorded at Gaoua – xylophone action; 4. Musique Malinke – recorded near Kankan (Guinea) – Griot styled music; 5. Musique Mahi – recorded at Savalou (Dahomey) – funeral music; 6. Musique Bariba – recorded at Parakou – music when a new king takes the throne; 7. Musique Banziri – recorded near Bangui (Central African Republic) – recorded on board of a canoe and is played on two djoumas, open ended drums with one skin; 8. Dompago Music – recorded at Dompago, while a grave is being dug; 9. Gan Music – recorded at Loropeni (High Volta), a love song; 10. Mbaka Music, recorded at Mbaiki (Central African Republic) – a moaning songs lamenting on the passing away of someone's mother; 11. Rwanda Music – recorded near Ruhengeri, a zither solo piece; 12. Songhai Music – recorded at Ayerou (Niger), played on the tamboura and a single stringed lute; 13. Djerma Musis – recorded at Tillabery, Niger – a sung of praise sung by a blind woman; 14. Peul Music recorded at Tenkodogo, High Volta – played by a group of sheppards; 15. Berba Music – recorded at Bahoun-Sinou, Dahomey – a funeral band in action, 16. Dendi Music – recorded near Djougou, Dahomey – on an indioglottal clarinet made after a millet harvest; Haoussa Music, Griot music in the retinue of the Djerma king. Stunning collection. Price: 15 Euro
29. ETHIOPIA: “Vol. 2 Music of the Desert Nomads” (Tangent – TGM-102) (Record: Near Mint/ Jacket: Excellent). Second volume of the total of 3 that sheds some light on the tribal music of Ethiopia. released on the fantastic Tangent imprint, it focuses on religious singing filled with bewitching chorus, nomadic hoedaowns, sword dances, and much more eargasmatic sounds. Amazing collection and totally addictive. Price: 30 Euro
30. ETHIOPIA: “Vol. 3 Music of Eritrea” (Tangent – TGM-103) (Record: Near Mint/ Jacket: Excellent). This survey of the many musical traditions existing in the19. northernmost province of Ethiopia being Eritrea. Funeral laments, dances, work songs, tribal gatherings, genealogical and praise songs, lyre and flute tunes and trance songs are all featured in this panoramic musical documentary, drawn from field recordings by the musicologist Jean Jenkins. Original pressing on the always-stellar Tangent Records imprint. Price: 30 Euro
31. FOLKWAYS – AFRICAN & AFRO-AMERICAN DRUMS: “S/T” (Folkways – FE-4502) (2 LP Set: Near Mint/ Box Set: Near Mint/ 2 Booklets: Near Mint). African and Afro-American Drums is an examination of African drumming and its influence on the music of the Americas. Representing eight countries in the American continents, Harold Courlander has compiled an anthology of drum music from three continents and explores its various uses as well as chronicles the evolution of drum music. Extensive liner notes accompany this album and include a transcription of Haitian Juba Dance drums by George Herzog. African & Afro-American Drums is an anthology of various field recordings from points in and around Africa and the African Diaspora. Many amazing percussion performances are presented on this two-record set. They include such diverse examples as Yoruban drumming ensembles from Nigeria, sacred rhythms from the Afro-Brazilian tradition, and a tasty drum solo by the innovative jazzer Baby Dodds. A variety of instruments -- including the double-sided bata drum, the kettle-shaped gudugudu drum, and the talking dundun or gangan -- are also featured on this album's many cuts. The album itself starts out with a burst of percussion from a Watutsi ensemble. Complex polyrhythmic phrases ebb and flow with the progression of their piece. With the third example, a dance piece played by the Baya people, high-energy drumming is structured around the call and response vocals of a singer and chorus. The fifth band on the record features the music from a Yoruban harvest festival. Vocal chants, metallic percussion, and various shakers are heard in this breakneck tempo piece. Considering the age of the album and the portable recording technology that was available to ethnomusicologists at the time, the sound quality of the recordings on African and Afro-American Drums is surprisingly good. As is always the case with Folkways releases, the notes that accompany this recording are detailed. Though the names of the performers on this release are missing, Harold Courlander is credited with writing these notes.” (John Vallier) The recordings took place in 1954. First issue which was a 2 LP box set, immaculate condition. Price: 75 Euro
32. FOLKWAYS – ISLAMIC LITURGY: “Songs and Dance at a Meeting of Dervishes” (Folkways – FR-8943) (Record: VG++/ Jacket: VG++/ Insert: Near Mint). Original 1st edition Folkways pressing. Record has some visual wear but plays great all way through. “These recordings are considered to be unique sound documents, musically, culturally and historically. John Levy, who recorded the Islamic liturgy on this CD, was a pioneering recordist who tapped into the expertise of the leading scholars of his day. His recordings were mostly of complete performances in natural situations. The Dervish musicians and chants he recorded were among the very best at the time, and for reasons of privileged access and/or historical circumstance, several of Levy's recordings are the sole extant documents of musical genres or styles which have disappeared or been radically transformed. Side I of this Islamic Liturgy CD involves recitations invoking Blessings of Muhammad and Side II involves sacred dance, which is performed to induce a state of contemplation. Different aspects of the mystic path are concentrated into simple dance movements. The phases of dance are preceded by a Mawlid, or a song of praise for the Prophet followed by a chant of welcome.” (Hartley Film Foundation). Price: 15 Euro
33. FOLKWAYS – ANTOLOGY OF BRAZILIAN INDIAN MUSIC: “Kraja/ Javahe/ Kraho/ Tukuna/ Juruna/ Suya/ Trumai Shukarramae” (Ethnic Folkways Library – FE-4311) (Record: Near Mint, catalogue number on Label/ Jacket: Excellent, catalogue number on back & Lower Middle split seam/ Booklet: Near Mint). Original 1962 pressing. “This Folkways Records compilation from the early '60s presents songs from eight indigenous Brazilian culture groups: the Karaja, Javahe, Kraho, Tukuna, Juruna, Suyá, Trumai, and Shukarramae peoples. Since their numbers have been dwindling rapidly, this Anthology of Brazilian Indian Music stands as an important archival document. These are the musics of peoples who have been marginalized by a dominant Brazilian society, often to the point of extinction.” (John Vallier, All Music Guide). Price: 40 Euro
34. FOLKWAYS – BEDUIN MUSIC OF SOUTHERN SINAI: “S/T” (Ethnic Folkways Records – FE-4204) (Record: Excellent ~ Near Mint/ Jacket: Excellent/ Booklet: Near Mint). Original 1978 pressing. Hudjaini (caravan song)--Water drawing song.--Hafla (A Bedouin evening)--Flute solo.-- Makruna.--Yamania song.--Three Simsimiyya tunes.--Fisherman son.--Ya khazarane (Love Song)--Ala dal'una (Palestine folk song)--Here is the gazelle.--The rich and the poor.--Complaint-epic song.--Fishermen dance. Price: 40 Euro
35. FOLKWAYS – FOLK AND CLASSICAL MUSIC OF KOREA: “S/T” (Ethnic Folkways Records – FE-4424) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Original 1951 pressing. These offerings provide a view of Korean music ranging from the folk music of farmers' songs and ballads to classical court music, featuring the genre of formal ah ahk. Influences from Korea's relationship with China over the centuries are reflected in Korea's music and can be heard here, not only in the texts but also in the style and instrumentation. Price: 40 Euro
36. FOLKWAYS – FOLK MUSIC OF HUNGARY: “S/T ~ Recorded In Hungary Under The Supervision of Bela Bartok” (Folkways Records – FM-4000) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Original 1961 pressing. Produced by Henry Cowell; Produced by Béla Bartók ; Recorded by Béla Bartók Price: 50 Euro
37. FOLKWAYS – FOLK MUSIC OF PAKISTAN: “S/T” (Ethnic Folkways – FE-4425) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Original pressing. Price: 40 Euro
38. FOLKWAYS – FOLK MUSIC OF THE WESTERN CONGO: “S/T” (Ethnic Folkways – FE-4427) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). First edition, tracks recorded in the Belgian Congo when king Leopold was still busy slaughtering innocent civilians by the truckload. Music is bone-chilling awesome, Leopold probably has never heard it I guess. Price: 50 Euro
39. FOLKWAYS – FOLK SONGS AND DANCES OF IRAN: “S/T” (Folkways Records – FW-8856) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Original 1960 pressing. Price: 45 Euro
40. FOLKWAYS – MUSIC OF THE BAHAMAS: “S/T” (Folkways Records – FS-3845) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Booklet: Mint) made up of Sacred Music & Launching Songs and Ballads. Original 1958 pressing. Price: 30 Euro
41. FOLKWAYS – MUSIC FROM AN EQUATORIAL MICROCOSM: “Fang Bwiti Music” (Ethnic Folkways Records – FE-4214) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Original Folkways pressing. Price: 40 Euro
42. FOLKWAYS – NEGRO PRISON CAMP WORKSONGS: “S/T” (Ethnic Folkways – FE-4475) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Price: 50 Euro
43. FOLKWAYS – MAORI SONGS OF NEW ZEALAND: “S/T” (Ethnic Folkways – FE-4433) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Original 1952 pressing. Price: 40 Euro
44. FOLKWAYS – MUSIC OF MOROCCO: “S/T” (Ethnic Folkways – FE-4339) (Record: Mint/ Jacket: Mint/ Booklet: Mint). Original pressing. Price: 40 Euro
45. FOLKWAYS – MUSIC OF THE SUDAN: “Burial Hymns and War Songs – The Role of Song and Dance in Dinka Society” (Ethnic Folkways Records – FE-4303) (Record: Excellent/ Jacket: Near Mint/ Booklet: Near Mint). Original 1976 pressing. Price: 45 Euro
46. FOLKWAYS – THE PYGMIES OF THE ITURI FOREST: “S/T” (Ethnic Folkways – FE-4457) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original 1958 pressing. A rich aural snapshot of the pygmies' life in their camp, ranging from an environmental recording of birds and crickets to songs of hunting, gathering, celebration, play--and the sacred molimo music of the men that will have you racing for your tom-tom. Price: 50 Euro
47. FOLKWAYS – RITUAL MUSIC OF MANIPUR: “S/T” (Ethnic Folkways – FE-4479) (Record: Excellent/ Jacket: Near Mint/ Booklet: Near Mint). Original 1960 pressing. Price: 40 Euro
48. FOLKWAYS – ROOTS OF BLACK MUSIC IN AMERICA: “Some Correspondences Between The Music Of The Slave Areas Of West Africa And The Music Of the United States And The Caribbean” (Folkways – FA-2694) (2 LP Set: Near Mint/ Box Set: Near Mint/ Near Mint). This two volume-collection, is a survey of instrumental and vocal music from African cultures as well as from African American musicians in the southern United States. Producer Samuel Charters created the album with the intent to provide musical examples from "two worlds" through traditional offerings of African tribal music, cultural roots that were forcefully suppressed during the period of slavery in America, and African American music evocative of the influence of its predecessors. 41 songs, 1.3 hours, with liner notes featuring an introduction by Samuel Charters, descriptions of songs, and examples of archival documents describing early African music and black music in the southern United States. Price: 75 euro
49. FOLKWAYS – TRADITIONAL SONGS OF THE WESTERN TORRES STRAITS ~ SOUTH PACIFIC: “S/T” (Ethnic Folkways Records – FE-4025) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Original 1977 pressing. Price: 45 Euro
50. FOLKWAYS – TUNISIA: “Volume 2: Religious Songs and Cantillations” Folkways Records – FW-8862) (Record: Excellent/ Jacket: Near Mint/ Booklet: Near Mint). Original 1962 pressing. Price: 40 Euro
51. FOLKWAYS – SOUNDS OF THE GRAND PRIX OF WATKINS GLEN.N.Y.: “S/T” (Folkways – Folkways Records – FPX-140) (Record: VG++, has some marks but plays EX, with little to no surface noise/ Jacket: Excellent). Original 1956 pressing. Astonishing recording filled with the glorious sounds of roaring 1950s racecars, super hero drivers and the addictive fumes of gasoline, burning rubber and scorned tailpipes. Price: 50 Euro
52. FOLKWAYS - SOUND OF NORTH AMERICAN FROGS: “The Biological Significance Of Voice in Frogs” (Folkways Records – FX-6166) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint).First issued in the 1950s but finally reaching a wide audience at millennium’s end, Sounds of North American Frogs is an aural encyclopedia of native species, alone and in group settings, interspersing frog and toad calls with the distinctively Eisenhower-era narration of herpetologist Charles M. Bogert. No less than 57 species are spotlighted here—everything from Hyla Crucifer(the spring peeper) to Rana Grilio (the pig frog) to Scaphiopus Bombifrons (the plains spadefoot toad)—and the sheer variety of chirps, barks, trills, and whistles they produce is astounding. Bogert’s narration, meanwhile, with its alternating focus on regional ephemera and obscure acoustical detail (pulsation rates, cycles per second), is its own kind of priceless. The 92 tracks of the croaks, trills, screams, mating calls, and other forms of amphibian vocalizations were conceived, narrated. Travelling from the far reaches of Alaska to the deserts of Arizona to the foothills of Tennessee, Mr. Bogert presents a labor of love in selecting these field recordings and their descriptions. The dry delivery of Mr. Bogart's indexical texts is unnervingly and humorously dissimilar to these frogs calls. Just like The Conet Project's unintentional aural terror, The Sound of North American Frogs features a wide variety of drones and clicks that could be from some RLW or Pierre Henry experiment with tape loops.One of the best and greatest Folkways releases ever. Top copy!! Price: 50 Euro
53. FUKUSHI RITSUKO; Fukuda Hideo; Yamada Yoriko; Nakamura Kiyomi; Asari Miki; Harata Eijiro: “Tsugaru Aiya Bushi – Kyoen Taikai” (Teichiku Records – NL-2544) (Record: Excellent/ Jacket: Near Mint/ Little Insert: Mint). First time ever I see a copy of this killer Fukushi Ritsu LP. Fukushi Ritsu only recorded a few albums, a couple of privately released cassettes and a handful of singles under her own name and very renowned – albeit only locally – as the sole purveyor of the dying art form/ musical style known as “Tsugaru Minyo”, an ethnic weather beaten singing style where the chanteuse is accompanied by pungent, rough and anarcho-bashi slashed shamisen strummings. As far as Tsugaru shamisen is concerned, Fukushi’s late husband Yamada Chisato was the unrivaled master and had a very unique and abrasive style that has yet to be rivaled with. However, Fukushi is at the moment a very elderly lady, balancing on the brink of the grave and once she has passed over into Valhalla, she will also taken with her the last of the Tsugaru Minyo singers. She is the last living relic of this amazing vocal style and this here record – that was released in the late 1960s- early 1970s – sees her at the peak of her powers and proves once again that she is one of the greatest – yet totally unknown singers – ever to have roamed this earth. She also opens up the way for other Tsugaru singers to pass the revue on this record, great vocal performances but Fukushi really spans the crown. Although the whole affair and the various songs that are on display here are almost minimal in their execution with Ritsu’s and the other practitioners’ voices wailing in silent unison with shamisen and shakuhachi, giving La Monte Young a run for its money. Blood curling amazing music that will set your hairs on fire and make you a walking sonic time bomb while spinning this killer slide. Never had or seen a copy of this incendiary slide, really this one is like burning oil on your legs!!! Amazing but sadly quite rare. Price: 250 Euro
54. FUKUSHI RITSUKO; YAMADA CHISATO and others: “Tsugaru Minyo Dai Kettei Ban” (Toshiba Records – TR-6122) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Absolutely fantastic Tsugaru Minyo record compiled and strung together by Yamada Chisato and with a large portion devoted to Tsugaru Minyo chanteuse par excellence, his wife Fukushi Ritsuko. Depressingly obscure and ear-bleedingly amazing LP that brings together a string of Tsugaru minyo vocalists including the gerat Fukushi Ritsu. The interplay between the rural improvisations on shamisen and sparse percussion improvisations Fukushi’s vocalizations evoke a similar spiritual quality that also lay embedded within black sermon-like songs. The genre crossing activities Yamada hurdled himself into came from a conviction that Tsugaru shamisen can be combined with jazz and other musical genres. “not just because Tsugaru shamisen is an excellent resource that has good melodies but also because it is a music that smells of the earth.” In other words, when listening to the sound of the Tsugaru shamisen, the listener should be able to hear a sound that has the scent of Tsugaru attached to it, an eternal and mystical element that fuses neatly with other deeply rooted sounds. However, amidst Yamada’s genre crossing activities and the urge to take the traditional Tsugaru shamisen style into the following century so that it can be preserved for future generations to come, cannot prevail the doom of extinction that hovers over this exquisite musical expression form. Especially the future prospects of Tsugaru minyo – as on display here- are bleak to say the least. What is known today as Tsugaru shamisen is based on Tsugaru minyo and consists out of shamisen accompaniment to Tsugaru minyo, solo shamisen versions of these folk songs and improvisation on its themes. The songs aspect herein consists out of difficult and highly diverse vocal styles, as distinguished by Groemer, that include un-metered inflected speech, uninflected rhythmical speech, chanting on one tone, song-like chanting and highly contoured melodic lines. Yamada commented the following on this scary evolution in 1995: “From now on, we are facing a problem. To say it honestly, there are hardly any young people that are into it. Most or almost all of the famous performers have passed away and my spouse, Fukushi Ritsu, may be the last of these great ones that performs the Tsugaru minyo. So I think that after a span of thirty years the genuine Tsugaru minyo may be completely vanished. This is quite saddening…Also, young people these days seem very fond of karaoke and indulge themselves completely herein, so they won’t become any good at singing minyo. It is a suffering trend of the times…. Another fact that fastens the corrosion of the Tsugaru minyo is the present day attitude towards art forms. In the old days, performers and entertainers were often found saying that art comes before money – it is unheard for artists to think about money. Maybe it was that in the old days everybody was poverty struck and this attitude may have been supportable. But now, this attitude is not compliable anymore. Parents do not want to subject their offspring to poverty. Performing minyo does not bring food on the table anymore.” All killer and no filler. Comes with rare obi and a true ear-waxing great slide. Price: 175 Euro
55. FURUSATO NO MINYO: “Mogami Gawa Funa Uta – Yamagata-Hen” (Canyon Records – F-7013) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Original 1971 first original pressing of highly acclaimed matsuri slammer. This one is one of the finest rural matsuri recordings out there, the material is especially vibrant with a wild tension that only those vintage rural recordings seems to bring to live. Yamagata prefecture is located in the high barren north of Japan’s main island and the harshness of its living conditions do seep through this recording. Mercurial string batterings, heavy fretting, recitations, wailing against the moon, volcanic ragged and iconoclastic pre-punk moves, etc. Once you have lived through this set you will have to pick your jaw off the floor. One of the best sets ever devoted to the subject, this one just never turns up. Much acclaimed but seldom seen, this baby is a monster. Highest recommendation. SOLD
56. FURUSATO NO UTA: “Kanto Hen (ni)” (Columbia Records – DLS-4111) (Record: Near Mint/ Gatefold Jacket: Excellent/ Attached Insert: Excellent). Original 1968 pressing. Slowly the recordings in this series work their way southward and now focus on the greater Kanto region, located still on Japan's main island Honshu. The region includes the Greater Tokyo Area and encompasses seven prefectures: Gunma, Tochigi, Ibaraki, Saitama, Tokyo, Chiba and Kanagawa. Within its boundaries, slightly more than 40 percent of the land area is the Kanto Plain. The rest consists of the hills and mountains that form the land borders. The music is by now more lively as life in this region is easier as opposed to the high north and this also translates itself in these recordings. Nevertheless, these records were all still a rural affair, recorded in hillside villages and festivals. There is again a big inclusion of female performers, forming the largest bulk of the material presented here. Stunning material that demands a wider appeal. Stunning music. Price: 25 Euro
57. FURUSATO NO UTA: “Kinki Hen” (Columbia – DLS-4114) (Record: Excellent/ Gatefold Jacket: Excellent/ Attached Booklet: Mint). Original 1968 pressing. By now we have arrived within the Kinki Region, also commonly known as Kansai, consists of seven prefectures. It used to be the political and cultural center of Japan for many centuries. The cities of Kyoto, Osaka, Nara and Kobe are all part of the Kinki Region. Price: 25 Euro
58. FURUSATO NO UTA: “Chuukoku – Shikoku Hen” (Columbia Records – DLS-4115) (Record: Excellent has a hairline/ Gatefold Jacket: Excellent/ Attached Insert: Excellent). Shikoku is the smallest and least populous of the four main islands of Japan, located south of Honshu and east of the island of Kyushu. Price: 25 Euro
59. FURUSATO NO UTA: “Kyushu Hen” (Columbia Records – DLS-4116) (Record: Near Mint/ Gatefold Jacket: Excellent/ Attached Insert: Excellent). Kyushu is the third largest island of Japan and most southwesterly of its four main islands. Price: 25 Euro
60. FURUSATO NO UTA – YAMAGATA HEN: “S/T” (Columbia – DLS-4105) (Record: Mint/ gatefold Jacket: Mint/ Obi: Mint). Top copy. Price: 40 Euro
61. GAGAKU: “Gagaku no Sekai” (Columbia – WZ-7017) (Record: Near Mint/ Jacket: Mint/ Insert: Mint). This is definitely one of the best Gagaku records that ever resurfaced. This one was released in 1976. If you are into minimal music, this sucker is definitely for you. Gagaku is the most ancient still living music form on earth and remained unchanged for 2 centuries long. Gagaku or Court Music, is performed mainly on Imperial ceremonies and is extremely mind lifting music that will take you farther than the best La Monte Young record ever will. The origins of Gagaku go back to ancient Chinese court music, which absorbed influences of Indian, Persian, Korean, Manchurian and Indo-Chinese music. It was first introduced in Japan in the 8th century. This court music had flourished in Japan during the Heian period where it was performed at court banquets and at sacred temples. The Gagaku artists actually maintained a secluded existence until the late 19th century when they were brought together at the Imperial Palace of the Emperor Meiji. However, today the music, in addition to its function as sacred music, is also being pursued as a highly refined art form itself. The instruments employed consist out of wind instruments (fukimono; ex. Sho, Hichiriki, Komabue, Ryuteki, Kagurabue), string instruments (or hikimono such as So, Biwa and Wagon) and percussion instruments (or uchimono, ex. San no Tuzumi, Kokko, Taiko, Shoko), creating an otherworldly atmosphere, unlike any other musical style. Superb. Excellent condition and very old recording. Price: 40 Euro
62. GAGAKU: “S/T” (Columbia – CLS-5006) (Record: Near Mint/ Jacket: Near Mint). Stunning copy of this 1961 released pressing of classic mind-blowing Gagaku music. This is definitely one of the best Gagaku records that ever resurfaced. This one was recorded on September 14th, 1961 and released in 1961!!!!! The whole ordeal was performed by the Kannaichou Gakubu, the Music Dept. of the Imperial Household. If you are into minimal music, this sucker is definitely for you. Gagaku is the most ancient still living music form on earth and remained unchanged for 2 centuries long. Gagaku or Court Music, is performed mainly on Imperial ceremonies and is extremely mind lifting music that will take you farther than the best La Monte Young record ever will. The origins of Gagaku go back to ancient Chinese court music, which absorbed influences of Indian, Persian, Korean, Manchurian and Indo-Chinese music. It was first introduced in Japan in the 8th century. This court music had flourished in Japan during the Heian period where it was performed at court banquets and at sacred temples. The Gagaku artists actually maintained a secluded existence until the late 19th century when they were brought together at the Imperial Palace of the Emperor Meiji. However, today the music, in addition to its function as sacred music, is also being pursued as a highly refined art form itself. The instruments employed consist out of wind instruments (fukimono; ex. Sho, Hichiriki, Komabue, Ryuteki, Kagurabue), string instruments (or hikimono such as So, Biwa and Wagon) and percussion instruments (or uchimono, ex. San no Tuzumi, Kokko, Taiko, Shoko), creating an otherworldly atmosphere, unlike any other musical style. Superb. Excellent condition and very old recording. Price: 50 Euro
63. GAGAKU – COURT MUSIC: “S/T” (Jigu Records – LMS-120092) (Record: Excellent 〜 Near Mint/ Flip Back Jacket: Excellent). Korean Court music LP released in 1966. Original Korean pressing. Price: 50 Euro
64. GAGAKU: “Japon 3” (Ocora – 558.551) (Record: Near Mint/ gatefold Jacket: Near Mint). First original Ocora pressing. "Japan: Gagaku: a collection of high-quality gagaku works courtesy of the Ono Gagaku Kai Society, one of the better private organizations dedicated to the preservation of an old art (the society dates back to the end of the 19th century, but the art is one of the older surviving musics known to man). Two of the three major divisions of gagaku are represented here, as kangen and bugaku forms are displayed to their fullest (instrumental and dance forms, as vocal/uta-mono is excluded from the album). The album opens with the standard piece of gagaku, "Etenraku." This gives the group some room to stretch out on the tuning-up period a bit and then move into the full instrumental glory of the work. A dance piece stemming from the Rg Veda follows, with a vaguely related longer one from western Asia following it. "Gakkaen" stands as one of the oldest pieces of music, recorded to be in use as early as 702 A.D., and is an interesting instrumental take on an old dance movement. "Bairo" is another work stemming from the Vedic culture, surrounding a prince Vairo-dhaka. The album closes with a dance work of Korean provenance, making even heavier use of the sho than the majority of the tracks (which is saying something in a gagaku ensemble)." (All Music Guide). Most famed Gagaku recording but far from the best. Might be a good introduction for newcomers scratching the surface but if your hunger runs deeper, then tha Japanese issues are the ones to go for. That aside, Top condition. Price: 50 Euro

65. GENCHI ROKUON - NI HON NO MUKASHIBANASHI - KOROTACHI GA KATARU SEIKATSU TO DENSHO: "S/T" (Victor Records - (SJX-2071~5 + 2046~2050) (10 LP Records: Mint/ 10 LP Jackets: Mint/ 5 Obi's: Mint/ Outer Box: Mint/ Additional Box Set Obi: Mint). One of the greatest treasure-troves of ethnographical wonder is this Genchi Rokuon - Ni Hon No Mukashibanashi - Korotachi Ga Kataru Seikatsu To Densho. Massive 10 LP boxset that is impossible to dig up. It was released in a ultra limited run in 1975. First 5 issues were sold separately (this being the first 5 LP's who have obi and with catalogue numbers ranging from 2046 to 2050) in the early 1970s and upon buying those you could subscribe by mail for the remaining 5 records (which came without obi but with bonus outer box to hold ll 10 LP's plus an additional box obi. So one could receive a bonus outer box with matching obi to hold all. Commercial disaster and apart from a few subscribing researchers no boxes made it to the outside world. This is the only complete set I have ever encountered. Amazing field recordings documenting the lives of old folk in the hinterland, filled with rural dialect speech recalling disaster, famine, siblings sold to ward of starvation, some song and much more. The environmental backdrop to this one bewitchingly beautiful. One of the greatest field recording sets to seep out of Japan!!! Sadly impossibly rare and also next to impossible to dig up. SOLD

66. GODAI ENJUTAYU: “Kiyomoto Meienshu” (Victor Records – JL-91 〜 93) (3 LP Box Set: Near Mint/ 3 Individual LP Sleeves: Near Mint/ 12 paged booklet: Near Mint/ Cloth Bound Outer Box: Near Mint). Original 1968 press issue. The title is actually an abbreviation and the man’s full name should be Godaime Kiyomoto Enjutayu. He was born in 1862 and passed away just before the war ended in 1943. He was the pre-war main performer of bone-chilling and engaging ballad dramas for which he got backed only by a sparse shamisen to accompany his wailing and bone-rattling singing style. The bulk of these recordings were recorded in the 1920s and 1930s. Godai Enjutayu’s music is all stripped to the bare minimum and here he gets accompanied by pungent shamisen string battering or beaten biwa lutes while he keeps on wailing away, blessed with either raspy vocal chords, beached whale howlings or an eerie from-beyond-the-grave gravel voice. Listening to this makes the hairs on your neck stand up, it is a ghostly experience you get subdued to when the music on display unfolds itself in curiously zombie like tones. The tales are all epic and most of the tracks here are all sidelong excursions into ghostly worlds, weird tales and rural superstition dramas. The backing is always Spartan, almost skeleton and resembles an underdog artistic operation going to hell. The whole affair is jangled with defiance and despair, embryonic and graced with sheer lust for unpolished raw sounds. This is pre-war Japanese blues if you like, sweating out heavy rural vibes. But this skeletal music is also deceptively intense, and the enhancements give it undercurrents of depth that are meticulous in its musical detail and lyrical singing economy. The music is obviously drenched in a distant past, yet his voice spans epochs within single syllables, a curious yowl recalling hardships, circus sideshow turn of the century weirdness but it flies aloft with an impetuous roar that pursues the foaming surges of waves breaking on rocks. In short, this set is murderous in its musical offerings, throwing open a whole new dimension of weird music and tales. Upon diving into this one, I got completely lost in this sonic archive where time has come to a standstill. Heavy, deep and bewildered it all is and I love every note of this mysterious lost world. Highest possible recommendation. Price: 250 Euro

67. GOKA HAIZO BAN: “Ni Hon Minyo No Subete” (Victor Records – SJV-2001〜2) ( 2 LP Record: Near Mint/ gatefold Jacket: Near Mint/ Attached Insert: Near Mint). Original 1972 1st pressing. Old recordings assembled in the field and country side during the late 1960s documenting some of the best Minyo traditions. This is one of the best ever field recordings of Japanese traditional Minyo ever recorded. A mass of historical recordings documenting old village rituals, festivals, harvest songs, and so much more sonic traditions that are now all but lost and gobbled down by the modern times. A true anthropological treasure trove of ethnic Japanese music traditions and vintage Japanese pre-war blues so to speak beginning up in the far north of Hokkaido and slowly moving down Miyasaki Prefecture, and so forth. In all stripped down to the bare minimum musical performances, some consisting of vocals only, others blessed with primitive percussion rattles, flutes and shamisen pluckings. Utterly beautiful set. Price: 50 Euro
68. GOZE: “S/T” (Jikaban – TPL-3026〜3027)) (2 LP Set: Near Mint/ Gatefold Box set Jacket: Near Mint/ 2 Individual Record Sleeves: Near Mint/ 4 Paged Insert: Excellent) First time ever I have a copy of this privately released 2 LP record box set that came out in a limited run way back in 1973 and which is one of the hardest to track down aural documents on the Goze women. Now this is a totally obscure and rare slide, 1st copy I ever see or can offer for that matter. Massively important and jaw droppingly great 2 LP set that documents the music and culture of the Sugimoto Kikue, the last surviving Goze, recorded during the late 1960s and the beginning of 1970. The Goze became extinct due to the 21 century catching up with their rural lifestyle, tradition and handicap. Goze were blind, itinerant female singers and shamisen players mainly active and traveling from one rural village to the next weather beaten hamlet. They were mostly active in the Niigata Prefecture. These blind women from Niigata were due to their handicap excluded from regular society and had to struggle to survive and the sole option they had in order to scrape some money together to get through the day was giving door-to-door performances of songs with shamisen accompaniment. (the rural blind were desperately poor and accorded few rights or privileges). The reason why these women limited their activities to mainly Niigata and not further north was that Tsugaru and Akita were poorer regions and more inhospitable than their home turf. These traveling blind women mainly made a living by singing songs known as kudoki bushi, which were basically long narratives cast in a repetitive seven-syllabic meter. These songs often recounted melodramatic plots of double love-suicides or vendettas, mostly sung in a short strophic melody, punctuated by interludes on the shamisen and sometimes by comic lines spoken in a rapid-fire manner. However as time went by audiences grew tired of these long songs and Naniwa Bushi drifted into the repertoire, including a large variety of vocal styles ranging from lyrical singing to speech-like recitation. This stunning collection here captures Sugimoto Kikue in action, documenting a tradition that was already completely extinct and providing a bone-chilling aural document and musical document to bear witness of their lifestyle. The music is bone crushing and heart shriveling performance recorded, wailing itinerant blind female performer armed with battered down and strummed out shamisen, riffing away and wailing songs into being in return for a cheap meal and a place to rest. This is some of the best music I have ever heard and since discovering them the Goze have ruled my waking hours and dreaming days. Now finally I can present the one of the rarest and most elusive of all Goze recordings, this stellar and eye-peelingly beautiful & privately released in tiny numbers unique 2 LP set. A unique and oblique recording that shouldered a disappearing and now completely vanished tradition, trying in vein to keep modernity at hold and record the then last surviving performing Goze. Fan-fucking-tastic!! Impossible to get and track down, just one of a kind document. Never saw another copy of this LP, rare forever and this one is so essential. Price: 350 Euro
69. GROUP BOMBINO: “Music of Niger – Guitars of Agadez” (Sublime Frequencies – SF046LP) (Record: Near Mint/ Gatefold Jacket: Near Mint). “Group Bombino is the latest salvo from the Agadez music scene. Led by the guitar virtuoso Omara Mochtar (Bombino), the group's debut LP-- Volume two in the Guitars from Agadez series, represents the latest chapter in the modern sound of the Tuareg revolution. As of 2008, the Tuareg rebellion is in full force again, and Bombino is in exile to parts unknown. Agadez has been cut off from the rest of Niger. The only road that connects this legendary city with the rest of the country is littered with land mines and the only escorts are the military. This music and its messages of hope, justice, and desire for validation of the Kel Tamachek way of life ring louder than ever. Group Bombino are gaining mythic status in and around the Tuareg community for their incendiary live performances. Coming from the same scene as Group Inerane and sharing some of the same musicians, Group Bombino showcase both sides of the Tuareg Guitar style. Side one features the “Dry Guitar” sound, an unplugged selection of songs sung among the dunes and stars of the Tenere desert. Side two showcases the electric fury of the full band, a melding of heavy, psychedelic guitar heroics with a raw garage sound, back beat percussion, all swirling in extended trance rock moves. Recorded live and unfiltered in Agadez and the surrounding desert in early 2007, with the band's equipment powered by generators and an unflinching dedication to the rebellion, Group Bombino's music transcends any influence and ignites the raw passion of its message to the outside world. This is a one-time pressing of 1,500 copies. Pressed on 180 gram vinyl and comes in a gatefold full color jacket stocked with great photos of the musicians and liner notes by Hisham Mayet.” (label description). Price: 50 Euro
70. GRUPOS ETNICOS DE BAJA CALIFORNIA NORTE: “Serie 1 Encuentros De Musica Tradicional Indigena” (Archivo Etnografico Audiovisual Del Instituto Nacional Indigenista – INDI) (LP Record: Near Mint/ gatefold Jacket: Near Mint/ Thick Booklet: Near Mint). Price: 70 Euro

71. HIGASHI HONGANJI – GONKYOU: “S/T” (Teichiku – NL-2525) (Record: Near Mint/ Textured Gatefold Jacket: Excellent 〜 Near Mint, has small middle lower seam split/ Obi: Near Mint). Promo copy. Killer Buddhist liturgy recording in awesome condition, this is the shit!! Great Buddhist monk recordings displaying them in all their esoteric glory are actually very tough to score amidst the accumulation of cash in ones. But in the early 1970s, major labels like Teichiku succeeded in releasing some commercial failures that contained some splendid ethnic monk chanting of the next level and this is one of them. Deep minimal chanting that at times gets injected with bell sounds, the Monks of the Honganji-Temple display also a rare rhythmic undertow into their chant that gives the whole affair a certain drive, propelling it into the realms of so much needed satori and birthing out their own unique style. One of the best minimal monk chanting recordings out there, first time I have a copy to spare. Crystal clear recording, audiophile quality and housed in great gatefold jacket. Highest recommendation! Price: 70 Euro

72. Abbess HILDEGARD of BINGEN: “A Feather On The Breath Of God” (Hyperion – A66039) (Record: Mint/ Gatefold Jacket: Mint) Original 1982 press issue. Top condition. Hymns and sequences by the remarkable Abbess Hildegard of Bingen are recorded under the direction of Christopher Page, with Emma Kirby and others. Two of the eight pieces are solos while most are choral and a few have the support of a symphony as well. This recording draws upon Hildegard’s large collection of music and poetry, the Symphonia armonie celestium revelationum – ‘The Symphony of the Harmony of Celestial Revelations’ – which she continued to enlarge and enrich throughout her life. It contains some of the finest songs ever written in the Middle Ages, and a number of the most elaborate, the Sequences, are recorded here for the first time. They are so profoundly motivated by Hildegard’s devotional life that it is hard to tell whether she is exploring music and poetry through spirituality or vice versa. The songs are conceived on a large – sometimes a massive – scale; it is in superabundance that Hildegard found herself both as poetess and composer. Profligacy of imagination relieved the intensity of her impressions whilst validating her as a visionary in the eyes of her contemporaries. The corresponding musical resources are immense, ranging from the most tranquil melody to an almost obsessive declamation at high pitch. Everywhere we sense a movement of the mind in music. This is the work of deeply engaged artistry: in Hildegard’s words, of ‘writing, seeing, hearing and knowing all in one manner’. The title is indeed appropriate for this sacred vocal music. Price: 50 Euro
73. HUNGARY NO GYPSY ONGAKU 1967 ~ 1971: “S/T” (Victor – SJL-123~4) (2 LP Record Set: Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Attached Fully Illustrated 16 Paged Booklet: Near Mint). Japan only release that documents this blood chilling gypsy vocal music, powerful enough to let burning oil run down your legs while trying to suppress that silent scream down your throat. This stuff is just too beautiful and powerful enough to provoke tears and fist shaking tirades all night long. Bloody rare Japan only release, top copy in mint condition. Price: 75 Euro
74. IMAMICHI KAGETSU - Various singers & Howlers: “S/T” (Teichiku Records – NC-44) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Bloody rare but oh so awesome recorded artifact. Rare 1970 first original pressing complete with always-missing obi. Finally a copy in stock of this wicked Japanese ethnic slide, first spare I can offer in ages. This is wild slide, based around mainly female singers blessed with a nasal vocal chords that birth out songs coming from beyond the grave and underscored with minimal percussive rattles, picket-sized koto strummings and austere floating up out of nowhere shakuhachi tones. The singing consists of a raspy gravel voice that sounds like it came from beyond the grave. The music is stripped bare to the minimum and the accompaniment consists out of pungent shamisen string battering and at times a call and response female voice that looms out of the distance at certain moments, accentuating the vocal rasping. The backing is Spartan, almost skeleton and resembles an underdog artistic operation going to hell. The whole affair is jangled with defiance and despair, embryonic and graced with sheer lust for unpolished raw sounds. This is rural Japanese blues if you like, sweating out heavy rural vibes. But this skeletal music is also deceptively intense, and the enhancements give it undercurrents of depth that are meticulous in its musical detail and lyrical singing economy. Brutal ghostly music that will set your brain on fire. Best record ever…. needless to say, impossible to dig up and utterly obscure. Original 1970 issue. Price: 150 Euro
75. INDIENS ET ANIMAUX SAUVAGES D’AMERIQUE DU SUD: “Enregistre Realises par Richard Chapelle” (Unidisc – UD-30.1293) (Record: Near Mint/ Jacket: Near Mint/ Liner Notes: Near Mint). The whole affair was recorded deep in the Amazonian jungle during 1971 ~ 1972 and captures the primitive sounds of 6 different Indian tribes as well as sounds from the jungle coming to life. Just stunning and one of the best recordings to capture lost tribes in South America. Especially his attention for recording the atmosphere of the surrounding jungle sounds on this LP makes this slide such a devestating affair with the defening roar of insect activity spiralling out of control at times. Just amazing recording, attesting again that Chapelle was the key ethno-recording kingpin as far as jungle sounds are concerned. A killer on all fronts!!! Price: 45 Euro

76. JAVA – GAMELANS FROM THE SULTAN’S PALACE IN JOGJAKARTA: “S/T” (Archiv Production – 2723 017 〜018) (2 LP Record Set: Near Mint/ Gatefold Book Like Jacket: Near Mint/ Attached Book – Fully Illustrated Pages: Near Mint). “Musicologist Jacques Brunet followed up his masterful Bali triple set with this double album of gamelan music from Java. This time around he chose to document a selection of orchestras, focusing more on the variety of different approaches to Javanese gamelan than on the documentation of a particular repertoire by a single gamelan orchestra. Gamelan fiends, and there are many, most often jump to the Bali side of things where there is a tendency toward extremist musical maneuvers, including frantic tempos, wildly clanging metallophones, and the ghostly (perhaps ghastly) illusion of moving forward and backward simultaneously. So why go to Java? Each group documented here provides vivid musical reasons. Gamelan Sekati Kangdjeng Kyahi Naha Wilaga, whose name means "The venerable fighting serpent," creates a sense of total stillness as "Gending Andong Andong" unfolds, and any listener desiring a wondrous lack of movement should listen to this piece, it is the musical equivalent of a tropical fish tank. Following such an illusion to nature, not off the mark considering the style of music, there are other pieces here that contain a fathomless sense of organization and cosmic logic that brings to mind an evening spent with the neighborhood cicadas. The "Gendang Gambir Sawit" includes both choral and vocal singing and is markedly different sounding than most Indonesian recordings. Wonderful use of handclapping is made in this piece.” (All Music Guide). Price: 80 Euro

77. V.A. - KABUKI MEI ENSHU: “S/T” (Columbia Records – CL-5073/ CL-5081/ CL-5090) (3 Individual LP’s: Near Mint/ 3 Individual Heavy Gatefold Jackets: Near Mint/ Individual Illustrated Booklets: Near Mint/ Outer Heavy Cloth Bound Box: Excellent). Stunning anthology released in 1967 (!!!!!) documenting some of the era’s finest Kabuki performances. Price: 75 Euro
78. KANADEHONCHUUSHINGURA (Kabuki): “S/T” (Victor Records – JL-110 〜 3) (4 LP Record Set: Near Mint/ Cloth Bound Outer Box Set: Near Mint/ Individual LP Sleeves: Near Mint/ Insert: Near Mint/ 25 paged Booklet: Near Mint). Original 1968 pressing of a highly renowned Kabuki performance! Stunning sound quality. The actors appearing on this recording include the leading figures of the previous generation of Kabuki. Their vocalizations and singing alongside the musical performances of Nagauta is spell braking great. The brilliant recording certainly enhances the magic on this document. One of the greatest and most beautiful kabuki recordings out there. Comes housed in a thicker than life cloth bound heavy outer box set and with detailed & fully illustrated booklet. KILLER. Price: 150 Euro
79. KAZUGA TOYO: “Kazuga To Kouta Zenshu” (Victor Records – JV-33 〜 35) (3 LP Record Set: Near Mint/ 3 Individual LP Sleeves: Near Mint/ 8 Paged Booklet: Near Mint/ Cloth Bound Outer Box: Near Mint). Original 1962 first press issue. Kazuga Toyo was born in 1881 and she became one of the most renowned performers of Kouta. Kouta is a singing style accompanied solely by shamisen and is since the Edo period strongly associated with teahouses and the Geisha culture. Some critics say that these short songs express the idea of Iroke, a difficult concept to precisely translate but somewhat equivalent to the idea of “eroticism” but not as sexually charged as the Western use of the term. Iroke is sensuality, it evokes and image that appeal to the senses. It denote attraction felt between the sexes in the passing glance or the swish of a trailing kimono. The essence of Iroke is understatement. Many of the texts of Kouta reflect the atmosphere of the world of the geisha and this iroke spirit, ranging from comments on the seasons to more overtly erotic tales of love. They are informed by Japanese poetic styles and the texts of Noh plays, and are therefore written with lines typically of five or seven syllables in length. The lyrics are highly poetic and even vague as the minimalist backing by the shamisen weaves in and out of the vocal part, resembling a most intimate dialogue, while both voice and instrument express iroke. Extremely beautiful and fragile recordings from before and just after the war period. Hard to come by, first box I have a copy to spare of in 10 years time. Price: 250 Euro
80. KECAK PELIATAN OF BALI: “S/T” (King Records – GXC-5001) (Record: Mint/ Jacket: Excellent ‾ Near Mint). White label test pressing of 1978. Price: 15 Euro

81. KOMORI KIYOMOTO with Kiyomoto Shizudayu & Kiyomoto Eiji:Kiyomoto Komori” (Columbia – CL-9) (Record: Excellent 〜 Near Mint/ Flip Back Jacket: Near Mint). Original 1957 pressing. Price: 100 Euro

82. KORA, BALAFON & PERCUSSIONS DU SENEGAL: “S/T” (Arion – ARN-33602) (Record: Near Mint/ Jacket: Near Mint). Price: 35 Euro
83. KYODOGEINO:Horakutaikei” (Victor Records – VP-3028〜3029) (2 LP Record Set: Near Mint ~ Mint/ Slip Case Thick Outer Box set: Excellent 〜 Near Mint/ Inner Cloth bound record folder and book: Near Mint/ Attached fully Illustrated 40 Paged Book: Mint). Original 1971 press issue and one of the most amazing slides to come out documenting weird field recordings recorded in Japan. Ainu ceremonial rites, deep countryside shamanistic fertility hoedowns, burial rites, harvest songs, performing rural children groups bringing forth bewitching performance that makes the hairs on yoir back stand straight up, blind shamisen players, wandering monk wailings, exorcist rites, etc …a vast amount of off-the-beaten track recordings that will hit you with stupefying bewilderment. It is a deeply intense listening experience of a culture that is long gone extinct but which excelled in its austere intimacy. that displayed undercurrents of depth blessed with a lyrical economy and great musical detail. One of the biggest musical revelations as of late. Highest possible recommendation and as an object it is a beauty to behold as well. They do not make record sets this elaborate anymore. Price: 250 Euro
84. LAPSK FOLKMUSIK/ JOJKNING: “Jojk 1/2” (Sveriges Radio – RELP-1029) (Record: Near Mint/ Laminated Jacket: Near Mint/ Booklet: Mint). Price: 50 Euro
85. LAPSK FOLKMUSIK/ JOJKNING: “Jojk 5/6” (Sveriges Radio – RELP-1029-5) (Record: Near Mint/ Laminated Jacket: Near Mint). Price: 50 Euro
86. LIBRARY OF CONGESS – FOLK MUSIC OF THE UNITED STATES: “Songs of the Menominee, Mandan and Hidatsa” (Library Of Congress – AAFS-L33) (Record: Excellent ~ Near Mint/ Jacket: VG++ ~ Excellent. Tape residue from Cataloguing on spine/ Booklet: Excellent). Original 1952 issue. Price: 60 Euro
87. LIBRARY OF CONGESS – FOLK MUSIC OF THE UNITED STATES: “KOIWA” (Library Of Congress – AAFS-L35) (Record: Near Mint/ Jacket: VG++ ~ Excellent. Tape residue from Cataloguing on spine/ Booklet: Excellent). Original 1952 issue. Comes on RED wax. Contains deliriously great records of peyote rituals and songs. Ya know what that means…your lonely nights will never be the same again. Price: 150 Euro
88. LYRICHORD – African Rhythms and Instruments Vol. 2: “Congo Brazzaville – Chad – Cameroon – Sudan – Zambia – Tanzania – Kenya – Zimbabwe” (Lyrichord – LLST-7338) (Record: Excellent/ Insert: Mint/ Jacket: VG++, has some edge wear). Price: 25 Euro
89. LYRICHORD – African Rhythms and Instruments Vol. 3: “Morocco – Algeria – Tunisia - Libya” (Lyrichord – LLST-7339) (Record: Excellent/ Insert: Mint/ Jacket: VG++, has some edge wear). Price: 25 Euro
90. LYRICHORD – FOLK MUSIC OF AFGHANISTAN: “S/T” (Lyrichord – LLST-7230) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). First pressing housed in thick jacket, different from later issues. Price: 20 Euro
91. LYRICHORD – MOROCCAN FOLK MUSIC: “S/T” (Lyrichord – LLST-7229) (Record: Excellent ~ Near Mint/ Jacket: Excellent). First pressing housed in thick jacket, different from later issues. Price: 45 Euro
92. LYRICHORD – MUSIC OF THE NILE VALLEY: “S/T” (Lyrichord – LLST-7355) (Record: Near Mint/ Jacket: Near Mint). Price: 45 Euro
93. LYRICHORD – MUSIC OF THE RAIN FOREST PYGMIES: “S/T” (Lyrichord – LLST-7157) (Record: Near Mint/ Jacket: Near Mint). Price: 50 Euro
94. LYRICHORD – VOODOO TRANCE MUSIC ~ RITUAL DRUMS OF HAITI: “S/T” (Lyrichord – LLST-7279) (Record: Mint/ Jacket: Mint). Price: 45 Euro
95. V.A. – MINYO TOKORO DOKORO: “Kanto - Koshin Hen” (Toshiba Records – TF-5026) (Record: Excellent 〜 Near Mint/ Gatefold Jacket: Near Mint but has some very mild foxing due to age visible within the gatefold/ Obi: Near Mint). Original late 1960s first original pressing that comes housed in stunning gatefold jacket art and all complete with first issue obi. Another vital slab of Japanese rural recording splendor, this time focusing on the Niigata, Nagao, Kanagawa, Yamagata, Tokyo, Chiba, Saitama, Gunma and Ibaraki areas. These field recording represent a wide variety of traditional Japanese dances with ranging subject matters such as draught, famine, harvest etc. The recording captures both the music and the noises, which adds additional energy and depth to the music and draws the listener in further. Recordings of a decaying culture that slowly gets eaten up and spit out by the 21st century. Beautiful and vibrant. Price: 50 Euro
96. MIYAGI MICHIO: “Rokudan” (Victor Records – JL-117) (Record: Mint/ Gatefold Jacket: Mint/ Attached Illustrated insert: Mint). Bloody obscure old skool koto recording disc by this sadly overlooked rural master. Most of the recordings presented here feature Miyagi and his daughter on koto with her singing some high pitched vocal accompaniments splattered over long epic tracks. Here and there is some utterly sparse accompaniment on shakuhachi only, adding some more austere minimalism to the already bone-stripped affair. The bulk of the material presented here was recorded in 1937, just before the war broke out. Totally beautiful, minimal and ghostlike recordings out of a time when recording music was nothing but still an excavation kind of treasure hunt. And this definitely is a musical treasure…highly recommended for minimal music fans and ethnic cowboys. This is the shit to look out for. Pristine copy, quite a bitch to dig up these days, 2nd copy I see in 8 years time. Price: 45 Euro
97. MUSEUM COLLECTION BERLIN (WEST) – ANGOLA: "MUKANDA NA MAKISI” (Museum Collection Berlin West – MC-11) (2 LP Record Set: Mint/ Gatefold Jacket: Mint/ Fully Illustrated 24-paged Booklet: Mint). Amazing collection of field recordings caputing Mask and curcumcison rituals in Angola. primitive howling and wailing, tribal hoedowns and frantic percussive rattles reign throughout this collection. Every track is a winner. Price: 50 Euro
98. MUSEUM COLLECTION BERLIN (WEST) – SUDAN: “Dikr Und Madih” (Museum Collection Berlin West – MC-10) (2 LP Record Set: Mint/ Gatefold Jacket: Mint/ Fully Illustrated 24-paged Booklet: Mint). Price: 50 Euro
99. MUSEUM COLLECTION BERLIN (WEST) – TURKEY: “Musick Aus Der Turkei” (Museum Collection Berlin West – MC-1) (2 LP Record Set: Mint/ Gatefold Jacket: Mint/ Fully Illustrated 24-paged Booklet: Mint). Killer collection of field recordings in Turkey, capturing swirling village rituals and rhythms, flutes and lutes and much more frantic bedazzlement to sting your senses. The whole series on this Musieum Collection is nothing short of breath takingly awesome and will never fail to wrap your ears around your neck. KILLER!!! Price: 50 Euro
100. MUSIC FROM THE SHRINES OF AJMER AND MUNDRA: “S/T” (Tangent – TGM-105) (Record: Mint/ Jacket: Mint). Price: 30 Euro
101. THE MUSIC OF MICRONESIA, THE KAO-SHAN TRIBES OF TAIWAN AND SAKHALIN (1934 – 1922 – 1923): “S/T” (Toshiba Records – TW-80011) (Record: Mint/ Gatefold Jacket: Mint/ OBI: Mint/ Illustrated 12 Paged Booklet: Mint). An aural peak into a tyme long gone, a sonic time warp into a world long lost since almost a century. Listening to this is like lending your ears to a ghost-like world that has evaporated into thin air long ago, fragile sonic miniatures of a Lost World, creating an arresting experience filled with a shaministic sense of genuine beauty, skeletal music of primitive societies whilst standing on the brink of extinction with the 20th century breathing down their neck. Upon spinning these ghost-like voices, the music seems to evaporate on the spot, the voices and sparse instrumentation span epochs within single syllables, a curious yowl recalling and warning for things ahead. Just bewitching, deceptively intense, yet so powerful. Heavy & heady stuff....never heard anything remotely like this, so beautiful it HURTS.... Price: 85 Euro
102. MUSIC FROM THE TAUSUG OF SULU: “Moslems Of The Southern Philippines – Vol. 1 Instrumental Music & Vol. 2 Vocal Music” (Ethnosound – EST-8000/1) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ 12 Paged Fully Illustrated Booklet: Near Mint). Original 1970 press. and a very rare privately released 2 LP set. This label and only 3 releases - all of which are extremely hard to come by - and this 2 LP set is so killer that it will leave you baffled for days on end. originally released in 1970 as a small univerity pressed release, this 2 LP set is devided over one LP devoted to instrumental music and one LP focussing its attention to vocal music. The whole affair is filled with austere drumsd and primitive gongs, creating a sonic world that stands out on its own. The vocal slide is sparce and rescued from any instrumental ornamentation and sets vocal renditions against background noises and sounds of rurarl village life of insects and crying babies. In short, this is one of my all time favorite ethnografic recordings. bewitchingly beautiful and filled with haunting poetic beauty, panoramic sound clusters floating througha a shamanistic sense of microcosmic exploratory sound. This recordings has a gift for unexpected impact, busy folding and manipulating space, endowed with so much beauty that gives this skeletal music undercurrents of depth that is deceprively intense, causla in feel, yet meticulous in its musical detail and lyrical economy. Very rare and small pressing, but so amazing. Price: 175 Euro
103. MUSICA INDIGENA ALTOS DE CHIAPAS: “S/T” (Museo Nacional De Antropologia – MNA-04) (Record: Near Mint/ Gatefold Jacket: Excellent). Rare Mexican university pressing from 1968 documenting ethnic sounds from the country. Original 1968 issue. Not your usual mexican tourist fare but instead you get soaked into a vortex of highly original rural sounds that at times sweat out heavy vibes. University/ museum pressing of days long gone. Price: 50 Euro
104. MUSICA INDIGENA DEL NOROESTE: “S/T” (Museo Nacional De Antropologia – MNA-05) (Record: Near Mint/ Gatefold Jacket: Excellent). Rare Mexican university pressing documenting ethnic sounds from the country. Original 1970s issue. Splashed over two sides, each one representing an ethnicity from the Mexican northwest (as the title indicates) The yaqui side is much more akin to music from other regions in Mexico, it is quite nice and all. The Mayo side on the other hand album exists in a weird alternate space-time continuum, where nothing you know about music really makes sense, to my young self, this sounds as if it shredded son jarocho, huapango, mariachi, cumbia, etc. into bits, dadaist pieces of melody and rhythm and reconstructs it in a noise enviroment, the result is a swirling tornado that pulsates through 18 minutes that stretch out as if it lasted hours, which is not a bad thing. I can't even begin to comprehend how this music was made. Pop songs for the Sonora desert. Yeah....so awesome, it will reshape your stigmatized impressions of Mexican music forever. Killer!!! Price: 50 Euro
105. MUSICAL VOICES OF ASIA: “Asian Traditional performing Arts 1978” (Victor Records SJL-209-211) (Box: Mint/ Obi: Mint/ Book: mint/ 3 LP's: Mint) Japan only box set. Music from Burma, India, Iran, Mongolia and Japan spread over 3 LP's and recorded in Japan in 1978 at an ethnic music festival for which Victor flew over traditional musicians and recorded them crystal clear. Fabulous set and 1st time I have a copy to spare. Sound quality is crystal clear, the music on display is nothing short of stunning. Second time only I have a copy of this majestically set, just hardly surfaces at all which is a shame since the eye for detail and quality that comes with this release combined with the aural jewels on display is nothing short of a jaw-dropping ever enriching experience. Highest recommendation!!! Price: 125 Euro
106. Les MUSICIENS BAULS: “Fous de Dieu Du Bengale” (Arion – ARN-33728) (Record: Near Mint/ Jacket: Near Mint). Stunning disc of field recordings of Bengal. The “madman” or “fou” terminology here applies to the wandering musicians of Bengal, also referred to as “God's madmen”. The mad hints at their normal frenzied behavior. But apart from that characteristic one could maybe better cal them just mystics because that is what they are mystic with an attitude. What sets them apart of traditional Indian mystics is that they refuse to be lead by any convention whatsoever, whether religious or social. Culturally speaking their tradition originated at the crossroads of various religious trends, which have permeated Bengali culture being tantrism, Sufism, shaktism and vaishnavism. Going back as far as the 17th century, they accompany their songs with various instruments ranging from a calabash styled stringed instruments to four stringed lutes, drums and bronze cymbals. The whole of the recordings were made in Bengal in 1978 and 1979. Just stunning. Price: 25 Euro
107. Les MUSICIENS DE CELEBES INDONESIE: “Musiques Toradja et Bugis” (Anthologie de la musique des peoples – AMP^2906) (Record: Near Mint/ Gatefold Jacket: Mint). Price: 30 Euro
108. MUSIQUE TRADITIONELLE ARABE Sur Bousoq: “Par Matar Mohamed” (Disques Alvares – C.468) (Record: Mint/ Gatefold Jacket: Near Mint). Price: 40 Euro
109. MUSIC IN THE WORLD OF ISLAM: “1. The Human Voice/ 2. Lutes/ 3. Strings/ 4. Flutes & Trumpets/ 5. Reeds & Bagpipes/ 6. Drums & Rhythms” (Tangent – TBX-601) (6 LP Set: Excellent 〜 Near Mint/ 6 Individual Jackets: Near Mint/ Outer Heavy Box Set: Excellent). Recorded by Jean Jenkins between 1970 and 1975 in places like Iraq, Bahrain, Algeria, Iran, Afghanistan, Morocco and Turkey, focusing on various ethnic moves in Arabian and Islamic music. Recorded in the field amongst Bedouins, nomads, farmers on the banks of the Nile, Turkish fishermen at the Black Sea and pearl divers in the gulf, this is undoubtedly one of the greatest series that documents Islamic music. Record was released in 1975 I believe and are hard to track down these days. Here you have a pristine copy. Go nuts, this is one of the most gloriously and mind lifting music to have been cut to vinyl. Descriptive liner notes explaining each take are included on the back. Price: 220 Euro

110. NAGAUTA: “Fuji – Musume” (Columbia – CL-2) (10 Inch Record: Mint/ Jacket: Mint). Original 1957 Japan 1st original pressing. Nagauta is kabuki theater music born in Edo (former Tokyo) in the late 17th century at the era of Tsunayoshi Tokugawa, the 5th Edo shogun whose term of office was 1680 – 1709. Originally, nagauta played the role of background music to express various sound effects: expressing the feelings to go with spoken lines of kabuki actors by songs and shamisens, the sound of rain and wind by accompanied drums, haunted sound when a ghost is appearing, and so on. This here is a classic piece and one of the earliest recordings of it. Price: 75 Euro

111. NAGAUTA: “Renshishi” (Columbia Records – CLS-5005) (Record: Near Mint/ Jacket: Near Mint). Original 1961 first press issue in top condition. Classic and vintage Nagauta recording that to these ears is one of the more bewitchingly beautiful ones to sit through, more eerie sounding and blessed with that dusted sound one comes to love when it comes to old recordings. The execution is flawless, the tension is spell binding. Utterly devastatingly great. Original press. Price: 75 Euro

112. NAGAUTA: “Kanjincho” (Columbia – CLS-5001) (Record: Near Mint/ Flip Back Jacket: Near Mint). Original 1960 first original pressing of legendary Nagauta recording. First performed in 1840 by Ichikawa Danjuro VII (1791 - 1859), this is not only one of the most popular plays in the Kabuki repertory, but the music of Nagauta is also extremely famous as well. Like the Noh orchestra, which always appears on stage, the Nagauta ensemble also appears sitting along the back of the stage, which is an imitation of the stage of the classical Noh theater with its painting of a pine on the back wall. The play is set after the wars between the Genji and Heike clans. Although Yoritomo, the head of the Genji clan, is now shogun in Kamakura, he suspects his brother Yoshitsune of treason, even though Yoshitsune is the general that made this military victory possible. Now Yoshitsune and his small band of followers, including the warrior-priest Benkei, are trying to escape to the northeastern country. Benkei has had the entire party disguised as mountain priests collecting funds to rebuild Todaiji temple, burned down in the battles between the Genji and Heike. Yoshitsune is disguised unobtrusively as their porter. However, to stop them, Yoritomo has set up new barriers on every highway, including one at Ataka, near the city of Kanazawa, with express orders to stop mountain priests. Togashi is the keeper of the barrier at Ataka. When Yoshitsune and his party appear, he strictly refuses to let them through. Benkei tells the others to prepare for their final prayers and death. Togashi relents a bit, and says that if they are collecting funds for a temple, they must have a "Kanjincho," or "subscription list," an imperial document in extremely difficult language. Benkei takes out a blank scroll and reads from it, making up the ornate text as he goes along. Togashi then questions Benkei on several points of Buddhist theology and he passes. Togashi allows them to go, but one of his followers notices that the porter looks like Yoshitsune. Benkei has no choice but to treat his lord Yoshitsune as a mere porter, beating him and offering to beat him to death if necessary. This is in an age when it was unthinkable for a retainer to resist his lord in any way. Although he knows that this is Yoshitsune, Togashi allows them to go, knowing that this also probably means that he will have to commit ritual suicide for his failure in duty. When the party is alone, Benkei is heartbroken for having beaten his master, but Yoshitsune holds out his hand in forgiveness. For the first time in his life, Benkei weeps, then, in dance, recounts the many episodes of the difficulties he and Yoshitsune have faced together. At this point, Togashi appears again and offers wine to them. Benkei drinks an enormous amount and then dances. At the height of the dance, he quietly motions the others to leave and they continue on their road of escape. As the play ends, alone on the hanamichi runway, Benkei gives thanks to the heavens and the earth for protecting his master. Then he follows them with the special Kabuki step called a flying roppo. The recording features the Nagauta music used at the moment Benkei and Yoshitsune are reconciled after the happenings at the barrier, then there is the livelier music that describes the many battles they have gone through together. Price: 75 Euro

113. NAGAUTA: “Aki No Iro Kusa” (Columbia – CLS-7) (10 Inch LP Record: Near Mint/ Flip Back Jacket: Near Mint) Original September 1961 pressing in top condition. This piece was written in 1845 to celebrate the rebuilding of the mansion of the Nambu clan in the Azabu district of Edo. The lord himself wrote the text and the music composed by Kineya Rokuzaemon X (1800 - 1858). It is a famous example of a piece that was always intended to be performed as pure concert music with no relationship to the Kabuki theater. The section in the recording includes a description of the garden of the mansion in autumn and there is a lengthy instrumental interlude that is supposed to evoke the sounds of insects in the garden. Price: 75 Euro

114. NAGAUTA: “Eichigo Kushiko / Kurama Yama” (Victor Records – JL-11) (Record: Near Mint/ jacket: Near Mint). Very rare and obscure Nagauta recording, this one was released back in 1959. Recording quality is stellar. The essence of the poetical evoking power of nagauta (kabuki theatre accompaniment music), played by the Kineya Ensemble, one of the best Japanese chamber orchestras, which includes voice, shamisen lutes, fue flute, and kotsuzumi, otsuzumi and taiko drums. The Japanese nagauta style of singing is used to accompany the well-known Japanese dance theater of kabuki. The songs are mainly accompanied by a shamisen player, as well as two percussionists and two flutists. At the beginning, the shamisen was used to accompanied singers, in a style called jiuta. In the 17th century, in Edo (today's Tokyo), musicians started to use it to sing long dramatic narratives called Edo nagauta. At that time, kabuki theater started to use a shamisen ensemble to accompany dances and developed the nagauta style of singing, which quickly became the typical style of kabuki singing. These recordings here from 1956 and released in 1959 are nothing short but electrifying. Hardly surfaces at all. Top condition. Price: 80 Euro
115. NAGAUTA:Asazumabune / Shihogumi” (Victor – LR-524) (Record: Excellent/ Jacket: Excellent). Original and bloody rare 1958 pressing of absolutely stunning Nagauta performance. Object wise it is getting extremely hard to unearth records from that age. Most of them that were released in the 1950s got discarded when people moved house and thrown out so it is a small wonder finding this one. That aside, the music and the mruky old recording are spellbinding. Price: 75 Euro
116. NAKAYAMA KOJUUROU: “Kouta Sakuhinshuu” (Victor Records – JL-208〜9-S) (2 LP Record: VG++ ~ Excellent/ Gatefold Jacket: Excellent). 1973 original press of brutally spartan 2 LP recording. Austere female singing set against a minimal backing of shamisen and desolate flute tones, bringing sadness on a cold windy breeze. Listening to this, makes the hairs on your neck stand up. Bone-chilling honest and initmate music, graced with a loneliness that is not of this planet. The backing is Spartan, almost skeleton and resembles an underdog artistic operation going to hell. The whole affair is jangled with defiance and despair, embryonic and graced with sheer lust for unpolished raw sounds. This is pre-war Japanese blues if you like, sweating out heavy rural vibes. Awesome. Price: 75 Euro
117. NEGRO FOLKLORE FROM TEXAS STATE PRISONS: “Work Songs, Blues, Spirituals, Preaching's, Toasts – Recorded by Bruce Jackson” (Victor/ Elektra – SJET-8142) (Record: Excellent ~ Near Mint/ Jacket: Excellent/ 12-Paged Booklet: Excellent). Rare Japanese press collection black Americans prison work songs. Chilling to the bone and swinging like a jack hammer wielding bat. A dead stone classic. Price: 70 Euro
118. NEGRO PRISON SONGS: “S/T” (Albatros – VPA8280) (Record: VG++/ Jacket: Excellent). Recorded by Alan Lomax in 1947. A collection of songs recorded at the Mississippi State Penitentiary in 1947. The best single document of the African American work song and field holler tradition.... The group work songs, while moving and excellent examples of the style, are by their nature less distinctive than the extraordinary solo performances like my favorites "It Makes A Long Time Man Fell Bad". These are all very powerful and all together richly African American.

"These songs belong to the musical tradition which Africans brought to the New World, but they are also as American as the Mississippi River. They were born out of the very rock and earth of this country, as black hands broke the soil, moved, reformed it, and rivers of stinging sweat poured upon the land under the blazing heat of Southern skies, and are mounted upon the passion that this struggle with nature brought forth. They tell us the story of the slave gang, the sharecropper system, the lawless work camp, the chain gang, the pen." --Alan Lomax. SOLD
119. NI HON MAI ODORI ONGAKU: “Keifu To Kosei - Dai Ni Shuu Koseihen (Victor Records – SJ-3014 1〜3) (3 LP Record Set: Near Mint/ Cloth Bound Heavy Box Set: Mint/ Thick Fully illustrated & Annotated Booklet: Mint). Killer 3 LP box set, that was released way back in 1965. This is the 1st original pressing. It documents some minimal Japanese traditional music that was mainly used for Noh and Kabuki plays. The music on this set focuses on Japanese dance movements that featured in those plays, bringing forth minimalistic sounds, sparse instrumentation and highly well-balanced and executed at precision point playing style. Totally mesmerizing set. First time I have a copy to spare of this one. Price: 100 Euro
120. NI HON NO HOROGEI: “Fushidan Setsukyou” (Victor – SJX-2063‾8) (5 LP set: Near Mint/ Cloth bound and covered box set: Near Mint/ 24 –paged Booklet: Near Mint/ Outer Carton Box Styled Obi: Near Mint). WHITE LABEL PROMO!!!! The “Ni Hon no Horogei” series that Victor put out in the mid-seventies is certainly my all time favorite collection of deranged filed recordings, weird cultural oddities all graced with insanely luxurious packaging. Such an elaborate project of in total 6 box sets could only be generated in a bubble infested economy, when record companies still had some time and money to waste on glorious projects that had absolutely no commercial potential whatsoever. These sets were mainly produced out of a documentary perspective and ended up mostly in the racks of libraries and research institutions. Very few copies hit the streets and the one that did were largely ignored by the public, following in most boxes being withdrawn and eventually melted down again. This set here focuses on a long lost tradition that rooted within some minor esoteric Buddhists sects, a tradition that is now totally extinct. The 5 LP’s focus on a string of Buddhist priests rendering recitations and giving comments on communal affairs before an assembled crowd. Although most of their drone-filled recitations are deprived of any musical accompaniment, the whole affair does not fail to resonate out an intoxicating musical vibe. One can certainly say that their vocalizations are trance inducing and filled with sudden tempo changes, alterations in style, sped up with circular breathing and tonal irregularities and oddities that make this set a challenging listening experience. The most renowned of these priests was definitely Sobue Shounen, who is depicted on the box’s cover. Sobue was born at the beginning of the 20th century (around 1905) and passed away in the early eighties. His vocal recitations are just awe inspiring and have an almost tribal feel attached to them. Just brilliant and totally jaw-droppingly great. Apart from the aural splendor that is splattered over the 5 LP’s, the box comes with a detailed and picture filled booklet, forming a welcome accompanier to music. It gives a stunning photographic testimony to a Japan that no longer exists, rural town’s people and assorted anthropological marvels. Next to that the heavy cloth covered box is massive to behold and a stunning piece of outsider art. Hideously rare and extremely adventurous as far as its contents are concerned. Should appeal to anthropologists, Japanophiles, lovers of the occult, esoteric Buddhism thrill seekers, lovers of field recordings and collectors of exquisite artifacts. Highest possible recommendation. Price: 100 Euro

121. NI HON NO HOROGEI 7 LP BOX: (Victor – SJX-2051〜7-M) (7 LP set: all mint/ heavy textured cloth bound box: Mint/ Detailed and Fully Illustrated 60+ paged Booklet: Near Mint) Staggering aural document spread over a seven LP set, housed in a thicker than life cloth bound heavy textured box set. This copy comes complete with heavy detailed book. Staggering aural document spread over a seven LP set, housed in a thicker than life cloth bound heavy textured box set that also houses a 60 paged detailed booklet filled with a massive amount of archival pictures. Released in 1971. A real sub-cultural freak show is not to be found in cosmopolitan urban jungles but instead is buried deep within the hinterland of agricultural hamlets and rural corner towns where 20th century civilization has not yet deposited its poisoned all consuming Westernized germs. This aural document documents a Japan that is now almost completely extinct. The bulk of the recordings was made after the end of WWII and takes you behind closed sliding doors of farmers homes where local priest perform exorcism rites to secure a good harvest, guides you past circus freak show theatres were midgets, snake charmers, monkey jugglers, old toothless lady non-syllabic ramblings that sound like a trance inducing mantra and other depraved outcasts of society are put on display, ghost-callers who communicated with the world of the spirits through song and shamisen strummings. The box is filled with rural oddities, shamanistic induced music recordings, spoken word intersections, filed recordings and so much more. This was the real underground Japan, a sonic slab of historical recordings that you didn’t even knew existed in the first place. This box (one in a series of 6) was released in 1971 and mainly sold to libraries and other governmental institutions. It had no commercial potential whatsoever so it is not surprising that copies barely made it on the streets. Here you have a stone cold mint copy of such a set, a 7 LP box filled with voices from a distant and long gone past. Extremely rare, especially in such pristine condition and the booklet present. One of the best ethnological releases ever!! Price: 150 Euro

122. V.A. – NI HON MINYO MEGURI: “Chuugoku – Shikoku Hen” (Nippon Columbia – DL-4018) (Record: Near Mint/ Flip Back Laminated Jacket: Excellent 〜 Near Mint/ Insert: Near Mint/ OBI: Near Mint). Original 1966 first original pressing all complete with damned rare obi. This is hands down easily one of my all-time fave rural minyo hoedown recordings of the Chuugoku & Shikoku areas. It is filled with stupendous agrarian male and female call-and-response jammers, with high-pitched female vox spiking your brain while being subdued to it. The backing instrumentations of sparse koto & shamisen pluckings, at times augmented with desolate shakuhachi blow outs only add to the eerie nature of the music. At other times barren biwa strummings underscore mournful female lamenting that literally gives you goose bumps, it is just bone-chillingly awesome. This is the music of the Japanese people. Nothing else in their history speaks more eloquently or with more immediacy to the subject of their domestic experience. This early Japanese rural music has infused and defined all their popular music of the last 200 years, and in a vicious circle the two have constantly fed off each other on various occasions. This is a music without peer, being at one and the same time joyous, plaintive, sensual and transcendent. It's unbridles power paradoxically forms an irresistible tandem with it's touching warmth, and the rhythms are of such a delightful nature as to animate the spirit as well as the legs. This grand music is also, unfortunately, a thing of the past — dwindling slowly out of modern civilization and in time it will likely not be seen again. Stunning collection but sadly enough also damned rare all complete with obi, only took me 7 years to track down this copy. Price: 100 Euro
123. V.A. – NI HON MINYO NO SUBETE: “S/T - Jou” (Victor Records – JV-1064〜5-S) (2 LP Record Set: Near Mint/ Heavy Gatefold Jacket: Near Mint). First volume of a 2 x 2 LP set documenting killer Rural Japan Minyo & Matsuri in-the-field happenings, recorded during the mid and late 1960s and covering a fast area ranging from the high northern prefecture of Hokkaido, Niigata, Aomori, Yamagata etc and slowing moving southwards heading into Iwate, Miyazaki, Fukushima, Chiba, Tottori, Ishikawa, Kumamoto, Okayama and Fukuoka. Deliriously great rural recordings filled with wailing voices, primitive percussive rattles, etc. Comes housed in stunning gatefold psychedelic artwork. One of the highlight recordings on this scene. Highly recommended!!!!! Price: 40 Euro
124. V.A. – NI HON MINYO NO SUBETE: “S/T - Ge” (Victor Records – JV-1066〜7-S) (2 LP Record Set: Near Mint/ Heavy Gatefold Jacket: Near Mint). The follow-up and equally stunning rural Japan Minyo & Matsuri recordings, taped during the mid and late 1960s and covering a fast area ranging from the high northern prefecture of Hokkaido, Niigata, Aomori, Yamagata etc and slowing moving southwards heading into Iwate, Miyazaki, Fukushima, Chiba, Tottori, Ishikawa, Kumamoto, Okayama and Fukuoka. Deliriously great rural recordings filled with wailing voices, primitive percussive rattles, etc. Comes housed in stunning gatefold psychedelic artwork. One of the highlight recordings on this scene. Highly recommended!!!!! Price: 50 Euro
125. V.A. – NI HON NO MINYO: “S/T” (Columbia Records – GES-3070 〜 4) (5 LP Record Set: Excellent 〜 Near Mint/ 5 Individual LP Jackets: Near Mint/ Outer Box Set: Excellent). Massive & Rare 1970 released 5 LP box set, documenting another wide range of vocal styles, rural festivity rites and obscure Matsuri swingers from times long gone. Beautiful old recordings from all over rural Japan, documenting disappearing agricultural hoedowns, Buddhist festivity rites and backwater hollers. Killer 5 LP set, getting tough to dig up these old and obscure recordings as they were discarded in mass decades ago. So much in need for a re-appreciation as these sonic marvels will certainly enrich your culturally deprived existence. Killer!!! Price: 70 Euro
126. NI HON NO GAKKI TO ONGAKU: “S/T” (Prince – Private press) (2 LP Set: Near Mint/ gatefold Jacket: Near Mint). Bloody rare and obscure Japanese ethnics compilation private pressing that was released as an educational record way back in 1961. Top condition. Price: 60 Euro
127. NI HON MINYO TOKUSENSHU: “S/T” (Teichiku – NL-2025) (Record: Excellent/ Tip Back Jacket: Excellent) Bloody rare original 1st pressing from 1962. This is one of the single-greatest Japanese ethnic recordings ever, filled with wailing female singers, austere instrumentation to celebrate harvest and other rural traditions from times long gone. First copy I have to spare in 8 years time. This one never fails to rock my world beyond infinity. Price: 75 Euro
128. NI HON NO MINZOKU ONGAKU DAI 8 KAN: “Furyu” (Victor – SJL-2187〜9-M) (3 LP Set: Near Mint 〜 Mint/ Box: Near Mint 〜 Mint/ 16 paged Booklet with cover imprinted gold ink on black heavy textured paper: Near Mint 〜 Mint/ Obi: Mint). Extremely beautifully packaged and illustrated box set documenting and shedding some light upon rural folk music and dances of Japan, recorded all in remote villages, the music on display was and is on the brink of extinction due to the 20th century making vast progress in order to bring modernity to the far outback and dragging along in its wake the demise of century old native expression forms. This set forms one in a series of 13 sets that Victor Records released in 1975. Each set came out in an edition of 1000 copies but I am afraid that about 50% was taken out of circulation and melted down due to depressive sales. Hell, who would even want to buy such “Japanese primitive howlers and shamanistic song and dances” when the bubble economy is in full swing. Still, the music it beholds is just breathtakingly great. All recorded in mono of course, the sound, rituals and dances give a glimpse upon rural traditions, such as songs to secure a good harvest, sword yielding songs/ dances/ eerie vocal excursions, loads of wind instruments, various field recording snippets, primitive taiko and percussive rattles, and so much more. An awesome set.  The box is filled with rural oddities, shamanistic induced music recordings, spoken word intersections, filed recordings and so much more. This was the real underground Japan, a sonic slab of historical recordings that you didn’t even knew existed in the first place. This box (one in a series of 13) was released in 1975. It hardly had any commercial potential whatsoever so it is not surprising that copies are scarce these days. Here you have an excellent copy of such a set, a 3 LP box filled with voices from a distant and long gone past. Hard to come by, especially in such pristine condition. Price: 250 Euro
129. NI HON NO MINZOKU ONGAKU DAI 10 KAN: “Bugaku – Ennen” (Victor – SJL-2193〜5-M) (3 LP Set: Near Mint ~ Mint/ Box: Near Mint ~ Mint/ 16 paged Booklet with cover imprinted gold ink on black heavy textured paper: Near Mint/ Obi: Mint). One of the greatest and hard to find series depicting Japanese rural & traditional weird sonics!!! Lavishly illustrated and high fidelity recording box set that focuses this time round on Japanese traditional, rural and imperial Court dance and Court music. Extremely beautifully packaged and illustrated box set that sheds some light upon rural folk music and dances of Japan, recorded all in remote villages, the music on display was and is on the brink of extinction due to the 20th century making vast progress in order to bring modernity to the far outback and dragging along in its wake the demise of century old native expression forms. This set forms one in a series of 13 sets that Victor Records released in 1975. Each set came out in an edition of 1000 copies but I am afraid that about 50% was taken out of circulation and melted down due to depressive sales. The music it beholds is just breathtakingly great. All recorded in mono of course, the sound, rituals and dances give a glimpse upon rural traditions held in temples, courts and palaces scattered over the archipelago, this time all focused on ritualistic music in favor of the Emperor and his household. It contains snippets of Gagaku music, minimal percussive excursions, eerie vocal exclamations, loads of wind instruments, various field recording snippets, primitive taiko and percussive rattles, and so much more. An awesome set.  The box is filled with rural oddities, shamanistic induced music recordings, spoken word intersections, filed recordings and so much more. This was the real underground Japan, a sonic slab of historical recordings that you didn't even knew existed in the first place. This box (one in a series of 13) was released in 1975. It hardly had any commercial potential whatsoever so it is not surprising that copies are scarce these days. Here you have an excellent copy of such a set, a 3 LP box filled with voices from a distant and long gone past. Hard to come by, especially in such pristine condition. Price: 250 Euro
130. NI HON NO MINZOKU ONGAKU DAI 11 KAN: “Bugaku – Ennen” (Victor – SJL-2193〜5-M) (3 LP Set: Near Mint ~ Mint/ Box: Near Mint ~ Mint/ 16 paged Booklet with cover imprinted gold ink on black heavy textured paper: Near Mint 〜 Mint/ Obi: Mint). One of the greatest and hard to find series depicting Japanese rural & traditional weird sonics!!! Court dance and Court music. This is the accompanying and follow-up volume to the previously mentioned set and together they form a coherent assembly of various forms of Court music and its accompanying dances. Extremely beautifully packaged and illustrated box set that sheds some light upon rural folk music and dances of Japan, recorded all in remote villages, the music on display was and is on the brink of extinction due to the 20th century making vast progress in order to bring modernity to the far outback and dragging along in its wake the demise of century old native expression forms. This set forms one in a series of 13 sets that Victor Records released in 1975. Each set came out in an edition of 1000 copies but I am afraid that about 50% was taken out of circulation and melted down due to depressive sales. The music it beholds is just breathtakingly great. All recorded in mono of course, the sound, rituals and dances give a glimpse upon rural traditions held in temples, courts and palaces scattered over the archipelago, this time all focused on ritualistic music in favor of the Emperor and his household. It contains snippets of Gagaku music, minimal percussive excursions, eerie vocal exclamations, loads of wind instruments, various field recording snippets, primitive taiko and percussive rattles, and so much more. An awesome set.  The box is filled with rural oddities, shamanistic induced music recordings, spoken word intersections, filed recordings and so much more. This was the real underground Japan, a sonic slab of historical recordings that you didn't even knew existed in the first place. This box (one in a series of 13) was released in 1975. It hardly had any commercial potential whatsoever so it is not surprising that copies are scarce these days. Here you have an excellent copy of such a set, a 3 LP box filled with voices from a distant and long gone past. Hard to come by, especially in such pristine condition. Price: 250 Euro

131. NICHIRENSHU: “Gonkyou – Shomyo” (Teichiku – NL-2491) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Subtitles as “The Morning Service and Shomyo of the Nichiren Sect”, it displays a heavy loaded album starting with heavy taiko drum sounds recorded at 5 AM in the morning which shifts slowly into the Hansho (calling bell) and a solitary priest chanting which heralds the whole community joining in. This is some heavy stuff, mesmerizing and displaying a heavy drone vibe all over, injected at times with calling bell sounds, sparse percussion and single-toned bell sounds. That lead up to single-voiced chanting which in its turns set open the floodgates for the whole temple to join in and come cascading down in a stream of droning heavy breathing voices. Just beautiful and another of Teichiku’s famed commercial failures of the early 1970s, which were afterward recalled and melted down, making that the remaining copies are quite hard to track down these days. Still the music on display is some of the finest in its genre. It gives La Monte Young a run for his money, high-tailing away beyond the yonder. Total levitational music. Highest recommendation. Comes all-complete with rare obi – stellar high quality audiophile recording in top condition. Price: 70 Euro

132. NIPPON KINKAKOU: “Namimakura Hakata Tankai” (URC Records – URZ-9002) (Record: Excellent/ gatefold Jacket: Near Mint/ Insert: Near Mint). The follow-up volume to the above-mentioned first set and the final to see the light of day. Agan crammed with utterly weird and totally wicked rural outsider ramblings that were recorded in the mid 1960s, straight of the the Japanese hinterland and rice paddies. Seriously obscure and totally obsolete recordings of beyond the-bottom-of-the-well rural ramblings. This is the real underground that no one knew about. Seriously wicked and filled with a healthy dose of agricultural superstition, unfound beliefs in omens, charms and prognostics set to minimal musical outings. Unvarnished agronomic & deep hinterland sounds that yet have to be rivaled with. Bone-chillingly awesome!!!!! Price: 125 Euro

133. NISHI-HONGANJI – HOTOKEISHYO-SHIKI: “S/T” (Toshiba – TW-80008〜9) (2 LP Set: Near Mint/ Gatefold Jacket: Mint/ Obi: Mint). White label promo issue. Great double LP of vocal and instrumental Buddhist monk music, recorded on the spot at the Nishi-Honganji temple. Even some polyphonic Buddhist priest vocal stuff is embedded within its grooves, making this quite a peculiar recording amongst Buddhist recordings. Killer set, only 2nd time I have or have seen a copy of this one. If Buddhist drone and chanting is up your alley, this one will lead you to satori and beyond. Just stunning. Top copy. Price: 50 Euro

134. NOH GAKU BAYASHI HIKYOKUSHU: “Dai Isshu” (Nippon Victor – SLR-501) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Very rare and obscure 1960 first original pressing. One of the musical highlights for me as of recent is this stunning recording from 1960, unfortunately it never made it on CD or any other format which is a shame since the music is so ear-bleedingly stunning, it hurts. The music of this Noh Musical Ensemble (Noh Gaku Bayashi) is similar to an orchestra, consisting of four instruments: the Fue, Ko-tuzumi, Oo-tuzumi and Taiko. The Fue is a transverse flute. The Ko-tuzumi is a small shoulder drum. The Oo-tuzumi is a large drum played on one's knee. The Taiko is a drum played with sticks. There is also a background chorus consisting of 8 or 10 people that make up the group of actors. Beautiful recording filled with intricate rhythms and stunning vocalizations. Late 1950s recording that seldom surfaces. Stunning condition and complete with obi. Price: 150 Euro

135. OCORA: “Anthologie de la Musique des Pygmees Aka Centrafrique” (Ocora – 558.526/ 27/ 28) (3 LP set: Near Mint/ Box Set: Near Mint/ Booklet: Near Mint). First original issue housed in a sturdy box set. The Aka are one of the three groups of Pygmies found in Central Africa today. They are monogamous and settle in small family encampments that comprise parents, children, sons, and daughters-in-law and offspring, groups of thirty to forty persons organized in democratic communities. Pygmy music ,in the image of all their social activities, presents very similar characteristics, that is to say, relative autonomy of each participant within implied but strict structures. The recordings of this anthology, the first to be devoted to a single African people, offer in addition the distinctiveness of having been made in a single encampment, that of the old hunter Mbonzo, a group barely larger than forty persons. Music plays a central role among the Pygmies, there is no day without music. Price: 150 Euro
136. OCORA – MUSIQUE du BURUNDI: “S/T” (Disques Ocora – OCR-40) (Record: Near Mint/ Cloth Bound Gatefold Jacket: Mint/ Attached Booklet: Mint). First press Ocora issue with disc housed in a heavy cloth bound jacket. Getting increasingly difficult these days to unearth those 1st pressings housed in gatefold cloth covered jackets. Price: 80 Euro
137. OCORA – MUSIQUE MALGACHE: “S/T” (Disques Ocora – OCR-24) (Record: Near Mint/ Cloth Bound Gatefold Jacket: Mint/ Attached Booklet: Mint). First press Ocora issue with disc housed in a heavy cloth bound jacket. “This island off the coast of Africa has attracted much attention among fans of interesting guitar music, leading to other music traditions being overlooked. Finding a copy of this excellent entry from the Ocora series will go a long way toward offsetting that problem. These recordings were sponsored by the French national radio RTF, and whatever tax money was spent seemed to go to all the right places. The sound quality of the recordings is superb and the usual fat booklet full of wonderful photos is here, all laid out like a picnic feast. A special thrill for either the professional or strictly amateur musicologist is to hear a piece of music that so directly connects the music of the African and North American continents, and this album really puts its best foot forward by providing a moment such as this on the very first track. The example of "Musique Merina" features an ensemble of flutes and drums that plays a form of intermission music at theatrical events, and the sound will raise goose bumps in its similarity to the drum and fife music of the Mississippi coast as practiced by the likes of Lum Guffin. Another Merina track featuring a group led by Ravolana Fenomanana sounds like music from a Mexican village, featuring low parade drums and several violins. The chanting over the top, however, almost sounds like something off the soundtrack of a low-budget Italian movie about exorcisms. Other highlights include the diatonic accordion as played by Letody Papa, yet another fascinating example of how this instrument keeps showing up in one culture after another. And speaking of exorcisms, the excerpt of "Antandroy Music" comes about as close to one as is comfortable to get on vinyl, featuring some of the music from a ceremony called the kokolampo, which involves putting someone into a trance. The choir here does more than just sing -- the members make sounds on their thighs and create a kind of rhythmic snoring sound, all adding up to an unbelievable track. "Vezo Music" includes a song of encouragement to those who are about to be circumcised, apparently an obscure but cutting-edge (ouch!) genre in African music. A do-it-yourself xylophone that is assembled across the player's legs is naturally known as a "leg xylophone," and is played by Masikoro women in a charming performance. Another track from this tribe includes the jejolava, made out of a long wooden stick with a metal string attached between the ends; the resonator lies flat against the player's stomach and probably helps to cure indigestion. This is played in accompaniment to an antsiva, which is made out of a defunct car horn. It is beautiful sounding stuff; so is the calliope-like "Masikoro Music," which alternates instrumental and vocal sections with a choir. Mahatranga accompanies himself with an empty petrol can, but his instrumental techniques are complex. Kids, don't try this at home: He sometimes sings with his head inside the can, which rests on his shoulders. Meanwhile, he beats the can with his hands. This example of "Antandroy-Antanosy Music" is as bizarre as it sounds. Musique Malgache gets an extremely high rating for its superb quality in just about every facet of production involved in this type of project. The music is truly enjoyable to listen to, engaging on a level that should draw in the uninitiated world music listener as well as those who live and breathe such fascination. These recordings capture life so vividly that one almost senses the dust of history swirling around the music, much of which has an intense rhythmic drive.” (Eugene Chadbourne – All Music Guide) Price: 80 Euro
138. OCORA – La MUSIQUE des GRIOTS “Senegal” (Disques Ocora – OCR-15) (Record: Near Mint/ Cloth Bound Gatefold Jacket: Mint/ Attached Booklet: Mint). First press Ocora issue with disc housed in a heavy cloth bound jacket. The griots are a caste of professional musicians and their music and many researchers and ethno-musicologists state that its social milieu are comparable in many ways to the blues culture of the United States. Some of the music on display is indeed in some way reminiscent of some early blues recordings, especially those by Texas artists such as Blind Lemon Jefferson and Texas Henry Thomas. The vocal lines are sung in a high, slightly pinched range, and the stringed instruments, which accompany them, furnish both rhythmic punctuations and a kind of loping continuity. This makes the music such a wonderful experience that sucks you in. Stunning collection of field recordings. Price: 80 Euro
139. OCORA – MUSIQUES DU GABON: “Fang, Kota, Masango, Ndjabi, Obamba, Pounou, Pygmee” (Disques Ocora – OCR-41) (Record: Near Mint/ Cloth Bound Gatefold Jacket: Mint/ Attached Booklet: Mint). First press Ocora issue with disc housed in a heavy cloth bound jacket. Impressive collection of music and songs performed and played at various festivals, rites and even seemingly monotonous pieces on this recording reveal a depth that is  utterly mind-blowing. Another consistently superb Ocora. Price: 80 Euro
140. OCORA – NOMADES DU NIGER: “Musique Des Touareg – Musique Des Bororo” (Disques Ocora – OCR-29) (Record: Near Mint/ Cloth Bound gatefold Jacket: Mint/ Attached Booklet: Mint). First press Ocora issue with disc housed in a heavy cloth bound jacket. Tolia Nikiprowetzki, who also wrote the notes in the accompanying booklet, made these great recordings in Niger in 1963 & ‘64. Here's an extract: The Tuareg are nomads of Berber origin, who live in the central Sahara and the steppes - or Sahel - to the south of the desert. They live in tents and raise livestock. They are estimated to be about 500,000 in number. There are some 300,000 in the Republic of Niger, scattered among the northern and middle-western regions. The recordings presented here were collected among the Tuareg living in the Air of Niger, a mountainous massif stretching across the north-west of the country. "The most secret and constant preoccupation of the Bororo" writes Henry Brandt "is to be beautiful. For several weeks each year they devote all their artistry and almost all their time to this end" Thus every year in the rainy season, the Guerewol takes place; this is an important feast which is the occasion for a veritable beauty contest. The young men dress and make up with great care, while the young women bring out there finest jewels. The young men, in single file in groups of about thirty, perform an almost motionless dance, singing at the same time. Periodically, the song breaks off while the dancers open their eyes as wide as they can to arouse admiration, and curl back their lips to display the dazzling whiteness of their teeth. The young women mix with the spectators. Each girl will choose her fiancé for his good looks.” Stunningly ear-bleedingly awesome music. 1st original issue in cloth bound gatefold jacket. Price: 85 Euro
141. OCORA – MUSIQUE DE GUADALCANAL: “Solomon Islands” (Ocora – OCR-74) (Record: Near Mint 〜 Mint/ Gatefold jacket: near Mint 〜 Mint/ Attached Fully Illustrated 10 paged Booklet: Mint). Very first pressing on the deep blue colored Ocora label. The sound on these 1970 field recordings, brought to us by Ocora, is just fine. Music of Guadalcanal is an educational listen, affecting in the culture it documents. The opening ten selections are of a coastal population of the Ghaobata region of Northern Guadalcanal. First come three women's rope dances, which feature two women soloists whose voices intertwine while the rest of the group hum a drone that drops a few notes at the end of each phrase. Throughout, the rhythm is marked by handclaps and shells that rattle with each step. The two loloele songs are a cappella, sung by 17 women, two of whom solo in parts while the rest reply in chorus. The loloele is the type of song and dance traditionally performed by the women in connection with the now-defunct female coming-of-age ritual of ornamental scarification of the face. During the festivities -- which would begin the night before to tire the girl so she would feel less pain -- the men would sing the silaru, festive songs, such as the next two tracks on this disc. The eighth and ninth tracks capture a ballet performed by 12 costumed men, with two lead parts backed by a wordless chorus. The last of the recordings documenting the coastal population is of the ancient Aeolian organ, which is made of bamboo canes and played by the wind. The second part of this release documents music from the Bahomea region at the center of the island. The recordings from two villages of the mountain-dwelling population include the hypnotizing instrumentals of the Panpipe Ensemble and a cappella women's chorus singing funeral chants.” (Joslyn Layne) Stunning recording of ear-bleeding beauty. Some of the best polyphonic ethnic music ever put down on wax. Mint copy, first original pressing…Price: 60 Euro
142. OCORA – GABON: “Musique des Pygmees Bibayak” (Ocora – 558.504) (Record: Near Mint/ Gatefold Jacket: Near Mint). Deliriously intoxicating polyphonic vocal music. Price: 35 Euro
143. OCORA – MUSIQUE BAOULE KODE: “S/T” (Ocora – OCR-34) (Record: Mint/ Gatefold Jacket: Mint/ Attached Booklet: Mint). First original pressing on dark blue label. “This nicely produced album presents the Baoule people, a farming folk who are also reknown for their arts and musics. The tracks were recorded in the center region of the Ivory Coast between Liberia and Ghana. This is not one of these field recordings where the material has been abruptly chopped up into little portions. Pieces start up, trail off, and then start back up again, all very naturally. The musicians and singers sometimes seem to wander off and then come back closer to the microphone. Instruments include large gourd rattles that are shaken vigorously and with solidly captivating rhythms, an "awe" or horn made out of an antelope horn, and the vivid sound of a whip cracking against a piece of hide. One long recording, subdivided into seven different tracks and continued over both sides, is excerpted from what was originally an initiation ritual and features a medium-sized orchestra sporting several different kinds of drums, gourds, and rattles. This album is enjoyable to listen to, although kind of scattered. It is definitely not something for a listener who wants a focused recital of music, but will thrill anyone wishing to radically change the atmosphere of their listening environment. As is typical with this label, there is a slick booklet inside with memorable black-and-white photography.” (Eugene Chadbourne). Price: 60 Euro
144. OCORA – MUSIQUE GOURO DE COTE D'IVOIRE: “S/T” (Ocora – OCR-48) (Record: Mint/ Gatefold Jacket: Mint/ Attached Booklet: Mint). First original pressing on dark blue label. Price: 60 Euro
145. OCORA –Musique Malagache: (Ocora Records – OCR-24) (Record: Near Mint/ Gatefold Sleeve: Near Mint). The pictures and music on display on this vintage Ocora slide were the result from a musicological mission of 2 months in duration undertaken in Madagascar in 1963. Due to the country's rich historical legacy, the 15 tracks on display here evoke – either by means of musical style itself or by the instrumentation – the Oceanic world, Africa, Europe, Islam and perhaps even India (see track 3 on side a) which makes this record such a striking artifact. It is nevertheless evident that these various influences have mingled to produce an original style particular to Madagascar. Awesome. Price: 50 Euro
146. OCORA – MUSIQUE RITUELLE TIBETAINE: “S/T” (Ocora Records – OCR-49) (Record: Near Mint/ gatefold Sleeve: Near Mint/ Attached Booklet: Near Mint). First original Ocora pressing out of 1969 on the dark blue label. The recordings on this album are representative of the music and rites of the various sects of the original current o Buddhism and were made in North-east Nepal. Tow of the most important monasteries in this frontier region are represented here, the monastery of Thami of the Gelugpa sect and the monastery of Tengboche of the of the Nyingmapa sect. The music is varied and consists out of big two-headed drums, providing the rhythm, 2 pairs of hollow cymbals, 2 oboes producing a nasal and tense linear sound, handbells, chanting and other esoteric rumblings. The album is filled with tantric drone-like escapades that seem to capture and magnify images of roaring of torrents, the noise of rocks splintering and sliding down the mountain, violent guts of wind, sudden storms, the tinkling of bells worn around the necks of animals and the ankles of children, etc. Again massive….original 1st pressing. Price: 50 Euro
147. OCORA – MUSIQUES DU PAYS LOBI: “S/T” (Ocora Records – OCR-51) (Record: Near Mint/ gatefold Sleeve: Near Mint/ Attached Booklet: Near Mint). First original Ocora pressing out of 1970 on the dark blue label. The musical pieces on this record were recorded in March 1961 in the region of Gaoua in South-Wes Upper Volta. The 1st side of the record is devoted to the music of the Lobi, whose xylophone elong, with 14 keys and calabash resonators, is the principal instrument, always used in the important ceremonies of initiation or at funerals. The 2nd side of the disc presents the musics of the Gan, Dagari and Birifor peoples, who are neighbors. Again a stunning collection of bone-chilling African field recordings. Ocora rules! Price: 40 Euro
148. OCORA – NIGER – LA MUSIQUE DES GRIOTS: “S/T” (Ocora – OCR-20) (Record: Excellent/ Gatefold Jacket: Excellent/ Attached Booklet: Excellent). First pressing on dark blue label. “Back in the early sixties, when French ethnomusicologist Tolia Nikiprowetzky introduced the first commercially-issued field recordings of West African Griot music on two Ocora-label LPs, he found it appropriate to begin his liner notes for Senegal: La musique des griots (Ocora OCR 15) with a question: "What is a griot? To tell the truth," he continued, "the exact significance of the term has not been well understood in the West, where the griot is often seen as a kind of African sorcerer. He is nothing of the sort; and if the complexity of the social role played by the griot lends itself to an examination carried out with scientific rigor, it is also possible to identify the griot simply as a minstrel." Then, almost as an afterthought, Nikiprowetzky adds, "The griots have left their mark on all of Islamic West Africa." The griots are above all professionals who represent as a group, a well-defined social caste. Their role is multifaceted: as historians and genealogists, they are the chief repositories of the history of a region, its designated chroniclers. As musicians, their presence was traditionally required at all celebrations and rituals. Although the griot caste ia among the lowest in the social hierarchy...griots are nevertheless much admired for their talent, and they can make a great deal of money. Among them, one find the most virtuosic of singers and instrumentalists. Their education and training, exclusively oral, necessitates a lengthy apprenticeship under the direction of a teacher-most often the father, or an uncle. It is necessary to study for many years in order to master the technique of an instrument or to learn all the songs and histories, and master the ensemble work indispensable to the activities of the professional. Some griots are more or less sedentary, and their renown is confined to the limits of their village or territory. (In this case, the griot will also work at another job: fisherman, farmer, etc.) Other griots are itinerants, and their reputation and income can vary considerably. n Nikiprowetsky's notes to his second LP of Griot recordings, Niger: La Musique des Griots (Ocora OCR 20), he alludes to an African circumstances highly reminiscent of the American blues-and-church dynamic. "In certain regions where animism persists", he notes carefully, "certain griots are specialized in the vocation of jinn and through their songs, they attempt to obtain the blessings of these supernatural beings". Jinn, an Arabic word, is the root of our "genie" and is often translated in Islamic cultures as "devil" or "demon" or as "elemental spirit". Just as bluesmen preserved elements of an early religion, and were demonized by apologists for the dominant religion, their predecessors and present-day relatives among the Griots of West Africa have been attacked as "sorcerers" and "pagans". But when a ruler, a merchant, or just and ordinary individual wants to research the history of his people and his culture, he turns to the Griots. And bluesmen, like it or not, have been among the first and foremost African-American historians, whether it was Delta legend Charley Patton chronicling the 1927 Mississippi flood in an extended narrative, talking up two sides of a 78-rpm disc, or Sleepy John Estes etching portraits of Brownsville, Tennessee's lawyers, doctors, policemen, lawbreakers and others citizens in his dozens of blues recordings.” (Robert Palmer). Price: 40 Euro
149. OCORA – MUSIQUES POPULAIRES D'INDONESIE: “Folk Music from West-Java” (Ocora – OCR-46) (Record: Near Mint/ Gatefold Jacket: Excellent/ 8-Paged Booklet: Near Mint). Price: 50 Euro
150. OCORA – BANGLADESH: “Les Garos de la Foret de Madhupur” (Ocora – Ocora-558599) (Record: Near Mint/ Gatefold Jacket: Near Mint). Traditional dance, and religious music from festivals, healing ceremonies, and everyday life of the Garo people, a small ethnical minority of Bangladesh. Recordings made during the Feast of Wangala. “The Garo are one of India's oldest indigenous tribes, who resided for centuries in the Madhupur Forest in central Bangladesh. The Garo are a combination of Tibetan and Burmese people who migrated to the forest seeking farming opportunities nearly 1,000 years ago. The music on this disc represents what is left of the Garo in the forest and their ceremonial music. They have relocated by increasing population and territory wars to a southern part of the region that has both lowlands and highlands. The lowlands are used for cultivating rice and cotton and the highlands for fruits and vegetables. There are about 11,000 Garo still living in the Madhupur Forest, and another 50,000 in Bangladesh proper. The music found here, on Bangladesh: The Garo of the Madhupur Forest is highly ritualistic of both healing and harvesting festivals, as well as funeral laments. What is heard here are the expressions of the last remaining practitioners of the old Garo religion, the songsarek. Most of the Garo have been Christianized as a result of the efforts of Protestant and Catholic missionaries, beginning in the 19th century. Musical instruments are primarily primitive horns and brass gongs, and the gambari and dama drums. Gongs are thought to be of primary importance because they are expensive and the Garo have to trade for them. Quality varies, and therefore, so does prestige. The disc opens with a songsarek priest making offerings to the gods Saljong and Sushumi: spirits of the forest who provide healing to the sick. The four pieces have the priest singing praises to the spirits, blessing his offerings to them, entering the sick man's house, and driving the evil spirits away. Also included here is "the Ajia," a ceremonial song that is related to how a particular family evolves and grows over time. There are dances here, as well as wedding songs, love songs, and poems. All of them are driven with the same country feel and in a deeply reverential manner. The music is hypnotic and has much in common with both Native American and Tibetan Buddhist chant, particularly in its sonorities. While the narratives are understandably impossible to follow, their percussive structure and call-and-response architecture make it easy on the ears and even entrancing in places, despite the fact that it's a field recording. Powerful medicine.” (Thom Jurek – Allmusicguide). Price: 30 Euro
151. OCORA – CONGO: “Musique Kongo” (Ocora – OCR-35) (Record: Mint/ Gatefold Jacket: Mint). Second press issue. This a series of recordings made by Charles Duvelle in 1966 in the Republic of the Congo at locations not far from Brazzaville. Gabriel Bassoumba plays the 9-string sanza thumb piano while singing to himself. Beads attached to the sanza help to create a buzzing drone. Price: 30 Euro
152. OCORA – GABON: “Les Musiciens de la Foret Vol. 1” (Ocora – Ocora-5585699 (Record: Near Mint/ Jacket: Mint). Price: 25 Euro
153. OCORA – POLYPHONIES MONGO:
Batwa Ekonda” (Ocora – OCR-53) (Record: Near Mint/ Gatefold Jacket: Near Mint). superb polyphony, this time from the former Democratic Republic of the Congo. One interesting aspect of this music is that it is a kind of fusion. While the women are Bantu Ekonda, there is a clear pygmy Batwa influence. Magnificent call and response, beautiful "melody" lines are of course hallmarks of Congolese music. Price: 45 Euro
154. OCORA – Musiques Du Nigeria Central: “Benue-Plateau State” (Ocora – OCR-85) (Record: Near Mint/ Gatefold Jacket: Near Mint). Price: 35 Euro
155. OCORA – SRI LANKA: “Musiques Rituelles et religieuses” (Ocora – 558.552) (Record: Mint/ Gatefold Jacket: Near Mint). Original first issue of 1982. “This Ocora recording characterizes some of the traditional hybridized musical forms that prosper throughout West and South East Asia, offering a sound odyssey in a distinctly sacred vein. In spite of the Buddhist devotional chants and ritualistic overtones of the recordings, it's fairly distinctive in it's amalgamation of influences, and offers a remedial cross-section of the endless musical panoply that is Southern India and the Pacific Rim. All are field recordings done in 1979, and one particular highlight is the recording of temple-side ambiance that features birds and myriad forest dwellers, establishing a lush and humid context for the different instrumentals and chants. “Because of its location in the path of major sea routes, Sri Lanka is a maritime link between West Asia and South East Asia, and has been a center of Buddhist religion and culture from ancient times. The music of Sri Lanka originates in cultural traditions deriving from three influences: the religious practices of Buddhism, the aftereffects of Portuguese colonization, and the commercial and historical influence of Indian culture - specifically, Bollywood cinema. The Theravada sect of Buddhism has influenced Sri Lankan Music since Buddhism arrived in Sri Lanka two millennia ago. Portuguese colonizers arrived centuries after the Buddha, in the mid 1400s, bringing with them cantiga ballads, ukuleles and guitars; as well as African slaves (referred to, historically, as kaffrinhas), who brought with them a style of music now referred to as baila. The people of these two regions, and the musical traditions they brought with them, served to contribute further to the diverse musical roots of modern Sri Lankan music. Today, the country is a multi-religious and multi-ethnic nation, with more than a quarter of the population following faiths other than Buddhism, most notably Hinduism, Christianity and Islam. The Sinhalese community forms the majority of the population, with Tamils, who are concentrated in the north and east of the island, forming the largest ethnic minority. Other communities include the Muslim Moors and Malays and the Burghers.” (Tonal Bride). Price: 25 Euro
156. OCORA – SYRIE Vol. 1: “Muezzins d'Alep – Chants Religieux de l'Islam” (Ocora – 558.567) (Record: Mint/ Gatefold Jacket: Mint). 1980s issue of originally a 1980 release. Price: 25 Euro
157. OCORA – ZAIRE: “Musiques de l'Ancien Royaume Kuba” (Ocora – OCR-61) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint). Price: 30 Euro

158. OKINAWA NO MINYO: “S/T” (Victor Records – JV-1307〜S) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Original 1970s pressing! Okinawa Minyo differs greatly from other styles of Minyo performed all over Japan. In part that is due to its location far to the south and also partly because of its warm climate, which brings out a totally different sound as opposed to the cold weather beaten songs that emanate out of – lest say Aomori Prefecture. There were the rest of Japan makes much use of the Shamisen, Okinawans prefer the use of the Sanshin which translated into English is "three strings," or the three-stringed guitar. The sanshin is a little smaller than the shamisen and usually has a snakeskin cover. Some observers refer to it as a banjo because of its small size and the high pitch it releases when traditional Okinawan music is played on it. Okinawan music can be categorized into four main groups according to its island of origin: Okinawa-honto, Miyako, Yaeyama and Amami. Songs of Okinawa-honto tend to be sophisticated, smooth and rich with the classic tunes of the people. Miyako’s music is filled with elegant melodies and tales of the natural disasters that fill the island's history. The music of Yaeyama includes many festive songs, while Amami tends to have music that is somewhere in between Japanese and traditional Okinawan, leaning more towards an Okinawan singing style. Okinawan music includes many old work songs, heartrending ballads and lively kachaashii dance tunes as well as more modern experiments which are often the result of overseas influences. The songs also vary greatly from island to island. In addition to Okinawa itself, the outer island groups of Miyako and Yaeyama as well as Amami to the north all have their own distinctive songs and individual sounds. The music of Miyako is notable for its plaintive, beautiful melodies. Many of these variations can be found on this stunning record, filled with especially high-pitched addictive female vocals, lightly feathered percussive undertones and sunny upbeat rhythms. Okinawa Minyo is very popular in Japan, making that the records documenting the old styles are hard to get. Top copy and utterly beautiful music. Price: 70 Euro

159. V.A./ ORIENT NO MINZOKU ONGAKU – LIVING HERITAGE OF ASIAN MUSIC: “S/T” (Columbia – EDS-16~9) (4 LP Set: Near Mint / Fully Illustrated 45 Pages Book: Near Mint/ Outer Box: Excellent ~ Near Mint/ OBI: Excellent). Original November 1969 issue, Japan only release. All complete issue with rare OBI!!! One of my all time favorite ethnic recordings is this massive 4 LP set released only in Japan in 1969. It was the finale of a graduating project of three university students (Kosei Sato, Yoshiyuki Ishida & Jiro Awatsu - who were selected by the Japanese Folk Music Research Organization) who in September of 1966 – armed with a self-constructed tape recorder and a battered secondhand car went on a journey through the Middle East to record indigenous music along the way. They also self-financed their trip, contributing only to the urge to discover and record raw and unpolished music from the Middle East. Their journey started in India and took them through a string of East Asian countries such as Pakistan, Afghanistan, Iran, Iraq and Lebanon. The whole trip lasted for over a year and upon touching down in Japan again they brought with them a wealth of recorded and rarely heard music. Upon their return they presented the recordings and photographic material to Columbia Records who were perplexed by the wealth of the music it contained and decided to release it as a 4 LP set. The first 2 sides of the set are dedicated to the vast Indian subcontinent, shedding some last on the various musical traditions that flourished there. The second LP is dedicated to Pakistan, there where the 3rd LP takes you through Afghanistan and Iran. For the 4th and last LP in the box, Iraq is presented and juxtaposed against the thriving scene of mid-sixties Lebanon. But apart from the music, one is also visually treated with pictures of all the musicians that appear on this set, taken on the road and in the field as well with a detailed journal of the three students on their trip that lasted for over a year. And field recordings it are in the truest sense of the word, present here as a wealth of sheer lust for unpolished and raw sounds, deprived from Western influences. Just a massive collection of recordings that apart from this set have never been reissued or appeared in any other format. Bone-chilling amazing music that baffles me each time I dive into it. Highest recommendation and a tough one to dig up these days, 1st spare copy I encounter in 6 years. Price: 275 Euro

160. PREMIERE ANTHOLOGIE DE LA MUSIQUE MALIENNE: “Fanta Damba – La Tradition Epique” (Barenreiter Musicaphon – BM-30-L-2506) (Record: Near Mint/ Gatefold Jacket: Near Mint). First original 1971 pressing. Maitresse of the austere Bamana style of praise singing, Fanta Damba was a national symbol in the post-independence era. Living in central Mali, she sings in the Bamana language, which is the most commonly used one in Mali. The music is simple and unadorned, and pentatonic, steeped in the musical tradition of Mali and displaying a very stripped-down sound. Beautiful and one of the finest female singers to emerge out of Mali. Top condition, next to impossible to upgrade. Price: 75 Euro

161. RYTHMES ET CHANTS DU NIGER: “S/T” (Ocora/ Collection Radiodiffusion Outre-Mer – SOR-4) (EP Record: Excellent/ Picture Sleeve: Near Mint). Pretty awesome and scarce EP that came out on the Ocora label. It contains field recordings conducted by Charles Duvelle of the Tamachek, Haiuussa and Sonrai - all Touareg dessert dwelling ethnicities. Probably recorded somewhere in late 1950s or early 1960s. Stunning piece if ear candy that comes housed in killer picture sleeve! Price: 75 Euro
162. SACRED FLUTE MUSIC FROM NEW GUINEA: “Madang” (!Quartz - !Quartz-001) (Record: Near Mint/ Jacket: Near Mint). Original pressing out 1979 as released by David Toop's !Quartz label. Flute music from New Guinea is meant to evoke the cries of spirits, sacred flutes are played by adult men of the Madang region. Pairs of long bamboo male and female flutes accompany ceremonies in the coastal villages near the Ramu River. The ravoi flutes from Bak are supported by two garamut carved wooden slit gongs; the waudang flutes from Manam Island are backed up by a pair of large and small slit gongs, and six singers, and the jarvan flutes from Awar feature accompaniment by a shell rattle. The mo-mo resonating tubes were recorded in the Finisterre Range. These recordings were made in 1976 by Ragnar Johnson assisted by Jessica Mayer while conducting research in a remote village in the Eastern Highlands. Their intention was to preserve this traditional music as it is played in the villages of its origin. The music itself is clear and haunting and this collection offers a variety of flute types for occasions ranging from rites of passage to fertility rituals, births, and marriages. All of the tracks are interesting documents of New Guinean music. Truly fantastic and bewitching document. Seldom surfaces. Killer all the way. Price: 150 Euro
163. SACRED FLUTE MUSIC FROM NEW GUINEA: “Madang Vol. 2” (!Quartz - !Quartz-002) (Record: Near Mint/ Jacket: Near Mint). Original pressing out 1979 as released by David Toop's !Quartz label. This album features the "Windim Mambu," or sacred flute music of the Madang region of New Guinea; exclusively performed by men, the music is believed to literally become the cries of the spirits for the women and children who hear it coming from the forest. Flute playing of this type is greatly respected within the tribal culture and both the making of the instruments (which are thought to improve with age, having a life span of about 10 years) and the learning of the music are time-consuming processes for which skill is gained slowly. The style itself is highly regulated -- the flutes may not be played outside of certain ceremonial occasions and must remain hidden at other times, away from those who are not allowed to play them. The flutes are also always played in pairs, and they're usually accompanied by percussion, often with slit gongs called garamuts; different pairs are used for different occasions and there is a prohibition on playing for a period of time after someone has died. The music itself is clear and haunting and this collection offers a variety of flute types for occasions ranging from rites of passage to fertility rituals, births, and marriages. All of the tracks are interesting documents of New Guinean music. The final track, however, is one of the most fascinating, featuring a style of flute called a mo-mo, which is a resonating tube into which the user yodels. This instrument had historically been used during male initiation ceremonies and the sense of mystery around that rite has remained in the music. Price: 150 Euro
164. SANYO SANIN NO MINYO: “S/T” (Victor – JV-1189-S) (Record: near Mint/ gatefold Jacket: Near Mint/ Obi: Near Mint/ Attached Booklet: Near Mint). Price: 30 Euro
165. SASAKAWA SHIZUE:Sasakawa Shizue Meigisen” (Victor – OVC-65) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ 6-paged Insert: Near Mint). Original 1967 first press issue. Tow words aptly describe this l;ittle gem. Brutal and beautiful. This one is litterally haunting my dreams and my waking hours. Stunning piece de resistance as far as left field bottom-of-the-well minyo is concerned. This one strips the paint of the wall. Killer slide. Price: 50 Euro
166. SATO MATSUKO: “Sansa Shigure b/w Kamaishi Hama Uta” (King Records – EB-5256) (EP Record: Near Mint/ Gatefold Picture Sleeve with attached insert: Near Mint) Original bloody scare 1964 issue. This scarce EP came out in the same series as the Fukushi Ritsu EP. This is some serious next level stuff, Sato Matsuko comes over like a wicked old witch, wailing against some sparse instrumentation and koto, at times backed up by a call and answering chorus of rice picking ladies. This stuff sounds even old for 1964, and as far as I am concerned this could have come out of some outback region that time has forgotten about. Minyo crossbreeding with demented “bottom of the well” enka and spiked up with some serious outback rural moves & sparse instrumentation of koto shamisen and hand percussion, all slowed down by time and cut off from the modern world are the elements that make this EP such a stupefied listening experience. Another blood curdling musical discovery that shook my world recently. Stunning deep shit for the musical insane. Price: 50 Euro
167. SAVANE NO OTO NO SEKAI: “Univers Sonore de la Savane” (Toshiba – TWX-90173〜74) (2 LP set: Mint/ 30 Paged Book: Mint/ Box Set: Mint/ Obi: Excellent). Amazing and awe-inspiring 2 LP set recorded and compiled by Kawada Junzo between 1974 and 1981 on the African Plains of the Haute Volta. He has assembled a wide variety of environmental sounds, field recordings of animals, people, dances, rites and rituals. The end result is an all-encompassing aural journey unveiling the richness in sound and music that floats around those plains. Japan only edition, fully annotated booklet present. This set will keep you busy for weeks in a row and comes with the highest recommendation. Rarely if hardly ever surfaces, much cited but seldom seen, finally a copy to throw to the wolves. Don't sleep on this one… Price: 75 Euro

168. SHINNAI NAKASABURO: “Shinuchi No Miryoku” (Teichiku Records – PP-6101〜2) (2 LP Set: Near Mint/ Cloth Bound Gatefold Jacket: Near Mint). Nakasaburo Shinnai is a renowned puppet theater shamisen player who attained the status of “Living National Treasure” in Japan. This stunning 2 LP set that was released in the mid 1970s, sheds some light on his versatile playing style that harks back to traditions reigning during the Edo period. His playing style is very meticulous in its execution, breathing out a lyrical sensitivity and embracing an almost forlorn fleeting feeling that breathes throughout his unique approach. He solely exists on its own plane, both impervious to and not responsible for trends of any kind, which makes his approach so damned unique. Unlike Western instruments which value pure, clean sounds, the shamisen offers tones reminiscent of natural forces such as water and wind and it here that Shinnai excels especially in, evoking these images while strumming along. In all a stunningly great 2 LP set, top condition. Price: 100 Euro

169. SHINSOTO HONGANJI: “Danshinto Kinko” (Canyon Records – D-3002) (Record: Near Mint/ Gatefold Jacket: Near Mint), Original 1972 first original pressing. Recorded on the spot in Kyoto in 1970. The record follows sessions carried out by some seriously “way-out-there” Buddhist monks. Interlarded by the sound of the wind blowing through the forested region, the dusty noisy insectoid chirping cicadas and crickets way in the back that collides eventually with the myriad chanting of the monks, and their sparse percussion make this sound document such a hardcore and bewildering listening experience that has yet to meet its rival. In short it is a mesmerizing recording, strange and beautiful. This LP set is heavy with musical possibility, and is of profound musical substance, blending it easily with an overwhelming vocal onslaught, bizarre tonalities, startling vocals, inherent improvisation moves and apocalyptic high frequency droning cicada hordes. Just mesmerizingly great arresting listening experience.. So if you are eager to dive into another totally obscure and weird private pressing world, then I do not believe it comes more obscure and under documented than early 1970s records released by temples and monks. This set is the perfect place to start but unfortunately, these recordings were released in such small quantities and only offered for sale at the time at these local temples at the time that now they virtually never turn up anymore. One of the most wicked Buddhist monk filed recordings out there, droned out vocal sounds, making them sound like La Monte Young on steroids. Price: 75 Euro
170. SHONEN SHOUJO NO TAME NO GASHO MEIKYOKUSHU: “Dai 1 Shu/ Keito Shin Sakyoku” (King Records – SKH-45) 10 Inch Record: Excellent/ Flip Back Jacket: Excellent). Another oddity resurrected out of the depths of obscurity, released way back in 1965, this recording focuses on children's and young girls vocal and polyphonic qualities, all untrained school children that shed a new light on domestic Japanese song and dance. Price: 50 Euro

171. SUMO JINKU: “S/T” (CBS SONY – SOJH-6) (Record: Excellent, has one inaudible scuff on side B/ Gatefold Jacket: Near Mint/ Obi: Excellent). Original 1973 pressing. Unknown to many, Sumo is apart from being a popular traditional Japanese sport also a lively dance and performance art whose peculiar call and response singing style is handed down to participants from the Edo and Meiji Periods on. It was used before training sessions and also as a method during the Showa era to attract sponsors and a following of supporters. Nevertheless the music inhabits no popular music’s sensibilities or does it aim at attempting to be catchy. None of that. It is on the other hand fairly minimal in its execution. The music is mainly vocal based only, performed by three or four Sumo wrestlers, one taking the lead and the others joining in by accentuating the main singer’s laments and acting like a call & response chorus. The music is deprived of all unnecessary ornamentations, stripped down to the bare minimum and comes over as a lament before a tournament. It is devoid of accessories but blessed with numerous lethargic solitary wailing and bemoaning ululations. Because of its whining lamenting qualities, the music becomes very mesmerizing, enthralling the listener into an almost narco-hypnotic state. Fucking awesome and totally unique. Again, Sumo Jinku records are far removed from any trendy music taste making the recordings quite a peculiar and tough to find item. First time I have a copy to spare of this stunning slide, bewitchingly great and totally addictive, you have been warned!!! Price: 75 Euro

172. SUZUKI OUFUU and others: “Oufuu Nagare Hen (Sone Ni) – Meiryu Gineishu” (Columbia – PLS-152) (Record: Near Mint/ Gatefold Jacket: Excellent). Utterly obscure but head-splittingly awesome 1974 original pressing of a totally wicked female howling slide that makes my jaw drop the floor each time I give it a spin. Suzuki Oufuu is a largely unknown chanteuse that dwelled the margins of the rural scene during the beginning of the 1970s. However she failed to make any waves and was condemned to eternal obscurity but not before recording this one off killer slide. It is hard to pinpoint the exact style she dwells into, which makes her so utterly unique. Balancing between demented Enka, derailed Minyo, lysergic Rokyoku and Gendai nagare Utau, Suzuki wails like no other, easily caressing high pitches as well as low nasal tones, coming over like a wounded animal in heat without loosing any of the loner appeal that oozes out of her vocals. She gets back up by a spartan setting of Shamisen and kot but at times stripped down odd orchestrations also drift into the mix, making this one utterly unique. Suzuki surely rocked my world big time! Best musical discovery of late. Totally wicked. SOLD
173. SUZUKI YONEKAWA: “Sadojouwa” (Teichiku – NL-2001) (Record: Near Mint/ Flip Back Jacket: Near Mint).Original mid 1960s first original pressing of classic Rokyoku perfromer. Great classic slide by famous performer. On this recording here, Suzuki gets accompanied on a roughly strung rural Tsugaru shamisen, bringing forth highly agitated Roukyoku or Naniwa Bushi as it is also called. His voice reverberates and resonates all over this recordings, a deep gravel and raspy voice unlike anything you have ever heard. It is bewitchingly transcendent, witch-like intoxicating. Price: 50 Euro
174. SUZUKI YONEKAWA: “Tokuzen Roukyoku Meijinshu” (Teichiku – NL-2396~7) (2 LP Record: near Mint/ Textured gatefold Jacket: Near Mint). Classic 2 LP set by legendary and famous Rokyoku performer. Wailing rasping voice storytelling singer Azumaya gets backed up by sparse koto and shamisen and at times get reinforced at crucial moments by a responding team female vocals that drift off into the void. Great rokyoku performance where Azumaya’s narrative singing takes on a variety of nasal forms without missing a beat throughout. The dynamic on this recording here is especially of interest, a live atmosphere created by the interaction of Azumaya and the Shamisen player that at times reminds me of an experimental jazz session.Price: 75 Euro
175. TAKAGI KYOZO & MIKAMI KAN: “Marumero” (Mikami Kan Showten – JPR-1006) (Record: Near Mint/ Jacket: Near Mint/ 8-paged Booklet: Near Mint). Aaarghhhh!!!! Another never offered before totally elusive privately released Japanese gem that just never turns up, just never… but what a beauty, condition-wise as well as music-wise. Released in an edition of a few hundred (no not even 500, less I was told) back in 1982 by Mikami Kan, who performed together with Takagi on this disc. About 10 years ago, a friend played me a tape of this record and only couple of years ago I finally was able to secure me a copy, so hard to track down is this sucker. Constantly I searched high and low for it, some people knew of its existence but copies remained unattainable just until my luck changed this year. Probably the rarest disc in Mikami’s back catalogue but also the most overlooked one. While Takagi laments away poetry in his native Tsugaru dialect, Mikami shines through like no other, accentuating Takagi’s delicate phrasing and rural tongues with acute and affective guitar strummings, fierce and forceful at times, mordacious and vitriolic at other moments. His acoustic playing never forces itself unto the foreground but is vivacious and spasmodically touching, vital and virulent at all times. Both Takagi and Mikami bring out distinctly each others strong points, punctuate their mutual “Tsugaru” character and put forth one of the most quivering performances ever recorded, filled with qualities which constitute beauty in the true sense of the word. Just awesome, a lost gem, extremely rare and still undetected by a foreign as well as Japanese crowd. But that does make this record any easier to obtain. Just extremely hard to get, take my word for it, took me 10 bloody years to turn up a vinyl copy, and this is the first spare copy I could unearth in about 5 years time…..Highest possible recommendation. Price: 150 Euro
176. TAKAGI KYOZO: “Tsugaru Warabe Uta” (CBS SONY –SOLN-3) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint/ 4 Paged Insert: Near Mint). The most elusive Takagi Kyozo related LP – first time ever I can offer a copy of this ear bleeding beauty. Stunning collection of Takagi Kyozo orchestrated filed recordings in his native Aomori, the bleak and cold high northern prefecture of Japan’s main island. He guides the listener back towards his musical and cultural roots of forgotten and long extinct bleak rural traditions. The end result is a snapshot of a decaying world. SOLD
177. TAKEMOTO OOGIDAYU: “Kitsunebi” (Toshiba Records – TH-5001) (10 Inch Record: Mint/ Flip Back Sleeve: Near Mint/ Obi: Excellent/ Insert: Near Mint/ Card: Near Mint). 1965 original first pressing that comes on red wax. Bloody awesome slide. Shamisen, Koto and flutes make up of the sparse backing for this Hougaku Budoh perfromance, a style of obscure Japanese dance. The performance is as can be expected stripped to the bare minimum and graced with almost Noh-like incantations and vocal excursions. This is some serious and deep stuff, recordings of this are sparse but if you like Noh, than this could be even better as it focusses solely on the musical performance and the traditional dance it gets accompanied with. Top condition slide, comes pressed on red wax and is graced with rare obi. Amazing stuff. Price: 150 Euro
178. TENCHUU KENUNGETSU: “Imodai Kangyoujouki” (Crown Records – SW-122M) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint) Rare July 1972 original first pressing. Beautiful underdog operation set against a sumire backing of raw shamisen strummings to underscore nasal male vocal recitations that embark on a long epic journey crossing tales and song like recitations that at times go totally overboard. Beautifully painful teeth-grinding frenzy. First time I see an all complete copy with obi of this sonic masterpiece. Price: 175 Euro
179. TESORO DE LA MUSICA NORESTENSE: “Volumen 1: Nuevo Leon” (Cenzontle – INAH) (Record: Near Mint/ Gatefold Jacket: Mint, still in shrink). Amazing 1970s rare University pressing documenting indigenous music out of the Norestense region. Small pressing that rarely surfaces. Price: 50 Euro
180. THAILANDE ETERNELLE: “Enregistrement realize en Thailande par Gerard Kremer” (Arion – ARN-33496) (Record: Near Mint/ Jacket: Near Mint). Price: 20 Euro
181. TIBETAN BUDDHISM: “The Ritual Orchestra and Chants” (Nonesuch Explorer Series – H-72071) (Sealed Copy). Extracts from music for three rituals were played in 1973 by the magnificent ensemble of shawms, trumpets and percussion of Khampagar Monastery. The recording opens with an invocation to Padmasambhava, who brought Buddhism to Tibet from India. Then follow two rites associated with Mahakala, who removes impediments to enlightenment. Music plays an integral role in Tantric Buddhism, seen as a means to transform the whole stream of being into illumined awareness. The basic musical concepts and the teachings of Tantric Buddhism originally came to Tibet from India beginning in the eighth century. Chanting, such as that heard on this recording, is recognized as a powerful medium for inward transformation, since it is a dynamic form of meditation. Price: 25 Euro
182. TIBETAN BUDDHISM: “Shedur: A Ghost Exorcism Ritual” (Nonesuch Explorer Series – H-72081) (Record: Mint/ Jacket: Mint). The ritual recorded here is known as the Shedur, or Disposing of the Agents of Death. Here, "Agent of Death" is synonymous with "ghost." This Tantrayana ritual was performed in April 1977 for a Tibetan disturbed by a dead relative and, as a result, suffering from turberculosis. The master of the ritual was Ven. Yeshe Dorje Rinponche, an incarnate lama whose lineage dates back to the 17th century. His wife and elderly monk assisted him in this ritual. This record contains excerpts from the daylong ritual. Price: 20 Euro
183. TSENG TA-YU: “Offerings To The Sea – A Zither Performance By Tseng Ta-Yu” (Sonic Arts Corporation) (2 LP Set: Near Mint/ Gatefold Jacket: Excellent/ Attached 4 paged Booklet: Near Mint). Stunning privately released zither performance that came out in the early 1970s. First copy I encounter after a long search. Price: 50 Euro
184. TSUCHIDA GAWASHIN: “Eigin To Biwa” (Columbia Records – DLS-4215) (Record: Near Mint/ Gatefold Jacket: Excellent – has little middle lower seam plit/ Obi: Near Mint). Original 1970 pressing of viciously rare Biwa jammer. Comes with rare obi. The A-side has 2 long tracks and sees Tsuchida getting accompanied by small percussive rattles, shakuhachi and a zither, giving it a sparse orchestrated feel while he embarlkes on historic tales while carressing the Biwa. The B-side is a sidelong epic jammer with Tsuchida hammering the Biwa while wailing away in desperation. His improvisatory skills on this one are impecabble. Just never surfaces!!! Price: 200 Euro
185. UCHIYAMA TAKETOSHI: “Genei To Biwa” (Columbia Records – DLS-4150) (Record: Near Mint/ gatefold Jacket: Near Mint). Original 1969 original pressing of Biwa mind blowing bomb. This one shreds on some many levels. First of all Uchiyama's vocalizations are top notch, nasal, long drowned out tones that are deceptively intense, casual in its feel, yet meticulous in its musical detail and lyrical economy. That aspect fuses neatly with his bare knuckle Biwa playing style that creates an exploratory sound through his kaleidoscopic bachi slamming. Brimful of poetic resonance, Uchiyama's music is drenched in japan's past, his voice seems to span epochs within a single syllable, a curious yowl recalling an impetous roar of foaming surges of waves breaking on the rocks. Brilliant!!!! But sadly quite obscure. Price: 150 Euro
186. UNESCO COLLECTION ~ BARENREITER MUSICAPHON – AN ANTHOLOGY OF AFRICAN MUSIC: “ The Music of the Dan” (Musicaphon – BM-30-L2301) (Record: Mint/ Gatefold Sleeve: Near Mint/ Attached Booklet: Near Mint). First original Barenreiter pressing. “The Dan covers the music of a tribe that occupies territory in both the Cote d'Ivoire and Liberia. For the most part, the music is highly energetic, and the selections (originally recorded by ethnomusicology legend Hugo Zemp) show the way in which music is a part of every part of life for this tribe (and indeed for most of Africa). From sowing to harvesting, from music for chieftains to music for little girls, every aspect of life is enhanced by music for the people of the Dan. The festival musics are exceptional, and the demonstration of drum rhythms (with the lead drummer actually from a different tribe) would put other drummers to shame. Luckily, there is a short example of the sanza, that African-encompassing instrument. Other highlights include the trumpet orchestra, where six trumpeters use side-blown ivory trumpets, used for speech surrogation as well as music, and the mask race music, which is fuller of excitement than most rock concerts, with more complicated rhythms and interlocking vocals than you could shake a stick at. As is the case with most of the recordings from this Barenreiter set, the music is good both in an ethnographic studies sense as well as in a purely musical enjoyment sense. Buy it whether you like African music or not.” (Adam Greenberg, All Music Guide) Price: 40 Euro
187. UNESCO COLLECTION ~ BARENREITER MUSICAPHON – AN ANTHOLOGY OF AFRICAN MUSIC: “Music From Rwanda” (Musicaphon – BM-30-L2302) (Record: Mint/ Gatefold Sleeve: Mint/ Attached Booklet: Mint). First original Barenreiter pressing. “In the heart of Africa, the hills of Rwanda spread out from the waters of the Nile and the Congo divide. When these recordings were made in the field between 1954 and 1955, Rwandan society was divided in to three groups or castes: the Hutu, Tutsi and Twa. In Rwanda, vocal and instrumental music are distinct, as are the forms of musical expression found in the three social groups. Vocal music includes the pastoral, ritual, heroic, popular and hunting styles. Instrumental music uses the drums, tabla-zither, the vertical flute, the musical bow, trumpets, the 'sanza,' the horn and a kind of fiddle. All are represented in this fascinating collection.” (Denyse Hiernaux-L'hoëst). Just stunning and another example why Unesco/ Barenreiter/ Musicaphon was THE best ethnographic label ever to appear on the scene. The new ethnic smash'n'grab labels we get plagued with these days pale in comparison to these giants. Just amazing, this is the real stuff, original top condition copy!! Price: 40 Euro
188. UNESCO COLLECTION ~ BARENREITER MUSICAPHON – AN ANTHOLOGY OF AFRICAN MUSIC: “The Music of the Senufo” (Musicaphon – BM-30-L2308) (Record: Mint/ Gatefold Sleeve: Near Mint/ Attached Booklet: Mint). First original Barenreiter pressing. The Senufo are a group of people living in northern Cote d'Ivoire and Mali. They are known as excellent farmers and are made up of a number of different groups who moved south to Mali and Cote d'Ivoire in the 15 and 16th centuries. The Senufo follow a strict caste-like system, in which the farmer is at the top and the musicians are on the bottom rung of the society. Recorded in the field in 1965, shedding some light on initiation and funeral rites. In addition to these rites the music and dancing play an important role. During funeral rites, in addition to the orchestra of the poro, groups of secular musicians whose composition varies according to the social standing of the deceased also show up but stop playing when the poro come pouring in with their xylophone orchestras. Next to all that, vocal music of the Senufo also was recorded and is monodic and most frequently takes the form of responsorial singing. Two singers alternate with one another, or else a choir singing in unison answers the verses of the solo singer. However man and woman do not sing together, the men's voices are high pitched and tense. In distinction to the singing, instrumental music is polyphonic. It only goes to show how rich and variable their musical expression forms are and they are bound to hit you with disbelief just by the sheer beauty of their sounds. So amazing!! Price: 40 Euro
189. UNESCO COLLECTION ~ BARENREITER MUSICAPHON – A MUSICAL ANTHOLOGY OF THE ORIENT:“ TibetI” (Musicaphon – BM-30-L2009) (Record: Near Mint/ gatefold Sleeve: Near Mint/ Attached Booklet: Near Mint). First original Barenreiter pressing. Released in August 1966, the discs focus on the Nyingmapa Sect, the Kagyupa Sect and the Gelugpa Sect. The bulk of the material present on this massive set was recorded during May and June of 1961 and represents sacred chant and instrumental music of the Buddhist liturgy and other rites, centering around the monasteries. The chants here on display, with lush abundant use of wind instruments, percussion instruments and assorted havoc creating devices, are sometimes free but more usually metrical in their build up, both symmetrical and asymmetrical measures. The voice-style, close-throated and very deep in pitch is, as the natural voices of the monks show, unnatural; it is a deliberately cultivated style. Tonally speaking, the chanting varies from an inflected monotone to a varicolored melodic pattern based on a definite mode. This is decorated in variety of ays and at time the chanting is accompanied by an ensemble which amounts to an orchestra. Just stellar music and this box ranks as one of the finest examples of Tibetan music ever recorded. Apart from that the packaging is so lavishly and carefully presented, it will hit you senseless. Just such a beautiful item.Price: 30 Euro
190. UNESCO COLLECTION ~ BARENREITER MUSICAPHON – A MUSICAL ANTHOLOGY OF THE ORIENT: “ Iran II” (Musicaphon – BM-30-L2005) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Attached Booklet: Near Mint). First original Barenreiter pressing. Fabulous selection shedding some light on Iranian high cultural musics with excursions on dombak (classic Iranian drum with one face), Santur, tar, mystic chants, straight flute endeavors and much more. Just spellbindingly great, it blew my mind  and hopefully yours to before the Us decides to bomb the country back to the stone-age……the barbarians…..Iranian music is just beautiful. Price: 25 Euro
191. UNESCO COLLECTION ~ BARENREITER MUSICAPHON – A MUSICAL ANTHOLOGY OF THE ORIENT: “Indonesia I” (Unesco Collection/ Barenreiter Musicaphon – BM-30SL2031) (Record: Near Mint/ gatefold Sleeve w/ attached Booklet: Near Mint). Original Barenreiter record which means and stands for total quality both recording and documentation wise. This set here brings forth some galvanizing tomes out of Indonesia, which will have you, spellbound for days in a row. Getting a bitch to dig up these past couple of years. Top copy. Price: 40 Euro
192. UNESCO COLLECTION ‾ BARENREITER MUSICAPHON – A MUSICAL ANTHOLOGY OF THE ORIENT: “MALAYSIA” (Unesco Collection/ Barenreiter Musicaphon – BM-30L2026) (Record: Near Mint/ Gatefold Sleeve w/ attached Booklet: Near Mint). Price: 35 Euro
193. UNESCO COLLECTION ~ MUSICAL SOURCES – AKA PYGMY MUSIC: “S/T” (Philips – 6586.016) (Record: Mint/ Jacket: Excellent). Original 1973 pressing. “The recordings of the Aka tribe were made in the Central African Republic by Simha Arom. The original album, containing adult and children's vocal selections as well as ritual songs, dances and games, had been out of print for decades. Though the CD reissue adds no new material, this collection features gorgeous examples of contrapuntal singing, and yodel-like alternations of head and chest sounds. What Steve Reich accomplished with elliptical tape loops in concurrent motion on pieces like It's Gonna Rain, the singers of the Aka manage to do while walking to work in the morning.” (Richard Henderson - The Wire)Price: 20 Euro
194. UNESCO COLLECTION ~ MUSICAL SOURCES – FATALEKA AND BAEGU MUSIC/ MALAITA/ SOLOMON ISLANDS: “S/T” (Philips – 6586.018) (Record: Mint/ Jacket: Excellent). Original 1973 pressing. “If it was required to furnish one album in order to properly explain a fascination for world music, this would be an easy choice. There are several different types of music presented here in a survey that covers both the music of the Fataleka and Baegu peoples, inhabitants of the Solomon Islands. Geographically challenged record buyers can be reminded that this is Melanesia (i.e., beautiful Pacific islands unspoiled by modern society, or at least that would be the dream). One thing traditional music never fails at is providing a reflection of where it was produced in every aspect, including both geography and society. So what we have here, first things first, is a sense of overwhelming beauty that makes this album simply entrancing. Quite a bit of the music is played on pan pipes, both in a solo and ensemble, and the sounds of the instruments will play a large part in the music's strong hold on the listener. The nine-minute "Au Sango" is a masterpiece, far from the noxious commercial panpipe kitsch of shepherds on windswept hillsides. The structure of the music is advanced enough to bring to mind the keyboard works of artists such as Philip Glass, although obviously one would have to acknowledge easier access to these Solomon Islands recordings on the behalf of this composer than it could possibly have been the other way around. Obviously, this music is being made by people who have only heard the music they make themselves. These tracks are so fantastic that one might even want to consider such a deprivation, cutting the baggage requirements of the desert island discs crowd down to a minimum. There are also tracks played on a stripped-down version of the bundle panpipe, the sukute. This is simply a struck and blown tube, the players using their mouths as resonance chambers for modifying the sound. And modify they do, creating all kinds of strange effects in the Melanesian version of a teenager in his garage with an electric guitar and his fuzzbox. It is too bad that longer instrumental solos weren't coaxed out of these performers, but perhaps less than a minute were all the licks they knew. The full panpipe ensemble pieces are highlights, but there is nothing shabby about the quickie musical bow solo or the precious lullabies which kick off the second side. This album was part of the Unesco collection of recordings entitled Musical Sources. There are liner notes, but the typeface is so small that squinting is required. The proofreaders must not have wanted to endure such strain, as some of the titles are spelled differently on the label than on the album cover.” (Eugene Chadbourne - All Music). Price: 15 Euro
195. UNESCO COLLECTION ‾ MUSICAL SOURCES: “Music From Sunda West Java” (Philips – 6586-031) (Record: Near Mint/ Jacket: Excellent). Price: 20 Euro
196. UNESCO COLLECTION ~ MUSICAL SOURCES – North India Instrumental Music: Sitar Flute Sarangi: “S/T” (Philips Japan – PC-1710) (Record: Near Mint/ Jacket: Near Mint). High quality vinyl Japanese pressing out of 1979. Stunning collection of Indian instrumental music. Great and quality Japanese original pressing of this classic Unesco title. Price: 20 Euro
197. UNESCO COLLECTION ~ MUSICAL SOURCES – Balinese Theatre and Dance Music “S/T” (Philips Japan – PC-1703) (Record: Mint/ Jacket: Mint/Obi: Mint). High quality vinyl Japanese pressing out of 1978. Stunning collection of hypnotic swirling Balinese music, long head-spinning tracks filled with bells, gongs, luceferian gamelan action and flutes & pipes running amok. Great and quality Japanese original pressing of this classic Unesco title. Price: 25 Euro
198. UNESCO COLLECTION ~ MUSICAL SOURCES – Taqasim and Layali – Cairo Tradition: “S/T” (Philips Japan – PC-1716) (Record: Mint/ Jacket: Mint/ Obi: Mint). High quality vinyl Japanese pressing out of 1979. “This entry in a UNESCO-sponsored survey of modal music and improvisation around the globe brews slowly, like a cup of Turkish coffee being brewed out in the sun. There is no doubt that the final number, "Darabukka Solo" by Muhammed El-Arabi, would bowl most listeners over, even ones who swear that sitting through a drum solo is a physical impossibility. Yet there is a possibility of nodding off before it comes around, not because the earlier pieces are boring, which they certainly never are, but because it all has such an intoxicating state of calm to it. This is despite the fact that the main job of the instrumentalists is to wind up all manner of impressive variations on the original scales. It is perfect background for relaxing with a novel by the great Egyptian author Naguib Mahfoux, especially the classy and attractive performance by the Takht Ensemble of Cairo. Stringed instrument lovers will particularly enjoy the astounding oud solo by Gomaa Muhammed Ali. The recording quality is fat, bringing out certain low tones in the oud and drum in a way that reaches right for the gut.” (Eugene Chadbourne, All Music Guide). Great and quality Japanese original pressing of this classic Unesco title. Price: 25 Euro
199. UNESCO COLLECTION ~ MUSICAPHON – PREMIERE ANTHOLOGIE DE LA MUSIQUE MALIENNE: “S/T” (Musicaphon – BM-30-L-2504) (Record: Mint/ Gatefold Jacket with Booklet: Excellent). Price: 45 Euro
200. UNESCO COLLECTION – SYRIA: “Syria Musical Atlas” (EMI Odeon – 3C-064-17885) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint). Price: 35 Euro
201. YAMADA CHISATO & FUKUSHI RITSU: “Tsugaru San Uta b/w Tsugaru Jangara Bushi” (King Records – EB-5241) (EP Record: Excellent/ Gatefold Picture Sleeve: Mint). Bloody rare 1964 pressing. I heard about this early Fukushi Ritsu slide but I never had seen an actual copy until I landed in this one. Depressingly obscure and ear-bleedingly amazing EP by Yamada Chisato’s spouse and Tsugaru minyo vocalist Fukushi Ritsu. The interplay between the shamisen improvisations and Fukushi’s vocalizations evoke a similar spiritual quality that also lay embedded within black sermon-like songs. Like Yamada said about Tsugaru minyo “Not just because Tsugaru shamisen is an excellent resource that has good melodies but also because it is a music that smells of the earth.” In other words, when listening to the sound of the Tsugaru minyo, the listener should be able to hear a sound that has the scent of Tsugaru attached to it, an eternal and mystical element that fuses neatly with other deeply rooted sounds. However, the doom of extinction hovers over this exquisite musical expression form, Tsugaru minyo is a dying art form and Fukushi Ritsu was the best vocalist to grace the genre as this early 1964 release will show you. The future prospects of Tsugaru minyo are bleak to say the least. What is known today as Tsugaru shamisen is based on Tsugaru minyo and consists out of shamisen accompaniment to Tsugaru minyo, solo shamisen versions of these folk songs and improvisation on its themes. The songs aspect herein consists out of difficult and highly diverse vocal styles, as distinguished by Groemer, that include un-metered inflected speech, uninflected rhythmical speech, chanting on one tone, song-like chanting and highly contoured melodic lines. Yamada commented the following on this scary evolution in 1995: “From now on, we are facing a problem. To say it honestly, there are hardly any young people that are into it. Most or almost all of the famous performers have passed away and my spouse, Fukushi Ritsu, may be the last of these great ones that performs the Tsugaru minyo. So I think that after a span of thirty years the genuine Tsugaru minyo may be completely vanished. This is quite saddening…Also, young people these days seem very fond of karaoke and indulge themselves completely herein, so they won’t become any good at singing minyo. It is a suffering trend of the times…. Another fact that fastens the corrosion of the Tsugaru minyo is the present day attitude towards art forms. In the old days, performers and entertainers were often found saying that art comes before money – it is unheard for artists to think about money. Maybe it was that in the old days everybody was poverty struck and this attitude may have been supportable. But now, this attitude is not compliable anymore. Parents do not want to subject their offspring to poverty. Performing minyo does not bring food on the table anymore.” When Fukushi Ritsu will pass away, one fears that Tsugaru Minyo will also become extinct as a living art form since almost no living sole had the vocation to keep the flame burning in the age of catchy pop tunes and Westernized populist tastes. This rare early 1960s recording sees Fukushi Ritsu in full effect, performing the Tsugaru Minyo to its fullest and upon hearing it you will be baffled and stunned with disbelief simply because you have never heard anything even remotely similar to this vanishing tradition. Simply a masterpiece recording that never turns up. Comes in a beautiful gatefold picture sleeve. Highest possible recommendation for anyone interest in the real core sounds that dwelled Japan. Forget your Rallizes and other rockers, this is the real shit. Price: 200 Euro

202. YAMADA KENGYO: “Sokyoku – Kogou No Kyoku b/w Aki No Nanakusa” (Victor Records – SLR-520) (10 Inch LP Record: Near Mint/ Textured Flip Back Jacket: Near Mint). Original and rare 1963 1st original pressing in fantastic condition. Beautiful Koto, Shakuhachi and vocal recording put down to tape in the late 1950s. The performance brings forth a story from the Heike Monogatari in which Kogou, a favorite of the Emperor Takakura was a very skillfully koto player. But for some reason she was leading a very secluded life in the suburbs of Kyoto. Nakakuni, an excellent shakuhachi flute player was told by the Emperor to find her and bring her back to him. As he had no idea as to where she lived, he only had the melodious tone of her koto to go on. One moonlight evening, he walked and stumbled upon her when he arrived at Sagano. There he heard a sweet koto tune that drifted in on a breeze, which he followed. It brought him to Kogou playing a koto in the moonlight while thinking of the Emperor. Stunning Edo era Japanese romance through music. Beautifully executed and sung. A classic. First original pressing from 1963. Price: 50 Euro

203. YAMAMOTO KINJO: “Yamamoto Kinjo Meiginsen”(Victor – OVC-63) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ 4-paged Insert: Near Mint). Bloody obscure 1967 first press issue. Born in 1906, Yamamoto passed away in 1977 and was one of the greatest wailing enka singers on the scene and although her talent was unmistakable, fame always eluded her and she was confined to a peripheral existence. Still, she rocked the enka scene as no other and listening to hear makes you feel like being hit full frontal by a freight train. Baby - You Rock My World!!!!! Coolest picture sleeve ever. Price: 50 Euro
204. YONETANI IWAO: “Yonetani Iwao No Shakuhachi Minyou” (Victor Records – SJV-6158) (Record: Excellent/ Jacket: Near Mint). Original 1978 first pressing of beautiful shakuhachi shredder. Bewitchingly earwaxingly beautiful austere recording on which Yonetani gets backed by only simple shamisen pluckings and very sparse percussive accents. Very skeletal music blessed with undercurrents of depth. One of my fave Shakuhachi records next to the great Watazumido... highly recommended!!! Price: 75 Euro
205. YOSHIMOTO FUMIKICHI: “Tan Uta, Kouta Zenshu” (Columbia Records – AL-4033 〜 4035) (3 LP Set: Near Mint/ 3 Individual Record Sleeves: Near Mint/ 12 Paged Booklet: Near Mint/ Outer Box Set: Near Mint). Rare original 1961 first pressing in outstanding condition. Stellar comprehensive recordings documenting the austere singing style of Yoshimoto Fumikichi, born in 1897 and who passed away in 1976. The bulk of the recordings present here were recorded between 1933 and 1950 but the bulk of the material on this 3 LP set was recorded in the pre-war period before 1939. Ghostly atmosphere, stripped down vocals and minimal and sparse instrumentation make up for the sonic world of Yoshimoto. Most of her work was recorded on shellac 78RMP discs and few survived the war but in 1961 Columbia decided to secure her legacy by transferring her surviving output and releasing it as this 3 LP box set. The music on display is bone-chilling great and she sounds like a female long lost blues howler that got lost between the cracks of time and history. Backed up by the sparsest of instrumentation, being a shamisen at times augmented by some ghostly flute sounds in the back, Yoshimoto sounds like quelling the darker side of life, creating an arresting experience that exists inside a tornado of dusty noise that engulfs the aural landscape. Inhabiting a shamanistic sense of beauty, Yoshimoto enhances her already skeletal music with undercurrents of depth, her songs are a deceptively intense, casual in feel, yet meticulous in its musical detail and lyrical economy. Her voice seem to span epochs within a single syllable, a curious yowl predating enka crooners still to come and drawing out occasional haunting echoes. This is the stuff legends are made of, one of the most beautiful female vocal recordings I had the pleasure being immersed in. sadly enough, stupidly rare, never seen a copy up for sale within the last decade. This one is in top condition and will enhance your miserable life considerably. Highest possible recommendation if pre-war female blues howlers are a thing that gets your rocks off. She surely rocked my world!!! KILLER!! Price: 300 Euro
206. ZEN: “Head Sounds – Mumon no Mon” (Philips – 4FX-8001) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Attached 10 pages of Koan Strips: Near Mint). Comes on the rare white promotional Philips imprint label. 1971 release. This record was recorded live at the Shofuku-Ji, a small Rinzai Zen temple in the temple and monastery complex of the Myoshin-Ji in Kyoto. Side 1 begins, appropriately, with the opening of the huge wooden gates to the temple; the time is about 8 am. The sounds of pigeons, a large bell and then the rap of sticks on the side of the drum herald the approach of some 40 Zen monks who enter the main hall of the Shofuku-Ji for the morning “dokyo” chanting. Heard towards the end of the chanting is a solo voice that of the Rinzai branch's chief priest, present to address the monks and lead them in Zen discussions. Side 2 opens with more of the fascinating sounds of “dokyo”, followed by the voice of another priest who stands at the bell loft of the temple to chant the lengthy prayer or “konsho”. As this recording eloquently illustrates, the sounds of Zen convey that which no other medium can express. Zen sounds communicate directly with the head, shape and mold it, and set it free to explore a dimension that has no coordinates in space or time. Zen sounds, like Zen itself, opens inner gates. Utterly fantastic!! Price: 90 Euro
207. ZEN: “S/T” (Philips – PH-8531〜4) (Cloth Bound Box: Near Mint/ 4 LP’s: Near Mint/ Two detailed and fully illustrated and annotated in English and Japanese booklets of each 30 pages: Mint/ Obi: Mint). Hideously rare 1971 4 LP box set release, first time I actually can lay my hands upon a copy after having many rumors about it – all complete issue with books and OBI. This set was recorded by a team of Philips engineers with the full cooperation of the Zen Buddhist sect known as Rinzai. The recording sessions took place live during various ceremonies in a total of four Rinzai Zen temples in Japan, Shofuku-Ji in the Kobe city of Hyogo and at Daitoku-Ji, Shokoku-Ji and Myoshin-Ji, all in Kyoto. The set opens up with the sounds of the heavy wooden gates to the inner temple being opened to welcome early morning visitors. Morning chants start drifting through the air, monks are heard begging for rice in a shopping arcade, recording of the Kenchashiki ceremony where some 40 high ranking Zen priest are heard entering a special tea ceremony room – the sound of their footwear are heard as each receives a bowl of o-macha and joins and endless procession during which the tea is offered to Hotoke-sama (manifestation of Buddha). Other tracks include a solo voice chanting the evening prayer, Ryogonshu – a highly melodic chant accompanied by traditional Zen instruments; the breaking of the nightly silence at 3:30 am by the sound of a bell waking up the monks; giant gongs and wooden drums permeating into silent atmosphere of the mountain temple; morning and evening meditation sessions; monks walking in silence the mountains towards the village in order to go alms-begging; etc. This set is a sheer intense listening experience, balancing between environmental sound recordings, religious sonic experiences and minimal music excursions. One of the best sets ever devoted to the subject, this one just never turns up. Much acclaimed but seldom seen, this baby is a monster. Highest recommendation. Comes with two fully illustrated booklets and a cloth bound box and OBI…. Price: 200 Euro
208. ZôDôShû GONGYO: “S/T” (Teichiku – NT-1420) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). A disc that I can strongly recommend to any fan of minimal music, field recordings, drones and esoteric Buddhist chanting. First time I have a copy to spare of this really amazing LP. The sounds on display here are dense, resonating out astonishing and mesmerizing music. Mostly the focus lies on chanting deep droney nasal vocals that get flanked by the occasional beating of sticks, huge gong drones and atmospherical sounds that drift in and out of the temple complex. Some of the pieces are calm, unaccompanied chant to flurries of hypnotically discordant high-end drones that almost sound like some sort of feedback but the variety and depth here is amazing. A deep polyphonic trip for sure. The whole was all recorded on location in the Eiheiji Temple around 1970 and released shortly thereafter. Also known under the name "temple of eternal peace", Eiheiji is one of Soto Zen's two head temples. It is located deep in the mountains near the rugged west coast of Japan, not far from Fukui City. This is well-recorded, yet authentic and raw – the recording even captured the shuffling of the monks, their breathing and some background sounds in the quieter passages! It's these ritualistic stompings and hushed bits of chanting that stand amongst the highlights of this incredible field-recording document. The trance inducing sounds generated by monks is just intense, almost hypnotic in nature. Featuring skillful and moving polyphonic passages as well as many stripped down instrument accompanied sections (but very stripped down, only some sticks, stones and gongs – it is Zen after all) with vocals that leave me time and time again in total awe of their haunting qualities and totally beautiful delivery. So in a way this music is sheer heaviness. Not heaviness like the amped tuned to 11 heaviness. A different sort of heaviness, a "heavy" that's timeless, spiritual, feeling, and isn't entirely reliant on volume and bass Fabulous…my jaw hits the floor every time I immerse myself in the Buddhist music realms….totally a liberating listening experience. Price: 75 Euro