RARE RECORDS CATALOGUE
C-D
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


324. CAGE, JOHN: “S/T” (Cramps Nova Musicha – CRSLP 6101/1) (Record: Near Mint/ Gatefold Jacket: Excellent ‾ Near Mint. Only has a few mildew spots on cover/ Company Inner Sleeve: Near Mint). This was the 1st release on the Cramps records Nova Musicha series. Groundbreaking release of early cage material. This was the first “nova musicha” collection release. The LP contains five John Cage’s compositions for "prepared" piano, played and performed by various artists: Juan Hidalgo, Walter Marchetti, Gianni-Emilio Simonetti and Demetrio Stratos. In these performances, the sound of the piano was altered by placing objects (preparations) between or on the strings or on the hammers or dampers. Toy pianos and radio systems were used too. The most famous composition is “ 4’33” which represents a turning point for Cage’s experience and for contemporary music. Demetrio Stratos performed “Sixty-two mesostics Re Merce Cunningham”. Stunning historical recording on collectible label. Price: 150 Euro

325. CAIRO FREE JAZZ ENSEMBLE: “Heliopolis” (Sono Cairo – 7037080) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top condition 1970 Egyptian original press issue. Formed by Salah Ragab and Hartmut Geerken as an avant-garde offshoot, the Cairo Free Jazz Ensemble was one of the great projects in Egyptian jazz. As the first jazz big band in the country - formed in 1968 when Ragab was appointed chief of Egypt’s Military Department of Music, it was also responsible for creating one of the most striking and most out-there-avant-garde-free form Egyptian jazz recordings of the to seep out of the 1970s. It is an unusual recording done at the German Culture Institute in Cairo (hence the stamp inside of the gatefold reminding of that happening and financial support) that blossomed out of an early collaboration between Hartmut Geerken and Salah Ragab! Ragab plays drums and percussion but his approach is very different than his more rhythmic Cairo Jazz Band dates. Here, the ensemble really lives up to the "free jazz" moniker embedded into their name. Sonic-wise, they bear a certain resemblance to the mighty Sun Ra Arkestra during the peak of their free improvisational reign, abstract and wyld, abandoning structural boarders and gazing towards a wider sonic horizon. The ensemble includes renowned Egyptian heavyweight players such as Farouk Abdel Rahman on alto and percussion, Abdel Hakim Zael on baritone sax, Moohi El-Din Osman on bass and Mahmoud Ayoub on tenor – and of course Geerken himself playing a wide range of percussive instruments, rattles, shakes and other items – including even a toy car producing the sound of a siren. Upon listening to this slab of fire music from Mediterranean Northern Africa, the deep vibra-sonic resemblance found between the ensemble and its American counterparts becomes something one can clearly see as a reverberating connection between the two. Heliopolis is a stunning blend of big band spiritual free-roaming jazz, the music of the Middle East interlocking with the heat, fire and energy of intercontinental free jazz, producing a previously untapped but deep creative connection with contemporaneous efforts of Pharoah Sanders, Phil Cohran, and - of course - Sun Ra. The Cairo Free Jazz Ensemble succeeds in combining jazz instrumentation and musical style with indigenous melodies and instruments and by doing so creating a freshly sounding musical language that stands firmly on its own. The album is a throbbing, squealing, wild journey, a roller-coaster ride through the creative heights of sound, channeling a myriad of high energies, swirling interplay, focused but ravaged artistry that taps into a maniac fury and leaps from a deep ancient past towards an intergalactic sonic future, all within one single blow. This is high tension music born out of standing too long under the unrelenting heat of the Egyptian dessert sun, creating high voltage reactions that hurtle in and out of focus and sweat out a highly addictive animated strive of malicious sounds. The shit burns like oil on your legs, making you withholding silent screams deep down your throat while your nuts are on FIRE!!! Pristine copy, you know the deal…. Price: Offers!!!

326. The CAKE: “World of Dreams b/w Stand By Me” (Decca/ Teichiku – DS-498) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan only 1968 picture sleeve single issue that only occasionally turns up but never in a shape as this beaty here. The Cake - three teenage girls that were discovered while singing along to records in a New York nightclub by two hotshot managers. They are rushed into a recording studio, signed up to a major label deal and whisked off to Hollywood in a matter of weeks where they are treated like stars and consort with rock royalty. It sounds like a story spun from myth. But all this did happen and more. They were the daughters of Sgt. Pepper, a baroque girl group who wrote psychedelic madrigals and sang blue-eyed soul with rock ‘n’ roll attitude. This trio of brash and beautiful teenage New York City girls Jeanette Jacobs, Barbara Morillo and Eleanor Barooshian jumped onto the rollercoaster of the 60s music scene just as it hit its peak and spiraled into a downward curve. The Cake were formed in ‘66 and baked by ‘68, releasing two albums that have been cherished ever since by music enthusiasts as curios of the time. They released one single in Japan, which tanked quickly to the depths of obscurity and is now quite a hard one to get a hold off. Top copy that comes housed in eye-catching picture sleeve that breathes out cute sixties psychedelia from the get go. First copy I see in ages. Price: 350 Euro

327. CAN: “Monster Movie” (Japan Record – JAL-2302) (Record: Near nt/ Jacket: Excellent ~ Near Mint – lower middle split seam/ Obi: Mint/ Insert: Mint). First original Japanese pressing of Can’s “Monster Movie” complete with obi and insert. Monster Movie was the 1969 debut LP from The Can, that band of kraut-rocking, Stockhausen-influenced hippy freaks. This album features the unique vocals of black American singer Malcolm Mooney, and establishes Can's signature style of relentless rhythmic psychedelia with songs such as the 20-minute"Yoo Doo Right". Along with the Velvets and the Stooges, Can were one of the most 'advanced' groups of the era, and certainly one of the best Krautrock bands. Essential, and this copy here was the 1st Japanese pressing to see the light of day, be it a tad late since it came out only in 1980. Comes with obi and liner notes to boot. Price: 150 Euro
328. CAN: “Soundtracks” (Japan Record – JAL-2303) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). First original Japanese pressing in TOP condition. Consisting of music written for various films, ‘Soundtracks’ is Can’s second album, a departure in sound from the more psychedelic jams of their first album, ‘Monster Movie’ and instead a burgeoning exploration into more electronic moments of experimentalism, rhythmic repetition and mystery. The album marks the departure of the band's original vocalist Malcolm Mooney, who sings on two tracks, to be replaced by new member Damo Suzuki. Mooney’s vocals appear in fleeting existence, whilst Can’s brilliance is evermore at play. Malcolm’s final recording with Can, “Soul Desert” is certainly one of the highlights. His voice sounds stretched to the very edge of its limits. Given Can’s habit of editing down long jams, he could well be at the end of a jam session that has gone on for literally hours. Whatever the reason, his scorched delivery really invokes desert dryness and the sparse tribal groove the band lock into behind him is another classic tight Can groove “Mother Sky” is fourteen and a half minutes of utter devastation. Probably the most scorched, searching guitar work Karoli ever unleashed. Here sounds like he is unpicking the skies with his fingers. Underneath that, Holger and Jaki fuse into an inhuman rhythm machine playing some secret, primal, snapping, tribal stomp. When Jaki begins unleashing drum rolls, it is physically impossible not to move in some way. So essential. Top copy 1st original Japanese pressing. WOW!!! Price: 150 Euro
329. CAN: “Soon Over Babaluma” (Japan Record – JAL-2306) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Obi: Mint/ Insert: Mint). Japan original 1st press complete with obi. Soon Over Babaluma features five tracks that mark a change in direction for Can as it was their first album without Damo Suzuki. Released in November 1974, the LP featured the ambient sound that Can pioneered on their previous album, Future Days. Featuring a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like  musical journey into another, 21st Century dimension. A musical tapestry where layers of music are intertwined during five tracks, filled with moody atmospherics, whispery scats, scratchy strings and minimalistic drumming combined with crystalline wah-wah infested guitar licks. Can are definitely in the groove. And from the groove, the songs emanate, like some sort of spontaneous composition. Everything from ambient, country, electronica, folk, funk, jazz passes the sonic infusion. ‘Soon Over Babaluma’ was the sixth studio album by Can and their first album without a lead vocalist who does not play an instrument, following the departure of Damo Suzuki. The vocals are taken care of by guitarist Michael Karoli and keyboardist Irmin Schmidt. The last Can album to be created using a two- track recorder, ‘Soon Over Babaluma’ took the ambient style of ‘Future Days’ and pushed it even further. Bloody essential and amazing Japanese first original press issue. Price: 150 Euro
330. CAN: “Landed” (Virgin – VIP-4072) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Near Mint). Original first Japanese pressing complete with insert and OBI. Another brilliant Can album that saw the group in transition after their previous classic mindrackers. Here the band locks into a laidback hypnotic & narcoleptic groove that slowly sucks its teeth into your membranes and guides you towards an intoxicating hinterland you feel like never ever leaving again. This one here is a stunning copy of the first Japanese pressing to see the light of day of this LP, complete with obi, insert and in mint condition to boot. Rarely surfaces with obi in such a virginal state as this one here. Comes dead cheap as well so don’t sleep on it. Totally essential. Price: 125 Euro

331. CAESARS: “Jerk It Out b/w Up All Night” (Virgin – LC-03098) (Colored Wax Single Record: Near Mint/ Picture Sleeve: Near Mint). Killer 2005 original 1st press issue of ball crusher ballroom filler! No hidden meaning in this song – it’s just about dancing and getting loose. It received a lot of attention in the United States after it was featured in an iPod ad. The popular iPod ads also helped boost the popularity for songs like “Are You Gonna Be My Girl” by Aussie rock band JET, and “Flathead” by the Scottish band The Fratellis. According to the band, the title “Jerk It Out” means “to just let out some steam, freak out, let yourself go, get crazy, etc.” The title has a double meaning, as it can easily be taken as being about masturbation. Keeping with the sexual double meanings, the remix of this song was called “Jerk It Harder.” This was the first hit for The Caesars, who are known as The Caesar’s Palace in their native country of Sweden, and Twelve Caesars throughout the rest of Scandinavia. Price: 30 Euro

332. CANNED HEAT: “On The Road Again” (Liberty – LP-8544) (Red Wax LP Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint). Very first Japan original pressing that comes on red colored vinyl in the best condition imaginable. The first Canned Heat record to see the light of day in Japan in December 1968. Obi is missing so this one comes dead cheap but if it is the obi you fancy, see here below for a complete issue. This beauty here is just in top condition. Hard to ever upgrade upon this one…. Price: 125 Euro
333. CANNED HEAT: “On The Road Again” (Liberty – LP-8544) (Red Wax LP Record: Near Mint ~ Mint/ Jacket: Near Mint with as sole minor defect a bit of rubbing on upper middle seam/ Insert: Near Mint/ Obi: Near Mint). Very first Japan original pressing that comes on red colored vinyl and complete with first issue obi. The first Canned Heat record to see the light of day in Japan in December 1968. Just never surfaces on these shores with all complete and obi attached, let alone in such pristine condition as this one here. First complete copy I see in over a decade!!! Hard to ever upgrade upon this one…. Price: 500 Euro
334. CANNED HEAT: “70 Concert – Recorded Live In Concert” (Liberty Records Japan – LP-80018) (Record: Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Excellent). Bloody rare WHITE LABEL PROMO issue that comes on RED COLORED WAX, promo only red wax issue. Comes housed in a Japan only gatefold jacket art with a nice live picture of the band in action in Holland. First original press in TOP condition with the rare obi present and flying high its true colors. Hardly ever turns up with obi attached. Price: 250 Euro
335. CANNED HEAT: “Best Of White Blues” (Liberty Records – LP=9505) (Record: Near Mint/ Silver Foil Textured Gatefold Jacket: Near Mint/ OBI: Excellent). Bloody rare Japan only Canned Heat Issue, all complete with never seen before obi. This is the rare red wax/ white label PROMO only issue that was released in 1969. Just never surfaces all complete with OBI, first copy I encounter in over 12 years. So killer on all fronts, it boggles the mind…Price: 250 Euro
336. CANNED HEAT & JOHN LEE HOOKER: “Hooker ‘N Heat” (Liberty Records – LP-9495B) (2 LP Record: Near Mint/ gatefold Jacket: Excellent/ Obi: Excellent). RED WAX LP – White Label Promo, Japan first press issue. Hooker 'n Heat is a relaxed affair that is split between unaccompanied solo John Lee Hooker tunes, collaborations between Hooker and Alan Wilson and full-blown Hooker and Canned Heat joints. Encompassing a mixture of new material and old favorites, Hooker 'n' Heat is surely one of Canned Heat's crowning moments and a milestone in Hooker's legendary career. A lasting homage to the true blues from some of its finest purveyors. Price: 250 Euro

337. CANNED HEAT: “Evil Woman b/w Amphetamine Annie” (Liberty/ Toshiba Musical Industries – LR-2292) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan only picture sleeve issue that comes on RED WAX!!!! Hardly ever turns up for sale and one of the rarest Japan only Canned Heat EP issues. Price: 100 Euro

338. CANNED HEAT: “Wooly Bully b/w My Time Ain’t Long” (Liberty – LP-2758) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint). Scare 1971 Canned Heat single – Japan only picture sleeve issue – white label PROMO. Two great tracks from their “Future Blues” days. “My Time Ain’t Long” is a great Alan Wilson composition – virtually all he touched turned into something magical and this ain’t no different. Pretty awesome picture sleeve with the whole band – Wilson included – grooving out. Japan only picture sleeve issue. Price: 75 Euro
339. CANNED HEAT: “Rock And Roll Music b/w Lookin’ For My Rainbow” (Liberty – LLR-10312) (7 Inch Single Record: Excellent ~ Near Mint/ Picture Sleeve: Excellent/ Inner sleeve: Excellent) Scarce 1973 Japan only single issue – WHITE label PROMO. Another Heat single that does not turn up at all since their popularity was dwindling fast by then and sales were low in Japan, making this one of their hardest to track down single issues. White label promo to boot!! Price: 75 Euro

340. The CANNONBALL ADDERLEY QUINTET Featuring NAT ADDERLEY: “Them Dirty Blues” (Riverside/ Nippon Victor – SR-7001) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan very first press issue all complete with first issue obi. “Recorded in early 1960, Them Dirty Blues contains two classic jazz compositions: Nat Adderley’s "Work Song" and Bobby Timmons’ "Dat Dere," the sequel to "This Here." This was alto saxophonist Cannonball Adderley’s second quintet with brother Nat Adderley (cornet), and features Bobby Timmons on piano (who plays on four tracks and was replaced by Barry Harris on the remaining five), Sam Jones on bass, and Louis Hayes on drums. Them Dirty Blues was originally released on Riverside until Adderley made the switch to Capitol where he brought several master tapes with him, including these sessions.” (All Music Guide) Scarce Japan 1st original pressing housed in fragile flip back sleeve and with obi present. Price: 150 Euro

341. The CANNONBALL ADDERLY SEXTET: “Cannonball In Europe – Recorded Live at the International Jazz festival, Comblain-La-Tour, Belgium” (Riverside/ Victor Records – SR-7081) (Record: Excellent - has one inaudible hairline/ Flip Back Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Damned rare Japan very first original press all complete with first issue obi. “Cannonball Adderly is in excellent form on this live date recorded on August 5, 1962, at the International Jazz Festival in Comblain-La-Tour, Belgium. The alto saxophonist fronts an amazing band comprised of brother Nat Adderle on cornet, Yusef Lateef on tenor sax and flute, Joe Zawinul on piano, Sam Jones on bass and drummer Louis Hayes. The five selections include Lateef’s composition "P. Bouk," with tremendous limber interplay between reeds and brass, followed by two favorites from the Adderley book of the era, "Gemini" and "Work Song." Lateef picks up the oboe on the traditional blues "Trouble in Mind" and the set is rounded out with "Dizzy's Business," once again showcasing fiery improvisation between the horns. Cannonball’s good-natured stage manner is also on display, with a few off-the-cuff humorous asides. As a weird side note, Beach Party movie heartthrob Frankie Avalon was also on the bill -- he opened the show!” (All Music Guide). Damned rare pressing, first time ever I see the 1st issue obi. Lateef is on fire here, probably my fave Cannonball set ever! Price: 200 Euro
342. CANNONBALL ADDERLEY QUINTET: “Accent On Africa” (Capitol Records – CP-8555) (Red Wax Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Company Inner Sleeve: Near Mint/ Obi: Mint). Scarce and seldom seen Japan first original pressing all complete with obi. LP comes pressed on glorious red wax!!! Though labeled as a Cannonball Adderley Quintet session, this is actually a workout with a percussion section loaded with African drums, a big band, and in spots, voices -- all unidentified. Nevertheless, this is one of the best and most overlooked of the Cannonball Adderley Capitols, a rumbling session that bursts with the joy of working in an unfamiliar yet vital rhythmic context. Cannonball turns in one of his swinging-est solos through a Varitone electronic attachment on Calphus Semenya’s "Gumba Gumba" and "Marabi" is a real hip-jiggler; you can't sit still through it. Other highlights include Cannon preaching blue smoke in his own Afro-Cuban-blues-flavored "Hamba Nami," a dignified trip through Wes Montgomery’s "Up and At It," and Nat Adderley’s commanding work on cornet at all times. (All Music Guide). Produced by David Axelrod...just never turns up with obi present and flashing its colors. Price: 200 Euro
343. CANNONBALL ADDERLY With The BOSSA RIO SEXTET OF BRAZIL: “Cannonball’s Bossa Nova” (Riverside/ Victor Records – SR-7077) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned scare Japan 1st original press issue all complete with obi. A pleasant date recorded in late 1962 with South American musicians the Bossa Rio Sextet of Brazil. Cannonball is heard alongside Sergio Mendez on piano, future Weather Report percussionist Dom Um Romao and featured on five cuts is Paulo Moura on alto saxophone with Pedro Paulo on trumpet. Price: 100 Euro
344. CAPTAIN BEEFHEART & HIS MAGIC BAND: “Mirror Man” (Buddha Records/ Nippon Columbia – YS-2524-DA) (Record: Near Mint/ Jacket: Excellent/ Insert: Mint). Rare Japan 1st press original – WHITE LABEL PROMO issue. Recorded in November 1967 the four lengthy tracks on Mirror Man are primal and gut driven, surfing on dusted dessert winds. All four are worthwhile, but the key tracks are "Tarotplane Blues," a free-form jam in which Beefheart jumbles together the lyrics of at least half a dozen blues standards into a stream-of-consciousness ramble as the Magic Band vamps on a slide guitar-based, two-chord groove for over 19 minutes, and the similarly expansive "Mirror Man," one of the key tracks of Beefheart’s entire career. Probably the catchiest tune Beefheart ever wrote, "Mirror Man" has an almost funky, hip-swaying groove, and there's a playful lightness to the way Beefheart chants the simplistic lyrics that prefigures the flights of fancy on Trout Mask Replica. This is a killer Beefheart slide, bewitching in its execution and cathartic in its vibe. This copy here is the 1st original Japanese pressing of 1971, WHITE label PROMO copy….Japanese pressing of Mirror Man is extremely rare, 1st time a copy has crossed my path! Price: 250 Euro
345. CARAVAN: “S/T” (Polydor – 23MM0134) (Record: Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint). Absolutely top condition, impossible to ever upgrade upon. Very first Caravan album, very first Japanese press issue all complete with obi. The five first Caravan albums are all, one for one, masterpieces of Canterburian progressive art rock. Right from the start the band made an artistic statement that put everyone on his toes. And even till this day, their first LP is a monster. Rare Japanese original pressing in top condition. Price: 150 Euro
346. CARAVAN: “If I Could Do It All Over Again, I’d Do It All Over You” (London/ KING Records – SLC-357) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Mint). Top copy Japanese TRUE FIRST ORIGINAL pressing from 1971 of Caravan’s second album. BLOODY RARE WHITE LABEL PROMO ISSUE. Never seen or had a true 1971 Japanese first press before….sadly obi is missing (never ever seen one – would break the bank if it turned up). First of all, the title of the record does say it all. Second Caravan album, original FIRST Japanese 1971 pressing and on this one the band excels even their illustrious debut as far as bloody beautiful songs, compositions and Canterburian escapades driven by organ and intoxicating vocals are concerned. Still rules my daily life this disc. Totally necessary. A masterpiece in every sense of the word. Ride it. Rare 1971 white label promo in TOP condition. Price: 200 Euro
347. CARAVAN: “In The Land Of Grey And Pink” (Deram/ King Records – DL-29) (Record: Excellent – with a few paper sleeve lines/ Jacket: Excellent – has some foxing visible due to age/ Obi: Excellent/ Insert: Excellent). Damned rare 1972 Japan very 1st press issue of Caravan’s 3rd LP which came housed in Japan only single sleeve issue. Never encountered a copy before with obi present until now. The condition is overall EX with some faint superficial lines visible under a bright light. The obi has a folding crease and the sleeve has some ageing spots visible. If it wasn’t for these minor imperfections, this one would have to go for a heavy offer. So an opportunity to wheel in a genuine rarity for cheap. Never seen a first press issue with obi in over 15 years…. Price: 500 Euro
348. CARAVAN: “In The Land Of Grey And Pink” (Deram/ King Records – SLC-812) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original Japanese 2nd pressing of Canterbury’s finest and the first issue to appear in Japan housed in gatefold sleeve. In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the band's premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971. As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12" outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on "Winter Wine," as well as the organ and sax driven instrumental introduction to "Nine Feet Underground." These contrast the decidedly aggressive sounds concurrent with albums from King Crimson and Soft Machine. In fact, beginning with the album's title, there seems to be pastoral qualities and motifs throughout. Another reason enthusiasts rank this album among their favorites is the group dynamic which has rarely sounded more singular or cohesive. David Sinclair’s lyrics are of particular note, especially the middle-earth imagery used on "Winter Wine" or the enduring whimsy of "Golf Girl." (Lindsay Planer, Allmusic). Rare Japanese issue, audiophile vinyl pressing, with matching superior vinyl to wrap your tantalizing ears around. Price: 100 Euro
349. CARN, DOUG: “Revelation” (Black Jazz/ Toei Records – YX-8001) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). One of the harder Japanese pressings in the Black Jazz catalogue to track down with obi. The Black Jazz recordings of Doug Carn are perfect earwax material, depicting some of the most powerful, progressive work on the American jazz underground of the early 70s. The sound here is a perfect summation of Doug's early genius – his organ and keyboards lines are never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy ignited by Carn! His wife Jean Carn sweet vocal stylings add some icing on a number of tracks with her heavenly style that's mighty righteous and every bit as soulful as her later work at Philly International, but in a very different way. Not a single note is out of place here, a work of perfection. Rare original all complete with obi. Price: 300 Euro
350. CAROL OF HARVEST: “S/T” (Brutkasten) (Record: Near Mint/ Jacket: Near Mint). Great original 2nd pressing put out by the band themselves in the late eighties/ early nineties. 1st and 2nd pressings of this album are hard to distinguish and I have seen people putting up 2nd presses and selling them for three figure sums by claiming they were 1st pressings. This one is not a first pressing but a genuine 2nd pressing. How can one tell, well here is the deal. The difference all lies buried in the dead wax of the vinyl. So pay attention you all because the 1994 Brutkasten 2nd pressing has been offered and sold often as "Original", but things are not that difficult to distinguish. The original has glossy cover and stamped matrix number "ST-850004 A" on side one and "ST-850004 B" on side 2, there were the reissue has paper cover and matrix number "K-850004 A2" and "K-850004 B2". So with that out of the way, you can be damned sure this is the 2nd pressing. But the music is what counts I guess and that is just bloody amazing. Although the album comes out of Germany in 1978, it really sounds like it was released around 1970 or '71. Acoustic guitar melodies interwoven with superb female vocals by Beate Krause. The sound quality on the pressing is gorgeous, and the entire affair has a otherworldly vibe. Veering straight off with a 15 minute "Put on Your Nightcap" opener, you get instantly treated to a masterpiece enfolding behind your earlobes. Krause reigns throughout almost coming off like a Valkyrie siren. Mesmerizing to say the least. The remainder of the album is as strong as the opening track so you know you are in for a mind blistering listening experience. The album closes off with another highlight, "Try a Little Bit", again spiked up by almost impossibly beautiful vocal melodies. In all again a dead stone classic, this was the 2nd press done by the band themselves, housed in identical jackets and sounding like angels dripping honey into your ears, be it that the honey here is spiked with lysergic qualities. A Must!! Price: 125 Euro
351. CARTER FAMILY: “The Carter Family’s Greatest Hits – Great original Recordings” (CBS Sony – SOPC-57118) (Record: Excellent ~ Near Mint/ Jacket: Mint, still in shrink/ Capsule Obi: Mint/ Insert: Mint). Rare Japanese pressing with always missing capsule obi present. The most influential group in country music history, the Carter Family switched the emphasis from hillbilly instrumentals to vocals, made scores of their songs part of the standard country music canon, and made a style of guitar playing, "Carter picking," the dominant technique for decades. Along with Jimmie Rodgers, the Carter Family were among the first country music stars.Their classic repertoire, haunting vocal harmonies, and Maybelle's distinctive guitar style have kept their old-time music relevant and moving to the modern day. The original group broke up in 1943, and the name was adapted by one member (Mother Maybelle) and her three daughters (June Carter Cash among them), and various combination of Carters performed and recorded in the '50s and '60s. Beyond belief killer stuff and if you are getting all wired up for the whole Americana trip, then no better place to start and end than with the Carter Family. Timeless and priceless music. 1st original Japanese pressing, complete with capsule obi. Price: 50 Euro
352. CASH, JOHNNY: “At Folsom Prison” (CBS SONY – SONP - 50016) (Record: Near Mint/ Jacket: Near Mint – in shrink/ Capsule Obi: Mint/ Insert: Mint). Freakingly rare 1st original Japanese pressing in top condition, jacket still in shrink and complete with rarely seen capsule OBI. I can be fairly short about this album. Simply one of the greatest albums of all time. And I mean it. “Johnny Cash had been breaking new ground for a decade when At Folsom Prison suddenly made the world at large take notice. The interaction of a volatile prison population starved for entertainment and a desperately on-form Johnny Cash was electrifying. His somber machismo finally found a home. The songs, which included every prison song Cash knew ("I Got Stripes," "The Wall," "25 Minutes to Go," "Cocaine Blues," plus his own "Folsom Prison Blues") were tailored to galvanize the crowd. This set is all about atmosphere. Live at the Grand Ole Opry this ain't.” (Colin Escott). If you ever have to own one single album, be sure to make it this one. I cannot believe all those people having a so-call heavy collection of rarities, be it free jazz, psych or whatever but fail to have this beast. If that is the case, then all hope is lost and you better steer away from music all together. Massive. Hardly ever seen before all-complete first Japanese press issue with OBI. Price: 150 Euro
353. CATALOGUE: “Antwerpen Live 11 Aug. 1979 1.30 H Belgie” (POT-7901) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, best condition jacket I have seen so far!!!). Top copy of maybe Catalogue/ Berrocal rarest release. Totally obscure Jac Berrocal/ Catalogue record that never seems to make it inside of lists or is ever offered for sale. Subliminal live performance by France's finest avant-rock combo to have ever mounted the stage. Their live performances are stuff of legends, filled with a boundless spontaneity that bordered at the suicidal; making them blood-curdling stage acts. This recording captures them as a part of several acts appearing at Antwerp's 1979 rendition of the Free Music festival. The surviving recording was released in a tiny quantity and displays the venomous raw punk power of the band mixed up and cut down with an abusing arsenal of gear, grungy free rock and distressing absinthial hardcore jazz that all gels together in the infectious jet blast that is Catalogue. The group's line-up for this gig was probably their most expanded to ever hijack a stage and consisted out of Jean-Francois Pauvros, Patrick Prado, Jacques Berrocal, Michel Potage and Jean-Pierre Arnoux. This disc is a vicious killer slide and captures one of the greatest ever performances. Impossible to come by these days or at the time it was released. Far rarer than hen's teeth. I do not think this one will ever surface again any time soon – at least not in the foreseeable future. Price: Offers!!!
354. CATHERINE RIBEIRO + ALPES:Paix” (Philips – 9101-037) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). TOP COPY, original 1st pressing, sharp corners and thick spine, beautiful all way round. Considered as their most progressive output, the 1972 “Paix” album (released in 1974) features two excellent long pieces, the 15 minutes long eponym track Paix and the 24 minutes haunting “Un jour… la Mort”. The beginning of the Paix piece has some sonic flavors reminiscent to German progressive psych excursions due to a dark lysergic intro infused with intergalactic sounding keyboard riffage and a deep haunting bass sound to underscore it all. And when all gets underway, Catherine Ribeiro makes an entrance with some starkly proclaimed lyrics, catapulting the song into a higher gear and beefing up its progressive intensity. But just when you thought you had heard it all, side 2 is about to hit you with the breathtaking “Un jour…la Mort”, taking the whole intensity towards another level with intense lyrics wandering into some dark territories while multi-layered keys and guitars collide with pulsating drive of morbid percussive rattles. The music is bagged in a fabulous gatefold sleeve depicting an image of Ribeiro, stark and empowered yet all-welcoming, sitting easily amongst her band mates, flowering branch in hand, bearded, bedazzled co-conspirator Patrice Mouliet at her back, and a massive tree trunk shooting heavenward supporting their combined weight. Ribeiro herself comes across as goddess, white witch and peasant, which is no less than the multiple effect of her voice on record. The magnetic quality of this metaphysical nature scene is undeniable; a staggering example of the early 70's earthy aesthetic and the penetrating influence of honest idealism. One of the most original discs from the 70’s French underground. Price: 100 Euro
355. CHAINO & HIS AFRICAN PERCUSSION SAFARI: “Jungle Drums Variations b/w The Jungle Chase” (Union – US-533) (EP Single Record: Excellent/ Gatefold Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan original single issue that came out at the tail end of the 1960s. Sweating heavy percussive rhythms by Chaino, sweating out an intoxicating jungle vibe that gets spiced up by wild vixen-in-heat moaning and growing sounds. A real dance floor burner, smothering and sweaty vibe, rootsy and uplifting, this one will hook its claws into you. The picture sleeve vibe says it all and hints exactly at what you will be hit with. Awesome! Price: 50 Euro

356. CHAMBERS, PAUL with JOHN COLTRANE: “Jazz Delegation from the East – Coltrane, Chambers’ Music” (Imperial/ Nippon Victor – SMJ-7046) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare very first Japan original press issue all complete with rarely seen first issue obi. “The first sessions as a leader for bassist Paul Chambers were recorded while he was a member of the Miles Davis Quintet. The first six selections feature Chambers with pianist Kenny Drew, drummer Philly Joe Jones and (on four numbers) the immortal tenor saxophonist John Coltrane. This somewhat obscure date includes such jazz standards as "Dexterity" and "Stablemates" along with "Easy to Love" and three straight-ahead group originals. Coltrane dominates the numbers he is on, although his sound was not quite mature yet. Although none of this music is classic, it does give listeners a valuable early look at these important jazzmen.” (All Music Guide) First copy I see with obi and in top shape, elusive for eternity. Price: 200 Euro

357. CHAMBERS, PAUL: “Delegation from The East – Chambers’ Music) (Jazz West/ Toshiba-EMI – TOJJ-5817) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine and all complete Japanese high-quality issue. “The first sessions as a leader for bassist Paul Chambers were recorded while he was a member of the Miles Davis Quintet. The first six selections feature Chambers with pianist Kenny Drew, drummer Philly Joe Jones and (on four numbers) the immortal tenor saxophonist John Coltrane. This somewhat obscure date includes such jazz standards as "Dexterity" and "Stablemates" along with "Easy to Love" and three straight-ahead group originals. Coltrane dominates the numbers he is on, although his sound was not quite mature yet. Although none of this music is classic, it does give listeners a valuable early look at these important jazzmen.” (All Music Guide) Pristine condition, superior sound. Price: 65 Euro
358. CHAMBERS, PAUL QUARTET: “Bass On Top” (Blue Note – BLP-1569) (Record: Excellent/ Coated Jacket: Near Mint). Original US MONO pressing, 2nd issue with 43 West 61st St., New York 23” address on label. “RVG” machine-stamped in the dead wax. This is another thoroughly engaging set of straight-ahead, mainstream jazz from Paul Chambers. The bassist leads a quartet comprised of guitarist Kenny Burrell, pianist Hank Jones and drummer Art Taylor through a selection of standards, including "Yesterdays," "You'd Be So Nice to Come Home To," and "Dear Old Stockholm," as well as a handful of contemporary jazz numbers and originals. There's a relaxed, friendly atmosphere to the music, both in its tone and in the fact that Chambers lets Jones and Burrell have some time in the spotlight. The result is a warm, entertaining collection of mainstream jazz that nevertheless rewards close listening. Clean mono issues with 2nd address on sleeve are damned rare if clean and this one comes cheap as hell. Price: 350 Euro
359. CHAMBERS, PAUL QUARTET: “Bass On Top” (Blue Note Records/ King Records – GXK-8053) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Early Japanese press issue all complete with obi. This is another thoroughly engaging set of straight-ahead, mainstream jazz from Paul Chambers. The bassist leads a quartet comprised of guitarist Kenny Burrell, pianist Hank Jones and drummer Art Taylor through a selection of standards, including "Yesterdays," "You'd Be So Nice to Come Home To," and "Dear Old Stockholm," as well as a handful of contemporary jazz numbers and originals. There's a relaxed, friendly atmosphere to the music, both in its tone and in the fact that Chambers lets Jones and Burrell have some time in the spotlight. The result is a warm, entertaining collection of mainstream jazz that nevertheless rewards close listening. Price: 60 Euro
360. The CHAMELEONS: “In Shreds b/w Less Than Human” (Epic – EPCA-2210) (7 Inch Single: Near Mint/ Flip Back Picture Sleeve: Excellent). 1982 UK original of killer slide. Heralding out of the fertile wasteland of Manchester, In Shreds was the debut single of the Chameleons and can be labeled as an attack of an absolutely killer track. A blistering punk tune, it was released in March of 1982. A more aggressive track than most of what would be featured on the debut album Script of the Bridge, it features stunning work from Mr. Lever. The song builds and build to a punk breakdown “It seems to me / to be so contradictory / it seems to me / you’ve become a part of the machinery”. Mark Burgess, Reg Smithies, Dave Fielding, and John Lever were on the cusp of something great – and you can feel it begin with this song. Price: 60 Euro
361. CHAMPION JACK DUPREE: “Blues From The Gutter” (Atlantic – P-6138A) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Nice Japan original with obi and all extras. The 1958 masterwork album of Champion Jack Dupree’s long and prolific career. Cut in New York (in stereo!) with a blasting band that included saxophone player Pete Brown and guitarist Larry Dale, the Jerry Wexler- produced Atlantic collection provides eloquent testimony to Dupree’s eternal place in the New Orleans blues and barrelhouse firmament. There's some decidedly down-in-the-alley subject matter -- "Can't Kick the Habit," "T.B. Blues," a revival of "Junker's Blues" -- along with the stomping "Nasty Boogie" and treatments of the ancient themes "Stack-O-Lee" and "Frankie & Johnny." Damned classic blues slide that sets your ears on fire without any hope of putting it out! Price: 45 Euro
362. CHARLATANS: “S/T” (Philips – PHS-600-309) (Record: Near Mint/ Jacket: Near Mint). Top copy. Just a near perfect copy, jacket displays only the faintest and barely visible slight wear, but it is so minimal it is neglectable hence the NM grading. But damned close to mint. For some perverse reason, most of the copies I see of this LP have always-severe condition issues, so I was extremely glad to dig up this perfect copy…finally. The Charlatans were, by dint of timing, effort and wardrobe, the first on the scene of the 60s San Francisco psychedelic rock bands. The folkie jug-band scene going down in the Bay Area, circa 1964, was destined to be electrified. The Charlatans achieved this on several levels and they made some big waves in the city for the past few years, but never hit the fame of some of their contemporaries! Still, their debut album is a stunning one with killer tunes such as 'High Coin', and even better 'Folsom Prison Blues', where you can almost hear the action on the lead guitar, or on 'The Blues Ain't Nothin'', where Mike Wilhelm's voice seems like it's in the room with you, and it's possible to hear the woodwinds all spread out instead of compressed and muted, and the lead guitar without any distortion in the playback, and the ethereal harmonizing and flute accompaniment on 'Time To Get Straight', now in smooth, elegant textures. In all, this is a gorgeous and gently challenging piece of San Francisco rock, incorporating elements of blues and big-band swing, as well as '50s rock & roll and elegant '60s pop. It might not be as quite as overpowering creatively as the best records by the Jefferson Airplane, Quicksilver or the Grateful Dead, but it is one of the prettiest and most subtle and beguiling albums to come out of the '60s San Francisco scene. I rate this very high and the Charlatans truly killed it. Condition is also virginal and pristine, perfect all the way. Fantastic!! Price: 300 Euro
363. CHARLEMAGNE PALESTINE: “Four Manifestations On Six Elements” (Sonnabend Gallery – Magne 8A~8D) (2 LP Record: Near Mint/ Heavy Gatefold Jacket: Near Mint). Original 1974 first press issue in TOP condition. Hardly ever surfaces and a genuinely rare and obscure release. This seminal work of early Minimalism was originally released in 1974 as a privately pressed double LP by the Sonnabend Gallery in a limited edition of 2000 they say but personally this was either an overstatement or a printing error and I believe not more than 200 copies of this LP were pressed at the day. (If actually 2000 copies were pressed this one would pop up all over and besides that selling 2000 copies at an art gallery seems a bit optimistic if not commercial suicide). These early-'70s electronic/piano pieces capture composer Charlemagne Palestine at one of his artistic peaks. The two lengthy electronic soundscapes, "Two Fifths" and "Three Fifths," were realized on some sort of acoustic-sounding synthesizer; sounding like pure piano overtones they possess a shimmering hard texture all their own. The three related pieces for Bosendorfer piano, "One + Two + Three Fifths In The Rhythms Three Against Two," are deceptively simple exercises that gradually build in density through the use of pedal and Palestine's "galloping" technique. "Sliding Fifths For Piano" is an overlapping series of sustained arpeggios, a babbling brook of pure sound, prettier than La Monte Young's similar "The Well-Tuned Piano," which it probably derives from. One of the key recordings that went on to define Minimal Music, this one is just as essential as La Monte Young or Taj Mahal Travelers recordings. Massive and top copy, impossible to ever upgrade upon. Price: Offers!!!
364. CHARLES TOLLIVER MUSIC INC.: “Live At Slug’s Volume II” (Strata-East/ Trio Records – PS-7064) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Obi: Excellent ~ Near Mint/ 4 Paged Booklet: Near Mint). Japan original press issue. Charles Tolliver was one of the great trumpeters to emerge during the late '60s yet has always been vastly underrated. on this quartet set with pianist Stanley Cowell, bassist Cecil McBee and drummer Jimmy Hopps, Tolliver has a real chance to stretch out. The music straddles the boundary between advanced hard bop and the avant-garde and rewards repeated listenings. Tolliver is awesome, blessed with a full brassy tone and a perfect technique. His name crops up on a number of LP's as a sideman but it was with his own ensemble, Music Inc. that he really shines. Music Inc. were group set up by Tolliver and pianist Stanley Cowell to preserve acoustic jazz traditions in the seventies and as a flagship act for their own new label Strata East. The Live at Slugs' date was spread over two volumes. Volume 1 and Volume 2 features per three tracks, each penned by different members of the group. Tolliver undersigned his mission statement: "Music Inc. was created out of the desire to assemble men able to see the necessity for survival of a heritage and an Art in the hopes that the sacrifices and high level of communication between them will eventually reach every soul." And he isn't kidding. You won't find a much higher level of communication than he, Cecil McBee, Stanley Cowell, and Jimmy Hopps engaged in on May 1, 1970 at Slugs' in New York City. This was much more than an attempt to merely 'preserve acoustic jazz' as in the stilted Marsalis vein. This was an attempt to preserve a measure of authenticity while maintaining the notion of forward-thinking, present-tense improvised music. Original Japanese pressing with salacious OBI!!! Price: 150 Euro
365. CHARLES TOLLIVER MUSIC INC.: “Live In Tokyo” (Trio Records – PA-7088) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Complete and top condition copy – Japan 1st and only original pressing that later down the line also saw it released in the States with different cover art. The great and vastly underrated trumpeter Charles Tolliver shines like a raw diamond on this live set, leading his Music Inc. group, a quartet with pianist Stanley Cowell, bassist Clint Houston and drummer Clifford Barbaro. The end result is a record that hits all the right nerves with a strong post-bop vibe that dives into eclectic waters. Tolliver plays quite well, stretching out on three of his originals and Cowell’s "Effi," plus an adventurous rendition of "'Round Midnight." Damned good one! Top condition. Price: 100 Euro
366. CHARLES TOLLIVER’S MUSIC INC.: “Live At The Loosdrechdt Jazz Festival” (Black Lion Records/ Trio Records Japan – PA-3001/2) (2 LP Record: Excellent ‾ Near Mint, one tiny hairline on last side/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original Japan press issue all complete with obi. led by the great and vastly underrated trumpeter Charles Tolliver are few and far between. This live set finds Tolliver leading his Music Inc. group, a quartet with pianist John Hicks, bassist Reggie Workman and drummer Alvin Queen. The band delivers strong post-bop & spiritual jazz set that only shows how largely underrated Tolliver really was. He shines through exceptionally well and plays awesome, stretching out on three sidelong tracks and two finger licking eargasmatic fluid pieces. Just bewitchingly beautiful. Everybody needs some more Tolliver in their lives! Killer Japanese pressing with obi. Price: 75 Euro

367. CHARLIE CHRISTIAN: “Charlie Christian at Mintons” (Columbia Records – SL-5001-EV) (Record: Near Mint/ Heavy Gatefold Jacket: Excellent/ Attached 4 paged Booklet: Near Mint/ OBI: Excellent). Bloody rare Japan 1st original pressing all complete with rare first issue obi as released in November 1969. If there is such a thing as a Holy Grail of bebop, this disc is it. While the sound quality may be lacking, Christian’s guitar experiments are sublime. This disc is indispensable as an essential document in jazz history, and this first original Japanese pressing boasts cleaner sound than most. Charlie Christian is to jazz what Robert Johnson is to the blues – a pioneer, an exceptional guitarist, a man who died way too young and a player only truly appreciated after he passed away. Christian introduced a whole new soloing vocabulary to jazz and the electric guitar itself. Cut in May of 1941 this music features, among others, electric guitar pioneer Charlie Christian, Dizzy Gillespie then a young trumpeter just beginning to emerge from Roy Eldridge's shadow, the cool toned tenor of Don Byas, a young drummer who was radically altering the approach of jazz drummers named Kenny Clarke, and a little known house pianist named Thelonious Monk. There are two reasons this music is so vital. First, the performances are outstanding. Christian is transcendent in his soloing. His lines are crisp, and swing hard as anyone, and for this listener THE reason to pick up this disc. He is afforded the opportunity to really stretch out and dig into the music that the standard three minute record of the day simply could not allow, just listen to "Swing to Bop" and "Up on Teddy's Hill". Gillespie is in a transitional phase of his playing, only just beginning to come into his own, but one hears glimpses of his greatness on "Kerouac". Monk is identified as the pianist on "Swing to Bop" and "Stomping at the Savoy". One has to strain to listen even as he solos as the piano is very soft, most likely far from the mic, but one hears enough to tell his playing is still stride based and displays little of his trademark style. These performances of Monk and Gillespie at such a stage gives the fan a perspective of just how young they were, and how far they would come. As with Robert Johnson and the similarly baffling English folk finger-stylist Nick Drake, there exists no film of Charlie Christian playing guitar. He died at just 25 years old, a trailblazer cut down by tuberculosis. Who can imagine what Charlie Christian would have brought to the bebop era, or even rock and roll? He was a rare talent. Rare Japanese 1st original press with amazing silver toned Columbia obi. Only the 2nd time ever I see a copy complete with obi!!! Price: 75 Euro

368. CHARLIE HADEN LIBERATION MUSIC ORCHESTRA: “Liberation Music Orchestra” (Impulse – AS-9183) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Japan Lyrics Insert: Near Mint/ Company Inner Sleeve: Excellent/ Direct Import OBI: Near Mint). Original US 1st original pressing –that comes with the Japanese first OBI issue, being an obi indicating that this LP was directly imported from the US and made available in ltd numbers before a domestic press would see the light of day. These Import Obi’s are damned rare as they are solely the front and always fall off of the record when taking it out of its protective sleeve, making that only a few are actually preserved. A fascinating and utterly stunning recording that comfortably straddles the lines of jazz, folk, and world music, working up a storm by way of a jazz protest album that points toward the Spanish Civil War in particular and the Vietnam War in passing. Haden leads the charge and contributes material, but the real star here may in fact be Carla Bley, who arranged numbers, wrote several, and contributed typically brilliant piano work. Also of particular note in a particularly talented crew is guitarist Sam Brown, the standout of "El Quinto Regimiento/Los Cuatro Generales/Viva la Quince Brigada," a 21-minute marathon. Original Japanese 1st pressing – which sounds amazing. Nice condition US original with Japan ONLY import obi. Price: 150 Euro

369. CHARLIE HADEN LIBERATION MUSIC ORCHESTRA: “Liberation Music Orchestra” (Impulse – AS-9183) (Record: Near Mint/ Gatefold Jacket: Near Mint - still in shrink/ Japan Lyrics Insert: Near Mint/ Company Inner Sleeve: Excellent/ Direct Import OBI: Near Mint/ Additional OBI: Mint). Original US 1st original pressing –that comes with the Japanese first OBI issue, being an obi indicating that this LP was directly imported from the US and made available in ltd numbers before a domestic press would see the light of day. These Import Obi’s are damned rare as they are solely the front and always fall off of the record when taking it out of its protective sleeve, making that only a few are actually preserved. That aside, this copy with an additional 2nd obi – commemorating a price the record received in Japan and flashes its gold colors next to the import obi. Never seen this 2nd obi. A fascinating and utterly stunning recording that comfortably straddles the lines of jazz, folk, and world music, working up a storm by way of a jazz protest album that points toward the Spanish Civil War in particular and the Vietnam War in passing. Haden leads the charge and contributes material, but the real star here may in fact be Carla Bley, who arranged numbers, wrote several, and contributed typically brilliant piano work. Also honorary mention is due to a in a particularly talented crew is guitarist Sam Brown, the standout of "El Quinto Regimiento/Los Cuatro Generales/Viva la Quince Brigada," a 21-minute marathon. Original Japanese 1st pressing – which sounds amazing. Nice condition US original with Japan ONLY import obi + additional gold colored obi. Price: 200 Euro
370. CHENE NOIR: “Aurora – Theatre Du Chene Noir” (Futura – FUT-2033) (Record: Near Mint/ Jacket: Near Mint). First original pressing on the legendary Futura label. One of the hardest to come by Futura titles as you all know and this one is as perfect as they come. Another insane artifact from that most desirable Futura label. Recorded in 1971 by a theatrical troupe/musical commune led by 
percussionist Gerard Gelas (and still active after 32 years in the 
French province of Avignon), "Aurora" runs the gamut from tribal 
improvisation to grandiose operatic chanting to medieval 
psychedelic woodwind swirl. Blend one part Magma with a jigger of 
Third Ear Band, fold in a dash of Popol Vuh and agitate with a 
pinch of Brigitte Fontaine and we're talkin' one tasty melange! As 
seen on the Nurse With Wound list. Highest recommendation!” [John Gibson]. Top copy and original press of this mega rare French experimental/ psychedelic/ avant-garde disc that every NWW-list adept is craving for. The music is balancing on the very fringes of weirdness, which one can classify next to Taj Mahal Travelers and Tenjosajiki with J.A. Seazer at helm. Total killer with no filler!!! Has been ages since I had an original copy of this beast. Price: Offers!!!
371. CHENE NOIR: “Chant pour le Delta la Lune et le Soleil” (Chene Noir Disques – 1976), (Record: Excellent ~ Near Mint/ Jacket: Near Mint). This the second Chêne Noire disc, following their illustrious debut on the Futura label. According to my opinion is this second disc far better than their debut “Aurora” (Futura), which was more avant-garde and abstract oriented, there were “Chants pour le Delta…” is build up around a trace-inducing, theater like sound approach. Swirling female vocals set against a monotone trance inducing backing, that sound like a tribal improvisation stomp evolving into grandiose operatic chanting and medieval psychedelic woodwind swirl. If I have to compare this album, the closest thing I can come up with is “Magma meets The Third Ear Band, infused with a punch of Brigitte Fontaine”. Get the picture?? Hyper surreal in their approach and excellent for late night dope induced atmosphere. Needles to say that this record is hyper rare, since it came out as a private press on their own label. Comes in a beautiful full color jacket. Mint condition. Highest recommendation. Price: 200 Euro
372. CHERRY, DON: “Mu First Part” (BYG/ Nippon Columbia – BYG-1) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Excellent). Japan 1st original press issue all complete with insert and obi. The entire album was captured August 22, 1969 at Studio Saravah, Paris, a period that would define Woodstock, Bitches Brew from Miles Davis, the end of the Beatles and so many other pivotal changes in world music. Don Cherry composed every piece on Mu First Part and it has remained one of his most valued recordings from the era. Released in the same year it was recorded, the people of France were treated with something very special. A pivotal recording that showcases Don Cherry pushing music into the most abstract realms of sublime beauty that had ever been recorded. Price: 85 Euro

373. CHERRY, DON: “Mu Second Part” (BYG/ Nippon Columbia – BYG-28) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Excellent). Japan 1st original press issue all complete with insert and obi. “This classic pair of recordings captures Don Cherry near the height of his global quest to absorb as much music as possible from different cultures and funnel it back through his jazz sensibility. It's one of the earliest, and most successful, experiments in what would later come to be known as world music. He wisely chose his fellow Ornette Coleman cohort Ed Blackwell -- a drummer steeped in the traditions of New Orleans, African music, and free jazz -- for his partner. Despite his reputation as a trumpeter, Cherry spends a great deal of time here on piano, flutes, and vocals. His piano playing, while relatively simple, is fluid and melodic, owing a good deal to Abdullah Ibrahim. Likewise, his singing -- heavily influenced by Indian karnatic song -- is endearingly bright, heartfelt, and lovely. But, above all, his trumpet playing is stellar. When Cherry hits his ringing, clarion passages, he projects a purity of sound that few other trumpeters could match. Blackwell matches him sound for sound, with rolling West African-derived rhythms, Basin Street marches, and the most overtly musical tone of any drummer this side of Max Roach. The Mu sessions have long held legendary status and it's not difficult to hear why. Highly recommended.” (All Music Guide) Price: 85 Euro

374. CHERRY, DON: “Mu First Part & Second Part” (BYG – Double Actuel 2100 Series – YX-9007~8) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Japan first original pressing all complete with obi. This one combines the 2 Actuel recordings Don Cherry made for the label, thrown together as a double LP set and with altered art work. Does not surfaces that often with the obi there, proudly flashing its colors. Price: 50 Euro
375. CHERRY, DON & GATO BARBIERI: “Togetherness” (Globe – SMJ-7414) (Record: Near Mint/ Flip Back Jacket: Near Mint). Rare mid 1960s Japanese first original pressing that comes housed in fragile flip back textured sleeve. Top condition. Never seen a Japanese press before of this amazing Don Cherry title. This LP features tenor-saxophonist Gato Barbieri (at the beginning of his career) and trumpeter Don Cherry teaming up with a French rhythm section for the trumpeter's five-part "Togetherness." While Cherry plays pretty free, he sounds conservative next to the often-violent wails of Barbieri. Great free flowing and free blowing slide, fire music in motion and killing it. Comes dead cheap…. Price: 150 Euro
376. CHERRY, DON: “Complete Communion” (Blue Note – BST-84226) (Record: Near Mint/ Jacket: Near Mint). Clean US Liberty press issue. “Not counting a couple of sessions he co-led with John Coltrane and Albert Ayler, Complete Communion was the first album Don Cherry recorded as a leader following his departure from the Ornette Coleman Quartet. It was also one of the earliest showcases for the Argentinian tenor saxophonist Gato Barbieri, who Cherry discovered during a stay in Rome. While the music on Complete Communion was still indebted to Coleman’s concepts, Cherry injected enough of his own personality to begin differentiating himself as a leader. He arranged the original LP as two continuous side-long suites, each of which incorporated four different compositions and was recorded in a single take. In practice, this meant that several melodic themes popped up over the course of each side; all the musicians free-associated off each theme, engaging in intense, abstract dialogues before moving on to the next. As the album's title suggests, every member of the group not only solos, but shares the total space selflessly. Bassist Henry Grimes and drummer Ed Blackwell both play extremely active roles, especially Grimes, who solos powerfully and sometimes carries the main riffs. Often the music sounds more like a conversation, as opposed to a solo with support, because the musicians make such intelligent use of space and dynamics, and wind up with a great deal of crackling, volatile interplay as a result. The leader remains recognizably himself, and his burnished tone is a nice contrast with Barbieri’s fiery approach; for his part, Barbieri’s playing has a lot of speechlike inflections, and he spends a lot of time in the upper register of his horn, which makes him sound quite similar to Ornette at times. As a whole, the project comes off remarkably well, establishing Cherry as an avant-garde force to be reckoned with in his own right.” (All Music Guide). Price: 55 Euro
377. CHERRY, DON: “Where Is Brooklyn” (Blue Note – BST-84311) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Rare Japan original first imported issue with very first issue obi. “Cherry’s final album for Blue Note, and it returned to the quartet format of Complete Communion, this time featuring Pharoah Sanders on tenor sax along with bassist Henry Grimes and drummer Ed Blackwell. Here, Cherry abandons his concept of recording all the album's compositions as side-long medleys; rather, each is treated separately, with spaces in between the tracks. There wasn't a need to integrate the compositions by periodically returning to their themes, so perhaps that's why Cherry doesn't really focus as much on bringing out his compositions this time around. Where Is Brooklyn is much more about energy and thoughtful group interaction than memorable themes, and so there's just a little something missing in comparison to Cherry’s prior albums, even though they did also emphasize the qualities on display here. Nonetheless, it's still a fine record for what it does concentrate on; Sanders is in typically passionate form, and the rest of the ensemble members have already honed their interplay to a pretty sharp edge.” (All Music Guide) rarely seen Japanese original in awesome condition. Price: 100 Euro.
378. CHERRY, DON: “ORIENT - Don Cherry no Atarashii Sekai” (BYG – YX-4012-13) (2 LP Set: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ OBI: NEAR MINT). Rare Japan only release complete with the very rare OBI present. WHITE LABEL PROMO, 1st original copy ever to cross my path with OBI attached. A beauty from Don Cherry – and one of his rarest records! This set was originally only ever issued by the Japanese branch of BYG Records in the early 70s, and it features 2 live performances from France, both of them great! Don's in a spare trance-like mode here – working with one trio comprised of bassist Johnny Dyani and percussionist Okay Temiz; and another trio with Han Bennink on percussion and Moqui on tambura. Tracks from both sets are very long and stretched-out – a mixture percussion, trumpet, flute, piano, and occasional vocals, often done in a globally expansive style. Titles include "Si Ta Ra Ma", "Orient", "Eagle Eye", and "Togetherness". Killer spiritual jazz slide and only released in Japan. Top copy! Price: 275 Euro

379. CHERRY, DON: “Blue Lake” (TOHO/ BYG – YX-4022~3) (2LP Set: Near Mint/ Gatefold Sleeve: Near Mint/ Obi: Near Mint). Original press, Japan only release that came out in a run of approximately 500 copies. Has been a long time since I had an all complete copy with obi. Much in demand especially with obi flashing its colors and this copy is probably the best you can possibly hope for, perfect condition. Without a doubt the rarest title in the Don Cherry catalogue since original copies just never surface. Cherry’s global approach and experimentations on Blue Lake depict his nomadic musical-self transitions between pocket trumpet, flutes, piano and chanting. The disc gets underway with tom-tom drum crescendos spilling over Cherry’s Alice Coltrane-like arpeggio runs on piano and humming chants, before segueing dramatically into the frenetic brass playing and Okay Tamiz’s polyrhythmic percussive displays. Wooden sounding drums—as well as gongs, bells, chimes, and "small" instruments also come into the action. The legendary South African bassist Johnny Dyani and percussionist Okay Temiz are seemingly the ideal accompanists for Cherry’s Oriental induced outings. Dyani’s plucked and arco bass get accompanied by a wistful clay flute, wind-like chimes, and sensitive drum tapping, resonates with a certain archaic magic. The second movement is much more rhythmic and borders on an outpouring of emotion. It settles the rhythm into gear with a meditative and melodic humming chant offered to the crowd by Cherry. In all, the disc features masterful improvisational interplay by what would seem greater than a mere threesome; the experience is captured exquisitely. Moreover, this original vinyl copy sound so much fuller than the needle drop bootleg copy Akarma flooded the market with years ago. A joy to hear this disc the way it is supposed to be heard. Rare original in perfect nick with rare obi present! Price: 375 Euro

380. CHERRY, DON: “Blue Lake” (TOHO/ BYG – YX-4022~3) (2LP Set: Near Mint/ Gatefold Sleeve: Near Mint). Original press, Japan only release that came out in a run of approximately 500 copies. Without a doubt the rarest title in the Don Cherry catalogue since original copies just never surface. Cherry’s global approach and experimentations on Blue Lake depict his nomadic musical-self transitions between pocket trumpet, flutes, piano and chanting. The disc gets underway with tom-tom drum crescendos spilling over Cherry’s Alice Coltrane-like arpeggio runs on piano and humming chants, before segueing dramatically into the frenetic brass playing and Okay Tamiz’s polyrhythmic percussive displays. Wooden sounding drums—as well as gongs, bells, chimes, and "small" instruments also come into the action. The legendary South African bassist Johnny Dyani and percussionist Okay Temiz are seemingly the ideal accompanists for Cherry’s Oriental induced outings. Dyani’s plucked and arco bass get accompanied by a wistful clay flute, wind-like chimes, and sensitive drum tapping, resonates with a certain archaic magic. The second movement is much more rhythmic and borders on an outpouring of emotion. It settles the rhythm into gear with a meditative and melodic humming chant offered to the crowd by Cherry. In all, the disc features masterful improvisational interplay by what would seem greater than a mere threesome; the experience is captured exquisitely. Moreover, this original vinyl copy sound so much fuller than the needle drop bootleg copy Akarma flooded the market with years ago. A joy to hear this disc the way it is supposed to be heard. Price: 175 Euro

381. CHERRY, DON & JON APPLETON: “Human Music” (Flying Dutchman – FDS-121) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Direct Import Obi: Near Mint) Rare US pressing in top notch condition that was directly – upon its release – imported to Japan and for this the whole thing got adorned with a “Direct Import Obi” and Japanese liner notes insert. The obi is damned rare and always missing, first time in all these years I see a copy with the first issue obi present! A fantastic record and one of the rarest ever on Flying Dutchman! The set is an amazing collaboration between trumpeter Don Cherry and pioneering electronic musician Jon Appleton -- one of those rare meetings of the minds that goes far deeper than you'd expect! On the set, Cherry's trumpet, flute, and percussion is heavily processed by Appleton -- often in ways that are organic enough to keep with Cherry's other experiments of the time, and with the "Human Music" title of the set -- but sometimes with the more playful feel of Appleton's other music from the time. The mix of electronics and improvisation is amazing -- years ahead of its time and with a haunting sound that works perfectly against Cherry's style of restrained spiritualism. The LP's got 4 long tracks -- "Boa", "Oba", "Abo", and "Bao" -- all recorded live in the studio! Rare obi is quite a catch, never offered before first issue obi. Price: 125 Euro

382. CHERRY, DON: “Organic Society” (Caprice Records – CAP-2001) (2LP set: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Scarce Don Cherry side complete with insert of a gig recorded live in concert way back in 1972 in Sweden + released only in Sweden at that time. Incredibly difficult to find Holy Grail of spiritual free jazz LP, conceived while Don Cherry was living in a commune in Sweden. The disc in question has become highly sought after for Cherry's stunning rendition of Pharaoh Sander’s “The Creator Has a Master Plan”... but that is not all. The 2 slides conceal many more aural delights of communal free jazzing spirituality, a tribal feel breathing throughout the recording. Just jaw-droppingly stunning. Then there is the lysergic gatefold cover art and the hand lettered inner cover. Boy, a sight for sore eyes. In short, this double LP is a total gem and is generally considered to be Cherry's finest outing by those who are lucky enough to hear it. The psychedelic eye-popping gatefold jacket art is a bonus, both great music and art encapsulated into one glorious artifact. All time highest recommendation. Price: 200 Euro
383. CHERRY, DON – THE THIRD WORLD: “Underground” (Nadja/ Trio Records – PAP-9018) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Original 1972 Japan ONLY issue. Comes all-complete with rare obi. A stunning little session – and every bit as wonderful as you'd expect from a lineup that includes Dollar Brand, Don Cherry, and Carlos Ward! The three players work together here in open, spiritual styles – with really long-flowing lines from Brand on piano, in a more modal style that's different from some of his other records – balanced out with bold trumpet lines from Cherry, and soaring alto sax from Ward – a player who doesn't always get the chance to step out this much! All three players vocalize a bit, but more in some sort of rootsy way that echoes the music – and the album's a really unique outing from all three players – and a set we'd rank with their best from the time. Top copy, first original press issue. Copies with obi are so damned hard to dig up these days, let alone in such a pristine condition as this one here. Price: 175 Euro
384. CHERRY, DON: “Don Cherry In Ankara” (Sonet – SNTF-669) (Record: Near Mint/ Jacket: Near Mint). Original 1978 1st pressing in TOP condition. MONO issue. First pressing on the tiny Sonet label, “Live In Ankara” captures Don Cherry’s concert at the American embassy in Turkey on November 23, 1969. Cherry performs with an entirely Turkish rhythm section that includes drummer Okay Temiz, bassist Selçuk Sun, and percussionist/tenor saxophonist Irfan Sümer. The repertoire balances original Cherry themes with Turkish folk melodies arranged by Turkish jazz trumpeter Mafy Falay; sandwiched between a couple of Ornette Coleman themes and a take on Pharoah Sanders’ "The Creator Has a Master Plan." Nothing is really explored for too long; the music is played as two continuous suites, and they usually shift to new material fairly quickly. The ensemble has a pretty sparse sound; with Cherry the sole lead voice for much of the concert. All of this serves to emphasize the melodicism of Cherry’s playing here, and the Turkish material sits pretty comfortably alongside the jazz compositions. Top original copy! Price: 125 Euro

385. CHERRY, DON TRIO: “The Eternal Now” (Sonet – SNTF-653) (Record: Near Mint/ Jacket: Near Mint). Original UK pressing with unlaminated jacket. TOP copy and super clean. “Something of a sequel to Eternal Rhythm, his classic meeting of free jazz and world music from five years prior, Eternal Now found Don Cherry entering the studio for the tiny Sonet label, once again with members of the European avant-garde scene (this time from Sweden). This time around, though, the focus swings decidedly to the world-folk end of things: The only standard Western instrument is the piano, featured on only two of the five pieces (one of which is a non-traditional, African-styled repeated figure for two pianos and three players). The other instruments -- which include a great deal of percussion -- come from Africa, Tibet, China, India, Romania, and Indonesia. The session has a very loose, exploratory feel (four pieces are around eight minutes or more), which leaves lots of room for the musicians to play with the exotic textures of the instruments. The arrangements tend to be sparse, with plenty of open space that allows each instrument to be heard clearly, making for a sound that's similar to some of the Art Ensemble of Chicago's '60s work. Cherry and the rest of his musicians hardly approach the project in a traditional manner (none of these intercontinental instrument combinations had probably been tried before); the whole point is to explore new musical possibilities and commonalities among cultures. While the results do meander occasionally, Eternal Now on the whole remains a fresh, unpredictable listen.” (All Music Guide). Absolutely top copy of amazing jazz slide. Price: 100 Euro

386. CHERRY, DON TRIO: “The Eternal Now” (Sonet/ Teichiku Records – UXP-33-N) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Original JAPANESE pressing, complete with obi as released in 1976. Red label PROMO issue. First pressing, 2nd press came out in KING records in 1981 and you can find it here below. TOP copy and super clean. “Something of a sequel to Eternal Rhythm, his classic meeting of free jazz and world music from five years prior, Eternal Now found Don Cherry entering the studio for the tiny Sonet label, once again with members of the European avant-garde scene (this time from Sweden). This time around, though, the focus swings decidedly to the world-folk end of things: The only standard Western instrument is the piano, featured on only two of the five pieces (one of which is a non-traditional, African-styled repeated figure for two pianos and three players). The other instruments -- which include a great deal of percussion -- come from Africa, Tibet, China, India, Romania, and Indonesia. The session has a very loose, exploratory feel (four pieces are around eight minutes or more), which leaves lots of room for the musicians to play with the exotic textures of the instruments. The arrangements tend to be sparse, with plenty of open space that allows each instrument to be heard clearly, making for a sound that's similar to some of the Art Ensemble of Chicago's '60s work. Cherry and the rest of his musicians hardly approach the project in a traditional manner (none of these intercontinental instrument combinations had probably been tried before); the whole point is to explore new musical possibilities and commonalities among cultures. While the results do meander occasionally, Eternal Now on the whole remains a fresh, unpredictable listen.” (All Music Guide). Absolutely top copy of amazing jazz slide. Rarely surfaces with obi present! Comes with FIRST ISSUE OBI! Price: 200 Euro
387. CHERRY, DON TRIO: “The Eternal Now” (Sonet/ King Records – K23P-6085) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Original JAPANESE pressing, complete with obi as released in 1981. WHITE LABEL PROMO issue. TOP copy and super clean. “Something of a sequel to Eternal Rhythm, his classic meeting of free jazz and world music from five years prior, Eternal Now found Don Cherry entering the studio for the tiny Sonet label, once again with members of the European avant-garde scene (this time from Sweden). This time around, though, the focus swings decidedly to the world-folk end of things: The only standard Western instrument is the piano, featured on only two of the five pieces (one of which is a non-traditional, African-styled repeated figure for two pianos and three players). The other instruments -- which include a great deal of percussion -- come from Africa, Tibet, China, India, Romania, and Indonesia. The session has a very loose, exploratory feel (four pieces are around eight minutes or more), which leaves lots of room for the musicians to play with the exotic textures of the instruments. The arrangements tend to be sparse, with plenty of open space that allows each instrument to be heard clearly, making for a sound that's similar to some of the Art Ensemble of Chicago's '60s work. Cherry and the rest of his musicians hardly approach the project in a traditional manner (none of these intercontinental instrument combinations had probably been tried before); the whole point is to explore new musical possibilities and commonalities among cultures. While the results do meander occasionally, Eternal Now on the whole remains a fresh, unpredictable listen.” (All Music Guide). Absolutely top copy of amazing jazz slide. Rarely surfaces with obi present! Price: 125 Euro
388. CHERRY, DON: "Brown Rice - Om Mani Padme Hum" (EMI - 3C 064-18107) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top condition Italy first original press issue from 1975! 1975 album from jazz trumpeter Don Cherry, originally titled Don Cherry. Certainly one of his best releases during the '70s, Brown Riceis an album that takes the tripped-out spacey jazz sound he was working on, and adds some nice electric moments, with occasional slight touches of funkiness. It has a cool vibe and a tightness that only adds more to his great playing. Features guest appearances from Ricky Cherry on piano, and Frank Lowe on tenor sax. Absolutely gorgeous copy in top shape. Best around. Price: 125 Euro
389. CHERRY, DON & PENDERECKI: “Actions” (Philips/ Nippon Gramophon – RJ-5071) (Record: Excellent/ Jacket: Excellent/ Obi: Excellent). Ultra rare Japanese 1st pressing with always and hardly ever seen obi present. First time I ever see a copy with obi intact. Recorded live in 1971 at Donaueschingen, “Actions” featured the “New Eternal Rhythm Orchestra”, a loosely knot group or collective especially erected for this event to operate and explore the boundaries of sonic unexcavated territories and under the guidance and direction of Krystzof Penderecki and Don Cherry. The collective's line-up is a bit mouth-watering by today's standards since it was a veritable who's who of the then emerging European Free Jazz scene with in its ranks Peter Brotzmann, Willem Breuker, Paul Rutherford, Han Bennink, Terje Rypdal, Kenny Wheeler and Tomasz Stanko to name but some of the key players. Don Cherry was also by that time emerging and profiling himself as an advocate of a new musical language erected upon sonic freedom, which he spiced up with different musical and cultural influences that would come to color his musical DNA. Hence the echoes of Turkish folk and classical Indian rhythms on Cherry's pieces “Sita Rama Encores” interspersed with explosive passages of free fire playing. The Penderecki piece “Actions for Free Jazz Orchestra” explores the balance between composition and improvisation in a less playful yet no less meaningful way. Drones and extended techniques (such as overblowing) merge seamless into brass chords which hang in the air. Many episodes showcase that much anticipated explosive playing and fusion between jazz and composition, especially escalating in guitarist Terje Rypdal and saxophonist Brotzmann's excursions into uncharted territories and sounding challenging, far out and awe-inspiring enough to make your hair stand on end. Price: 150 Euro
390. CHIBIZU: “Ore Ga Warui Nano Ka” (Fuwa Works – FW-001) (Record: Near Mint/ Jacket: Near Mint/ Wrap Around Outer Obi: Near Mint). Released in 2012 in an edition of 500 copies only which evaporated almost instantly and remained elusive ever since. Totally under the radar private press free jazz beast that is simultaneously funny, sad, exhilarating, confusing, effortlessly out – it’s hard to believe such a purely-conceived document could even exist in the current cynical/know-all post-Wikipedia world. But this is real and the outfit is already gigging and playing around since 1991! That is almost a 30-year span and still most geeks do not even know about their sonic exploits. The session is both chaotic and stellar, the pianist’s themes having to fight to emerge from the instrumental maelstrom of bras and horns. Nevertheless it rises from the most abyssal parts of the horns, forcefully conjuring the image of engulfing waters sweeping away the old world. Yet something special is happening all over here. The typical feel of a big band tune from the bebop era is a finely oiled stage show – a disciplined chorus-line hierarchy with horns at the top and rhythm section below moving in slick synchronization that slowly degenerates into a whirlpool of orchestrated chaos and fury. The whole affair is wild and swings like a bat out of hell and while spinning this ball buster it makes you feel like standing in the midst of a prison riot that turned into a bacchanal party. Moreover, here it is more like a circus, with instruments stumbling backwards and forwards into each other from every angle. This topsy-turvy world carries through both sides of the record without giving you much space or time to think things over except to go with the flow and ride it all out. Just a mesmerizing drunk gypsy like wedding going berserk. This feels like a jolt of lightning rolling down from the mountains and it feels good. You get rejuvenated and feel like shouting down the night. Killer but damned hard to track down. Price: 150 Euro
391. CHICK COREA & HIS FRIENDS: “Nichirin – The Sun” (Express – ETP-9016) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent ~ Near Mint). Freakingly rare and never-ever before 1970 Japan only issue that is all complete with mega rare obi. So far only a handful (3 to be exact at this point that I know off) complete copies are accounted for. Without obi it surfaces from time to time – as does a 2nd pressing with different cover art - and is very affordable. With the 1st issue obi gracing the sleeve on the other hand, it is a slightly different ballgame. That said, this is a vicious, tear-gas-smoking fuck-around spiritual free jazz slide from start to finish. Corea gets flanked by Steve Grossman – tenor saxophone, Dave Holland on bass, Jack DeJohnette on drums and Steve Jackson manhandling miscellaneous percussive instruments. The group gels together like butter on toast and right from when the needle hits the groove they steer into telepathic interplay that just never stops, combining propulsion, eloquent ornamentation and cosmic phrasing to create a bewitchingly asymmetric groovy vibe that sweats out a psychic aura. Choice cuts are the deep and aggressive “Moon Dance” that propels forward without loosing its addictive liquid and hypnotic swing, “Slumber” and the side-long free jazz masterpiece “The Sun” pushing its scope intergalactically and aiming to find the kingdom of heaven within and, on its journey there, finding the face of God to be highly irresolute. In short, utterly jaw-dropping amazing record but sadly an all-complete near mint 1st press original with obi present is rare beyond belief. Just never surfaces and here is a pristine copy for you, a spiritual jazz milestone record! Highest possible recommendation! Price: Offers!!!
392. CHICK COREA: “Circulus Vol. 1” (Blue Note – GXF-3026) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Rare Japanese press original all complete with obi, which was released in 1978. “Chick Corea has had a very diverse career and has consistently been among the most popular of all jazzmen, but his avant-garde music of 1970-1971 certainly will not appeal to fans of his fusion band, Return To Forever. His group, Circle is well-showcased on this LP which finds Corea, Reed master Anthony Braxton, bassist Dave Holland and drummer Barry Altschul performing two lengthy group improvisations. In addition, Braxton sits out on the trio selection "Drone." The music is generally quite difficult with sound explorations emphasized over melodic development, and is much closer to the direction that Braxton would explore than what Corea would be playing two years later. But open-eared listeners who enjoy avant-garde jazz will find much to savor during these fascinating performances from one of the new music's top (if short-lived) regular groups. (All Music Guide). So much better and totally jaw-dropping slide that set to shame all Corea did hereafter. Price: 75 Euro
393. CHILDREN OF THE SUN: “Ofamfa” (Universal Justice Records – 29105) (Record: Near Mint/ Jacket: Excellent). Great copy of totally vanished spiritual jazz slide. Children of the Sun was the first of the recording put out by the private press imprint Universal Justice and the Black Artists’ Group (B.A.G.) in 1971, a collective out of St. Louis featuring Oliver Lake. Whereas the later releases of this loose-knit group dwell into more confined and well-guarded waters and steering towards safe harbors, Ofamfa sees itself in the territory of unique and adventurous recordings; spiritual free jazz interlocking with poetry and testing the limits of the sound barrier as far as deep subterranean vibes are concerned in the quest for high-voltage reactions and high-tension music. This is top shelf early seventies private press spiritual jazz feeding off an intuitive approach and a shamanistic sense of poetry, putting down one of the jazz underground scene’s defining moments. Just stunning and much in demand these last years and a tough one to get your mittens on as of late. Amazing copy, highest recommendation!!! Price: Offers!!!
394. CHILDREN OF ONE: “S/T” (Real – REAL-101) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). First issue original US private press, a stunning spiritual intoned female vocal freak folk album that is in need for rediscovery. TOP COPY!!! “Not much is known about the origins of this highly interesting early communal head-trip. Although broken up into separate tracks like a conventional pop LP, Children Of One plays like an extended suite that offers subtle variations of its eerie, nocturnal moods. The combination of wordless female vocal harmonies cello makes for a sound similar to Denmark’s great Furekaaben, except more hi-fi and entirely instrumental. Kalacakra from Germany also springs to mind as the undoubtedly psychedelic drone music flows out of the speakers, but the New York based group eschew the stoned crashpad vibes of such European classics for a more cerebral, refined and chilling atmosphere. The more advanced parts of the Trees’ “Christ Tree” spring to mind as siren-like female vocals mix with sitar and flute, and beyond the modern art music influence, traces of Exotica seem to be present. Whatever went into this, a damn good album came out, in fact one of the best I’ve heard in the communal-avant-acid drone filed, and one that could appeal to contemporary listeners with no interest in old hippie music. Except for a somewhat ill-conceived drum solo, this really isn’t rock music at all, but an engaging aural experience of eerie late-night moods that aren’t ahead of their time as much as timeless. Fans of Christian Yoga Church need to check this out; it’s a much better recording that hits roughly the same lysergic semi-improv spot. A Spooky cover showing a giant, anthropomorphic sunflower contributes too. Get a copy before this gets truly expensive” (PL – Acid Archives). This description hits its on the head, spot on, a truly unique stoned vibed album. Turns up hardly anymore, this copy is just near perfect with only a few sleeve lines visible under a bright light. Killer. Price: 450 Euro
395. CHILTON, ALEX: “One Day In New York” (Vivid – KEN-2004) (Record: Near Mint/ Jacket: Near Mint/ Obi with attached Insert: Near Mint). Japan ONLY issue of Chilton. Totally vanished and barely anywhere available as it was a Japan only issue, documenting a stellar Alex Chilton both in the studio and a live gig at CBGB’s. Killer renditions of Holocaust live which sends shivers down your spine, In the Street, Take Me Home & Make Me Like It, A Little Fishy, Baby Beside Me, More and a string of other heartbeat songs he breathes out. Chilton is the man as you might now, sublime, great and totally awesome. Seldom seem disc, bound to surface ever so sporadically. Wonder how little this pressing might have been; guess it cannot be more than 300 to 500? Highest fucking possible recommendation. Price: 75 Euro
396. The CHITINOUS ENSEMBLE: “”S/T” (Deram Records/ King Records – DL-3011) (Record: Mint/ Jacket: Near Mint/ Insert: Mint/ OBI: Near Mint). Freakingly rare first original 1972 Japanese pressing complete with mega rare obi – all is in TOP condition. This long lost Brit-jazz release is a much sought-after collector's item as the original vinyl LP almost never turns up. Released in a small quantity in 1971 on the British Deram label (a Decca company), Chitinous has attained near legendary status amongst British jazz collectors. Many will remember Buckmaster from the pop/rock world as he arranged the strings and orchestral parts (and often played the cello, too!) on such famous recordings as David Bowie's "Space Oddity", The Rolling Stones "Sticky Fingers", The Bee Gees "Odessa" and many Elton John albums including "Tumbleweed Connection" & "Madman Across the Water". In 1972 Buckmaster was introduced to jazz great Miles Davis, which led to a friendship and to Buckmaster's involvement on Davis' landmark "On the Corner" album! In addition to the usual "jazz" instrumentation of keyboards, guitar, bass, drums, sax & trumpet, this uses a large 'classical' ensemble of 18 violins, 5 violas, 7 cellists (including the solos played by Buckmaster himself), 2 double basses, 2 trumpets, trombone, bass trombone, tuba, bass clarinet, baritone sax, and percussion! Then there is the jazz-rock ensemble which reads like a who's who of Brit-jazz: Ian Carr (Nucleus)-trumpet & flugelhorn, Brian Smith (Nucleus)-soprano sax, Peter Robinson (Quatermass, Brand X)-electric piano, Dave Richmond (Manfred Mann) & Brian Odgers (Vangelis)-bass guitar and John Marshall (Nucleus, Soft Machine)-drums - among others!!! Musically this is best described as the perfect marriage of contemporary classical music & the world of jazz-rock. Hints at Nucleus or Soft Machine here & there, some hints at Miles Davis' electric work (which was certainly a general influence on Buckmaster's work) and the classical elements are certainly influenced by a myriad of composers of the latter half of the 20th century. Certainly this was very avant-garde for 1971 and doesn't really sound that dated today. And it is, for something described as a marriage of jazz-rock & 20th century classical music, much more restrained and even beautiful than that might make you think. In conclusion it is fair to say that if you are a fan of British jazz-rock or the Brit-jazz scene then you will simply love this album. If you are a fan of fusion or adventurous rock music then you should know that this is closer to Miles Davis than it is to Brand X. Especially if you love the marriage of an orchestra with the jazz or rock world in a very integral way, that is to say not just window dressing like strings on an Elton John album, then this is right up your alley! BTW, Chitinous comes from chitin meaning the "substance forming horny cover of beetles & crustaceans". (ZNR-cds). Never offered before mint copy, Japanese first original pressing all complete with “Deram” OBI. Price: Offers!!!!

397. CHOI SUN BAE QUARTET (with UMEZU Kazutoki/ INO Nobuyoshi/ Koyama Shota): “The Sound Of Nature – Live At Pit Inn” (Chap Chap Records – POJE-9006) (Record: Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint/ Sticker: Mint). Small pressing of 250 copies of this stunning free jazz blast. Trumpeter Choi Sun Bae really blows me away here – but it is also his well selected sidemen that light fire under it all (especially former Takayanagi Masayuki sideman Ino Nobuyoshi is stellar; Seikatsu Kojoiinkai front man Kazutoki Umezu keeps it all gelled together and Yamashita Yosuke/ Fumio Itabashi Trio side drummer Shota Koyama) who as a unit make for some really marvelous sounds recorded live at Tokyo’s Pit Inn on June 13, 1995. Choi Sun Bae himself is a kind of that inside-out style of the trumpet player that Don Cherry unveiled on some of his key 60s recordings as a leader – but he takes it here a couple of steps further beyond the yonder, exploring some freer heights and blowing open the fringes of exploratory sound! The performance is clearly improvised throughout and all players that work equally to free their instruments from conventional constraints – yet always with the same sort of careful, textural approach as Choi. It is an arresting listening experience and one of the best free jazz blasts I could enjoy of late. Sitting through it, it just hits the nerves like blast of summer lightning across the mountains! Beautifully painful teeth-grinding frenzy!!! Price: 125 Euro

398. The CHOIR: “It’s Cold Outside b/w I’M Going Home” (Roulette/ Victor Records – RF-1009) (7 Inch Record Single: Near Mint – small slightly visible inaudible scuff on side 2/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Damned rare Japan only picture sleeve issue of classic killer garage slide. The 7 Inch itself comes with center piece attached. The Choir was the name chosen for the band on the record as they had been working previously under the The Mods moniker but that clashed with some other act, so there was opted to change their stage name. The tracks they had recorded started to get some action when the songs were presented to the Roulette label in June 1967. The Choir were five strong - Dave Smalley (lead vocals / rhythm guitar), Jim Bonfanti (drums), Wally Bryson (lead guitar), Danny Klawon (drums / guitar / harmonica), Dave Burke (bass), although the picture sleeve shows the group to be a four piece (Jim Skeen, Bryson, Bonfanti and Smalley). The actual recording itself had taken place in Chicago in the summer of '66 with Bill Szymczyk as engineer. The end result is well known, two killer classic teenage garage tracks that shred. This copy here is the damned rare Japan pressing of the time all complete with rarely seen Japan only picture sleeve art. Top condition. Price: 400 Euro
399. CHRIS McGregor’s BROTHERHOOD OF BREATH: “S/T” (RCA NEON – SRA-5521) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert with Liner Notes: Near Mint). Chris McGregor, a pianist who had formed the Blue Notes in his native South Africa, hatched the idea of the Brotherhood of Breath in his transplanted home of London. The group got its start at the end of the Blue Notes tenure in 1969. This new group was essentially the same band with the addition of several members of the British jazz community. Among the people who were in the Brotherhood were Harry Beckett, Evan Parker, Nick Evans (Keith Tippett Group), Mike Osborn, and Dudu Pukwana (Blue Notes). The first album, Chris McGregor's Brotherhood of Breath, came out in 1971. The album augmented the group's live legend in establishing their reputation as one of the up-and-coming new jazz groups. This copy here is the freakingly rare Japanese 1st press on the NEON label, this being the white label TEST pressing. Never surfaces and highly collectible. Only a handful of these white label test pressing in existence so rare forever and damned cheap. Price: 150 Euro
400. The CHRIS MCGREGOR Group with BARRE PHILIPS – LOUIS MOHOLO – MONGEZI FEZA – MIKE OSBORNE – EVAN PARKER & JOHN SURMAN: “Recorded in London, England – August 1968) (No Label/ Witchseason – RGG 1107-8) (Record: Near Mint/ Paste on Sleeve: Excellent, no defects at all but has some mildew spots visible against the white background due to age). Bloody rare unreleased recording that only was briefly in the running as a test pressing only and of which only a handful of copies exist!!! Never seen a copy before and this is a beast of a slide. The music is nothing short of astonishing, which producer Joe Boyd almost glibly claims that he doesn't know exactly why this session by pianist Chris McGregor’s transnational septet initially went unreleased. He claims he was on poor terms with Polydor at the time, and that Chris Blackwell’s Island Records was "not exactly a jazz label." Still these sessions were recorded in August 1968 in London with trumpeter Mongezi Feza, drummer Moholo and McGregor flanked with then-young Brit saxophonists Evan Parker, John Surman, Mike Osborne and Barre Philip. These tracks certainly walk on the outside edge of jazz and more than flirt with plenty of free playing. Still great structure is abound to the music, inspired arrangements that allow a maximum of freedom without an ounce of self-indulgence. McGregor’s piano work on his pieces creates not only themes, but vast colorful scales and extended chord reaches for the soloists to work out from; where Parker plays right toward the piano as Moholo creates a specific adrenalized rhythm toward all three players. It's Feza and Surman who respond to McGregor’s South African folk themes with something akin to glee. Then there are the joint sections where all the horns, stretched in boundary-breaking harmonics, are paying composed lines as an ensemble. This was a new kind of free jazz -- one seldom heard in America -- with great humor, warmth, and a genuinely celebratory vibe from the South Africans, who were establishing their own rules; it's a safe wager that Parker and Surman haven't played like this since then either. This session is one with excellent sound and presence. Awesome!!! Price: Offers!!!!
401. CHRISTIAN CLOZIER & JACQUES LEJEUNE: “Perspectives Musicales” (EMI Pathe Macconi – 2C-061-11.632) (Record: Near Mint/ Jacket: Near Mint). Top copy! Another mythical musique concrete record that bring out mutant variations in sound through asymmetric grooves and synthetic sounds. Although both Clozier and Lejeune are well established composers in the field, this “Perspectives Musicales” disc does not get stuck in the quicksand of electronics’ music formulaic gridlock and instead opens up viable escape routes into a teeth-grinding outbursts of dusty panoramic sound clusters and exploratory tape splicing effects. Their organization of sound has a gift for the unexpected impact while busily folding and manipulating the space it dwells in. It is just ear-filling consummate art and one of the best ever electronic/ musique concrete and avant-garde testaments to have been grinded into wax. To give you another perspective on the musical identity and the cinematic pulsating sonic landscape that is on display here, I borrow the Creel Pone promotion blurb that came with the bootleg CDR release of this LP. “Released as part of EMI/Pathe Marconi’s mythical “perspectives musicales” series (parodied by sonic youth via their “syr-series”), this lovely LP showcases by far the hardest-to-find title in a series known for being elusive to collectors of “contemporary music”, which isn’t to over-emphasize the scarcity of the object; this is one of the most “happening” sets of musique concrète in the entire INA-GRM canon; Lejeune’s killer “Petite Suite” especially rocks with its ruthless plundering of first the lone free-time hi-hat, then the entire drum-kit of a studio “Funk” drummer, interspersed with blasts of processed guitar & full-on psych-rock. Coupled with the sparse electronics & plunderphonic choir of “d’une multitude en fete”. You certainly begin to get a sense of the sheer scope of Lejeune’s compositional vision...Christian Cozier’s “Dichotomie” uses familiar elements from the concrète lexicon: mutated/extended instrumental techniques & percussion, heavy use of phasing and tape-speed effects, tons of close-mic’ed/distorted sounds interspersed with distant, reverb-laden atmospheres; it’s the dense tapestry that makes the sparse “lettre a une demoiselle” seem so... barren in comparison.” In short, a beast of an electronic disc. Beats most of the French LP’s and German ones that swim in similar sonic waters, Clozier and Lejeune’s “Perspectives Musicales” puts on display a dusty tornado of austere intimacy into sound that offers direct access to the composer’s pulsating brains. Highest possible recommendation!!! Original pressing in top condition. Price: 250 Euro
402. CHRISTMAS: “Heritage” (Daffodil – SBA-16002) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Top copy, complete with insert. Original Canadian pressing. Christmas was formed in 1969 in Oshawa, Ontario, Canada, out of the ashes of the cult underground psychedelic band Reign Ghost. In July 1970, Christmas released an independent self-titled debut that brought some media attention to the band and a contract with the Daffodil Records label. In December 1970, less than six months after the release of the debut, Christmas released their second album entitled "Heritage". Christmas was comprised of vocalist and multi-instrumentalist Bob Bryden, bass Tyler Raizenne, drummer Rich Richter, and Robert Bulger on guitars, all of who were still in their teens. The album gathered good reviews and was well received by critics but it was not commercially viable because the long songs and the heavy rock progressive style. It became an instant favorite in the underground music scene. Amazing copy, record is clean as can be; gatefold jacket is also pristine with sharp corners and thick spine. Comes with always missing insert. Price: 500 Euro
403. CIRCUS 2000: “S/T” (Rifi Records – RFL ST-14049) (Record: Near Mint/ Jacket: Near Mint). Original Italian pressing in great condition. A band from the Turin area, Circus 2000 debuted in 1970 on RiFi label with an eponymous LP that, although it did not represent a new level of sound, it fell like a bolt from the blue on an Italian scene still anchored to the beat schemes of the '60s. Circus 2000 was not a real progressive album, since it derived from the psychedelic and west-coast scenes from the USA, but it's still considered one of the LPs that opened to the florid Italian 'pop season,' which would explode just a couple of years later. The album cover artwork, the English lyrics, the psychedelic sound supporting the beautiful voice of singer Silvana Aliotta, all these ingredients made Circus 2000 an unique phenomenon in the musical Italian panorama, and many believed that the band was actually American. Top condition, 1st press original and hard to improve upon. Price: Offers!!!

404. CLARK, GENE: “White Light” (A&M Records/ Pony Canyon – C19Y4005) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Promo issue with promo sticker on back of sleeve. Comes with obi. “Gene Clark’s 1971 platter, with its stark black cover featuring his silhouette illuminated by the sun, was dubbed White Light -- though the words never appear on the cover -- and if ever a title fit a record, it's this one. Over its nine original tracks, it has established itself as one of the greatest singer/songwriter albums ever made. After leaving the Byrds in 1966, recording with the Gosdin Brothers and breaking up the Dillard & Clark group that was a pioneering country-rock outfit, Clark took time to hone his songwriting to its barest essentials. The focus on these tracks is intense, they are taut and reflect his growing obsession with country music. Produced by the late guitarist Jesse Ed Davis, Clark took his songs to his new label with confidence and they supported him. The band is comprised of Flying Burrito Brothers’ bassist Chris Ethridge, the then-Steve Miller Band-- pianist Ben Sidran, organist Michael Utley and drummer Gary Mallaber. Clark’s writing, as evidenced on "The Virgin," the title cut, "For a Spanish Guitar," "One in a Hundred," and "With Tomorrow," reveals a stark kind of simplicity in his lines. Using melodies mutated out of country, and revealing that he was the original poet and architect of the Byrds’ sound on White Light, Clark created a wide-open set of tracks that are at once full of space, a rugged gentility, and are harrowingly intimate in places. His reading of Bob Dylan’s "Tears of Rage," towards the end of the record rivals, if not eclipses, the Band’s. Less wrecked and ravaged, Clark’s song is more a bewildered tome of resignation to a present and future in the abyss. Now this is classic rock.” (All Music Guide). Spot on, this shit rules! Virginal condition. Price: 50 Euro

405. CLEAR CUT: “S/T” (Rough Trade/ Japan Record – RTL-5) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Big Sized Pop Group Poster: Near Mint/ Obi: Near Mint). Rare Japan only compilation LP that came out in 1981. It brings together tracks by such sonic luminaries out of the UK underground scene that was then in full swing such as Josef K; The Fall; Orange Juice; The Gist; Girls At Our Best; Red Crayola; The Raincoats; Delta 5; This Heat; Essential Logic; Scritti Politi and Robert Wyatt. Just a deadly line-up. All complete copy! Price: 75 Euro

406. The CLIFFORD THORNTON NEW ART ENSEMBLE: “Freedom & Unity” (Third World – LP-9636) (Record: Near Mint/ Jacket: Near Mint). Original US 1st pressing. Top condition – best I have ever seen. For those who don't know better, the free jazz movement is considered a sharp break with the past heritage of the music. That really wasn't the case. As Albert Ayler and Archie Shepp hearkened back to field hollers and very basic folk forms, musicians like Clifford Thornton went in the opposite direction, building on the music of the sophisticates and expanding the possibilities for jazz. Listening to music with this much space in it, it might be hard for some listeners to hear the Mingus. But it's there. And because that's there, Ellington is here in heaping handfuls as well. Sure this stuff is rough in spots. But the myriad of tones this man uses to express himself keeps things interesting and alive -- the bright clarion of cornet and trumpet, the somber, thoughtful vibes, and a rhythm section that embraces two bass players to keep things rooted. The leader plays valve trombone, an enormously flexible instrument that allows him to meld with a variety of moods and produce music at once heart achingly simple and brain-twistingly complex. This LP is an important acknowledgment of a long-ignored musician. For those with open ears -- and minds.” (All Music Guide). Top shape, next to impossible to ever upgrade upon. Price: 300 Euro
407. CLIFFORD THORNTON: “Ketchaoua” (BYG Records – actuel 23/ 529.323) (Record: Near Mint/ Gatefold Jacket: Near Mint) Actuel 23. Pristine copy – French original pressing of one of the scarcer Actuel/ BYG titles but also one of the best to come out on the legendary imprint. One of the rarer titles out of the Actuel free jazz catalogue and also one of its greatest. Tribal fire music. Personnel on this one: Clifford Thornton (cornet, conga, drums), Grachan Moncur III (trombone), Archie Shepp (soprano), Arthur Jones (alto), Dave Burrell (piano, bells), Beb Guerin (bass), Sunny Murray (drums), Earl Freeman (conga, drums, gong, percussion). Totally sick stuff, highest recommendation. Price: 75 Euro

408. CLIFFORD THORNTON: “The Panther and the Lash” (America – 30-AM-6113) (Record: Near Mint/ Jacket: Near Mint). First original press issue. Totally vanished and extremely hard to dig up quintessential free hardcore blowing jazz fest of a disc. Recorded in Paris on November 7th, “The Panther and the Lash” offers a near-perfect balance of the best characteristics of classic free jazz. Thornton, originally a trumpeter (he sadly passed away in 1983), moves here between cornet, shenai, valve trombone and piano without a hitch, playing with a singing, melancholic eloquence that suggests a player schooled on Miles, Booker Little and Lee Morgan rather than the batsqueak idiosyncrasy of Don Cherry. The band is marvelous, too: an abundance of soulful drumming from expatriate American Noel McGhie rubs shoulders with two foundational figures of the early French free-jazz scene, pianist François Tusques and bassist Beb Guérin. The Panther and the Lash is that rare thing, a “legendary,” hard-to-obtain album that lives up to the hype: a death stone classic. “Its ‘rhythm section’ of uncommon power, with pianist Francois Tusques, bassist Beb Guérin and drummer Noel McGhie flank around Thorthon during this concert recorded on a Parisian stage in 1970. Tusques and Thornton divide compositional duties and the band also interprets two traditional African songs. All are of a piece, bleeding one into the next without pause, and a strong thread of regal melody and lyricism binds them together into an winsome whole. The leader’s black power sympathies find explicit voice in both the album’s title and its first cut “Huey is Free” performed in honor Black Panther Party potentate Huey P. Newton. Resplendent in conception and enactment the piece hinges on anthemic cornet work from Thornton, both muted and open and an unerring rhythmic veracity. His colleagues show no semblance of slouch either, bolstering his rich lead lines with limber and acutely-attentive support. Tusques in particular evinces just as much improvisatory clout and energy as his employer, fingers coaxing blinding carpal- punishing figures from keys. The other pieces map similar successful tracts from the shenai-fueled Middle Eastern meets funk syncopations of “El Fath” to slippery trombone/piano groove of “Right On!” Of the fifteen titles in the Free America series, this one stands unequivocally as the sans pareil.” (Partly by Derek Taylor commenting on the Verve reissue of this album). Price: 175 Euro

409. CLIFFORD THORNTON The Jazz Composer’s Orchestra: “The Gardens Of Harlem” (JCOA Records – 1008) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent). Original US pressing. “Thornton’s Gardens of Harlem project, perpetually in the oven or being rehearsed in dribs and drabs, was to be his masterpiece, bringing together Afro-Cuban, Jamaican, Ghanian, Algerian, American blues, and gospel influences as well as a piece based on the cry of a South Carolina fruit vendor. A massive cast was to be involved, including some hot avant-garde jazz soloists and a stage full of percussionists. Slightly more than 50 minutes was eventually released, and the good moments are truly riveting, making one long for the version of this album that might have been created had someone with deeper pockets been around. To the listener who is not used to this kind of jazz, the record may just sound really weird but attractively diverse. Seasoned listeners, on the other hand, will detect the traces of slapdash performances that haven't quite come together. The frustrating part is that the music is really so close to being better than what it is, like an encampment of travelers who have stopped short of an oasis actually within their sight. Because the suite was obviously abbreviated, players such as saxophonist Pat Patrick, who could have made the proceedings that much more interesting by contributing solos, don't get to. There is nothing wrong with the ones who do solo, however, and special attention should be paid to the opening track, featuring the interesting and overlooked trombonist Janice Robinson; the rip-snorting Wadada Leo Smith feature on "Chango Obari"; nice use of Carla Bley’s piano talents on "Gospel Ballade"; and the exchanges between George Barrow, Ted Daniels and Dewey Redman on the final section, "Blues City." Some listeners may find this latter piece to be a favorite track, as it dispenses with most of the avant-garde or world music concepts and just gets down to grooving. There are other followers of Thornton who wish his most ambitious recorded work didn't opt for such an easy ending. Both camps would no doubt agree that it is a shame Thornton was unable to create a larger body of work with this kind of vision.” (Eugene Chadbourne). Right on! Price: 50 Euro
410. CLIMAX CHICAGO BLUES BAND: “Cubano Chant b/w Little Girl” (Odeon – OR-2724) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint). Japan only single issue , housed in Japan only sleeve art. WHITE label PROMO issue. Groovy jazz vibes with a Latin flavor on the engaging "Cubano Chant", featuring some tight grooves, nimble piano, and some wild bamboo whistle lines from Cooper. On "Little Girl" the band add in some meaty rock riffs & organ to their blues base, another killer instrumental that also sees Cooper deliver some great sax melodies. Rarely offered Japan single issue, barely sold at all at the time of its release and copies do only surface once in a blue moon. Top shape with nice picture sleeve. Scarce for all eternity! Price: 150 Euro
411. CLUSTER: “II” (Brain – brain-1006) (Record: Near MINT/ Coated Gatefold Jacket: MINT). Original 1st German pressing on the green colored Brain label imprint. Stunning copy of this legendary groundbreaking piece of work by German's finest Cluster. The overall record and jacket are in Near Mint to Mint condition, a sight for soar eyes. FIRST press on the highly collectible Brain label. Electronic drones and pulsating synths lay a bed of futuristic tones for Dieter Moebius and Hans-Joachim Roedelius' stripped down but still experimental styled spaced out prog induced psyched out deep space excursions that explored the wide open range possibilities for the music to spin off into, offered by banks of modular synths tied into a stack of echoplexes and space echoes. Half a dozen totally amazing deep space jams, that were way ahead of their time: “Plas”, “Im Suden”, “Fur Dir Katz”, “Georgel”, “Live In Der Fabrik” and “Nabitte”. A killer disc from start to finish with absolutely no filler whatsoever. Top-notch copies like this one here seem to have evaporated into thin air during the last decade and I guess the situation will not improve. All time highest recommendation. Price: 350 Euro
412. CLUSTER: “II” (Brain/ Nippon Phonogram – 22S-29) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint/ Insert: Near Mint). Rare first Japanese original pressing complete with OBI. Stunning copy of this legendary groundbreaking piece of work by German's finest Cluster. The overall record and jacket are in Near Mint to Mint condition, a sight for soar eyes. 1st original Japanese high quality press. Electronic drones and pulsating synths lay a bed of futuristic tones for Dieter Moebius and Hans-Joachim Roedelius' stripped down but still experimental styled spaced out prog induced psyched out deep space excursions that explored the wide open range possibilities for the music to spin off into, offered by banks of modular synths tied into a stack of echoplexes and space echoes. Half a dozen totally amazing deep space jams, that were way ahead of their time: “Plas”, “Im Suden”, “Fur Dir Katz”, “Georgel”, “Live In Der Fabrik” and “Nabitte”. A killer disc from start to finish with absolutely no filler whatsoever. Top-notch copies like this one here seem to have evaporated into thin air during the last decade and I guess the situation will not improve. All time highest recommendation. Price: 150 Euro
413. COB: “Spirit Of Love” (CBS – S-69010) (Record: Near Mint ~ Mint/ Gatefold Jacket: Excellent ~ Near Mint). UK FIRST ORIGINAL PRESSING. Ok, one can be fairly short about this album. Why? Because it is simply one of the most beautiful acid folk albums ever to seep out of the British Isles. What makes this copy such a true treasure trove find is that is a truly dead mint copy. Man upon locking my eyes upon this one for the first time, I could not believe mint copies of COB albums existed – you know as in mint in the true sense of the word. This disc comes out of the hands of its 1st owner who sadly passed away. So the one who will snatch this one up will be this LP’s second ever owner (myself not included because I am just the medium passing this one on to you). As far as the music is concerned, I guess you all know the deal. COB were ex-Incredible String Band founding member Clive Palmer’s band and after quitting the Incredible String Band when their debut album was canned he simply vanished from the scene, only to surface again a year later in the disguise of COB, which aptly stood for Clive’s Original Band. “Spirit of Love” has a hymnal, rural English vibe attached to it that is definitely heading towards folk infested waters instead of cross-mutating into a folk-rock sound. Palmer’s vocals are just exquisite, calm, soothing, levitating even at times which only attributes to the completely acoustic nature of this disc. “Music of the Ages” and “Serpent’s Kiss” are some of the tracks on the LP that are just mesmerizing in their beauty and execution. But it would be totally unfair to slag of COB as just another folk band. Nope, they sound quite exotic at times, otherworldly and even lysergic due to enriching their tonal palette with unusual instruments for that day like the harmonium and dulcitone. It makes the group sound at times even completely spaceward bound and psychedelic such as the track “Evening Air” will show and unveil upon spinning it. But it’s this naive charm and willingness to sound different that makes Spirit of Love such a magical album. Although maybe too low-key for some, it is definitely to these ears one of the best English folk albums out there. The band effectively hit a rural English country folk-psych sound that’s visionary and highly original, completely different to the Stringband. To me it is a classic UK psych tinted folk album that defies even the greatness of Trees, Mellow Candle and Spirogyra and you know when you are catapulted into those regions you better sound good and deliver the goods. And COB definitely lives up to that promise. They are stellar. Rare 1st original pressing in a like new condition, I do not believe they come any better than this, since this copy is bound to be a museum piece some day….Price: 500 Euro
414. COB: “Spirit Of Love” (Epic Japan – ECPL-25) (SEALED). Bloody rare Japan 1st original pressing from 1972 on high quality vinyl – so fooking rare I did not even has the faintest clue it existed SEALEd with never offered before OBI!!!. TOP COPY - SEALED & ALL COMPLETE with CAP OBI and 4 Paged INSERT!!! Ok, one can be fairly short about this album. Why? Because it is simply one of the most beautiful acid folk albums ever to seep out of the British Isles. What makes this copy such a true treasure trove find is that is a truly dead mint copy. Man upon locking my eyes upon this one for the first time, I could not believe mint copies of COB albums existed – you know as in mint in the true sense of the word. This disc comes out of the hands of its 1st owner who sadly passed away. So the one who will snatch this one up will be this LP’s second ever owner (myself not included because I am just the medium passing this one on to you). As far as the music is concerned, I guess you all know the deal. COB were ex-Incredible String Band founding member Clive Palmer’s band and after quitting the Incredible String Band when their debut album was canned he simply vanished from the scene, only to surface again a year later in the disguise of COB, which aptly stood for Clive’s Original Band. “Spirit of Love” has a hymnal, rural English vibe attached to it that is definitely heading towards folk infested waters instead of cross-mutating into a folk-rock sound. Palmer’s vocals are just exquisite, calm, soothing, levitating even at times which only attributes to the completely acoustic nature of this disc. “Music of the Ages” and “Serpent’s Kiss” are some of the tracks on the LP that are just mesmerizing in their beauty and execution. But it would be totally unfair to slag of COB as just another folk band. Nope, they sound quite exotic at times, otherworldly and even lysergic due to enriching their tonal palette with unusual instruments for that day like the harmonium and dulcitone. It makes the group sound at times even completely spaceward bound and psychedelic such as the track “Evening Air” will show and unveil upon spinning it. But it’s this naive charm and willingness to sound different that makes Spirit of Love such a magical album. Although maybe too low-key for some, it is definitely to these ears one of the best English folk albums out there. The band effectively hit a rural English country folk-psych sound that’s visionary and highly original, completely different to the String Band. To me it is a classic UK psych tinted folk album that defies even the greatness of Trees, Mellow Candle and Spirogyra and you know when you are catapulted into those regions you better sound good and deliver the goods. And COB definitely lives up to that promise. They are stellar. Rare 1st original pressing - MEGA RARE SEALED with CAP OBI present - never offered before all complete with OBI. Price: Offers!!!!

415. COB: “Moyshe McStiff and the Tartan Lancers of the Sacred Heart” (Polydor – 2383161) (Record: Near Mint/ Extremely Fragile Gatefold Jacket: Near Mint). TOP Original UK copy of monster acid folk gem. As far as the music is concerned, I guess you all know the deal. COB were ex-Incredible String Band founding member Clive Palmer’s band and after quitting the Incredible String Band when their debut album was canned he simply vanished from the scene, only to surface again a year later in the disguise of COB, which aptly stood for Clive’s Original Band. “Moyshe McStiff and the Tartan Lancers of the Sacred Heart” has a hymnal, rural English vibe attached to it that is definitely heading towards folk infested waters instead of cross-mutating into a folk-rock sound. Palmer’s vocals are just exquisite, calm, soothing, levitating even at times which only attributes to the completely acoustic nature of this disc. “Let It Be You” (the best love song ever recorded, every time I play it makes me cry like a baby) and “Heart Dancer” are some of the tracks on the LP that are just mesmerizing in their beauty and execution. But it would be totally unfair to slag of COB as just another folk band. Nope, they sound quite exotic at times, otherworldly and even lysergic due to enriching their tonal palette with unusual instruments for that day like the harmonium and dulcitone. It makes the group sound at times even completely spaceward bound and psychedelic such as the track “Martha & Mary” will show and unveil upon spinning it. But it’s this naive charm and willingness to sound different that makes Moyshe McStiff and the Tartan Lancers of the Sacred Heart such a magical album. Although maybe too low-key for some, it is definitely to these ears one of the best English folk albums out there. The band effectively hit a rural English country folk-psych sound that’s visionary and highly original, completely different to the Stringband. To me it is a classic UK psych tinted folk album that defies even the greatness of Trees, Mellow Candle and Spirogyra and you know when you are catapulted into those regions you better sound good and deliver the goods. And COB definitely lives up to that promise. Probably the best copy for light-years around. Price: Offers!!!!

416. COCK C’NELL: “S/T” (Pinakotheka Records - PR17#2) (Record: Excellent ~ Near Mint/ Triangular Silver Fold Out jacket: Near Mint/ Insert: Excellent). One of the almost impossible discs to obtain out of the excellent and utterly obscure Pinakotheka label roster. Cock C’Nell’s first vinyl outing is just impossible to score these days and one of the label’s most in demand artifacts. Partly the insanely designed triangular silver coated jacket has something to do with it. But the music and the heavy underground credentials the disc is bestowed upon with is also partly to blame. The band, which employed even Kudo Tori at one point was mainly active at the legendary Minor cum-after-hours-live venue where they participated in the much rumored about Tengoku Chusha no Yoru events that were thrown together by Kudo and cohorts, staging gigs by early Fushitsusha, Haino, Kosokuya, the remnants of Brast Burn and Kharuna Khyall participants and other deranged underground activity of the early eighties. Released on April 3rd, 1981 in a 17 cm triangular jacket. Cock C’Nell was a band bringing forth a proper and correct rock sound, which was in discrepancy with all the avant-garde activity the label deployed. The band’s sound has a well distinct new wave-like feeling through a straight solid rhythm and a guitar responsible for chopping well-regulated riffs. The female vocalist Nogata Setsu breaths unconnected back rhythms, disgorging word for word “aida” and “tamerai” and propagating volition through a mysterious precision. A gliding violin with an uneasy vibrato elevates at times a shriek. Demented, wicked and totally sick. Hyper rare underground gem that rarely ever surfaces. Exquisite condition and ultra collectable. Price: 150 Euro
417. CODONA: “S/T” (ECM Records/ Trio Records – PAP-9153) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). A mellow but striking blend of world and jazz styles – featuring Walcott on a variety of Indian instruments, Cherry on trumpet, flute, Doussn'Gouni, and voice, and Vasconcelos on berimbau, cuica, and percussion. Titles include "Codona", "Mumakata", "New Light", and "Coleman wonder", a blending of Stevie Wonder and Ornette Coleman tunes! Price: 50 Euro

418. COHRAN, PHILIP and the ARTISTIC HERITAGE ENSEMBLE: “The Malcolm X Memorial – A Tribute in Music” (Zulu Record - #0007) (Record: Side A = Near Mint ** Side B = Excellent – has one visible hairline that does not affect the play/ Jacket: Near Mint). First original pressing. Top condition original first pressing. Sleeve is in perfect nick as well as the record but on side B I can detect under a light a hairline mark that does not affect the play so overall NM condition. “A brilliant tribute to the late Malcolm X – served up by Chicago's legendary Artistic Heritage Ensemble! The record's got an even farther-reaching sound than the group's self-titled effort – a flowing style that unfolds as their tribute to Malcolm rolls on – starting spare and earthy at first, then picking up a fuller, prouder, much more righteous groove as things really get going! As before, there's plenty of heavy percussion at the bottom of most tracks – topped by complicated horn passages that often verge on the exotic – and which have a tremendously captivating sound. The ensemble's led by the great Phil Cohran, who played with Sun Ra for a bit, and also plays cornet on the record – the rest of the group includes Charles Williams, Don Myrick, Louis Satterfield, Pete Cosey, Henry Gibson, Willie Woods, and Aaron Dodd – a lineup of players who also worked with Sun Ra, The Pharoahs, and Earth Wind & Fire! The LP's a suite of 4 tracks dedicated to Malcolm X, each capturing a period of his life, "Malcolm Little", "Detroit Red", "Malcolm X", and "El Hajj Malik El Shabazz".” (Dusty Grooves). Killer record brimming over with tight groove-oriented vibrations that simultaneously breathe out soul, jazz, & Middle Eastern rhythms. A politically radical & intense recording not to be missed. Original pressing that is getting extremely tough to dig up these part years in decent condition. Has been ages since I last saw a clean one so happy to offer this near perfect one for ya. Indispensable private press spiritual free jazz masterpiece that is getting notorious for all the right reasons. Price: Offers!!!

419. COHRAN, PHIL KELAN AND LEGACY: “African Skies” (Captcha Records – hbsp-2x-010) (Record: Near Mint/ Gatefold Jacket: Near Mint). First original pressing released in 2010 and long gone and deleted. “Twenty-four years separate the recording dates of Phil Cohran's Malcolm X Suite, and 1993's African Skies, but you'd hardly know it. Perfectly conceived and executed as a tribute to the then recently deceased Sun Ra, in whose ensembles Cohran originally got his start, this is quite possibly one of the greatest jazz records of the '90s, and an album which stands head-to-head with Cohran's most famous work. Composed as a suite, and deeply elegiac in tone, there's a newfound level of reflection throughout that stands in sharp contrast to the often fiery rhythms and playing of his earlier work. That change was no doubt occasioned by the recent loss of his comrade, and many of the pieces here gently interweave soft melodic lines through intricate patterns created by mbira's and harps or koras. While somber and melancholy, the mood never becomes dreary nor maudlin as Cohran and his ensemble respectfully accompany Sun Ra on his final cosmic voyage. The more I listen the more I feel this might actually be Cohran's defining work, an absolutely essential listen that's simply beautiful on every level.” (Michael Klausman). Price: 250 Euro

420. THE RIC COLBECK QUARTET: “The Sun Is Coming Up” (Fontana – 6383.001) (Record: Near Mint ‾ Mint/ Laminated Jacket: Near Mint). Bloody rare 1970 UK free jazz beast. TOP condition. This beast just never surfaces and is all-killer from start to finish. “Issued in the UK only in 1970. Ric was an interesting white cat who came to the U.S. to blow some free e-motion with NYC loft dwellers.
 He’s most well known for his amazing playing on the great Noah Howard’s first ESP-Disk release (ESP 1031). The whole 1000 series of
ESP is critical & crucial to anybody wanting to explore this era of Free Jazz. The picture of Ric on the Noah Howard LP shows a man with racecar shades and a “cool” haircut playing his horn while a ciggie burns nonchalantly from his relaxed grip. A very hip dude. And very FREE. His only solo recording is this Fontana LP, which he recorded while cruising through Europe. He connected with South African drummer Selwyn Lissack (whatever happened to…) and the UK’s famous
avant-altoist Mike Osborne and bassist J.F. ‘Jenny’ Clark (student of
20th century compositionists Lucian Berio and Karlheinz Stockhausen)
to create this exceptional and complex masterpiece.” (Thurston Moore). This Ric Colbeck record just never surfaces, making it one of the hardest to track down UK jazz pieces. Original 1970 press, in MINT condition, they just don’t come better than this one. Music is also ace, Colbeck definitely was one of the hardest blowing trumpet players, he is on fire all over this one. Archival TOP condition, simply perfect. Price: 450 Euro

421. COLD SUN: “Dark Shadows” (World In Sound – RFR-030) (Record: Near Mint/ 10 Inch Record: Near Mint/ Textured Heavy Gatefold Jacket: Near Mint/ Booklet: Near Mint). Hyped to the stars Texas psych monster, released for the 1st time in 1990 by Rockadelic. This is the 2nd authorized press version of 2008, complete with unreleased live recordings that come on an extra 10 inch. And let me start of with this – yes believe the hype, this disc is just fantastic. Anyway, just if you have any doubts, here is what the dudes of the Acid Archives have to say about the music. “Austin band with an obvious Elevators influence recorded this amazing LP in 1970. There’s no hints of prog or hard rock on this beast though, just 100% psychedelia. Truly inspired original and uncompromising stuff, it actually sounds like the logical next step after “Easter Everywhere” and “Bull of the Woods” – great Texas desert psych. Most songs are long and winding, full of echoey fuzz, Roky-inspired vocals, autoharp and some harmonica. It never gets into boring hippie jams though. It is more like entering a state of mind than listening to a regular album. The lyrics are also some of the best I’ve ever heard, managing to be totally strange and psychedelic without getting the least pretentious. Possibly one of the best and most important psych reissues ever. Roky’s first backing band, Bleibalien, were essentially made up of members from Cold Sun. Fantastic LP!” (Acid Archives blabber). So for once the AA made sense, just believe the hype, this LP is so bloody awesome it will haunt your sleeping hours and waking days. Simply great!! Sadly long gone and deleted deluxe issue hlouswed in thicker than life gatefold sleeve. Price: 150 Euro

422. COLEMAN, ORNETTE: “Ornette!” (Atlantic/ Victor Records – SMJ-7039) (Record: Near Mint/ Flip Back Jacket: Near Mint). Rare Japan 1st original pressing in pristine condition. “Recorded a little over a month after his groundbreaking work Free Jazz, this album found Coleman perhaps retrenching from that idea conceptually, but nonetheless plumbing his quartet music to ever greater heights of richness and creativity. Ornette! was the first time bassist Scott LaFaro recorded with Coleman and the difference in approach between LaFaro and Charlie Haden is apparent from the opening notes of "W.R.U." There is a more direct propulsion and limberness to his playing, and he can be heard driving Coleman and Don Cherry actively and more aggressively than Haden’s warm, languid phrasing. The cuts, with titles derived from the works of Sigmund Freud, are all gems and serve as wonderful launching pads for the musicians' improvisations. Coleman, by this time, was very comfortable in extended pieces, and he and his partners have no trouble filling in the time, never coming close to running out of ideas. Special mention should be made of Ed Blackwell, with one of his finest performances. Ornette! is a superb release and a must for all fans of Coleman and creative improvised music in general.” (All Music Guide). Impossible to upgrade upon ultra clean first pressing of landmark album. Just looks like it was released only yesterday! Price: 75 Euro
423. COLEMAN, ORNETTE: “Ornette!” (Atlantic/ Victor Records – SMJ-7039) (Record: Near Mint/ Flip Back Jacket: Near Mint/ OBI: Near Mint). Rare Japan 1st original pressing in pristine condition. Finally, an all-complete copy with rare OBI. “Recorded a little over a month after his groundbreaking work Free Jazz, this album found Coleman perhaps retrenching from that idea conceptually, but nonetheless plumbing his quartet music to ever greater heights of richness and creativity. Ornette! was the first-time bassist Scott LaFaro recorded with Coleman and the difference in approach between LaFaro and Charlie Haden is apparent from the opening notes of "W.R.U." There is a more direct propulsion and limberness to his playing, and he can be heard driving Coleman and Don Cherry actively and more aggressively than Haden’s warm, languid phrasing. The cuts, with titles derived from the works of Sigmund Freud, are all gems and serve as wonderful launching pads for the musicians' improvisations. Coleman, by this time, was very comfortable in extended pieces, and he and his partners have no trouble filling in the time, never coming close to running out of ideas. Special mention should be made of Ed Blackwell, with one of his finest performances. Ornette! is a superb release and a must for all fans of Coleman and creative improvised music in general.” (All Music Guide). Impossible to upgrade upon ultra clean first pressing of landmark album. Just looks like it was released only yesterday! And with the … OBI! Price: 200 Euro
424. COLEMAN, ORNETTE: “Ornette!” (Atlantic SD-1378) (Record: Near Mint/ Jacket: Mint – still housed in shrink/ Company Inner Sleeve: Near Mint/ Direct Import Obi: Mint) Damned rare Japan direct import copy that comes with rare Direct Import obi. “Recorded a little over a month after his groundbreaking work Free Jazz, this album found Coleman perhaps retrenching from that idea conceptually, but nonetheless plumbing his quartet music to ever greater heights of richness and creativity. Ornette! was the first time bassist Scott LaFaro recorded with Coleman and the difference in approach between LaFaro and Charlie Haden is apparent from the opening notes of "W.R.U." There is a more direct propulsion and limberness to his playing, and he can be heard driving Coleman and Don Cherry actively and more aggressively than Haden’s warm, languid phrasing. The cuts, with titles derived from the works of Sigmund Freud, are all gems and serve as wonderful launching pads for the musicians' improvisations. Coleman, by this time, was very comfortable in extended pieces, and he and his partners have no trouble filling in the time, never coming close to running out of ideas. Special mention should be made of Ed Blackwell, with one of his finest performances. Ornette! is a superb release and a must for all fans of Coleman and creative improvised music in general.” (All Music Guide). Top shape, sleeve still housed in shrink. Tri-color (Green White & Blue) Atlantic pressing. And import OBI!!! Price: 125 Euro
425. COLEMAN, ORNETTE: “The Shape Of Jazz To Come” (Atlantic/ Victor Records – ATL-5038) (Record: Near Mint/ Flip Back Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ OBI: Near Mint). Japan 1st original pressing, MONO issue – all complete with damned rare insert and FIRST ISSUE OBI. Highly influential 1959 album, Ornette Coleman's unique writing style and idiosyncratic solo language forever changed the jazz landscape. On classics such as "Lonely Woman", "Congeniality", and "Focus on Sanity", Coleman used the tunes' moods and melodic contours, rather than their chords, as a basis for his improvisations. In so doing, he opened jazz soloing immensely and ushered in new freedoms—both individually and collectively. Lest these innovations sound too dry or abstract, it must be noted that both Coleman and trumpeter Don Cherry play with a deep-felt emotion and joy that is as infectious today as it was then. This is truly an essential jazz recording, marking the end of one era, providing the blueprint for the next. Rarely seen Japan 1st original MONO press – housed in cool first issue flip back sleeve!!! Just never surfaces with obi, first copy I encounter in ages! Price: 250 Euro
426. COLEMAN, ORNETTE: “The Shape Of Jazz To Come” (Atlantic SD-1317) (Record: Near Mint/ Jacket: Mint – still housed in shrink/ Company Inner Sleeve: Near mint/ Direct Import Obi: Mint) Damned rare Japan direct import copy that comes with rare Direct Import obi. “Coleman’s Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section – bassist Charlie Haden and drummer Billy Higgins -- that was loose and open-eared enough to follow his already controversial conception. Coleman’s ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman’s piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman’s desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting "Lonely Woman" is a stone-cold classic, and "Congeniality" and "Peace" aren't far behind. Any understanding of jazz's avant-garde should begin here.” (All Music Guide). Top shape, sleeve still housed in shrink. Tri-color (Green White & Blue) Atlantic pressing. Price: 100 Euro
427. COLEMAN, ORNETTE: “Change Of The Century” (Atlantic – SD-1327) (Record: Near Mint/ Jacket: Mint – housed in shrink/ Direct Import OBI: Mint/ Company Inner Sleeve: Near Mint). Damned rare Japan direct import copy that comes with rare Direct Import obi. “The second album by Coleman’s legendary quartet featuring Don Cherry, Charlie Haden and Billy Higgins, Change of the Century is every bit the equal of the monumental The Shape of Jazz to Come, showcasing a group that was growing ever more confident in its revolutionary approach and the chemistry in the bandmembers' interplay. When Coleman concentrates on melody, his main themes are catchier, and when the pieces emphasize group interaction, the improvisation is freer. Two of Coleman’s most memorable classic compositions are here in their original forms -- "Ramblin'" has all the swing and swagger of the blues, and "Una Muy Bonita" is oddly disjointed, its theme stopping and starting in totally unexpected places; both secure their themes to stable, pedal-point bass figures. The more outside group improv pieces are frequently just as fascinating; "Free," for example, features a double-tongued line that races up and down in free time before giving way to the ensemble's totally spontaneous inventions. The title cut is a frantic, way-out mélange of cascading lines that nearly trip over themselves, brief stabs of notes in the lead voices, and jarringly angular intervals -- it must have infuriated purists who couldn't even stomach Coleman’s catchiest tunes. Coleman was frequently disparaged for not displaying the same mastery of instrumental technique and harmonic vocabulary as his predecessors, but his aesthetic prized feeling and expression above all that anyway. Maybe that's why Change of the Century bursts with such tremendous urgency and exuberance – Coleman was hitting his stride and finally letting out all the ideas and emotions that had previously been constrained by tradition. That vitality makes it an absolutely essential purchase and, like The Shape of Jazz to Come, some of the most brilliant work of Coleman’s career.” (All Music Guide). Top shape, sleeve still housed in shrink. Tri-color Atlantic pressing. Price: 100 Euro
428. COLEMAN, ORNETTE: “The Music Of Ornette Coleman” (Nippon Victor – SX-2013) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Damn, another never encountered before Ornette slide, Japan very first pressing all complete with obi and housed in Japan only gatefold sleeve with attached booklet. WHITE label PROMO issue. “Legendary as the performer/composer who freed jazz from the harmony and songforms of Tin Pan Alley ballads, these pieces show more of Coleman’s path since his densely chromatic orchestral piece "Skies of America" (some movements are entitled "Holiday for Heroes," "Place in Space," and "Foreigner in a Free Land"). The LP includes "Forms and Sounds" played by the Philadelphia Woodwind Quartet, with densities of melodies alternately free floating or played to an automaton pulse with bluesy, celebratory trumpet interludes played by Coleman. "Saints and Soldiers" embodies the repression by the religious and political contrasted with saintly discernment, and "Space Flight" has flashes of unidentified fluttering things which suddenly disappear. Performed by the Chamber Symphony of Philadelphia String Quartet.” (Blue Gene Tyranny) Highest recommendation. Price: 250 Euro

429. COLEMAN, ORNETTE: “The Music of Ornette Coleman” (Nippon Victor – SX-2013) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Damn, another never encountered before Ornette slide, Japan very first pressing all complete with obi and housed in Japan only gatefold sleeve with attached booklet. Same as the above but this is the more affordable STOCK copy. Top condition. Highest recommendation. Price: 150 Euro

430. COLEMAN, ORNETTE: “Free Jazz – A Collective Improvisation By The Ornette Coleman Double Quartet” (Atlantic – SMJ-7024) (Record: Near Mint/ Flip Back Jacket: Near Mint/ OBI: Near Mint). Viciously scarce original Japan 1st press issue in awesome condition and all complete with first issue OBI. Originally released in 1960, Free Jazz was recorded in one uninterrupted take: Coleman, Scott LaFaro, Don Cherry, & Billy Higgins are on the left stereo channel; Eric Dolphy, Freddie Hubbard, Charlie Haden and Ed Blackwell are on the right. "We were expressing our minds and emotions as much as could be captured by electronics." Massive and one of the cornerstones of every self-respecting jazz collection or for anyone with 2 decent ears. You cannot live without this one. Never had a Japanese 1st press original before all complete with first issue obi and in immaculate condition. Virginal!!! Price: 250 Euro
431. COLEMAN, ORNETTE: “Free Jazz – A Collective Improvisation By The Ornette Coleman Double Quartet” (Atlantic – SD-1364) (Record: Excellent ~ Near Mint/ Gimmick Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent). Original US 1st press issue in awesome condition. Originally released in 1960, Free Jazz was recorded in one uninterrupted take: Coleman, Scott LaFaro, Don Cherry, & Billy Higgins are on the left stereo channel; Eric Dolphy, Freddie Hubbard, Charlie Haden and Ed Blackwell are on the right. "We were expressing our minds and emotions as much as could be captured by electronics." Massive and one of the cornerstones of every self respecting jazz collection or for anyone with 2 decent ears. You cannot live without this one. Price: 150 Euro
432. COLEMAN, ORNETTE: “Ornette On Tenor” (Atlantic/ Nippon Victor – SMJ-7079) (Record: Near Mint/ Flip Back Jacket: Near Mint/ OBI: Near Mint/ Non-related photo insert card: Near Mint). Original FIRST JAPAN pressing, complete with rare first issue obi, never turns up. “It's an understatement to say that Ornette Coleman’s stint with Atlantic altered the jazz world forever, and Ornette on Tenor was the last of his six LPs for the label, wrapping up one of the most controversial and free-thinking series of recordings in jazz history. Actually, it's probably his least stunning Atlantic, not quite as revolutionary or memorable as many of its predecessors, but still far ahead of its time. Coleman hadn't played much tenor since a group of Louisiana thugs beat him and destroyed his instrument, but he hadn't lost his affection for the tenor's soulful, expressive honk and the ease with which people connected with it. That rationale might suggest a more musically accessible session, but that isn't the case. Ornette on Tenor is just as challenging and harmonically advanced as any of his previous Atlantics. In fact, it's arguably more so, since there aren't really any memorable themes to return to. That means there are fewer opportunities for Coleman and Don Cherry to interact and harmonize, which puts the focus mainly on Coleman’s return to tenor playing. And, actually, it isn't tremendously different from his alto playing. There are a few traces of Coleman’s early Texas gutbucket R&B days, plus a few spots where he explores a breathier tone, but for the most part his spiraling solo lines are very similar to his other Atlantic albums, and his upper-register sound is often a dead ringer for his plaintive alto cries. With Coleman ostensibly exploring new territory, it's hard not to be a little disappointed that Ornette on Tenor doesn't have the boundary-shattering impact of his previous work -- but then again, it's probably asking too much to expect a revolution every time out.” (Steve Huey – AMG) Original JAPAN press complete with OBIl in TOP condition, surfaces only so often in a condition like this one here. Price: 250 Euro
433. COLEMAN, ORNETTE: “Town Hall – 1962” (ESP DISK/ Victor Records – SMJ-7420) (Record: Near Mint/ Jacket: Near Mint/ VERY FIRST OBI Issue: Mint). Bloody rare, never seen or offered before very first Japanese pressing of Ornette’s masterpiece, all complete with the very first obi design, an anomaly since this series all has blue obi’s except this one. Next to impossible to find this one and so far I know only of 3 copies out there that exists with the very first obi attached to it and this is one of those three. Yes it is that rare. But what a slide: “The bright spirit stemming from Coleman's youth permeates the sound of the four-track recording with innovation. Coleman's searing stepped scale ascension on his alto bursts open the music to carve out his sonic territory; he is accompanied by light touches and constant motion on the snare and cymbal and a relaxed rich pizzicato on the bass. Coleman carries the weight of the music through an endlessly changing tuneful line until he rests and lets bassist David Izenzon's arco fly and Charles Moffett's stick work map the way into a snare/cymbal rendering of the tempo. Coleman holds a high pitch on his horn to wrap up the first song, "Doughnut." The memory of that pitch transfers to the jaw-dropping purity of tone that Coleman illustrates on "Sadness." "Sadness" has to be one of the best models for evoking the meaning of its title, besides Coleman's classic composition "Lonely Woman." At age 32, having mastered his instrument, Coleman plays unwavering, potent single notes and melodic phrases of compelling poignancy. Contrast the gripping soundscape emanating from the alto with tonal arco vagaries on the bass, precise brushwork on the drums and expansive sibilance on the cymbals and the result is unforgettable. The presence of a piece for string quartet is no less a distraction than a Rembrandt portrait would be hanging next to a Picasso collage abstraction. The instrumentation may seem antithetical to expectations brought to Coleman's music. But, following the path of every string instrument in relation to one another on "Dedication to Poets and Writers" substantiates the integration in which Coleman staunchly believes. The final 23-minute "The Ark" widens the distance among the instruments in a true test of improvisational limits. Coleman presses through a loosely defined middle range in the form of ostinatos and relentless melodic bounce. Moffett can only respond with bold polyrhythmic moves and Izenzon with deep pizzicato splurges and assiduous bowing. Nineteen minutes in, Coleman slowly squeezes out a seemingly strained high pitch, a signal for the tonal climb that ensues until closing with the bass's fast paced bowing in its upper register.” (All About Jazz) Took me only 14 years to find a copy of the very first Japanese pressing all complete with obi of this beast and here it is, one of the rarest Japanese pressings with obi documenting free jazz. Impossible to lay your hands on…. Price: Offers!!!
434. COLEMAN, ORNETTE: “Town Hall December 1962” (ESP Disk/ Nippon Phonogram – ESPS-1006/ 15PJ-2019) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Seldomly seen Japanese pressing with 2nd press issue obi of one helluva record. By far not as rare as the aforementioned first press issue so it comes death cheap. High quality pressing with insert and obi. One of the most essential slides out there, no questions asked! Price: 40 Euro
435. COLEMAN, ORNETTE: “Town Hall December 1962” (ESP Disk – ESP-1006) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). Scarce US original pressing – 2nd state issue with 156 5th Avenue address on labels and sleeve. Stereo pressing – comes housed still in original shrink. Beautiful shape. Price: 50 Euro
436. COLEMAN, ORNETTE: “Crisis” (Impulse – AS-9187) (Record: Excellent/ Gatefold Jacket: Near Mint – still housed in shrink/ Direct Import Obi: Mint). Freakingly rare Ornette Coleman slide that comes with never offered before silver-toned Direct Import Obi. “A superb and under-recognized recording, Crisis is one-third of a trilogy of extraordinary albums -- the others being Broken Shadows and Science Fiction – by Coleman’s small groups of the late '60s and early '70s. A rendition of the piece "Broken Shadows" itself, a dirge of astonishing beauty second only to his "Lonely Woman," opens the live performance and offers solos of deep and poignant probity from Coleman and tenorist Dewey Redman, whose earthy growled tones counterbalanced the leader's so well for so long. "Comme Il Faut," with its own plaintive melodic thrust, provides the base elements from which Charlie Haden excavates gold, setting the stage for his own classic composition "Song for Che," which is given one of its very finest readings. Don Cherry is in wonderful, sandblasting form throughout, bringing in thematic material from his own recent investigations into Indian and African music, and Coleman’s son, Ornette Denardo, has audibly matured both in technical prowess and comfort level. Crisis somehow lacks the reputation of the revolutionary Coleman albums from early in his career, but on purely musical grounds it ranks among his most satisfying works.” (All Music Guide). This obi is just mega-rare, first issue obi – direct impost one – and so far only know of one other copy out there that has this obi. Bound to be elusive for all eternity. Took me 15 years to secure a copy. Price: 400 Euro
437. COLEMAN, ORNETTE: “Ornette At 12” (Impulse – A-9178) (Record: Excellent/ Gatefold Jacket: Near Mint). US original press issue in nice shape. “Beginning in 1966, saxophonist Ornette Coleman began performing and recording with his son, the then-ten-year-old drummer Denardo Coleman. Dismissed by some at the time for his lack of experience, the younger Coleman quickly developed into an engaging, explosive player, able to mesh nicely within his father's deeply avant-garde free jazz ensembles. Ornette At 12 (named after Denardo’s age at the time of recording), finds the saxophonist leading his quartet through a performance at the Hearst Greek Amphitheater at the University of California, Berkeley in August of 1968. Joining him are bassist Charlie Haden and tenor saxophonist Dewey Redman. Here we find the elder Coleman during one of his most primal and exploratory periods playing not just alto sax, but also trumpet and violin. Though untrained on those instruments, he still lets loose, playing with unfettered glee on "Rainbows," his trumpet a puckish sparkler of sound. Similarly, Redman, framed by Haden’s bowed bass squelch, unleashes a torrent of notes on "C.O.D." All the while, Denardo is skittering, responsive energy, bashing and sputtering at each improvisational line. Elsewhere, on "Bells and Chimes," Haden grounds the proceedings bowing a dark, heavy metal-sounding riff as Coleman and Redman spew red saxophone storm clouds overhead.(All Music Guide). US original press in great shape. Totally essential. Price: 45 Euro
438. COLEMAN, ORNETTE: “At the Golden Circle, Stockholm, Vol. 1” (Blue Note/ King Records – GXF-3018) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Near Mint/ Obi: Near Mint). Japan 1st original pressing all complete with obi. “Ornette’s 1965 trio with bassist David Izenzon and drummer Charles Moffett is easily the most underrated of all his bands. This band certainly had no apologies to make. Coleman was deep into creating a new approach to melody, since Haden and Cherry had honed his harmonic sensibilities. Izenzon proved to be the right bassist for Coleman to realize his ambitions. A stunning arco as well as pizzicato player Izenzon offered Coleman the perfect foil. No matter where Coleman’s soloing moved the band, Izenzon was there at exactly the same time with an uncanny sense of counterpoint, and he often changed the harmonic mode by force. The first of these two volumes from December 3 shows Coleman in a playful, mischievous frame of mind, toying with the trio ads well as the audience on "Faces and Places" by inserting standard bop phrases and song quotes into the heart of his free soloing. On "Dee Dee," Coleman moves along to rhythmic counterpoint by Moffett, pushing Izenzon into the unlikely role of beat-keeper -- not simple for such an amazing improviser. But it's on the closer, "Dawn," that the band gels as one inseparable, ethereal unit, cascading through scalar invention and chromatic interplay as if it were second nature.” (All Music Guide). Such a stunning slide, perfect in every way. That aside, top condition first press issue. Price: 55 Euro
439. COLEMAN, ORNETTE TRIO: “At The Golden Circle, Stockholm, Vol. 1” (Blue Note – BST-84224) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st original pressing all complete with obi.Ornette’s 1965 trio with bassist David Izenzon and drummer Charles Moffett is easily the most underrated of all his bands. This band certainly had no apologies to make. Coleman was deep into creating a new approach to melody, since Haden and Cherry had honed his harmonic sensibilities. Izenzon proved to be the right bassist for Coleman to realize his ambitions. A stunning arco as well as pizzicato player Izenzon offered Coleman the perfect foil. No matter where Coleman’s soloing moved the band, Izenzon was there at exactly the same time with an uncanny sense of counterpoint, and he often changed the harmonic mode by force. The first of these two volumes from December 3 shows Coleman in a playful, mischievous frame of mind, toying with the trio ads well as the audience on "Faces and Places" by inserting standard bop phrases and song quotes into the heart of his free soloing. On "Dee Dee," Coleman moves along to rhythmic counterpoint by Moffett, pushing Izenzon into the unlikely role of beat-keeper -- not simple for such an amazing improviser. But it's on the closer, "Dawn," that the band gels as one inseparable, ethereal unit, cascading through scalar invention and chromatic interplay as if it were second nature.” (All Music Guide). Such a stunning slide, perfect in every way. That aside, top condition first press issue. Price: 75 Euro

440. COLEMAN, ORNETTE TRIO: “At The Golden Circle, Stockholm, Vol. 2” (Blue Note – BST-84225) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink/ Obi: Near Mint). Japan 1st original pressing all complete with obi. Follow up slide to the above listed one. Such a stunning slide, perfect in every way. That aside, top condition first press issue. Price: 75 Euro

 

441. COLEMAN, ORNETTE: “Chappaqua Suite” (Nippon Columbia – YS-816~7-C) (2 LP Record: Near Mint/ Heavy Gatefold Jacket: Excellent/ 4-Paged Insert: Near Mint/ 360 Columbia Obi: Mint). Finally a top copy and the rarest original issue of this record by far, being the 1st original Japanese pressing, complete with always missing first issue 360 Columbia obi, which, being present is some sort of a minor miracle. “Recorded in 1965, it was performed by the Ornette Coleman Trio with Charles Moffett on drums and David Izenson on bass; augmenting the session were Pharoah Sanders on tenor and a large studio orchestra arranged by Joseph Tekula. What is most notable is the kind of control Coleman has over the orchestra. His trio is playing by intuition, which was normal for them, but they open to accommodate the more formal constructs of a band who knows little about improvisation and how it works in the free jazz context. Sanders' interaction with Coleman is startling too, in that his normally overpowering voice is tempered here, playing along with the nuances and odd harmonic figures Coleman suggests and then blatantly states from his alto. The improvisation is complementary, not a cutting contest at all. Most of all, the rhythm section carries the balance of power and keeps the entire thing moving, handling the dynamic changes with a feral grace while at the same time suggesting a knottier path for Coleman to follow in the tempting pastoral sections of the work. While not considered a masterwork of Coleman's, perhaps because of its unavailability in the United States in its entirety, Chappaqua Suite is a testament to Coleman's vision as a composer and the power of his orchestral direction. Very worthwhile indeed.” (Thom Jurek, All Music Guide). Music is totally ace, filled with flat-out byzantine blitzkrieg moves, leaning strongly towards the secret Gila monster trip and the fast-rising tide of garbled delirious chaos mixed with euphoric Prussian detuned string madness. Top copy, pristine high-quality vinyl and with never-seen first issue 360 Columbia obi present. Took me over a decade to find a copy with the first issue obi, so here it is. Price: 250 Euro
442. COLEMAN, ORNETTE: “Chappaqua Suite” (CBS Sony – SONP-50249~250) (2 LP Set: Mint/ Heavy Gatefold Jacket: Mint/ Insert: Mint/ Capsule Obi: Mint). Finally a top copy and the rarest original issue of this record by far, being the 1st original Japanese pressing, complete with always missing capsule obi, which, being present is some sort of a minor miracle. “Recorded in 1965, it was performed by the Ornette Coleman Trio with Charles Moffett on drums and David Izenson on bass; augmenting the session were Pharoah Sanders on tenor and a large studio orchestra arranged by Joseph Tekula. What is most notable is the kind of control Coleman has over the orchestra. His trio is playing by intuition, which was normal for them, but they open to accommodate the more formal constructs of a band who knows little about improvisation and how it works in the free jazz context. Sanders' interaction with Coleman is startling too, in that his normally overpowering voice is tempered here, playing along with the nuances and odd harmonic figures Coleman suggests and then blatantly states from his alto. The improvisation is complementary, not a cutting contest at all. Most of all, the rhythm section carries the balance of power and keeps the entire thing moving, handling the dynamic changes with a feral grace while at the same time suggesting a knottier path for Coleman to follow in the tempting pastoral sections of the work. While not considered a masterwork of Coleman's, perhaps because of its unavailability in the United States in its entirety, Chappaqua Suite is a testament to Coleman's vision as a composer and the power of his orchestral direction. Very worthwhile indeed.” (Thom Jurek, All Music Guide). Music is totally ace, filled with flat-out byzantine blitzkrieg moves, leaning strongly towards the secret Gila monster trip and the fast-rising tide of garbled delirious chaos mixed with euphoric Prussian detuned string madness. Top copy, mint all the way, pristine high quality vinyl and with never-seen capsule obi present. Price: 150 Euro
443. COLEMAN, ORNETTE: “Twins” (Atlantic – P-8165A) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing with obi. “Twins (first issued on LP in 1971) has been looked at as an afterthought in many respects. A collection of sessions from 1959, 1960, and 1961 with different bands, they are allegedly takes from vinyl LP sessions commercially limited at that time to 40 minutes on vinyl, and not initially released until many years later. Connoisseurs consider this one of his better recordings in that it offers an overview of what Coleman was thinking in those pivotal years of the free bop movement rather than the concentrated efforts of The Art of the Improvisers, Change of the Century, The Shape of Jazz to Come, This is Our Music and of course the pivotal Free Jazz. There are three most definitive selections that define Coleman’s sound and concept. "Monk & the Nun" is angular like Thelonius Monk, soulful as spiritualism, and golden with the rhythm team of bassist Charlie Haden and drummer Billy Higgins driving the sweet and sour alto sax of Coleman and piquant trumpeting of Don Cherry. "Check Up" is a wild roller coaster ride, mixing meters, tempos, and dynamics in a blender in an unforgettable display of sheer virtuosity, and featuring bassist Scott LaFaro. "Joy of a Toy" displays the playful Ornette Coleman in interval leaps, complicated bungee jumps, in many ways whimsical but not undecipherable. It is one of the most intriguing of all of Coleman’s compositions. Less essential, "First Take" showcases his double quartet in a churning composition left off the original release This Is Our Music, loaded with interplay as a showcase for a precocious young trumpeter Freddie Hubbard, the ribald bass clarinet of Eric Dolphy and the first appearance with Coleman’s groups for New Orleans drummer Ed Blackwell. "Little Symphony" has a great written line with room for solos in a joyful hard bop center with the quartet of Coleman, Cherry, Haden and Blackwell. All in all an excellent outing for Coleman from a hodgepodge of recordings that gives a broader view of his vision and the music that would come later in the '60s.” (All Music Guide). Top condition first original press issue with OBI. Price: 75 Euro

444. COLEMAN, ORNETTE: “Science Fiction” (CBS Sony – SOPL-18) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink/ Insert: Near Mint/ Obi: Mint – still covered in shrink). Japan original pressing in top shape and damned hard one to find with obi present. One of Ornette Coleman's best recordings from the 70s – and like his other album for Columbia, quite a change from the freewheeling sounds he was blowing over at Blue Note! The style here is a bit more high concept, but in a good way – with all the edges that Coleman had developed from the late 50s onward, brought into tighter focus for the Columbia setting – given a bit more complexity, although still with plenty of room for freedom – and played both with a smaller combo, and a slightly larger group. The mix of players is as striking as the sounds on the record – and includes Coleman on alto, trumpet, and violin – plus Dewey Redman on tenor, Don Cherry on pocket trumpet, Bobby Bradford on trumpet, Jim Hall on guitar, Cedar Walton on piano, Charlie Haden on bass, and Billy Higgins and Ed Blackwell on drums. Asha Pulthi sings a bit on the larger ensemble tracks – making a rare appearance here before her 70s soul career in Germany. Highly essential! Price: 75 Euro

445. COLEMAN, ORNETTE: “The Skies of America” (Record: Near Mint/ Jacket: Near Mint – still housed in shrink/ Insert: Near Mint/ Obi: Mint – still covered in shrink). Japan original pressing in top shape and damned hard one to find with obi present. “Here's what is known about Coleman’s first recorded orchestral symphonic work: After hiring conductor David Measham and the London Symphony Orchestra, British musicians' union rules prohibited Coleman from using his own quartet to play on the record. As a result, he had to re-examine the work without the concerto grosso form and, to fit the work on a single LP, he had to cut many of the recurrent themes of the work. It is also known that the recording quality isn't the greatest. So what? The bottom line is this: In the 21st century, Skies of America, which was Ornette’s first attempt at employing his newly developed harmolodic theory (whereby using modulation many players could solo at once using different keys), still sounds ahead of its time. Though there are 21 bands marked on the cover, this is a single unbroken work with many of the themes recurring -- either in that they had long been present in Ornette’s musical iconography, or would become so. Coleman himself solos beautifully in the middle of the disc, from "The Artist in America" on and off until the work's end with "Sunday in America." This is loaded music: politically, emotionally, and also spiritually. The dissonance doesn't seem so profound now, but it still rubs against the grain of Western harmonic principles in all the right ways. It's difficult to find the sense of what chord is dominant in Coleman’s composition, and for that alone it's valuable. But also, it's compelling listening on a level that music such as this is not yet the cultural norm or even close to approaching its standard -- which means that it is not yet fully possible. Ornette’s was an opening volley, thrown down as a gauntlet that has yet to be picked up. This is still dangerous and rewarding music.” (All music Guide). Still housed in shrink and with rare cap obi present. Tough one. Price: 75 Euro

446. COLEMAN, ORNETTE & CHARLIE HADEN: “Soap Studs”  (Artists House/ King Records – GP-3174) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition record – comes housed in 1977 Japan only gatefold jacket art and complete with first press obi. This unusual album found Coleman taking time off from his electric free funk group, Prime Time, to record acoustic duets with his longtime associate, bassist Charlie Haden. Coleman switches to tenor and trumpet for the challenging music which includes three of his originals, Haden’s "Human Being" and oddly enough, the theme from the TV show Mary Hartman. Haden, who had proved to be the perfect bassist for the original Ornette Coleman Quartet (who else could have filled his shoes in 1959?), is the equal of Coleman on this fabulous recording, inspiring the saxophonist to play near his peak. Top condition Japan original – all complete. Price: 50 Euro
447. COLLINS, SHIRLEY: “Adieu To Old England ” (Topic – 12TS238) (Record: Near Mint/ Sleeve: Near Mint). Rare original 1974 copy of this completely vanished album. Another classic Shirley Collins recording, this time from 1974 and long out of print. Beautiful interpretations of Southern English songs and toasts with some fine arrangements by Dolly. In addition to cuts accompanied by the spine chilling sound of sister Dolly's flute organ there are other accompaniments featuring members of the Etchingham Steam Band and The Albion Band in varying combinations - Terry Potter/ mouth organ, John Watcham/ concertina, Bill Molan/ melodeon, vocals & percussion, Ian Holder/ accordion, Geoff Singleton/ fiddle & vocal, Simon Nicol/ guitar and others. The songs are all English traditional and often uncommon ones. Price: 75 Euro
448. COLTRANE, ALICE: “Ptah The El Daoud” (Impulse – AS-9196) (Record: Excellent – has a hairline mark on side one/ Gatefold Jacket: Excellent with minimal wear - small pen mark on top/ Insert: Near Mint). Original 1st US Impulse label pressing in nice condition. Alice’s 3rd solo album and her first album with horns (aside from one track on A Monastic Trio (1968), on which Pharoah Sanders had played bass clarinet). Sanders is recorded on the right channel and Joe Henderson on the left channel throughout. All the compositions were written by Coltrane. The title track is named for the Egyptian god Ptah, "the El Daoud" meaning "the beloved". "Turiya", according to the liner notes, "was defined by Alice as 'a state of consciousness — the high state of Nirvana, the goal of human life", while "Ramakrishna" is named after the 19th-century Bengali religious figure; this track omits the horns. The origin of the title of "Blue Nile" is self-explanatory, Coltrane switches from piano to harp, and Sanders and Henderson from tenor saxophones to alto flutes. "Mantra" returns to piano and saxes. Pure bliss on the earlobes, a masterpiece from beginning to end. Price: 285 Euro
449. COLTRANE, ALICE: “Universal Consciousness” (Impulse – AS-9210) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). Great condition US first original pressing of scarce title as of late. “In 1972, jazz mysticism was vigorous and holding, not yet bleached out into the whiter-wash purity of Keith Jarrettism. Having explored the small group exoticisms pioneered by her late husband, Alice Coltrane went for broke with Universal Consciousness. This album clearly connects to other dyspeptic jazz traditions - the organ trio, the soloists with strings - yet volleys them into outer space, ancient Egypt, the Ganges, the great beyond. The production is astounding, the quality of improvisation is riveting, the string arrangements are apocalyptic rather than saccharine, the balance of turbulence and calm a genuine dialectic that later mystic/exotic post-jazz copped out of pursuing. Her lack of constraint was dimly regarded by adherents of 70s jazz and its masculine orthodoxies, yet Alice deserved better credit for virtuosity, originality, and the sheer will power needed to realized her vision.” (The Wire) Nice condition original US press copy. Totally essential!!! Price: 150 Euro
450. COLTRANE, ALICE: “Journey in Satchidananda” (Impulse – AS-9203) (Record: Excellent/ Gatefold Jacket: Excellent/ Insert: Near Mint/ Direct Import Obi: Near Mint). Clean copy, 1st US Impulse press original that comes with the freakingly rare first issue Japan Direct Import OBI and Japanese liner notes. These obi’s just NEVER turn up. “A mystical excursion into the realm of jazz-infused Eastern music by the widow and the disciple of the stellar John Coltrane. Spiritual and atmospheric sounds flow out of the harp and the piano of Alice Coltrane and the soprano saxophone of P. Sanders. The title track opens the album with dreamy intensity, establishing the vibe that pervades the entire recording. Cecil McBee’s bass is prominent, flowing hypnotically throughout, and his solo on “Something About John Coltrane” is breathtaking. Pharoah plays majestically and with great dedication, making this one of his most passionate post John Coltrane outings. Alice divides her time evenly between the harp and the piano. She demonstrates her unconventional virtuosity on piano with the 9 1/2 minute “Something About John Coltrane,” putting a distinct avant-garde twist on the blues. On harp she reveals an imaginative ability to explore Eastern sounds on an instrument largely associated with Western classical music. Rashied Ali’s drums swirl freely around McBee’s bass lines, intertwining with Coltrane’s unearthly runs on the harp to create magical sheets of shimmering sounds. The album’s single live track, “Isis and Osiris,” features some stunning references to the music of John Coltrane played by Vishnu Wood on the oud. This recording represents one of the most original efforts to fuse the improvisations of jazz to the entrancing rhythms of the East.” (John Ballon). Mind bending spiritual jazz for days on end. Killer. Viciously rare with the OBI present, first copy I see in over 15 years. Price: 350 Euro
451. COLTRANE, ALICE: “Huntington Ashram Monastery” (Impulse – AS-9185) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent). Top copy, 1st US Impulse press original in top shape. I believe these beauties were only sealed and punt in shrink for export so copies housed in shrink are far and few in between. An incredible trio album that features Alice Coltrane primarily on harp, plus a bit of piano, with Ron Carter on bass and Rashied Ali on drums. The sound is lush, yet contemplative and it really shows Alice beginning to express herself in new modes after the death of John Coltrane. Her use of harp is especially incredible here and her mellow, earthy piano undertones ground the entire effort brilliantly, meandering into the transcendent waters of highest echelon spiritual jazz. Top shape!!! Price: 175 Euro
452. COLTRANE, ALICE: “Huntington Ashram Monastery” (Impulse – AS-9185) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint – still housed in SHRINK/ Company Inner Sleeve: Excellent/ Japan Only Insert for Import: Near Mint/ Direct Import Obi: Near Mint). Top copy, 1st US Impulse press original – still housed in shrink. This is a factory shrink copy for export to Japan in 1970 and therefore comes all complete with Japan only liner notes insert and damned rare Direct Import OBI! Never seen a copy till now with “Direct Import Obi” present. I believe these beauties were only sealed and punt in shrink for export so copies housed in shrink are far and few in between. An incredible trio album that features Alice Coltrane primarily on harp, plus a bit of piano, with Ron Carter on bass and Rashied Ali on drums. The sound is lush, yet contemplative and it really shows Alice beginning to express herself in new modes after the death of John Coltrane. Her use of harp is especially incredible here and her mellow, earthy piano undertones ground the entire effort brilliantly, meandering into the transcendent waters of highest echelon spiritual jazz. Top shape, housed in shrink and with first issue import OBI!!! Price: 350 Euro
453. COLTRANE, ALICE: “Alice Coltrane with Strings – World Galaxy” (Impulse Records – AS-9218) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – still in SHRINK but has some mild foxing under shrink/ Direct Import OBI: Excellent ~ Near Mint). Original 1st US 1972 pressing, complete with Japan DIRECT IMPORT OBI – rarest Alice Coltrane LP on Japanese shores with obi. Credited on the colorfully Peter Max designed cover to "Alice Coltrane With Strings", it is a design that set this LP apart from all other records she did. The music on the other hand is also out-of-this-world with massive, sweeping strings, sometimes subject to subtle tape manipulation! For this record, Alice Coltrane's trademark harp (as well as her piano, electric organ, and tamboura) was joined by a 15-person string section, including violinist LeRoy Jenkins, who also solos. Other personnel: Reggie Workman on bass, Ben Riley on drums, Frank Lowe on saxophone, and Elayne Jones on tympani. And, respected Indian guru Swami Satchidananda provides a recitation on the subject of love as part of this album's final track, a heartfelt version of John Coltrane's classic "A Love Supreme". The album also begins with a tune closely associated with Alice Coltrane's late husband, "My Favorite Things". The remaining four compositions featured are Alice Coltrane originals, given the "With Strings" treatment, and all are majestic, beautiful, the album sounding like some very spiritual, avant-garde soundtrack music, with shimmering melodies carried aloft by the strings, intertwined and intercut with Eastern-sounding zing and twang and bass drone and keyboard burble, all the layers coming together with passion and power. Just beautiful!! Price: 350 Euro
454. COLTRANE, ALICE: “Lord of Lords” (Impulse – AS-9224) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Direct Import Obi: Near Mint). Original 1st US 1972 pressing, complete with Japan DIRECT IMPORT OBI – another damned rare Alice Coltrane LP on Japanese shores with Direct Import Obi. Released in 1972~3, Lord of Lords was Alice’s final album for Impulse and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lord of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Alice herself) and its refined, blissful performances – shining a vital light on the devotional path that she would follow for the rest of her career. On the first two pieces, "Andromeda's Suffering" and "Sri Rama Ohnedaruth" (titled after the spiritual name for her late husband), Alice’s dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer "Going Home." Coltrane’s musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions. First time I have a copy complete with the direct import obi. Price: 350 Euro
455. COLTRANE, ALICE: “Transfiguration” (Warner – 2WB-3218) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent – cut back corner/ 2 Company Inner Sleeves: Excellent). By the late '70s, Alice Coltrane had largely gravitated away from jazz, incorporating Hindu chants and hymns into her music to reflect a newfound sense of creative omnipotence. However, in April 1978, she would return to her roots, performing at University of California, Los Angeles to make her first and only live album. Transfiguration, featuring drummer Roy Haynes and bassist Reggie Workman, showcases Alice's many compositional talents and fierce improvisatory abilities. Throughout this double LP set, her playing evokes the time spent in her late husband John Coltrane's band and the avant-garde music of her earlier years. As biographer Franya J. Berkman writes, 'Her up-tempo keyboard work here is the most exciting of her commercial career. With its rapid-fire transpositions of short figures; its long modal passages, rhythmic play, and timbral inventiveness; its sustained energy and burning pace; and the unrelenting support of Haynes and Workman, she takes leave of the jazz business with a truly breathtaking swan song.' Alice Coltrane would not revisit jazz on record for another 26 years, turning instead to spiritual music made with students at her Vedantic Center and self-releasing a series of cassettes under her Sanskrit name, Turiyasangitananda. It is hard to imagine a better farewell than the intense and spellbinding Transfiguration. Price: 45 Euro

456. COLTRANE, JOHN & ALICE COLTRANE: “Cosmic Music” (Coltrane Records – AU-4950) (Record: Near Mint/ Gatefold Jacket: Excellent – fain trace of ring-wear). Amazing condition first sleeve issue with first issue labels original pressing. Rare Coltrane’s self-released private press album that came out in 1967. This is the very first pressing of the record, which came housed in a “Black & Grey” unlaminated gatefold jacket design with a black margin on the right-hand side. So this copy here is the very first pressing! It also has the original, first label (pink Coltrane label with ‘paisley’ motif on the label) and was the first, unmixed version of the album which was the original, Coltrane-approved mix – the one he personally supervised. The second version is very similar to the first, but with some significant differences. The second pressing has a cover with a black and later a white right-hand margin on the front cover with a dedication to Martin Luther King. This means that it was issued after Martin Luther King’s assassination (April 1968). This later version uses second label (all-pink label with black print, without paisley motif) and utilizes the Alice Coltrane, which is slightly different from this very first issue. This one here is just a top near perfect copy, sounds stellar and is just too beautiful too handle almost. Amazing music which to these ears sounds light-years better and more interesting as compared to the even later altered mix that was used for the Impulse edition which added strings and other stuff. So, First original private press on Coltrane’s own imprint … great copy. Price: Offers!!!

457. COLTRANE, JOHN & ALICE COLTRANE: “Cosmic Music” (Coltrane Records – CRS-5000) (Record: Near Mint ~ Mint/ Thick Laminated Gatefold Jacket: Near Mint ~ Mint). Rare 1st original private press issue. This copy here is the best one I have ever seen, impossible to ever upgrade upon. Cosmic Music, originally self-released by Alice Coltrane in 1968 and later issued by Impulse!, features two tracks ("Manifestation" and "Rev. King") by John Coltrane’s legendary final quintet that were recorded in San Francisco on February 2nd, 1966 and two more ("Lord Help Me To Be" and "The Sun") from Alice Coltrane’s very first session as a bandleader, recorded six months after her husband's passing. "Manifestation" opens with the group already in mid-flight: Trane's fierce tenor leads the way with Pharoah Sanders' blistering sax and Alice’s powerful chords hearing his call. On "Rev. King," Coltrane introduces a lyrical theme and then the composition erupts into fiery incantations, while Jimmy Garrison's bass throbs alongside the propulsive, gravity-defying drumming of Rashied Ali. Foreshadowing her majestic debut, A Monastic Trio, "Lord Help Me To Be" brings Alice’s celestial piano playing and inspired improvisations to the foreground with Sanders, Garrison and drummer Ben Riley rumbling in tow. "The Sun," a meditative ballad with subtle urgency, perfectly closes the album's contemplative circle. As John Coltrane recites on the final track, "May there be peace and love and perfection throughout all creation." Best condition possible, 1968 original private press issue that came out before Impulse Records reissued it that same year. Hardly ever seen such a pristine copy. Price: Offers!!!
458. COLTRANE, JOHN & ALICE: “Cosmic Music” (Impulse – IMP-88158) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan first press Impulse Records issue in top condition all complete with damned rare obi. Fronting his final quintet with Alice Coltrane, Pharoah Sanders, Jimmy Garrison, Rashied Ali and Ray Appleton adding percussion, John Coltrane recorded the most deeply spiritual album. Love and praise for the universe seemed to flow from his horns like it never had before. His obsession with polyrhythmic drumming had reached new heights and the interplay between dual drummers freed him to explore the furthest possibilities of sound. Alice Coltrane‘s piano work on here is simply beautiful. Melancholy but powerful, she sounds like the grieving widow she must have been at that point, less than a year after her husband’s death, and yet her music has force and gravity. All in all a bewitchingly beautiful spiritual free-floating jazz album. One cannot be without a copy! Top condition & first time I have a Japanese original with first issue obi. Price: 125 Euro
459. COLTRANE, JOHN & ALICE: “Cosmic Music” (Impulse – AS-9148) (Record: Near Mint/ Coated Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original Impulse Records first press issue in top condition with “Bell Sound” machine-stamped in death wax. Original 1968 Impulse records pressing. Fronting his final quintet with Alice Coltrane, Pharoah Sanders, Jimmy Garrison, Rashied Ali and Ray Appleton adding percussion, John Coltrane recorded the most deeply spiritual album. Love and praise for the universe seemed to flow from his horns like it never had before. His obsession with polyrhythmic drumming had reached new heights and the interplay between dual drummers freed him to explore the furthest possibilities of sound. Alice Coltrane‘s piano work on here is simply beautiful. Melancholy but powerful, she sounds like the grieving widow she must have been at that point, less than a year after her husband’s death, and yet her music has force and gravity. All in all a bewitchingly beautiful spiritual free-floating jazz album. One cannot be without a copy! Top condition. Price: 75 Euro
460. COLTRANE, JOHN: “Soultrane” (Top Rank – Prestige/ Victor Records – MJ-2006) (EP Record: Near Mint/ Flip Back Picture Sleeve: Excellent – has lower right perforated corner). Rare Japan ONLY single issue of monumental Coltrane tracks – two tracks being “Russian Lullaby” and “Good Bait”. Really a tough one to find, first copy I see in over a decade. Price: 100 Euro

461. COLTRANE, JOHN: “Soultrane” (TOP RANK/ Victor Records – RANK-5013) (Record: Near Mint/ Fragile Flip-back Jacket: Near Mint/ Insert: Near Mint). Rare Japan very first press original from 1961!! “In addition to being bandmates within Miles Davis mid-'50s quintet, John Coltrane (tenor sax) and Red Garland (piano) head up a session featuring members from a concurrent version of the Red Garland Trio: Paul Chambers (bass) and Art Taylor (drums). This was the second date to feature the core of this band. A month earlier, several sides were cut that would end up on Coltrane’s Lush Life album. Soultrane offers a sampling of performance styles and settings from Coltrane and crew. As with a majority of his Prestige sessions, there is a breakneck-tempo bop cover (in this case an absolute reworking of Irving Berlin’s "Russian Lullaby"), a few smoldering ballads (such as "I Want to Talk About You" and "Theme for Ernie"), as well as a mid-tempo romp ("Good Bait"). Each of these sonic textures displays a different facet of not only the musical kinship between Coltrane and Garland but in the relationship that Coltrane has with the music. The bop-heavy solos that inform "Good Bait," as well as the "sheets of sound" technique that was named for the fury in Coltrane’s solos on the rendition of "Russian Lullaby" found here, contain the same intensity as the more languid and considerate phrasings displayed particularly well on "I Want to Talk About You." As time will reveal, this sort of manic contrast would become a significant attribute of Coltrane’s unpredictable performance style. Not indicative of the quality of this set is the observation that, because of the astounding Coltrane solo works that both precede and follow Soultrane - most notably Lush Life and Blue Train - the album has perhaps not been given the exclusive attention it so deserves.” (All Music Guide). Rarely seen Japan 1961 very first original press issue in top shape. Price: 100 Euro

462. COLTRANE, JOHN: “Blue Train” (Blue Note/ Japan - DBLP-003/ BLP-1577) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Inner Sleeve: Near Mint/ Obi: Near Mint/ Thick label design plastic coaster: Mint and sealed) Released in 2011, high quality MONO pressing and immediately Out of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high-quality reissue of some of Blue Notes finest titles. Immediately Out Of Print in the flash of an eyelid…. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all off, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Price: 250 Euro

463. COLTRANE, JOHN: “Standard Coltrane” (Prestige/ Victor Records – SMJ-7076) (Record: Near Mint/ Fragile Flip Back Jacket: Excellent – has small 1cm tear on opening/ Obi: Near Mint). Damned scarce Japan 1st original press issue.  (All Music “John Coltrane had yet to move into his modal post-bop phase in 1958 when he recorded a session for Prestige Records on July 11 with trumpeter/flugelhornist Wilbur Harden, pianist Red Garland, bassist Paul Chambers and drummer Jimmy Cobb, the results of which were issued in 1962 as Standard Coltrane. His groundbreaking modal work with Miles Davis on Kind of Blue was still a few months into the future, which makes this set more historical than vital or transitional, although it's pleasant enough, featuring Coltrane on several standards, including a ten-plus-minute version of "Invitation." Other Coltrane material from this 1958 Prestige era ended up on the albums Stardust (1963) and Bahia (1965).”Guide). Great condition and eclipses the US pressing in scarcity by far. First time ever I have a copy with first issue obi. Wicked!!! Price: 125 Euro

464. COLTRANE, JOHN: “Last Trane” (Prestige/ Victor – SMJ-7374) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Scarce Japan first original pressing all completely with rarely seen obi. “Despite its title (which was due to the original LP containing the last of Prestige's John Coltrane material to be released for the first time), this album does not have Coltrane’s final recordings either of his career or for Prestige. These "leftovers" are generally rewarding with an alternate take of "Trane's Slo Blues" (called "Slotrane") being joined by three slightly later numbers ("Lover," "By the Numbers" and "Come Rain or Come Shine") taken from quintet sessions with trumpeter Donald Byrd, pianist Red Garland, bassist Paul Chambers and either Louis Hayes or Art Taylor on drums. Enjoyable if not essential hard bop from John Coltrane’s productive Prestige period. Rarely offered very first Japan original press issue complete with fragile flip back sleeve and obi in pristine condition. Blows the US original pressing out of the gene pool by lightyears. Price: 200 Euro

465. COLTRANE, JOHN: “The Believer” (Prestige/ Victor Records – SMJ-7246) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Freakingly rare Japan very first press issue all complete with OBI. “The Believer offers an early glimpse at the talents of a still-developing Coltrane. Recorded in the late '50s while he was still a member of the Miles Davis Sextet, this early solo outing finds Coltrane confident but just beginning to explore the kind of modalities with which he would soon revolutionize the world of jazz. One of the reasons Coltrane is so at ease here is the familiar setting: he's joined by fellow Davis cohorts Paul Chambers and Red Garland among others. Drummer Louis Hayes provides a Latin-inflected beat on "Nakatini Serenade," as Coltrane and Donald Byrd soar above the rhythm section. The understated Rogers & Hammerstein standard "Do I Love You Because You're Beautiful" presents Coltrane the balladeer waxing lyrical over the subtle dynamics. Things to come are hinted at briefly in flurries of notes here and there, and it's fascinating to listen to the early work of his developing genius” (All Music Guide). Never turns up very first Japanese press original in TOP condition, housed in ultra-fragile laminated flip back sleeve and with insanely rare first issue obi. What can a mortal soul ask possible more for? Price: 275 Euro
466. COLTRANE, JOHN: “The Believer” (Prestige/ Victor Records – SMJ-6558) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean like your bride on her wedding night Japanese pressing with obi of all time classic. “The Believer offers an early glimpse at the talents of a still-developing Coltrane. Recorded in the late '50s while he was still a member of the Miles Davis Sextet, this early solo outing finds Coltrane confident but just beginning to explore the kind of modalities with which he would soon revolutionize the world of jazz. One of the reasons Coltrane is so at ease here is the familiar setting: he's joined by fellow Davis cohorts Paul Chambers and Red Garland among others. Drummer Louis Hayes provides a Latin-inflected beat on "Nakatini Serenade," as Coltrane and Donald Byrd soar above the rhythm section. The understated Rogers & Hammerstein standard "Do I Love You Because You're Beautiful" presents Coltrane the balladeer waxing lyrical over the subtle dynamics. Things to come are hinted at briefly in flurries of notes here and there, and it's fascinating to listen to the early work of this developing genius.” (All Music Guide). Price: 40 Euro

467. COLTRANE, JOHN: “Bahia” (Prestige/ Victor Records – SMJ-6563) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean as a virgin’s ass Japanese pressing. “Bahia is a steady, often very good hard-blowing and blues date featuring John Coltrane, recorded during one of his busiest periods, 1957-1958, but not released until 1965. (Coltrane cut numerous sessions during the late '50s for Prestige to satisfy a commitment to the label and move to Atlantic; some of these were packaged and released long after they were cut.) Most were done with the same rhythm section: pianist Red Garland, bassist Paul Chambers and drummer Art Taylor (although Jimmy Cobb substituted for Taylor on two songs). Also featured is additional work by a pair of trumpeters: Wilbur harden appears on "My Ideal" and "I'm a Dreamer, Aren't We All," while Freddie Hubbard takes over on "Something I Dreamed Last Night." (All Music Guide). Price: 40 Euro

468. COLTRANE, JOHN: “Dakar” (Prestige/ Victor Records – SMJ-7312) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint). Damned rare very first Japan original pressing in great shape. This is the never offered before rare TEST PRESS issue!!! Dakar (1957) presents half-a-dozen numbers recorded April 20, 1957 by an ensemble credited as the "Prestige All-Stars." On the bandstand for this date are John Coltrane (tenor sax), Cecil Payne (baritone sax), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), and Art Taylor (drums). Although at the time these were considered "leaderless" units, upon hearing the interaction of the participants, modern ears might desire to qualify that statement. Japan very first press issue that came out in the early 1960s. Stamped label TEST pressing in top shape – one of a kind item. Price: 300 Euro

469. COLTRANE, JOHN & DON CHERRY: “The Avant-Garde” (Atlantic/ Victor Records – SMJ-7378) (Record: Near Mint/ Flip Back Jacket: Excellent ~ Near Mint). Rarely offered Japan 1st original press issue from 1966 – comes housed in fragile flip back sleeve. This is rare WHITE label PROMO issue. A beautiful meeting of two major talents from the left end of jazz – recorded in the early 60's when both were working for Atlantic! Despite the "avant garde" title, this set is straighter than you'd expect – very much in the spirit of Coltrane's work for the label, but with perhaps some of the more angular styles that Cherry was laying down with Ornette Coleman at the time. The session has Coltrane joining Ornette's group of Don Cherry, Charlie Haden, and Ed Blackwell – save for a few numbers that feature Percy Heath on bass instead of Haden. Top condition first original press issue!!!! Price: 150 Euro
470. COLTRANE, JOHN: “Ketteiban – Kore Ga Coltrane – John Coltrane Golden Disk” (Atlantic Records/ Nippon Victor – SMJ-7277) (Record: Near Mint/ Fragile gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare Japan only Coltrane issue that came out around 1964. In absolutely top condition and damned rare, first complete copy to pass through my hands. Japan only issue that compiles some earlt Trane tunes such as “The Night Has A Thousand Eyes”; “Bags & Trane”, “Syeeda’s Song Flute”, “My Favorite Things”, “Harmonique” and “Giant Steps”. Top condition, absolutely perfect and that for a 1964 first original pressing with obi. Damned rare title!!! Price: 200 Euro
471. COLTRANE, JOHN: “Best Of John Coltrane” (Atlantic Records/ Victor World Group – MJ-7036) (Record: Near Mint/ Fragile Flip Back Sleeve: Near Mint/ OBI: Mint). Bloody rare Japan only issue of the early 1960s in top condition, all complete with rare obi. Never seen this Coltrane variation before, early dayz Japanese press issue, fragile and in absolutely TOP condition…man just love those real-time Japanese Coltrane issues, they are something else! Price: 150 Euro

472. COLTRANE, JOHN: “Ole” (Atlantic – MJ-7040) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Excellent ~ Near Mint). Bloody rare Japan 1st original pressing all complete with 1st issue obi. This is the rare MONO issue. Comes in Japan only color variation sleeve. “The complicated rhythm patterns and diverse sonic textures on Ole Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa/ Brass, Coltrane’s debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane’s musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis’ Sketches of Spain. This is taken a bit further as Coltrane’s combo stretches out with inspired improvisations from Dolphy, Hubbard and Coltrane respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that undoubtedly excited Coltrane, who was perpetually searching for sounds outside the norm. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner, the song's author, and Coltrane. The solos from Hubbard, Dolphy and an unaccredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel.” (All Music Guide). Price: 300 Euro

473. COLTRANE, JOHN: “Ole” (Atlantic – SMJ-7041) (Record: Excellent/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Bloody rare Japan 1st original pressing all complete with 1st issue obi. This is the rare STEREO issue. Comes in Japan only color variation sleeve. Also different obi design as opposed to the Mono pressing. Rarely surfaces but not as rare as the MONO issue but still a bitch to dig up all complete. Price: 200 Euro

474. COLTRANE, JOHN: “Ole” (Atlantic – SD-1373) (Record: Near Mint/ Jacket: Mint – still housed in shrink/ Company Inner Sleeve: Near Mint/ Direct Import Obi: Near Mint). Damned rare Japan direct import copy that comes with rare Direct Import obi. “When he recorded Olé Coltrane in 1961, Trane was already transitioning over to Impulse! Records, and his playing reflected the greater freedom that the new label afforded him. In the original liner notes, he is quoted as saying (in a classic understatement), "I like to play long." On the 18-minute showpiece "Olé," one can imagine the profound satisfaction he must have felt, when for the first time, he was free to let his playing stretch out across the record grooves. This is trance music of the highest order. Recorded one year after his former boss Miles Davis released Sketches of Spain, Trane's "Olé" resonates with the mystical sounds of the North African Moors who once ruled the Iberian Peninsula. While Sketches of Spain is big on Gil Evans' sweeping orchestrations and flamenco grandeur, "Olé" explores the Eastern-influenced musical modes of Islamic Spain in a more stripped down and earthy manner. Just two days after recording Africa/Brass, his stunning debut album for Impulse!, Trane took old band mates McCoy Tyner and Elvin Jones into the studio for a rendezvous with some talented new friends. Joining them there were Trane's equally intense and innovative counterpart, Eric Dolphy, the very young trumpeter Freddie Hubbard, and bassists Reggie Workman and the Art Davis. This dream team provided a great deal of musical empathy, liberating the conception and size of Coltrane's solos, spurring him to unknown heights. Everyone except Elvin Jones solos on "Olé," shaping the song with ever increasing freedom into the masterpiece that it is. Eric Dolphy's flute solo is unforgettable, communicating genius in a voice that no one could fail to identify. The interplay of the two basses lends an eerie mysticism to the song, with Art Davis' strong rhythmic bow-work suggesting the entrancing dance of Istanbul's Whirling Dervishes. "Dahomey Dance" is a more traditional sounding blues, with Trane switching to tenor sax. If not for the double-bass frontline and Dolphy's blissfully unconventional solo, this song could easily be mistaken for a missing gem from Miles' Kind Of Blue sessions. A transitional record, Olé Coltrane successfully navigates the line between Trane's sonically challenging later years and his earlier accessibility. A magnificent milestone in Trane's artistic growth, this is an essential recording for any collection.” (All About Jazz). Top shape, sleeve still housed in shrink. Tri-color (Green White & Red) Atlantic pressing. Price: 125 Euro

475. COLTRANE, JOHN: “Giant Steps” (Atlantic – SD-1311) (Record: Near Mint/ Jacket: Mint – still housed in shrink/ Company Inner Sleeve: Near mint/ Direct Import Obi: Mint) Damned rare Japan direct import copy that comes with rare Direct Import obi. “History will undoubtedly enshrine this disc as a watershed the likes of which may never truly be appreciated. Giant Steps bore the double-edged sword of furthering the cause of the music as well as delivering it to an increasingly mainstream audience. Although this was John Coltrane’s debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind Of Blue, before commencing his efforts on this one. Coltrane is flanked by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated -- replicating the lineup featured on Kind Of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane’s tenor solos. All seven pieces issued on the original Giant Steps are likewise Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos -- the 180-degree antithesis of the art form up to that point. These arrangements would create a place for the solo to become infinitely more compelling. This would culminate in a frenetic performance style that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound." Coltrane’s polytonal torrents extricate the amicable and otherwise cordial solos that had begun decaying the very exigency of the genre -- turning it into the equivalent of easy listening. He wastes no time as the disc's title track immediately indicates a progression from which there would be no looking back. Line upon line of highly cerebral improvisation snake between the melody and solos, practically fusing the two. The resolute intensity of "Countdown" does more to modernize jazz in 141 seconds than many artists do in their entire careers. Tellingly, the contrasting and ultimately pastoral "Naima" was the last tune to be recorded, and is the only track on the original long-player to feature the Kind Of Blue quartet. What is lost in tempo is more than recouped in intrinsic melodic beauty.” (All Music Guide). Top shape, sleeve still housed in shrink. Tri-color (Green White & Blue) Atlantic pressing. Price: 150 Euro

476. COLTRANE, JOHN: “Coltrane Jazz” (Atlantic – SD-1354) (Record: Near Mint/ Jacket: Mint – still housed in shrink/ Company Inner Sleeve: Near mint/ Direct Import Obi: Mint) Damned rare Japan direct import copy that comes with rare Direct Import obi. “The first album to hit the shelves after Giant Steps, Coltrane Jazz was largely recorded in late 1959, although one of the eight songs ("Village Blues") was done in late 1960. On everything save the aforementioned "Village Blues," Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb. While not the groundbreaker that Giant Steps was, Coltrane Jazz was a good consolidation of his gains as he prepared to launch into his peak years of the 1960s. There are three standards aboard, but the group reaches their peak on Coltrane’s original material, particularly "Harmonique" with its melodic leaps and upper-register saxophone strains and the winding, slightly Eastern-flavored principal riffs of "Like Sonny," dedicated to Sonny Rollins. The moody "Village Blues" features the lineup of McCoy Tyner on piano, Elvin Jones on drums, and Steve Davis on bass; with the substitution of Jimmy Garrison on bass, that personnel would play on Coltrane’s most influential and beloved 1960s albums.” (All About Jazz). Top shape, sleeve still housed in shrink. Tri-color (Green White & Blue) Atlantic pressing. Price: 150 Euro
477. COLTRANE, JOHN & MILT JACKSON: “Bags & Trane” (Atlantic/ Nippon Victor – MJ-7023) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan 1st original pressing – MONO that comes housed in a fragile flip back sleeve and all complete with the very first issue obi. Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording. With fine backup by pianist Hank Jones, bassist Paul Chambers and drummer Connie Kay, Bags and Trane stretch out on two of Jackson’s originals (including "The Late Late Blues") and three standards: a romping "Three Little Words," "The Night We Called It a Day," and the rapid "Be-Bop." Their solos flow smoothly into each other and their conversations, especially the one in the composition Bags and Trane, are perfect. Despite the quality of their rhythm section, their solos are the thankfully omnipresent highlight of the album. Take for instance the beginning of Late, Late Blues. The bass perfectly sets the base of the song which Milt Jackson then follows and quickly expands into a full blown solo played over the backing of the rhythm. That passage is jazz in its purest form. This is an album that justifies the reputation of the artists who made it and deserves much more notice than it gets. This is an immaculate album, and while it may not be quite the masterpiece that its contemporaries Giant Steps or My Favorite Things are, it is a classic that any jazz fan should be proud to own. Top condition. Price: 250 Euro
478. COLTRANE, JOHN: “Coltrane’s Sound” (Atlantic Records – SMJ-7219) (Record: Excellent/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Bloody rare 1964 Japanese original pressing all complete with hardly ever seen “’64 Modern Jazz” Atlantic Obi. This is one of the most highly underrated entries in Coltrane’s voluminous catalog. Although the same overwhelming attention bestowed upon My Favorite Things was not given to Coltrane’s Sound upon its initial release, both were actually recorded during the same three-day period in the fall of 1960. So prolific were those recording dates, they informed no less than five different Coltrane albums on Atlantic. The title could not have been more accurate, as each of the six pieces bear the unmistakable and indelible stamp of Coltrane’s early-'60s style. "The Night Has a Thousand Eyes" and "Body and Soul" (the only tracks not penned by Coltrane) are given unique and distinctive voices. Animating the arrangements on these sessions were Coltrane (soprano/tenor sax), Steve Davis (bass), Elvin Jones (drums), and McCoy Tyner (piano). It's perhaps Tyner’s recollection of the quartet as "four pistons in an engine" that most aptly explains the singular drive heard during Coltrane’s extended runs on "Liberia." Tyner flawlessly complements Coltrane with full resonating chords that cling to his volley of sound. The rhythmic gymnastics of percussionist Jones is also showcased as his double-jointed bop swing and military band precision are distinctly displayed on the blues "Equinox." The opening six bars give Jones a chance to make a contrasting statement -- which he takes full advantage of. Regardless of the lack of attention, these recordings remain among Trane's finest.” (AMG). Very rare and seldom offered 1964 Japanese first original pressing all complete with rare obi. Just never surfaces!!! Price: 250 Euro

479. COLTRANE, JOHN: “Coltrane Plays the Blues” (Atlantic/ Nippon Victor – SMJ-7053) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare very first Japan original pressing of sublime early Coltrane slide all complete with first issue obi. “Coltrane’s sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues and Coltrane’s Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't). It's more indicative of a bluesy sensibility, whether he is playing muscular saxophone or, on "Blues to Bechet" and "Mr. Syms," the more unusual sounding (at the time) soprano sax. Elvin Jones, who hadn't been in Coltrane’s band long, really busts out on the quicker numbers, such as "Blues to You" and "Mr. Day." All three were recorded on October 24, 1960.” (All Music Guide). Just stunning material, damned hard to find 1st original Japanese pressing with obi in perfect nick. First time ever I could dig up a pristine copy with 1st issue obi, makes me weep each time I look or play it…devastating! Still insanely cheap seen its rarity… Price: 250 Euro

480. COLTRANE, JOHN: “Black Pearls” (Prestige/ Nippon Victor – SMJ-7252) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Mint). Freakingly rare Japan very first press issue all complete with obi in virginal shape!. A picture of an odd moment in the development of tenor saxophonist John Coltrane`s style, this 1958 session includes some imperfect settings for his sheets-of-sound technique. Donald Byrd sits in on trumpet with Red Garland on piano, Paul Chambers on bass and Art Taylor on drums. Coltrane`s sound fit the Miles Davis band better, but his ideas soar out beyond the moment, and the limitation of the group only reminds the listener of Coltrane`s bold originality. Price: 200 Euro

481. COLTRANE, JOHN: “The John Coltrane Story Volume 2” (Atlantic/ Victor World Group – SMJ-7363~4) (2 LP Record Set: Near Mint/ Flip Back Gatefold Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan only 2 LP set documenting and bringing together the highlights of his recordings while he was under contract with the Atlantic label. Comes in Japan only gatefold jacket artwork and comes complete with mega rare obi!. hardly ever surfaces on these shores. Spotless condition. Price: 175 Euro
482. COLTRANE, JOHN: “Settin’ The Pace” (Top Rank/ Nippon Victor – MJ-7034) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). A rarely offered Japan very first press issue of the early 1960s all complete with damned rare obi. The whole affair is in stunning condition. This is John Coltrane from the period when he was a member of Miles Davis’ legendary 1950s quintet, accompanied by fellow quintet members Red Garlands and Paul Chambers. This is Coltrane in a relaxed bop mode, making some swinging, relaxed jazz in the vein of Sonny Rollins and Stan Getz (the latter in his more boppish mode). This is not the fire-breathing saxophonist of the mid-'60s, but a player who was beginning to push against the boundaries, all the while playing with thoughtful, imaginative lyricism. It's a set of little-known pop tunes of the era, with the exception of Jackie McLean’s "Little Melonae." Anyone who likes the mainstream jazz of the '50s, or Miles’ music of that time, or Coltrane fans who want to hear their idol in an easygoing context, should pick this up. Price: 250 Euro
483. COLTRANE, JOHN: “Lush Life” (Top Rank/ Victor Records – RANK-5083) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Bloody rare Japan first original press from 1961, imn pristine condition and with rare obi present! “Coltrane’s records for Atlantic and Impulse are such towering landmarks that now his work for Prestige is all but ignored. However, there are many excellent albums in the Prestige catalog, and Lush Life is as good a place as any to start exploring the early days of Trane. The brooding cover doesn’t quite do the music justice, for this is a fairly up-tempo, spirited affair capturing a gifted improviser who was just beginning to stretch out into new directions. The first three tracks features Coltrane without a pianist, and if he sounds a bit hesitant, it’s only because it wasn’t a planned exercise (Red Garland failed to show up for the recording session). Nevertheless, these are interesting, awkward experiments considering what Coltrane was able to accomplish in a few short years without a pianist, especially at the Village Vanguard sessions. The remaining tracks are fairly straightforward versions of standards, with “Lush Life” being the true highlight of the album. Coltrane shows a melodic sense not always evident during this time period, and guest Donald Byrd also delivers a beautiful solo as well. Since Lush Life spans three separate sessions in two years, there’s a little lack of continuity and the rhythm section sometimes seems unable to hone into what Coltrane was up to. Nevertheless, the record documents Coltrane’s rapid growth over a short period of time while also showcasing how great a talent Coltrane was, even at this early stage.” (All About Jazz) Price: 275 Euro
484. COLTRANE, JOHN: “Training In” (Prestige/ Victor Records – MJ-7135) (Record: Near Mint/ Jacket: Excellent – some foxing on back/ Obi: Near Mint). Scarce Japan first original press issue with blue toned first issue Victor Records Obi. “For his second LP, John Coltrane joined forces with his Prestige labelmate Red Garland to command a quartet through a five song outing supported by a rhythm section of Paul Chambers (bass) and Art Taylor (drums). The absence of any unessential instrumentalists encourages a decidedly concerted focus from Coltrane, who plays with equal measures of confidence and freedom. The Coltrane original "Traneing In" is a rousing blues that exemplifies the musical singularity between Coltrane and Garland. Even though the pianist takes charge from the start, the structure of the arrangement permits the tenor to construct his solo seamlessly out of Garland’s while incrementally increasing in intensity, yet never losing the song's underlying swinging bop. Chambers then gets in on the action with an effervescent run that quotes the seasonal favorite "Santa Claus Is Coming to Town." The poignant "Slow Dance" is a dark ballad with a simple, refined tune that is established by Coltrane. He turns things over to Chambers and then Garland -- whose respective style and grace are virtually indescribable -- before bringing it home with one final verse. "Bass Blues" is the second Coltrane-penned selection on the album. Right from the tricky opening riff, the slightly asymmetrical melody showcases Chambers’ ability to mirror even the most intricate or seemingly improvised lines from Coltrane. The mid-tempo pace is a springboard for the tenor's spontaneous inventions as he interfaces with a rollicking and ready Garland alongside Chambers’ unfettered bowing. "You Leave Me Breathless" provides everything that a love song should with long, languid runs by Coltrane, Garland and what is arguably Chambers at his absolute finest. Few passages can match the grace and stately refinement of the bassist as he pilots the proceedings behind Taylor’s steady metronome and Garland’s luminous, effective comps. It draws to a close on the bebop lover's dream, a fast and furious interpretation of the Irving Berlin classic "Soft Lights and Sweet Music." (All Music Guide). Price: 75 Euro

485. COLTRANE, JOHN: “Live At The Village Vanguard” (Impulse/ King Records – SNY-10) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare 1962 very first press issue all complete with hardly ever seen first issue obi. Top condition. “The four nights in November, 1961 that John Coltrane and various lineups of his group were recorded at a Manhattan club yielded a lot more music than the three tracks here — most of his subsequent album, Impressions, was drawn from those gigs, too. But Live! At the Village Vanguard is an argument as much as it is an album. At the time, the jazz world was bitterly divided over whether what John Coltrane's extended, discursive soloing was brilliant innovation or, as one review called the album, "musical nonsense...being peddled in the name of jazz." When DownBeat magazine asked Coltrane to defend himself upon its release, he patiently explained that "the main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows of and senses in the universe." The music on Live! At the Village Vanguard puts it more bluntly: We are the train to the future, and you'd better chase us.” (Douglas Wolk) Never had the opportunity to grace my eyes upon a true 1st press issue from 1962 all complete with obi until know. Seriously rare Coltrane pressing in amazing shape. Price: 275 Euro

486. COLTRANE, JOHN: “Live at The Village Vanguard” (Impulse/ King Records – SH-3021) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Equally scarce 2nd press issue from 1964 all complete with hardly ever seen first issue obi. Again another always-elusive pressing with obi. To make it even more droolingly salacious is that this one here is the mega rare WHITE label PROMO issue, just never ever offered for sale before!!! Comes housed in a fragile laminated flip back sleeve with matching obi. These birds are so shy one needs serious binoculars to spot them at all but here is one flying low enough for you to catch it before it remains hidden for another decade or so. Top shape with Obi and WHITE label PROMO! Price: 350 Euro

 

 

487. COLTRANE, JOHN: “Coltrane” (Impulse/ King Records – SH-3001) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan very first original Impulse pressing from 1963 complete with first issue obi. Housed in fragile flip back sleeve. Considered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he's simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet. The result is a most focused effort, a relatively popular session to both his fans or latecomers, with five selections that are brilliantly conceived and rendered. Sounds fantastic!!! Damned rare 1963 very first original press with OBI, immaculate condition. Price: 250 Euro
488. COLTRANE, JOHN with DUKE ELLINGTON: “S/T” (Impulse – SH-3003) (Record: Near Mint/ Fragile Flip Back Jacket: Excellent – small middle spine rubbing/ Obi: Near Mint). Very first Japan original STEREO pressing housed in fragile flip back sleeve and all complete with first issue obi. “The classic 1962 album Ellington & Coltrane showcased the rising jazz saxophone innovator performing alongside the long-established piano institution. While the pairing might have portended a dynamic clash of the musical generations, instead we got a casual, respectful, and musically generous meeting of like-minded souls. Similarly, while one might have assumed that Ellington would use his sidemen, instead producer Bob Thiele chose to bring in Coltrane’s own outfit for the proceedings. Consequently, the duo is backed here at various times by bassist Jimmy Garrison and drummer Elvin Jones as well as alternates bassist Aaron Bell and drummer Sam Woodyard. The most surprising aspect of the Ellington/ Coltrane date is how well suited Coltrane and his group are at playing what largely ends up being Ellington’s own material. While he was certainly in the nascency of his more avant-garde period in 1962, Coltrane had a deep understanding of traditional jazz vocabulary, having played in a swing band in the Navy in the 1940s and studied the style of artists like Hawkins and Ben Webster while coming up in Philadelphia. Similarly, though an icon of the big-band era by the 1960s, Ellington had been on the upswing of a career resurgence ever since his dynamic performance at the 1956 Newport Jazz Festival. His meeting with Coltrane was emblematic of his renewed creativity and was one of several albums he recorded in his latter life with theretofore unexpected artists. Here, Ellington & Coltrane play a handful of well-known Ellington book numbers, including a supremely lyrical "In a Sentimental Mood" and a soulful, half-lidded version of Billy Strayhorn’s "My Little Brown Book." Ellington even supplied the brisk original "Take the Coltrane," allowing plenty of room for Coltrane to let loose with knotty, angular lines.” (All Music Guide). A very shy bird this one, Japan 1st pressing in flip back sleeve just about never surfaces. Price: 150 Euro
489. COLTRANE, JOHN with DUKE ELLINGTON: “S/T” (Impulse – MH-3003) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Very first Japan original pressing housed in fragile flip back sleeve and all complete with first issue obi. This is the RARE MONO pressing in top shape. A very shy bird this one, Japan 1st pressing MONO in flip back sleeve just about never surfaces. Price: 200 Euro
490. COLTRANE, JOHN: “Kulu Se Mama” (Impulse – SR-3005) (Record: Near Mint/ Gatefold Jacket: Excellent/ Insert: Excellent/ Obi: Near Mint). Scarce japan 1967 original press issue complete with insert and first issue obi. Price: 150 Euro

491. COLTRANE, JOHN: “Impressions” (Impulse Records – SH-3020) (Record: Near Mint/ Flip Back Jacket: Excellent/ Insert: Near Mint/ Obi: Near Mint). Very first 1964 Japan original press issue all complete with rare first issue obi. Rare Japanese 1st original press issue from 1964. To make it even more eye-popping salacious is that this one here is the mega rare WHITE label PROMO issue, just never ever offered for sale before!!! Great condition. “Impressions is an album that, more than just giving the listener certain sensations, plumbs the depth of Coltrane's feelings. It does this while providing an incredible array of his musical concerns which makes this record indispensable. There's an A-flat blues; the stunning original ballad "After the Rain," and "India," on which two bassists simulate a drum choir. Finally, there's the remarkable title track, on which Coltrane develops several motifs in succession, moving in and out of a maze of tonalities - but always with the inevitable fervor and logic of a charging train.” (John Doe, Excerpted from the liner notes of the CD issue). Rarely seen 1st Japanese stereo pressing from 1964!!!! All complete with mega rare OBI & WHITE label PROMO issue. Price: 350 Euro

492. COLTRANE, JOHN: “Live At The Village Vanguard Again!” (Impulse Japan – SH-3085) (Record: Near Mint/ Laminated Flip Back Jacket: Near Mint/ Obi: Mint). Bloody rare Japan 1st original press issue from 1967. All is in pristine condition, never seen this 1st press issue before until now, let alone in such an immaculate state as this one here. Five years after that triumph, Coltrane returned to the Vanguard with his New Thing quintet, expanded to a sextet for the occasion: Coltrane on soprano, tenor, and bass clarinet; Pharoah Sanders on tenor and flute; Alice Coltrane on piano, Jimmy Garrison on bass, Rashied Ali on drums, and Emanuel Rahim on percussion. This album contains only two songs: "Naima" and "My Favorite Things," which were perhaps the two most celebrated numbers, or overplayed chestnuts, of the Coltrane catalogue. Here they are given a treatment like no other. Absolutely fantastic Coltrane slide – this is the very rare 1st original Japanese pressing with 1st issue obi in absolutely stunning condition. Never seen a copy before all complete. Price: 250 Euro

493. COLTRANE, JOHN: “A Love Supreme” (Impulse Records Japan – SH-30636) (Record: Near Mint/ Fragile Flip-back Jacket: Near Mint/ OBI: Excellent). VERY First original 1965 Japanese pressing. Never seen before very first Japanese press original with very first issue obi. Seriously rare. “One of the most important records ever made, Coltrane’s A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. Recorded over two days in December 1964, Trane’s classic quartet stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory bass line at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely attuned to his spiritual vibe. Composed of four parts, each has a thematic progression. "Acknowledgement" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. "Resolution" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. "Pursuance" searches deeply for that experience, while "Psalm" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period become progressively untethered and extremely spirited. A Love Supreme not only attempts but realizes the ambitious undertaking of Coltrane’s concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. Clocking in at 33 minutes; A Love Supreme conveys much without overstatement. It is almost impossible to imagine any jazz collection without it.” (All Music Guide). Damned scarce the very 1st Japanese Coltrane Impulse pressings. Never seen before first press copy of this all time classic. Price: 350 Euro
494. COLTRANE, JOHN: “Ascension” (Impulse Japan – SH-3076) (Record: Mint/ Flip Back Laminated Jacket: Mint/ OBI: Mint/ Promo Picture still of 65 ~ 9 cm: Near Mint). Original Japanese 1st original pressing from 1966 IN TOP condition and all complete with FIRST ISSUE OBI. To make it even more droolingly salacious is that this one here is the mega rare WHITE label PROMO issue, just never ever offered for sale before!!! Never encountered before first issue is bloody rare, no question about it. For thirty-five years Ascension has stood as a monument - either as John Coltrane's supreme, ecstatic statement of his musical liberation from chord changes or as his abandonment of all jazz tradition. Here he has reached the summit. Although the influence of other musicians is evident in his music, it stands apart, now as then, from everything else in jazz. It is of unprecedented force and feeling. Top copy with OBI and one of the finest free blowing jazz records ever to have been put down on wax! The condition is mind-blowingly clean, best copy imaginable. With Obi and WHITE label PROMO??? Just forget it – a one-off chance to clutch this one into your mittens. Price: 450 Euro
495. COLTRANE, JOHN/ ARCHIE SHEPP: “New Thing At Newport” (Impulse – SH-3075) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint) Very first 1966 Japanese pressing that comes housed in a fragile flip back sleeve. Complete with rare obi!!! This one came out slightly behind the direct imported version on which an obi was slapped, this one was the first in Japan pressed original that comes housed in a single fragile flip back sleeve. Top condition and damned scarce issue. Price: 175 Euro

496. COLTRANE, JOHN: “Golden John Coltrane” (Victor Records/ Prestige – SMJX-10030) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). Scare Japan ONLY Coltrane issue all complete with OBI. Rarely seen WHITE label PROMO issue. Brings together a string of Coltrane compositions/ recordings for his Prestige days such as “Russian Lullaby – Soultrane – Four – Lover – Tenor Madness – Violets For Your Furs – Woody ‘N’ You”. Comes housed in lavishly textured gatefold jacket that gets flanked by lovely gold-toned obi. Another quite elusive edition in the ever-expanding Coltrane discography. Price: 150 Euro

497. COLTRANE, JOHN: “A Love Supreme” (Impulse Records – AS-77) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Direct Import OBI: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint). Direct Import issue from 1969 for the Japanese market, all complete with rare Direct Import Obi and Insert. Second label US press issue. Hardly ever surfaces with the Direct Import Obi present. LP in great NM condition; gatefold jacket is strictly graded at NM and is in top condition. Has been ages since I had a copy of this all-time classic – all complete with the Import Obi Present – without a single doubt the rarest obi variation out there and only issued for Import reasons. Price: 150 Euro
498. COLTRANE, JOHN: “Africa / Brass” (Impulse – AS-6) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent – has a folding Crease/ Insert: Near Mint). Original Japan first 1969 Direct Import issue from the US all complete with Japan only insert and bloody rare Direct Import obi. The first direct imported issue to Japan dat came out in Japan in 1969. Coltrane’s first release for the Impulse label. The obi is seriously rare, first time ever I have a copy of this obi. They are getting damned scarce these last years and hardly ever turn up anymore as clean as this one. Archival copy. Price: 150 Euro
499. COLTRANE, JOHN QUARTET: “Ballads” (Impulse – AS-32) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent/ Direct Import Obi: Near Mint). Clean US pressing – 2nd label issue of Coltrane Ballads for Import to Japan, coming complete with rarely seen “Direct Import Obi” present. “Throughout John Coltrane’s discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make. These conspiracy theories really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did -- exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman and with Duke Ellington. Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He's not aggressive, and he's not outwardly. Instead he's introspective and at times even predictable, but that is precisely Ballads draw.” (All Music Guide). Price: 150 Euro
500. COLTRANE, JOHN QUARTET: “Plays” (Impulse – AS-85) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Direct Import Obi: Mint). Super clean US 2nd press issue that comes with scarce Direct Import Obi intended for import to Japan back in the day. “Plays” is one of Coltrane’s finest recordings for the Impulse label. Opening up with the wonderful theme of “Chim Chim Cheree” that is quite enchanting while Coltrane gets more and more into his magical sphere of improvising. McCoy Tyner brings it down with thoughtful and mesmerizing waves of brilliant notes, light and feathery, as well as powerful chords on the keys. Then Coltrane brings it up again into the clouds and beyond to the beat of Elvin Jones’s relentless yet dynamic battery as well as Garrison’s steady double bass. Back to the theme and they bring it home, soothing it down… just brilliant. “Brazilia”, the wonderful name of the tune peaks the interest. What kind of genius playing is cooked up in here you wonder. Is it samba-infused? Nah, hardly. When Elvin’s great drum roll snare and Coltrane’s improvisation over that comes to a conclusion and then when the entire band sets in, that’s pure magic. And the rest of the tune just flows ahead and you’ll get lost in the music in a wonderful way. Another special highlight of this album is Jimmy Garrison’s bass solo in the beginning of the last tune. Just heavenly. This album is highly recommended to all lovers of Coltrane and progressive 60’s jazz in general. Damned rare with the first issue OBI present, first time I have a copy with the Direct Import Obi attached and flashing proudly its colors. Price: 200 Euro

501. COLTRANE JOHN/ ARCHIE SHEPP: “New Thing at Newport” (Impulse – AS-94) (Record: Near Mint/ Gatefold Jacket: Near Mint – still housed in SHRINK/ Insert: Near Mint/ First Issue OBI: Near Mint). Rare US original Stereo issue with bloody rare Japan very first “Direct Import” wrap around OBI!!!. TOP CONDITION, best ever. This one was of the last appearances of the classic John Coltrane Quartet which it made at the Newport Jazz Festival in 1965. The tension among band members is evident upon hearing the versions of "One Down, One Up" and "My Favorite Things.", slowly signaling that a change in direction was looming just around the corner. Coltrane’s performance is moving...yet weary due to the strains that ran through his band, yet it is great to hear him during this final transitional period. Coltrane was already gazing beyond the yonder cause he wasn't getting the sound he wanted and by the end of the year he would take a different direction, hiring Pharoah Sanders and wife Alice Coltrane for the band. Tenor saxophonist Archie Shepp’s earlier afternoon New Thing performance on the other hand was pure Fire Music and he launched engaging versions of "Call Me by My Rightful Name" and "Gingerbread, Gingerbread Boy" with Bobby Hutcherson on vibes. Just stunning and a classic recording!!! Bloody rare with Japan first issue obi, only 2nd time ever I see a copy with this very first obi. Gatefold sleeve still housed in shrink for export – best condition possible! Price: 250 Euro

502. COLTRANE, JOHN: “Expression” (Impulse – AS-9120) (Record: Near Mint/ Gatefold Jacket: Mint – still housed in shrink/ Company Inner Sleeve: Mint/ Japan only Insert: Mint/ Direct Import Obi: Mint). Rare US original pressing that was sold back in the day as a direct Import to Japan and therefore comes with Japan only insert and OBI. Sleeve still housed in shrink, all complete and in TOP shape. With “Van Gelder” machine-stamped in the dead wax. Price: 150 Euro

503. COLTRANE, JOHN: “Om” (Impulse – AS-9140) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve/ Near Mint Direct Import Obi: Near Mint). Top condition 1st original pressing that comes with the rare Import Obi! “Condemned by many critics as John Coltrane’s worst album, Om suffers only in comparison to the great works that preceded it. Also issued in 1965, Ascension had stunned the jazz world with the blunt force of its innovation -- a swirling maelstrom of noise, it was an answer to the challenge that had been posed by Ornette Coleman’s Free Jazz several years earlier. For all the sonic assault that Pharoah Sanders and Coltrane mustered up on Ascension, however, it contained some surprisingly clear solos and had the feel of a well-thought-out interplay between all of the musicians on the date, including classic quartet members Elvin Jones, Jimmy Garrison and McCoy Tyner. Om in contrast, seems more like a pure release of energy. Expressions of sanity and organization by the rhythm section seem detached from the wall of sound that Sanders and Coltrane have erected. The best moments come when Coltrane breaks away from Sanders for solos -- echoes of Love Supreme can be heard in the repetitive, circular themes. Regardless of its seeming chaos, this is a deeply spiritual work, and can be seen as a darker, more unhinged version of the invocations heard on that album. Indeed, Om resonates with passion and yearning, but has a frantic edge that suggests that opening up to all of that powerful spiritual energy might have been a frightening experience. The music isn't perfect, as the thematic flow sometimes seems a bit segmented, and talented members of the band are relegated a little too far to the background. Regardless, Om doesn't deserve the dismissal it has been given by critics. It is an important work in the history of free jazz that opens up considerably by the end of its 29 minutes, revealing the expansive contents of a jazz master's mind.” (All Music Guide). Stunning 1st press original copy with rare first issue OBI. And one of Coltrane’s finest moments in my book. Price: 200 Euro

504. COLTRANE, JOHN: “Selfnessless” (Impulse – AS-9161) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve/ Near Mint Direct Import Obi: Near Mint). Top condition 1st original pressing that comes with the rare Import Obi! “In the context of the decades since his passing and the legacy that's continued to grow, Coltrane’s Selflessness bears an odd similarity to Bob Dylan’s autobiographical book Chronicles. In Chronicles, Dylan tells the tale of his beginnings, jumping abruptly and confoundingly from his early years to life and work after his 1966 motorcycle accident, omitting any mention of his most popular and curious electric era. The contrast between these two eras becomes more vivid with the deletion of the years and events that bridged them. Released in 1965, Selflessness presents long-form pieces, likewise from two very distinct and separate eras of Coltrane’s development. The album's first two-thirds was recorded at the 1963 Newport Jazz Festival and consists of an amazingly deft rendition of his take on "My Favorite Things" as well as the glowingly affectionate "I Want to Talk About You." Coltrane is backed on these numbers by the classic lineup of McCoy Tyner, Jimmy Garrison and Roy Haynes and the quartet absolutely crackles with the flowing joy that characterized its sound. Tyner especially sparkles in his extended spotlight moments on "My Favorite Things," arguably the best version Coltrane put to tape of this favorite. Fast forwarding two years to 1965, the 14-plus-minute extended atmospherics of "Selflessness" find Coltrane ramping up to the free-form spiritual style that he would work in for the short remainder of his life. The large ensemble on this date included Pharoah Sanders’ blistering tenor and Elvin Jones’ sputtering drums working alongside second drummer Frank Butler as well as the reverb-doused percussion sounds of Juno Lewis. The sprawling and sometimes aimless meditation comes off a little dippy as a result of the production and low-key playing, but it hints at a direction that would be fully articulated later on records like Sun Ship and the gorgeous Concert in Japan. Though the rapid changes in Coltrane’s playing between 1963 and 1965 are thoroughly documented on other albums, taken as a whole, the contrast on Selfnessless is striking.” (All Music Guide). First original press still housed in SHRINK & with rare Direct Import OBI present!!! Never turns up in shrink and with obi!!! Price: 150 Euro
505. COLTRANE, JOHN: “Transition” (Impulse – AS-9195) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Direct Import Obi: Near Mint). US original pressing for export to Japan- comes complete with Japan only insert and the Direct Import Obi present!!! “Recorded in June of 1965 and released posthumously in 1970, Transition acts as a neat perforation mark between Coltrane’s classic quartet and the cosmic explorations that would follow until his passing in 1967. Recorded seven months after the standard-setting A Love Supreme, Transition’s first half bears much in common with that groundbreaking set. Spiritually reaching and burningly intense, the quartet is playing at full steam, but still shy of the total free exploration that would follow mere months later on records like Sun Ship and the mystical atonal darkness that came in the fall of that same year with Om. McCoy Tyner’s gloriously roaming piano chord clusters add depth and counterpoint to Coltrane’s ferocious lyrical runs on the five-part suite that makes up the album's second half. In particular on "Peace and After," Tyner matches Trane’s range of expression. The angelically floating "Dear Lord," a meditative pause in the album's center, holds true to the straddling of the line between modes of thinking and playing that define Transition, not quite as staid as the balladry of Trane’s earlier hard bop days, but nowhere near the lucid dreaming that followed. Only nearing the end of "Vigil" does the quartet hint at the fury of complete freedom it would achieve later in the year on Sun Ship or even more, provide a precursory look at terrain Coltrane would explore in duets with drummer Rashied Ali on Interstellar Space in 1967.” (All Music Guide) Rarely turns up with this obi snow blinding you. Price: 125 Euro
506. COLTRANE, JOHN Featuring PHAROAH SANDERS: “Live In Seattle” (Impulse – AS-9202) (2 LP Record: Near Mint/ Gatefold Jacket: Mint – still housed in original shrink/ Company Inner Sleeve: Mint/ Insert: Mint/ Direct Import Obi: Mint). Stunning first original press copy, still housed in shrink. Comes with Japan insert and rarely seen Direct Import obi. “Live In Seattle features John Coltrane at a concert in September, 1965 with his expanded sextet (which included pianist McCoy Tyner, bassist Jimmy Garrison, drummer Elvin Jones, Pharoah Sanders on tenor, and Donald Garrett doubling on bass clarinet and bass). Coltrane experts know that 1965 was the year that his music became quite atonal and, with the addition of Sanders often very violent. This music, therefore, is not for fans of Coltrane’s earlier "sheets of sound" period or for those who prefer jazz as melodic background music. The program comprises the nearly free "Cosmos," an intense workout on "Out of This World," a bass feature, and the truly wild "Evolution." Throughout much of this set Coltrane plays some miraculous solos, Sanders consistently turns on the heat, Garrett makes the passionate ensembles a bit overcrowded, Tyner is barely audible, Garrison drones in the background, and Jones struggles to make sense of it all. This is innovative and difficult music.” (All Music Guide). Awesome slide and highly essential Coltrane slide in my book. Top shelf music!!! First original press still housed in SHRINK & with rare Direct Import OBI present!!! Never turns up in shrink and with obi!!! Price: 200 Euro
507. COLTRANE, JOHN Featuring PHAROAH SANDERS: “Live In Seattle” (Impulse – AS-9202) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Mint/ Insert: Mint/ Direct Import Obi: Mint). Stunning first original press copy, that comes with Japan insert and rarely seen Direct Import obi. Same as the above one but no shrink on the sleeve so a cut in the price. Price: 150 Euro

508. COLTRANE, JOHN: “Sun Ship” (Impulse – AS-9211) (Record: Near Mint/ Gatefold Jacket: Near Mint / Insert: Near Mint/ Company Inner Sleeve/ Near Mint/ Direct Import OBI: Mint). Stunning first original press copy, that comes with Japan insert and rarely seen Direct Import obi. “Recorded on August 26, 1965, Sun Ship was the final recording by Coltrane’s quartet. After nearly four years together, this band had achieved a vital collective identity. When Coltrane moved toward metrically free styles of rhythm and melody), the quartet's rhythmic pulse and collective interplay evolved accordingly. The title track opens with a splintered theme. Garrison and Jones group dramatically around the leader's call, then rhythmically abstract the pulse; they imply a central rhythm more than state one. Tyner crafts a monumental solo full of crashing modulations and heated single lines. Coltrane reenters at full tilt, alternating throttled upper-register cries with crunching bass declamations, using multiphonics and altissimo as the levitating rhythm boils around him. Garrison and Jones are featured on "Ascent" and "Attaining," where they unveil bold new solutions for coming in and out of tempo, and manipulating dynamics while maintaining an amorphous yet authoritative ebb and flow. The gyrating, oceanic waves of "Dearly Beloved" suggest earlier balladic explorations such as "Alabama," with Coltrane’s keening tenor providing a taut melodic focus for the multi-layered, nearly ritualistic rhythms surrounding him. Tyner’s great chordal waves and contrapuntal motion build to a surging climax before the saxophonist reenters to bring them all home. On "Amen," the saxophonist announces a spare modal theme that evokes swing, but refracts it through free jazz. While a summation for this quartet, Sun Ship is also an exciting if unfinished prelude to Coltrane’s final period of transformation.” (All Music Guide). Damned rare original pressing with rarely seen Direct Import OBI!!! Price: 200 Euro

509. COLTRANE, JOHN with Strings Orchestra Arranged & Conducted By Alice Coltrane: “Infinity” (Impulse – AS-9225) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Direct Import Obi: Near Mint). Original pressing, super clean and complete with rare Direct Import Obi present. “Recorded at several sessions in the two years prior to his death but not issued until 1972, Infinity was the subject of much controversy among Coltrane aficionados when it finally appeared. The horror on the part of Coltrane purists was directed to the posthumous string arrangements written by Alice Coltrane, his widow, which were grafted onto the performances. But however much the strings softened or unnecessarily augmented the music, it must be said that Alice Coltrane really didn't do such a bad job and the ultimate result is an unusual and oddly attractive work. The juxtaposition of the fiery, very free playing of late Coltrane against the dreamy, consonant strings is seductively appealing and one might even make the argument that, given the increasing mystical proclivities of his later years and the presence of Eastern instruments in his ensemble, he may well have approved. The pieces include some of his more powerful late compositions such as "Leo" and "Peace on Earth," and his playing (with a rare smidgen of bass clarinet) is typically inspired, if not reaching the raging heights of releases like Live in Japan. Whatever problems the Coltrane ideologue may have with his wife's embroideries, Infinity still deserves a place in his/her collection.” (All Music Guide). Rare first original pressing in top shape with rarely seen Direct Import Obi. Music is pure uncut bliss from start to finish!. Price: 200 Euro
510. COLTRANE, JOHN: “Live In Paris” (BYG TOHO Records Japan – YX-4001~2) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). 1974 Japan only release, all complete with obi & insert. Top condition!!. By the time of this recording, Coltrane's classic quartet with Jimmy Garrison, McCoy Tyner, and Elvin Jones had already broken an unprecedented amount of ground in jazz with their revolutionary modal approach, breaking free from the boundaries of bop. The band began to come apart by the end of the year, but they were running on full steam here. On "Naima," written for Coltrane's first wife, the saxophonist's lyrical legato phrases match the wistful open feel created by the rhythm section. Tyner shows off his angular style to fine effect on "Impressions," and Jones is a marvel of sympathetic accompaniment throughout. The sound quality here is less than ideal, but Coltrane and company burn with such intensity that you'll barely notice. Top copy with OBI!! Price: 75 Euro
511. COLTRANE, JOHN: “My Favorite Things” (Impulse – SR-3060) (Record: Excellent/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Damned scare Japan ONLY 1970 gatefold jacket art of Coltrane’s “My Favorite Things”! Has beautiful cover art, only released in Japan in this version. Has the rare obi as well and sounds stellar. Price: 150 Euro
512. COLTRANE, JOHN: “Africa/ Brass” (Impulse/ King Records – SR-3071) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japanese pressing on King Records – the 2nd Japanese press issue following the flip back version that came out some years earlier. Top shape and with damned rare obi. Price: 100 Euro
513. COLTRANE, JOHN: “Coltrane Live At The Village Vanguard” (Impulse/ King Records – SR-3096) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original 1970 press issue with obi. Another totally indispensable gem, later issue but flanked by much needed obi. Crystal clear pressing for your demented listening pleasures. Price: 75 Euro
514. COLTRANE, JOHN & JOHNNY HARTMAN: “S/T” (Impulse Records/ King Records – SR-3112) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – very faint foxing inside gatefold due to age/ Insert: Near Mint/ Obi: Near Mint). Damned scarce 1971 2nd press issue of this magnificent slide. Hardly ever surfaces with obi flashing its colors proudly. Price: 75 Euro
515. COLTRANE, JOHN: “A Love Supreme” (Impulse – IMP-88060) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean Japanese pressing all complete with insert & obi. Price: 65 Euro

516. COLTRANE, JOHN: “Impressions” (Impulse – IMP-88067) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan Impulse press issue all complete with insert and Obi. Price: 50 Euro

517. COLTRANE, JOHN – ARCHIE SHEPP: “New Thing at Newport” (Impulse – IMP-88071) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Second press issue of classic Impulse title and the first Japanese pressing to come in a gatefold sleeve for this one – following the flip back jacket issue from some years earlier. Still, one of the more difficult to track down Impulse pressings with obi. Top condition – will be hard to improve upon. Just love these high-quality Japanese pressings from the early 1970s. getting more difficult each year in finding those in affordable and nice condition. Price: 60 Euro

518. COLTRANE, JOHN: “Africa / Brass” (Impulse – IMP-88090) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original Japan second press issue Impulse pressing all complete with obi. WHITE label PROMO issue. First Japanese pressing to be housed in a gatefold sleeve. Coltrane’s first release for the Impulse label. Rare Japanese pressing that sounds fantastic. They are getting damned scarce these last years and hardly ever turn up anymore as clean as this one. Archival copy. Price: 150 Euro
519. COLTRANE, JOHN: “Coltrane” (Impulse – IMP-88095) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan first original Impulse pressing complete with obi. Considered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he's simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet. The result is a most focused effort, a relatively popular session to both his fans or latecomers, with five selections that are brilliantly conceived and rendered. Sounds fantastic!!! Price: 75 Euro
520. COLTRANE, JOHN: “Crescent” (Impulse – IMP-88097) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Japan original all complete with obi and insert in great shape. Getting more and more difficult to find these babies all complete and in nice nick, so better hoover then up before the prices begin to rocket towards the skies. Price: 50 Euro
521. COLTRANE, JOHN QUARTET: “John Coltrane Quartet Plays” (Impulse – IMP-88103) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 3 Inserts: Near Mint/ Obi: Near Mint). Japan original pressing with obi. This is the hardly ever seen WHITE Label PROMO issue. “For years, much of Coltrane's later output was snubbed by fans and critics alike, and that's a shame; some of his most intense and emotional work was produced late in his career. Indeed, the jazz world is still playing catch-up with his heroic experimentation of the mid-'60s. For this album, the quartet played "Brazilia," "Nature Boy" and "Song of Praise," but "Chim Chim Cheree" is the mind-boggler, all but unrecognizable as a tune from Disney's "Mary Poppins." Following the commercial and artistic success of "My Favorite Things" in 1961, Coltrane frequently tackled pop tunes in 3/4 time, but the brisk tempo and restless spirit of "Chim Chim Cheree" set it apart from his earlier efforts along these lines. His solos on soprano sax are as untamed as they are inspired, his "sheets of sound" pouring forth with creative energy rare even for him. Pianist McCoy Tyner supports with his usual stellar blend of melodicism and percussiveness, his huge chords weaving intricate colors and textures around Coltrane's mystical voicings and drummer Elvin Jones' adventurous thrashing. The year was 1965, and Coltrane had but two more years to live--here, the quartet plays as if they knew it.” (Buddy Seigal). Top condition. Price: 150 Euro
522. COLTRANE, JOHN: “Coltrane Live at The Village Vanguard Again!” (Impulse – IMP-88110) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Additional Insert: Near Mint/ Obi: Near Mint). Top condition Japanese pressing all complete with obi and 2 inserts. Scarce WHITE label PROMO issue. 2nd domestic press issue that came out in 1972, five years after that triumph, Coltrane returned to the Vanguard with his New Thing quintet, expanded to a sextet for the occasion: Coltrane on soprano, tenor, and bass clarinet; Pharoah Sanders on tenor and flute; Alice Coltrane on piano, Jimmy Garrison on bass, Rashied Ali on drums, and Emanuel Rahim on percussion. This album contains only two songs: "Naima" and "My Favorite Things," which were perhaps the two most celebrated numbers, or overplayed chestnuts, of the Coltrane catalogue. Here they are given a treatment like no other. Absolutely fantastic Coltrane slide. All Coltrane is totally indispensable in my book. Price: 125 Euro

523. COLTRANE, JOHN: “Coltrane Live at The Village Vanguard Again!” (Impulse – IMP-88110) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japanese pressing all complete with obi and insert. 2nd domestic press issue that came out in 1972. Absolutely fantastic Coltrane slide. All Coltrane is totally indispensable in my book. Top condition with obi. Price: 50 Euro

524. COLTRANE, JOHN: “Ascension” (Impulse Records – IMP-88119) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Totally clean Japanese original with obi of all-time classic free jazz slide. Top copy, Japanese pressing housed in heavy gatefold and with obi intact. Music needs hardly any introduction, groundbreaking recording with Coltrane ripping the air to pieces, setting the standard for free improvisation to evolve into. Together with fellow scenesters such as Freddie Hubbard, Art Davis, Elvin Jones, McCoy Tyner, Pharaoh Sanders, Archie Shepp, John Tchicai, Dewey Johnson, Marion Brown and Jimmy Garrison, this beast reads like a who is who of the free-roaming-jazz community. Stuff of legends that shreds the air to pieces. Total dead mint original Japanese press copy with obi. Time to get real and drag in some greatness into your sorry-ass life. Price: 65 Euro
525. COLTRANE, JOHN: “Meditations” (Impulse – AS-9110) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Top condition Japan original press issue with salacious obi flashing its true colors!!! Price: 50 Euro
526. COLTRANE, JOHN Featuring PHAROAH SANDERS: “Live In Seattle” (Impulse Records – IMP-88069~70) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Japan original press issue, WHITE label PROMO issue with OBI! “Live In Seattle features John Coltrane at a concert in September, 1965 with his expanded sextet (which included pianist McCoy Tynerbassist Jimmy Garrison, drummer Elvin Jones, Pharoah Sanders on tenor, and Donald Garrett doubling on bass clarinet and bass). Coltrane experts know that 1965 was the year that his music became quite atonal and, with the addition of Sanders often very violent. This music, therefore, is not for fans of Coltrane’s earlier "sheets of sound" period or for those who prefer jazz as melodic background music. The program comprises the nearly free "Cosmos," an intense workout on "Out of This World," a bass feature, and the truly wild "Evolution." Throughout much of this set Coltrane plays some miraculous solos, Sanders consistently turns on the heat, Garrett makes the passionate ensembles a bit overcrowded, Tyner is barely audible, Garrison drones in the background, and Jones struggles to make sense of it all. This is innovative and difficult music.” (All Music Guide). Awesome slide and highly essential Coltrane slide in my book. Top shelf music!!! Price: 150 Euro
527. COLTRANE, JOHN: “Sun Ship” (Impulse – IMP-88129) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent – lower middle seam split/ OBI: Near Mint). Japan original pressing all complete with OBI and insert. “Recorded on August 26, 1965, Sun Ship was the final recording by Coltrane’s quartet. After nearly four years together, this band had achieved a vital collective identity. When Coltrane moved toward metrically free styles of rhythm and melody), the quartet's rhythmic pulse and collective interplay evolved accordingly. The title track opens with a splintered theme. Garrison and Jones group dramatically around the leader's call, then rhythmically abstract the pulse; they imply a central rhythm more than state one. Tyner crafts a monumental solo full of crashing modulations and heated single lines. Coltrane reenters at full tilt, alternating throttled upper-register cries with crunching bass declamations, using multiphonics and altissimo as the levitating rhythm boils around him. Garrison and Jones are featured on "Ascent" and "Attaining," where they unveil bold new solutions for coming in and out of tempo, and manipulating dynamics while maintaining an amorphous yet authoritative ebb and flow. The gyrating, oceanic waves of "Dearly Beloved" suggest earlier balladic explorations such as "Alabama," with Coltrane’s keening tenor providing a taut melodic focus for the multi-layered, nearly ritualistic rhythms surrounding him. Tyner’s great chordal waves and contrapuntal motion build to a surging climax before the saxophonist reenters to bring them all home. On "Amen," the saxophonist announces a spare modal theme that evokes swing, but refracts it through free jazz. While a summation for this quartet, Sun Ship is also an exciting if unfinished prelude to Coltrane’s final period of transformation.” (All Music Guide). Price: 65 Euro
528. COLTRANE, JOHN: “The Africa Brass Sessions, Vol. 2” (Impulse – IMP-88195) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original press all complete with insert and obi. “The music on this disc is gleaned from a pair of dates circa April and May 1961 with the John Coltrane Orchestra. As the name suggests, Africa/ Brass Sessions, Vol. 2 includes the second installment of the work and doesn't replicate the sequence in which the music was documented. After a successful string of albums on Atlantic Records, Coltrane signed to the burgeoning and jazz-intensive Impulse! imprint -- a relationship that would be kept for the remainder of his career. Shortly after reprising his role in the Miles Davis Sextet, Coltrane assembled a 17-piece orchestra and began what would become known as Africa/ Brass. Among the jazz luminaries contributing to these landmark sessions are Booker Little (trumpet), Freddie Hubbard (trumpet), Julian Priester (trombone), Eric Dolphy (alto sax/bass clarinet), McCoy Tyner (piano), Paul Chambers (bass), Reggie Workman (bass) and Elvin Jones (drums). Coltrane manipulates their power into masterful contrasts between the syncopated rhythms of "Greensleeves" and the full-out bop onslaught of "Songs of the Underground Railroad." The amazing virtuosity in Coltrane’s solos had begun to show signs of the future direction his later avant-garde sides would take. The interaction with Tyner on "Songs of the Underground Railroad" is impeccable. Coltrane allows room for Jones and Workman to likewise engage Tyner for some high-spirited improvisation. This is a key element in understanding the path Coltrane’s music would take in its final phases. Inclined parties are encouraged to locate Africa/ Brass Sessions, as it brilliantly documents this pivotal era in Trane’s music. Its far-reaching effects have been cited by both David Crosby and Roger McGuinn as a primary influence on the Byrds -- particularly on their proto-psychedelic pop hit "Eight Miles High." (All Music Guide). Top copy with OBI. Price: 55 Euro

529. COLTRANE JOHN: “Coltrane In Japan” (Impulse Japan – IMR-9036C) (3 LP Set: Near Mint/ Outer Box Set: Near Mint/ Individual Inner Sleeves: Near Mint/ Booklet: Near Mint/ Obi: Excellent). Japan only released 3 LP box set that scorches the earth and liquefies the air with molten lava. A beast and essential to say the least. Price: 125 Euro

530. COLTRANE, JOHN QUINTET: “Second Night in Tokyo” (Impulse – YB-8508~10) (3 LP Record: Near Mint/ Outer Box Set: Mint/ Insert: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Top condition & all complete copy, Japan only issue – MONO pressing. Solely released in Japan at the time, this set is beyond stellar. Coltrane (heard on tenor, soprano, and alto) engages in some ferocious interplay with the mighty Pharoah Sanders (on tenor, alto, and bass clarinet), pianist Alice Coltrane, bassist Jimmy Garrison and drummer Rashied Ali; fans of his earlier records may not like these atonal flights. However, listeners who enjoy avant-garde jazz will find many stirring moments among the very lengthy performances. Amazing stuff, the quintet is amazing and all of the players are on the peak of their powers, destined to lift you up into the stratosphere. Immaculate condition and all complete set. Impossible to improve upon – ever!!! Price: 100 Euro

531. COLTRANE, JOHN: “John Coltrane No Isan” (Impulse Records Japan – SR-3026~28) (3 LP Set: Near Mint/ 3 Individual Record Jackets: Near Mint/ EP 7 Inch Single: Near Mint/ EP Single Picture Sleeve: Near Mint/ Faux Leather Box Set: Near Mint/ Picture Booklet: Near Mint). Top condition Japan ONLY 3 LP box on Impulse with bonus EP single. Comes housed in heavy faux-leather box set. This was released only in Japan on 10th of July, 1969!!! Complete with always missing 7-inch single present! Not an easy one to catch on these shores so an obligatory item for any self-respecting Coltrane buff. Price: 200 Euro

532. COLTRANE, JOHN: “The Best Of John Coltrane” (Atlantic – MT-2018) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent). Rare Japan only issue that came out in 1970. Beautiful retrospective that features My Favorite Things; Baima; Giant Steps; Equinox; Cousin Mary and Central Park West. Everything was recorded between 1959 and 1960. Comes housed in thick gatefold jacket and it was a Japan only issue. Rarely surfaces these days. Essential for any Coltrane buff. Price: 75 Euro
533. COLTRANE, JOHN: “Kulu Se Mama” (Impulse – AS-9106) (Record: Excellent ~ Near Mint/ Laminated Gatefold Jacket: Excellent ~ Near Mint). Original US stereo pressing, in nice condition. Great whirlwind like performance by the classic quartet consisting out of Coltrane, McCoy Tyner, Jimmy Garrison and Elvin Jones, there where on side one the quartet gets flanked by fellow heavy weights Donald Garrett, Pharaoh Sanders, Frank Butler and Juno Lewis. Stuff of legends, beautiful condition US press with “Van Gelder” machine stamped in trail off. Wicked and highly essential. Price: 125 Euro
534. COLTRANE, JOHN: “Live At The Village Vanguard Again” (Impulse – AS-9124) (Record: Excellent ~ Near Mint/ Laminated Heavy Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Japan Direct Import Liner Notes: Near Mint). Great copy, US early original pressing of ‘Trane classic. Has machine-stamped RVG Stereo in the dead wax. John Coltrane returns to the Village Vanguard – but his sound here is a lot more far-reaching than a few years before! The album's a great counterpart to the first Vanguard session – as it takes all of the bold, soaring energy of that date, and balances it with the newly introspective sound of the later Coltrane years – plus some of the freedoms learned from the Love Supreme era. The group here showcases the new territory explored by Coltrane – with Trane himself on tenor, soprano, and a bit of bass clarinet (echoing earlier Dolphy), plus Pharoah Sanders on additional tenor, Alice Coltrane on piano, Jimmy Garrison on bass, and Rasheid Ali on drums. The album only features 2 long tracks – an incredibly soulful version of "Naima", and a very firey version of "My Favorite Things", but one that begins with a haunting bass solo by Garrison! (Dusty Groove). Price: 100 Euro
535. COLTRANE, JOHN: “Coltrane Live At Birdland” (Impulse – A-50) (Record: Excellent / Gatefold Jacket: Near Mint). Rare WHITE label PROMO MONO pressing, US original. Coltrane’s second live album on impulse!, although only three of the five tracks on the original LP release were actually from the gig at the famous Manhattan club; the other two are from a session at Van Gelder’s Englewood Cliffs studio a little over a month later. The three tracks from Birdland are Mongo Santamaria’s ‘Afro-Blue’, Billy Eckstine’s ‘I Want To Talk About You’ and ‘The Promise’, a Coltrane original. The Eckstine song was originally recorded by Coltrane on his 1958 album Soultrane and here it features a superb extended cadenza that lasts over eight minutes. Arguably John Coltrane’s finest all-around album, this recording has brilliant versions of "Afro Blue" and "I Want to Talk About You"; the second half of the latter features Coltrane on unaccompanied tenor tearing into the piece but never losing sight of the fact that it is a beautiful ballad. The remainder of this album ("Alabama," "The Promise," and "Your Lady") is almost at the same high level. Damned rare WHITE label PROMO – MONO issue, the rarest out there. Price: 500 Euro
536. COLTRANE, JOHN: “Ascension” (Impulse – AS-95) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint). Original US first pressing, this being the damned rare VERSION 1 issue with “Van Gelder” machine-stamped in the dead wax. To add some icing to the cake, this is the rare STEREO pressing, surfaces less frequent than the mono version and is preferred if you want to enjoy its full cacophonous free roaming splendor. Music needs hardly any introduction, groundbreaking recording with Coltrane ripping the air to pieces, setting the standard for free improvisation to evolve into. Together with fellow scenesters such as Freddie Hubbard, Art Davis, Elvin Jones, McCoy Tyner, Pharaoh Sanders, Archie Shepp, John Tchicai, Dewey Johnson, Marion Brown and Jimmy Garrison, this beast reads like a who is who of the free-roaming-jazz community. Stuff of legends that shreds the air to pieces. Price: 200 Euro
537. COLTRANE, JOHN: “Ascension” (Impulse – A95) (Record: Excellent/ Gatefold Jacket: Excellent/ Company Inner Sleeve: Excellent) US first original pressing, MONO issue with “Van Gelder” Machine stamped in the dead wax. Has “Edition II” engraved in run out groove, edition II MONO pressings are so damned rare, hardly ever surface as opposed to “Edition I”, where mono is frequent. Music needs hardly any introduction, groundbreaking recording with Coltrane ripping the air to pieces, setting the standard for free improvisation to evolve into. Together with fellow scenesters such as Freddie Hubbard, Art Davis, Elvin Jones, McCoy Tyner, Pharaoh Sanders, Archie Shepp, John Tchicai, Dewey Johnson, Marion Brown and Jimmy Garrison, this beast reads like a who is who of the free-roaming-jazz community. Stuff of legends that shreds the air to pieces. Time to get real and drag in some greatness into your sorry-ass life. Great MONO copy of all-time classic slide, mono pressing is quite scarce. Comes with accompanying monaural imprinted gatefold jacket. Price: 150 Euro
538. COLTRANE, JOHN: “Om” (Impulse – AS-9140) (Record: Near Mint/ Coated gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Clean copy, US first original press issue with “Bell Sound” machine stamped in the dead wax. Also issued in 1965, Ascension had stunned the jazz world with the blunt force of its innovation -- a swirling maelstrom of noise, it was an answer to the challenge that had been posed by Ornette Coleman’s Free Jazz several years earlier. For all the sonic assault that Pharoah Sanders and Coltrane mustered up on Ascension, however, it contained some surprisingly clear solos and had the feel of a well-thought-out interplay between all of the musicians on the date, including classic quartet members Elvin Jones, Jimmy Garrison and McCoy Tyne. Om, in contrast, seems more like a pure release of energy. Expressions of sanity and organization by the rhythm section seem detached from the wall of sound that Sanders and Coltrane have erected. The best moments come when Coltrane breaks away from Sanders for solos -- echoes of Love Supreme can be heard in the repetitive, circular themes. Regardless of its seeming chaos, this is a deeply spiritual work, and can be seen as a darker, more unhinged version of the invocations heard on that album. Indeed, Om resonates with passion and yearning, but has a frantic edge that suggests that opening up to all of that powerful spiritual energy might have been a frightening experience. The music isn't perfect, as the thematic flow sometimes seems a bit segmented, and talented members of the band are relegated a little too far to the background. Regardless, Om doesn't deserve the dismissal it has been given by critics. It is an important work in the history of free jazz that opens up considerably by the end of its 29 minutes, revealing the expansive contents of a jazz master's mind.” (All Music Guide). Total killer slide and one of the best Coltrane outings put down on wax. Dead clean first original US pressing of all time classic. Price: 75 Euro
539. COLTRANE, JOHN: “Meditations” (Impulse – AS-9110) (Record: Side A = Near Mint – Side B = Excellent/ Gatefold Jacket: Excellent/ Imprinted Impulse Company Inner Sleeve: Excellent ~ Near Mint) US original pressing – with “Van Gelder” machine-stamped into the death wax. “The year 1965 was a turning point in the life of John Coltrane. It was at this point that he crossed the line into the free jazz arena that he had been approaching since the early '60s. Besides his landmark Ascension, no album better illustrates this than the awe-inspiring Meditations. Coltrane’s regular quartet – McCoy Tyner (piano), Jimmy Garrison (bass), and Elvin Jones (drums) -- is expanded here with second drummer Rashied Ali (who assumed Jones’ spot after this album) and saxophonist Pharoah Sanders. This conglomeration produces some dense textures, especially in the epic first track "The Father and the Son and the Holy Ghost." This sonic hurricane is a 13-minute outpouring of spiritual emotion that is at once compelling and exhausting. Elsewhere, the group delicately follows Coltrane’s lead on the passionate "Love" and swings with abandon on the raucous "Consequences" as Sanders and Coltrane battle like warriors above the churning rhythm section. Finally, the aptly titled "Serenity" is a swirling free-form improvisation gently touching back down to earth after an adventurous ride through the heavens. (All Music Guide). US original press. Price: 85 Euro
540. COLTRANE, JOHN: “Offering – Live At Temple University” (Impulse – B0019632-1) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: near Mint/ Set Of & Picture Cards: Mint). First limited press edition, all complete. Recorded nine months before his untimely death, this is a previously undiscovered 90-minute inferno of Coltrane in Philadelphia, his home town. Here in November 1966 –  he gets flanked by his wife, Alice, on piano, Pharoah Sanders on second sax, and a battery of percussionists. Coltrane is pushing his ideas and the vocabulary of the sax ever further out, with minimalism-influenced fragments repeated and spun like mantras, church music melted into lava-flows of raw sound, and episodes where he simply hollers hoarse, wordless chants. The famous Naima is bagpipe-fuelled and imploring, the gospel-like Crescent builds to wild, frenetic tenor patterns, and My Favourite Things edges out from Rashied Ali’s drum storm. Just massive! Price: 120 Euro
541. COMUS: “First Utterance” (Dawn Japan – YS-2543-YD) (Record: Near Mint ~ Mint/ Laminated Gatefold Sleeve: Near Mint ~ Mint/ 4-Paged Insert: Mint/ OBI: Near Mint). Rarest of the rare, Japan original in TOP condition all-complete with hideously rare DAWN obi present. Original 1971 Japan press on high quality vinyl. Comes with 4 paged illustrated insert and pressed on high quality Japanese vinyl. Comus and their first album “First Utterance” didn't make the big-time. The disruptive postal strike of 1971 apart, selected unfavorable press reviews suggest that Comus' music was an acquired taste; too damn spiky and unruly for the average folkie, yet too concerned with intricate arrangements and acoustic instrumentation to fire up a hard rock fan. The foreboding, quasi-medieval sounds on “First Utterance” give new meaning to the term “cult classic.” As the twisted, emaciated figure on the album's cover may imply, this is a very dark, chilling record. One critic described it as “a cross between a frenzied version of the witches chorus from Macbeth and Marc Bolan being squeezed to death”. Well, at its core it is based in idioms of British folk music, but it is fusionized and rendered with harsh, dissonant strikes with aliens bursting from the chest cavity. It can be rather heavy music -- not metal or hard rock heavy, but heavy in the atonal ferocity. I never thought acoustic instruments could sound so nasty. That raises another point: Comus' music is almost entirely acoustic -- acoustic guitar, electric bass, hand drums, flute, violin and so on. This gives the album a very stark sound, which adds to the genuineness of their doomy, dark fantasy world. The complex arrangements and rocking power of this band are tremendous. The vocals run a remarkable gamut, from evil munchkin snarls to wispy female vocals to normal male singing. Musically and lyrically, Comus evokes visions of pre-Christian pagan nature worship -- but this is starkly anti-Romanticist, dark, paranoid and vengeful. Goblin-like voices sing is a very credible hymn en masse to the eponymous goddess. Most of the lyrics are twisted and sometimes violent.As far as the lyrical content is concerned, it runs the gamut from a violent chase through a moonlit forest, a rape, religious persecution and subsequent hanging, incarceration, torture, and death. “First Utterance” was Comus’ debut. It barely sold anything, and perhaps because of this, they only released one other album with a much less alien musical palette and a sunnier disposition. Comus’ debut has achieved a remarkable cult status, which is decidedly deserved. The astonishing attention to detail and wholly original technique displayed by the group makes the album a uniquely rewarding listening experience, albeit a disturbing one as well. So it definitely is one of Britain’s greatest ever-folk gems recorded along side the two COB albums and Spirogyra’s debut. Call it acid folk, psychedelic folk or whatever trendy tag you have in your bag. To these ears, Comus does not fit any tag, they are best labeled as just Comus. Massive. Top copy and rare 1971 Japanese original press on the Japanese Dawn imprint, complete with mega rare obi in mint condition, impossible to ever upgrade upon. Price: Offers!!!!
542. CONCERT COLLECTIF: “Concert Collectif Du Groupe De Recherches Musicales de L’RTF” (Philips Prospective 21 Siècle – 836.894) (Record: Near Mint/ Jacket: Near Mint) First pressing with white back cover. Scarce Prospective 21 Siècle release on Philips that brings together the crème de la crème of the French musique concrete and electronic music composers. Titles as “Concert Collectif Du Groupe De Recherches Musicales de L’RTF”, it brings forth killer electronic music and musique concrete pieces by heavyweight leading composers of that day such as Francois-Bernard Mache, Luc Ferrari, Ivo Malec, Francois Bayle, Michel Philippot, Philippe Carson, Jean-Etienne Marie, Edgardo Canton and Bernard Parmegiani. Probably my most favorite disc in the whole silver Philips Prospective 21 Siècle series following Xenakis’ “Persepolis”. Rare 1st original issue with the white back cover, top condition. Price: 100 Euro
543. CONRAD, TONY with GASTR DEL SOL: “The Japanese Room At La Pagode” (Table Of The Elements – 29 Cu) (EP Record: Near Mint/ Poster Sleeve: Near Mint). Long gone first original pressing from 1995 that sees Tony Conrad teaming up with Gastr Del Sol. Zonked and beautiful droned out bliss. Price: 40 Euro

544. The CONTEMPORARY JAZZ QUARTET FEARURING SONNY MURRAY: “Action” (Debut – Debut-143) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original 1965 1st Danish MONO pressing in absolute TOP condition. Impossible to upgrade upon. “John Tchicai was not the only Dane pursuing the "New Thing" in the early '60s. Trumpeter Hugh Steinmetz, alto saxophonist Franz Beckerlee and bassist Steffen Andersen were on the case in 1960, emulating Ornette Coleman's shape of jazz to come. As the core of the Contemporary Jazz Quartet, they began covering Ornette's early compositions, adding originals to their set lists until 1964, when they first recorded Action for the Danish Debut label. The drummer on the date was Sunny Murray, then in Copenhagen with a trio led by Don Cherry, a mentor to Steimetz. Luckily, more attention was paid to the music than to the album's cover, which billed the drummer as "Sonny Murray." While most of the compositions have the agitated, fragmentary feel of Coleman's late Atlantics, there is also a glimpse of the Danish folk lyricism Tchicai would all but trademark. Despite Steinmetz's indebtedness to Cherry, he bypassed the playfulness of Cherry's work on the early Contemporary and Atlantic dates, and articulated an intriguing approach to Cherry's slippery chromatic runs and lyrical positivism. Beckerlee had all but dispensed with Ornette as a role model; his raspy rants at times foreshadowing Peter Brotzmann. Andersen, whose jagged lines were closer to Gary Peacock than either Charlie Haden or Scott LaFaro, reinforced this departure from the model. Add Murray's spattered cymbals and surprisingly light snare touch, and the resulting music is consistently intriguing, and occasionally spellbinding.” (Bill Schoemaker). Top shape Near mint MONO original 1st pressing from 1965 in absolute mint condition. Seriously rare in such a nice nick as this one and one of the finest jazz records of that era. Price: 450 Euro

545. CONTORTIONS: “Buy” (ZE Records/ Island Records Japan – ILS-81356) (Record: Mint/ Jacket: Mint/ Obi: Excellent/ 4-Paged Booklet: Mint) Bloody rare original 1979 Japan 1st pressing of this No wave Punk classic. WHITE LABEL PROMO issue!!! “In 1979 the quintessential no wave group released two albums simultaneously; Buy was effectively the Contortions’ debut, originally appearing on the indie label ZE, while the same project was released as Of White under the adopted alias of James White, one of the many identities of leader James Chance. The Contortions are considered to be one of the most important and influential groups of the New York no wave scene, which spawned the crazed postmodern persona of James Chance alongside Lydia Lunch, Mars, and DNA, among others. James Chance was a sort of avant lounge lizard personality cult who led numerous projects throughout the '80s, yet he never quite topped the warped distillation of punk, funk, and free jazz presented here, making Buy a pivotal recording of the New York post-punk era. His hybrid of free jazz sax blowing and agitated funk takes the contortions up a notch from the four tracks the band contributed to the Eno-produced No New York compilation, which debuted the furious angular syncopation of transfigured funk and disco rhythms which became the Contortions signature. Chance's vocals and discordant sax will sound strangely familiar and appealing to fans of early Roxy Music and Television.” (All Music Guide) Killer classic slide that still sounds as fresh as if it was unleashed only yesterday. Indispensable!!!! First Japanese pressing with insert and booklet just rarely see the light of day and sounds so killer it is contagious!!!! Price: 150 Euro
546. COOPER, JEROME – KALAPARUSHA – FRANK LOWE: “Positions 3 6 9” (Kharma Records – PK3/4) (2LP Set: Near Mint/ Gatefold Jacket: Near Mint). Original 1977 US pressing of classic free jazz slide, released in a tiny run on the small and briefly active Kharma label. Three key players of the 1970’s loft jazz scene collide head on first on a totally free and delicate deep subterranean free improvisation slide that sounds as if the individual players are engaged in a trench warfare. The tiniest gestures trigger apocalyptic waves of sound that hurtle in and out of focus. Each player’s intuitive approach comes fully into the spotlight and together they generate a truly exploratory soundscape. Brilliant and top condition original pressing!!! Price: 100 Euro
547. CORYELL, LARRY: “Lady Coryell” (Vanguard/ King Records Japan – SR-331) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original 1969 Japan first original pressing with rare King Records obi. White label PROMO issue. On Lady Coryell, the 25-year-old Larry Coryell already possessed a virtuoso's technique and a rich harmonic and melodic imagination. He uses these gifts here to build swirling, multi-tracked, oftentimes intensely psychedelic performances that range seamlessly across the jazz and rock landscape. The most important tracks are "Treats Style" and "Stiff Neck." On the former, the guitarist is teamed with jazz masters Jimmy Garrison (bass) and Elvin Jones (drums) in a power trio of cool swagger and screaming blues. "Stiff Neck" is a furious duet between Jones and the guitarist. Coryell begins in a driving, post-bop vein, segues to a raw, acid blues and then out into a splintered, barrage of power chords and feedback. Jones navigates the way ahead, countering Coryell’s audacity with controlled fury and an assured, muscular pulse. On the rest of the session, Bob Moses, a band mate from the guitarist's first recordings, takes the drum chair, while Coryell overdubs the bass parts. Together they calmly probe the shifting sections and layers of the title track before transforming a Junior Walker R&B shuffle, "Cleo's Mood," into a mind-bending, rave-up. Even Coryell’s hoarse-throated singing is effective. On "Sunday Telephone," -- over a maelstrom of phased, fuzzed, and wah-wahed guitars -- he yowls dementedly, "One more dime operator, can't you see it's Dr. Strange on the line." The album's only lapse is the country corn of "Love Child Is Coming Home," where Coryell tries to transcend one genre too many.” (All Music). Fantastic fuzzy & wah-wah drenched psychedelic jazz slide that is just massively overlooked. Price: 100 Euro
548. CORYELL, LARRY: “Coryell” (Vanguard/ King Records Japan – SR-379) (Record: Near Mint/ Jacket: Excellent, lower seam middle rubbing/ Insert: Near Mint/ Obi: Near Mint). Original 1970 Japan first press issue all complete with rare King Records obi. His second solo album, 1969's Coryell is a great example, and finds him fearlessly blurring the lines between hardcore blues-inflected jazz, pop, and rock. Helping Coryell to achieve this boundary-crossing vibe are his stellar sidemen including innovative funk-friendly drummer Bernard Purdie and organist Mike Mandel. Also on board are a cadre of illustrious bassists Ron Carter, Chuck Rainey and the lesser known Albert Stinson, who died tragically not long after recording this album. Together, they laid down a vibrant, organic sound that touches upon groove-oriented blues, acid funk, and searingly amped-up jazz-rock. While certainly a gifted and adroit guitarist, as a singer, Coryell had his own laid-back, lo-fi charm. Years before influential indie bands like Pavement and Wilco defined a whole sub-category of hard-to-classify rock with their noodly guitars and jam-out tunes, Coryell was essentially doing the same thing, albeit from a jazz-oriented perspective. On the cheeky, semi-satirical "Sex" (a title inspired by hearing a woman yell "Sex! That's all you people are interested in!" at hippie anti-war protest marchers in the late '60s), Coryell belts out the chorus à la Jimi Hendrix before launching into a reverb- and wah-wah-pedal-soaked solo. Conversely, on the sweetly delivered, off-kilter ballad "Beautiful Woman," he sings softly in a flat yet soulful falsetto offset by bluesy guitar punctuations. What's so fascinating about Coryell’s vocal songs is his almost naive eschewing of genre conventions. This is a guy who can play classical guitar one minute, rip into reverb-soaked blues solo the next, and finish by evincing the hollow-body lyricism of Wes Montgomery. Here he is, in the same year that Miles Davis recorded Bitches Brew and the Beatles delivered Abbey Road, casually knocking out what sounds like Pavement’s Stephen Malkmus backed by John McLaughlin. Even his instrumental cuts, like the quirkily titled "Ah Wuv Ooh" (co-written with his wife), are dynamically cross-pollinated nuggets of nuanced jazz, soul, and intricately virtuosic guitar heroics. Coryell’s singing waned during the '70s, as he focused more on progressive instrumental fusion and his reputation grew as a highly respected jazz artist. However, listening to this album decades after its initial release only reinforces the notion that Coryell was a dynamic, creative visionary, as much in tune with swinging, blues-informed jazz as the psychedelic rock and folk that increasing dominated the airwaves. Ultimately, Coryel’s Coryell remains an embryonic artifact of a transitional era both in his own career and popular musical culture.” (All Music). Another totally indispensable and awesome eargasmatic slide that for some perverse reason always gets ignored. Price: 100 Euro
549. CORYELL, LARRY: “Spaces” (Vanguard/ King Records Japan – SR-3109) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1969 Japan first original pressing with rare King Records obi. White label PROMO issue. This album features the pioneer fusion guitarist Coryell with quite an all-star group. Two selections match Coryell with fellow guitarist John McLaughlin, bassist Miroslav Vitous (doubling on cello) and drummer Billy Cobham, all important fusion players at the time. "Rene's Theme" is a guitar duet with McLaughlin while "Gloria's Steps" has Coryell, Vitous and Cobham jamming as a trio. Chick Corea sits in on electric keyboard for "Chris," and the 20-second closer finds Coryell playing alone. Overall, the music has its energetic moments, but also contains some lyricism often lacking in fusion of the mid-'70s. In addition, all of the musicians already had their own original voices, making Spaces a stimulating album worth searching for.” (All Msuic Guide). Price: 100 Euro
550. COSMIC JOKERS: “Gilles ZeitschiffSternenmadchen Zu Besuch Bei Den Magiern” (Ohr/ Kosmische Musik – KM-58.012) (Record: Mint/ Jacket: Mint. Small punctured Hole Right Side bottom). Top copy. Coated Jacket. Not exactly a Cosmic Jokers record, this one contains material plundered from various Kosmische Musik releases, mostly other Jokers tracks as well as those of Ash Ra Tempel and Klaus Schulze. Zeitschiff is another wild ride into the furthest reaches of cosmic space rock, an acid trip set to music and with added narration, mostly by Gille Lettmann and also others, including Timothy Leary and his ominous-voiced cohort, Brian Barritt. Be sure to strap your self in, glue on those headphones and relax because it will be a deep cosmic voyage into the furthest unknown deep galaxian super highways. A classic, mint copy, 1st original German pressing. Price: 150 Euro
551. COUNT FIVE: “Psychotic Reaction” (Double Shot – DSS-5001) (Record: Near Mint/ Jacket: Near Mint). US 1st original pressing in top condition. Teenage garage rock crew The Count Five used to stride out on stage dressed as Count Dracula before laying waste to their output including this seminal tune. Based around the dirtiest of fuzzy riffs and piercing harmonica, 'Psychotic Reaction' moves from glam stomp to psych wig-out and was highly regarded enough for rock critic extraordinaire Lester Bangs to name a book after it. Simply all time classic teenage psychedelic garage mayhem from start to finish filled with addictive teenage angst vibes, screaming vocals, fuzzed out wrist-slashing guitar assaults and deranged snotty lead singer – all backed up by an almost Flinestone-ian cave man gang-raped rhythm section. One of the best in the psychedelic garage punk genre. Hard to find are clean as a whistle 1st original pressings of these babies. This one is a top copy. Price: 150 Euro
552. COUNT OSSIE And The MYSTIC REVELATION Of RASTAFARI: “Grounation” (Ashanti – NTI.301) (3 LP Record: VG++ ~ Excellent/ Triple Gatefold Jacket: VG++/ Booklet: Excellent). Rare original 1973 pressing on the gold colored Ashanti label. An unimpeachable classic. Master drummer Count Ossie's band, including the incomparable tenor saxophonist Cedric 'I'm' Brooks, recreate a Rasta grounation, or gathering, playing and chanting a sublime supplication, including Bible readings, in praise of Emperor Haile Selassie I. The Mystic Revelation of Rastafari is a fusion of the Mystics, led by Cedric Im Brooks and the Count Ossie Rastafarian Drummers. These two groups in the past were responsible for some of the most colorful and creative music that has emerged from this island of Jamaica. In 1973, Count Ossie and his group joined forces with the Mystics, a jazz-influenced band led by saxophonist Cedric Im Brooks, and the resulting combo was known as the Mystic Revelation of Rastafari. Though serious musicologists had made occasional field recordings of nyahbingi sessions, the first album to give the music the studio time it deserved, while remaining as true to its original forms as possible, was the triple LP set Grounation, from Count Ossie & the Mystic Revelation of Rastafari. The MRR was an aggregation of accomplished musicians, which brought together both Count Ossie’s African-style hand drummers and the horns, and bass of tenor-sax man Cedric Brooks’s Mystics band. A stunning 3 LP set filled with bewitching rhythms. First press original on the Gold colored Ashanti label. Comes with the booklet. Price: 300 Euro
553. COUNTRY JOE & THE FISH: “Art Rock Number 1 – Rock And Soul Music (Part 1) b/w Rock And Soul Music (Part 2)” (Vanguard/ King Records – HIT-1591) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Hardly ever surfaces this Japan only Country Joe & The Fish single issue that came out in 1968. Quite a strange selection to put on their debut single for Japan. No hit song like “I Feel Like I Am Fixin’ Do Die Rag” or any other but instead King Records opted for commercial suicide and put the long track “Rock And Soul Music” on it, spread over 2 sides. Well, understandable the single failed to make any waves and sunk to the bottoms of the sales pit and died a silent death. Hence that now copies are far and few in between. First time I can lay my hands on one in over a decade. Comes housed in great acid leaking Japan only picture sleeve art. Amazing condition and damned rare. Price: 300 Euro

554. COUNTRY JOE & THE FISH: “Who Am I b/w Thursday” (Vanguard – HIT-1503) (Single 7 Inch Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan only Country Joe & The Fish single and their rarest issue by far. Just never surfaces on these shores. Price: 450 Euro

555. COUNTRY JOE & THE FISH: “Vol.2” (Vanguard – King Records – SR-308) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Bloody rare Japanese issue, complete with always missing obi. That aside, the record comes also housed in a Japan ONLY alternate jacket art. This album was released in September 1969 and this copy here is MINT all the way, looks like it was released only a fortnight ago. Impossible to dig up on these shores, especially in such pristine nick as this one here and with the OBI!!!! Also pressed on Japanese high quality virgin vinyl, so the sound is brilliant!!! First copy I see in my days, so…one off chance I would say. Price: 575 Euro

556. COUNTRY JOE & THE FISH: “Country Joe & The Fish Vol. 4” (Vanguard/ King Records – SR-475) (Record: Excellent – has some visible lines on side 2 that do not affect the play/ Jacket: Near Mint/ Insert: Near Mint). Japan only Country Joe & The Fish issue, Promo copy. Released in 1970, Japan ONLY issue of legendary Country Joe & The Fish LP. Track listing includes: “Sing, Sing, Sing/ She’s A Bird/ Mara/ Hang On/ The baby Song/ Hey Bobby/ Silver And Gold/ Rockin’ Round The World/ The Love Machine/ The return Of Sweet Lorraine/ Hand Of Man”. In all these years, it is the first time ever I encounter a copy of this one. Quite a rare and stupidly obscure issue. Comes with insert. Highly recommended!!! Price: 125 Euro

557. COUNTRY JOE McDONALD: “Quiet Days in Clichy Part 1 & Part 2” (Vanguard/ King Records – HIT-1961) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Seldom offered 1972 Japan only single issue by Country Joe & The Fish front man. Essential ear candy for West Coast and San Francisco psych heads. Top condition. Price: 150 Euro
558. JACQUES COURSIL UNIT: “Way Ahead” (BYG Records BYG-19) (Record: Mint. Fold Out Jacket: Mint/ Insert: Mint/ Obi: Mint) Actuel 19. Again a monster. Line-up Jacques Coursil (trumpet), Arthur Jones (alto), Beb Guerin (bass) and Claude Delcloo (drums). Again original Japanese pressing with obi and insert, all in mint condition. The sound quality and quality virginal Japanese vinyl pressing make this issue sounding a zillion times better than the French Actuel pressings. It is like almost sounding to a completely different record, the recording and pressing quality is just light-years higher on the evolution scale. No shit. Highest recommendation. Price: 125 Euro
559. COURSIL, JACQUES: “Black Suite” (America - 6111) (Record: Near Mint/ Jacket: Near Mint). Original 1969 French 1st original pressing. French only deep free jazz LP featuring Arthur Jones, Burton Greene, Beb Guerin and Anthony Braxton! First issue came out on BYG, the 2nd pressing was later released on the America label. "Black Suite" is an album-length composition and moves along in a way that's similar to some of the extended AACM pieces of the time – with spare free moments, and moody chromatic passages by the larger group. Written as a tribute to the struggles of blacks in America, the piece is a very emotional work that offers some excellent performance by all, especially Braxton, who opens up a bit more than usual here. Brutally beautiful piece of fire music. Price: 40 Euro
560. COWELL, STANLEY: “Blues For The Viet Cong” (Freedom/ Trio Records – PA-7093) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original press issue that comes housed in Japan only jacket art. PROMO issue. “Stanley Cowell’s debut as a leader features his piano (and on two selections rare outings on electric keyboards) with a trio also including bassist Steve Novosel and drummer Jimmy Hopps. Cowell’s style at the time was often modal and already quite powerful. After hearing seven of his often-somber pieces, Cowell’s stride version of "You Took Advantage of Me" and “Travellin’” is a welcome change of pace and are just outstanding. Price: 50 Euro

561. COWELL, STANLEY: “Musa – Ancestral Dreams – Stanley Cowell Solo Piano” (Strata East/ Tokuma – JC-7501) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shape Japan 1st original pressing all complete with insert and damned rare obi. A solo piano set from Strata East main man Stanley Cowell – but a record that's got enough soul and spirituality to rival a full group recording! Although working alone here, Cowell's touch on the keys is astounding – often flowing and highly rhythmic, with a pulsating sense of energy that makes even the mellower tracks sparkle with soulful imagination. A number of tracks are intimate explorations of themes heard more famously on albums done with Charles Tolliver – but which come alive in a whole new way here in Stanley's solo setting! Most work here is on acoustic piano, but Cowell also picks up the electric keys for the tune "Travelin Man" – done here as an overdubbed "duet", and one of the hippest tunes on the entire record! Price: 300 Euro

562. COWELL, STANLEY: “Regeneration” (Strata-East – SES-19765) (Record: Near Mint/ Gatefold Jacket: Near Mint). US 1976 original pressing in outstanding condition. “Around the time of this recording, Stanley Cowell had achieved a degree of prominence as the pianist for the advanced bop quartet Music Inc., which he co-led with trumpeter Charles Tolliver, as well as for unusual projects like his Piano Choir. With Regeneration he chose another path, essentially trying to produced a jazz-infused pop album with strong African roots, perhaps owing a little bit to Stevie Wonder. He assembled an extremely strong cast of musicians for the venture, including Marion Brown, Billy Higgins, and Ed Blackwell, as well as several African string and percussion masters and, by and large, succeeded conceptually if not commercially.” (All Music Guide). US first original press issue, housed in thick gatefold sleeve art. The whole affair is in top shape, no defects, no discoloration, just perfect! Price: 200 Euro
563. CRASS: “Penis Envy” (Japan Record – RTL-25) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Poster: Mint). Rare original Japan 1st press issue that comes with a Japan ONLY designed back sleeve art. All complete with POSTER. “Libertine takes the lead vocals throughout Crass' third album (the one exception being De Vivre's turn on the unnerving portrayal of hospitals and waiting for death, "Health Surface"). “A powerful and challenging record, Penis Envy uses the brutal, cruel description of sexism and rape on the opening track, "Bata Motel," as a launching point for a comprehensive rip through societal control and repression throughout. Smart enough to target everything from the mechanics and business of selling romance ("Smother Love") to gender stereotyping ("Systematic Death") and back again, lyrically the sharpest cut is toward those who choose to accept such a system rather than reacting back against it. Libertine's delivery places her as one of punk and post-punk's most distinct vocalists; if her atypical approach to singing has parallels to everyone from Poly Styrene to Pauline Murray, she consciously avoids sugaring the pill as the album continues on its way. One of her finest moments comes on "Where Next Columbus," a smart, blackly humorous riff on notions of discovery and control, on every level from economic and political to personal and back again. If immediate musical variety isn't as evident on Penis Envy as on Stations of the Crass' studio cuts, more than a few twists and turns are evident. There's the sudden burst of noise and layered series of voices on the environmental lament "What the Fuck," the nervous crawl into aggro charge on "Poison in a Pretty Pill," even a pretty little guitar figure to start off "Berkertex Bride." Phil Free's lead guitar work is especially effective, often a trebly white sheet of electric aggression, while Penny Rimbaud's drumming gets more varied and interesting as well. Crass' always blunt cover art reaches new but gut-wrenching heights as well, featuring a prepackaged sex doll on the front and gutted pigs on the back.” (Ned Raggett, All Music Guide). Price: 125 Euro
564. CREAM: “Fresh Cream” (Polydor Japan – SMP-1402) (Record: Mint/ Jacket: Mint/ Obi: Mint). Original 1st Japanese pressing complete with obi in immaculate condition. Mint copies with obi intact just…don’t surface at all anymore. Here ya have a museum piece like copy. I guess that music wise you know the drill of this classic milestone so I spare you any mindless ramblings of my part. But the disc/ jacket/ and obi are just…mint, like they were printed and pressed only yesterday. Better copies just simply do not exist take my word for it. Price: 500 Euro
565. CREAM: “Disraeli Gears” (Polydor – SMP-1390) (Record: Near Mint/ Flip Back Jacket: Near Mint/ OBI: Mint). Japan original first pressing from May 1968 in exquisite condition and complete with obi. First original Japanese pressing in fantastic condition. Stunning copy, Japan 1st original pressing of 1968 that comes housed in a fragile flip back jacket. Comes with different Japan only back cover art. Just hardly ever surfaces on these shores all complete with OBI and in superb condition – next to impossible to upgrade upon. Price: 500 Euro
566. CREAM: “Wheels of Fire” (Polydor Japan – SMP-1416) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Original 1st Japanese pressing complete with obi in immaculate condition. Same story as the other Cream record listed. Mint copies with obi intact just…don’t surface at all anymore. Here ya have a museum piece like copy. I guess that music wise you know the drill of this classic milestone so I spare you any mindless ramblings of my part. But the disc/ jacket/ and obi are just…mint, like they were printed and pressed only yesterday. Better copies just simply do not exist take my word for it. Price: 200 Euro
567. CREAM: “Wheels Of Fire – Live At The Fillmore” (Polydor Japan - SMP-1417) (LP: Near Mint/ Gatefold Jacket: Near Mint). Rare Japan 1st press original – rarely offered WHITE Label PROMO issue. Unlike its predecessor, this sleeve comes in a gold-like finish foil jacket art, there were the previous volume came in a silver foil like colored finish jacket art. Amazing condition and sounds utterly great that see the band live at work at the Fillmore. Price: 200 Euro
568. CREATION REBEL: “Psychotic Jonkaboo” (Statik Records/ Trio Records – AW-23015) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). Original 1982 Japanese pressing. “Creation Rebel’s penultimate album, Psychotic Junkanoo might not be the most revolutionary collection in the band's catalog, but it is one of the most enjoyable. Indeed, if it demands any comparisons, it is period Black Uhuru that comes fastest to mind, with Crucial Tony’s militant vocals riding on a bed of delicious harmonies and, on the opening "The Dope," a guest appearance from sax legend Daedly Headley. Anthem by anthem, the album takes shape. Reworking Jah Woosh’s "Woodpecker Sound" rhythm, "Chatti Mouth" is a frenetic singsong toast laid over a haunted, effects-riven rhythm. With backing vocals from John Lydon, "Mother Don't Cry" echoes Black Uhuru’s "Abortion" in its stark delivery, and "African Space" is propelled by so startlingly evocative a wah-wah guitar that one doesn't even realize it's an instrumental till it's over. Across the board, Adrian Sherwood’s production and mix are as crisply clean as any "mainstream" roots album -- cleaner, in fact, as the rhythms float in a space all of their own, and the echoes simply ricochet off one another. Anybody searching Sherwood’s catalog for an easy point of entry would do well to start here, and everyone else can simply applaud Psychotic Junkanoo as the last truly great roots reggae album of the 1980s.” (All Music Guide). Price: 75 Euro
569. CRINGE: “Spit On Your Grave – Toxic Shock b/w Secretary Spread – Out Of Hand, Out Of Control” (EV Records – EV-02) (4 Song EP Record: Near Mint/ Picture Sleeve: Near Mint/ Insert: Near Mint) 1991 first reissue pressing that came out in a numbered limited run of only 400 copies, this one being 383/ 400 of a hopelessly rare US killer punk slide. Cringe had released a 4-song EP in '81and after a few listens, it became clear the pure genius of the slide. It was the most amateurish, retarded early punk record I'd ever heard so far (the first track, "Spit On Your Grave" is on Killed By Death #10). Essential! Cringe formed in Dallas circa 1981 and actually recorded their four-song EP after only three rehearsals. Vocals were a shared duty on the record with Keith Pearce singing on two tracks ("Spit On Your Grave" and "Toxic Shock"), Suzy singing on another ("Secretary Spread") and Chuck, (Babe Ruthless) screaming away on the last song, "Out of Hand, Out of Control". The first pressing plant the band contacted refused to manufacture the record because of "content issues", always a promising sign for a punk rock record. The band had no such problems at the next plant where 300 copies were pressed. The elaborate sleeve artwork was copied onto oversize sleeves which were folded and sloppily glued by hand. Not long after the record's release, the main vocalist (Keith) quit and further line-up changes followed. Cringe had little, if any, local following, and the band quickly caved to popular demand — in other words, they broke up. Suzy later collaborated with Bobby Soxx in a band called Enemy. No recordings of Enemy have surfaced — the only artifacts testifying to their brief existence are a handmade pin made by Bobby Soxx and a flier with Enemy opening for the Subhumans at Fort Worth's own Zero's New Wave Lounge (where tons of early touring bands like X, Fear, The Fix, Plugz, Alleycats also played). This amazing release brought in the early 1990s Cringe back into the spotlight that shone so brightly that again no one noticed it at all, tanking again towards the bottomless pit of obscurity. But that aside, what a release it was. A skull-driller! Price: 50 Euro
570. CRISS, SONNY: “Up, Up & Away” (Prestige/ Victor Records – SMJ-7491) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan original 1st press with rare very first obi issue. Altoist Sonny CrissPrestige recordings of the late 1960s generally included a current pop tune or two along with some stronger jazz pieces. This LP is of particular interest because the intense altoist is teamed with guitarist Tal Farlow, pianist Cedar Walton, bassist Bob Cranshaw and drummer Lenny McBrowne. "Up, Up and Away" (the Fifth Dimension hit) has more challenging chord changes than one would think and, although "Sunny" is lightweight, Criss really digs in and uplifts it. In addition, the leader overflows "Willow Weep for Me" with soul, plays a strong solo on Horrace Tapscott’s "This Is for Benny" and displays his blues roots on "Paris Blues." However the highpoint is a burning rendition of "Scrapple from the Apple" that finds Criss and Farlow engaged in torrid trade-offs. So this LP is more rewarding than it might appear at first glance. Price: 50 Euro
571. CROMAGNON: “S/T” (ESP – ESP-Disk 2001) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). First original US pressing, 2nd state jacket art. Already commercially successful as tune-smiths for teenyboppers, Austin Grasmere and Brian Elliot approached Bernard Stollman looking to focus their talents on something more original and unrestrained. Stollman asked, “What would be your theme?” and Elliot replied: “Everything is one.” Bernard said, “Go do it.” What followed was Cromagnon's (Grasmere, Elliot and the Connecticut Tribe) non-linear journey through the subconscious, weaving together bizarre instrumentation and meter with a psychotic blending of musical styles. Bagpipes, pounding percussion, blood-curdling yelps, chanting, laughing, and billowing subterranean rumblings create the otherworldly soundscape that is Cave Rock. Heralded as one of the best freak-out records of all time, Cave Rock was ridiculously ahead of its time and brings to mind the savage sound-fuckery of Nurse with Wound and Throbbing Gristle as well as the hallucinations of early Red Krayola.” (ESP label description). Killer slide, great condition and just gloriously weird ass freak out sonics for your pleasure. One of the best titles on the label. Price: 150 Euro
572. CROSBY, DAVID: “If I Could Only Remember My Name” (Atlantic – P-8052A) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint/ Rock Age Flower Obi: Near Mint ~ Mint). Bloody rare 1st original all complete Japan press issue with RARE ROCK AGE FLOWER OBI present and all is in impeccable shape. To make matters even more salacious, this is the rarely seen BLUE LABEL PROMO issue. Fantastic solo album by David Crosby and one that has been my personal favorite out of that era for many decades now. “Forgotten by rock history, and probably by most of its participants, this 1971 curio is a one-of-a-kind freak-folk apogee. It's a solo album in name only, since the Croz operates as a cosmic cruise director, bringing in pals like Neil Young, Joni Mitchell, Jerry Garcia and Grace Slick. In hydroponic jams like "What Are Their Names," you can hear each guest wander into the studio, plug in, play a few licks, sing a few harmonies ("Peace is not an awful lot to ask" -- dig it!) and raid the fridge. Garcia steals the show, and the two killer tracks are the ones where he burns on guitar, playing in a dark "Wharf Rat" mood: "Song With No Words (Tree With No Leaves)," where Garcia cuts Jorma Kaukonen in a guitar duel, and "Laughing," featuring Jerry's profoundly sad pedal steel.” (Rolling Stone) Never seen before Rock Age obi present, making this slide a minor - major rarity. Top condition promo issue and impossible to ever upgrade upon. They just do not come any better than this one here. Price: Offers!!!!
573. CROSBY, STILLS, NASH & YOUNG: “Our House b/w Helpless” (Atlantic – P-1008) (Record: Near Mint/ Picture Sleeve: Near Mint). Great Japan only CSN&Y picture sleeve artwork 7 inch. 1st original pressing in top-notch almost virginal condition. Comes with great live shot to adorn the picture sleeve. This was the 4th and last single by CSN&Y to emerge in Japan and is the hardest to track down. Top condition. Price: 75 Euro
574. CROSBY, STILLS, NASH & YOUNG: “Déjà Vu” (Atlantic Records – MT-2023) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Rare Japan 1st original pressing that came out in July, 1970. Comes complete with rare very first obi issue and record on the tri-color Atlantic label imprint. Original 1st Nippon Grammophon pressing. Comes housed in heavy textured gatefold jacket. Comes with bloody rare hardly ever seen 1stissue obi! First issue obi’s in mint condition like this one are these days next to impossible to dig up. Jacket is also mint and as for the disc itself, it looks like it hardly has been played. Original 1st issue Japanese pressing from June 1970. Again, to these ears a milestone recording. Top copy!! The condition is so blindingly pristine it will make you go snow-blind. Stellar good sounding pressing and quite rare with all present. Top condition. Price: 250 Euro
575. CROSBY, STILLS, NASH & YOUNG: “Déjà Vu” (Atlantic Records – P-8036A) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Rock Age Flower Obi: Near Mint/ Lyrics Insert: Near Mint). Freakingly rare Japanese press original with rarest obi variation, the “Rock Age” Flower Obi. Just never surfaces with this obi as it was only briefly available for sale in 1971 and quickly disappeared. First time I have a copy of this version up for grabs with the Rock Age ‾ Flower obi present. Top condition. Price: Offers!!!!

576. CROSBY, STILLS, NASH & YOUNG: “4 Way Street” (Warner Pioneer Japan – P-5008/9A) (2 LP Set: Mint/ Gatefold Jacket: Mint/ Rock Age Flower Obi: Mint/ Insert: Mint). Rare blue label promotional copy, top condition and complete with the hardly ever seen “Rock Age” Flower Obi. This 2 LP set caught Crosby, Stills, Nash & Young on their 1970 concert tour and at the height of their success. In all, the album is varied and exciting, and perfectly captures the quartet's remarkable singer/songwriter chemistry and sparkling harmonies. Stephen Still's classics like "Suite: Judy Blue Eyes" and "Love the One You're With" abut David Crosby tunes like the beautiful "Laughing" and Graham Nash's positive, instructional "Teach Your Children." But the real treat of4 Way Street is the inclusion of Neil Young's solo material, including "Cowgirl In the Sand" from Young's first solo album, and the riveting "Ohio," about the Kent State student massacre. By the time the album came out, however, Young had already left the group, and Crosby, Stills & Nash began to work on solo and duo projects. 4 Way Street captures the end of an era, then, and remains an essential part of the remarkable ever-evolving Neil Young saga. This copy here on display is the freakingly rare 1st press Japanese issue, blue label Atlantic PROMO version, complete with eye-poppingly scarce “Rock Age” Flower obi. This whole package – including both LP’s – is as mint as your virgin wife on her wedding day. Just impossible to lay your hands on in such a condition as this one. Top copy. Price: 150 Euro

577. The CURE: “John Peel Session, 1981” (Stigma – ST-504) (7 Inch EP record: Near Mint/ Poster Sleeve Jacket: Near Mint). Rare old skool boot EP of classic early daze Cure action with tracks being Happy Hour – First In Line and Pet Colours. Essential primordial Cure stuff. Price: 50 Euro

578. The CURE: “I’M A Cult Hero B/w I Dig You” (Cult – CT-1000) (7 Inch Single Record: Near Mint/ Poster Sleeve Jacket: Near Mint/ Sticker: Mint). Another scarce old skool Cure bootleg, recorded in 1979. Vital early Cure recordings. Does not turn op that often anymore. Price: 50 Euro

 

579. The CURE: “Faith” (VAP – 35109-25) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Rare Japan 1st original pressing that came out in 1983. A Cure fan's favorite! In the 1980's, the Cure provided the soundtrack for an entire generation of misfit toys, and if 'Seventeen Seconds' was a wake-up call for the dispossessed, 'Faith' is the daily affirmation. Scaled back down to a three-piece with the loss of keyboardist Hartley, the Cure is a lean, mean fighting machine, ready to rumble. 'Rumble' is the best way to describe the propulsive bass playing of Simon Gallup, whose rolling bass anchors both mid-tempo numbers like 'the Drowning Man' and faster fare such as 'Primary.' 'Faith' is stunning in its simplicity and haunting beauty, as evidenced by 'All Cats Are Grey' and 'The Funeral Party.' Even drummer and mascot Lol Tolhurst's minimal beats work to perfection next to the spare-yet-effective instrumentation of 'Faith.' This is quintessential Cure. Price: 100 Euro

580. The CURE: “Pornography” (VAP – 35002-25) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Rare Japan 1st original pressing all complete with picture gatefold insert and obi. The Cure - then a trio of guitarist and vocalist Robert Smith, bassist Simon Gallup and drummer Lol Tolhurst - released Pornography in 1982. Dark, claustrophobic and densely packed, it unwittingly set a benchmark for subsequent generations while adjusting the vernacular for psychedelic music. Made under the influence of LSD and alcohol and under tense circumstances, it not only concluded a run of albums that had seen the band's sound evolve over a period of four years, it would also destroy that incarnation of the group. As Lol Tolhurst recalled: "When people think of psychedelia, they think of flowers. This was more Baudelairean in its approach. The way to understand The Cure and the link to psychedelia is that it has to go through the filter of punk. Punk was the thing that changed our whole life. Robert and I were 17 years old when punk hit big.” Fueled by depression and anxiety that resulted in a lot of self-medication, Robert Smith  and his two cohorts at the time - Simon Gallop and Lol Tolhurst - wanted to make a record representative of the band's mood at the time. The sessions were fraught which culminated in Gallop leaving the group once the album was finished. Recorded over a three-month period at the start of 1982, played back now it sounds like something of a chilling epitaph. Those opening lines of 'One Hundred Years' reading like a self-referencing suicide note that gets even darker throughout the song's six and a half minutes. Driven by a coarse drum sound inspired by Siouxsie And The Banshees drummer Budgie, 'The Hanging Garden' perpetuated The Cure as a mainstream anomaly in sounding like nothing else on the radio or in the singles charts at the time. Reaching the dizzy heights of number 32, it only stayed in the Top 40 for one week before dropping like a stone but its impact would remain omnipresent and cementing it eventually as a true uncut classic. Damned scare Japan 1st original pressing, all complete. Price: 275 Euro

581. TED CURSON QUARTET: “Urge” (Fontana – 195J-27) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Rare Japan 1st original pressing in immaculate condition. Recorded in Copenhagen during a well-received European tour, the album features tenor-man/clarinetist Bill Barron (pianist Kenny's brother and a regular foil for Curson during this period), as well as bassist Herb Bushler and drummer Dick Berk for a romp through odd meters, Berk keeping a strong forward accent and dissonant head arrangements that seem to mark a turning point in Curson's music. The group met with extraordinary popularity, overstaying a gig at Paris' Blue Note club from two months to six before the musicians' union essentially kicked them out of the country, the Curson-Barron quartet did meet with some hostility for, ironically, the use of a white rhythm section. This was especially true in Holland, where, according to Curson, the German drummer and Jewish bassist were routinely booed and catcalled. Echoes of Curson's previous employers Mingus and Cecil Taylor are here, not to mention the free-bop aesthetic that would inform his work with the New York Contemporary Five (replacing for a time Don Cherry) and Archie Shepp. Curson is somewhat of a missing link between the ephemeral quality held by Miles and the stabbing brilliance of Booker Little, a rare example of brassy bravura in an age marked more by the saxophone's sway. Price: 50 Euro
582. TED CURSON: “Tears For Dolphy” (Freedom/ Trio Records – PA-9711) (Record: Record: Near Mint/ Jacket: Excellent – has a few faint mildew spots/ Insert: Near Mint/ Obi: Near Mint). Rare Japan only jacket art issue. this quartet outing by trumpeter Ted Curson, tenor saxophonist Bill Barron, bassist Herb Bushler and drummer Dick Berk actually falls between hard bop and free bop. Curson and Barron in particular make up a potent team and their interplay on nine originals is quite impressive, swinging and occasionally witty. It’s an outstanding album that captures many of the outward directions in which jazz was headed at that point in its history. It is only natural that Curson would coalesce different elements of the new jazz. Several of the tunes have a Mingus-like flavor, particularly the romping, stomping "Quicksand" and "Reava's Waltz," which is understandable since Curson was a Mingus band member and contributor to such fine recordings as "At Antibes" and "CM Presents CM." Since this recording is a piano-less quartet, some tunes have a feel similar to Ornette's work on Atlantic, particularly "7/4 Funny Time." Although the title cut does not live up to its potential, such tunes as "Kassim," with its middle-eastern like rhythm and melody "7/4 Funny Time," and "Quicksand" manage to be both explorative and surprisingly accessible. Dolphy and Curson had played together with Mingus, and this recording was made a matter of weeks after Eric's tragic death, hence mournful elegy "Tears For Dolphy" for which the album is named. Price: 75 Euro
583. CURSON, TED with Eric Dolphy, Kenny Drew; Jimmy Garrison; Roy Haynes, etc: “Plenty Of Horn” (Columbia Records – YQ-7501-AX) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Very first Japanese original pressing on Columbia with first issue obi. A great set – cut when Curson was at the height of his youthful powers, and inspired by modernist ideas he'd picked up from Mingus and other contemporary jazz outsiders – including tenorist Bill Barron, who also plays on the LP! The recording is a perfect document of a time when the hard bop was folding into the new thing – in modes that were experimentally, yet never too far out – and always remembering to swing when needed, as in the case of some of Jackie McLean's best Blue Note work of the early 60s! The album's quite an obscure one – given to its original issue on the mostly-pop Old Town label – but it's a real gem in Curson's catalog. Price: 50 Euro
584. CURSON, TED: “Pop Wine” (Futura/ Epic – ECPL-12-FU) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink-wrap/ Cap Obi: Near Mint – still covered in original shrink-wrap/ Insert: Near Mint). Top notch condition Japan first and only original pressing of scarce Futura classic. “For much of his career as a sideman and bandleader, trumpeter Ted Curson was always near the spotlight but never directly in it. Raised in Philadelphia, he hails from the same city that produced legends like Lee Morgan, John Coltrane and Archie Shepp. As a teenager, he met his idol, Miles Davis, who gave Curson a business card and told him to call if he ever made it to New York City. He moved there when he was 21 and called Miles soon after. “Miles said ‘Ted Curson, that little guy from Philadelphia?’” Curson told All About Jazz in 2005. “‘We’ve been waiting for you for three years! Where the hell have you been?’” From there, he landed gigs with two would-be legends—avant-garde jazz pioneer Cecil Taylor and multi-instrumentalist Charles Mingus—and started releasing his own music in 1961. His sound coalesced on Pop Wine, the 1971 album recorded in Paris, France with the Georges Arvanitas Trio. Across five tracks, Curson navigates the full spectrum of his artistry, wielding strong trumpet blasts against the band’s airtight arrangements. It makes for a stellar mix of funk, avant-garde, Latin jazz, hard bop and free jazz. On “L.S.D. Takes a Holiday,” Curson hovers above the mix, ducking in and out while pianist Arvanitas, drummer Charles Saudrais, and bassist Jacky Samson improvise a blazing score. On “Quartier Latin,” Curson takes a backseat completely; Samson and Arvanitas fill the space with piercing strings and keys. Almost 50 years on, Pop Wine is still one of the best jazz albums you likely haven’t heard yet.” (Marcus J. Moore) Total killer with no filler LP, only released in France and followed up in real time with a high-quality Japanese pressing as well. Both are damned hard to get a hold off, especially the Japanese original with all complete and the obi in place. Top condition! Price: 175 Euro

585. CYKLE: “S/T” (Label Records – S9-261) (Record: Near Mint/ Jacket: Near Mint). Impossibly rare and impossibly clean 1st press original of US killer garage psych slide. What a great psyched out garage slide that surfs a high-crested wave of teenage snotty energy and has all the right ingredients to make it a memorable one with liberal doses of fuzz, vox organ lines, and snotty almost Sky Saxon kind of vocals thrown in the punk-psych mix. “Opinions divide on this one, some think it is an absolute monster while others are less impressed. Sure, there are 2 ~ 3 awesome fuzz garage tracks here, some of which have been comp’d but like Mystic Siva there’s also a fair share of slow numbers and poppy tunes that seem to go nowhere (although again opinions are divided on this). High point is the incredible “Lesson To Learn”, a work of sheer garage-psych perfection, with great acid lyrics to boot. Drummer/ band leader Jimmy Sossamon is about 3 times as good as any other band member, with amazing fills and grooves that contrast with the rather primitive songwriting. The production is unusually clear for a garage band and makes liberal use of stereo liberation, which isn’t always to the Cyckle’s advantage as it reveals the less developed aspects of their artistry and vocals. Cool cheesy sleeve.” (PL – Acid Archives). Top condition copy and 1969 original pressing of monster rarity. They do not surface in such perfect nick as this one here so….you know how rare this one is therefore give me your best shot! Price: Offers!!!

586. CZUKAY, HOLGER: “On the Way to the Peak of Normal” (Trio Records – AW-25013) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). This disc easily falls into my “opiated listening experience” section of my record collection. To make matters even more delusional is the fact that this copy is the 1st Japanese pressing with obi, a deluxe treatment that such a killer slide deserves. This was Czukay’s second post-Can solo album. The first two tracks took up side 1 can be considered as one continuous piece of music with “Fragrance” acting as a coda to “Ode to Perfume”. Czukay plays all the instruments here, except for Jaki Liebezeit's trademark metronomic drumming, and in many ways it's a revelation. Czukay lays down some surprisingly accomplished guitar over the solid rhythmic backing – reminiscent to Michael Karoli’s guitar excursions. Later in the piece there are interjections on organ and some decidedly non-virtuoso French horn, before the soaring guitar returns to bring the whole thing to a conclusion. Fragrance picks the theme back up and works in some vocoder to interesting effect. The whole thing has a slightly funky motorik feel with short-wave static, treated vocals, and drunken trumpet, all in a hypnotic late-night groove. The remaining tracks continue with varying success along these lines, from the darkness of the title song to the moody bass and Hammond interplay of "Hiss 'n' Listen." Intended as environmental music for some underlit, velvet clad chill-out room, the album can be seen as one long rumination on improvised understatement. A classic without a doubt. Price: 75 Euro
587. DAMERON, TADD with JOHN COLTRANE; John Simmons & Philly Joe Jones: “Mating Call” (Prestige/ Victor Records – SMJ-7557) (Record: Excellent/ Jacket: Near Mint/ Obi: Near Mint). Japan very first original pressing all complete with rare first issue obi. A sublime early set from John Coltrane – and one of Tadd Dameron's greatest moments on record ever! The session's a laidback quartet one – with John Simmons on bass and Philly Joe Jones on drums, completing the group with Dameron on piano and Trane on tenor – all coming together in a style that's loose, but still quite sharp overall – especially given Coltrane's tremendous tone, which really helps take the record to the next level from the very first moment it comes into the mix! Dameron's piano is strong, but subtle – and his compositions are what really make the record great! Outstanding condition. Price: 75 Euro
588. DANDO SHAFT: “Lantaloon” (RCA Victor – SF-8256) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Poster: Near Mint). First press UK copy that includes the rare poster of their rarest LP. Cover and disc are in pristine nick, which is quite uncommon. “Dando Shaft’s third album wasn't all that different from its predecessor, Dando Shaft: rollicking folk-rock tunes that were more folk than rock, heavy on rhythmic interplay among mandolin, guitar, and violin. Nor was it at times all that different from Pentangle, particularly on one of the best tracks, "Road Song," which sounded quite a bit like some of the more up-tempo Pentangle tunes on which Bert Jansch took lead vocals; "The Black Prince of Paradise" trod pretty far into Pentangle territory too. And as with Pentangle, the woman singer, Polly Bolton, was the best of the vocalists, though the male singers weren't bad and served as good counterpoints. Perhaps their songwriting and instrumental approach broadened just a bit to take in more pop and rock influences, with occasional flute (and, on "The Magnetic Beggar," harpsichord). In all, though it's not as original as the best British folk-rock of the period, it's very well played and fairly well written, guaranteed to appeal to fans of bands like Pentangle, to restate the inevitable comparison.” (all music guide). Killer folk LP that will ring for days in your ears if you like Fairport Convention and Pentangle. Price: 300 Euro
589. DANIEL SCHELL – DICK ANNEGARN: “Egmont and the ff Boom” (Free Bird – Fly-05) (Record: Excellent, has a few paper scuffs/ Jacket: Mint). The LP Egmont and the ff Boom’ tells the history of the traditional polyphonic music from the Low Countries, using the personage of Egmont, Count of Gaasbeek (1522-1568) as a theme. All music was recorded in the 70’s, all based around the unique and traditional polyphonic music of the 16th century, featuring, next to the two mentioned artists, an impressive range of guest musicians/artists. Daniel Schell is of course known from the projects Cos and Karo with releases on Made To Measure / Crammed Discs and Pascale Son was part of that Cos project too. Than there’s Michel Berckmans, one of the influential musicians of Univers Zero and Aksak Maboul and Ilona Chale, a cult vocalist who released a track on the ‘Noises’ compilation on Kamikaze, way back… These are just a few of the artists that collaborate on this magnificent but sadly overlooked and largely unknown album. In all it tells about his search for the real traditional music from the low countries and about Egmont, who died on a scaffold on the Grande Place in Brussels. His martyr death represents the cultural genocide ordered by Philippe II, who took the lives of 15.000 other men, mostly Flemish rebels who were against the Spanish occupation of the low lands, the so called Gueux. Music wise the disc dwells into a wide array of music styles without ever loosing its coherent approach that fuses polyphonic Flemish traditions, folk, medieval stylings, psychedelic mindsets and lysergic Gong influenced deep space trekkings into a melting pot of subtle folk shapes with a touch of electricity that in its course birth out evocative flashes of majestic psychedelic architecture and crooning with timeless cocktail folk moves and moments of a culturally defunct Belgian opera. One of the best albums to seep out of Belgium, awesome from beginning to finish. Rarely surfaces these days, even in the Low Countries. Highest recommendation. Price: 100 Euro
590. DARIUS: “S/T” (Chartmaker – 1102) (Record: Near Mint/ Jacket: Near Mint). Original US pressing of this tremendous Californian full blown psych artifact by the Acid King himself. Label mates Goldenrod back Darius here. A dessert island disc for sure, Darius delivered a folky psych album stuffed with 10 amazing tracks. Gifted with a powerful voice and well-crafted songs, sprinkled over with a strong emotional spark, he didn’t fail to create a memorable statement that has yet to be rivaled. Just killer acid folk psych that never misses its effect when playing it. True killer in the true sense of the word. One of the top 5 US private press psych albums ever! Superb copy, recently high in demand and getting harder by the day to dig up. Top copy!!!! Price: Offers!!!!
591. WOLFGANG DAUNER TRIO: “Dream Talk” (CBS Records - CBS 62478) (Record: Near Mint/ Triple Gatefold Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Original 1965 West Germany 1st original pressing in top condition. An early session from German pianist Wolfgang Dauner – one with a sound that's every bit as great as you'd expect from the title! The "dream talk" component here is one that comes from Dauner's gentle, yet modern approach to the keys – one that's clearly learning lessons from 50s modernists like George Russell or Bill Evans, but which is stretching out here in some of the bolder freedoms of the European scene at the time – a precursor to later modes on MPS and Saba, but performed here with a bit more careful restraint. The record's nicely free from some of the overindulgences of some of Dauner's 70s sides, and is an acoustic effort throughout – extremely imaginative, with a "set free" quality that's also never too "out", nor too full of itself – a bit like the best early recordings by Steve Kuhn. Wolfgang's approach to the keys is nothing less than revelatory – and he receives well-matched accompaniment from bassist Eberhard Weber and drummer Fred Braceful. Stunning clean original German pressing. Impossible to upgrade upon this one, they do not come any better than this copy here. Killer. Price: Offers!!!!!
592. The DAVE BRUBECK QUARTET: “Jazz Impressions Of New York” CBS/ Nippon Columbia – YS-475-C) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Imprinted Company Inner Sleeve: Near Mint). Rare 1965 Japan first original pressing in top condition with rare “360” obi. Recorded in New York, New York between June 16 and August 21, 1964.Quite an enjoyable LP, contains 11 songs written for the soundtrack of the long-forgotten television series Mr. Broadway. It pays tribute to New York in a more abstract way than Jazz Impressions of Japan celebrated Japan for Brubeck had to concern himself with having the music fit in with the show. In general these themes and the melodic improvisations of Brubeck and altoist Paul Desmond hold their own without the show although none of the songs became standards. It's amazing how well Brubeck captures the vibe of New York City, especially given the fact that he is a California native. But Brubeck knew the Big Apple well, and his ability to invoke the mood and overall atmosphere of New York is uncanny. This is especially apparent on the sprightly waltz "Spring in Central Park," which conveys a blithe, carefree spirit. Other pieces, particularly "Lonely Mr. Broadway," are more somber, revealing the dejection sometimes associated with life in the big city. Alto saxophonist Paul Desmond is in fine form here, as are drummer Joe Morello and bassist Gene Wright, and together they incite terrific group interplay. Brubeck himself performs unrestrained solos on many of these outstanding tunes, most notably on the upbeat "Summer on the Sound." Price: 100 Euro
593. The DAVE BRUBECK QUARTET: “Gone With The Wind” (CBS/ Nippon Columbia – YS-507-C) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Imprinted Company Inner Sleeve: Near Mint). Rare 1965 Japan first original pressing in top condition with rare very first issue obi. “The album as a whole is filled with wonderful surprises and contains some of the best that the cool jazz style has to offer. The recording is masterful in scope and very stimulating in style and detail. The percussion of Morello and the bass playing of Wright are quite colorful and filled with texture and majestic rhythmic quality. Desmond’s lead on the alto sax is compelling and passionate, filled with joyous melodies and his ability to surf up, down, and through scale passages with a sense of effortlessness is certainly full proof as to why he is regarded with such high esteem within the entire spectrum of jazz. Dave Brubeck’s proficiency resonates throughout the record as he shows off his classically trained ear. Brubeck is one of the few pianists who, during his day, clearly avoided standard bop melodic conceptions and rhythmic feeling, and played within a unique style very much his own. Strongly recommended not only for the seasoned jazz fan, but also for first-time listeners who wish to be thoroughly captivated.” (All Music Guide) Hardly ever seen Japan 1st original press in top condition with damned rare first issue obi! Price: 100 Euro

594. The DAVE BRUBECK QUARTET: “Gone with The Wind” (CBS/ Nippon Columbia – YL-149) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint). Rare 1960 Japan first original MONO pressing in top condition.  Hardly ever seen Japan 1st original MONO press in top condition! Price: 75 Euro

595. The DAVE PIKE SET: “Noisy Silence – Gentle Noise” (MPS – 15215ST) (Record: near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint). Top condition and absolutely flawless German 1st original pressing. This is the rarely offered WHITE label PROMO issue to boot. “American vibraphonist Dave Pike gained fame from his work throughout the 60’s with popular jazz flutist Herbie Mann, recording 11 albums with Mann’s groups, also recorded with legendary pianists Bill Evans and Paul Bley. On moving to Europe, the Dave Pike Set became an instant success through the combination of Pike’s vibes play and German Volker Kriegel’s electric, acoustic, guitar and sitar play. Kriegel’s compositions helped create the quartet’s unique sound, encompassing jazz, funk, psychedelia, avant-garde, and ethno. The popish I’m on My Way is followed by the folksy blues Regards From Freddy Horrowitz. The beautiful ballad Somewhat Somewhere Somehow features Kriegel and the bluesy title piece jumps into double time with stellar guitar, vibes and bass solos. On Mother People Kriegel reworks a Frank Zappa composition into an unrestrained showpiece. Kriegel grabs grabs the sitar on Mathar as jazz-rock peers East, and the poignant balladic waltz Vian-De highlights the vibes. Teaming Up takes off at breakneck speed with a couple of open-ended detours on the way. Walking Down the Highway celebrates the band’s dilapidated red Citroen, as they maneuver through the 13/4 time signature with ease. The first of six albums Pike recorded for MPS, it exquisitely chronicles the beginnings of a group that achieved popularity while maintaining their uniquely adventurous musical vision.” (MPS Records). Next to impossible to upgrade original. Looks like it was delivered through a time machine. Price: 200 Euro
596. DAVE PIKE SET: “Infra-Red” (MPS/ Nippon Columbia – YS-2504-MP) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint). First original Japan press from 1971 on the first MPS label. WHITE LABEL PROMO ISSUE! Pike joined the MPS label in 1968 and teamed up with a visionary guitarist named Volker Kriegel. Kriegel is the likely introduction of Indian ragas to Pike’s repertoire. This influence showed up immediately on "Four Reasons", Pike’s first album for MPS. From here on, the group solidified around a solid line up of Pike on vibes, Kriegel on guitar, sitar and electric bass, J.A. Rettenbacher on bass, cello and electric bass, and Peter Baumeister on drums. Collectively known as The Dave Pike Set, this lineup would record at least another three albums together. By now, the Dave Pike Set was well established in European jazz circles and was becoming quite popular, though this popularity still didn’t seem to make much of a ripple in America. A studio album was released, titled "Infra-Red". This is one remarkable and solid album, "Infra-Red" features a number of amazing Indian-fused numbers, not the least of which being "Raga Jeeva Swara" and "Soul Eggs". All four members of the set contributed songs to the album, which is a tad unusual, as Peter Baumeister was not nearly as proficient as the other. Bewitchingly beautiful “East meets West” styled crossover jazz album that is lysergically swinging as musically inventive and outward bound. A classic by all means, this one rules!!! Price: 125 Euro
597. The DAVI’S: “Aoi Sasayaki b/w Koi No Psychedelic” (Minoru Phone Records – KA-238) (EP Record: Near Mint/ Picture Sleeve: Mint). Bloody rare 1968 fuzz deranged psychedelic garage monster. If you are after real unadulterated Japanese psychedelic music, well then there is only one way to go…and that is direction GS or Group Sounds, Japanese garage for the uninitiated. One problem though, GS is mainly 7-inch oriented, not many groups were in the ability to cut full length LP’s and most of them only released one or two singles before sailing off into the sunset again without being heard of ever again. The Davi’s were just such an obscure outfit that only left behind two hideously rare and impossible to score 7 inch singles, this being their first release that saw the light of day on September 1st, 1968, blessed with two torpedo jammed psychedelic teenage garage outbursts. The 5-piece group (guitars, bass, drums, organ & vocals) was formed in 1967 in the high north of Hokkaido. In September of 1968 they made their recording debut with this 7-inch and quickly became the talk of the town due to their smart outfits and highly original songs. Still they failed to score a hit with it and remained sadly enough only revered in the shadows by some hardcore fan base. In May of 1969, they released their 2nd single, which did even worse commercially than their first after which they quickly dissolved and evaporated into the sunset. Still that does not change the fact that their 1st single is a kerosene burns stained crude garage artifact complete with beautiful chorus vocals, swirling organ lines, simmering fuzz licks and bottom of the barrel twisting organ key action. Wired electric guitar actions melts down with snotty vocals that possess that real teenage angst driven antique 60s frantic innocent punk feel and resulting in “Koi No Psychedelic” a ravaging song and a tearful organ infested ballad on the B-side. One of my all time favorite Japanese teenage garage psych artifacts that sadly enough only sporadically surfaces. High Time!! Price: 250 Euro
598. THE DAVID: “Another Day, Another Lifetime” (Vance Music – V-124) (Record: Near Mint/ Jacket: Near Mint). Original 1967 US pressing, promotional copy. An impressively ambitious psychedelic pop-rock set from a youthful Californian quartet, which falls between garage and something more grandiose. The arrangements are lavish, but the band’s contributions are never drowned. In particular there’s plenty of stinging fuzz guitar. Not all the songs are top-notch, and the cheerful pop closer ‘Of Our Other Days’ is oddly incongruous, but the album is richly textured and most tracks are pretty complex. The best cut is perhaps the relentless ‘Mirrors Of Wood’, with some especially furious fuzz. Full marks to leader Warren Hansen, who wrote all the songs, displaying a considerable talent that was sadly not developed subsequently. The sleeve explains that Hansen was also using the album to showcase an instrument of his own invention, ‘the plasmatar’, whose sound is apparently a ‘vibrant rasp’.” (RMJ – Endless Trip). A classic!!! Price: 200 Euro
599. DAVIS, BETTY: “Nasty Girl” (Epic Japan – ECPO-86) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Near Mint ~ Mint/ Obi: Mint). Bloody rare Japanese pressing complete with obi and in immaculate condition, as clean as the baby Jesus himself. Japanese press with obi intact is just as rare as gold dust these dayz…only copy to cross my path for the last 15 years or so…destined to become a biggy…and a killer record. Clean as a whistle Betty Davis records complete with obi just NEVER surface and this one will certainly bring the FUNK back into your live. TOP archival copy and damned rare with OBI. Price: 100 Euro
600. DAVIS, RICHARD with Clifford Jordan, Marvin Peterson, Freddie Waits & Joe Bonner: “Epistrophy & Now’s The Time” (Muse Records – MR-5002) (Record: Near Mint/ Jacket: Near Mint) Original US first pressing in top condition. One of Richard Davis' hippest records of the 70s – a live session recorded with two very strong horn men in front – Clifford Jordan on tenor and Hannibal Peterson on trumpet, both blowing beautifully in very spacious and open-ended, galvanizing styles! The album only features two long tracks – each running a side apiece – and although they're familiar jazz standards, Davis really opens them up with his performance – letting the group take them in a space that's somewhere between open loft jazz modes and more familiar free-bop improvisation – but definitely at the left fringes of that style! The rest of the group features Joe Bonner on piano and Freddie Waits on drums – and the album's almost more typical of Clifford Jordan's albums from the time, than it is Davis' more tightly-arranged sessions for Muse. Top condition – hard to ever upgrade upon. Price: 65 Euro
601. DASHIEL HEDAYAT: “Obsolete”(RCA – RCA-6124) (Record: Mint/ Jacket: Mint/ Obi: Mint). Very rare 1973 Japanese only white label promo sample issue of the 1971 LP, unique flipback picture sleeve variant with Japanese text on reverse. Comes with the always missing and hardly ever seen obi, a true nearly monster rarity. . Long referred to as the “missing” Gong album, this LP features Daevid Allen, Gilli Smyth, Pip Pyle & Didier Malherbe throughout & even has William S Burroughs guesting! Superb album, promotional original 1973 Japanese audiophile pressing that seems to surface almost never at rock bottom price. Comes with the almost always-missing obi, making this copy a top rarity. Price: 375 Euro
602. DE MASI, FRANCESCO: “Seven Dollars To Kill b/w Hissatsu No Thema” (Seven Seas – HIT-1466) (Single EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Promo issue – 1967 Japan only issue of killer Spaghetti Western movie. Gunslinger Anthony Steffen comes home from the Civil War to find a bandit has slaughtered his family and kidnapped his young son. Next time they meet, the son has grown up to be the bandit’s cold-blooded lieutenant, although neither Steffen nor the son knows the other’s identity. It’s sort of like a Greek tragedy with dreadful dubbing and lots of punching. The music provides ample accompaniment with lush trumpet blearing and killer desert guitar twang. The score opens loudly, with a massive amount of brass slamming the soundscape again and again, then blasting into a galloping theme with twanging guitars, soaring strings and crashing cymbals. Dramatic moments are characterized by an ugly, dramatic waltz that alternates between slow and stirring to intense slow beats resulting in the heart wrenching showdown between the former friends. Price: 75 Euro
603. DEAD BOYS: “Young, Loud & Snotty” (Philips – RJ-7322) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody rare white label promo – Japan original pressing all complete with rare obi, released in 1977. New York and London weren't the only places with punk scenes in 1977 - Cleveland had one too, and Dead Boys were the new music's leading exponent there. Nonetheless, the quintet felt the pull of Manhattan and cut almost all of their Sire Records debut, YOUNG, LOUD AND SNOTTY, in the city's Electric Lady Studios with producer Genya Ravan (a live cover of “Hey Little Girl” was recorded at CBGB). From the opening classic “Sonic Reducer” to the closing complaint “Ain't Nothin' To Do,” the collection has attitude to burn and pulverizing riffs that would be the envy of The Stooges or Ramones. But the “Sonic Reducer” song would make them legends forever, but the rest of the album is equally stunning. Sadly, the volatile group wasn't built to last and they split after just one more album the following year. Bators died in 1990 when he was hit by a taxi in Paris. Price: 350 Euro

604. DEE DEE BRIDGEWATER: “Afro Blue” (Trio Records – PA-7095) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition 1974 Japan only issue and very 1st original pressing. If you collect vintage 70's soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together. Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70’s to the present day. We take things back to the early years of Dee Dee's career with her debut album 'Afro Blue'. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). 'Afro Blue' features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of 'People Make The World Go Round', 'Love From The Sun', and 'Afro Blue’. It is arguably one of the finest albums in its genre. Top condition, virginal on all fronts very first press issue all complete with OBI and insert. Indispensable!!! Price: 150 Euro

605. The DEEP: “Psychedelic Moods” (Cameo Parkway Records – P-7051) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – has a little minor drill hole on the bottom left corner, otherwise clean all way round). Bloody rare original US STEREO copy. Mono copies surface regularly but STEREO issue is the rarest and the ultimate version to enjoy this brain freeze! Rusty Evans discovered the nascent psychedelic scene during a brief stop in Los Angeles, where he also recorded the 1965 Musicor single "1983"; upon returning east, he landed in Philadelphia and formed his own psych band, the Deep, with Mark Barkan, David Bromberg and others. Signing to Cameo-Parkway, over just two days in August 1966 the Deep recorded their lone official album Psychedelic Moods of the Deep, one of the more rare and fascinating byproducts of its time; virtually the same lineup later reunited as Freak Scene, releasing 1967's Psychedelic Psoul on CBS. “Take A Trip – Freak Out – Blow Your Mind – You’re On Your Way to the Psychedelic Mood – A Way of Life – A State of Mind.” So begins the blurb on the cover of Psychedelic Moods: A Mind Expanding Phenomenon. An album recorded, if the blurb is to be believed, in pitch darkness in the “wee hours of the morning” at Cameo-Parkway Studios, Philadelphia by studio-only band, The Deep, back in August 1966. Pitch black or not, Psychedelic Moods is still an impressive, if not unusual, piece of Psychedelia. Unusual in that only one of its twelve tracks weighs in at over three minutes, with several not even going beyond the two-minute mark. Stunning clean original stereo issue of full blown psych extravaganza filled with effects, snarling leads, totally wacked and spaced out vocals…dementia for weeks on end!!! Price: Offers!!!
606. DEEP PURPLE: “Shades of Deep Purple” (Polydor Japan – SMP-1426) (Record: Near Mint/ Gatefold Jacket: Near Mint). TOP COPY!!!! Freakingly rare 1st original Japanese pressing with matrix numbers A-1-1/B-1-2. The whole package is in pristine condition and comes housed in a Japan only designed gatefold jacket cover art!! First original Japanese pressing of 1969 (Polydor – Grammophon), three times as rare as the UK 1st pressing version. Great condition and the best Purple album in my book. Price: 300 Euro
607. DEEP PURPLE: “The Best Of Deep Purple” (Polydor – MP-2103) (Record: Near Mint/ Gatefold Jacket: Excellent/ OBI: Near Mint). Rare Japan only 1970 first original pressing all complete with first issue straight obi. Second pressing has a triangular obi and that one surfaces from time to time, but this one is genuinely hard to track down. First copy I see in over a decade. Great condition. Price: Offers!!!
608. DEEP PURPLE: “Machine Head” (Warner Bros. Records – P-8224W) (Record: Near Mint/ Gatefold Jacket: Excellent/ Insert: Excellent/ Lyrics Poster: Near Mint). Japan original 1972 first pressing. All complete with obi, insert and poster. Essential issue for any Purple buff. Price: 65 Euro

609. DEFIANT ONES: “Golden Hit Pops” (Victor – SWG-7151) (Record: Excellent – has a scuff on side B that causes a few clicks/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ OBI: Near Mint). Freakingly rare Japan only issue. WHITE label PROMO that comes with never offered before OBI present! Graded with 5 bloody stars in the Pokora book. So far the story on these guys is a bit shady to say the least but apparently these kids where on a tour of duty towards Vietnam. During a stopover in the Far East, they were stationed in Japan for a while at the Atsugi Naval Air force base. Apart from gearing up for war, they gigged around the local bar scene surrounding the base, which is where a talent shout of Victor Records noticed them and signed them up for an on the spot one-off recording deal. As might be expected, The Defiant Ones brought forth a string of cover tunes, just like any well-greased and oiled garage combo. The five-piece band (aged all between 19 and 22) recorded their usual live set during two sessions, respectively on April 27th and May 17th, 1969. Next to bringing forth the usual Beatles’ covers, they also launch into some wicked cheesy organ infested and wicked fuzz derailed covers such as “Hello, I Love You”, “You Keep Me Hanging On”, “Purple Haze”, “White Room” and the totally lysergic mind-twisted version of “Fire”. The whole album sounds gloriously primitive – like your typical one single only Mid-West US garage sensation at that time, except that these dudes were allowed and lucky enough to cut a whole LP while being stationed in Japan. Snotty vocals pop up here and there filled with teenage angst and acne-infected unanswered love, cheap and paraplegic farfisa organ key action, derailed crude anthropoid fuzz riffage, embryonic bass throbbing and postnatal drum action. “Purple Haze” sounds nothing like the recount of an acid trip but instead is the sonic variant of getting high on cheap kerosene and downers, making it just an infectious listening experience, brimming over with almost barbarian simplistic fuzz action. Glorious. “You Keep Me Hanging On” is vibrating with a coital longing that sounds almost fetal in its teenage rendition. It just gives me the chills and I do get off on it, just marvelous. When the needle hits “Fire”, things get truly spastically insane, apoplectic and maniac in its execution as if facing the firing squat while being high on acid. Fuzz, Acid and Bullets (here swapped for that sneering felonious farfisa wailing organ). The vocalist goes AWOL here, the guitarist riffs through his membranes and the farfisa player is dodging mushrooms flying through his head. Primitively demented and caveman like it its performance, this is gold dust in sound here! When they charge into “Jumping Jack Flash”, the Uncle Sam-supplied amphetamine is finally kicking in and it shows, they are off the tracks now and aiming for the natives. These guys were just high on acne medicine and rocked it out, hoping to make it back alive from Vietnam if sent there and in the meantime dodge any bad bullet vibes by rocking out. They were after all the Defiant Ones…and they ride hard in my book. Total ace in a primitive, teenage snotty and nerdy psyched out kind of way. Highest recommendation if vintage teenage garage angst gets you off. It sure gets my rock off…never offered before all complete with OBI WHITE label PROMO issue. Price: Offers!!!!!

610. DELANEY & BONNIE with ERIC CLAPTON: “On Tour” (Atlantic – MT-2031) (Record: Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Attached Insert: Mint). Bloody rare 1st Japanese original pressing in immaculate condition complete with obi. 1st issues with obi just never ever surface. This copy here has all intact and present which is something of a small miracle. First mint and complete copy I see in my lifetime. Top condition. Price: 500 Euro
611. DEMA: “S/T” (CBS Sony – SOLL-28) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody rare 1st press original, all complete with rarely seen OBI and with the insert all complete. Only 2nd time in my career I see an all complete copy with OBI. This feels like bringing out one of the Navarone guns now, a disc whose rarity is heavy enough to bounce the Richter scale out of balance and cause seismic tremors to erupt, setting landslides in motion, heading straight for your safe sanctuary. Dema was a one time off session band in the style of Satoh Masahiko’s previous one-off adventure with the Soundbreakers. Based around the likely named avant-garde science-fiction story by writer Yasutaka Tsutui Dema got set to music. For this project, star rock and jazz players were assembled into Kohsuke Ichihara All Stars(which included Kohsuke Ichihara, Takao Naoi, Kimio Mizutani, Akira Ishikawa, Masaoka Terakawa and Hideo Ichikawa) and free jazz players assembled under the Sato Masahiko & Garandoh banner (including Masahiko Sato, Keiki Midorikawa and Hozumi Tanaka). The result of bringing all these heavy weight veteran players under one studio roof was a double casting of two groups assembled adhoc in order to create a sonic atmosphere to Yasutaka’s SF story which resulted in Sato Masahiko acting as center mediator for it all and guiding the smoldering interplay into well glued psyched-out spiritual epic sounding manifest that till this day is regarded as a masterpiece within the dark underworld of Japanese jazz rock. So if Sato Masahiko & Soundbreakers “Amalgamation – Showa Kokotsu Genroku” was up your alley, then this smothering psychedelic spaced out jazz funk brain melter might just be the follow-up you need. Hideously rare on these shores, first copy I have to spare in like a decade that comes all complete with OBI. Highest possible recommendation, just a vicious slab of Japanese psyched out Bitches Brew styled space-age Albion jazz. Awesome and one of the top 10 greatest discs to come out of Japan. Pristine virginal condition!!! Price: Offers!!!!!
612. DEMIAN: “S/T” (ABC Records/ King Records Japan  – SR-685) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Mint). Bloody rare and hardly ever offered first original Japanese pressing from 1971 that comes housed in Japan ONLY jacket art. Signing Nick St. Nicholas of Steppenwolf as a manager, Bubble Puppy moved to Los Angeles. Their name was changed to Demian. The group signed to ABC-Dunhill Records and released one self-titled album in 1971, but its failure to perform on the charts led to financial difficulties with the label and, in 1972, the group split up. Unless you are a serious connoisseur of all things psych, being told that Demian’s first (and only) LP was actually Bubble Puppy’s second won't help you. Yet, this was not just a change of name, but also a serious change in direction. Bubble Puppy were pure psychedelia, while Demian were solid riff-driven hard rockers. Under that name, the group left only 33 minutes of music -- a very tight eight-song platter. The opener, "Face the Crowd," has a strong Atomic Rooster flavor (minus the organ -- this is a twin-guitar rock quartet), and the rest of the album also has shades of Savoy Brown, early Deep Purple, early Chicago, and American hard rock. The band wrote good songs ("Coming," "Windy City," "Are You with Me, Baby?") and had an efficient rhythm section, imaginative twin-guitar arrangements, and a powerful lead singer. The album was recorded at night at the famous Record Plant in live-in-the-studio mode, which gives the music a lot of soul but also a few wrong notes. With a slightly bigger budget, a good producer who could have smoothed out the rough edges, and record label support, Demian’s eponymous LP could have been something big, maybe as big as Grand Funk Railroad -- the songwriting and delivery are that good.” (All Music Guide). One of those major label one-off classics that are indispensable. Very rare Japanese original press that comes in Japan only jacket art. Price: 200 Euro
613. DENNY, SANDY: “The North Star Grassman And The Raves” (Island Records – AML(i)-1011) (Record: Near Mint/ Thick Gatefold Jacket: Near Mint/ 4-Paged Insert: Near Mint). Original 1972 high quality Japanese pressing. White label promo in top shape. The North Star Grassman And The Ravens showcases both the potential of the sequined singer Denny wanted to be, and the clumsy tomboy who was happiest singing old songs in a smoky club, whiskey glass never far from hand. The pull of the past weighed heavily on the future, and The North Star Grassman And The Ravens fell between the cracks of two decades and two musical eras, between folk's institutional and experimental pathways. Denny is introspective and sentimental; her covers of Brenda Lee's bluesy "Let's Jump The Broomstick" and Dylan’s honky-tonk "Down In The Flood" almost seem out of place. The traditional folk singer had found her own voice, and in this process, unmasked her fragility and innocence. Eight of the album's 11 songs were written by Denny; they reflect upon broken hearts ("Next Time Around," "The Optimist") and absent friends ("Late November," "The Sea Captain"), including the introspective finale, "Crazy Lady Blues." The anti-war "John The Gun" and tragic tale of "Wretched Wilbur" show Denny as a master of writing traditional-sounding ballads that could fool any folk historian. But Denny could not forget her roots. Central to the album is arguably the benchmark recording of the traditional song "Blackwaterside." It was taught to her by her mentor, Anne Briggs, who in turn taught it to Pentangle's Bert Jansch, who taught it to Led Zeppelin. But Denny's version, backed on guitar by Fairport Convention colleague Richard Thompson, is the album's ray of light. Price: 150 Euro
614. DEREK AND THE DOMINOS: “Layla and Other Assorted Love Songs” (Polydor Japan – MP-9359/60) (2 LP Set: Mint/ Gatefold Jacket: Mint/ OBI: Mint/ Insert: Mint). First original Japan pressing with 1st issue obi present. Top copy, totally immaculate condition and getting quite rare with obi present. Price: 80 Euro
615. The DESCENDANTS OF MIKE AND PHOEBE: “A Spirit Speaks” (Strata-East – SES-19744) (Record: Near Mint – outstanding/ Jacket: Near Mint – still in original shrink with no discoloration of defects, perfect sleeve). 1974 US first original pressing of classic spiritual jazz slide. Probably best condition possibly. One of the most unique albums on the Strata East label – and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! Descendants Of Mike & Phoebe is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) – working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers – recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time – and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins – all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace – singing wordlessly and with a really heavenly sort of quality – and together, the whole group have a undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. All killer and no filler. This one is in pristine condition, virginal from start to finish so need to have a nice offer on this one. Was sealed, played once and filled away. Price: Offers!!!!
616. The DESCENDANTS OF MIKE AND PHOEBE: “A Spirit Speaks” (Strata-East – SES-19744) (Record: Excellent ~ Near Mint – outstanding/ Jacket: Excellent ~ Near Mint – still in original shrink but some slight mildew aging spots visible underneath shrink on the back of the sleeve). 1974 US first original pressing of classic spiritual jazz slide. One of the most unique albums on the Strata East label – and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! Descendents Of Mike & Phoebe is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) – working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers – recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time – and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins – all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace – singing wordlessly and with a really heavenly sort of quality – and together, the whole group have a undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. All killer and no filler. Price: 400 Euro

617. DESPER, BOB: “New Sounds” (Rose City Sound) (Record: Near Mint/ Jacket: Near Mint – still housed on original shrink!). Bloody rare & still in shrink top copy original of this suicidal downer folk masterpiece. “The Pacific Northwest is a dark, dank place, with a suicide rate higher than Keith Richards on a four day binge. Even their most articulate native son, Kurt Cobain, drowned in the sea of despair and offed himself. And what’s the cause of this environmental depression??? It may be the constant grey skies and rain, it may be the extremely high runaway and homeless rate or it just may very well be the music of Bob Desper. Bob recorded his New Sounds LP in one take at the local Rose City Sound studios. Just him, his acoustic guitar and an amazing insight to the dark side of the human psyche. So dark in fact, that only a blind man can see it. Bob is that man, and on this LP he taps into a place that very few people have visited. His voice is quiet with an edge sharper than a Ginzu knife. His lyrics reflect a lonely man who recognizes the shortcomings of human kind. This LP gives me goose bumps each and every time I play it. Side one starts off with “Darkness Is Like A Shadow”. A spooky, echoey tune where Bob introduces a topic that becomes a re-occurring theme throughout the entire LP, the fact that people with eyesight are blind to the things that are truly important in life. “It’s Too Late” and “Lonely Man” follow and continue the introspective soul search, all accompanied by Bob’s extraordinary guitar playing. The fourth and last cut on side one is “To A Friend Of Mine”. This is where I usually start thinking about going into the bathroom and slitting my wrist with a razor blade just to prove to Bob that I could begin to understand what true suffering is. This 15+ minute journey is, in my opinion, the most flawless chunk of downer/loner folk music ever recorded. Side two is good, but pales in comparison to it’s flip side. Songs are “Let It Shine For You”, “Don’t You Cry For Me”, “Liberty” and “Time Is Almost Over”. (RH – Acid Archives). Spot on, just a massive LP of higher-key and loner folk. Talking about real feelings, then this beast is not holding back. This album is so down, everything will look like up to you. Tremendous slide…and this being a perfectly clean original copy. Price: Offers!!!

618. DESTROY ALL MONSTERS: “Bored b/w You’re Gonna Die” (I8BI Records) (EP Record: Near Mint/ Sturdy Picture Sleeve: Near Mint). Original US pressing from 1978. How is it that Destroy All Monsters, featuring Ron Asheton from the Stooges and Michael Davis from the MC5, never got to release a full-length album? The band existed for about 12 years yet consistently got underrated. Granted, the Stooges didn't exactly sell like gangbusters when they first came around, but the years have since preserved their legacy. So it's time for Asheton's other project, Destroy All Monsters, to get some of the spotlights. "Bored," is guided by lead singer Niagara's atonal, apathetic vocals. No wonder Sonic Youth's Thurston Moore released a Destroy All Monsters 3 CD set back in the day; some of these tunes sound like proto-Kim Gordon or Patti Smith. Still, though, that guitar line is so clearly Asheton's work. It's primal and fiery, sneaky and right in yer face. The rest of the band has more of a post-punk thing going on, but Asheton just keeps raging, like a pit-bull on crack, unrelenting going on and on…. Same thing happens on "You're Gonna Die." Still, “Bored” is simply a monster, a riff-tastic slice of faux-jadedness powered by Niagara’s sassy singing (“I’ll do anything ‘cos I’m bored!” she blurts, with exasperation – best lyrics ever btw) and punctuated by fierce Asheton lead shredder. “You’re Gonna Die” is no less exhilarating, a pure slice of Stooges/MC5 hard skronk combined with stompin’ garage rawk. This single has danger written all over itself, playing this makes you wanna go wasted … fast …face down….into the rabbit hole of a amphetamine fuelled blues basement and emerging to seek sanctuary in the penthouse of acid-soaked freedom. You have been warned! Price: 75 Euro
619. DEVIANTS: “Disposable” (Stable – SLP-7001) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original UK 1st pressing. Top condition copy, never seen a copy as clean and perfect as this one, both record and gatefold jacket are perfect. Awesome copy, hard to upgrade on this one. Legendary psychedelic underground biker acid anarcho rock. Deviants with Mick Farren just kicked ass. One of the best LP’s the seep out of that UK underground scene at that time. Original 1968 pressing that is perfect all way round. Next to impossible to upgrade upon this one, which is no small feat for a deviants slide. NEAR MINT TOP COPY!!!! Price: 400 Euro
620. DEVIANTS: “S/T” (Transatlantic – TRA-204) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint ~ Mint/ Booklet: Near Mint ~ Mint). Absolutely prefect copy in perfect condition. 3rd and last Deviants record, this one comes complete with the always-missing booklet. 1st original UK pressing in NM ~ M condition. It’s usually a bad sign when a band releases successive LPs on different labels, but in The Deviants’ case, signing to Transatlantic for their third LP resulted in their most economic and punchy work. With new guitarist Paul ‘Blackie’ Rudolph aboard (bringing a distinctively jagged and aggressive guitar style with him from Vancouver, despite having a withered right arm from childhood polio), the band entered its most musically coherent phase. Mick Farren has remarked of the album: “I was convinced in my gut that it sucked. It was the first one created by committee rather than the dictatorship of my personal megalomania,” adding that “I had one idea and the rest of them wanted to be a kind of Led Zeppelin guitar band.” Nonetheless, it’s the concise tracks in the latter style that stand up best today. Produced with admirable crispness by Farren, the album certainly isn’t free of the self-indulgence that marred its predecessors, but it contains some ace proto-punk, most notably the vicious Broken Biscuits, twitchy Billy The Monster and lean First Line (whose new-wave sound is a good decade ahead of its time). As Farren told Melody Maker at the time: “We’re not interested in dexterity, or this big technical thing represented by people like King Crimson. That’s so sterile. The function of rock and roll is to get out and have a good time, not to stand in groups marveling at the guitarist’s technique.” the tiny booklet that accompanied its UK release (in September 1969) has become intensely desirable, pushing the price of complete copies ever higher.” (Galactic Ramble). And ramble it is indeed. That aside, the record is total killer, top copy, 1st UK pressing housed in laminated cover with booklet. The Deviants ruled my world and still do, all of their 3 albums. But sadly enough, this 3rd one with booklet is getting damned rare and hard to get. So you either roll the dice and play or get immersed in this notorious Ladbroke Gove LSD & Crystal Meth soaked bunch of social delinquents. Brutal killer LP nevertheless and all complete + in top condition which is getting near to impossible for this LP with the booklet present so it has to go for…Price: Offers!!!
621. DEWEY REDMAN: “Tarik” (BYG Records – actuel 36/ BYG-36) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Rare Japanese original pressing of one of the hardest to track down BYG/ Actuel titles. This is tenor saxophonist Redman’s second recording as a leader cut for the French Byg label. He has long been one of the most accessible of the avant-garde players due to his large tone, his willingness to swing hard, and his logical if emotional ideas. At the time of this album, he was working regularly with Ornette Coleman and the altoist's free-bop approach definitely had a permanent influence on Redman. Joined by bassist AEOC Malachi Favors and the colorful drummer Ed Blackwell, Redman mostly cooks on five originals; in addition, he plays his atmospheric and often droning musette on the title track. Damned fine record. The pressing quality and sound is so far much better as opposed to the French issue. Price: 75 Euro
622. DHOMONT, FRANCIS: “Sous Le Regard d’Un Soleil Noir” (INA GRM – 9109 dh) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Original 1981 French original pressing on cult label. Creative in the possibilities of sound recording, French-born composer Francis Dhomont put together the material on this album between 1979 and 1981. He is both a scholar and innovator of that field of recording experimentation called "electro acoustic composition" across the Atlantic. These eight pieces become episodic as periods of French spoken word, sweeping electronic sounds, and musical instrumentation alternate in subtextually related segments. These transforming works of tape manipulation are shape-shifting phantoms of sonic ectoplasm. Amorphous and unpredictable, they become philosophical mantras, as in the repeating "I'm an individual" of "Le Moi Divise (The Divided Self)," framed in linear, unexpected aural pathways. The titles translates as "Under the Glare of a Black Sun" and in Dhomont’s surreal "acousmatic" world common themes as a monologue (here, the reading in French of psychiatrist R.D. Laing) and a murmuring crowd take on strange and wondrous implications when treated and placed in succession. A single recurring note (B natural) serves to bind each piece to its predecessor. If reality is only perceptions, then a change in these perceptions can alter reality. Through mesmerizing repetition contrasted with jarring polyphony, Dhomont artfully serves to make the common and real uncommon and unreal. The album becomes an intrapersonal voyage. Follow along the provided English translations and take a Conrad-ean journey into the peculiar, dark universe at the heart of each human being.” (All Music). Spot on, and one of the tougher titles to dig up on the INAGRM label. This LP became a classic of the genre and a source of inspiration for many sound artists. Price: 75 Euro
623. DIAMANDA GALAS: “”S/T” (Metalanguage – ML-119) (Record: Near Mint/ Jacket: Mint, still in shrink) Original 1984 1st press issue. Her album, Diamanda Galas on Metalanguage Records, offers only two of her works, “Tragouthia Apo To Aima Exoun Fonos (Song from the Blood of those Murdered)” and “Panopitikon,” but it is enough to make you overdose on sensation. This is the type of record that should be played at high volume, in total darkness, on a rainy night. The second the needle touches the vinyl, it unleashes a legion of sounds from all directions, as powerful as a punch to the solar plexus, or a blast of electric current to the temples. Diamanda sounds like a diva possessed and ready to wreak havoc on her unsuspecting audience. Price: 100 Euro
624. DIAMANDA GALAS: “Faust Eros Tod” (Private) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). 300 copies limited edition Diamanda Galas live recording and to these ears the best Galas recording out there, if only for the inclusion of the devastating version of “Les Litanies des Satan” and the violent fit of madness that becomes apparent on “Hymne a la Beauté”. Deep subterranean and ravaging vocal performance that brings out a maniac fury leaping into apocalyptic waves of sound. The whole was taken from a live concert that took place probably around 1982. Just massive and together with “Metalangue” and “Litanies of Satan” the best Diamanda Galas recording out there. Her work is best summed up adequately by some guy from the Living Theatre who said to her, "You're work is really, uh...the only place you could tour that shit is in mental institutions. They can't leave, they're on Thorazine, they'd probably get a hell of a kick out of it. Not only that, you might wanna stay there for awhile"... Diamanda responded "Fuck you" and started doing it. And this is exactly how this beauty sounds like, filled with cries of rage and anguish that descends like a swarm of wild bees. Sheer beauty!! Price: 100 Euro
625. DIRTY LIES: “News” (EP Record: Near Mint/ Picture Sleeve: Near Mint). Without any doubt, the “Dirty Lies” 45 is one of the 10 best Australian punk singles ever. Originally released in 1978, both tracks are infectiously catchy Aussie punk classics that sound great 30+ years later. Along with RADIO BIRDMAN, THE SAINTS, X, & THE FUN THINGS, the cult status of these Melbourne punks has grown immensely as originals are a bitch to dig up. Killer nitty gritty fuck ya punk action from down undah, identical limited reissue of days long gone but sounding like someone is smashing a chair over yer head and you are begging for more of the same action – on repeat! Love this one to bits!!!! Price: 30 Euro
626. DISSEVELT, TOM & KID BALTAN: “Electronic Music” (Philips – 430.791.PE) (7 Inch EP Record: Near Mint/ Hard Cover Picture Sleeve: Near Mint). Freakingly obscure and rare 1962 electronic music release by these two Duct pioneers, being Dissevelt and Dick Raaijmakers (aka Kid Baltan), original DUTCH MONO pressing with record center intact. A total classic recorded in 1959 and one of the cornerstone releases of the Dutch electronic music and tape-splicing scene. Monumental and in top condition. Rare as hell freezing over on a hot summer’s day. TOP CONDITION. Price: 150 Euro
627. DISSEVELT, TOM & KID BALTAN: “Electronic Movements” (Philips – 430.736.PE) (7 Inch EP Record: Near Mint/ Hard Cover Picture Sleeve: Near Mint). Freakingly obscure and rare 1962 electronic music release by these two Duct pioneers, being Dissevelt and Dick Raaijmakers (aka Kid Baltan), original DUTCH pressing with record center intact. “Everybody knows the Dutch company Philips for their pioneering, quality electronic products. Their distinctive shield logo a guarantee of the functionality and good looks of their radios and toasters. In parallel their Phonograph division has a proud history of developing the talents of electronic music innovators from Pierre Henry to Kraftwerk, and beyond. Tom Dissevelt and Kid Baltan are home-grown talents who somehow got forgotten along the way. Dissevelt was a composer and conductor, the Kid a circuit board whiz. And in 1959 they got together and cooked up a record of Electronic Movements. A more sophisticated but still gritty approximation of what the Silver Apples would be doodling with five years later, minus the pseudo-mystical flim-flam. ‘Vibrations’ is the killer cut. as described in the sleeve notes it ‘begins with an accompaniment which mingles elements of a steam laundry with those of a science laboratory given over to destructive experiments with acids. This presently dissolves into twanging sounds, as of taut wires being cut, and into gurgling sounds, as of bottles being emptied.’ And that’s not the half ot it. It’s really impressive how these mini-orchestral works are built up and arranged. The endings to all the pieces are particularly intricate and well-developed where lesser talents would have exited with a simple repeat and fade.” (Marc Baines – Sound Projector). A total classic recorded in 1959 and one of the cornerstone releases of the Dutch electronic music and tape-splicing scene. Monumental and in top condition. Rare as hell freezing over on a hot summer’s day. Price: 150 Euro
628. DIXON, BILL ORCHESTRA: “Intents and Purposes” (Nippon Victor – SHP-5691) (Record; Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Freakingly rare and all complete copy with obi – Japan very first pressing of one of the all-time finest jazz slides out there. After spending the early '60s playing in groups with Cecil Taylor and Archie Shepp, trumpeter Bill Dixon recorded his singular and visionary masterpiece in 1967. Very few records are genuinely unique; musicians usually work with known frameworks, and in the rare instances where really new territory is charted, it doesn’t take long for settlers to arrive. When RCA released trumpeter Bill Dixon’s Intents and Purposes in 1967, however, it sounded like nothing under the sun, and for whatever reason, neither Dixon nor anyone else has explored further along the path he blazed here. Intents And Purposes remains not only Dixon’s defining statement as a composer, but also one of the most luminous moments in the history of avant-garde jazz. Combining orchestral timbres with free jazz intensity, Dixon leads a ten-piece ensemble including such heavyweights as Byard Lancaster, Robin Kenyatta, Jimmy Garrison and Reggie Workman. Closing each side of the album, "Nightfall Pieces I" and "Nightfall Pieces II" are evocative duets featuring Dixon’s flugelhorn accompanied by flautist George Marge. With Intents And Purposes, Dixon creates a work focused as much on sculpting and defining space – emphasizing moments of resonant stillness around which the compositions thrum and swell – as on purity of expression. Despite these fireworks, what impresses most is the writing. The textures seems like Boulez collaborating with Ellington, the harmonies seem to unite everything from the earth to the sky, and beyond all of this is the sureness with which the music unfolds. Freakingly rare top condition with OBI Japan 1st press original… Price: 300 Euro
629. DIXON, BILL 7-TETTE: “S/T” (CBS Sony – SOPL-60-SY) (Record & Jacket & Capsule Obi: MINT – SEALED COPY). Damned rare Japan MONO original pressing all complete with hardly ever seen first issue capsule obi. This copy is SEALED, one-off chance as copies with obi just never turn up, let alone sealed ones. First copy I encounter in over 15 years!!!. Price: 175 Euro
630. DIXON, BILL & ARCHIE SHEPP QUARTET: “S/T” (CBS Sony – SOPL-52-SY) (Record & Jacket & Capsule Obi: MINT – SEALED COPY). Damned rare Japan MONO original pressing all complete with hardly ever seen first issue capsule obi. This copy is SEALED, one-off chance as copies with obi just never turn up, let alone sealed ones. Seminal work from the duo of Archie Shepp and Bill Dixon – easily one of the greatest modern jazz pairings of the 60s! If you only know Shepp from his later work, you'll hear something very different here – as his tenor's often brought into tight focus with the trumpet of Dixon – in a blend of arrangement and freedom that's like that of Ted Curson and Bill Barron, but a lot more powerful overall! The tunes still have a sense of structure – and get great help from the bass of Don Moore and drums of Paul Cohen – but there's also some tremendously unbridled energy from the leaders, especially Dixon, who might not have sounded this great ever again. First copy I encounter with obi present in over 15 years!!!. Price: 175 Euro
631. DIZZY GILLESPIE: “New Wave (Jazz Bossa Nova)” (Philips/ Nippon Victor – SFL-7085) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1963 original 1st pressing with obi! Gillespie’s first incursions into the realm of bossa nova and produced by Quincy Jones, arranged by the talented Lalo Schifrin, whom Gillespie had met in Argentina during a Latin American tour. A creative composer, Schifrin would also write various suites for Gillespie before starting a successful career in Hollywood composing movie soundtracks. Gillespie, 45 at the time of this recording, was at the peak of his powers. On such compositions as "In a Shanty in Old Shanty Town," "Careless Love," "One Note Samba" and the "Theme from Black Orpheus," Gillespie and his expanded quintet show a great deal of spirit and creativity. Bola Seta, Leo Wright (on alto and flute) and pianist Lalo Schifrin are also in fine form throughout this gem. Fabulous all way through and bitch to dig up Japan 1st original press issue in top shape. Price: 150 Euro
632. DIZZY GILLESPIE: “At the Village Vanguard” (Solid State/ King Records – SR-3018) (Record: Near Mint/ Flip Back Jacket: Excellent – small 1cm lower middle seam split/ OBI: Near Mint). Nice and rare Japan 1st original press issue. Comes all complete with damned rare OBI & housed in fragile flip back sleeve. Japan ONLY sleeve art. A pair of unusual jam sessions, on the first (and more eccentric of the two) trumpeter Dizzy Gillespie is paired with baritonist Pepper Adams, pianist Chick Corea, bassist Richard Davis, either Mel Lewis or Elvin Jones or on drums and violinist Ray Nance with substitutes Garnett Brown. These lengthy performances (all but one of the seven songs are over 11 minutes) contain some loose and rambling moments but also plenty of creative playing by this unusual group of all-stars. Price: 75 Euro
633. DIZZY GILLESPIE: “Dizzy Gillespie At Newport” (Verve Records – MV-2604) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan original pressing all complete with obi. “This LP features Dizzy Gillespie’s second great big band at the peak of its powers. On the rapid "Dizzy's Blues" and a truly blazing "Cool Breeze," the orchestra really roars; the latter performance features extraordinary solos by Gillespie, trombonist Al Grey and tenor saxophonist Billy Mitchell. In addition to fine renditions of "Manteca" and Benny Golson’s then-recent composition "I Remember Clifford," the humorous "Doodlin'" is given a definitive treatment, there is a fresh version of "A Night in Tunisia," and pianist May Lou Williams sits in for a lengthy medley of selections from her "Zodiac Suite." This brilliant LP captures one of the high points of Dizzy Gillespie’s remarkable career and is highly recommended.” (All Music Guide). Never offered before VERVE Records WHITE label PROMO issue in top shape. Price: 50 Euro
634. DIZZY REECE: “Blues in Trinity” (Blue Note/ Toshiba EMI – BN-4006) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Blue Note Card: Near Mint/ Obi: Near Mint). Pristine high-quality Japanese Blue Note pressing to wax your ears with till infinity hits you with a sledge hammer. “As Dizzy Reece’s first album for Blue Note, Blues In Trinity goes a long way to establish the trumpeter's signature sound. Reece doesn't take chances stylistically; he prefers to stay within the confines of hard bop. Nevertheless, he has a bold, forceful sound that simply burns with passion. Even on slower numbers, there's a fire to his playing that keeps Blues In Trinity from being predictable. The high quality of the album is even more impressive given the recording circumstances. The English-based Reece was playing in Paris at the time, and he assembled a sextet featuring the vacationing British musicians Tubby Hayes (tenor saxophone) and Terry Shannon (piano), visiting American stars Donald Byrd (trumpet) and Art Taylor (drums), and Canadian bassist Lloyd Thompson, who was playing in Paris with Zoot Sims. Although the band was thrown together, there's a definite spark to this combo, which interacts as if it had been playing together for a long time. Throughout it all, Reece steals the show with his robust playing, and that's why Blues In Trinity rises above the level of standard-issue hard bop and becomes something special.” (All Music). Pristine Japanese press issue – so good! Price: 60 Euro
635. DNA: “You & You b/w Little Ants” (Medical Records – 11-CAN-234) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Original 1978 US pressing. DNA burst onto NYC's underground scene in the late '70s and recorded their lone single at Ultima Sound (the same studio where Suicide made their first album) in May 1978 just weeks prior to the pivotal No New York sessions with Brian Eno. Featuring the original lineup of Arto Lindsay (vocals/guitar), Robin Crutchfield (keyboards) and Ikue Mori (drums), You & You is DNA’s indelible debut that perfectly captures the anti-movement of No Wave: clearly defined and purposely oblique with traditional rock instrumentation completely destroying rock 'n' roll in two minutes or less. Price: 125 Euro
636. DNA: “A Taste of DNA” (American Clave – 1003EP) (Record: Near Mint/ Jacket: Near Mint). First original US pressing of this all time classic. Released in June 1981, this disc is one of those classic recordings everyone should at least own 5 copies of. It is just that an important recording. Five “songs” lasting only nine minutes in which Arto Lindsay, who refuses to corrupt his talent by learning chords, beats his guitar about the neck and body while yelping and ululating and just plain screaming the incomprehensible urban blues. Lester Bangs calls it horrible noise, but I would like to call it a NY bohemian chaos-sludge-punk-psych fest that defined all rules and conventions. Ikue Mori's post-ceremonial drums and Tim Wright's post-Ubu bass perfectly blend into Arto Lindsay’s anarchic art-noise zoned out shronk and strangled vocals approach. Stuff of legends and oh so bloody great. Killer with absolutely no filler, the best post-apocalyptic nine minutes of weirdness you will ever be exposed to. Price: 75 Euro
637. DOCK BOGGS: “S/T” (Folkways – FA-2351) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). First original pressing. Dock Boggs recorded only 12 songs in the 1920s, but his raw, powerful singing and distinctive banjo-playing caused Harry Smith to include him in his Anthology of American Folk Music and Mike Seeger to search for him in the hills of Kentucky in 1963. Banjo player Dock Boggs once said, "Lonesome songs always appealed to me." This collection features classic dark and lonely songs like "Pretty Polly" and "Oh Death." Price: 75 Euro
638. DOCK BOGGS: “Country Blues” (Revenant Records – 6003) (Clear Vinyl 2 LP Set & gatefold Jacket & Booklet: SEALED) Dock Boggs was a singer and banjo player who sounded as if his bones were coming through his skin every time he opened his mouth. In the mountains of eastern Kentucky/western Virginia in the 1920s he forged a highly personal music of such singular intensity it retains the power to shock seventy plus years after it was recorded. Booklet with text and rare photos. Over 60 minutes of music, including Boggs’s 12 original 1927 and 1929 released recordings, 5 never-before-issued 1929 outtakes, and 4 1920s cuts by Boggs’s Kentucky compatriots Bill and Hayes Shepherd. “Boggs set down a handful of performances so strangely demanding as to lead a listener to measure what he or she knew of the American voice–any emblematic American voice, Huck Finn’s, Robert Johnson’s, Franklin Roosevelt’s, Barbara Jordan’s–against Boggs’s, to see if what one knew could pass his test. He created a small body of work so dissonant that like black gravity it can seem to suck into itself whatever music might be brought to bear upon it.” (Greil Marcus). Price: 75 Euro
639. DOCKSTADER, TOD: “Eight Electronic Pieces” (Folkways Records – FM-3434) (Record: Near Mint/ Jacket: Mint – still in shrink/ Booklet: Mint). Top copy. Seminal electronic music classic recording that was originally released on the Folkways label. Eight Electronic Piecessounds like some abstract symphony; wistful bleeping, zigging and zagging, oozing in and out of focus, organic static buzzing and whirling that at times swells up like sonic tornado heading your way, filled with hair-raising static interference, well controlled but nevertheless thunderous outbursts of white noise that never fails to amaze the listener due to its wistful and un-academic playful approach. One of the best examples of old-skool electronic music, recorded in 1961. Killer stuff. Price: 150 Euro
640. DOCKSTADER, TOD: “Drone – Two Fragments From Apocalypse – Water Music” (Owl Records – ORLP-7) (Sealed). Original US first pressing – still factory sealed! ‘Dockstader deserves shelf space next to Schaeffer, Henry, Stockhausen, Varése, etc. -- historically vital, minutely detailed experimental electronic music and tape composition. "My choice of the term 'Organized Sound' for my own work was, in part, a tribute to the 'Poéme' and to Varése. I also chose it because, in the 60s, the term 'electronic music' was coming to mean music made purely of synthetic sound, and I was working in both' concrete' and electronically generated sounds...my 'synthesizer' for everything on this LP was one or two sine-wave test generators ('oscillators' in those days) which were 'played' by turning a dial. I forced them to produce harmonics (square waves) by amplifying them into distortion, and got pulse-trains out of them by temporarily rewiring them into instability. The 'notes' they produced were achieved by editing tape, note by note (by note by note...)...it had a muscular joy to it. I think a lot of us had fun up on that singing high wire, teetering between control and chaos, trying to push the sound a little farther toward Something we hadn't heard before, working in it ...listening." Water Music’ is made almost exclusively from the source sound of water, which was processed to create all manner of reverberating, shimmering harmony. The first begins predictably with a few water drips but gradually builds to a series of climaxes via sequences of amazing electronic transformations. Price: 150 Euro
641. DOCKSTADER, TOD: “Quatermass” (Owl records – ORLP-8) (SEALED). Original US frst pressing – still factory sealed! “Tod Dockstader may not have had the musical training of some of his more distinguished peers but what he lacked in study, he made up for in virtuoso skill. His aptitude for tape music was almost unmatched, and this collection of pieces from the early 60s is a stunning example of why people still mention his name in hushed tones. Synthesis is only a part of the process, and Dockstader chopped and edited his synthetically produced tones to create buzzing clouds, clicks, rhythms and throbbing basses. ‘Quatermass’ was perceived by Dockstader as an antidote to ‘Water Music’, adding a certain playfulness to the rhythms, tones and textures on show. Together the pieces work together blissfully and give proof of Dockstader’s rightful place as one of key composers of his era. Hugely recommended.” (Boomkat) Price 150 Euro
642. DOCUMENT SHINJUKU KYOEN: “S/T” (Crown Records – GW-7009) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 12 Paged Erotic Picture Booklet: Near Mint/ OBI: Mint). Freakingly rare and utterly obscure sound document, released in June 1970. Haven’t seen a copy in over a decade and this is the first all complete copy to cross my eyes!!! All with booklet and OBI. This is the DEEP shit stuff, which will probably surpass your auditory tolerance and understanding span. But then again maybe not… Audio verité/ sound collage/ field recordings and cum-enka/ kayokyoku/student-folk guerilla/ cum-cabaret/ Japanese free jazz infected document that proliferates the sleazy wonders and attractions of Shinjuku era in Tokyo during those last years of the 1960s. This is a historical recording that seems to span epochs within single syllables and sound bites, erotic growls and hissing, a curious yowl that recalls enka crooners, circus-side show attractions, carnival callers, movie gangsters, transvestite and gay activists, agitated students, freaks, Free Jazz dungeon blow-outs, passing by salary men with a bewildered yawn on their faces and youngsters looking for cheap thrills. This record as you can see draws on a clutch of contradictory modes and haunting echoes that was Shinjuku during those turbulent times, filled with aspirational surges emanating out of concealed depths of that concrete jungle. An urbanized take on field recordings, rock, enka and freaky wonders; filled with a sheer lust for raw sounds, urbanized jungle shoot-outs, kayokyoku mutant variations and vibrations that offer viable escape routes from today’s formulaic gridlock into a distant past when still all seemed possible, a glorious disintegrated chaos of drunkenness and hysterical fatigue fueled and the freaks still ruled the scene. In short, a colorful vibrant recording encompassing genres, styles and modes, oozing out odors of a Tokyo that sadly now is no longer more. Rare and jaw-dropping recordings that never fail to baffle me and sent me on city excavation trips trying to recapture some of that lost era. Highest recommendation and stupidly rare, first copy I see in over 10 years’ time and the first I have all complete with obi and cum-nude erotic booklet. A killer slide for the adventurous listener. Comes with rare obi and salacious arty cum-nude bare nipple erotic picture book! Price: 375 Euro
643. The DOGS: “Fed Up!” (Dionysus – BA-1152) (Record: Near Mint/ Jacket: Mint – still housed in shrink). In the late ’70s LA punk scene, Detroit/Los Angeles transplants The Dogs were considered too rock for the punks and to punk for the rockers – when their “Slash Your Face” 7″ EP was included on the legendary Killed By Death bootleg in 1987, their stature rose among records collectors with good reason – the band played aggressive  MC5, Stooges, early Alice Cooper inspired motor city rock ‘n’ roll. Price: 35 Euro
644. DOLLAR BRAND: “Anatomy Of A South African Village” (Freedom/ Trio Records – PA-7038) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Paged Booklet: Near Mint/ Obi: Near Mint). Japan original pressing that comes housed in Japan only gatefold jacket art & all complete with booklet and OBI. In the mid-1960's, Abdullah Ibrahim (then known as Dollar Brand) was an avant-garde pianist influenced by Thelonious Monk who was not yet displaying much of his South African heritage in his music. This LP here is quite valuable for Ibrahim (in a trio with bassist Johnny Gertze and drummer Makaya Ntshoko) performs the intriguing title cut, brief versions of "Smoke Gets In Your Eyes" and "Mamma" and a rather hypnotic suite. So essential, and nice Japan original with obi…Price: 50 Euro
645. DOLPHY, ERIC: “Far Cry with Booker Little” (Prestige/ Victor Records – SMJ-7103) (Record: Near Mint/ Flip Back Jacket: Near Mint). Damned rare japan very first original press issue from 1964. “Charlie Parker's influence permeates this 1960 session. Beyond the obvious acknowledgment on song titles ("Mrs. Parker of K.C. ['Bird's Mother']" and "Ode to Charlie Parker"), his restless spirit is utilized as a guiding light for breaking bebop molds. Far Cry finds multi-reedist Eric Dolphy in a transitional phase, relinquishing Parker's governing universal impact and diving into the next controversial phase that critics began calling "anti-jazz." On this date Booker Little's lyrical trumpet and Jackie Byard's confident grasp of multiple piano styles (though both steeped in hard bop) were sympathetic to the burgeoning "avant-garde" approach that Dolphy displays, albeit sparingly, on this session. Far Cry contains the initial performance of Dolphy's future jazz classic "Miss Ann," along with his first recorded solo alto sax performance on "Tenderly," in which Dolphy bridges the gap between the solo saxophone performances of Coleman Hawkins and Anthony Braxton.” (All Music) First time ever I could dig up the 1st pressing – deep groove & in outstanding shape. Highest recommendation. Price: 75 Euro
646. DOLPHY, ERIC: “Eric Dolphy In Europe Vol. 1” (Prestige/ Victor Records – SMJ-7212) (Record: Near Mint/ Flip Back Jacket: Excellent – upper left corner lamination crease). Rare Japan very first original pressing from 1964. The first of set recorded during in Copenhagen during Sept. 1961 by the unique Eric Dolphy, this date has the strongest program of the trio. Dolphy is heard on a definitive "God Bless the Child" playing unaccompanied bass clarinet, switches to flute for "Glad to Be Unhappy," romps on the bass clarinet on "Oleo," and plays alto for a duet with bassist Chuck Israel on Randy Weston’s "Hi-Fly." Joined by a supportive Danish rhythm section (pianist Bent Axen, bassist Erik Moseholm and drummer Jorn Elniff) on the two quartet tracks, Dolphy is in excellent form throughout the well-rounded release. So an essential set it hurts not having this. Very first Japan original press issue. Price: 50 Euro
647. DOLPHY, ERIC & BOOKER LITTLE: “Memorial Album Recorded Live at The Five Spot” (Prestige/ Victor Records – SMJ-7269) (Record: Near Mint/ Flip Back Jacket: Near Mint). Rare and clean Japan very first original press issue from 1965! Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done Price: 75 Euro
648. DOLPHY, ERIC: “Memorial Album” (Prestige – LPP-88178) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). WHITE label PROMO issue all complete with obi. Despite its generic name, this is really the third volume of music that dates from one night in the short-lived and legendary Eric Dolphy Quintet with Booker Little. Recorded live at the Five Spot with pianist Mal Waldron, bassist Richard Davis and drummer Ed Blackwell, the recordings consists of two fairly lengthy renditions of Dolphy’s compositions: "Number Eight" and "Booker's Waltz." Still, the line-up is nothing short of mouth-wateringly great and it is always a pleasure to immerse oneself into Dolphy’s sound. Rare Japanese PROMO issue of a classic recording. Price: 50 Euro
649. DOLPHY, ERIC: “Outward Bound” (Prestige/ Victor Records – SMJ-7432) (Record: Near Mint/ Flip Back Jacket: Near Mint – with languette still attached). Very first Japanese original deep groove pressing. Eric Dolphy's first album ever as a leader – recorded almost immediately after his arrival on the New York scene! The sound here is already bolder and stronger than the Dolphy experiments on the west coast – sharp-edged and freely exploratory, in a way that pushes the playful lyricism of the Chico Hamilton years aside, and reaches out into the new territory hinted at by the title! The group is a quintet that features Freddie Hubbard on trumpet, Jaki Byard on piano, George Tucker on bass, and Roy Haynes on drums – and the overall sound is a beautiful mix of modernist hard bop and some of Dolphy's later freer styles. Dolphy plays his usual mix of alto, flute, and bass clarinet. Price: 75 Euro
650. DOLPHY, ERIC: “Outward Bound” (Prestige/ Victor World Group – SMJ-7432) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Ultra clean and nice Japan high quality pressing of all time Dolphy classic. “Outward Bound, a quintet session from 1960, shows Dolphy in a somewhat transitional phase, his music closer to the hard bop of the late '50s than the free jazz of the '60s. "245" is a late-night blues on which Dolphy, on alto, testifies his feeling and loyalty to the form. The standard "Glad to Be Unhappy" is given a lovely, lively reading on flute, with the band providing appropriately spare, sympathetic accompaniment. "Miss Ann" features Dolphy swinging the bass clarinet with joyous abandon, as well as some crackling Freddie Hubbard trumpet. A highlight of this session is the imaginative, tasteful drumming of Roy Haynes, who has played with everyone from Charlie Parker to Pat Metheney.” (All Music Guide). This one comes with the coolest Dolphy obi ever!!! Price: 60 Euro
651. DOLPHY, ERIC: “Last Date” (Mercury / Nippon Phonogram – SMX-7009) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ Attached Picture Booklet: Near Mint/ Obi: Near Mint). Bloody rare 1st original Japanese press issue complete with obi and comes housed in ultra-fragile flip back JAPAN ONLY gatefold sleeve – complete with always missing attached – later issues use same numbering but have a heavy gatefold sleeve without the attached booklet so watch out! 1st time EVER I have a copy of this 1st press issue with obi, this is seriously rare. TOP condition. On June 2, 1964, Eric Dolphy played bass clarinet, alto saxophone and flute with a trio of Dutch musicians for a Netherlands radio show called "Jazz Magazine." Most of the time, the show's sessions were broadcast live and were not recorded; Dolphy's set was taped because he was leaving before the day of the show. It was fortuitous. On June 29 he died in Berlin after collapsing onstage; the doctors assumed that the black American jazz musician was on drugs. But Dolphy had slipped into a diabetic coma, and without treatment he never regained consciousness. The Dutch recordings became his album "Last Date." The all-Dutch rhythm section features renowned drummer Han Bennink, the closest living personification of the Muppet's Animal. For someone who later worked with Peter Brötzmann and Derek Bailey, Bennink really sits back on this one. Still, the whole of the recording is astonishing and breathes out an intimate improvisatory feeling, delicate yet brimming over with poetic and shamanistic beauty that keeps you on the edge throughout the session. Misha Mengelberg rules on the ivory keys and his idiosyncratic playing style fuses neatly with Dolphy’s free floating avant-outings. One of the most beautiful jazz records ever to put down on wax. This is the ultra-rare Japanese 1st pressing complete with 1st issue obi & booklet. Never seen before, this copy is pristine as can be. Top all the way and seriously rare. Price: 250 Euro
652. DOLPHY, ERIC: “Out To Lunch” (Blue Note/ King Records – BST-84163) (Record: Near Mint/ Jacket: Near Mint – faint foxing spots on back/ Imprinted Inner Sleeve: Near Mint/ Insert: Near Mint/ Silver Toned Obi: Near Mint). Total killer & much acclaimed pressing in the long-lost King Records Blue Note Masterpiece series. One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound.  The sound is out of this world, cutting is great, killer edition but getting tough to dig up. Price: 100 Euro
653. DOLPHY, ERIC: “Out To Lunch” (Blue Note – BST-84163) (Record: Mint/ Jacket: Excellent ~ Near Mint/ Obi: Mint/ Insert: Mint). Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of Blue Notes finest titles. Immediately Out Of Print in the flash of an eyelid…. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Also includes deluxe packaging, with a reproduction of the classic Blue Note inner sleeve from 1964, as well as the insert. Recorded in stereo for Blue Note in February 1964. With Freddie Hubbard, Bobby Hutcherson, Richard Davis, Tony Williams. Top condition. Price: 150 Euro
654. DOLPHY, ERIC: “At The Five Spot” (Prestige Records/ Victor Records – SMJ-9003~4) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Never seen before Japan 1st original pressing from around 1965 of legendary recording all-complete with first issue obi. Without obi it pops up from now and then, but with obi it is a damned tough one.After having left the ensemble of Charles Mingus and upon working with John Coltrane, Eric Dolphy formed a short-lived but potent quintet with trumpeter Booker Little, who would pass away three months after this recording. Despite all of the obstacles and subsequent tragedy, this quintet became legendary over the years -- justifiably so -- and developed into a role model for all progressive jazz combos to come. The combined power of Dolphy and Little -- exploring overt but in retrospect not excessive dissonance and atonality -- made them a target for critics but admired among the burgeoning progressive post-bop scene. With the always stunning shadings of pianist Mal Waldron, the classical-cum-daring bass playing of Richard Davis, and the colorful drumming of alchemistic Ed Blackwell, there was no stopping this group. Live at the legendary Five Spot Café in New York City, this band set the Apple, and the entire jazz world on their collective ears. "Fire Waltz" demonstrates perfectly how the bonfire burns from inside the soul of these five brilliant provocateurs, as Dolphy’s sour alto and Little’s dour trumpet signify their new thing. Dolphy’s solo is positively furious, while Blackwell nimbly switches up sounds within the steady 3/4 beat. "Bee Vamp" does not buzz so much as it roars in hard bop trim. A heavy tandem line breaks and separates in the horn parts like booster rockets. Blackwell is even more amazing, and Dolphy’s ribald bass clarinet set standards that still influences players of the instrument. Where "The Prophet" is a puckery blues, it is also open armed with minor phrasings and stretched harmonics. This is where Waldron and Davis shine in their terra cotta facades of roughly hewn accompaniments to Dolphy and Little’s bold flavored statements. A shorter alternate take of "Bee Vamp" is newly available, shorter by two-and-a-half minutes and with a clipped introductory melody. Most hail this first volume, and a second companion album from the same sessions, as music that changed the jazz world as much as Ornette Coleman and John Coletrane’s innovative excursions of the same era. All forward thinking and challenged listeners need to own these epic club dates.” (All Music Guide) So good, it almost hurts. Price: 150 Euro
655. DOLPHY, ERIC: “At The Five Spot” (Prestige – LLP-88131) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing – 2nd issue with obi. Rare Japan 1964 original 1st pressing in amazing condition. “This is the second of three sets that document the Erik Dolphy/ Booker Little quintet's playing at the Five Spot. It features a group made up of pianist Mal Waldron, bassist Richard Davis and drummer Ed Blackwell really stretching out during long versions of Little’s "Aggression" and the standard "Like Someone in Love." Dolphy’s playing -- whether on alto, bass clarinet or flute -- always defied categorization, while Little (who passed away less than three months later) was the first new voice on the trumpet to emerge after Clifford Brown’s death in 1956. An excellent set that records what may have been Dolphy’s finest group ever, as well as one of that era's best working bands.” (All Music Guide) Indispensable! Price: 40 Euro
656. DOLPHY, ERIC: “Eric Dolphy At The Five Spot” (Prestige/ Victor – MJ-7043) (Record: Near Mint/ Jacket: Near mint/ Insert: Near Mint/ Obi: Near Mint). Another early pressing of Dolphy at the Five Spot. This is a rare version one which comes with a rare obi variation. Top condition, all seems untouched for decades, impossible to ever improve upon. Price: 50 Euro
657. DOLPHY, ERIC: “Eric Dolphy In Europe, Vol. 2” (Prestige/ Victor Records – SMJ-6576) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). The second issue of a couple of concerts featuring multi-instrumentalist Eric Dolphy with a Danish rhythm section (pianist Bent Axen, bassist Erik Moseholm and drummer Jorn Elniff) in Copenhagen has its share of fine music. While the structures are generally boppish, Dolphy typically improvises in his own advanced vocabulary. He plays flute on two versions of "Don't Blame Me" and switches to alto for "The Way You Look Tonight," "Les" (which is mistitled "Miss Ann"), and an emotional version of "Laura." Stunning from start to finish! Price: 45 Euro
658. DOLPHY, ERIC: “Conversations” (Nippon Columbia – SL-5126-EV) (Record: Near Mint/ Textured Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Japan 1st original press issue in TOP shape. “In 1963, Eric Dolphy recorded some sessions in New York with producer Alan Douglas, the fruits of which were issued on small labels as the LPs Conversations and Iron Man. Conversations is the more eclectic of the two, featuring radical re-imaginings of three standards, plus the jubilant, Caribbean-flavored "Music Matador" (by ensemble members Prince Lasha on flute and Sonny Simmons on alto). That cut, and a classic inside/outside reworking of Fats Waller’s "Jitterbug Waltz" feature Dolphy leading ensembles of up-and-coming "new thing" players, which prominently feature vibist Bobby Hutcherson and trumpeter Woody Shaw. The second half of the album takes a far more minimalist approach, with Dolphy performing unaccompanied (extremely rare prior to Anthony Braxton’s For Alto) on "Love Me." "Alone Together" is an over-13-minute duet between Dolphy and bassist Richard Davis, featuring some astoundingly telepathic exchanges that more than justify its length. Even if the selections don't completely hang together as an LP statement, they're united by Dolphy’s generally brilliant playing and a sense that -- after several years without entering the studio much as a leader – Dolphy was really striving to push his (and others') music forward. The results are richly rewarding, making Conversations one of the landmarks in his catalog.” (All Music Guide). Pristine & virginal Japan 1st original press issue all complete with insert and obi. Price: 65 Euro

659. DOLPHY, ERIC: “Last Date” (Fontana/ Nippon Phonogram – SGD-54) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition high-quality pressing. “Allegedly Dolphy’s final recorded performance, this session in Hilversum, Holland, teams the masterful bass clarinetist, flutist, and alto saxophonist with a Dutch trio of performers who understand the ways in which their hero and leader modified music in such a unique, passionate, and purposeful way far from convention. In pianist Misha Mengelberg, bassist Jacques Schols and drummer Han Bennink, Dolphy was firmly entwined with a group who understood his off-kilter, pretzel logic concept in shaping melodies and harmonies that were prime extensions of Monk, Coleman and Cecil Taylor. These three Dolphy originals, one from Monk, one from Mengelberg and a standard are played so convincingly and with the utmost courage that they created a final stand in the development of how the woodwindist conceived of jazz like no one else before, during, or after his life. Utterly masterful on his flute during "You Don't Know What Love Is," Dolphy’s high-drama vibrato tones are simply out of this or any other world, perfectly emoting the bittersweet intent of this song. The ribald humor demonstrated during "Miss Ann" is a signature sound of Dolphy’s alto sax, angular like Monk, jovial and more out of the box while he digs in. Where "Epistrophy" might seem standard fare to some, with Dolphyon bass clarinet it is based on voicings even more obtuse than the composer's concept, bouncing along the wings of Mengelberg’s piano lines. The post-bop blues of "South Street Exit" is tuneful while also breaking off into tangents, with Bennink’s crazy drumming acting like shooting, exploding stars. As the definitive track on this album, "The Madrig Speaks, the Panther Walks" demonstrates the inside-out concept, with mixed tempos changed at will and a 6/8 time insert with Dolphy’s choppy alto merging into playful segments as the title suggests -- a most delightful track. The ridiculously titled "Hypochristmutreefuzz" might be the most understated fare in its more simple angularity, as Schols plays his bass in the upper register while the band dances around him. Last Date is one of those legendary albums whose reputation grows with every passing year, and deservedly so. While it reveals more about the genius rhythm section than Dolphy himself, it also marks the passing of one era and the beginning of what has become a most potent and enduring legacy of European creative improvised tradition, started by Mengelberg and Bennink at this mid-'60s juncture.” (All Music Guide). One word – Indispensable!!! Price: 40 Euro

660. DOLPHY, ERIC: “Last Recordings” (DIW – DIW-25020) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint). Released way back in 1988 in an edition of only 500 copies and housed in a gorgeous foldout jacket, this was a Japan only release of Eric Dolphy’s last live appearance at Paris on June 11, 1964. He got assisted by Donald Byrd (trumpet), Nathan Davis (Tenor sax), Jacques Dieval (piano), Jacques B. Hess (bass), Franco Manzecchi (drums) and Jacky Bambou (congas). Utterly lyrical and moving pieces that include “Springtime” (over 19 minutes!!), “245”, “G.W.” and “Serene”. This disc was released on CD by DIW in Japan only got an ultra limited vinyl issue of it at the time that sounds absolutely stellar. Just beautiful and housed in a high quality gatefold cover. This item is in top-notch condition, as new, and mint all the way. Hardly turns up anymore and one of the finest Dolphy recordings out there. Price: 50 Euro
661. DON RENDELL & IAN CARR 5-TET: “Dusk Fire” (Philips – RJ-5017) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Near Mint/ CAP OBI: Mint). Bloody rare 1972 Japan original 1st press issue of this UK jazz beast. Comes all-complete with never offered before first issue OBI – making this beast three times as rare as the UK pressing. Had pristine copies of the UK press a couple of times but a top copy with obi just never so…. Rare does not even come close to stress the scarcity of this monster. Top condition, all is Near Mint and impossible to upgrade upon! Just super clean and eye-poppingly amazing condition. Japan Stereo issue from 1972 that comes on the original Philips label. Stunning copy!!!!! One of the key pieces of mid 1960s British jazz. For Dusk Fire, the band was augmented with the addition of Garrick and composes some of the cuts on Dusk fire, resulting arguably the quintets best release ever. British visionary jazz never sounded as bewitching as on this recording here. Total face melter!!!! Top condition & mega rare Japan high quality issue from 1972, just about never surfaces!!! Obi is totally unique and never offered for sale before so need no bullshit serious and generous offers for this one. Price: Offers!!!!
662. The DON RENDELL/ IAN CARR QUINTET: “Phase III” (Philips – RJ-5029) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, minor discoloration through age on back side of the jacket near the left side against white background – jacket is still in SHRINK/ CAP OBI: Near Mint – still housed in original shrink). Original 1972 Japanese pressing in top shape, just perfect and all complete with mega rare OBI in place! Just never surfaces all complete, making it so much rarer that the UK version. Having won the Melody Maker best British Jazz Group poll in 67 the Rendell / Carr Quintet had gathered a reasonable following of fans de spite the decline in popularity of jazz amongst music lovers as they continued to opt for other forms of experimental music. By now the quintet was on a roll, soaring the skies and right about then they ventured into the studio to record “Phase III”. By now, Carr’s trumpet tonal color was world class and his phrasing and shading was spot-on, right on the mark all the time, making him one of the finest UK performers on the instrument. Rendell is on the other hand extraordinary on the soprano and he weaves undulating swirling lines that flourish into bloom during the epic “Black Marigolds”. This is one of the finest slices of UK jazz ever recorded – as is most of this band’s output. TOP Condition stupidly rare Japan 1st original pressing housed in nice thick and sturdy. Comes with OBI!!! And in SHRINK! Price: Offers!!!!!

663. The DON RENDELL/ IAN CARR QUINTET: “Phase III” (Philips – RJ-5029) (Record: Near Mint/ Jacket: Near Mint). Original 1972 Japanese pressing in top shape, just perfect with absolutely no defects or blemishes. Having won the Melody Maker best British Jazz Group poll in 1967 the Rendell / Carr Quintet had gathered a reasonable following of fans despite the decline in popularity of jazz amongst music lovers as they continued to opt for other forms of experimental music. By now the quintet was on a roll, soaring the skies and right about then they ventured into the studio to record “Phase III”. By now, Carr’s trumpet tonal color was world class and his phrasing and shading was spot-on, right on the mark all the time, making him one of the finest UK performers on the instrument. Rendell is on the other hand extraordinary on the soprano and he weaves undulating swirling lines that flourish into bloom during the epic “Black Marigolds”. This is one of the finest slices of UK jazz ever recorded – as is most of this band’s output. TOP Condition stupidly rare Japan 1st original pressing housed in nice thick and sturdy quality sleeve. Price: 350 Euro

664. DON RENDELL – IAN CARR – NEIL ARDLEY: “Greek Variations & Other Aegean Exercises” (Philips – RJ-5004) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Bloody rare Japan first original press issue, WHITE LABEL PROMO COPY and all complete with rare OBI!!!. Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influential jazz-rock band Nucleus was rising from the ashes. The first half of the album has composer Neil Ardley directing a fourteen-piece chamber orchestra featuring Rendell and Carr, plus a supporting cast of creme de la creme British musicians in "The Greek Variations," a six-part suite based on a traditional Greek folk tune. The second half features in turn a quintet led by Carr—Nucleus in all but name—and a quartet led by Rendell, on shorter suites maintaining a Greek flavour and ambience. An undercurrent of brooding turbulence surfaces at various points in the "Variations" suite, as though some sort of tidal wave might erupt from the Aegean at any moment, but at other times the mood is sunnier and vivacious (or delicately moonlit), and there are lovely solo passages, both improvised and composed, from Frank Ricotti on marimba/vibraphone, Karl Jenkins on oboe, Rendell on alto flute (on which he has a voice as distinctive as on tenor sax) and Carr on flugelhorn. Comparisons with the Miles Davis and Gil Evans collaborations inevitably spring to mind. But Carr, though strongly influenced by Davis, is ultimately his own man, and Ardley is absolutely so too, and the result is an entirely fresh approach to composed/improvised orchestral jazz. The three Carr-composed tracks are performed by Carr plus Nucleus founding members Brian Smith, Chris Spedding, Jeff Clyne and John Marhsall. "Wine Dark Lullaby" and "Orpheus" conjure up balmy Mediterranean nights, soft and lush, while "Persephone's Jive" is a wild Greek dance made ever more urgent by the sustained clatter of Afrobeat in Spedding's aggressive, staccato comping. Only a few minutes long, but still one of the highlights of the set. (All About Jazz) Price: Offers!!!
665. DONALD BYRD: “Byrd In Paris Vol. 1” (Polydor – SGD-51) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition high-quality Japan press issue that saw the light of day back in 1991. Trumpeter Donald Byrd spent a few months in France in 1958, and a Paris concert resulted in two LPs' worth of material. Byrd’s quintet at the time included Bobby Jaspar (on tenor and flute), pianist Walter Davis Jr., bassist Doug Watkins and drummer Art Taylor. Byrd was just beginning to find his own sound in the late '50s and he is in excellent form on "Dear Old Stockholm," Sonny Rollins’ "Paul's Pal," Jaspar’s "Flute Blues," "Ray's Idea," and "The Blues Walk." This is a fine all-around hard bop session. Price: 55 Euro
667. DONALD BYRD: “Royal Flush” (Blue Note/ King Records – GXK-8127) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Jacket: Near Mint9. Clean Japanese pressing all complete with obi. Donald Byrd gained his greatest fame in the 1970s when he recorded commercially successful funk albums, but he was at the height of his swinging powers back in 1961 when he created Royal Flush. One of the great trumpeters to emerge from the 1950s, Byrd helped to define hard bop. His band with Pepper Adams and the young Herbie Hancock (at the beginning of his career) was at its hottest throughout Royal Flush, a hard-hitting blowing session. The music ranges from bluesy bop to harmonically complex pieces that point towards the future of jazz. The music is timeless, heated, and exhilarating, and it has never had better sound better than on this memorable reissue. Royal Flush features Donald Byrd at the peak of his powers. Price: 60 Euro

668. DONALD BYRD: “Byrd In Hand” (Blue Note/ King Records – GXK-8124) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). For this excellent album, trumpeter Donald Byrd teams up with tenor saxophonist Charlie Rouse, baritonist Pepper Adams, pianist Walter Davis Jr., bassist Sam Jones and drummer Art Taylor. Together the sextet performs three Byrdoriginals, two Davis songs and the standard "Witchcraft." Although none of the new tunes caught on, the group (which includes two distinctive saxophonists and the rapidly maturing trumpet of Donald Byrd) plays consistently creative and spirited solos in the hard bop idiom. Stellar audiophile Japanese press issue with obi. Comes cheap as hell so why hold back? Price: 50 Euro

669. DONALD BYRD: “Fuego” (Blue Note/ King Records – BNJ-71012/ BST-84026) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Top condition Japan high quality pressing. “Fuego - a title that might be somewhat misleading -- is the final Blue Note recording exclusively pairing Donald Byrd with Jackie McLean, a fruitful partnership that set the yin of the (in this case) restrained trumpeter, against the yang of the tart and extroverted alto saxophonist. While not quite a unified whole, the two were involved in turf battles that were based on mutual respect, here exuding a quieter fire that toned down McLean and muted Byrd to attain an intriguing harmonic balance. Duke Pearson’s clever piano in the middle, with Doug Watkins playing bass and favored drummer Lex Humphries, made for one of the more diverse sounds in modern jazz circa 1959-1960. Of course, hard bop is at the core of this band, but Byrd is moving further into post-bop, as served up heartily by the two horns during the modal, rambling, and staggered theme of the title selection. It's more a cool flame than burning inferno, as the drum inserts of Humphries fill the cracks of the horns' bluesy ideas. "Bup-A-Loup" is a harder bop theme, with distinct staccato accents identifying the melody priming McLean’s quintessential solo. "Low Life" also takes into account the burgeoning original soul-jazz aesthetic in a jaunty mood that parallels the Bobby Timmons evergreens "Dis Here" and "Dat Dere." As Byrd’s father was a preacher, "Amen" pays tribute to the spirit-soul in a gospel shuffle straight from the pulpit with some static drum accents. "Lament" is not the J.J. Johnson standard, but a light, soul-jazz original with ultimate feeling, depth, and sophistication -- a real beauty. The title "Funky Mama" fools you a bit into thinking it is a typical soul-jazz number, while it is, in fact, a long, striding, loping, cushy, and dusky blues, very patient and elegant, embellished by McLean’s singing alto. This is where Pearson in particular shines, wringing out all of the combined pain and joy so prevalent in the styles of previous masters like Teddy Wilson, Duke Ellington, Erroll Garner and Tommy Flanagan. On the front cover, a contemplative Byrd is depicted, perhaps pondering his next move and his band five years after successfully joining the New York City jazz scene from his native Detroit. It also represents his thoughtful role in Fuego, as he takes a break from forceful interaction to play a more democratic role on this refined and mature album that is less brash, a prelude for his more powerful statements yet to come.” (All Music Guide). Price: 65 Euro
670. DONALD BYRD: “Black Byrd” (Blue Note – GP-3125) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Excellent). Scarce title with cool direct import obi present. A landmark album – Donald Byrd's first session with producer Larry Mizell, the man who went on to forever change the face of jazz funk! After rumbling around for a few years attempting electric styles that really didn't fit his mode, Donald wisely hooked up with Larry, and hit a groove here that would carry him for many many years. The album's a masterpiece of soul – heavy production with great keyboards, creating a nice set of grooves that let Byrd solo over the top, sounding better than he had in years! Great all the way through and so essential it hurts just thing about it. Price: 100 Euro
671. DONALDSON, LOU: “Lou Takes Off” (Blue Note/ Toshiba EMI – BN-1591) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Pristine Japanese STEREO press copy all complete with obi and liners. “When Lou Donaldson emerged in the early 1950s, virtually every young alto-saxophonist sounded like a close relative of Charlie Parker. While Bird would always be an influence on him, Donaldson (who is still playing very well these days at age 82) had his own approach to playing jazz, and he quickly became instantly recognizable as a more soulful and bluesy player, one who was nicknamed "Sweet Lou." Donaldson could always play bebop with the best but he also loves to caress ballads and to really dig deep into the blues. Lou Takes Off from 1957 matches Donaldson with other young greats (including trumpeter Donald Byrd, trombonist Curtis Fuller and pianist Sonny Clark) for a pair of bop standards and two originals including the lowdown blues "Strolling In." All of the musicians would have significant careers and it is fascinating to hear them at this early stage, particularly the already brilliant Lou Donaldson, who shows off his ability to infuse every note he played with the blues.” (Blue Note) Pristine copy. Price: 75 Euro
672. DONALDSON, LOU: “Lou Takes Off” (Blue Note/ Toshiba EMI – BN-1591) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint/ Obi: Excellent). Pristine Japanese MONO press copy all complete with obi. The sole Japanese mono pressing of this one. Price: 50 Euro

673. DONALDSON, LOU: “Midnight Sun” (Blue Note/ King Records – GXK-8173) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition with obi high-quality Japan ONLY issue of unreleased Blue Note material. “Recorded in July of 1960, Midnight Sun sat unissued in Blue Note's vaults until the early '80s, when it was issued as part of their LT series. Like many of the previously unreleased albums in the series, it's clear that the only reason this remained in the vaults was because the label was releasing too many records, not because the session itself was second-rate. Granted, there are a couple of awkward moments on the date, but for the most part, Midnight Sun is as strong as any of the hard bop records Donaldson released in the early '60s. Part of the reason the quality is so high is the fact his supporting quartet is so strong. Pianist Horace Parlan has a number of fine moments on the record, and Lou’s longtime rhythm section of bassist Ben Tucker, drummer Al Harewood and conga player Ray Barretto is as reliable as ever. Any dedicated Donaldson fan should search for this record; even if it doesn't reach the heights of Blues Walk and Here ‘Tis, it still has plenty of fine music.” (All Music Guide). Japan only issue in impeccable condition. Price: 100 Euro

674. DONOVAN: “Barabajagal” CBS SONY – SONP-50169) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Capsule Obi: Near Mint/ Insert: Near Mint). Original Japan 1st original pressing as released on January 1970. Top copy. Rarely surfaces with cap obi present. “Donovan was in a tremendously creative phase during the latter part of 1968, owing to both a tour of the United States (which yielded a live album) and the chemical and social stimulation of his surroundings. Amid all of that activity and his subsequent recordings, his European performances, and the slightly late catch-up of his British career to his American success, Donovan’s work blossomed in several different directions on the resulting album, Barabajagal. He still sounded like a folkie, but on the title track as well as "Superlungs My Supergirl," he was backed by the Jeff Beck Group and an outfit that included Big Jim Sullivan and John Paul Jones respectively. With Barabajagal, Donovan intermingled soft, lyrical, spaced-out folk, hard psychedelia, children's songs, anthems to free love (along with a lusty appreciation of the fairer sex that runs throughout the album), and even antiwar sentiments ("To Susan on the West Coast Waiting"). The result was the most challenging album then issued by Donovan, but also one of his most successful, with album sales driven by the presence of the U.S. hit "Atlantis.” (All Music Guide). Rare original 1st Japanese pressing complete with lovely obi. Price: 150 Euro

675. DOORS: “Strange Days – Maboroshi No Sekai” (Elektra – SJET-8017) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Rarest Doors release to seep out of Japan is their 2nd LP released in February 1968. The green Victor World Group SJET obi’s are seriously rare and the 2 first Doors releases rank amongst the rarest on the label as copies with obi just never seem to turn up. Comes on the “blue” colored Elektra guitar player logo label. First time ever I see such a pristine copy of this one. Damned rare so hit me up with your best shot. Price: Offers!!!
676. The DOORS: “Waiting for the Sun” (Elektra/ Nippon Victor – SJET-8075) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 2-paged Insert: Near Mint/ OBI: MINT/ Cardboard Insert: Mint). First original Japanese pressing from 1971. Comes all-complete with NEVER SEEN before 19 cm ~ 24 cm cardboard insert that has great publicity shot of the band!!! JAPAN ONLY always-missing stock card insert!!!! Impossibly rare with obi and the card insert when all is in NM condition. Comes with different inner gatefold design than the US pressing. First Japanese pressings do never surface here anymore, especially not in such a top notch almost like new condition as this baby here. Totally no defects. Music wise, I guess you know the deal. Third Doors album, killer tunes abound, swirling key riffage and Morrison is at his all time best. Deliriously great stuff. Rare pressing, essential in every self respected collection of cool soundz. Copies with immaculate obi present have virtually completely disappeared from the face of the earth, making it a truly endangered species. Price: 350 Euro
677. DOORS: “Morrison Hotel” (Victor Records/ Electra – SJET-8218) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Hopelessly rare Japan 1st original pressing from May, 1970. Complete with booklet and totally rare 1st issue OBI!!! Comes on the blue Elektra Guitar Player label. Top condition and superior sound & pressing. First time ever I could lay my hands on a copy with obi. Seriously scarce on these shores. TOP COPY!! Price: 450 Euro
678. DOORS: “The Soft Parade” (Victor Records/ Elektra – SJET-8161) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Jacket Sized Die-Cut Wrap Around slip case Obi: Mint/ Insert: Mint). Top copy, perfect all the way of Freakingly rare Japanese 1st press issue of this Doors album. Released on Victor’s “World New Rock Series” in 1969, complete with LP-sized die-cut wrap-around obi, all these babies in the series are very high in demand and just never surface. The rarest in the series is the MC5 and Zappa’s “Uncle Meat” with the Doors following in close succession. I haven’t seen a copy in well over 6 years especially in such a perfect condition as this one. Unbelievably clean with absolutely no defects on the fragile die-cut wrap-around obi, the whole package just looks like new. First time ever I can offer a spare in such a perfect condition so don’t sleep on it. Music needs no introduction I guess. Essential Japanese issue on Victor’s blue toned Elektra imprint. Impossible to ever upgrade upon. Best copy possible. Price: 450 Euro
679. DOORS: “L.A. Woman” (Victor Records/ Electra – SWG-7513) (cord: Excellent 〜 Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1st Japanese pressing from 1970 complete with rare “Now” shaped obi. Comes on the blue Elektra Guitar Player label. Top condition and superior sound & pressing. First time ever I could lay my hands on a copy with obi. Seriously scarce on these shores. TOP COPY!! Price: 300 Euro
680. DOORS: “Absolutely Live” (Elektra/ Victor Japan – SJET-8274~5) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Excellent). First original Japanese pressing complete with elusive obi and insert. Top condition item. Price: 200 Euro
681. The DOORS: “Golden Doors Vol.2” (Elektra/ Victor World Group – SWG-7188) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Near Mint). Japan ONLY issue that was released in July 1970. Rarest Doors LP release, just never surfaces all-complete with OBI. To make it even more insane, this is the never seen before WHITE LABEL PROMO ISSUE. Comes housed in a thick gatefold sleeve adorned with stunning Japan only artwork. Sometimes this one surfaces without obi and in not the best condition but a copy like this one here, with all complete and in top shake + promo is something utterly unique. One-off chance to wheel in the rarest Doors-related pressing. Totally unique issue and in top condition. Price: 500 Euro
682. The DOORS: “American Prayer” (Elektra – P-6417E) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ (-Paged Illustrated Booklet: Near Mint). Japan 1st original pressing complete with first issue obi in great condition. Price: 75 Euro
683. DOORS: “Riders on the Storm b/w Changeling” (Elektra – JET-2070) (Record: Mint/ Picture Sleeve: Mint). Japan only picture sleeve release of this rare Doors artifact. Just mint condition, they do not come any better than this copy here and of course first original press with single center intact. Comes with rarely seen Japan only picture sleeve. Top condition. Price: 75 Euro

684. DORHAM, KENNY: “The Arrival Of Kenny Dorham” (Top Rank/ Nippon Victor Records – RANK-5063) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Bloody rare all complete with OBI Japan 1st original pressing. Never ever surfaced a copy with obi and in this pristine condition, elusive forever. A somewhat obscure Kenny Dorham LP that sees the excellent hard bop trumpeter in a quintet with baritonist Charles Davis, pianist Tommy Flanagan, bassist Butch Warren, and drummer Buddy Enlow. The straight-ahead music includes features for Davis (“When Sunny Gets Blue”) and Warren, but Dorham consistently takes honors, particularly on his “Stage West,” “I’m an Old Cowhand,” “Stella by Starlight,” and “Lazy Afternoon.” Top condition Japan 1961 original pressing with obi. One of a kind and damned rare. Price: 300 Euro

685. DORHAM, KENNY: “The Arrival of Kenny Dorham” (Jaro/ Venus – JAS-8007/ TKJV-19030) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Same title as the one listed above. This is the high-quality and limited Venus Records reissue, renowned for it superb audiophile quality and high pressing standard. These disappeared quite quickly and come housed in a sturdy sleeve with liners and obi. For the audio nut amongst you who likes to spin quality jazz…Price: 75 Euro

686. DORHAM, KENNY & JACKIE McLEAN: “Inta Somethin’” (World Pacific/ Victor Records – SMJ-7038) (Record: VG++ ~ Excellent – small scuff on opening of Side A/ Flip Back Jacket: Near Mint). Rare Japan first original pressing that saw the light of day in 1962! Inta Somethin' is a wonderful live session from the legendary trumpeter Kenny Dorham and alto sax great Jackie McLean, recorded live at the Jazz Workshop in San Francisco in the winter of 1961. Featuring four standards bookended by two Dorham originals, the album also includes contributions from dynamic bassist Leroy Vinnegar amongst others. Inta Somethin' is a classic hard bop live session that includes a version of Dorham's great 'Uno Mas' a year before the Blue Note album of the same name. Price: 50 Euro
687. DORHAM, KENNY: “Quiet Kenny” (Victor/ Prestige – SMJ-7380) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Mint). Stupidly rare 1966 Japanese first pressing with rare original obi. Just never surfaces and this one is seriously rare. Top condition.  “The title of the 1959 date, Quiet Kenny, is almost redundant, less descriptive of the session than of Dorham himself, who plays no differently here than in the explosive groups of Blakey or Silver. Thoughtful, playful, lyrical but never effusive, Dorham is, as Dan Morgenstern calls him in the notes for this latest RVG edition, the most "poetic" of trumpet players. The playing is on a level with Dorham's best work elsewhere (Whistle Stop, Blue Note, 1961; Una Mas, Blue Note, 1963), but there are two undeniable bonuses: Dorham's is the only horn, giving him more valuable time to tell his compelling stories; and the pianist is Tommy Flanagan, whose dynamically nuanced, carefully sculpted lines are the perfect match for the trumpet's exquisitely crafted statements.” (all about jazz). Top condition & comes quite cheap for a rarity of this stature. Price: 200 Euro
688. DORHAM, KENNY QUINTET: “Kenny Dorham Quintet” (Debut/ Victor Musical Industries – VIJ-5006M) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent/ Insert: Near Mint). Japan original pressing with obi. “Kenny Dorham’sdebut as a leader found the 29-year-old trumpeter more than ready to take control; unfortunately, he spent virtually his entire career in the shadows of other trumpeters (such as Dizzy Gillespie, Miles Davis, Clifford Brown and Lee Morgan). This set was originally released by the Debut label as a six-song 10" LP, reissued with two alternate takes as a regular album. The fine playing by the quintet (with Jimmy Heath on tenor and baritone, pianist Walter Bishop, bassist Percy Heath and drummer Kenny Clarke) is not watered down by the extra material. A special bonus is the fine arranging of Dorham for the ensemble, a much overlooked talent of a continually underrated musician.” (All Music Guide). Extremely beautiful recording that keeps on haunting you if immersing yourself into it. Dorham ruled and still does till this day. Scarce Japanese pressing with obi for cheap. Price: 50 Euro
689. DORHAM, KENNY: “Matador” (United Artists/ Nippon Columbia – PS-1419-UAJ) (Record: Near Mint/ Jacket: Excellent – lower middle seam crack/ OBI: Near Mint). Rare Japan ONLY jacket art issue with very first issue obi present of Dorham’s masterpiece. “Matador can safely claim the all too common distinction of being a classic among jazz connoisseurs while virtually unknown to the casual listener. Dorham is joined here by Jackei McLean, Bobby Timmons, Teddy Smith and J.C. Moses, all of whom deliver outstanding performances. More than anything, this session is perhaps best known for including a stunning version of McLean’s composition "Melody for Melonae," used less than a month earlier on his groundbreaking Blue Note LP Let Freedom Ring. For this session, though, the tune is renamed "Melanie" and, if not better, this version at least rivals the take under McLean’s leadership. For starters, the addition of another horn adds some tonal depth to the proceedings, a situation arguably lacking in the tune's earlier recording. Also of note is what has to be Bobby Timmons’ most intense moment on record. One rarely has the opportunity to hear Timmons dig and scrape as hard as he does during this solo, and his barely audible vocal accompaniment only helps to prove this point. This is a case where a performer not commonly associated with seriously stretching out goes at it with a life-affirming fervor, making "Melanie" a treat for listeners who revel in emotional performances. Other highlights include the opener, "El Matador," a 5/4 number that, frankly, fades out just when things were getting good, and the otherwise unaccompanied Dorham/ Timmons duet, "Prelude." A fantastic session by any standard.” (All Music Guide). Seriously rare Japan only jacket artwork issue, all complete with the obi. Never surfaces and still comes death cheap. One off chance I believe to wheel in a true rarity but also a gemstone of a record. Fabulous all way round! Price: 250 Euro

690. DORHAM, KENNY: “’Round About Midnight at The Café Bohemia” (Blue Note/ King Records – GXK-8013/ BLP-1524) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). High-quality Japanese press issue of one of Blue Note’s finest sets. “During the spring and summer of 1956, trumpeter Kenny Dorham recorded two studio albums with his Jazz Prophets, a small hard bop band involving tenor saxophonist J.R. Monterose and a rhythm section of pianist Dick Katz, bassist Sam Jones and drummer Arthur Edgehill. On May 31 of that year, Dorham’s group performed live at the Café Bohemia with Bobby Timmons at the piano and guitarist Kenny Burrell sitting in on all but the first of four sets. Originally engineered by Rudy Van Gelder proved to be an exceptionally fine evening of live jazz. The word "understated" has sometimes been used to describe the music played by Dorham’s band on this night in 1956; this is only appropriate if Dorham is compared with intense individuals like Fats Navarro or Dizzy Gillespie. Dorham’s jazz was perhaps more intimate and accessible precisely because his horn had an earthier tone, almost like that of a cornet. Sometimes compared with Ted Curson, Richard Williams or Freddie Hubbard, Dorham sounded a lot like the profoundly gifted and vastly underappreciated Johnny Coles, particularly during ballads like "Autumn in New York" and "Round Midnight." There are also intimations of Miles Davis, Nat Adderley and even young Don Cherry. This music is designed for relaxing and grooving out. It will greatly assist anyone who is traveling by night or trying to make it through to the end of another day.” (All Music Guide). So good, it almost hurts! Price: 50 Euro

691. DORHAM, KENNY: “’Round About Midnight at The Café Bohemia – Volume 2” (Blue Note/ Toshiba – BNJ-61003) (record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Follow-up and final set of that legendary set at the Café Bohemia. Definitely the high-water mark in Dorham’s catalogue. Clean as a whistle Japanese pressing that will have your nose glued to the speakers and give you frostbite! Price: 55 Euro

692. DORHAM, KENNY: “Una Mas” (Blue Note/ Toshiba – BNJ-71016) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japanese high-quality pressing all-complete with obi. “When one thinks of great talent scouts in jazz, the name of Kenny Dorham is often overlooked. However, many top young players benefited from playing in his groups, and for proof one need look no further than the lineup on this LP: tenor-saxophonist Joe Henderson, bassist Butch Warren and (before either player joined Miles Davis) pianist Herbie Hancock and drummer Tony Williams. Together the quintet performs three of the trumpeter's originals ("Una Mas" is the most famous) along with the standard ballad "If Ever I Would Leave You." Even if the playing time is a bit brief, the explorative yet swinging music lives up to its potential.” (All Music Guide). No filler, all killer – indispensable and top shape. Price: 50 Euro

693. DOYLE, ARTHUR PLUS 4: “Alabama Feeling” (AK-BA Records – AK-1030) (Record: Near Mint/ Jacket: Near Mint). TOP COPY!!! The Holy Grail of the free jazz pantheon, this one being a fantastic copy. Released in 1978 on Charles Tyler private Ak-Ba Records imprint, “Alabama Feeling” is an intense ride from beginning to end, a mind-boggling debut that still sounds as vigorous today as it was nearly 35 years ago. Doyle, along with musicians Richard Williams (bass), Rashied Sinan (drums), Bruce Moore (Drums), and Charles Stephens (trombone), gathered for what may still be one of the most grueling jazz performances ever. His over-the-top abrasive squawking, paired with the dual drummers and bass, is simply ear-shatteringly beautiful as well as a right-in-yer-face sonic attack that will obliterate all the preconceived conceptions you might behold of what free jazz was and is supposed to be. This is hardcore stuff. Doyle has made an art form out of lo-fi free jazz recordings, as well as serving up a unique style of sax playing: the cat can sound like he's playing multiple reeds with just one instrument, and views the various instruments he plays (tenor sax, bass clarinet, and flute on this album) as an extension of the human voice. His approach to the instrument is unique and sounds like no one else out there. Discovering the extraordinarily gritty sound produced by singing and blowing into the horn at the same time, Doyle was soon in demand as a free player, sitting in with Sun Ra's Arkestra at Slug's Saloon on several occasions, and joining saxophonist Noah Howard on the mythic 1969 Black Ark album. In the early 70s he played with Bill Dixon, Sam Rivers, Andrew Cyrille and Dave Burrell, and recorded Babi live with Hugh Glover and Milford Graves in 1976. A beast of a disc that will have you gasping for air every time you spin this one because it simple sucks all of the oxygen right of the room when he starts raping his horn to pieces. One of the rarest and all-time greatest free jazz recordings out there. Getting next-to-impossible to locate a decent copy. TOP CONDITION. Massive!! Price: Offers!!!
694. DR. JOHN THE NIGHT TRIPPER: “Gris-Gris” (Atco – 33-234) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Rare original US pressing. This is the rare MONO PROMO copy. Has promo copy stamp on label and Promotional sticker on cover. “Authentically creepy and hypnotic bayou voodoo music from New Orleans, which conjures up images of semi-naked slave girls sacrificing hens and drinking their blood. The good Doctor’s haunting spoken vox on ‘Gris-Gris Gumbo Ya-Ya’ are backed by demonic female gospel incantations, while ‘Danse Kalinda Ba-Doom’ doesn’t feature the great man’s voice at all, leaving the gospel voices to weave their spell. ‘Mama Roux’ is wickedly funky, finding the Doctor in an especially louche mood, the trance-inducing ‘Danse Rambeaux’ encourages zombies to rise from the vinyl, and ‘Jump Sturdy’ is catchy and jazzy. The LP closes on an atmospheric high with the oft-covered but never-bettered ‘Walk On Gilded Splinters’. It’s an acquired taste, and probably not best played when left alone on the plantation.” (GH – Endless Trip)
Original 1st US press rare promo & MONO copy. Price: 250 Euro
695. The DREAM SYNDICATE: “The Days of Wine and Roses” (Rough Trade Japan – 25RTL-15) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original Japanese pressing with obi, promo issue. The Dream Syndicate’s The Days Of Wine And Roses has long been considered the cornerstone album of L.A.’s early ’80s Paisley Underground scene, from which the band emerged. The original lineup of Steve Wynn, Karl Precoda, Kendra Smith (later of Opal), and Dennis Duck (see LAFMS) took seminal ’60s rock — most obviously the Velvet Underground along with Buffalo Springfield and The Rolling Stones — and filtered it through the more modern sounds of The Fall and L.A. punk bands Flesh Eaters, The Gun Club, et al. The band’s first full-length album, ‘82s’s The Days of Wine and Roses, is not only one of the highlights of the Paisley Underground scene, but one of the most lasting alternative rock albums made during an explosive time for left-of-center music. With Steve Wynn’s Lou Reed vocal style and Karl Precoda’s scorching guitar blasts, along with the bass playing and occasional singing by the enigmatic Kendra Smith, and propulsive drumming by Dennis Duck, it’s a timeless album on which nearly ever other song is a classic. In 1982 it was a cacophonous siren’s call, and it more than holds up now. One of the all-time greatest LP’s ever!!! Price: 100 Euro
696. The DREAM SYNDICATE: “S/T” (Zippo Records – ZANE-001) (Record: Near Mint/ Jacket: Near Mint). Killer 4-track LP that saw the light of day in 1982. Classic line-up of Steve Wynn; Karl Precoda; Kendra Smith and Dennis Duck. All killer, no filler legendary songs including Sure Thing; That’s What You Always Say; When You Smile and … Some Kinda Itch. Definitely the best and greatest band to emerge out of the Paisley Underground (hell fuck they were all bloody awesome) but the Dream Syndicate were something special as is again obvious on this 1982 released 4 track LP. One of my all-time fave bands, hands down…Price: 50 Euro
697. The DREAM SYNDICATE: “This Is Not The New Dream Syndicate Album … Live!” (A&M Records – SP-12511) (Record: Near Mint/ Jacket: Near Mint). Original 1984 US pressing. “When "Tell Me When It's Over" begins with a solo piano fanfare that lasts close to a minute-and-a-half, you know you're not dealing with an ordinary, live Dream Syndicate recording, and this longish EP, featuring five tunes from a July 1984 concert in Chicago, captured the band in a transitional period. The Dream Syndicate were touring in support of the album Medicine Show, and the performances reflect the dark but spacious mood of those sessions; Tom Zvoncheck, who played piano and organ on the album, tagged along for the tour and his contributions take up a lot of space in the arrangements of what had always been a guitar band, and hearing this edition of the group make their way through "Tell Me When It's Over" (the only song that didn't originate on Medicine Show) shows just how far they'd traveled stylistically in the three years they'd been together. Compared to The Day of Wine and Roses, This LP sounds remarkably bigger, tighter, and more confident, but the guitar interplay between Steve Wynn and Karl Precoda lacks the tense spark that marked their best work, and while the band seems more comfortable with the Medicine Show songs than they did in the studio, they also seem to be searching for ways to make them sound as dark and wired as they did on plastic. After this tour was over, Precoda would leave the Dream Syndicate, A&M would part ways with the group, and Paul Cutler's guitar work would take the band in a different aural direction for their next album, Out of the Grey; This Is Not the New Dream Syndicate Album … Live catches them near the end of one road, and while they don't seem to be lost, they do seem ready to take the next exit.” (All Music) Price: 50 Euro
698. The DREAM SYNDICATE: “California Dreaming” (Northlake Records) (Record: Excellent/ Jacket: Near Mint). Original 1986 pressing – one of the rare boots. Essential live recording of the original line-up recorded in Nuremberg, West Germany on June 14th, 1986. Feverish, at the peak of their powers, California Dreaming sees the Dream Syndicate flying the freak flag on this utterly lo-fi recording while setting Nuremberg aflame! At this point, the band consisted out of Steve Wynn, Mark Walton, Dennis Duck and Paul B. Cutler. Experimentally driven by sonic guitar attacks; less flower, more power. Here they’re rackety as hell, but once your ears adjust to that sweet, almost forty-year-old lo-fi recording, you’ll want to push that volume knob ever higher. You’ll hear, at the very least, the sound of a very young, ineffably great, two-guitar band scraping up against and maybe even surpassing the live heights of their own evident progenitors: the Velvets, Television, Quicksilver Messenger Service, the Byrds. You’ll hear amazing song-craftsmanship, killer tunes, even the occasional odd cover tune that feel like they’re being built right in front of you out of mercury, Sulphur and barbed wire. And if you close your eyes maybe you’ll even feel what it was like to be in the room. To feel like you were busy being born, and never dying. Welcome to the Dream Syndicate ladies and gentleman, an everlasting experience. Price: 75 Euro
699. DREW, KENNY TRIO: “The Kenny Drew Trio” (Milestone/ Victor Records – SMJ-6037M) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Top condition Japan original all complete with cap obi. Mono pressing. Kenny Drew with the assistance of bassist Paul Chambers and drummer Philly Joe Jones, explores six standards and two of his originals. Although Drew would have to move to Europe in the early '60s in order to get the recognition he deserved, it is obvious (in hindsight) from this enjoyable date that he was already a major improviser. The opening track alone is already enough to suck you straight in and justifies the admission charge. A immensely enjoyable set one keeps returning to on repeat. Soo overlooked but damn, so addictive when the needle hits the groove. Top condition with obi. Price: 50 Euro
700. DREYBLATT ARNOLD: “The Orchestra of Excited Strings ‘Nodal Excitation’” (India Navigation) (SEALED). Factory sealed original press copy of this minimalist masterpiece. Here is some informative info that came out when the album was reissued on CD: "Nodal Excitation is a reissue of a key minimalist masterwork. Dreyblatt's documentation in the past has been slim, with albums on Hat Art, Tzadik and (shortly) Table of the Elements. This album features a 39-minute performance by Arnold's group known as The Orchestra of Excited Strings, recorded in 1981/82. Dreyblatt only had one record (Nodal Excitation, on the mostly post-AACM jazz label India Navigation), before he packed and moved to Berlin, were he concentrated on other activities, making only 2 more records over the next 10 years. But for those who caught the action, Arnold was the man. He was more rock than any of the other minimalists combined, and he was also the only one to really tap into that massive proto-minimal sound that Conrad had squelched out of his tin-contact mic violin in the early 60s. Indeed, in the early 70s, after being in school in Buffalo, where Conrad taught, Dreyblatt moved into Manhattan to work for LaMonte Young, where he witnessed first hand, and listened first-ear to those legendary recordings of the Theatre of Eternal Music. He got interested in long string sounds, and bought a bass that he wired with piano wire. By hitting the strings instead of bowing them, Dreyblatt was able to get those ringing overtones, but he also had added something new: pure rhythm...So what you have here is Dreyblatt's freshman record, a slice of minimal history that is as potent now, if not more, as it was then. It was a lighthouse that was aiming the wrong way when the tugboat came by, but now it's shining right in your face." (Drag City Press Release). Brilliant. Price: 100 Euro
701. DROSSELBART: "S/T" (Polydor - 2371.126) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint). Top shelf copy, 1st original German pressing. “Drosselbart's album will always be remembered for its outrageous cover showing a damaged globe containing worms. Maybe the group had to express their feelings about mankind's deeds here on earth? The band was from Munich. Their only album was recorded October 1970 with some help from Ralf Nowy (flute). It comprised eleven excellent, classical-influenced, lyrical and/or heavy rock tracks. The German lyrics were well-written, very doomy and aggressive. They dealt with religious symbols and mankind's vicious nature. As with Ihre Kinder, the lyrics were extremely important for the total view of the album. Several members wrote material for the album but Randt did the largest share. Two singles, "Jemina" coupled with "Du Bist Der Eine Weg" and "An Einem Tag Im August" coupled with "O'Driscoll" (a non-LP B-side) were also released.” (Cosmic Dreams At Play). Amazing 1st press original copy. Price: 400 Euro
702. DUB TAYLOR: “Lumiere For Synthesized & Concrete Sounds” (Varese International – VS-81001) (Record: Near Mint/ Jacket: Mint, still in shrink). Original 1973 1st pressing on BLUE wax. The 2nd press came out on black wax, so this one here is the copy to go for…although that the 2nd pressing is as rare as this one here. Anyway, to make a long story short about how mind bendingly awesome this disc is, allow me to hijack Mimaroglu’s blurb for his Creel Pone boot imprint…which sums it up just about rightly as far as how great this sonic slab is, so great it is powerful enough to provoke tears and fists shaking tirades amongst musique concrete buffs who after having sit through this beast will be ready to get loaded and snarl around the neighborhood looking for somebody to chain-whip. That is how great this disc here is. And now back to hijacking the Creel Pone/ Mimaroglu blurb: “This record is zonked. And by that I don’t mean that I can’t conjure up other adjectives (I most certainly can; fried, surrealist, inept, genius, etc...), just that I can’t get my head around describing what it is Mr. Taylor is doing exactly. It almost sounds like someone... as the Brits say “taking the piss” out of musique concrète... but then again there’s this twisted logic to the construction of the whole thing that’s just so... out... (i.e. “I know... let’s just pile everything up on top of itself and not edit it at all...”) - the sound-combinations so seemingly random that’s it’s hard to believe a conscious composer/technician type didn’t lay this to tape back in 1972. My favorite bits are when a voice comes in near the beginning, half-buried: “sounds good...” from there a wave of surging/burbling synths and filtered white noise let loose on the whole frequency range, leaving little in the way of... you know...“musical sense”...There are some bike-horns, what sounds like someone dialing in an fm radio (then leaving it between stations), a jet passing overhead, a guitar-amp feeding back while someone “snaps” into a microphone, etc... Sounds are panned hard left/right for entire sides at a time. Some backwards speaking kind of rises to the top, then it’s back to “normal”... and that’s just the first side...From here on out, any time someone plays me a record like the shaggs or y. bhekhirst, reveling in the fact that it got made in the first place, I’m going to play them this, as it’s so much better on an example. I’m just completely dumbfounded that the sentient folks over at Varese International went the distance...” Yeah, it is quite a stupefying ride; Dub Taylor just came by, ripped the musique concrete/ electronic music system apart like a pile of cheap hay and surpassed it even. Totally awe-inspiring and that is even putting it mildly here. Original 1st pressing on blue wax out of 1973, just a monster, listening to a record like this is just like being stung by ephedrine and crystal meth deranged hornets while sitting in a bath of liquid peyote juice…strap yourself in, it will be a wyld ride. Price: 100 Euro
703. DULCIMER: “And I Turned As I Had Turned As A Boy” (Penny Farthing/ Philips Records Japan – Y-1004-P) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Original 1971 Japanese original pressing in top condition. Never offered or seen before original with mega rare OBI. WHITE LABEL PROMO. Originally released in the UK on the Nepentha label, the Japanese issue came out on the Penny Farthing label, a subsidiary of Philips Records. Dulcimer first came to the attention of producer and manager Larry Page, who signed them to his own newly founded Nepentha Records -- they recorded their debut album, And I Turned As I Had Turned As A Boy at Landsdowne Studios in London with Page producing. Mercury Records picked up the American distribution rights to the LP, and Philips did the same for Japan and released it under the penny Farthing banner. The trio's sound was a strangely haunting mix of acoustic, very traditional-sounding folk-inspired originals, which were often set as more ambitious (and dramatic) suite-like pieces. The melodies were stunning, and the playing and timbre of their music were as well, while their lyrics were steeped in antiquity and fantasy -- somewhere midway between Amazing Blondel and Renaissance. The U.K. rock press of the period, enamored as it was by folk music and progressive rock, gave it enthusiastic reviews, praising their harmony singing as well as their ambitious musical structures, and the trio seemed to be on its way. But it was not to be. Their first LP remains their masterpiece and is a prime example of UK folk galore. Top copy – white label promo with OBI!!! Seriously rare! Price: Offers!!!!!
704. DULFER, HANS & HAN BENNINK QUARTET: “Jazz in Paradiso” (Heavy Soul Music – H.S.M.1501) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Rare privately released free jazz blast of a record that was pressed in an ultra-limited run way back in 1969 of only 250 copies. Spearheaded by the ever enigmatic Dulfer on sax, Heavy Soul Music was a group he had erected with around him other improv heavy weights Han Bennink, trombonist Willem van Manen (later of Breuker’s Kollektif), and bassist Maarten Altena. The quartet made regular appearances at the Paradiso, and two of them made it onto Dulfer’s first LP as a leader, Jazz in Paradiso, released in a batch of 250 on his own Heavy Soul Music imprint. The album’s jacket hints vaguely at some of Dulfer’s influences and heroes and features a photograph of Heavy Soul Music playing in front of a giant poster of Ike Quebec, the same photograph of the saxophonist that graces Quebec’s Heavy Soul. The quartet was one of a kind and sure ripped out some eardrums and cracked some skulls with Bennink rattling the drums and skins like a young Milford Graves falling down a spiral staircase, while the rest of the group launch into a distracted, kerosene injected avant-Dixieland sense of timekeeping that knows no peer. Dulfer also rips open all the registers and on occasions halts his saxophone fire-breathing escapades in order to yell with a spastic urgency into plastic tubing or pick up a bird-whistle. Bennink's remains of the recording omnipresent, popping up all over the place with his frantic babi rhythms and ride-cymbal frenzies, creating a thick as fog fumes to which Dulfer and van Manen’s skronk can turn loose on. The free-blues and Dixieland-funk are unmistakingly fire music but impregnated with a European hardcore aesthetic that rivals on all fronts their US counterparts. But I guess you have to sit through this one yourself in order to be able to grasp the insane power and beauty these Heavy Soul Music mates unleash. Sheer brilliance. Extremely rare 1969 private pressing, only 250 copies made, this sucker has been signed by Dulfer, Altena and van Manen. Bloody heavy soul music indeed. Price: 275 Euro
705. HANS DULFER AND RITMO-NATURAL: “Candy Clouds” (Catfish – 5C-054-24307) (Record: Near Mint/ Jacket: Excellent). Original 1970 Dutch pressing on the highly collectible Catfish label. Great album by tenor-saxophonist Hans Dulfer, who apart from being Candy Dulfer’s father also gained notoriety as a free jazz hard blowing beast (check out his fantastic “Heavy Soul Music” LP) and as a funky rock-jazz tenor whose experiments always bring out unexpected twists and turns. Just like this improvised psych-rock-jazz workout that is a salmagundi of styles, concocted out of Latin-influenced progressive rock moves, deep grooving cluster vibes, butt-shaking percussive rattles, lysergic funky wrist-cutting guitar riffs, ethereal flute insertions, all glazed over and cooked down with Dulfer’s smoked out delirious tenor honks. This disc burns holes on the dance floor, it is intoxicating, abysmal grooving and ecstatically electrifying. A fucking sonic nugget that will leave you simply flabbergasted. The disc itself is a bit hard to track down, as the label Catfish was a tiny and obscure Dutch label who also had the legendary Ahora Mazda on their payroll. Top original copy. Price: 150 Euro
706. DUNCAN BROWNE: “Give Me Take You” (Immediate – Z12-52012) (Record: Mint/ Jacket: Excellent, has perforated upper right corner/ Insert: Excellent). Top copy of this awesome acid folk gem, original US pressing. Psychedelic acid folk masterpiece, “Give Me Take You” was Duncan Browne’s first album. Released in 1968, the album dwells a bit in the same regions as Nick Drake with Browne’s arrangements attributing to it all a more baroque effect, giving the album a more regal, almost ethereal feel. The lyric writing is especially strong with lovely – almost Pre- Raphaelite style phrasings breathing out a youthful melancholic innocence. The album however was badly – if not all – distributed because of the disintegration of the Immediate label due to miss-management and financial troubles, making that this gem almost disappeared from public view instantly. This one here is the US press of the album. Brilliant, over the top with a hard to pin down ethereal feel. A lost masterpiece. Price: 150 Euro
707. DUNCAN BROWNE: “S/T” (Odeon – EOP-80841) (Record: Near Mint/ Gatefold Jacket: Excellent/ 4-Paged Insert: Near Mint). Original Japanese pressing – white label PROMO issue of Duncan Browne’s 2nd self-titled LP. “Duncan Browne’s self-titled second album plays like a direct sequel to his debut long-player, Give Me Take You - he uses the same acoustic guitar and writes in a similar idiom, especially on tracks like "Country Song" and "The Martlet." Indeed, apart from the fact that it's generally better recorded, most of Duncan Browne could easily have slotted into the earlier album; the only exceptions are the more elaborately produced songs, such as "Ragged Rain Life," with its electric guitar sound, the keyboard-embellished "Babe Rainbow," and the bluesier, Dylan-esque "Journey," which was a substantial hit in England. Browne’s style elsewhere on the record is unique unto himself, built around hauntingly beautiful melodies, mostly in a folk idiom, with some choice results, including the exquisite "Over the Reef" and "My Old Friends." He saved the best for last, a valedictory number entitled "Last Time Around," featuring extensive and impressive acoustic guitar ornamentation that gives way to some surprisingly tasteful progressive rock electronic sounds on the choruses.” (All Music Guide). Beautiful and utterly fragile folk album following his staggering debut and it is easily as good! Largely overlooked UK dreamy folk masterpiece that is in urgent need for mass-appraisal. Beautiful sounding Japanese first original pressing that came out in 1072~3, comes housed in heavy gatefold jacket and complete with insert. White label promo issue. So beautiful, it will bring tears to your eyes…Price: 75 Euro

708. DUNKLEY, ERROL: “Militant Man” (Lovella International – LK-1001) (Record: Near Mint/ Jacket: Near Mint, still housed in original shrink). Top copy original press issue of top roots LP. Originally released in Canada on the Lovella International label, Errol Dunkley’s rare showcase LP “Militant Man” from 1980, which was recorded at Channel One Recording Studio in Kingston JA with such great musicians as Sly Dubar (drums), Robbie Shakespeare (bass), Jackie Mittoo (piano), Ossie Hibbert (keyboard) and Sky Juice (bongo drums). What makes Errol Dunkley’s music so interesting is his own intense vocal style, copied from no one. It’s one of the most expressive voices in reggae music as can be fully experienced while listening to this album. Except for “Girl Be True”, the tracks featured here are extended versions – dub following the vocal cut. The singer not only excels on the four lovers tunes, but also sounds really great on the two roots killers, “You’ve Been Bad” and “Militant Man”. Having the vocal cut combined with the dub version is the icing of the cake. Top shape original!!! Price: 200 Euro

709. DUPREE, NANCY With A Group of Rochester, N.Y. Youngsters: “Ghetto Reality” (Ash Records – AH-820) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Top condition US original pressing all complete with insert booklet. Nancy Dupree initially found her elementary school music students in Rochester, NY resistant to participation in class. Once she dropped the standard literature (which asked "Mr. Bear" to "come and play") and began composing music that bore relevancy to contemporary society and to their very tuned-in and grownup interests, she found they immediately took to performing. Her songs addressed the contributions icons James Brown and Jelly Roll Morton made to society, the intangible assets each child naturally possessed ("What do I have? Guts...heart...and soul") and fighting for civil rights ("I want my freedom; I want it now"). Not only did singing about meaningful issues in real musical styles reveal the immense talents the students had, but it gave all a critical lesson in empowerment. Not a novelty record with kids being goofy but rather a heartfelt work of art. Nancy Dupree sensitively accompanies the kids singing on piano. Kind of silly – but also pretty darn hip and making her one of the most righteous music teachers you could ever have, working with some young kids from the rough side of Rochester, in an album of simple tunes that have a surprisingly soulful edge to them. Nancy plays piano, and the kids sing either solo or in ensemble format. The record's got a starkness that's extremely compelling, and it's a lot stronger than we expected, even if it's not like some of the funky stuff on the Folkways label. Includes a song called "James Brown" that has all the kids making grunts and groans ala 60s James, then singing about his shift from a process to an afro! A real classic that does not often pop up in perfect shape. Price: 200 Euro
710. The DWARVES: “Drug Store – Detention Girl b/w Astro Boy – Motherfucker” (Sub Pop – SP81) (EP Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint). 1990 US original press on black wax. Classic EP slide that is too good to ignore. Price: 25 Euro
711. DYLAN, BOB: “Vol. 4” (Columbia Japan – YS-641) (Record: Near Mint/ Jacket: Near Mint). TOP copy!!! One of the rarest Dylan slides around, Japan ONLY issue out of 1966 in TOP condition. Extremely rare 1966 original Japanese only 10-track '360 sound' stereo LP pressed by Nippon Columbia on the orange CBS label The cover is Japan's original design, laminated and has flaps on both top and bottom. Japanese notes on the back. Never turns up in MINT condition like this baby here. As a bonus this copy has the Columbia Records plastic outer bag present as well that was wrapped around the LP when it was first sold in Japan in 1966. Next to impossible to ever upgrade upon, superb condition. Price: 250 Euro
712. DYLAN, BOB: “The Freewheelin” (CBS SONY – SONP-50181) (Record: Near Mint/ Jacket: Mint, still in shrink/ Insert: Near Mint/ Capsule Obi: Near Mint). Dylan landmark recording that made headz being turned and tuned in. The world was never the same again after this. Recorded in 1963, this is the bloody nice Japanese original pressing from the late 1960s all complete with salacious capsule obi. In most cases always missing but here proudly showing its colors. Price: 175 Euro
713. DYLAN, BOB: “Blonde On Blonde” (CBS SONY – SONP-50158-9) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint). Bloody rare and hardly ever seen 1st original Japanese press from December 1969, complete with the FIRST ISSUE OBI. One of the finest Dylan slides out there, recorded in Nashville and sounding very 60s in every way as opposed to the garagier sound of Highway 61. On “Absolutely Sweet Marie” Dylan blows his most frantic harmonica playing ever – a thing he won’t ever repeat hereafter and his unique sense of humor seeps through other songs like “Leopard Skin Pill Box”. Blonde on Blonde is so totally awesome…. Here ya have the 1st original Japanese pressing with hopelessly rare & obscure 1st issue ‘capsule obi’. Took me only more than e decade to unearth a copy with obi but here it is. Price: 350 Euro
714. DYLAN, BOB: “Basement Tapes” (CBS Sony Japan – SOPJ-120~121) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ First Issue Obi: Mint/ Triple Fold Out Insert: Mint/ Imprinted Inner Sleeves: Mint). Original Japanese pressing on high quality vinyl. Very first press issue with earliest OBI version. This is the RARE WHITE LABEL PROMO issue. Top quality vinyl playback pressing. It won’t come any better than this and this album deserves it. Dylan backed up by the Band, but you know the deal. One of the greatest albums of all time…how can you valuate and enjoy your musical obscurities without acknowledging the stupor and greatness of this beast?? This slide leaves me baffled and stunned each time I play it. Dylan and the Band, a marriage made in heaven, deeper than any ocean, this is the shit. Take no substitutes. 1st original Japanese issue with obi…Price: 85 Euro
715. DYLAN, BOB: “The Bootleg Series – Volume 5 – Rolling Thunder Revue” (Sony Music Classic Records – C2K-87047 – 1) (3 LP Set: Excellent ~ Near Mint/ Individual Jackets: Near Mint/ Handbill & Concert Ticket: Near Mint/ Poster: Near Mint/ Book: Near Mint/ Outer Box: Near Mint). Long deleted and much acclaimed Dylan box set. “Dylan’s 1974 reunion tour with the Band found the conquering heroes making some of the loudest, most bombastic music of their careers. Dylan wanted something a little more off the cuff for this, the next go-round, and his ramshackle Rolling Thunder Revue was the result, a collection of famous cronies (Joan Baez, Roger McGuinn) and no-names touring the country gypsy-style in the fall of '75. Bob Dylan Live 1975 captures the Fellini-esque splendor and chaos of the caravan. In contrast to the Band's murderously precise country soul, the Rolling Thunder crew at times sounds so loose it threatens to collapse, only to be kept on course by Rob Stoner's pliant bass lines. Scarlett Rivera's swooping, swooning violin was Rolling Thunder's signature instrument, and Dylan sounds liberated, free to attack the songs from almost any angle, his voice feral, his mood frisky. “A Hard Rain's A-Gonna Fall” is taken at a gallop, the guitars surging behind every verse, while “It Ain't Me, Babe” skips with calypso syncopation. “Sara” and “Just Like a Woman” provide an anguished climax. It's possible to read plenty into these performances, with the singer's marriage on the rocks, but what towers above is the singer's fiery commitment to an even more seductive muse: his music.” (Rolling Stone). Pure class!! Price: 350 Euro