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

1074. IAN CARR With NUCLEUS: “Solar Plexus” (Vertigo/ Nippon Phonogram – SFX-7402) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ Vertigo Obi: Excellent). Rare Japan 1st original press issue all complete with damned scarce obi. Seminal sounds from trumpeter Ian Carr and his Nucleus group of the early 70s – maybe one of the few jazz rock groups that was ever able to work with a fair bit of jazz in their sound! Unlike his contemporaries, who often started in rock first, then added some horns – Carr was already coming off an important 60s legacy, co-leading a group with tenorist Don Rendell – so the vibe here is like an extension of that very rhythmic, very tonal modern work – but with the addition of electrified instrumentation – thanks to the guitar work of Chris Spedding and keyboards of Karl Jenkins – who plays some fantastic electric lines throughout, Harry Beckett, Kenny Wheeler and other UK jazz scene luminaries! The vibe is maybe a bit in the territory of early 70s electric work by Miles Davis and Donald Byrd but there's maybe a farther-reaching concept at play on many of the records, at a level that always helped the group cross over to the prog crowd, and move beyond just a straight jazz audience. Just a stunning classic. Much sought after Japan 1st original press all complete with Vertigo OBI. Price: 400 Euro
1075. ICHIYANAGI TOSHI: “Obscure Tape Music of Japan Vol. 5 – Music for Tinguely” (Omega Point - OMEGA POINT Archive Series OPA-005LP) (Record: Near Mint/ Jacket: Near Mint). Long Out of print LP of only 300 copies. Ichiyanagi is the best-known composer for domestic and foreign avant-garde music fans. Especially in his brilliant 60's, he made some ear-blistering great tape music. But most of compositions remained buried in his private vault, never published on discs or if they saw the light of day altogether, they were issued in tiny editions. This LP consists of his obscure three tape works. "Music for Tinguely" was made from junk objects of kinetic sculptor Jean Tinguely. "Appearance" is live electronic music. It's not only première performance but also John Cage and David Tudor participated in performance. The whole composition is gloriously noisy and can be defined as hard core vintage electronic music!! "Music for Living Space" was composed for inner space of 'Sun Tower' of World Expo in Osaka. Computer generated voice reads architect Kisyo Kurokawa's manifest. I all utterly strange and dementedly wicked electronic music!! Price: 100 Euro
1076. ICHIYANAGI, TOSHI: “Music For Tinguely” (Editions OMEGA POINT – OPA-005LP) (Record: Mint/ Jacket: Mint/ Insert: Mint). Limited to 300 copies only release that came out in 2006. Stunning archival release of tape/ musique concrete & electronic music by Ichiyanagi recorded during the period 1963 - 1969. “Music for Tinguely: Toshi Ichiyanagi, contains material that is far more historically important than its modest packaging would betray. The centerpiece of the disc is an extraordinarily fine piece of pioneering industrial electronic music, Appearnces (1967), recorded not in Japan, but New York City; Ichiyanagi’s graphic score was realized on this occasion by John Cage at the electronic console, with David Tudor on bandoneon and two unidentified players on violin and trumpet. From the sound of it, Ichiyanagi’s score appears to have represented "points in space" in some way, as instrumental pitches appear in various ranges and then the electronics wring various additional sounds out of them. There is definitely a historical relationship between the pointillism of Webern and other, later kinds of avant-garde music that one might not normally think is related to it, but this aspect is not always easy to illustrate; this, however, is a cogent witness to that historic relationship. Beyond that, Appearances is a righteous noise jam that any young industrial musician would happily claim for his or her own. The title work, Music for Tinguely (1963), sounds almost as though it would have had to have been recorded in a scrap yard, with its ominous sonic sheets of clinking metal and glass sounds, but all of the sound sources were taken from sculptures by Swiss kinetic artist Jean Tinguely. The third piece, Music for Living Space (1970), is the least impressive of these works; however, it involved the most effort on the part of Ichiyanagi who programmed an entire Japanese language lecture into IBM's computerized speech program, the same one that sang "Daisy Bell." IBM's primitive program in 1970 didn't speak Japanese with ease, and a high number of hours went into creating Music for Living Space. Nevertheless, it opens with a bed of chant-like singing, which certainly stakes a claim for Ichiyanagi in such technique, way ahead of the curve, the origin of which remains a hotly contested subject among European purveyors of techno.” (all music). Long evaporated into this air release, 300 copies only and unveiling some of the best tape/ experimental sounds ever to be put down on wax. Price: 150 Euro
1077. ICHIYANAGI TOSHI & KURI YOJI & Unaccredited ONO YOKOO: “Yabunirami no Konsaato” (Salon De Coo – Private 1966). (EP Record on Red Wax: Mint/ Illustration Book: Mint/ Rice Paper Dust Jacket: Mint/ Binding: Mint/ Attached EP jacket: Mint). Signed and date copy!!! Published privately in an edition of 400 numbered copies (??) by illustrator and animation underground artists Kuri Yoji in 1966, this copy here being numbered 380. Another totally elusive Japanese avant-garde item that ranks high on many a want list but sadly enough fails to appear to the surface. Not surprisingly so since it was released in an ultra limited run way back in 1966 by Kuri Yoji himself. But after much digging and pulling strings, I could turn up a mint unplayed copy of this gem. The music can be regarded as some of the finest ever created by Ichiyanagi, starting of with grinding processed violin noise, slowly making way for a lone prepared piano that plucks out an atonal array of disjointed notes, spiced up with occasional eruption of sighs, puffs and shrieks exalted by no one else but Ono Yokoo (she was Ichiyanagi’s wife at the time). The addition of Ono Yokoo to the creative process is a shot right in the compositional bull’s eye since her exploratory use of space is nothing but kaleidoscopic! The second side (the whole affair plays at 33 RPM) sees again Yokoo in action, set against some dusty well-controlled noise made up out of a few dissonant plucked grinding prepared piano notes & string-scrapes. The sheer lust of raw sonic dust and boulders that engulfs the aural landscape meanders slowly into a powerful morass of shifting pulses and grinding metal strings, eventually coming together and pile up into a delicate jumble of Yokoo’s disembodied voice working its spellbinding atonal magick. Ichiyanagi and Yokoo proof here that as early as the mid-1960s they were at the very nexus of electronic noise and environmental sound art, creating hallucinatory microdot-inflected avant-garde soundscapes that had the ability and power to transport the listener to a distant, frozen-crystal wasteland that was filled with cries of rage and anguish and which made them stand eyeball to eyeball with the apocalyptic doom of the Cold War era. Just massive, highly obscure and hopelessly rare piece of visual and aural art. First spare mint copy to crawl my way in 9 years time. Price: 250 Euro
1078. I.D. COMPANY: “S/T” (HorZu Black Label – SHZE-801 BL) (Record: Near Mint/ Jacket: Excellent/ Company Inner Sleeve: near Mint). Original 1st German pressing. “Krautrock masterpiece extends exploratory tendrils down two seemingly incompatible lines of investigation, each occupying one side of this LP and each fronted by a different powerhouse vocalist. Anyone initiated into the soul piercing hoodoo grammar of Dr. John's Gris Gris will find much to get emotionally wrung out over here, especially with Frumpy vocalist Inga Rumpf's uber masculine and completely wasted sounding vocals occupying center stage. Conversely, side B for much of it's length relinquishes warmth and happy wasted hoodoo vibes in favor of flinging you unceremoniously into a frequently harrowing psychic melee fronted by the hysteria tinged and Leslie cabinet shattered vocals of a young pre-Slapp Happy Dagmar Krause. Residual echoes of jazzy jamming cling to the edges of this amorphous febrile mass, but that only reinforces the deliriousness of the endeavor by offering the listener an olive branch only to yank the rug out from under your feet as you approach.”(Vdoandsound). Spot on a seldom turns up in such a nice condition. Price: 200 Euro
1079. IGGY POP & JAMES WILLIAMSON: “Kill City” (Radar Records – RAD-2) (Record: Near Mint/ Jacket: Excellent). UK original pressing. Largely overlooked but totally awesome successor to Raw Power. I live in Kill City where the debris meets the sea, it's a playground to the rich but a loaded gun to me. Right on, one of the best records ever made. Point final. Price: 40 Euro

1080. IKE REIKO: “Kokotsu No Sekai” (Teichiku/ Lawson Entertainment – TEA-12) (Record: Mint/ Gatefold jacket: Mint/ Obi: Mint/ Poster: Mint). After the Tiliqua reissue, the first ever legit LP issue of this magnificent disc. All previous outings were boots so nice to see this one properly done. Japan only Record Store Day issue that sold out in the blink of an eye, already out of print after one day. If you ever bought the Bamboo – UK released bootleg of this album, then yes basically you have been ripped off. Sonic wise it sucked donkey balls and visually it was a disaster. Here is the real deal, hardly ever shows up and it is a real stunner, both visually as well as musically. Unbelievable rare on these shores and without a doubt one of the greatest and most compelling sonic artifacts ever let loose. Rare does not even come remotely close to describe the scarcity of this disc, the most depraved erotic and sexiest disc ever to have been put down on wax. Here is what the guys at Boomkat had to say about the album: “This disc is one of a series of releases from the stunning Tiliqua label, and documents an area of Japanese culture most of us know very little about – erotica. Yup you heard me right, and although many of the internet-savvy amongst us will be more than familiar with Japan’s strange take on the world of the naked lady often being compromised by something testicular and from a distant planet, this is an era more focused on titillation and shattered innocence than anything you might find knocking around on a Hentai babes calendar. This particular lady named Ike Reiko was only a mere 17 years of age when she recorded this record, and was already a star in the world of Japanese erotic movies. Yup in that age old tradition of lying about your age, Miss Reiko did it to slide her way into the seedy world of porn – not exactly buying a packet of fags and a 6 pack of Strongbow is it? Apparently these movies were somewhere in-between the girl-gang revenge movies of the Blaxploitation era and the Women in prison style savage eroticism and dubbed ‘Pink Violence’, with tooled up honeys wearing just little enough to bare their ample breasts while they laid waste to the enemy (men?). I can’t say I’ve managed to track down any of these movies but after reading about them I feel almost duty bound to observe them closer, I mean it’s my job as a reviewer surely to make sure I have as much background as possible is it not? Funnily enough then, with all the tough-gal image the music is pretty darn life-affirming, but don’t think for a second you’re getting an easy listening album here – this is about as sexual as music can get. Throw ‘French Kiss’ out of the window and kiss goodbye to your Serge Gainsbourg records goodbye, Ike Reiko is more sizzling than a branding iron as it makes it’s mark on the farmer’s herd. The sex is literally dripping from every note on this record – I’m told that the style is ‘Iroke Kayôkyoku’ or erotic kayôkyoku (kayôkyoku being a style of Japanese pop) but the sort of naïve jazz and pseudo spy theme movie music is all draped in a shroud of sexual shouts, screams and coos from the clearly excited Reiko. One must assume that she was in some kind of state of euphoria in the recording studio from the evidence on offer here, either that or she’s a pretty realistic faker – it’s a smoldering collision and that’s about all that needs to be said. ‘Kôkotsu no Sekai’ has to be one of the finest gifts for the music fan in search of that killer oddity – not only is it a fabulous record but it’s so wonderfully presented with gorgeous artwork and extensive liner notes, I can’t think of a saucier and more appetizing delight this Christmas. Buy, before it’s gone for good.” First ever legit LP reissue, identical to the original but already long gone. Price: 100 Euro

1081. IKE REIKO: “Sukeban Blues Mesubachi No Chosen” (Solid Records – SD-506) (EP Record: Mint/ Picture Sleeve: Mint). Ultra-limited EP release that sold out in the blink of an eye – one-time limited pressing of only 500 copies. Killer sexy girl boss/ iroke vibes by Ike Reiko, until now unreleased soundtrack bits of Ike in full swinging action. Totally indispensable if you are into sexy voiced and bad attitude Japanese early 1970’s violent and erotic starlets. How can you possibly go wrong with something like that? Highest recommendation but sadly enough due to the limited pressing and high quality of this release, they went instantly out of print upon their release date and are already quite sought after. Music is killer btw… Price: 75 Euro

1082. ILYAS AHMED: “The Vertigo Of Dawn” (Time-Lag – Time-Lag-042) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint). “Much anticipated first proper release after a string of ear tugging & increasingly impressive private press cdrs. A real shinning spirit in these somewhat goofy times of “folk-psych” abuse, this guy nails it like its in his DNA. Way beyond a simple formula, this is a complete tonal voyage. Opening the album with a dark ritual of dueling reeds and buzzing drones, things than erupt into some seriously burning psych raga excursion built from totally heavy, jamming, acoustic guitar licks, eastern grooving hand percussions, stoned backwards or fuzzed-out electric guitar splatters, and subtle creaky drones. The vocals are nearly unintelligible but swirl beautifully through most songs like floating smokey ripples. woozy, head bobbing, and completely THERE. yow…” (Label Description). Price: 75 Euro

1083. IMADA MASARU TRIO + 1: “Maki” (Victor Records – SMJX-10106) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent – lower middle seam split & wrinkle on back). Freakingly rare and impossible to dig up 1970 Japan 1st press original with OBI! Copies without obi do surface from time to time and almost always the sleeve has serious issues. This copy here is the never seen before WHITE label Promo complete with never-offered-for-sale OBI. A minor miracle and in amazing condition. Released on the legendary Victor Records “Ni Hon Jazz Series”, Imada Masaru’s “Maki” is one of the rarest & most revered Japanese jazz slides to see the light of day. The line-up consisted out of: Imada Masaru – piano, Mimori Ichiro – Tenor Sax, Mizuhashi Takashi – bass and Ozu Masahiko – drums. The trio & quartet on this recording gels together like a cohesive and steady unit, moving forward in a poetic, be it a slightly introspective fashion, guided by Imada’s intuitive piano playing. Nothing hollow and out of focus here, these lads execute the job in a beautifully painful manner, floating on polyrhythmic modal grooves and driven by Imada’s understated molecular shifting piano-lines, sparsely adorned with minimal talking drums, straightjacketed demonic bass riffs and the occasional sax howl. They manage to create a hypnotic and arresting listening experience that only seasoned scenesters can achieve by dissecting all of their movements into fractious pieces floating on an intuitive approach, a system of Dickensian severity that results in a bewitchingly eargasmatic modal groove that is brimful of poetic resonance. Therefore, it stands shoulder to shoulder with the best recordings of that golden age but unfortunately sales were back in 1970 depressingly low, making that this maverick here is one of the most sought after Japanese modern jazz slides to seep out of Tokyo’s underbelly. Especially all complete copies with obi are virtually nonexistent and to make the whole deal even more mouthwatering, this baby here is a white label PROMO issue. Top condition but damned oh so elusive with the obi present. Obi has a wrinkle on back and a 1cm lower seam split, for the rest perfection all round. It is nothing short of a miracle that the obi is here to begin with so…. Only know of a couple of people owning a complete copy of this beast so…you need to go to periscope depth in order to wheel this white whale of Japanese jazz into your collection. Price: Offers!!!
1084. IMPULSE ARTISTS ON TOUR: “S/T” (Impulse – IMP-88180) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: near Mint). Rarely seen 1974 Japanese press issue – WHITE label PROMO issue with obi. Smashing Impulse title and one that always gets discarded from some perverse reason beyond my understanding. Live performances by Gato Barbieri; Keith Jarrett; John Klemmer; Sam Rivers and Michael White. Highly recommended and in desperate need for urgent reappraisal. Price: 60 Euro
1085. INCREDIBLE STRINGBAND: “The 5000 Spirits of the Layers of the Onion” (Victor Japan – Blue toned Electra label – SWG-7574) (Record: Near Mint/ Jacket: still in shrink and mint/ 6-paged Insert: Mint). First Japanese press out of 1972, bloody rare to track down these days and released in ltd quantities back in the day. Totally mint copy. Musically and lyrically, what lay at the heart of this magisterially titled The 5000 Spirits or The Layers of the Onion (which came out in 1967) was what seemed to be a casually weird and strangely lovely variation upon two distinct traditions. These were American folk music as distilled by Guthrie, Seeger, and, especially, Dylan whose cryptic and quite possibly profound poetry of the mid-‘60s was a pronounced influence on Williamson and the trickster-storyteller heritage the pair inherited from the myriad bards and minstrels scattered across Scottish history. Conspicuously absent from the ISB concoctions of these and subsequent years are an active engagement with goings on in the political sphere. Their allegiances at this time were to a whimsical and romantic brand of mystical adventurism, the goal of which was to transmute the stuff of everyday experience into a breezily exotic ether, leaving its breathers in a state of occasionally wistful cheerfulness. This is the rare Japanese 1st press on the blue Electra label. Top-notch copy. Japanese press just never ever surfaces…Total MINT copy. Price: 150 Euro
1086. INCREDIBLE STRING BAND: “The Hangman’s Beautiful Daughter” (Elektra/ Victor Records – SWG-7560) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint) 1972 rare Japan 1st press original on the “Guitar Player” logo Elektra imprint. This is hardly ever offered WHITE LABEL PROMO ISSUE!!! “Continuing the inventiveness of ‘The 5000 Spirits’, the duo reaches their peak on this frequently brilliant record, creating some of the most mesmerizing psychedelic folk ever recorded. It opens with a masterful 3-song salvo from Williamson. ‘Koeeoaddi There’ is an evocative and utterly compelling childhood memoir, ‘The Minotaur’s Song’ is a crazed mock-operatic nonsense song delivered with impressive conviction and ‘Witches Hat’ manages to be silly, spooky and pretty all at once. The side ends with Heron’s notorious ‘A Very Cellular Song’, which divides fans, I find some sections preferable to others but there is no denying its uniqueness or ambition. On side 2 they come a little unstuck as the atmosphere becomes heavier and more portentous, largely unleavened by their trademark lightness of touch. There are wonderful things on it though – Heron’s ‘Swift As The Wind’ is an intense Indian blow-out, Williamson’s ‘Waltz Of The New Moon’ is another startling odd and beautiful song and his sitar-tinged closer ‘Nightfall’ is perhaps the most beautiful thing they ever recorded.” (RMJ – Galactic Ramble). Stellar UK psychedelic folk slide, this is the high quality 1st original Japanese pressing, NM condition & white label PROMO copy to boot, never seen promo of this one before. Price: 150 Euro
1087. INCREDIBLE STRING BAND: “U” (Elektra/ Victor Records – SJET-8315‾6) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Insert: Excellent). Rare Japanese 1st press copy complete with never seen before rare obi and insert booklet, as released in 1970. “Even by the Incredible String Band's own standards, U was an eclectic enterprise. The outfit once described by their producer Joe Boyd (in a 1997 piece in The Guardian) as "the first world music group" had already been weaving folk, rock, blues, mysticism, and the sounds and instruments of several continents into a unique mosaic for four years and half a dozen albums before U appeared in 1970. U was not just more of the same; it was a lot more of the same, the double album filling up nearly two hours of music. The two-LP set boasted a pretty staggering diversity, from an Indian sitar-paced instrumental and whimsical psychedelic folk minstrelsy to American nineteenth century saloon raunch and tunes that skirted confessional singer-songwriting, old-time country-folk, barrelhouse blues, and straight-out rock'n'roll. (Richie Unterberger). As essential – if not even more – that all the early ICB albums, this album gets overlooked most of the time but is as astonishing as the rest. Original Japanese pressing with obi…does hardly ever turn up, so better make a move quickly on this one since it comes quite cheap. Price: 150 Euro
1088. INDEX: “”S/T” (VOXX – VOXX.200.023) (Record: Near 2int/ Jacket: Near Mint). Truly amazing 1967 basement garage-surf dementia that will floor anyone with a decent set of ears. “primitive surf-garage-psych with off-key teenage vocals and an unreal soundscape; imagine Dick Dale jamming with 1966 Velvet Underground in an airplane hangar after a night of booze & Quaaludes. Great band originals share the stage with unparalleled Byrds deconstructions, while some of the feedback and drone passages are bordering on avant noise. A true missing link item bridging the early and late 60s sounds.” (Acid Archives). 1983 reissue of this ultra rare slide. So good. Price: 50 Euro
1089. INDIAN SUMMER: “S/T” (RCA Neon – SRA-5518) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ OBI: Excellent – has some foxing stains visible on back side of obi due to age). First original Japanese pressing in top shape. Awesome copy of this totally underrated hard guitar prog feast. This one is next-to-impossible to find with the rare RCA Neon obi present, only the 2nd copy ever I see with obi in my lifetime. Due to the ageing stains on back of obi the reserve for this one is reasonable but then again, a one of chance to wheel in a true Japanese press rarity. Price: Offers!!!
1090. INOMATA TAKESHI & SOUND LIMITED: “Drum & Wadaiko” (Teichiku Records – SL-1325) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Rare – with obi present – Japan first original pressing of groovy jazz shaker. Brilliant and vibrant cross-over slide that successfully blends Japanese oriental vibes with heavy jazz fumes and delirious organ lines. Brimming over with sharp brakes and ass-whipping grooves, Inomata Takeshi creates a real intoxicating atmosphere on this one, with the Wadaiko (Japanese percussion) upfront and ripping the stale air to smithereens. Everything is smack and packed in place, evolving around the percussion as lysergic guitar lines and pulsating organ riffs spin off into deep space. Every track is blessed with a groovy late sixties vibe, fusing oriental exotism with lounge-core and Tupperware madness. Really nice cross-genre mind bender on a swing, loved by DJ’s and adorned by Japanese jazz heads. Rare to find this one as a first pressing from the late sixties, all complete with rarely seen first issue obi. Disc is real nice with an occasional hairline, heavy gatefold sleeve is EX with only a few faint mildew aging spots visible on back. A totally intoxicating and bewitching slide that brings the sunshine back into your grey existence. Highest recommendation!!! Price: 400 Euro
1091. INSPIRATION & POWER 14 FREE JAZZ FESTIVAL 1: “S/T” (Trio Records – PA-3006~7) (2 Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Booklet: Near Mint). Rare 1st original press with 1st issue GREEN OBI!!!! TOP CONDITION & with OBI!!!! Here you have a copy of the hideously rare 2 LP that documents a free jazz and improvisation festival that was staged in downtown Tokyo over the course of two weeks in June-July, 1973. As you might know, records that document the Japanese free jazz scene are almost impossible to track down. This one in particular gives a detailed overview of what was happening during the hey-days of the early seventies. The highlights on this disc are amongst others one of the most stunning pieces of sonic assault terrorism ever put down on vinyl by Takayanagi Masayuki's New Direction for the Arts ensemble, bringing forth a tremendous earlobe shattering version of “Mass Projection” that will certainly drive the cats completely nuts into the curtains and kerosene-infuse your otherwise sorry ass sex life. Furthermore are their stunning performances included by bass wonder Yoshizawa Motoharu, the Itaru Oki Quintet, Now Music Ensemble, Masahiko Togashi & Masahiko Sato, Yosuke Yamashita Trio etc. A highly recommended document that comes in a foldout cover graced with a beautiful ink drawing. Cool music and visual arts go hand in hand on this record. Needles to say that this sucker is also quite rare and rarely resurfaces. 1st time I have a true 1st pressing of this beast!!! TOP CONDITION!!! Price: 350 Euro
1092. INSTANT COMPOSERS POOL: “ICP-002” (ICP002) (Record: Near Mint/ Jacket: Near Mint). 1st original pressing housed in silkscreened jacket. TOP COPY!!!!! Second release on the Instant Composers Pool or ICP label but actually the first release to bear the Instant Composers Pool moniker. The first LP on the label (ICP001) was actually credited as Instant Composers since it was a duo recording of Bennink and Breuker. For this one, Breuker steps aside for a moment and Bennink get flanked by Misha Mengelberg and John Tchicai. Noteworthy on this groundbreaking recording are the sidelong tracks respectively called Amagabowl Part I and part II and the tracks Sweet Smells and Vietcong. The whole affair was recorded on May 13th and 14th 1968. It is a brilliant time piece of that era, opening up with dysfunctional piano lines by Mengelberg, against which Tchicai splatters out fractured sax lines punctuated by Bennink’s multi-facetted drum shifts and swirls. Staring off as a fragile and delicate excursion into mercurial free form territory, it isn’t before long or the trio’s insanely beautiful ravaging of high-energy forms come to the foreground, zooming in and out of the well-balanced delicate sounds of thunders before veering into ravaging blizzard like attacks. The three of them build on the apocalyptic energies of Bennink’s skin shifting, alternated by Mengelberg’s almost the Luciferian piano playing against which Tchicai splatters saxophone riffage ranging from almost alien-like marching bands squawk towards absinthial-huffing through bottom-end reed pumping. This is a classic and a true jewel of European free hardcore jazz. They sure ain’t coming any better than this. Highest all time recommendation. Price: 200 Euro
1093. INSTANT COMPOSERS POOL: “Lunchconcert for Three Barrelorgans – Willem Breuker” (Instant Composers Pool – ICP-003) (Record: Near Mint/ Jacket: Near Mint). One of the rarest and hardest to track down ICP records. First time ever I have a copy to spare of this one and then it is in near mint condition to boot. Apart from being the rarest ICP disc, it definitely also classifies as the most weird and oddly strange one. This surely is some demented shit that will infest your earlobes and I wonder if they can take this barrel organ extravaganza after being terrorized with FM sugary crap for the best part of the day. Recorded live at the Dam in Amsterdam on March 26, 1969 during lunch time, this collision course jam dementia of three barrel organs must have scared the casual passerby that day shitless and having them running for the nearest air shelter to dodge this sonic raid on the senses. Voices of passers-by pop up here and there, commenting on the sonic pollution taking shape before their eyes before hiding out in some nearby bunker in order to hang on to that last grain of sanity they may still possess. Anatomically atonal, disenfranchised disorientated insanity, mentally deficient sonic mayhem and pixilated unsoundness are some of the diluted impressions of musical grandeur I get catapulted into upon spinning this disc time after time. This is simply some of the greatest music ever recorded, which will saturate every mentally disturbed and eccentrically distracted. This disc gives a whole new meaning to improvisation, field recordings, outsider music or even so-called “real people music” and makes all the other improv discs sound like Little Red Riding Hood having a “Dejeuner Sur l’Herbe”. Music won’t get more “outsider” or “real” than this disc here, so start heading for the trenches and enjoy it. Just massive and all time possible highest recommendation. Bloody rare 1st original press. Price: 150 Euro
1094. INSTANT COMPOSERS POOL/ HAN BENNINK & DEREK BAILY: “S/T” (Instant Composers Pool – ICP-004) (Record: Near Mint/ Jacket: Near Mint). Original 1st issue, red & white ICP label. A clash of the titans so to speak and in a sense that sums up this record quite adequately since it was the very first of many collaborations between Derek Bailey and Han Bennink. What else can you expect from an interchange between two of the greatest improvisers ever except that it is a true marvel. Sad part is seemingly that this recording in question will probably never be reissued since apparently the master tapes to most of those early ICP albums have regrettably been lost, anyway, I may be wrong but I overheard a conversation once where this was claimed to be so by some people apparently “in the know”. Whatever. Those already familiar with Derek Bailey and Han Bennink should know what to expect from these two great free improv players, but this partnership really is a stunning one, one that will boggle your mind and ears and not necessarily in that order. The year is 1969, pre-dating other duo interaction between these two…dinosaurs. Although this clash took place in 1969, the album here still sounds as crisp and fresh like it was only happening yesterday; the music has not aged one tiny bit. Bennink and Bailey explore space and timbre in a surprisingly sophisticated way, sustaining freeform within the automatic constraints of their suburb interplay with Bennink trashing around wilder than a manic obsessive and Bailey’s mesh of discontinuous lines and phrases, punctuating Bennink’s moves and clattering percussion like a bee buzzing around a flower. Layers of tonal space are deconstructed, space is fractured and a highly abstract approach fuses neatly with chaotic atonal dissonance that again seems at times to be based on some arcane Archimedean formula. Bennink’s is as usual all over the place, rolling drumbeats that shift from steady pulses to all out attacks, pushing Bailey’s dynamics in all kinds of directions. Together they gel well into one body of disenfranchised energy keeping the music in constant flux which is quite stunning to bear witness to, even after all these decades since it was recorded. Just…impressively massive. Price: 150 Euro
1095. INSTANT COMPOSERS POOL: “ICP-005” (ICP005) (Record: Near Mint/ Jacket: Near Mint). Another highlight in the history of European free jazz is again a disc on the illustrious ICP label, this time being Instant Composers Pool 005. Recorded on March 3rd, 1970), The Instant Composers Pool collective was for this occasion expanded to a quartet with Mengelberg, Tchicai, Bennink and guitarist Derek Bailey. The line-up alone is on paper already strong enough to cause momentary lapse of reason to occur. And in reality, it also delivers the goods. The quartet draws much of their visceral power from the individual player’s interaction through the underlying tension they built up. Right from the start, they dive headfirst into freely improvised dialogue with Bailey tapping off staccato grips of notes and oscillating harmonics of such force that that they blur into Bennink's detailed, high-end percussion, cross-breed with Tchicai’s paint-peeling sax lines and Mengelberg’s lyrical piano playing. From there on it just gradually snowballs into a wide array of creative ideas that peak and volcanically erupt into mercurial gushes of well-balanced and delicately crafted free improvisation that feels as abstract as a leather-clothed nun in high pin heels trampling on your scrotum. I guess you get the picture, delicately crafted streams of hot lava one tried to channel in vein towards unpopulated areas. Instead they still scorned and burned the earth where they passed through and leaving dead bodies in its wake. Same story here, just hot, hot, hot. Price: 150 Euro
1096. INSTANT COMPOSERS POOL: “ICP-006 – Group Composing” (ICP006) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT). Original pressing in TOP condition, 1st press issue with red & white labels. Best copy imaginable. Another slab of great European improvisation. Here is what Eugene Chadbourne had to say about this thrilling masterpiece: “The name Instant Composers Pool has become synonymous with the extended ensemble of Misha Mengelberg, closely identified with both his compositions and his amusing outlook on life. These associations mean the use of the name in conjunction with this early-'70s recording may wind up hiding a crucial and astonishing document of group improvisation. The German, Dutch, and British scenes come together for this extended piece of music, spilling over two sides and titled simply "Groupcomposing." The players featured are some of the most famous and well respected from these countries, interacting in a hustle bustle of energetic attacks and contrasting moods that is bound to make fans of the European free improvisation scene jump up and down, and why not since the people downstairs are probably already horrified. Some of these listeners, again, think Instant Composers Pool and imagine written charts, somewhat similar to what Willem Breuker cooks up. This album is much more like the acclaimed Topography of the Lungs release from roughly the same era, and in fact that album's three participants are all on hand here: Derek Bailey playing electric guitar with a tone that will make listeners want to raid the fridge, Evan Parker demonstrating how to play frantically and subtly at the same time, and Han Bennink approximating a windstorm on percussion, all fairly well recorded for this period. Mengelberg is also more on the case than he often is in these types of settings — he uses space, but does more than just sit back smoking and watching the others freaking out. Paul Rutherford is great on trombone, and so is the drummer's underrated brother Peter Bennink on both dangerously addled alto saxophone and preposterous bagpipe. Followers of this admittedly very challenging music all have their favorite events where the music just seemed totally inspired, one startling scenario developing after another on-stage. That, boy howdy, is just what this record is like.” (Eugene Chadbourne). Another milestone recording that to these ears is indispensable if you have even the slightest interest in free adventurous music with an edge towards the adventurous, unexpectedly and dangerously intense.....Impossible to ever upgrade upon!!!! Price: 200 Euro
1097. INSTANT COMPOSERS POOL: “S/T” (ICP – 007/008) (2 LP Record Set: Near Mint/ Round Chocolate type Circular Box with Velvet Rim: MINT, top condition). TOP COPY, best one around, chocolate box is virginally clean which is nothing short of a small miracle! Original 1st Dutch pressing, only the very first issue of this magical 2 LP set was released and housed in a delicately round chocolate box set. Original 2 LP Box, known as either the “Chocolate box” or “Cheesecake Box” as issued by the Instant Composers Pool collective. The records inside the box are flawless, looks like it has hardly been touched and played The box itself is perfectly in shape. The killer free-blowing line-up includes some hardcore heavyweight players such as Han Bennink, Willem Breuker, Gunter Hampel, John Tchicai, Misha Mengelberg, a. o. documented some of Breuker's work from 1968-70. Privately issued by ICP, Holland 1970, ICP 07/08, Box & records are in stunning condition. Truly a rare item, hardly turns up these days and one of the cornerstones of the European hardcore jazz avant-garde. Mega recommended. This is the very rare original issue of Instant Composers Pool 007/008, a two record set, in a special designed box, often referred to as a CHOCOLATE BOX, with velvet at the sides. ICP 007/008, this is the original black & red label heavy vinyl issue, from 1970. With the original inner sleeves, corners original folded in the plant, to fit them in the round box. Box has so splits and is in perfect shape. Records are Near mint. TOP COPY!!!!! Price: 500 Euro
1098. INSTANT COMPOSERS POOL – HAN BENNINK & MISHA MENGELBERG: “Instant Composers Pool 010” (Instant Composers Pool – ICP-010) (Record: Near Mint ~ MINT/ Jacket: Mint). True 1st original 1971 pressing with typographical styled labels. Latter pressings have different label type settings. TOP CONDITION. Killer slide of early European free jazz trench-warfare action dating back to March 23rd, 1971. This slide of mercurial interplay documents the head-on collision and subsequent radioactive fallout that emanated out off the explosive interaction between skin mangler and enfant terrible of the drums Han Bennink and ivory-key/ piano and Putney synthesizer deconstructionalist Misha Mengelberg. This disc is the evidence of an ear-peeling encounter between those giants of the Dutch unequivocal free jazz scene, sucking out apocalyptic energies from each others interaction and igniting ravaging high-energy forms as a result of it. Primitive fury and minimal free blowout aesthetics fuse neatly into one, making this document so god damned awesome. Rare 1st pressing in top condition. One of the cornerstones of the European free jazz scene of that day. Ear-bleedingly great and indispensable. Pristine condition, impossible to upgrade upon!!! Price: 200 Euro
1099. INSTANT COMPOSERS POOL - MISHA MENGELBERG 10-TET: “Tetterettet” (ICP – 020) (Record: Near Mint ~ Mint/ Jacket: Excellent ~ Near Mint) Original 1977 first pressing on the highly collectible ICP label. “The "Tetterettet" series, besides representing a substantial raid on the "t" drawer of a typesetter's box, were a series of compositions for a ten-piece group by Dutch pianist Misha Mengelberg. He is often likely to fling one or two of these sections at a concert audience, and the more the better. This brilliant '70s release from the Dutch jazz scene has an entire side of these pieces, more evidence than ever before that as a composer, Mengelberg created with this collection of pieces an incredibly satisfying balance of his noisy avant-garde instincts and obvious flair for both serious and comic written themes. A great instrumental lineup was assembled to play this music, which includes many complicated passages and stops on a ten-cent coin, about which it should be pointed out that the Dutch version of a dime is even smaller and thinner. Mengelberg’s longtime rhythm section partner drummer Han Bennink is joined here by bassist Alan Silva, who along with guest saxophonists Peter Brotzmann and John Tchicai make sure a certain sort of meat is served when it comes to ensemble improvising sections. No fear of surly rioting here, the music is meticulously controlled, with the "Tetterettet" material seemingly organized to moderate a flow of different improvised groupings. The presence of players such as cellist Tristan Honsinger and Michel Waisvisz on his self-invented electronic "cracklebox" means some of this improvisation gets pretty far out. Trombonist Bert Koppelaar is a lesser-known but dynamic and inspired soloist from this period who also wrote the illustrious tune "Ludwig's Blue Note." (All Music Guide – Eugene Chadbourne). One of the rarest and most delirious insane recordings on the highly collectible ICP records imprint. Top copy, 1977 first original pressing. Price: 150 Euro
1100. INTERNATIONAL HOLY HILL JAZZ MEETING – 1969: “S/T” (MENO Liechtenstein & CB Records – No. 6769) (2 LP Record Set: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint). First original pressing – German private press issue that saw the light of day back in 1969 in a small limited run. A record renowned for always surfacing in bad condition. This is the first time however I could lay my eyes upon a mint copy!!! Impossible to upgrade upon!!! A true “holy” modern/free jazz gems of the late 1960s. The original double LP was issued by Meno Liechtenstein’s CB Records – he was also the organizer of the “International Holy Hill Jazz Meeting” in Heidelberg/Germany. The sound quality is fairly good as can be expected for a below-the-radar private press issue of that day. But bare in mind, this was a low-key operation and a cheap pressing so do not expect any Blue Note type of high fidelity audio honey dripping. Nevertheless this was a legendary moment in European free jazz – performances all recorded on a single Sunday in 1969 – but which stand as some of the most powerful music of the time! The vibe here is often in the best spirit of early FMP, or maybe the most outside work of MPS – and the recording quality equals the best avant jazz on both labels – with very long performances on each track that represent the pinnacle of all players involved! One side alone is worth the price of admission – a searing track titled "Finally", performed by an octet with Peter Brotzmann at the helm, alongside Evan Parker on tenor and soprano sax, Fred Van Hove on piano, Paul Rutherford on trombone, Peter Kowald on bass, and Pierre Favre on drums. Favre returns on "Let's Talk About The Weather" – played by a trio with Kowald on bass and Irene Schweizer on piano. Other tracks include "Five To Five" and "Gluga Gluga Blues" by the Joki Freund Quintet, "In Memory Of John Coltrane" by Marion Brown, "Vibration" by the group of saxophonist Joe Fiera and trombonist Ed Kroger, and "Circus Live" by a quartet led by Rolf Kuhn on electric clarinet, with Joachim Kuhn on piano and Stu Martin on drums. As you know a viciously rare slide, not many copies were pressed and so far most copies that surface are at best in VG++. This copy here is NM〜M on all fronts, gatefold jacket is crispy and clean with no damages and both records appear to be unplayed. Seems like a dead stock mint copy. Impossible to find better, ever. Killer with absolutely no filler. Price: Offers!!!
1101. 2. INTERNATIONALES NEW JAZZ MEETING AUF BURG ALTENA: “Various Artists with PETER BROTZMANN TRIO – ALAN SKIDMORE QUINTET & MIKE OSBORNE – THOMASZ STANKO QUINTET – NEW JAZZ ENSEMBLE ’71 & KARIN KROG – ALBERT MANGELSDORFF QUARTET & THE TRIO JOHN SURMAN/ BARRE PHILLIPS/ STU MARTIN” (JG Records – JG 027/28) (2 LP record: Near Mint/ Gatefold Jacket: Near Mint). Bloody rare 1971 German private press set that contains the most furious Peter Brotzmann Trio ever recorded on wax, blowing his illustrious Machine Gun even out of the water as far as sonic violence is concerned. Bloody rare original that just about never ever surfaces. Killer free roaming jazz head fuck from start to finish and one of the best recordings out there to blow your earlobes to Kingdome Come! Price: Offers!!! 
1102. INTERNATIONALES NEW JAZZ MEETING AUF BURG ALTENA: “S/T” (Private – JG Records – JG21 ~ 22) (2 LP Record: Near Mint ~ Mint/ Paste-on Gatefold Jacket: Near Mint/ Attached 4 Paged Picture Booklet: Near Mint/ Poster: Mint). Top notch condition German private press free jazz monster that saw the light of day in 1970 and comes all complete with booklet and with the always-missing poster present! Hardly ever turns up, let alone in such virginal nick as this baby here. Killer 2 LP set of recordings from the first festival of New Jazz Meeting in Altena. Music was recorded at the festival but there seems to have been no special agreements with the musicians at the time about releasing the material. JG (Jazz Groove) records did a whole bunch of spectacular releases. Jampacked with creative music of astonishing quality such as the Eje Thelin/ Joachim Kühn group out for example — ass-kicking free jazz with very creative solo works of guest Rolf Kühn and Swedish trombone maestro Thelin. The John Surman Trio is another highlight here and finds the group at its creative peak! Fireworks like interaction, highlighted by propulsive bass and drum head collision that demonstrated the luminous energy and cohesiveness of this particular rhythm sections, turning it into a beacon in the history of freer jazz! Soprano sax lines bulldozing itself to the surface like thick liquid lava but defined and articulate which could only be done by the TRIO! Next up is the Wolfgang Dauner Trio making a sidelong sonic statement with Eberhard Weber at helm, playing the bass in a way that we wished that he never would have changed to the smaller sized cello later in his career… but who is playing the ripping guitar? Quite a confusing side but challenging nevertheless. A massive sonic document of an extremely active and creative period in the developments in creative music in Europe that makes you feel like being afloat on a shipwreck of nonconformity, that proves the summer of 1970 was an all scorching one! The whole affair comes housed in a beautiful handmade red cover complete with eye-popping photobook, displaying shots of both audience and musicians. Massive! Price: Offers!!!!
1103. INTERSYSTEMS: “Number One” (Allied – IS 1S) (Record: Near Mint/ Jacket: Mint ~ Still in shrink). Hideously rare and largely still undetected Canadian private press on the highly collectable Allied Records label that fuses sound poetry nonsense Dadaism with experimental, avant-garde, electronic music and weird psyched-out & frazzled-up effects that defies all reason and meaning. Released way back in 1967, this was Intersystems first release, and right from the start depicted them as avant-garde freaks with a taste for the psychedelic surreal as they go on to exclamate, rant, recitate and create their demented texts and word juggleries in a curiously zombie-like tone, all set against a primitive buzz-humming static noise, freaky dusty electronics and musique concrete background. The weirdness on display dwells in similar regions as Bill Bissett and See Hear albums. But Intersystems even manages to outdo both of them to such an extent that the recitations and ramblings of emphatically spoken vignettes of lysergic apocalyptic poetry are spiked up with surreal punctuations of demented musique concrete weirdness. The end result is very estranged hell-broth piece of sound art that has to be heard in order to be believed. This disc is rocking my boat for already the better part of the decade and finally I am psyched to be able to offer this spare copy. Over the top brilliance in disguise and should appeal to everyone into weird stuff, avant-garde junk noise, crackbrained ravings, atmospheric psychedelic backdrop art-scum, Dadaist thundering low-fidelity outbursts of mutant spoken weird hallucinatory rants and rambles, oscillating jangled mix of dusty gnawing sound FX, frenzied sonics, hallucinated hog-wild declamations and unhinged sound art. A total must!! Amazing original copy, don’ believe they come any better than this one here. Price: 550 Euro
1104. IOWA EAR MUSIC: “S/T” (Corn Pride) (Record: Excellent/ Jacket: Excellent). Original 1976 private pressing. As is usual the case with strange and obscure avant-garde records, US Creel Pone is bound to make a nice bootleg of it, giving it finally some extra exposure and bringing a whole new audience to this initially overlooked music. So in cultivating a good tradition, I – in return – hijacked their descriptive mumbo jumbo, so boot the text so to speak. "This one’s certainly a mold-breaker; closer in spirit to Cage/Tudor’s “Indeterminacy” than the sort of bedroom solo composer/producer/performer LP’s that have been the creel pone archetype thus far... improvisors were set up in 4 different isolation booths in the studio in Iowa State University’s recording studio during the ‘67-’75 seasons. These simultaneously occurring sound-events captured in real time, then collaged via tape & electronic processing by the studio-head Michael Lytle afterwards. There are brief snatches of amazingly dense, if even inept euro-style improvising; all dove-tailed with some great bits of zonked analogue electronics, vocal droning, and climactic, tape-speed warble free drumming (which, inexplicably erupts at one point into a reading of “lonely woman” for cavern-reverb trumpet and square-wave sequenced moog bass !!!) My favorite thing about this LP is that no one piece stays in one place for longer than a few minutes until the chopping block is brought out and a static-feeling improv is fiercely juxtaposed against a blast of pitched up stereo-echo blast along the lines of “several species of small furry animals gathered together in a cave and grooving with a pict”. It’s inspiring to know that this sort of free-wheeling electro-acoustic improv-tomfoolery was taking place even in the most Midwestern of geographies during the early 70s... There are certainly echoes of the work of similarly-minded ensembles such as MEV, Gruppo Nuova Consonanza, and New Phonic Art, although natch this is considerably more ad-hoc/rough-around-the-edges... fans of Mimaroglu & Hubbard’s “Sing Me A Song Of Song My” will find parallel here, even if it’s a rougher, a-political one...” (creel pone/ Mimaroglu). Spot on, an outsider electronic masterpiece coming to you straight out of a sonic wasteland. So necessary, it will knock you flat out. Price: 150 Euro
1105. I.P.E.M. - V.A./ MUZIEK IN VLAANDEREN – MUSIC IN FLANDERS: “S/T” (Alpha Records – DBM-N257) (Record: Near Mint/ Fold Out Jacket: Near Mint) Hideously rare and seldom offered album documenting the early sixties and early seventies electronic music and musique concrete excursions of Belgian composers affiliated with the IPEM studios. Barely documented, in writing as well on disc, electronic music of the Low Countries is highly innovated and extremely robust in its approach to sound. Unlike their contemporaries like Jan Boerman and Dick Raaijmaekers, Belgian composers such as Louis De Meester, Lucien Goethals, Peter Beyls and Raoul De Smet have a tendency to be more radical as far as their approach to sound is concerned. This essential compilation of early Belgian electronic music excursions is filled with mind-bending sweeps in the electro-acoustic score contrasting with razor sharp biting main themes, voltage fluctuations, changing speed and pitch, rarely articulated rhythmic manners, rectangular waves of thermal noise, harsh electronic sound clusters that follow each other in rapid succession in order to build very well defined figures with a pronounced beat all with decreasing and increasing intensity, sinusoidal sounds and so much more. A delirious listening experience. All compositions were created between 1962 – 1974. Hideously rare and in top-notch condition. This disc is too good to be described in words. A killer from beginning to end. Rare as hell. Price: 300 Euro
1106. IRON BUTTERFLY: “In-A-Gadda-Da-Vida” (Atlantic – MT-1054) (Record: Near Mint ~ Mint, appears to be Unplayed/ Gatefold Jacket: Near Mint ~ Mint/ OBI: Mint). Original Japanese 1st press issue housed in Japan only thicker-than-life gatefold jacket. And complete with seriously rare 1st issue obi Perfect copy!!!! Still surprised how viciously good this one sounds after having heard it for a zillion times. One of the most addictive riffs of all time? Obi on it looks so damned nice, top copy, they do not come better than this one. SOLD
1107. IRVINE, WELDON: “In Harmony” (Strata-East – SES-19749) (SEALED ORIGINAL).  1974 US first original press issue in SEALED condition. Weldon Irvine meets Strata East – and the result is one of the keyboardist’s funkiest albums ever! The set’s more jazz-based than the soul/funk outings Weldon cut for RCA and his own label – with great focus on Weldon’s lines on clavinet and Fender Rhodes – supported by sweet guitar lines and lots of heavy percussion – often a mix of drums and congas, which really sounds great. Pianist Virginia Joe Jones joins the group on a few cuts – but the main star here is definitely Weldon, who sparkles wonderfully on some spiritual keyboard solos… A dead-drop classic in perfect nick, what can a mortal possibly ask more for. Give me your best shot. Price: Offers!!!
1108. ISKRA 1903 - BAILEY, DEREK; PAUL RUTHERFORD & BARRY GUY: “Iskra 1903” (Incus – INCUS-3/4) (2 LP Record: Near Mint/ Gatefold Jacket: VG++ - has sticker residue in upper right corner and some foxing due to age). Original 1st pressing, Incus Records SKY-BLUE turquoise blue colored label. Comes housed in first edition sleeve as well. Released in 1972, following a recorded live gig at the ICA London on August 1970 and May 1972. Original press. Iskra 1903, named after a newspaper founded by Lenin, has had several incarnations. This one was the first: Paul Rutherford (trombone and piano), Derek Bailey (guitar), and Barry Guy (double bass). The first revelation here is that Rutherford plays piano, and that he's a worthwhile improviser on that instrument. The second is that this music, for all its uncompromisingly unpremeditated and atonal character, contains a great deal that beguiles and fascinates. Each of these non-quartet pieces is beautiful in itself, and all share a very similar musical approach, which means that during a casual listen one is not aware of shifting personnel so much as of a multi-leveled performance. There's a general sense of continuity between all of the pieces on display here which gives them the feel of a continuous performance while the changes in line-up keep it varied on closer inspection. Trying to catalogue the music on the other hand is a bit more difficult and I personally am of the impression that is cross-borders several styles albeit being confined to their own sonic spectrum. Call it improvisation, free jazz, avant-garde, contemporary music or even psychedelic if you like, Iskra 1903 fits all of these nametags like a glove. But that aside this 2 LP set still stands firm as one of the most interesting documents to shed a glimpse at the budding UK improve scene of the early seventies. Each time I put this sucker on it sends chills running down my spine in eager anticipation to the sound palette to unfold before my eyes and ears. It just rocks and rocks hard. Stellar music and getting a tough one to dig up very first Incus pressing with first Sky Blue colored labels. Price: 150 Euro
1109. ISRAEL VIBRATION: “The Same Song” (Top Ranking Records – Side A Matrix: DSR7911A/ Side B matrix: DSR7911B) (Record: Excellent ~ near Mint/ Jacket: Excellent). Original 1978 Jamaican pressing on the green colored Top Ranking label. “One of the most exciting debuts of the roots era, Same Song boasted the cream of Jamaican musicianship backing the vocal trio, including Sly & Robbie, Augustus Pablo, Mikey Chung and Ansel Collins. Producer Tommy Cowan took special care with this record and insured that the all-star cast never overwhelmed the vocalists. This was a real danger, as Israel Vibrations were far from the most powerful of singers. Other vocal groups of the day could easily hold their own in the midst of the deepest roots and dub, but the Vibes needed sympathetic arrangements to best showcase their unique sound. In fact, it was their very vocal vulnerability that was the trio's appeal. The almost reedy quality of the Vibes' singing, the feeling that they were struggling just to gather the strength to even reach this paltry level of vocal thrust, was part of the charm. The group's actual physical disabilities just made their stylings all the more poignant. It was Same Song’s Rastafarian themes and the trio's obvious religious devotion, which made this such a cultural classic, even if the album doesn't have that almost melancholy quality of the Abyssinians nor the righteousness and fire of Burning Spear or Black Uhuru. Instead, the Vibes brought an almost child-like quality to roots, a naïveté hither unknown in what was otherwise a streetwise genre. The very simplicity and straightforwardness of the lyrics reinforces this feeling. The Vibes message of "Why Worry" sums up their personal philosophy of finding answers, hope, and salvation through prayer. The title track, a real charmer and hit to boot, insists that "we're all going to sing the same song," but their fervid delivery gives even this seeming platitude real power. Even when presented with the brutality of life, as on "Licks and Kicks," the album's only true political song, the trio still attribute the violence that inspired the song to Jah's will. One comes away from the album convinced that the trio have entrusted themselves to Jah, and, with that, all of life's complexities have fallen away. The meek shall inherit the earth, the Bible states, but as the Vibes prove, the meek aren't necessarily voiceless victims, and even the meekest amongst them can, in the right setting, be the loudest Same Song is a shout of belief, so heartfelt, as to quiet all else around it.” (All Music Guide). Top condition Jamaica original pressing, hard to find better of all time best killer roots LP. Price: 150 Euro
1110. ISRAEL VIBRATION: “The Same Song” (EMI Japan – bEMS-81257) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Damned scarce Japan original pressing all complete with insert and obi. Killer record and one of the finest reggae recordings out there. Rarely seen Japanese pressing, hard filled next to the Jamaican one for good measure. Price: 100 Euro
1111. IT’S A BEAUTIFUL DAY: “It’s A Beautiful Day At Carnegie Hall” (CBS Sony – SOPL-126) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Horizontal Capsule Obi: Near Mint/ Insert: Near Mint). Rare Japanese real time pressing of this West Coast gem, here in TOP condition and complete with rarely seen capsule obi. This is an excellent live album containing an incendiary performance of the band live at the prestigious Carnegie Hall, infusing it with a sunny West Coast vibe. The three big hits from the first album, “Hot Summer Day”, “Bombay Calling” and “White Bird” are all stretched out to greater than 8 minutes each. But, even the shorter songs have interesting jamming interludes. As with many of the San Francisco groups to gain prominence during the late '60s and early '70s, It's a Beautiful Day is best experienced in the interactive and reciprocal atmosphere of a live performance. Vocalist Patti Santos is stellar throughout and reignited the teenage crush I had on her. The band uses their ability to stretch and reshape familiar works into spell binding excursions towards new horizons. Stunning live performance and along with the Airplane, the Dead and Quicksilver one of the best discs to shed a light on that scene. Rare Japanese pressing with obi in total mint condition. Price: 250 Euro

1112. ITARU OKI TRIO: “Satsujin Kyoushitsu” (Jazz Creaters – No Number) (Record: Near Mint/ Jacket: Mint). Top copy and it has been a while since I last had a copy of this head twister. Rare Free Jazz private pressing, released in an edition of 300 copies way back in the early seventies. Itaru Oki is a vastly under recorded Japanese free jazz heavy weight but the name should ring a bell if you check the entries on the magisterial “Power and Freedom 14” 2 LP set that contains a blood churning contribution by Itaru Oki. Here you have one a copy of a rare album of Itaru (Trumpet, flute, cowbells, triangle, bells, Indian bells, wood block, etc)) operating as a leader while being flanked by other under documented heavy weights Hozumi Tanaka (drums, gongs, timpani) and Keiki Midorikawa (bass, piano, gong). On this recording, the trio launches into fire blowing compositions that display a slowly enchanting atmosphere reminiscent to Don Cherry's eastern toned sound spheres before it all erupts into a fire belching free jamming assault on the senses, vicious and hard bopping, like spewing out hot chunks of lava. These guys meant business straight from the start, not giving a fuck about how the punters might conceive their sonic racket. The percussive maelstrom keeps on grinding down like tornado belching up debris on some deserted shoreline while the bass sounds like sawing and shopping away lumber in a Canadian forest. While this is the background crescendo, Itaru keeps on spewing out venomous sulfur induced fumes from his horn, making the whole experience lethally toxic to the exposed listener. After the hiatus grinds down to a slower pace, the trio ventures into more spread open improvisational territories, still burning with a craving intensity that spews out a shamanistic sense of beauty brimming over with sacred percussive rattles and shakes. More space is created for challenging interplay, demonstrating the greatness of each individual participant in this blood-curdlingly amazing slab of heaviness. Everything I expect a fantastic free jazz disc to have is embedded within this LP's grooves, heavy fixes everywhere you look, communal interplay, individuality and bliss-like cut in interventions. Hideously rare but sadly undetected piece of Japanese Free Jazz History. Private pressing and this is a dead mint copy, so go berserk, you won’t be disappointed. Price: 350 Euro

1113. ITARU OKI: “Genso Note” (Offbeat Records – ORLP-1010) (Record: Mint/ Jacket: Near Mint/ Obi: Mint). Extremely rare Japanese free jazz gem, recorded and released in 1976. Itaru Oki is a vastly under recorded Japanese free jazz heavy weight but the name should ring a bell if you check the entries on the magisterial “Power and Freedom 14” 2 LP set that contains a blood churning contribution by Itaru Oki. He was much taken by Togashi’s distinctive ‘speed and space’ approach to the rhythmic development of free jazz, and he deployed a similar oceanic pulse on early albums like Satsujin Kyoshitsu (Classroom for Murderers) and the album in question here, Genso Note (Phantom Note). Recorded on September 11, 1975, the band consisted out of Itaru Oki (tp), Yoshiaki Fujikawa (altsax), Keiki Midorikawa (cello, b, p), Yasushi Tanaka (ds), Gozo Yoshimasu (poetry). Fujikawa’s screaming alt sax explosions, Midorikawa’s cello and bass pulsating throbbings, Oki’s trumpet outbursts, Yoshimasu’s screaming poetry slurs and Tanaka’s precision percussion work are the main ingredients for this exploratory sonic marvel that travels into fire belching free jamming assaults on the senses, vicious and hard bopping, like spewing out hot chunks of lava. These guys meant business straight from the start, not giving a fuck about how the audience might conceive the sonic racket. The percussive maelstrom keeps on grinding down like tornado belching up debris on some deserted shoreline while the bass sounds like sawing and shopping away lumber in a Canadian forest. While this is the background crescendo, Itaru keeps on spewing out venomous sulfur induced fumes from his horn, making the whole experience lethally toxic to the exposed listener. After the hiatus grinds down to a slower pace, the quartet ventures into more spread open improvisational territories, less heavy loaded but nevertheless burdened with the same intensity and urge to spontaneously combust on the spot. More space is created for challenging interplay, demonstrating the greatness of each individual participant in this blood-muddlingly amazing slab of heaviness. Everything I expect a fantastic free jazz disc to have is embedded within this LP’s grooves, heavy fixes everywhere you look, communal interplay, individuality and bliss-like cut in interventions. But it isn’t before long they divert again into frenzied, hard boiling atmospheres of free interplay that is not bound to take any prisoners along the way. Hideously rare but sadly undetected piece of Japanese Free Jazz History. Highest possible recommendation. Price: 300 Euro

1114. ITSUTSU NO AKAI FUSEN: “Flight – Part 2” (URC Records – URG-4007) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ 4-paged insert: Excellent) Released in 1971 on the legendary URC record label, which was an abbreviation for Underground Record Club, one of the first labels to document early Japanese psych, folk and acid folk scene. This disc is together with “Flight Part 1” one of the all-time best records by this group. The name may not immediately ring any bells, but the band’s front man was Nishioka Takashi who also brought the previous year one of Japan’s most sought after acid folk relics being “Tokedashita Garasu Hako aka Melting Glass Box” record. This disc also dwells into some soft psych and acid folk imbedded regions filled with brilliant vocalizations, delicate mindsets, pastoral images, lysergic mind-numbing atmospheres and delicate lysergic instrumentations that will ooze your mind to relaxing heights after the fall out of an acidic hallucinatory rampaging trip. Great record and getting quite rare these days. Still up to this point largely undetected and ignored by most, this is still an excellent and stunningly beautiful soft psychedelic and acid folk perfumed record. Highly recommended. Price: 50 Euro

1115. IVERS, PETER with YOLANDE BAVAN: “Knight of the Blue Communion” (Epic – BN-26500) (Record: Near Mint/ Jacket: Excellent). First original US pressing of this all-time masterpiece of a disc. “After playing harmonica for Boston’s Beacon Street Union, Harvard music graduate Peter Ivers went solo and recorded this for Epic, with Sri Lankan jazz diva Yolande Bavan. Steeped in blues harp history, but with an ear for the European avant-garde, Ivers concocted an indulgent and multilayered canvas for Bavan’s impressive voice. Opener Cat Scratch Fever starts as a funky blues affair, descending into a disorienting jazz experiment before coming full circle. It’s something of a template for the rest of the album but, like Beefheart, whose influence is clear, Ivers never gets into anything long enough to form clichés. The lumbering, folky Dark Illumination bristles with expectancy: a pounding beat explosion is just around the corner, but never comes. Such delicious and satisfying tension is all over the record.” (Record Collector) Price: 125 Euro
1116. IVERS, PETER: “Terminal Love” (Warner: BS-2804) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Original 1974 US pressing of this deceptively normal but oddly strange weird record that ranks in my personal top 10 of all time best records ever. “Terminal Love” was Ivers’ second album, following “Knight of the Blue Communion” (Epic), and displays an odd mixture of high-pitched voices, unusual songs structures and twisted lyrics. The album was co-produced by Ivers and the free jazz bass player Buell Neidlinger (who auditioned for the 1975 Magic Band). Before embarking on a solo career, Ivers was a member of the Beacon Street Union member and later down the line the controversial host of "New Wave Theater" TV show. Apart from that, Ivers is best known for writing "In Heaven" (The Lady in the Radiator Song) in the David Lynch film "Eraserhead". Still as far as “Terminal Love” goes, it demands an acquired taste and I am sure most of you hip cats won’t be able to take it down in one swallow. When I first discovered the album many moons ago, I could not fully grasp it on a first hearing, in fact I didn’t understand what all the fuzz was about, it just sounded plain normal. But on the second or third listen it suddenly began to make sense to me. I began to like it and the LP became weirder and weirder, slowly shedding of its superficial jacket of normality and fading into a damned weird unclassifiable disc. And like some weird drug, it wormed its way into my brain and wouldn't let go. I've listened to it every day since then. In fact, it's become my favorite album. I've never heard anything else like it. I have a weird feeling that I will never hear anything like it again. In short, he presents a collection of demented pop-jazz ballads, which in a way could be labeled as Captain Beefheart crossbreeding with and fronting a band like Chicago or something. Anyway, any categorization will do this album injustice, it is just one of the single most and utterly weird discs to ever see the light of day. And it only gets better and better the more you dive into it, until it will be your favorite record ever and Ivers will start haunting your waking hours and dreams. Top US original copy without the usual cut out, so jacket is square and perfect. Price: 75 Euro
1117. J.A. SEAZER: “Subete No Hito Ga Shindeiku Toki Ni – When Everybody Is Going To Die b/w Kubitsuri No Ki – Hunging Tree” (CBS SONY – SANA-86120) (EP Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). One of the rarest J.A. Seazer releases that only saw the light of day as an EP release way back in 1971. This is a yellow label promo issue in top condition. First time ever in all these years I have a copy for sale of one of Japan’s greatest psychedelic – deeply haunting acid folk slides ever recorded and only released as shown here without ever showing up on any of his albums. This is a pity as the music is simply bewitchingly beautiful and resonates like a cinematic pan across your mental landscape, filled with ubiquitous echoes. This was J.A. Seazer’s debut recording and as soon as someone could lend an ear to it, the disc became a dark beacon among 1970s underground psychedelic folk records. It’s not just a question of fulfilling the basic criteria of good songwriting, vocal ability and instrumental prowess – and here we’ve already left most of the acoustic private press competition behind – but intangible elements such as atmosphere, presence, and artistic vision marks the record’s apex, with both lyrics and music traversing Seazer’s path from poetic resonance into the far reaches of haunted psychedelic folk vibes. It is one of the early Japanese psychedelic underground’s defining moments that is graced with a sense of shamanistic poetry and a gift for unexpected impact. A skeletal approach that brims over with undercurrents of depth, deceptively intense yet meticulous in its musical detail. Impossible to dig up and only released in tiny numbers as a single, this is simply a beast!!! Price: Offers!!!
1118. J.A. SEAZER: “JASHUMON” (Victor Records – SF-1021) (Record: Excellent ~ Near Mint/ Heavy Gatefold Jacket: Near Mint/ 4 Paged Fully Illustrated Insert: Mint/ SF OBI: Near Mint). Impossible to get 1st original pressing out of April 1972 in stunning top condition. NEVER OFFERED BEFORE all complete with OBI and in NEAR MINT condition – one of the rarest slides to seep out of Japan. Hard to believe but here is one of those much rumored about but actually never ever offered up for sale holy grail out of the deep bowels of Japan’s cum psych avant-acid bowels. Anyway, now you know about the bloody rarity status, let's talk music. So here I will briefly focus on Jashumon. It was J.A. Seazer's first ever-full work for the Tenjosajiki Company. By 1971 had the Tenjôsajiki Troupe's field of interest had shifted into the direction of legends, the incorporation of superstition and traditional Japanese entertainment into theatre, together with a renewed interest in visual and aural spectacle effects. These were set to use to heighten the sense of surrealism. The troupe's most renowned piece, “Jashûmon” (Gate Of The Heretics), premiered in April of 1969 at the Nancy International Theatre festival in France, followed by an European tour, passing through the Mickery Theatre in Amsterdam in June. In January 1972 the troupe returned to Japan, where they performed Jashûmon in Tokyo, followed in May by a recording of the play in Osaka by RCA Victor. The Jashûmon play itself doesn't relate to religious heresy or to a historical incident but instead refers to a brutal massacre that occurred near by a city gate. The central plot of the plays is centered around a young man who is forced to choose between his mother and a prostitute he loves. The whole of the play is presented as a rock opera conducted by J.A. Seazer, dwelling into the realms of Shinto-Buddhist rituals, lecture and street entertainment, interwoven with a pulsing rock sound, giving off dark and ominous sounds. The set-up of the play consisted out of a main stage with six platforms erected along the sides and rear of the seating area, augmented with a watchtower that was constructed in the center. The stage itself was draped in red and completed with reproductions of paintings by Ekin depicting obscene scenes of lust and violence. The musical accompaniment on the other hand anticipates perfectly to the overall mood with songs evoking the demons from hell, the taboos of unconscious or forbidden feelings, esoteric chanting of Buddhist rites, Oedipal yearnings and terrible guilt, starting of gently, slowly building up and becoming more insistent until it finally overflows in a bombastic climax filled with juggernaut organ workouts, Magma choruses, guitar fuzz breakouts and fully out-there acidic opera-like vocalizing. The play was clearly an experience to be captured by the senses. Extremely rare original press, does never show up, so make your move now before this one slips away and you have to wait another lousy decade to get a glimpse of one. TOP copy all complete with OBI – making it one of the rarest and also one of the greatest primitive heavy psych slides from Japan, KILLER. Price: Offers!!!
1119. JACKS: “Super Session” (Express – ETP-7726) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Bloody rare and never encountered before WHITE LABEL PROMO ONLY on RED VINYL!!!!!! First original 1969 pressing complete with always missing obi. Second Jacks album, recorded before the band would disband. This one is hard to compare to their illustrious first album, but still it has the Jacks sound imprinted well into the new compositions, albeit they sound quite different and more desolate. Bad omens are looming over the band, which is for sure. Still apart from the Tsunoda Hiro composition “Joe No Rock”, this album sounds like the ideal companion album to Hayakawa Yoshio’s first solo album “Kakkoii…” as far as desperation and overall gloominess is concerned but with one difference that this LP here is a band outing, the Jacks. And although demise is closing in on them, the still manage to sound as outer worldly as humanly possible, depraved, dark and close to nuclear fall out. Bleak music for even bleaker times, micro-dotted with teenage angst and lysergic fumes, the Jacks ruled and even now they never fail to amaze me. Fantastic, album and bloody rare with the obi present. Getting impossible to get especially a red wax copy & white label promo issue with obi, first time ever I have a top copy like this. Price: Offers!!
1120. JACKS: “Karappo No Sekai b/w Piko No Uta – Karappo No Sekai” (Solid Records – SOLID-1) (EP 7 Inch Single Record: Near Mint/ Thick Carton Gatefold Jacket: Excellent – some faint ageing mildew spots visible/ Insert: Near Mint). Amazing Jacks single that came out in 1986, containing 2 different versions of Karappo No Sekai aka Vacant World from their first LP and the Piko No Uta tune. The first version of Karrapo No Sekai was recorded on January 28th, 1968. Piko No Uta was recorded on February 18th, 1967 and the final version of Karrapo No Sekai dates back to June 10th, 1967. Essential outtakes of Japan’s finest underground act, the Jacks. Dark brooding psychedelics to infinity! Price: 50 Euro
1121. JACKSON C. FRANK: “S/T” (Columbia – SX-1788) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Excellent). Original 1965 UK pressing, MONO issue. “Jackson C. Frank's original 1965 album, produced by Paul Simon, is a lost classic, daringly complex and honest, filled with virtuoso playing that is all the more impressive for the offhanded way that Frank and company (including a young Al Stewart on one track) make it look so easy. There is a convergence elements here that may confuse the uninitiated, because of their seeming contradictions -- a flashiness and assertiveness on the acoustic guitars and the approach to singing on numbers like "Don't Look Back" and "Yellow Walls" that are byproducts of Frank's early history as a rock & roller, a depth and complexity of blues playing that derives from life as much as from talent and dexterity; and the meld of American and English folk sounds is like nothing that any listener has heard from either side of the Atlantic anywhere else. Some of these elements paralleled characteristics of Simon's work -- he, like Frank, had been a devotee of rock & roll before he turned toward folk music, and also assimilated American and English folk influences while staying in London -- but Simon's resulting work was smoothly commercial and mostly comforting and upbeat, and even playful, whereas Frank's music seems laced with and pointed toward an overpoweringly serious and sad take on life and living. "Blues Run the Game," "Yellow Walls," "My Name Is Carnival," and "You Never Wanted Me" all help make album kind of overpowering -- but it's the downbeat nature of those same songs that likely would have prevented Jackson C. Frank from being anything much more than a major cult favorite at the time. Today it's just a brilliant piece of essential listening, (All Music Guide). Awesome condition UK original pressing, record is totally clean, sleeve is EX with no defects or damages, small creases in the lamination and humidity stain on back. Hard to improve upon. Price: Offers!!!
1122. JACKSON, MILT: “And the Thelonius Monk Quintet” (Blue Note/ Toshiba EMI – LNJ-70089) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shelf Japanese press issue all complete with insert and obi. The July 2, 1948, date with Monk was recorded eight months after the pianist's first recordings as a leader. Jackson, responding to the demands of Monk’s music with his customary fluid grace, is key to these definitive early recordings of "Evidence," "Misterioso," "Epistrophy," and "I Mean You." Kenny Hagood -- perhaps best known as the vocalist who sang "Darn That Dream" on Miles Davis’ Birth of Cool -- joins the group on two standards. Hagood impresses as he croons unperturbed over Monk and Jackson, whose busy, intertwining lines make for a pleasantly bizarre accompaniment. Price: 50 Euro
1123. JACQUES BERROCAL: “Musiq Musik” (Futura Records – FUT-259) (Record: Near Mint/ Jacket: Near Mint). Top copy. First and rarest album from Jacques Berrocal on the legendary SON series of Futura Records. Composed by Jacques Berrocal, with Dominique Coster and Roger Ferlet and mixed by Jef Gilson. It features a myriad of instruments (trumpet, bells, percussions, trombone, Pakistani horn, flute shénaï, Tibetan conch shell, double horn, horn of ramadan, cymbals, cornet, harmonium, whistles, balloon, ropes, explosives. A true masterpiece of deep listening. TOP copy, impossible to upgrade upon. Price: Offers!!!!
1124. JACQUES BERROCAL: “Catalogue” (D’Avantage – DAV-03) (Record: Near Mint/ Triple Gatefold Jacket: Near Mint/ Imprinted Inner Sleeve: Excellent). Original 1979 pressing. "Released in 1979 in a limited edition on his own d'Avantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Berrocal associates including Potage (co-founder of the d'Avantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s. Not content with manhandling a toy piano on 'Tango' (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on 'Incontrolablslaooo' and 'Faits Divers,' moving from a 60-a-day smoker's cough to a terrifying sequence of gargles and vomits. The grungy free rock of 'No More Dirty Bla Blaps,' the Portsmouth Sinfonia-like spoof Dixieland of 'Rideau,' the distressing punk of 'Signe Particulier' and all manner of fields recordings and cut-ups in Berrocal's Artaudian theatre style, combining the excesses of glam and punk cold-wave to post-1968 Situationist perspective. With the same creative attitude documented through the mythic d'Avantage label (1976-1979) Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. Catalogue represents the most experimental and complex of Berrocal's records, as historical as contemporary modern, classic and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jacques Berrocal and discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patak and John Fothergill on NWW's second album, but that's another story." (Forced Exposure on the CD reissue). Original 1979 French pressing, just fantastic Dada-esque album that is just all over the place, making it a key-stone recording in late 1970s European cum-psych-avant underground scene. Magical on all fronts. Price: 350 Euro
1125. JACQUES BERROCAL: “Paralleles” (dAvantage – DAV-01) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint, has small import sticker on sleeve). Original French pressing. For some reason this LP is a bitch to dig up but finally, here is a copy so clean it will make you temporarily go snow-blind. “Jacques Berrocal has been very active since the beginning of the 1970s. No one in France could mix jazz, improvisation, rock'n'roll, punk, no wave, spoken words and industrial music like him. He also had a central position in the creation of d'Avantage, a collective record label that issued some of the most particular sessions of the mid-late Seventies. At the same time he was working on never ending sessions for records that were never issued. Jacques and his band were the Apostles of the non-urgency, enjoying recording in unusual situations, with no rules, improvising on undefined structures or using non-musical material mixed with ethnic instrumental solos. In 1976 d'Avantage issued a wonderful record LP titled Parallèles featuring, among the others, Bernard Vitet, Roger Ferlet, Pierre Bastien, Michel Potage, Daniel Deshays, with the intervention of Vince Taylor, the dark diamond of rock'n'roll who inspired David Bowie's Ziggy Stardust. Just a couple of years later Berrocal collaborated with Steven Stapleton to create the first Nurse with Wound record LP. Parallèles features very different styles; acoustic solo and duo for trombone and cornet as well as a large ensemble 25 minutes long piece dedicated to the Futurist Russolo (again, two years later, Mr. Stapleton dedicated his first NWW record to the same Italian artist). Also to mention are 'Post-Card', recorded in a Pigsty in 1976, and the legendary 'Rock'n'roll Station', a mini-concert for voice (Vince Taylor), double bass (Roger Ferlet) and bicycle (Jac Berrocal). Thirty years later Jacques Berrocal is still there, where nothing is waiting for him, totally outside the rules, out of fashion thus indémodable.” (Jazzloft) Total massive zonked out masterpiece that balances of the tightrope of free improvisation; whisky drenched rock’n’roll, gutter-glam, thundering low-fidelity outbursts, detuned switchblade psychedelics and outsider art. One of those classic recordings that will never ever leave my personal collection of polychromatic sonic adventures. Price: 350 Euro
1126. JACQUES THOLLOT: “Quand Le Son Devient Aigu, Jeter La Girafe A La Mer” (Futura – FUT-2023) (Record: Near Mint/ Jacket: Excellent). One of the hardest to track down Futura releases – hardly ever shows up. An astonishing wonderful solo album by the drummer known for his work with Don Cherry, Joachim Kühn, Sonny Sharrock, and Steve Lacy amongst others. Released in 1971, Thollot take on this album all controls into his own hands and deploys the drums, percussion, piano, organ and electronic effects, which he succeedingly knows to wave into a tight fabric of beautifully crafted progressive and experimental music and drum solo infested soundscapes. He was after all primarily a percussionist and proves he was way to restless to stick to only that as he sets out to deploy other instruments and dabbles with an array of electronic effects. Maybe he was destined to be the French Robert Wyatt minus the angelic voice? In all a beautiful synergy of delicate, way out and indescribable sounds. Getting tough to dig up these days in such a superb nick as this copy here. A classic and one of the highlights, like many other Futura releases, of the French psyched out avant-garde. Price: 300 Euro
1127. JACQUES THOLLOT: “Resurgence” (Musica Record – MUS-3021) (Record: Mint/ Jacket: Mint). Another solitary musical alchemist who like Robert WYATT refused to be just a drummer. Coming from the world of jazz he produced a first mythical album made up of collages, short, strange and eccentric pieces before making three other albums which confirmed his liking for a music defying classification and drawing on jazz, rock, classical music, experimental and contemporary music to create an original, unclassifiable result based around strange, delirious, beautiful, fragile, intangible themes evocative of SATIE and certain other contemporary composers. One of the best current musicians and composers. Very spiritual in its execution with a strong Canterbury feeling resonating throughout all of the tracks, such a killer record and his hardest to track down in TOP condition. Price: 150 Euro
1128. JADIG, BENT: “Bent Jadig 1967” (Debut – DEB-1149) (Record: Near Mint/ Jacket: Near Mint – on back white on white indentations of Bent Jadig’s signature – no ink, only indentations in sleeve that can be read when holding at right angle – it can be read as follows: “To My Man Red Mitchell, Bent Jadig”). Impossibly rare Danish 1st original pressing on the highly collectible Debut label and in pristine condition! Well, if you know this one, you know how rare this baby is, especially in virginal condition. Often regarded as the “Ghost” of European Jazz, a record that you just never see, the original Debut pressing is a bloody shy bird to say the least. Even without being able to obtain or behold a copy, the record has been shrouded in mystery and mystique since the day it came out, often regarded as the high-water mark, the pinnacle of European hard-boiled cool jazz! The high expectations however are firmly rooted in the music’s unexpected impact endowed with lyrical beauty. Right from the start with “B’s Waltz”, the harmony of Jadig’s flute and Allan Botchinsky’s trumpet take you straight for the deep waters, intense and meticulously executed. Bent’s flute solo’s dainty and frivolousness in conjunction with the pulse-heavy bassline of Niels Henning Orsted and Bent Axen’s masterful piano lines create an austere sensation of consummate art. For the rest of the album, Jadig switches to sax, breathing out cool thematic melodies, not deprived of a certain melancholic feel that burst open into all-engulfing flames at all the right moments. Jarring and soul-stirring, authentic and galvanic, provocative and nerve-shaking, Jadig enshrouds all of these sentiments on his Debut recording, his tenor breathing out a muddied machismo romance, trying to safeguard a mysterious euphony that evaporates as soon as it drifts into the air, towards infinity. Just one word does this record justice – a discourteous masterpiece! Freakingly rare first press Danish original from 1967 in absolutely TOP condition. One of the rarest high-quality jazz slides out there. Price: Offers!!!!
1129. JAMAL, AHMAD: “Tranquility” (ABC Records/ King Records Japan – SR-3019) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan 1st original press issue from 1969 all completely with hardly ever seen first issue obi present. WHITE label PROMO issue. “This hard-to-find recording is of value if only to hear Jamal’s interpretation of two Burt Bacharach – Hal David gems from the '60s, "I Say a Little Prayer" and "The Look of Love." Since the early '50s, Jamal has managed to generate commercial appeal within the piano trio format by crafting memorable arrangements without resorting to clichés. He treats the entire trio -- not just the piano -- as his instrument and has mastered the use of space and dynamic variation in shaping his distinctive group sound. Jamalb has a keen sense of formal structure; his concise renderings of standards and pop tunes always offer a fresh take on the familiar by deconstructing and reconstructing melodic, harmonic, and rhythmic themes. This collection is no exception. Jamal himself a major innovator in modern jazz is able to continually find inspiration in the developments of other jazz artists. Though he remains open to new trends in jazz, Jamal’s music always retains its essential uniqueness. While not to be ranked amongst his greatest works, Tranquility is a very fine recording and any opportunity to hear this master should not be missed. Along with bassist Jamil Nasser and drummer Frank Gant, Ahmad Jamal makes beautiful and accessible trio music conceived with great depth and clarity.” (All Music Guide). Never before encountered Japan original press all complete with obi. Seriously rare and hard to get original press issue. Price: 150 Euro
1130. JAMAL, AHMAD: “Freeflight” (Impulse Records – AS-9217) (Record: Excellent ~ Near Mint/ Gatefold Jacket: VG++ ~ Excellent – some storage wear visible/ Company Inner Sleeve: Excellent). Original US pressing – WHITE label PROMO issue. This set from the 1971 Montreux Jazz Festival has one of pianist Ahmad Jamal’s finest recordings of the early '70s. Performing with bassist Jamil Sulieman Nasser and drummer Frank Gant, Jamal shows that his basic style has evolved since the 1950s but is still quite recognizable. He uses the electric piano as a double for color and stretches out on three numbers (including a remake of his hit "Poinciana") in addition to playing a five-minute version of Herbie Hancock’s "Dolphin Dance." An excellent effort. SOLD

1131. JAMAL, AHMAD: “Ahmad Jamal At The Top – Poinciana Revisited” (Impulse – AS-9176) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). US original pressing of splendid but largely overlooked Impulse title. Wonderful open-ended Ahmad Jamal music from the end of the 60s – and a set that really shows his growth as a player at the time! The "revisited" in the title refers to Jamal's earlier success on Argo records with a recording of "Poinciana" – one that forever made the tune his, thanks to a long-flowing approach that took the familiar standard, and turned it into the perfect foil for Jamal's expressive piano style. But the vibe here is very different – even more open than before, with a beautiful 9-minute reworking of the tune that's worth the price of admission alone! The trio features Jamil Sulieman on bass and Frank Gant on drums. SOLD


1132. JAMAN QUARTET: “Sweet Heritage” (Mark – MC-5970) (Record: Excellent ~ Near Mint – 2 faintly visible but non-sounding sleeve hairlines/ Jacket: Near Mint). Top condition US original press issue. 1974’s Sweet Heritage is James Edward Manuel’s only release, the pianist better known as Jaman. His eponymous group was formed in 1970; they toured the US and Canada steadily in the years that followed. But despite a life lived deep within the music, Jaman only recorded one single LP, 1974’s Sweet Heritage. Pressed in tiny quantities by the Mark Records custom service, and issued with a stock landscape cover, Sweet Heritage featured the regular Jaman group with Jaman himself on keyboards, Jim Kerzdorfer – Bass & percussion; Nasara Abadey – drums & percussion; Dhui Mandingo – congas & percussion; Dennis Williamson – cello; James Clark – guitar and Beverly Johnson Ross & JoAnn Crosby handling the vocals, performing a groovy mixture of covers and originals. The whole LP showcases an ensemble in complete control, and with the flying, spiritual sound of ‘Free Will’ and the corking, Latin-tinged ‘In The Fall of The Year’ – both Jaman originals – the album has since attained something of a legendary status. “Sweet Heritage” offers some seriously deep and mighty groovy jazz-funk that wouldn’t be too special if it wasn‘t for the infectious playfulness and blissful audacity of the six tunes. It is a soulful and spiritual jazzy infested affair that exhorts quite an intoxicating spell when jamming it as the recording quality is crystal clear and out-of-this-world while the music itself is as fluid and blessed with an asymmetric groove, a peculiar mix of liquid electric madness mixed with a psychic loose polyrhythmic funk grooves. Absolutely fantastic. Top condition original so… Price: Offers!!!!
1133. JAMES WHITE & THE BLACKS: “Melt Yourself Down” (Selfish Records – BEL-12004) (Record: Mint/ Jacket: Mint/ Insert: Mint). Japan only release from 1986 and extremely hard to get these days. Track listing is: Super Bad, Melt Yourself Down, Cold Sweat, Boulevard of Broken Dreams, Hell on Earth, These Foolish Things and Hot Voodoo. A founding member of New York's no-wave scene in the late 70s, Chance lent his name to any number of cutting edge and avant-garde projects, from Lydia Lunch's brainchild Teenage Jesus & The Jerks to his own band The Contortions, and later James White & The Blacks. The no-wave scene sought actively to eschew conventional rock 'n' roll boilerplate while incorporating jazz and funk influences. Chance, along with Lunch, Suicide, and DNA, among others, placed himself right at the forefront of that movement, and many of today's scenesters owe him a debt of gratitude for blazing such a discordant trail. On this Japan only release that remains still unreissued, James and cohorts whip up a storm with his trademark saxophone, confounding distinctions between neo-punk styles, pop-funk and free jazz. In other words this live set sets your living room a blaze, it burns right through your skull and will fuck you up for days on a row. Probably – at least in my book – the defining James White album ever to be put down on wax. A true killer in the true sense of the word. Wicked from start to finish….. Don’t tell me I did not warn you…Price: 70 Euro
1134. JAN DUKES de GREY: “Mice and Rats In the Loft” (Transatlantic – TRA-234) (Record: Near Mint - with NO heat mark - really clean vinyl with only one or two sleeve lines barely visible/ Gatefold Jacket: Excellent with attached plastic inner - has a tiny drill hole in center that does not stand out). TOP COPY, 1st original UK pressing, record is the cleanest ever with NO heat mark! In one word, this disc is massive. Loose and raw, this LP possesses a built-in sense of intuitive taste which gives it immediacy and potency with everything flying frenziedly around, pregnant with a furious torrent. It ranges right up there with classics like Comus' First Utterance and Simon Finn's Pass the Distance, Jan Dukes De Grey's 1971 LP Mice and Rats in the Loft is a brilliant work of psychedelic folk with a seething undercurrent of malevolence. After their first album, the duo of Derek Noy and Michael Bairstow enlisted drummer Denis Conlan into their ranks and quickly disposed all notions of pop song craft to which they might have initially aspired. The final result was this beast, opening up with an un-commercial 19-minute sidelong "Sun Symphonica," a dervishly dynamic work of epic genius, fusing together a hippie paean to the sun with progressively darker and more twisted realms of sonic dementia. Infused with references to medieval idioms popular in British folk of this period and impregnating it all with a fireball energy that opens up whole sonic vistas you never dreamt were there. Axe wielding 12-string guitar, violin, cello, flute, clarinet, recorder, harmonica and a dizzying assortment of percussion, the trio plays with the eager of an experienced free jazz ensemble, excreting two sides opening up like a suite rising in intensity and energy until something just have to give due to the lysergic potion it all got stewed in. As "Sun Symphonica" trudges on through its many moods and phases, it gradually becomes clear that a distinctly pagan formula is at work, busting its true for virtual anonymity. By the 15-minute mark, the track is a swirling maelstrom of simmering instrumental fragments flying around the stereo channels in a lunatic dance, as the "sunshine" mantra returns once more. Side two sees the song experiences a radical break with structure and turns into a seething echo chamber of wicked guitar improvisation. The final track is also by far the strangest, the eight-minute title track, which creates a hypnotic whirlpool of electric fuzz guitar The energy and ferocity which have been mounting since the needle hit the first groove slowly accumulating in an almost vertical assent which comes on like a whirlwind. with musical behemoth’s energies peaked to the fullest. Just jaw droppingly great and rare as peglegged golem on Christmas eve. Top copy!! Hard to upgrade upon this one. Price: Offers!!!!
1135. JANSCH, BERT & JOHN RENBOURN: “Bert And John – Kieri Na Deai” (Transatlantic/ Victor Records – SWG-7546) (Record: Excellent ‾ Near Mint/ Jacket: Mint, still in shrink/ capsule Obi: Mint, still in shrink/ 2 Separate Inserts: Mint/ Booklet: Mint). Rare Japanese pressing all complete with capsule obi. Bert Jansch released two albums simultaneously in August 1966. ‘Bert And John’ was the first full album to feature him in partnership with John Renbourn and presented their contrasting but sublimely sympathetic approaches in the year before their playing laid the foundations for Pentangle. John Robinson’s notes elucidate brilliantly how Jansch and Renbourn’s creative and personal outlooks - as well as their guitar techniques - meshed so well, born out of endless jamming together at the flat they shared. “‘Bert And John’ is a slim volume,” he says, “but a powerful one. If ‘Jack Orion’ sounds like a night out amid the traditionalists and the modernists of the London folk scene, simultaneously ribald and academic, boozy and purposeful, ‘Bert And John’ is like the vulnerable morning after, the album returning to the concerns of the modern world in a rather more subdued mood.” Just never surfaces with obi. Price: 400 Euro

1136. JARMAN, JOSEPH: “As If It Were the Seasons” (Delmark/ TRIO Records - PA-7027/ Japan Original Press) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rare original Japan first press issue all complete with rare obi. As If It Were The Seasons was Joseph Jarman's second album for Delmark records, following his 1966 debut, Song For. Recorded in 1968, it is a rare document of his artistry pre-Art Ensemble of Chicago. The album contained two extended compositions; each one filling a side of the original vinyl release. Side one combined the title track with "Song To Make The Sun Come Up," both exercises in restraint and dynamic variation. Accompanied by bassist Charles Clark and drummer Thurman Barker, Jarman alternates between a number of reeds for color and texture. Drifting through patches of meditative silence broken by skittering percussion and breathy supplication, the trio ascends to a cathartic release led by Jarman, who unfurls an alto sax solo bristling with tension and fury. As the storm subsides, under-recognized vocalist Sherri Scott materializes. Free jazz vocals are generally an acquired taste, but Scott delivers lyrical phrases with pitch control and subtle dynamics worthy of Sarah Vaughan. Blending notes and tones with élan, she dovetails with Jarman's alto as he soars upward with circuitous abandon. Sharing a moment of tender vulnerability toward the end, they float in unison over a haunting landscape of sinuous arco bass and scintillating percussion. Absolutely brilliant and so essential!!! SOLD

1137. JARRETT, KEITH: “Fort Yawuh” (Impulse! – IMP-88140) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original 1st pressing. Great Impulse work from Keith Jarrett – recorded at a time when he had a lot sharper edge than later years, and was really matching the spirit of some of the post-Coltrane generation players on the label! The date's a live one, and features some relatively extended tracks – tunes that aren't exactly free, but which roll along with a very open sensibility – almost growing organically in sound from contributions by all players! Jarrett's on piano, of course – and other members of the group include Dewey Redman on tenor and Chinese Musett, Charlie Haden on bass, Paul Motian on drums, and Danny Johnson on percussion – all working wonderfully together. Price: 30 Euro
1138. JARRETT, KEITH: “Expectations” (CBS SONY – SOPJ-33~4) (SEALED). Scarce Japan 1st original press issue all complete with obi and insert – SEALED copy. “This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs. Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax. Jarrett again turns his early rampant eclecticism loose -- from earthy gospel-tinged soul-jazz to the freewheeling atonal avant-garde -- yet this time he does it with an exuberance and expansiveness that puts his previous solo work in the shade. "Common Mama," a spicy Latin workout with brass punctuations, "Take Me Back," driving soul jazz with streaks of electric jazz-rock, and the lengthy, nearly free "Nomads" are the most invigorating tracks.” (All Music Guide). Not one that turns up too often with first issue obi present – sealed one. Price: 100 Euro
1139. The JAZZ COMPOSERS ORCHESTRA: “Communication” (Fontana – 681 011) (Record: Excellent ~ Near Mint/ Laminated Fragile Gatefold Jacket: Excellent). Original 1965 Dutch first pressing in very nice condition. Comes housed in fragile gatefold sleeve. The group features the world-beating line-up of consisting out of amongst others, Carla Bley, Paul Bley (piano); Steve Lacy (Soprano sax); Jimmy Lions (alt sax); Roswell Rudd (Trombone); Archie Shepp (trumpet); John Tchicai and Milford Graves (drums). Totally bewildering early Fire Breathing Music that would blossom into bloom some years earlier, but all the chief players and musical components are already fully in place on this recording. All of the participants are at the top of their game, Lacy wails throughout and Graves never misses a beat. The sound takes elements of wall-destroying free jazz and welds it to a black backbone that mixes tar-thick percussive rattles, enormous bottom end soprano soloing and heavenly wood bass throbbing to conjure the kind of ritualistic wipe-out of the Hermann Nitsch Orchestra almost a decade later. The whole group mints a form of improvisation that is as dense as it is fleet and ferocious. Pretty fantastic. The sonic outcome is hyper-active with fast/slow spindly runs and spinning odd circular patterns over which saxophone and trumpet link horns and further extrapolate the brief, barbed architectures, playing classic US free jazz moves but with the kind feel for extrapolated space. Amazing amount of detail in here, with the players working speed-of-thought transmutations of whole jazz histories. Just stunning, a gemstone of a recording. A great marriage of an almost orchestral & big band compositional vision and break-out firebrand performances from the new US punks on the brink of becoming expatriates, The Jazz Composers Orchestra at this point in time remains a key free jazz side!! Price: 150 Euro

1140. The JAZZ COMPOSER’S ORCHESTRA: “S/T” (JCOA Records – LP-1001/2) (2 LP Record Set: Near Mint/ Silver Foil Outer Box Set: Near Mint/ Booklet: Near Mint/ Additional Insert: Near Mint). Original first US press issue, all complete with book and additional insert – TOP condition. “German-born composer/trumpeter Michael Mantler and Carla Bley his then-wife were instrumental in developing within jazz the idea of self-sufficiency and independence from established record companies. Their creation of the Jazz Composer's Orchestra, with recordings released on their own label, was the culmination of this endeavor, and the first recording was one of the masterpieces of creative music in the '60s. Mantler had come from the European avant-classical tradition and sought to provide an orchestral framework supporting some of the most advanced musicians in avant-garde jazz -- and he succeeded magnificently. His style tends toward the brooding and darkly romantic with harsh, cynical edges, a perfect foil for the robust, shackle-breaking improvisations found herein. The cloudy, roiling swirls that open "Communications #8," echoed by Bley’s stabbing piano chords, lay the groundwork for inspired soloing by Don Cherry and Gato Barbieri. Subsequent pieces include an amazing feedback showcase for Larry Coryell and a gorgeous, somber work featuring bassist Steve Swallow and trombonist Roswell Rudd. All of this is a preview for, well, "Preview," an utterly incendiary flight by Pharoah Sanders over a pounding rhythm by the orchestra, a piece that will leave the listener bruised, battered, and exhilarated. Except that the best is yet to come: a 34-minute, two-part composition, a concerto for Cecil Taylor and orchestra, that finds the pianist at the height of his powers, just beginning to enter the third phase of his development where he fused ultra-high energy playing with rigorous logic and heartbreaking beauty. The breadth of this piece, its expansiveness, and its tension between order and chaos is one of the single high watermarks of avant-garde jazz. Communications is a masterwork in and of itself and laid the basis for stunning work by others in decades hence, notably Barry Guy and his London’s Jazz Composer’s Orchestra. It's an essential document for anyone interested in avant jazz and late-20th century creative music.” (All Music Guide). Utterly bewitching recording. Top copy. Price: 50 Euro

1141. JAZZ FESTIVAL IN NEMU: “S/T” (Toshiba Records – TP-9011~2) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Another elusive brain-drain of a slide – complete with impossibly rare OBI. Ear-shriveling and blistering live performances by Japan’s finest jazz combos including appearances by the Terumasa Hino Quintet, Yosuke Yamashita Trio, Toshiyuki Miyama & The New Herd, Sadao Watanabe Quartet, Nobuo Hara and His Sharps & Flats and last but not least the Masahiko Sato Trio. This has always been an elusive slide that at times does pop up but always without the obi. First time ever I could lay my hands on a pristine condition copy all complete with obi – making it bloody rare. As you know with these originals, no obi no life and this one fits perfectly into that category. If free thinking Japanese jazz of the early 1970s is your thing, well look no further, this is the shit! One of the scene’s defining moments filled with thundering hard bop, free spirited and improvisational avant-jazz outbursts that brim over with originality and sonic density beneath a riptide of Western influences, creating a unique language in unswerving Japanese jazz! Top shape 2 LP set all complete with insanely rare obi. Price: Offers!!!!
1142. JAZZ IN BRITAIN ’68 ~ ’69: “Featuring Poll Winners John Surman – Alan Skidmore – Toney Oxley” (Decca – ECS-.2114) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original 1st UK pressing in fantastic shape and comes housed in laminated jacket. UK jazz slides in top shape are a tough score these days. This one is just in fantastic condition and brings you a peak at the key players of the UK jazz scene of that day. Skidmore and Oxley steal the show here, bewitchingly beautiful music. Price: 200 Euro
1143. JAZZ IN TOKYO ’69 with YAMASHITA YOSUKE TRIO – SATO MASAHIKO TRIO + 1 – NISHIMURA AKIO QUARTET – MATSUMOTO HIDEKO QUARTET – INOMATA TAKESHI QUINTET – MINE KOSUKE QUINTET – HONDA TAKEHIKO TRIO + JAMSESSION: “Jazz in Tokyo ’69 Vol. 1 & 2 – Recorded Live At Hibiya Music Ball, August 30, 1969” (Nippon Columbia/ Takt – PSS-10011~2-CT) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Attached Picture Insert: Near Mint/ Obi: Excellent ~ Near Mint). White label PROMO issue of jaw-dropping rare Japan free jazz beast that the year later gave birth to the Summer Jazz In Tokyo 2LP! Never seen a copy before until NOW! Freakingly rare and obscure 1970 release throwing together the crème de la crème of the Japanese freewheeling jazz community & modal jazz heads into one mosh-pit – clashing and banging heads together in one big freedom fest. The whole affair on display was recorded live one hot summer day in the open-air arena of Hibiya Yaon Ongakudo on August 30th, 1969. Here you can actually “hear” the summer heat unleashed by these combos breathing down your neck and catering to all of your sonic wishes ranging from fierce magma molten free jazz blowouts to funked up and out butt-swinging head-spins. And what a glorious, mouth-watering line-up you get assaulted with. The whole affair gets pulled into a frenzy by Sato Masahiko Trio + 1, reigning in the herd before Yamashita Yosuke Trio is let loose to leave behind the amphetamine fueled fire music basement and seeking sanctuary into the arms of the on-storming Nishimura Akio Quartet with a Coltrane inspired improvisational spiritual piece. Bewitchingly beautiful that makes me feel like diving headfirst into a pool that got emptied only yesterday! Takehiko Honda Trio brings back some sanity to the gravel-pit with a laxative-induced Quaalude driven rendition of “Hey Jude”, slowly descending into a dissonant orgy of geriatric uncut pleasure. We are in Japan after all so some lethargic Beatles pastiche is never out of place, with a drummer pounding the skins & cymbals like beheading some mischievous tribesman. Then, rolling out Kosuke Mine Quintet to light some kerosene under your ass and get those butt-cheeks, grooving like a hermit on PCP. Man, I would give my right testicle to be there and witness this shit! Fierce improvisational interplay interlocks with steamy and groovy jazz workouts, blessed with a gift for suddenly unexpected impacts that hurtle in and out of focus and giving you the listener enough bewildering emotions to provoke tears and fist shaking tirades in order to sing to this recording’s splendor and awe-inspiring beauty. It all culminates into one fireball that is the Inomata Takeshi Quintet followed by a smothering jam session. Lick your decals off baby, this is a heavy funky and groovy showdown, filled with rhythm shakes and liquid guitar lines that simmer under your skin for all eternity, before meandering into a jam session. Killer stuff from start to finish! If every summer sounded like this, I would have a hard time getting my act together again and rejoin a modern-day reality of grey suits and Corona deniers, instead hoping to remain locked & moving to this beast’s asymmetric groove. Just a fantastic 2 LP slide, allowing you a peak at the Japanese jazz scene one sunny day in August 1969. Just brilliant! Never seen a copy of this beast with obi let alone a white label promo/ test press one so don’t be shy and go heavy! None of your friends might have ever seen a copy - for you hipsters who live by those standards and want to show off on Instagram…Price: Offers!!
1144. JAZZ MEETS INDIA: “S/T” (MPS – CRM-646) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint/ Booklet: Mint). First original German pressing on MPS. Killer LP that featured the all-star stellar line-up of Irène Schweizer: piano; Uli Trepte: acoustic bass; Mani Neumeier (Guru Guru): drums; Dewan Motihar: sitar, vocals; Keshav Sathe: tablas; Kusum Thakur: tambura; Manfred Schoof: trumpet, cornet; Barney Wilen: soprano and tenor saxophones. Like Dusty Groove already commented on the reissue of this LP: A landmark record – and most likely the best of the late 60s Jazz Meets The World series on MPS! The album features a unique ensemble comprised of a few core parts – The Indian Trio of Dewan Mothihar on sitar and vocal, Keshave Sathe on tabla, and Kusum Thakur on tambura; the Irene Schweizer Trio, here heard not as "out" as on other recordings, and with a contemplative, modal sound; and the jazz horns of Barney Wilen (tenor and soprano sax) and Manfred Schoof (trumpet and cornet) – adding in a level of improvisation on top of the rhythmic progression and sonic experimentation of the other two parts of the whole. The album's got three long tracks – "Yaad", "Brigach & Ganges", and "Sun Love" – all of which create a unique blend of Indian music, modal rhythms, and European jazz – somehow managing to filter all the elements together without any colonialist overtones, and coming up with a sound that's even greater than the sum of its parts!. Just a killer LP with absolutely no filler. Original 1st pressing in TOP condition with the always-missing booklet included. Just massive and a totally addictive slide. Price: 250 Euro
1145. JAZZ MEETS INDIA: “S/T” (MPS Records – YS-2308-MP) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Near Mint). First original 1970 Japan pressing all complete with rare first issue obi. Killer LP that featured the all-star stellar line-up of Irène Schweizer: piano; Uli Trepte: acoustic bass; Mani Neumeier (Guru Guru): drums; Dewan Mothihar: sitar, vocals; Keshav Sathe: tablas; Kusum Thakur: tambura; Manfred Schoof: trumpet, cornet; Barney Wilen: soprano and tenor saxophones. Like Dusty Groove already commented on the reissue of this LP: “A landmark record – and most likely the best of the late 60s Jazz Meets The World series on MPS! The album features a unique ensemble comprised of a few core parts – The Indian Trio of Dewan Mothihar on sitar and vocal, Keshave Sathe on tabla, and Kusum Thakur on tambura; the Irene Schweizer Trio, here heard not as "out" as on other recordings, and with a contemplative, modal sound; and the jazz horns of Barney Wilen (tenor and soprano sax) and Manfred Schoof (trumpet and cornet) – adding in a level of improvisation on top of the rhythmic progression and sonic experimentation of the other two parts of the whole. The album's got three long tracks – "Yaad", "Brigach & Ganges", and "Sun Love" – all of which create a unique blend of Indian music, modal rhythms, and European jazz – somehow managing to filter all the elements together without any colonialist overtones, and coming up with a sound that's even greater than the sum of its parts!. Just a killer LP with absolutely no filler. Original 1st pressing complete with OBI in TOP condition – never seen a copy all-complete with obi before. Just massive and a totally addictive slide. Price: 250 Euro
1146. JAZZFESTIVAL BALVER HOHLE: “Auschnitte Vom New Jazz Programm 1974 & 75” (JG Records – 036~039) (4 LP Record Set: Near Mint/ Outer Box: Near Mint/ Insert: Near Mint). This box set is a really shy bird. Privately released in 1975 on the small JG Records imprint, documented a unique free jazz festival that in 1974, at short notice, was organized by Karlheinz Klüter, in the unlikely setting of the Balve Cave in the Hönne valley of the Sauerland, Germany. It was a great success and was repeated in the following years. This collection here offers, spread over 4 LP’s, a snapshot of sorts and a reminder of the healthy jazz scene which had developed in West Germany at the time. The audiences were large and enthusiastic, sounding more like a rock gig than the usual smatter of polite handclaps which greeted performers of the free jazz combos. A wide range of performers graced the festival and almost all the one’s present here get almost a side-long to express their sonic freedom principle such as Jazzcrew Stuttgard; SOS (trio with John Surman, Mike Osbosborne & Alan Skidmore); Jan Wallgren Orkester; Eero Koivistoinen Quartet; Emil Veglicky Trio; Gustav Brom Bigband; Stivin-Dasek Tandem; Contact Trio; Franz Koglman – Steve Lacy Quintet and Krzysztof Zgraja – Barre Philips Duo. All of the music on display is only available on this set and sheds some insight into the mid-1970’s European jazz underground’s defining moments, ranging from tornadoes of dusty noise to intuitive group interplay, incinerating deep subterranean high-tension music, apocalyptic waves of free interplay, creating an arresting experience. This set rarely surfaces and this one is pristine all way round. Top copy! Price: Offers!!!!
1147. JEAN MARC FOUSSAT: “Abattage” (Pyjama – 1301) (Record: Excellent/ Jacket: Near Mint). Rare French private press rarity of musique concrete and tape splicing grandeur!!! Algerian-born sound engineer Jean-Marc Foussat crafted Abattage back in 1981, one of the most creative collages of the era: brutal and frenzied musique concrete that ran the gamut from electronics to found sounds and from vocals to guitars. Foussat surely sonic electronic and totally alienated fragmentation bombs with using his guitar-manipulated dementia as guiding torch, he succeeded in creating an estranged and disaffected sound palette. The music is dark, strange, at times even a bit comical with flashes of corny one hit pop wonder tape collages bursting out through the ether as a guttural scream sputtering out of blackness, making this disenfranchised sound palette certainly not of this world. A morphogenetic cluster of whirl-like inorganic low tones, piano stirrings and guitar raping that evoke a weird incantation out of at times thickly layered liquid sounds that absorb the sounds of instrumentalists and its own synthesized reactions. Foussat’s creative bite of tapes, multi-instrument abuse, musique concrete, environmental noises and found sound bites is choked up as an extended bombast of retching avant-garde sound art intravenously distorted with an abstract frenzy that mirrors the uncertain marvels to haunt the world since the rise of recorded sound. The end result is some seriously heavy period-vintage weird hell broth float with bare accompaniment, creating some organic free floating debris and minimal soundscapes, a phantom cloud of destitute sonic collage art bordering on the euphoric as well as on the disemboweled excessive dissonant harmonic. A trip on its own. Begorrah! There's enough wild energy in Jean-Marc Foussat’s outpourings to restrain the basic needs of a small French village (wine, bread, electricity, sex) for about the next ten years… this twitching, grinning octopus of music plays anything and everything he get his tentacles on, from guitars, pianos, the mighty EMS synth and assorted bric-a-brac, plus he did the (very original) field recordings and engineered his own sessions, composed and edited everything — his only collaborator is Jean--Francois Ballèvre on the piano on one track ! 
If your hunger is for wild, unexpected combinations of far-flung freewheeling ideas, then this record (with the exception of first Faust LP, which oddly enough it does kinda resemble) absolutely takes the biscuit; lets cut to the chase, because the piano with pneumatic drill track is one of the most effective and most intensive examples of such demented mixings, but then you also get such things as truck drivers delivering huge vats of good French wine, screams, hammerings and poundings, and — I personally guarantee it — absolutely the wildest synth playing you have heard in your life. I can't over-exaggerate the value of the unfettered, screaming barbarity of Foussat’s insane EMS work, which will ignite your spirit like a fucking sky-rocket and launch you 100 miles into the stratosphere.” (Ed Pinset) A true ear-opening experience and the best discovery of the last 5 years!!! Copies rarely turn up and it is still an undetected masterpiece!!!! Price: 150 Euro
1148. JEAN-PIERRE MASSIERA & Co.: “Phantasmes” (Crypto – ZAL-6420) (Record: Near Mint/ Jacket: Near Mint). Here's one more key piece of the puzzle from the mad Gallic genius that is Jean Pierre Massiera, here laying out the deliciously wrong and exquisitely questionable cosmic disco template he'd carry to a different set of unforgettable ends in the course of his work with Venus Gang, Rockets and Visitors in their second incarnation. Cosmic disco-psych record by the mad French producer-musician, responsible for les Maledictus Sounds, the cult Horrific Child or Chico Magnetic Band and Soraya. Nothing but good stuff if you like weird records with FX and strange noise, even some proto rap on it. Massiera even used some sounds from Chico Magnetic Band for this LP. This is a totally slept on production from Jean Pierre Massiera, handled and carved out in his signature legendary crazy style. Another weirdo concept cosmic-funky-disco-rock-psych record that touches some ground with his les Maledictus Sounds, injecting vibes from his psych piece Horrific Child or even his Chico Magnetic Band. Nothing but excellent stuff if you like strange records with effects electronic noises, proto rap jam, rock guitar, funk bass, revert loops! JP Massiera even used some sounds samples from his Chico Magnetic for this LP. Rare and in demand and this copy is the cleanest out there, just near mint condition on all fronts. Price: 150 Euro

1149. JEFFERSON AIRPLANE: “5 Track EP – Somebody To Love” (RCA – SRA-69) (EP Record: Near Mint/ Heavy Sturdy Gatefold Jacket: Near Mint). Rarely seen 5 track – Japan only – Jefferson Airplane EP release, that comes housed in cool heavy gatefold picture sleeve with live shots of the group in action. Track listing include: “Somebody To Love – White Rabbit – Watch Her Ride – The Ballad of You & Me & Pooneil – Greasy Heart”. Comes with great live shot of the band in action on front and back of the gatefold sleeve. Price: 50 Euro

1150. JEFFERSON AIRPLANE: “Surrealistic Pillow” (Victor – SHP-5640) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ MINT/ OBI: Mint). Bloody rare 1st press original all complete with never seen before first issue obi!!! CLEANEST copy ever, impossible to upgrade upon, jacket is inside virginally white, obi is untouched and record has had any play at all. So conservatively graded this one is Near Mint ~ MINT condition all the way, a true sight for soar eyes. Original 1968 Japanese press of this quintessential album. Comes with Japan only gatefold version with completely different back cover design. Historical disc that may not be missing from any collection. Best copy ever of this rare Japanese first press. Kaukonen is again all over the place and stellar. MINT COPY....they do not exist better than this one here so serious offers invited for this one. SOLD

1151. JEFFERSON AIRPLANE: “Surrealistic Pillow” (RCA Victor – LPM-3766) (Record: Near Mint/ Jacket: Near Mint – still in original shrink). Bloody rare US 1967 ORIGINAL MONO press in NM condition!!! Top copy, 1st original US pressing. Second LP by the Airplane and it cemented their reputation as one of the finest acts to seep out of the Bay area at that time. Although that at the time the critic Robert Christgau slagged it off as “an amplified Peter, Paul & Mary” album, the general consensus is that it is a psychedelic classic and I fully have to share myself behind that opinion. “Surrealistic Pillow” is wicked; Slick’s vocals are a welcome replacement for Signe Anderson and gels perfectly well with Kaukonen’s acid spiked guitar play, Cassidy’s bubbling bass pulsations and Balin’s balladeering vocals. A classic that should have a prominent place in any collection. Top copy first US pressing, still housed in original shrink-wrap. MONO pressings are damned scarce on the ground and most copies floating around are in questionable condition. This one here is a very first original pressing, sleeve still housed on original shrink and the disc itself seems virtually unplayed and is also in absolutely TOP condition. Impossible to ever find a better one or needing an upgrade. Best copy possible. Price: Offers!!!
1152. JEFFERSON AIRPLANE:Hippie No Shuchou - After Bathing At Baxter’s” (Japan Victor SHP 5684 – Japan only 1968 issue) (Gatefold Jacket: Near Mint/ Record: Near Mint/ OBI: Near Mint). Bloody rare Japan ONLY Jefferson Airplane release, complete with never seen/ never offered before 1st issue OBI present. This is only the 2nd time ever I can have an all complete copy with obi. J.A’s After Bathing At Baxter's in Japan only laminated psychedelic gatefold cover. Only '68 first pressing has this cool sleeve. A really beautiful copy of this subliminal West Coast acid drenched psych monster. This is the original Japanese press, released in 1968, housed in a totally different mind blowing cover designed by Tanaami Keiichi. A real sight for soar eyes that NEVER surfaces. Almost, if not a full-blown XXX rarity that is so rarely offered for sale. Great condition and the jacket has no storage or ring ware whatsoever. Comes with the OBI, making this copy complete. Copy with obi has never been offered for sale anywhere before. SOLD
1153. JEFFERSON AIRPLANE: “Volunteers” (RCA Japan – SHP-6086) (Record: Near Mint/ gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare 1st Japanese press original complete with the FIRST ISSUE OBI, which is kind of a big deal. 1st Japanese 1st press issue ever to cross my eyes with the obi present. Killer slide with Kaukonen’s lysergic chops infesting the disc all over the place. Just fabulous. All time classic that gets frequent heavy rotation on this side, Top condition. Price: 275 Euro
1154. JEFFERSON AIRPLANE: “Bless Its Pointed Little Head” (RCA Victor – SHP-6039) (Record: Mint, Unplayed/ Gatefold Jacket: Near Mint/ Obi: Mint). First original Japanese pressing complete with another obi variation, all in top condition. This is the rarely seen WHITE LABEL PROMO issue. “Jefferson Airplane's first live album demonstrated the group's development as concert performers, taking a number of songs that had been performed in concise, pop-oriented versions on their early albums -- "3/5's of a Mile in 10 Seconds," "Somebody to Love," "It's No Secret," "Plastic Fantastic Lover" -- and rendering them in arrangements that were longer, harder rocking, and more densely textured, especially in terms of the guitar and basslines constructed by Jorma Kaukonen and Jack Casady. The group's three-part vocal harmonizing and dueling was on display during such songs as a nearly seven-minute version of Fred Neil’s folk-blues standard "The Other Side of This Life," here transformed into a swirling rocker. The album emphasized the talents of Kaukonen and singer Marty Balin over the team of Paul Kantner & Grace Slick, who had tended to dominate recent records: the blues song "Rock Me Baby" was a dry run for Hot Tuna, the band Kaukonen & Casady would form in two years, and Balin turned in powerful vocal performances on several of his own compositions, notably "It's No Secret." Jefferson Airplane was still at its best in concise, driving numbers, rather than in the jams on Donovan’s "Fat Angel" or the group improv "Bear Melt"; they were just too intense to stretch out comfortably. But Bless Its Pointed Little Head served an important function in the group's discography, demonstrating that their live work had a distinctly different focus and flavor from their studio recordings.” (William Ruhlmann AMG).A psychedelic classic that still twists my head around till this day. Top copy, impossible to upgrade upon. Never seen this obi variation and first time I can lay my hands on a White label promo issue. Rare to say the least. Price: 300 Euro
1155. JEFFERSON AIRPLANE: “Crown Of Creation” (RCA – SHP-6001) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Rare 1968 first original Japanese pressing complete with hardly ever seen 1st issue obi. Amazingly clean first pressing without any issues. Record is virginal. jacket and obi clean as can be. Top copy. As far as I know, first time that a true first Japanese pressing with 1st issue obi is offered for sale. Seriously rare. Price: 500 Euro

1156. JEFFERSON AIRPLANE: “Crown Of Creation” (RCA VICTOR – LSP-4058) (Record: Stone MINT/ Jacket: MINT, still in original shrink wrap w/ original store price sticker upon the shrink/ Company Inner Sleeve: Mint/ Gatefold Insert: Mint). Original 1968 US 1st original pressing in unbelievable TOP condition, impossible to score in a condition like this one. Best copy imaginable!!!! Price: 350 Euro

1157. JEFFERSON AIRPLANE: “Bark” (Grunt/ Victor Records – R4P-5028) (Record: Excellent/ Gatefold Jacket: Mint/ Poster-like 4-paged Insert: Near Mint/ Quadradisc 4-Channel OBI: Mint). Japan ONLY Quadraphonic 4-channel issue all complete with insert and OBI. First ever copy I encounter all complete with obi of this Jefferson masterpiece. “Bark, Jefferson Airplane’s seventh album, was an album of firsts: it was the first album in almost two years, the first made after the arrival of violinist Papa John Creach and the departure of band founder Martin Balin and the first to be released on the group's own Grunt Records label. It was also the first Airplane album made after the onset of that familiar rock group disease, solo career-itis. Rhythm guitarist Paul Kantner had released his Blows Against the Empire and Hot Tuna, the band formed by lead guitarist Jorma Kaukonen and Bassist Jack Cassady had released two albums since the last Airplane group release Volunteers. Bark, perhaps as a result, was not so much a group record as a bunch of songs made by alternating solo artists with backup by the other group members. Kantner’s tunes were science-fiction epics reminiscent of Blows; Kaukonen’s "Feel So Good" and the instrumental "Wild Turkey" were indistinguishable from Hot Tuna music, while his lilting ballad, "Third Week in the Chelsea," was nothing less than his resignation from the band, rendered in song; while Grace Slick’s two contributions were characteristically idiosyncratic. The album's surprise was "Pretty as You Feel," a chart single that emerged out of a jam between new drummer Joey Covington, Cassady and Kaukonen. All of which is to say that there were some excellent songs on Bark, even if the whole added up to less than the sum of the parts.” (All Music Guide). Beautiful and very rare Japan only Quad issue all complete with insert and OBI!!! Price: 400 Euro
1158. JENKINS, LEROY – THE JAZZ COMPOSERS ORCHESTRA: “For Players Only” (JCOA Records/ Trio Records Japan – PA-7134) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint/ Obi: Near Mint). Original Japanese pressing all complete with scarce obi. One of seven albums commissioned by the Jazz Composers Orchestra, violinist Leroy Jenkins’ For Players Only is one of the more loosely organized and, for all its charms, most scattershot of these works. Jenkins, who came to prominence in the superb avant-garde trio the Revolutionary Ensemble, is both an extraordinarily riveting and creative violinist and a composer of intricate, blues-based pieces with an underlying plaintive quality that is quite appealing. For this live recording project he assembled a who's who of the New York improvising community of the mid-'70s and presented them with an odd, fairly awkward structure. The first half of the composition is arranged in suite-like fashion, with briefly stated themes fleshed out by various small groups within the orchestra. It's a nice, loose mix with enticing instrumental flavors, notably the then-young James Emery’s guitar and Charles Brackeen’s soprano sax and a lovely pastoral theme midway through. Jenkins came up through Chicago's AACM, one of whose tenets was the performer's ability to fully realize a solo recital, regardless of instrument. He puts this credo to an unusual test in the second half of this composition by having each orchestra member play consecutive, individual solos, one after another with no backing, sometimes building on the preceding one, sometimes not. It's a strangely disjointed performance; some of the solos (lasting about one minute each) are intriguing and enjoyable, others desultory. Jenkins himself ends the work with a striking, keening passage but the total effect is decidedly less than the sum of its parts. Over the course of his career, Jenkins composed a number of knotty pieces, and For Players Only ranks right up there. (All Music Guide). Indispensable free jazz classic! Price: 40 Euro
1159. JERONIMO: “Time Ride” (Bacillus Records – BAC-2010) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint). Top copy, German first original pressing in absolutely top condition, textured embossed gatefold jacket is between Near Mint and Mint, record is also untouched, final upgrade copy! Splendid heavy bluesy & psyched out German sledgehammer jammer with swirling key action and sneering guitar riffs, ripping the system apart like piles of cheap hay! A whiplash assault that moves around like a pit-bull on crack. Fantastic album. These are getting damned hard to find in perfect condition so … Price: 275 Euro
1160. The JESUS AND MARYCHAIN: “Upside Down b/w Vegetable Man” (Creation – Creation-012) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint). Rare blue cover variation first pressing. Fuck shoegaze this is pure rock & roll! And when I say rock & roll, I mean ROCK & ROLL! As pure, dirty, sexy and violent as it meant to be originally. I know there's this old cliche about Mary Chain's sound, you know Beach Boys meet Velvets or the Ronettes fronting the Suicide or Neubauten nailing the Shangri-Las, but this is totally true. William Reid's chaotic, manic industrial noises are probably the closest thing ever to Ron Asheton, period. I really don't get all this art-fag nonsense about them... If the Cramps were from the Highlands they will sound and look just like the Reid brothers. This single kick-started Creation's dignity and re-established Britain's proud on producing genuine rock & roll acts/records. And it's no exaggeration saying this single's one of the most important ever in rock & roll. A guy called Neil Taylor who used to write for the NME said to Primal Scream leader, and Mary Chain's drummer during 'Psychocandy' era Bobby Gillespie, that they were the best band since the Pistols... And still remains I should add... 'Upside Down' stands still as a landmark JAMC song and Syd Barrett's 'Vegetable Man' is incredible as well. Dig! (White Trash Soul). Couldn’t have said it any better and so to the point. Absolutely killer!!!! Price: 75 Euro

1161. The JESUS AND MARY CHAIN: “Upside Down b/w Vegetable Man” (Creation Records – CRE-012) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Original 1984 UK press. Another sleeve variation of this head-splitting awesome slide. Price: 50 Euro


1162. JESUS AND MARY CHAIN: “Never Understand b/w Suck Ambition” (Blanco Y Negro – NEG8) (Record: Near Mint/ Fragile Sleeve: Near Mint). 1985 UK original pressing. If you were to do a smash-up with some sort of abstract Phil Spector pop-sensibility diluted with some Throbbing Gristle bacterial fungi, The Jesus and Mary Chain's “Never Understand” would pretty much come out as a half breed outcome. In complete glorious and infectious disharmony. The first noticeable thing to explode right in your face with this record is the sheer density of the feedback waves. They are made of diseased screwdrivers, grit and zombie-like infected Labradors. And this curiously agonizing mixture washes over your brain and face relentlessly, continuously and gloriously. The spastic demented & amphetamine fueled glory comes courtesy of three incoherent syllables - i.e. "uh huh huh." The gospel apocalypse in full swing and so addictive! Flip the 12" over and you get a Subway Sect cover and Suck. The latter seems to be a pastiche of the A-side - the Reid brothers taking the piss out of themselves, their critics and most of all, you. Or perhaps they really thought this piece of utter shit was a great song. Back at the time, some wondered whether the only thing that stopped the JAMC from being wank was the feedback. It was their angle - their USP (unique sonic point). True, the colossal noise quotient certainly helped. This is a blessed and bruised beyond repair fantastic degrading experience that feels like running around beefed up on Thorazine and engaging into a bare-knuckle fight with a Pitbull high on crack. Price: 35 Euro

1163. JESUS AND MARY CHAIN: “Psychocandy” (Blanco Y Negro/ Warner Pioneer Japan – P-13193) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). One of the best records to seep out the mediocre decade that was the 1980s. It is a glorious one, filled with never-ending feedback and beats, all cranked up to ten and beyond, along with plenty of echo.  Still some of Psychocandy is also beautifully wasted pop, with echoes of the Velvet Underground; some other influences coming over like the Beach Boys being trapped in a wind tunnel full of broken glass and bees with the VU simultaneously; or sounding like both happening all at once. The Jesus and Mary Chain were a band without a middle. There was only melody and noise, beauty and violence, love and hate. Scarce Japanese first press original from 1985 in top condition, giving that much needed feedbacking noise and extra edge. Price: 100 Euro
1164. The JESUS and MARY CHAIN: “Barbed Wire Kisses” (Blanco Y Negro/ Warner Pioneer Japan – P-13664) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan all complete original pressing, promo issue. The Jesus and Mary Chain’s Barbed Wire Kisses (B Sides And Moreis an essential and for me a fantastic LP by the band that had me smacked out of my head upon playing it numerous times when I first discovered it. It was as if a deep layer of what the group had been creating up to that point (1988) had been revealed, cracked open like a box of shady, compelling delights, with this collection. OK some of the tracks one has heard when flipping over certain Mary Chain singles but here rarities also lurk in the shadows and there is something about wading through this selection of tracks together and as a whole that conjures up a thrillingly malevolent atmosphere that really is on another level. Barbed Wire Kisses lifts the stone and allows you to explore the dark world underneath it all and get lost all over again in its illustrious splendor. I kind of like it under these shadows here. Rare Japan original. Price: 100 Euro

1165. The JESUS AND MARY CHAIN: “Cutmedeadnailmedownandkickmyhead” (No Label – LP-JMC-10) (Record: Near Mint/Gatefold Jacket: Near Mint) Obscure 1985 released UK bootleg show of the Mary Chain taped during 2 different live shows and of good sound quality. For the Mary Chain diehards, probably THE BEST ever bootleg on vinyl! And quite rare. Allegedly a 'Live at Westminster Abbey' recording but actually from a mini Creation Records tour of 1984. No track-list printed on the beautiful psych-punk sleeves or the labels, but it's almost sure that contains recordings from two (still unknown) different venues. Overall, a brilliant sounding boot, from the classic line up (I assume) of Reid/Reid/Hart and Gillespie with great guitar mix and well-chosen covers ("Barracuda", "Ambition", "Vegetable Man") alongside classic now toons. Early Chain at its most chaotic and fuzziest! White trashy soul to the max, kills from start to finish!. Price: 60 Euro


1166. JETHRO TULL: “This Was a.k.a. Nichiyoubi No Insho” (Reprise/ Warner Pioneer Japan – P-8074R) (Record: Mint/ Gatefold Jacket: Mint/ Rock Age Flower OBI: Mint/ Insert: Mint). Bloody rare 1st Japan press, BLUE LABEL PROMO issue and adorned with the highly collectible and insanely rare “Rock Age Flower Obi”. Top copy, the whole affair is in NM to mint condition, just impossible to upgrade upon and packed with eye-mesmerizing beauty for days on end. Price: 400 Euro

1167. JETHRO TULL: “Stand Up” (Reprise/ Victor Japan – SJET-8180) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Outer Jacket Cut-Out Obi: Excellent/ Stand Up Figures within Gatefold: Mint). Ok boys and girls, time to get down and dirty with a heavy hitting monster rarity out of Japan, being this June1969 released original Reprise/ Victor LP by the Jethro Tull “Stand Up”, all complete with the never-seen-before cut out wrap around obi!!! I feel ya all, this one hurts…because you got blind sighted and didn’t saw this one coming. So I will spare you a musical rundown since I guess you are all more than familiar with this monster. In short, this complete edition 1st pressing is next to impossible to dig up on these shores. So let me explain about the condition some more. The actual records jacket is total mint as well as the actual record, which I would grade in between excellent and near mint. The wrap-around-cut-out-obi sleeve I would conservatively grade at excellent, it looks pristine. The wrap-around-obi functions as a slide in that holds the actual record’s jacket and has the words “World New Rock” cut out. The whole die-cut is in excellent condition and intact with no defaults whatsoever. These wrap around die cut obis came out in a series of about 15 albums that next to the Jethro Tull held artists such as MC5, The Doors, Paul Butterfield Blues Band, Zappa’s “Uncle Meat” (last copy I saw of this one sold for 3000 euro here), Tim Buckley’s “Goodbye & Hello”, Pentangle 1st LP, The Loving Spoonful, Rhinoceros, Sweetwater, Ansley Dunbar Retaliation, Joni Mitchell and Noel Harrison. And as far as this Jethro Tull LP is concerned, to make things even more mouth-watering, the stand-up/ pop up figures in the gatefold are also in near mint condition. A genuine rarity with the large jacket size obi present. Price: 400 Euro

1168. JETHRO TULL: “Aqualung” (Reprise Records – P-8073R) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). Very first Japan 1971 original pressing with 2000 Yen noted on obi & jacket and “Warner Brothers Pioneer” printed on obi and jacket – later pressings have higher price noted on obi and jacket and just “Warner Pioneer stated. This is the rare very first pressing. SOLD
1169. JETHRO TULL: “Benefit” (Reprise – P-8076R) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Excellent/ Rock Age OBI: Near Mint). Top condition Japanese 1st pressing all complete with rare “Rock Age” flower obi in top condition. Hardly ever surfaces so pristine as this sucker here. Price: 500 Euro

1170. JOACHIM KUHN Featuring Alphonse Mouzon: “Hip Elegy” (MPS Records/ Teichiku – KUX-9-P) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ Obi: Excellent). Japan original pressing – promo issue. Joachim Kühn, often awarded Europe's best jazz pianist, considers "Hip Elegy" a favorite among his own albums. It is a volatile mix of electric fusion, Latin and jazz rock, played by a funky all-star band and it hasn't lost any of its appeal. A great album of funky fusion for MPS! Keyboardist Joachim Kuhn heads up the group, but he's got some great rhythm backing from Alphonse Mouzon on drums and John Lee on bass, which makes the record groove way way more than some of his other titles! The keys are nice and spacey, and Philip Catherine plays trippy/jazzy electric guitar on most of the cuts. The lineup also includes Terumasa Hino on trumpet, and Nana Vasconcelos on an array of percussive touches. Spacey 70s MPS at its freshest and funkiest!  Price: 75 Euro

1171. The JOACHIM KUHN GROUP: “Bold Music” (MPS Records/ Columbia Records Japan – YS-2413-MP) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Japanese original first press issue from February 1971that comes housed in thicker-than-life gatefold jacket and with rare obi. The title Bold Music says everything and nothing, this is a challenging and ambitious avant-jazz date that features Joachim Kuhn tackling everything from piano to alto sax to antelope horn. It's nevertheless most audacious for tempering its outré leanings with soulful, melodic grooves and insistent rhythms that make the music more accessible and more idiosyncratic. Working in collaboration with bassist/cellist Jean-Francois Jenny-Clark, drummer Stu Martin and percussionist Jacques Thollot, Kuhn fuses improvisational skronk and sound-library smoothness to make a record that occupies both extremes of the MPS label sound at the same time. Somehow, Bold Music is both free and easy, and that's a rare feat indeed. Killer slide! Price: 100 Euro
1172. JOAO GILBERTO: “S/T or Aguas De Marco” (Polydor Japan– MP-3084) (Record: Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). TOP COPY in relief jacket complete with OBI!!!! First time I have a copy of this one with the 1st issue obi present. Original 1973 Japanese pressing on high quality vinyl, following the Brazilian press. According to these humble ears, this disc is without a doubt one of the single greatest recordings ever made, sparse but ringing with beauty. João Gilberto, sometimes referred to as the “White Album” of bossa nova, appeared in 1973, and featured a cool, almost mystical sensibility, his first discernible departure from the original sound of a decade earlier. It is an album that gains it's power by merely implying instrumentation. It creates atmosphere from it's lack of it. “less is more” and definitely so. It features Joao Gilberto singing and playing, and occasionally Sonny Carr joins in with some of the most precise percussion I've ever heard. The album begins with a genuine classic, quickly abandons lyrics in the following track, then vocals altogether. The voice returns for a beautifully sung ballad and follows it up with an intense samba. Side two takes the same formula and puts it in a different order with equally great results. Simply put, this is a masterpiece of minimalism. One integral characteristic of Bossa Nova, its minimalism, is carried to extremes: other than João's acoustic guitar, the only other instrument here is the sparest drums by Sonny Carr. The disc explains why all the other Bossa Nova interpreters worship João Gilberto: his complex, meandering harmonies and his acute sense of rhythm, his unembellished singing, and his masterful art of microphone singing: all these elements can be admired and enjoyed here. The recording is clear and quite intimate; the chosen songs are classic Bossa Nova tunes. Simply one of the best discs ever made. Too much beauty for one to handle. Rare pressing sounding so much better than the CD version due to the fact that the CD was taken from later sound sources since the masters to this gem were lost soon after the disc was released. The most essential disc you will ever hear. Price: 150 Euro
1173. JOHN CARTER & BOBBY BRADFORD QUARTET: “Flight for Four” (Flying Dutchman – FDS-108) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint). Brilliant but sadly largely overlooked killer West Coast free jazz slide!!! Carter and Bradford, both Texans living in Los Angeles, were recommended to each other by a mutual friend and fellow Lone Star State expatriate, Ornette Coleman, with whom Bradford had played in the early 1960s. They found themselves to be very much kindred spirits, and formed a group with bassist Tom Williamson and drummer Eldridge “Bruz” Freeman, brother of Chicago saxophonist Von Freeman. Originally working as the New Art Jazz Ensemble, they were encouraged to change their name, likely by Bob Thiele, who produced this album. Musically, the record is breathtaking. Consistently exploratory yet melodic and bluesy enough to hold the attention of any even mildly curious listener, the five compositions crackle with energy without ever erupting into clichéd blare. It’s easy to hear why Ornette Coleman thought these two guys should work together—they’re practically two sides of the same person. Carter juggles tenor saxophone, clarinet, and flute, expressing himself in a lyrical and introspective manner on each instrument. His phrases keen and murmur, enticing the listener to ever-greater focus as the tracks go on. Bradford, too, is a clear and forceful thinker on his instrument, the trumpet, never spewing streams of high notes or trilling pointlessly; he’s as suffused with the blues as his partner. Behind them, Williamson and Freeman surge and recede, dance with and around each other, and maintain a rock-solid foundation even as they do some exploring of their own. The album opens with an almost martial drum pattern, which kicks off “Call to the Festival,” apiece which recalls Ornette’s work of a decade earlier, but is thoroughly modern at the same time. The hard-charging “The Second Set” and the mournful “Woman” follow, each of the four players exploring every aspect of the collective sound they’re building. On the latter track in particular, Thiele’s production choices come strongly to the fore, particularly his heavily reverbed treatment of Freeman’s drums and the massive, throbbing bass sound, all of which is impeccably captured on this LP. And when the full ensemble comes all the way together, as on the passages that open and close “Abstractions for Three Lovers,” you almost can’t believe what you’re hearing. By the time the album ends with the clearly built-for-the-stage burner “Domino,” the only fitting response is to press “Play” again. This is an amazing, joyous record that will reward any jazz fan who seeks it out. Top condition US first original pressing!!!! Price: 125 Euro
1174. JOHN CARTER & BOBBY BRADFORD: “(Secrets)” (Revelation – REV-18) (Record: Near Mint/ Jacket: Excellent). Original 1973 US original pressing, released in a tiny run on the small Revelations label. Initially calling their quartet The New Art Jazz Ensemble, they made their debut album Seeking in 1969 for the small Revelation Records, followed by recording for the Flying Dutchman label before returning back to Revelations for this beauty. Their music was very much in the same orbit as Ornette's with darting linear compositions and freedom from chordal structures blended into a marvelous fresh sense of swing and blues roots. Carter's virtuosity on clarinet, flute and saxophone sets the benchmark for the music that this group strives for and achieves. Distinctive for their rich vibrant tones and articulation, Carter and Bradford bring a variety of colors, moods and rhythms to their vibrant brand of modern jazz. They manage to achieve an air of precision with a music that thrives on interplay and looseness. Every performance resonates with beauty and adventure. Largely overlooked gem that as of recently has found a new audience, making that Secrets is becoming slowly a hot ticket in town… SOLD
1175. JOHN LEE HOOKER: “Best Of John Lee Hooker” (Victor Records – SJET-8323M) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ OBI: Mint). Rare Japan only issue – Japan 1st original pressing all complete with rare green colored SJET obi. King of the rural endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves are at once both ultra-primitive and timeless. Totally addictive sound, stripped down sound and blessed with a bottom-of-the-well gravel voice that sucks you in straight from the start. Utterly beautiful and killer Japanese pressing. Price: 75 Euro
1176. JOHN LENNON & YOKO ONO: “Unfinished Music No.2 – Life With The Lions” (Apple Records/ Toshiba EMI Japan – EAS-80701) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Bloody rare Japanese press that comes with obi, rarely seen. John Lennon and Yoko Ono's second collaborative album consists of five tracks: all of side one is taken up by “Cambridge 1969”, a live recording at Lady Mitchell Hall in Cambridge of Lennon playing an electric guitar backup to Ono's singing and screaming. Rolling Stone described Yoko's vocals as sounding like “a severely retarded child being tortured”, so with a review like that you know already that you cannot go wrong. The opening moments feature Yoko's piercing wails and John's atonal guitar feedback. Immediately the tone for “Life With The Lions” is set be it a calculated confrontational one. “Cambridge 1969” can to some extent be seen as the precursor to Lou Reed's “Metal Machine Music”, a duet of pain from singer and guitarist that is harrowing in the extreme. A thrill to listen to, a real challenging piece of music, even to today's standards. Although it is a live recording, it is clear that they went into this performance with a good idea of the type of sounds they were going to make. “No Bed for Beatle John” is an Oriental plainchant, with Yoko singing about an incident during her miscarriage (the hospital's refusal to give John a bed as he stayed with his wife), while John sings counterpoint softly in the background about his upcoming divorce to Cynthia and other matters. It's an interesting look at two minds on different planes. It gets followed by “Baby's Heartbeat”, a recording of Yoko's fetus that sounds remarkably alien, succeeded by two minutes of silence to represent the baby's passing from this world. On “Radio Play”, John coaxes short bursts of sound from the radio by flipping the dial quickly. Of the three experimental albums that John and Yoko made, “Life With The Lions” is probably the most deserving of serious study. One of the greatest of all time avant-garde rock albums? To these ears not one second is wasted here, a truly remarkable disc, one of the best! Price: 75 Euro
1177. JOHN LENNON & YOKO ONO: “Wedding Album” (EMI Odeon – EAS-80702) (Record: Mint/ Gatefold Jacket: Mint/ Outer Box Set: Mint/ Obi: Mint/ All Inserts: Complete & Mint). Reputed box set, in stunning mint condition. So what do we have here, a stunning copy of this great avant-garde gem containing the outer box, Japanese obi, fold out LP jacket with disc in mint condition, bunch of inserts, snapshots, book, card, marriage certificate, postcard…everything is present making this a complete set, nothing missing and all in mint condition. The music on the disc on the other hand dwells in similar regions as the “Two Virgins” LP, composed of conceptual Fluxus offerings by John and Yoko. Demented and wicked stuff. Rarely seen in such immaculate condition. SOLD
1178. JOHN RENBOURN GROUP: “A Maid In Bedlam” (Transatlantic Records/ Nippon Columbia – YS-7019-LA) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan first original press issue with obi. “A Maid In Bedlam s credited to the John Renbourn Group, not to him alone, and that is an important distinction, since this is not another album of Renbourn’s acoustic guitar stylings. It really is the work of a group, consisting of Renbourn on guitar and vocals, his Pentangle partner Jacqui McShee on vocals, Tony Roberts on vocals and wind instruments, Sue Draheim on vocals and fiddle, and Keshav Sathe on tabla and finger cymbals. The song list consists of traditional British folk music dating back to the Renaissance, with three instrumentals mixed in with the vocal numbers and one -- the concluding hymn "Talk About Suffering" -- an a cappella performance. The most familiar number to contemporary listeners is likely to be "John Barleycorn," if only because of the Traffic recording, and the Renbourn Group is careful to present a different arrangement with an altered time signature. The arrangements are traditional, with the singers giving the words a madrigal feel. It's true that the tabla is not a traditional British instrument, but as Sathe plays it, it resembles a bodhran enough to get by. Thus, A Maid In Bedlam works as a collection of music that inspired the members of Pentangle in their contemporary folk-rock, played by some members of that band and their associates.” (All Music Guide). Larely overlooked stunning folk slide by Pentangle headpin. Top copy. Price: 75 Euro
1179. JOHN’s CHILDREN: “A Midsummer Night’s Scene” (Bam Caruso – KIRI-095) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). UK original pressing collection rare singles of the Bolan band that came out in 1988. This band started their career in Surrey and were earlier known as The Few and The Silence. They were discovered by Simon Napier-Bell who once was a manager of The Yardbirds. He brought them to London and they were renamed John's Children by him. Because of their limited muscial ability the band didn't play on the first two singles. The backing tracks were recorded by sessionmen and only Andy Ellisons vocals appear on the 45's. Their first 7-inch "Smashed Blocked" done well in the USA and it reached the Top 100 over there. White Whale offered them a record deal and the result was the eminently forgettable "Orgasm" album. The songs were played live in the studio by the band and overdubbed with screams and shouts from the Beatles movie "A Hard Day's Night". Thankfully their singles were much more better and Bam Caruso compiled back in 1987 (Bam Caruso KIRI 095) all the 45's. And you might know that Marc Bolan was a part-time member and recorded with them two 7-inches ("Desdemona" and "A Midsummer's Night Scene"). All in all a fine mod/pop-art band that will please fans of The Creation, The Eyes, The Who ect.Price: 40 Euro
1180. JOHNSON, RUDOLPH: “Spring Rain” (Black Jazz Records/ Toei – OPL-2004) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). White label PROMO issue. Japan first original pressing all complete with insert and OBI! One of the few albums ever cut by reedman Rudolph Johnson – a hell of a saxophonist, and one with a great ability to combine the spiritual with the searing – a bit like Joe Farrell at his CTI best, but not as freewheeling – nicely focused, and a little bit funky in all the right parts – in ways that make this album one of the real standouts on the legendary Black Jazz label! The groove is nice and hard, and plenty dark – with lots of sharp edges around the offbeat rhythms, and a "bite" that makes the album one of the heaviest titles on the label. Other players include John Barnes on piano, Reggie Johnson on bass, and Ray Pounds on drums – and titles include the great "Diswa", which has sort of of a tight jazzy hip hop sample feel to it, plus "Mr TJ", "Little Daphne", and "Spring Rain".~ Dusty Groove These Japanese original press issues with obi are since a decade ago completely vanished. Here you have a pristine condition copy so… Price: 350 Euro
1181. The JOKERS: “S/T” (Fading Sunshine – FS-001). (Record: Near Mint/ Jacket: Near Mint). This is the limited to 50 copies ONLY marbled color wax version. This, until now un-excavated gem out of the deep bowels of the Iranian 1970s underground was one of the biggest surprises of last year to hit my nerves. Flabbergasted …. still trying to catch some air, this is one vicious beast, the Speed, Glue & Shinki of bloody Iran!!! “Hailing from Tehran, Iran, the Jokers were arguably Iran's heaviest underground rock group during the early 70's. Having visited the UK for a short period, Vaheed, the lead singer and guitarist of Jokers returned to Iran with new ideas and influences. After hearing groups like MC 5 & Cream, the Jokers decided to pursue this type of sound, and subsequently recorded a heavy psychedelic blues album in a garage circa 1972 using nothing more then a reel to reel and two microphones. Filled with heavy fuzz, loud wah guitars and screaming vocals, the album sounds unlike any rock artifact unearthed from Iran so far. Sadly no record label would release their album, so they continued to perform at local venues, and even managed to get a performance at the German Embassy before disbanding. Here for the first time ever is a limited edition pressing taken directly from the reels they recorded in 1972. Fully licensed, this is a one time pressing only. The 500 copy LP is housed in a heavy old style paste-on jacket with heavy cardboard stock.” (label description). Without a single doubt, this is the best release of that unholy year 2010. Long gone and sold out, in a flash they were gone ….. KILLER IRANIAN HEAVY PSYCH all blessed with that basement feel…..Price: 75 Euro
1182. JONES, ELVIN & RICHARD DAVIS: “Heavy Sounds” (Impulse – AS-9160) (Record: Excellent/ Gatefold Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Direct Import Obi: near Mint). US original press issue for export to Japan and comes with rare Direct Import Obi and Japan only insert. Heavy Sounds, indeed – a beautiful little set of dark-edged soul jazz from the mid 60s – co-led by bassist Richard Davis and drummer Elvin Jones! The sound here is a bit different than any work ever released by either player as a leader – and is almost more in the vein of Blue Note or Prestige work of the same period – hardbop turned towards more soulful notes, but also still touched with a degree of modernism. A key element in the group is Frank Foster on tenor – whose blowing here is superb, and really on a par with his own albums as a leader from the time – marking a strong sound away from too many years of Basie influences! Frank does a killer job on his own "Raunchy Rita", taken here in a nice sexy groove, and stretched out nice and long with a very sinister feel – and other tracks include "ME", "Summertime", and "Elvin's Guitar Blues", which actually features Jones on guitar!  Price: 175 Euro
1183. JONES, ELVIN & RICHARD DAVIS: “Heavy Sounds” (Impulse – AS-9160) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan first original domestic pressing – all complete with Obi and insert. Pristine condition – next to impossible to ever upgrade upon. Price: 75 Euro
1184. JONES, THAD: “The Magnificent Thad Jones” (Blue Note/ EMI Music Japan – BLP-1527) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint).In 1956, trumpeter Thad Jones as making his way forward as a leader and apart from his important role with the Count Basie Orchestra, having recorded for the Charles Mingus owned "Debut" and Period labels. But this release for Blue Note most firmly established him as one of the premier musicians and composers in modern jazz; it's titled "Magnificent" for many great reasons. There are several precedents set here; the initial foray out of Detroit for the young pianist and fellow Michiganian Barry Harris, the identifying of a personalized small group, as well as individual sound of Jones, and his ability to easily bring great jazz icons together as a team. With Detroit's Billy Mitchell on tenor sax, Percy Heath’s bass, and stellar drummer Max Roach, this quintet makes truly great jazz music together. Starting with Heath’s spooky bass lines surrounding "April in Paris" melting into the silky smooth tenor of Mitchell, you immediately know you're in for a unique listening experience. Jones’ singing soul on his horn comes through best on the ballads "If Someone Had Told Me," in tandem with the pristine piano of Harris during "I've Got a Crush on You," and in duet with Kenny Burrell on "Something to Remember You By." Not forgetting to follow in the footsteps of Dizzy Gillespie/ Miles Davis/ Clifford Brown examples before him, Jones bops strong and proud on "If I Love Again," spurred on by Roach constantly mutating the rhythm changes, and using counter-melodies while jousting with Mitchell on "Billie-Doo." The single, definitive, and most enduring piece is the near-11-minute "Thedia," a classic post-bop case study that everyone should know and revere. The musicianship being at such a lofty plateau, so intelligently selected and executed and is generally regarded as the very best work of Jones, later big-band recordings with Mel Lewis notwithstanding.” (All Music Guide). Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. SOLD
1185. JONI MITCHELL: “S/T” (Reprise/ Warner Pioneer Japan – P-8099R) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan 1st press in outstanding condition. “Joni Mitchell’s debut release is a concept album. Side one, subtitled "I Came to the City," generally exhibits songs about urban subjects that are often dour or repressed in some way. "Out of the City and Down to the Seaside," by contrast, is a celebration of nature and countryside, mostly containing selections of a charming, positive, or more outgoing nature. What sets this release apart from those of other confession-style singer/songwriters of the time is the craft, subtlety, and evocative power of Mitchell’s lyrics and harmonic style. Numbers such as "Marcie," "Michael From Mountains," "The Dawntreader," and "The Pirate of Penance" effectively utilize sophisticated chord progressions rarely found in this genre. Verses are substantive and highly charged, exhibiting careful workmanship. "Song to a Seagull" has graceful and vivid lyrics about the joys of freedom set to a haunting, wide-ranging vocal line. Conversely, "Cactus Tree" explores the downside of a no-strings-attached approach to life, the fear of committing to a relationship (ironically wedding these words to a hopeful melody and pulsating guitar texture). "Marcie" utilizes poignant, twisting music set to desolately lonely lyrics about a jilted woman; the recurrent use of red and green imagery in the verses is especially clever. Character studies such as "I Had a King" and "Nathan la Franeer" are painfully bleak in contrast to the lithe domestic scene of "Sisotowbell Lane" and the winsomely reserved love song "Michael From Mountains." Unusual in her oeuvre are the overlapping dialogue prose manner of "The Pirate of Penance" and the jaunty honky tonk stylings of "Night in the City." Mitchell sings in a light, gossamer, at times diffident manner; vocal harmony is sparingly employed here. David Crosby’s production is simple and effective. This excellent debut is well worth hearing.” (All Music Guide). Such a beautiful record, original Japan 1st press. Totally essential!!! Price: 150 Euro
1186. JONI MITCHELL: “Ladies Of The Canyon” (Victor Records Japan – SJET-8251) (Record: Near Mint/ Gatefold Jacket: Near Mint/ First Issue SJET Obi: Mint). Unbelievably clean copy all complete with mega rare 1ststate obi. First pressing that was released in 1970 under the Victor World Group banner. 2nd press issue with Reprise obi is a common one, however the 1st press original with SJET obi is a damned difficult one to unearth, especially in a condition like this one here. First copy to drift back into my hands after an absence of 10 years, it is that rare. Price: 400 Euro
1187. JONI MITCHELL: “Clouds” (Reprise Records Japan – P-8100R) (Record: Mint/ gatefold Jacket: Mint/ Insert: Mint/ Obi: Mint). Japan 1st original pressing all complete with obi and in top – virginal condition. “Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsureness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell’s classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell’s riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen.” (All Music Guide). So beautiful and so perfect, what is not to like about this LP. Spellbindingly awesome and delicate in nature and its execution. Virginal Japanese original with OBI. Price: 150 Euro
1188. JONI MITCHELL: “For The Roses” (Asylum Records/ Toshiba Japan – IAP-80703) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Original Japan 1st original pressing with very first obi present. For the Roses was Joni Mitchell’s first release after her commercial and critical breakthrough album Blue. Searching for balance in her life after a tumultuous relationship with James Taylor and trying to escape the craziness of Los Angeles, Joni trekked back up to Canada, bought herself a piece of land and wrote most of these songs while in retreat. The album is a transitional project in Mitchell’s canon, going from her folk roots to some new jazz experimentations. The record revolves around the concepts of fame and glory in the rock'n'roll era, with sharp criticism directed at the music industry. Another high water mark for Joni, ear-waxingly delicious!.Price: 150 Euro
1189. JORDAN, CLIFFORD: “Clifford Jordan in the World” (Strata-East – SES-1972-1) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original US pressing – not the circulation fake/ boot issue that gets passed of as an OG. “Whether at the helm of a record date or as a sideman, Clifford Jordan was known for giving his all. These studio recordings were originally made for Strata East, a label known for its adventurous spirit. The tenor saxophonist leads two separate groups. The sextet selections include trombonist Julian Priester, pianist Wynton Kelly, bassists Wilbur Ware and Richard Davis, drummer Albert Heath and trumpeter Don Cherry. Jordan’s pensive "Vienna" is given an extended workout, with Cherry’s somewhat abstract playing fitting in rather well. The second piece, Jordan’s "Doug's Prelude," is also a bit brooding, showcasing the leader, Priester and Kelly.” (All Music Guide) Top condition US original…. Price: 225 Euro
1190. JORDAN, CLIFFORD: “Clifford Jordan In The World” (Strata-East/ Trio Records – PA-7018) (Record: Side A = Near Mint - Side B = VG++ has a few visible lines/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Original and scarce Japanese first original pressing all complete with obi. Whether at the helm of a record date or as a sideman, Clifford Jordan was known for giving his all. These studio recordings were originally made for Strata East, a label known for its adventurous spirit. The tenor saxophonist leads two separate groups. The sextet selections include trombonist Julian Priester, pianist Wynton Kelly, bassists Wilbur Ware and Richard Davies drummer Albert Heath and trumpeter Don Cherry. Jordan’s pensive "Vienna" is given an extended workout, with Cherry’s somewhat abstract playing fitting in rather well. The second piece, Jordan’s "Doug's Prelude," is also a bit brooding, showcasing the leader Priester and Kelly. Price: 250 Euro
1191. JORDAN, CLIFFORD: “Glass Bead Games” (Strata- East/ Tokuma Records – JC-7503) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint/ Obi: Near Mint). Japan original with rare obi. Glass Bead Games is arguably the crown jewels of the Strata East label, an amorphous shelter that treads an unusual path between post-bop, 70’s avant-garde and spiritual jazz, with a groove. Several tracks are portraits dedicated to icons of a recent generation – Powerful Paul Robeson, Cal Massey, John Coltrane, Eddie Harris – stylistic references but played with its own intelligence and respect. Jazz Times articulates well Clifford Jordan’s fullness of expression and distinctive voice: “No better representation exists of Jordan’s narrative gifts (on Glass Bead Games) – his lyricism, wit, mastery of changes-playing and vocalized tone, broad and burnished at all tempos and harmonic contexts, equally comfortable deploying the bright colors of the upper register and the dark hues of the tenor’s bottom.” Clifford’s execution offers the right amount of unpredictability, always fresh and interesting. Definitely one of the high water recordings to see the light on the label. Rare Japanese press original with obi, these babies do not turn up too often anymore. Price: 300 Euro
1192. JORDAN, DUKE: “Flight To Jordan” (Blue Note/ Toshiba EMI – BST-84046) (Record: Near Mint/Coating Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition high quality Japanese pressing of classic highflying Blue Note title. “Jordan just didn't have the personality to be a headliner. But that's just a guess, and it's based partly on this wonderful 1960 album—his only one as a leader for Blue Note. On Flight to Jordan, the pianist shines in three ways. First and foremost, Jordan is a magnificent composer. He wrote all six tunes on the original album, plus one of the two CD bonus tracks. All are spot on. There are four hard bop workouts that stand up to any the Jazz Messengers track of the era. There is also one achingly beautiful ballad, one magnificent slow, draggy blues and one standard. For the writing alone, Jordan earns my admiration. Second, he's clearly a terrific leader. How do I know? He lets the two horns—tenor Stanley Turrentine and trumpeter Dizzy Reece —steal the spotlight on almost every tune. They are a formidable front line. If you didn't know it was Jordan's album, you'd think it was a hornman leading the crew. They are that dominant. Jordan must have had supreme confidence in his own ego to arrange the tunes like that. Finally, Jordan is a fine pianist—nimble and melodic. I particularly love his soft, bluesy lines on "Deacon Joe," his exquisite solo on the ballad "Star Brite" and the gentleness of the closing piano trio on "I Should Care." Yes, it's a bop record, but it's the slow stuff that really separates Flight to Jordan from standard Blue Note fare.” (All About Jazz). A classic Blue Note that oozes with all that title suggests...This is the best sounding pressing out there. Was released in a limited run in 1998, pressed on 180 gram virginal Japan-pressed vinyl, directly taken from the Rudy Van Gelder master tapes and cut my sonic maverick supreme and living mastering legend Kotetsu Toru (revered by audiophile nuts) & comes housed in fully coated sleeve. Also the rarest Japanese high quality audiophile pressing out there. Press quantity was not that high at the end of the 1990-ties so these babies do not turn up too often. Price: 100 Euro
1193. JORGE BEN: “Mas Que Nada Original” (Overseas Records/ Teichiku – UPS-165-V) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: VG++ ~ Excellent – has a couple of wrinkles). Japan original press with obi – Japan only issue and one that does not surface that much. A groundbreaking blend of samba and soul that forever went onto transform the face of Brazilian music! The record works off the groove set down by Jorge's hit "Mas Que Nada" and takes the blend of bossa, samba, and jazz, and infuses it with a sense of folksy soul delivered by Jorge's raspy vocals and acoustic guitar work. So essential it hurts! Price: 75 Euro
1194. JORGE BEN: “Negro E Lindo aka Brajiru No Hoshi” (Philips – SFX-5002) (Record: Near Mint/ Gatefold Textured Jacket: Near Mint/ Obi: Near Mint). Rarely offered 1971 Japanese first original pressing that comes housed in a Japan only textured gatefold jacket art and also complete with cool obi. Negro é Lindo is a worthy successor for the great album Jorge Ben had released in the previous year. Jorge now takes his sound further toward a tropical Soul, a style that was his unique invention. But there are also still those hypnotic Samba grooves. Clearly, Negro é Lindo belongs to those master albums Jorge Ben bestowed to the world. A seminal set from – one that mixes samba soul with more baroque arrangements from the legendary Arthur Verocai! The record's got a different feel than some of Jorge's other work – almost a wider vision of music that ties his usual funky style to some of the more ambitious modes being explored by Marcos Valle and Edu Lobo at the time – expressed here in some larger instrumental passages that shade the tunes lightly, while still letting Jorge step out strongly on vocals and the usual mix of tight percussion and raspy guitar. With a good handful of records, Jorge Ben enriched Brazilian Pop and beyond, international Pop music. Negro é Lindo is one of them. Price: 275 Euro
1195. JOUJOUKA: “Brain Jones Presents the Pipes of Pan at Joujouka – The 4000 Year Old Rock & Roll Band” (Rolling Stones Records – COC-49100) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Promo Only Outer Jacket: Near Mint/ Promo only kit containing booklet + Brian Jones Promo B&W Picture + Promo Only 3 Paged Insert + Promo Only 4 sized booklet + promo Only 4 paged Insert: Near Mint). Rarely seen 1971 UK original all complete with PROMO ONLY outer sleeve and complete PROMO KIT! Outer Sleeve has “The 4000 Year Old Rock & Roll Band” imprinted on embossed outer. And contains apart from the record and gatefold sleeve the complete PROMO kit. Top condition. Long out of print since its 1971 release on Rolling Stones Records, this stunning classic provides a glimpse into a primordial, shrieking world of ancient blood rites, trance rituals, and a throbbing, unfettered fertility -- the world of Morocco's Berber mystics. Under the guidance of Brion Gysin, Brain Jones ventured into the Riff Mountains to record these Master musicians and their thousand-year-old wail. Their drum and reed corps riveted generations of wide-eyed (and drug-addled) wanderers from Europe and America. Jones processed their melodies through acid-era studio effects that heighten their transportive qualities. Nevertheless, the disc succeeded in capturing a very special time and place, when adventurous kids, stoned on the idea that anything was possible, first found a gateway to the beyond among the pastoral people of a little mountain village deep in the heart of Morocco. Damned rare with all promo gimmicks attached, a true gem of a disc, never seen one offered for sale before. Of course, it comes with the highest possible recommendation. SOLD
1196. JOY DIVISION: “From The End To The Beginning – A Tribute To Ian Curtis 15 july 1956 to 18th May 1980. You’re No Good For Me” (private – No Number). (EP Record: Near Mint/ Picture Sleeve: Near Mint). Rare Joy Division bootleg single that consist of one track recorded in 18 July, 1977 and was part of the Warsaw demo sessions. Here Joy Division sound raunchy and almost completely punked out. Brilliant, raw, abrasive…Price: 50 Euro

1197. JOY DIVISION: “Lost Control” (No Label – JD-Lost-7) (Milk Colored Record: Near Mint/ Jacket: Excellent). Classic Joy Division bootleg from fays long gone. Clean and clear concert recording of the band’s legendary performance at the Bowdon Vale Youth Club, Altringhan, March 14th, 1977. Tracks include: She’s Lost Control – Shadowplay – Leaders Of Men – Insight – Disorder – Glass – Digital – Ice Age – Warsaw – Transmission – I remember Nothing – No Love Lost. Good recording quality and comes pressed on white/ milky colored vinyl. Does not turn up that often and one of the better boots of Joy Division in action. Price: 75 Euro

1198. JOY DIVISION: “Atmosphere” (Nippon Columbia/ Factory – YW-7422-AX) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Another slab of essential sonic debris, rare Japanese original all complete with obi. So good, unrivaled and timeless….no music collection without Joy Division. Price: 85 Euro
1199. JOY DIVISION: “Still” (Factory/ Nippon Columbia – YZ-181-2-AX) (2 LP Set: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st original press issue with rare obi – promo issue. Killer album, essential in any collection. First issue with obi is getting so damned scarce it is almost frightening. Price: 150 Euro

1200. JULY: “The Second of July” (Essex Records – 1015LP) (SEALED copy). Long deleted killer LP that is comprised of demos & outtakes from the July album. Released way back in 1995, July released only one LP during their lifetime. There’s no way to overstate the excellence of the album, with its eerie sound, Indian-influenced chord sequences, studio trickery (tape loops/phasing), and heavily reverb-laden vocals. But that’s not where the story ended. Even before that quintessential psychedelic album was made, band leader Tom Newman was experimenting with home recording equipment. In 1967, he installed basic recording facilities in the bedroom of his flat in an old Victorian house in Ealing. There, he and guitarist Peter Cook tried out ideas, coming up with many of the standout songs from the July album. The demos they recorded display the kind of confidence that Newman feels was lacking in the album proper (yes, the ultra- famous psychedelic classic album!) that they recorded in 1968. Let’s go back to the near-beginning of it all, to a flat in a Victorian house in Ealing, and listen in on demos recorded with DIY alacrity by a studio whiz, tracks which will change the face of psychedelia, eventually, after decades of obscurity. Price: 40 Euro

1201. The JUNKIES: “Live In NYC 1975” (Private/ Nowhere Records – J-01) (7 Inch EP Record: Near Mint/ Picture Sleeve: Near Mint). Late 1980s Japan only extremely limited private press/ boot issue of about 150 to 200 copies of a live recording of the illustrious Junkies, a band comprised out of Johnny Thunders, Walter Lure, Richard Hell and Jerry Nolan. First of all how can you go possibly wrong with a band name like that? Before even glancing at the member’s line-up, I instinctively knew this was going to be lethally good. And no mistake, it just is – making you feel live diving head-first into the amphetamine-fueled burned out basement that once was your secret sanctuary. But no more. Price: 125 Euro