RARE RECORDS CATALOGUE
M-N
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

1274. MACHINES: “True Life – Everything Technical b/w You Better Hear – Evening Radio” (Gecko – GECKO-5) (Orange Colored EP Record: Near Mint/ Outer Plastic Sleeve: Near Mint). Brilliant slab of UK punk. The Machines were not only Southend's first punk band, but also the first to release a record - the infamous 'True Life' EP on Wax Records. As punk trailblazers, shaking off the R & B paralysis that had gripped the towns music scene for so long, the band’s time together really was an incendiary one. Together for barely a year, they managed to play a load of local shows that have long lived on in the collective Southend Punk subconscious, together with some historic gigs at legendary London venues such as The Roxy and Vortex punk clubs. Eventually they decided to get something down on tape and put out an EP on local label Wax Records. They went into Spectrum Studios in Westcliff and recorded four songs: 'True Life', 'Everything's Technical', 'You Better Hear' and 'Evening Radio'. The single did well, soon selling it's pressing of 1,000, and even entered the lower reaches of the Alternative Chart, as published in Sounds. This copy here is a nice but also completely dried up reissue that came out in 1996 on Gecko, a subsidiary of Wax. Price: 40 Euro
1275. MAD RIVER: “High All The Time b/w Amphetamine Gazelle” (Capitol – P-2310) (EP Record: Excellent ~ Near Mint/ Company Sleeve: Near Mint). Rare Mad River EP release – Promotional Record – Not For sale stated on label. Price: 100 Euro
1276. MAD RIVER: “S/T” (Capitol – ST-2985) (Record: Excellent ‾ Near Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink, perfection with not the faintest trace of wear). Top copy, no ring wear, best copy for miles around and getting extremely hard to find pristine copies of these albums. What can I say but the hits keep on coming. Original US pressing in fantastic shape. By far the most ominous-sounding of the Bay Area’s 1960s psychedelic bands, the music of Berkeley’s Mad River comes across like a spiraling, acid-spiked descent into hell. With a raw, garagey style marked by Lawrence Hammond’s quavering vocals and the interlocking exchanges of guitarists David Robinson and Rick Bockner, Mad River’s sound conjures a darker, more menacing version of Quicksilver Messenger Service or early Country Joe and The Fish. Mad River’s tabs of tortured soul—cuts like the lysergic opening rush of “Merciful Monks,” the lengthy, labyrinthine “The War Goes On,” and the truly demented “Amphetamine Gazelle”—add up to one cathartic ride, a ride that psych-heads will be tripping all over themselves to take again and again.” (Sundazed). To the point summarizations of Mad River’s debut LP. So vital, so essential, so addictive. Original US rainbow copy of this awesome beyond belief psych beast. The track “Amphetamine Gazelle” is boss and rules by days and nights. Highest possible recommendation. Jacket still housed in shrink, a total bitch finding this one with an impeccable sleeve… Price: 400 Euro
1277. MAD RIVER: “Paradise Bar And Grill” (Capitol – ST-185) (Record: Near Mint ~ Mint/ Jacket: Mint – still housed in original shrink). Original 1969 US pressing on green Capitol label. Always a hard one to dig up in immaculate condition as the sleeve is prawn to have always-visible wear and such. This one is pristine on all fronts. Final upgrade copy. Best one around. The follow-up to their legendary debut and final recording, boasting out a totally different musical style that may scare away fans of the very first hour but in retrospect “Paradise bar & Grill” is as good, if not better, than their debut. The LP was completely different from their debut and the tracks largely retreated into country-rock but at the same time inscrutable acidic tunes with vicious guitar riffing and detuned melodies do pop up, making it an extremely diffuse record balancing between styles and moods. Although it may seem unhinged on paper, the whole affair does gel well together and the band veered from country to agonized acid rock that made up their debut. “Paradise Bar and Grill” is a jarring roller coaster ride that made it a hard album for the critics to digest. Still, to these ears, it is as good – if not better – than their debut, reassuring the fact that Mad River was one of the most original acid fried band to seep out of that fertile West Coast scene. Fantastic!! Impossible to upgrade upon. Price: 275 Euro
1278. MAEDA NORIO with TOKYO CUBAN BOYS: “Poem Fantastique DOJOJI” (Columbia – JDX-60) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Top condition 1971 first original pressing of head-twisting hybrid jazz slide that throws together spiritual jazz vibes with Kabuki mood-swings, crosspollinated with fragrances of Noh music, giving it a unique Japanese jazz flavor that sounds like nothing else out there. For this particular recording, Columbia Records went out and dug up Noh-Gaku and Kabuki masters’ disciples who up until that day in 1971 still held the ancient tradition alive and hooked them up with the Tokyo Cuban Boys and Jazz head composer Maeda Norio (of Matsuoka Kikko fame). Right from when the needle hits the groove, the tone is set unto which the whole disc unfolds its sonic contaminated crossbred aural canvass. Opening up with an orchestral take on classical Noh music drifting over with flutes and shamisen vapors, it does not take long before a Noh vocal recitation takes hold accompanied by call-and-response chorus and primitive stripped own percussive rattles and shamisen, the vocals veer off, wailing away like a beached seal during mating season. While the nasal vocal tone keeps on beating down your ears like a harsh northern wind, the whole affair suddenly opens up onto a full technicolor spectrum of sounds, old musical traditions seamlessly merge with cinematic orchestral colors that again in their turn bleed into a highly unique Japonized groove. Wailing female vocals & choirs interlock with bashi-slashed shamisen sounds, creating an anxiousness that feels like a soar cracked whip, urging restriction without diminishing any of the tension that slowly builds up, blending neatly into one hypnotic hybrid and unclassifiable jazzy & groovy cesspool of sonic extravaganzas without ever coming off as conceived studio shit. Instead, it wields out a supernatural bastard jam of seemingly conflicting styles that fuse neatly into one ear-bleeding sonic wash of aural beauty. A sound palette that only could have conceived in early 1970s Japan – devoid of any pastiche and rich in kimono ass-wielding jazz funk that got injected with a healthy intravenous shot of Edo era groove. Just bewitchingly beautiful but so overlooked it baffles the mind. Still largely affordable – for now - seen the prices other Japanese jazz gems fetch these days, this one here is a pristine copy complete with rarely seen OBI. Highest recommendation! Price: 175 Euro

1279. The MAGIC SHOP/ The VISITORS: “It’s True & Gold Mining” (b aba ba-ba ba – 008) (one sided two-track flexi single: Near Mint/ Picture Sleeve: Near Mint). Damned nice yet little obscure 1987 original press little gem of a flexi disc. Design is stunning; music is infectiously catchy & great. Price: 35 Euro

1280. MAGMA: “Mekanik Destruktiw Kommandoh” (A&M Records/ King Records Japan – AML-193) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint/ Gatefold Insert: Near Mint). Hideously rare first original Japanese pressing of 1973 on high quality vinyl. Recently impossible to dig up Japanese first original pressing with obi, the sole Magma record to see a Japanese release in real time. This copy comes with rarely seen – but sadly nearly impossibly rare OBI. This record is perhaps the most dark and militaristic-sounding out of the early Magma catalogue. Vander's comments: "The 3rd movement of the trilogy 'Theusz Hamtaahk', 'MDK' is really my 'My Favorite Things". The melodies are played infinitely, becoming more and more intense, attaining a kind of paroxysm, of zenith. Great and rare original Japanese pressing of this monster, complete with obi and insert. Indispensable. Very nice copy, all complete with all the inserts and obi – a real bitch to dig up the first original Japan pressing all complete but here it is. Copies with obi are getting damned rare…. SOLD

 

1281. MAHER SHALAL HASH BAZ: “January 14th 1989 Kyoto – Maher Goes to Gothic Country” (Org Records – ORG006) (Record: Near Mint/ Jacket: Near Mint/ Inserts: Near Mint). This record I see on everyone’s want list but due to its ultra limited pressing of 100 copies the disc just never turns up. I got my personal copy about 10 years ago and only now I am able to offer my 2nd ever-spare copy. Like Idiot O’Clock’s 100 copies only ltd LP on the same label, Maher’s album is about a zillion times harder to get. Idiot O’Clock’s disc I have seen for sale about 5 times in the past 6 years. Maher’s first I have seen never ever offered for sale until now in these pages. Go figure its scarcity. But that is not all. The music on Maher’s first LP is what made headz turn counter clockwise in disbelief. The naïf psychedelic collective seemed to have the gutsy determination to head for the holy ground of rock music’s final and last moments, a burial ground of rock as we know it with its ragged take on chords, detuned instruments and child-like displayed primitivism of a pre-musical level. Needles to say not many people were ready or interested at the time in Kudo’s joyous kindergarten epiphany, until he met up with Org Records’ Shibayama Shinji in the late eighties, who agreed to release the first album of his band. Released in a tiny edition of 100 copies, “January 14th, 1989, Maher Goes to Gothic Country” was actually a live recording of a gig in Kyoto as being part of Shibayama’s Nashikuzushi no Kyôwakoku concert series. On here, Maher’s sound had become for this concert more compact and well rehearsed as opposed to their previous outings, as displayed on their first gig concert tape. Their micro instrumentals were for this once rather well rehearsed according to their primitive standards. Seemingly utterly simplistic upon first hearing, Maher however delicately concealed to a certain extent the craftsmanship underlying its compositions, against which gauzy demarcated improvisations infuse the whole mixture, igniting it into a hot boiling pot of steamy rockin’ and rollin’ naïf kindergarten no-wave. Again, Kudo’s slowly surfacing deconstructing and disassembling take on rock and recreating it with the scattered basic core parts approach became more visible to those who wanted to see and hear it. Like Syd Barrett’s one chord riffing style, Kudo ventured slowly more into the realms of creating substance out of dissected technical skills and dismantled rock basics, generating a charming and new type of naïf rock. Highest possible recommendation and bound not ever to turn up again…or do you think otherwise? Mega rarity. Price: Offers!!!!!
1282. MAHMOUD AHMED: “Ere Mela Mela (Crammed Discs – CRAM-047) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Mahmoud Ahmed is one of the great singers of Ethiopia. His music is unique and bewitching, so different from anything we've heard coming from Africa: bluesy smoke-filled sax riffs, rolling desert rhythms, sand-dusted wah-wah guitars and, above all, those highly bewitching, trance-inducing and poignant vocal melodies, based on strange, almost Indonesian-sounding scales. The tracks on this killer slide here were recorded in Addis Ababa between 1975 and 1978. In 1986, Ahmed came to international attention when the Belgian Crammed Discs label released Ere Mela Mela, a set of tracks drawn from two late-70s LPs Ahmed recorded in Addis with the Ibex Band for Kaifa Records. The Ethiopia of that day was best known for famine and political repression, but the vitality and soul of what became Ahmed's first international release created a buzz in the incipient "world music" community. European promoters tried to bring Ahmed to perform, but by the time the succeeded--after the fall of the Mengistu regime in 1991--the spirit of the music had changed. The wildness of 1970s Addis had been tempered significantly by years of playing up to military officials, and retreating to hotel lounges to perform for the elites. In all, the music is all the way through heavily pregnant with a swaggering spirit of hypnotic dervish-like smokey desert horns captured through various bewitching songs that propel forth an inspirational and captivating sound, making it for modern ears nothing short of inspirational. Mahmoud re-imagines his musical roots here, fashioning them into an elastic musical language that recaptures the groove of some ancient tribe. Fantastic record, one of the best recordings to have graced my turntable lately. Price: 50 Euro
1283. The MAJIC SHIP: “Wednesday Morning Dew” (P.I.P/ Pickwick International productions – PIP-8936) (EP Record: Excellent ~ Near Mint/ Plain Sleeve: Excellent). White label promotional EP for the Majic Ship sole released LP. This never turns up. Awesome condition. Price: 100 Euro

1284. MALINGA, JOE Featuring CLIFFORD THORNTON: “Joe Malinga’s Mandala – Tears For The Children Of Soweto” (Canova – CA-113LP) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Scarce and sadly totally overlooked 1980 original pressing. Former Dollar Brand reedman and South African exile Joe Malinga’s combo that featured Clifford Thornton as the group’s cornerstone. It turned out to be one of the last Clifford Thornton's recordings as well as one of the best recordings by the South-African saxophonist. The music is infused with an omnipresent South-African touch that makes the whole a very well-orchestrated modern jazz classic with flashes of freedom reigned in by Thornton and cohorts and guiding the whole sonic adventure into some South African Township tinted deep groove jazz waters. Highly recommended deep groovy jazz slide that is still (but still for how long?) affordable slide. Price: 100 Euro


1285. MAN: “Revelation” (Dawn Records/ Teichiku Records – UPS-625-YD) (Record: Excellent 〜 Near Mint/ Jacket: Excellent 〜 Near Mint/ Obi: Mint/ Insert: Near Mint). Bloody rare Japanese 1st pressing complete with obi. Only the 2nd time ever I see a copy of this beast with obi. Never surfaces!!! Rare Japanese pressing of the 1st Man album, which in my book still ranks up high. Originally issued in 1969 on Pye in the UK, “Revelation” can be regarded as a concept album that yielded a successful European single, "Erotica," which contained the sound of an orgasm and thus failed to chart in England. This version here is the rare Japanese pressing of the album. Overall a fantastic LP and together with their 2nd album the best they ever did. The “Erotica” track is just as sexed up as a song can be and quite a feat for a Welsh outfit that was used to playing in pubs. A classic and indispensable in my opinion. Top copy and the Japanese pressing with OBI is seriously rare! Sonic wise, it also blows the UK pressing straight out of the water. Original 1970 Japanese 1st press. Price: 250 Euro

1286. MAN: “2 Ozs Of Plastic With A Hole In The Middle” (Dawn – DNLS.3003) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1969 press copy on the orange Dawn imprint in top condition. Man's second album was released in 1969, the same year as their debut. In an effort to emphasize the serious nature of their music, Pye records moved Man to their new Dawn label. Ironically, the album title is a flippant description of the physical make-up of an LP record. Relying more and more on instrumental prowess, the opening "Prelude/The storm" is an ambitious scene setter with clear delusions of grandeur. Things continue to build towards a seemingly limitless crescendo before easing off to an altogether more relaxing, almost ambient phase. As we move into "It is as it must be" (originally to be titled "Shit on the world" till the record company took fright), we begin to uncover what would become the essence of the band. Here we have a heavy, bluesy guitar driven riff laden number with the first vocals of the album. Apart from that brief vocal excursion, the track is primarily an elongated jam featuring lead guitar and harmonica. In another example of wonderful incompetence, the record company took exception to the title of the third track. It was therefore changed from "Spunk rock" to "Spunk box" (a record company employee misunderstood the instructions and changed the wrong word!), although the former title has prevailed over time. In view of the way this track has been extended and developed in the live arena, the version here may sound a little tame. It remains though one of Man's signature numbers. My name is Jesus Smith" is the most commercial track on the album, reverting to the Bystanders (from whom Man evolved) light pop rock style with pleasant harmonies. Midway through, the song bizarrely transforms into a hoe-down style country piece. "Parchment and candles" was reputedly performed on a harpsichord belonging to producer/song writer Tony Hatch, who took exception to the band using it without his permission and threw an Elton John style tantrum. The piece itself is a brief reflective instrumental, quite unlike what we have come to expect from Man. The album closes with a Budgie like romp through "Brother Arnold's red and white striped tent". Not a particularly memorable track by any means, but fine all the same.” (Progarchives). A dead stone cold UK classic in top condition, just an amazing slab of music. Highest recommendation, but then you knew that already. Price: 250 Euro
1287. MAN: “Be Good To Yourself At Least Once A Day” (Liberty Records – LLP-80784) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). First original Japanese press issue from 1972 all complete with insert and pink colored “Rock Now” obi. Stellar sound quality and hardly ever surfaces with obi present. Price: 125 Euro
1288. MAN with JOHN CIPOLLINA: “Maximum Darkness” (Liberty Japan – LLS-80396) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). TOP CONDITION. Rare white label Japanese press promotion copy that comes with never seen before obi!!. Originally released in 1975, Maximum Darkness was the final album by Welsh Rock legends for United Artists Records. Recorded live in 1975 at the Roundhouse as part of a UK tour, Man were at the top of their game on stage. For this concert they were joined by John Cipollina from San Francisco's legendary Quicksilver Messenger Service. A triumphant concert, the album has become legendary. It starts off with Deke's "7171-551" from 'Iceberg' which had been expanded from a perky little single to an 11 minute assault on the senses. Next are "Codine" and "Babe I'm Gonna Leave You", two old standards that Quicksilver had originally recorded for the 'Revolution' soundtrack album, Deke's vocals on "Codine" are incredible. For the B-side there are two old classics "Many Are Called" and "Bananas" both turned into extended jams with all three guitars getting a chance to stretch out. Stuff of legends…..this being the rarely if ever seen Japanese edition on quality vinyl and with the obi. Rare promotional white label copy to boot. Cipollina rules on this one, so bloody fantastic. Price: 150 Euro
1289. MANDEL, HARVEY: “Cristo Redentor” (Philips – SFX-7418) (Record: Near Mint/ Jacket: Excellent - has some faint trace of storage visible against white background but nothing too serious - no damages or anything, beautiful jacket). Bloody rare Japan 1st original pressing from 1970 that comes housed in Japan ONLY jacket art and is complete with beautiful OBI. White label promo to boot!!! Mandel’s debut remains his best early work, introducing an accomplished blues-rock guitarist capable of producing smooth, fluid lines and a variety of tasteful distortion and buzzing via an assortment of tone pedals and customized amplifiers. He augmented his flash with an adventurous appetite for orchestrated, quasi-classical strings (especially in the eerie symphonic title cut), jazz-blues-rock fusion in the mold of the Electric Flag (as on "Before Six"), and even a bit of country in the presence of top steel guitarist Pete Drake. At once gritty and elegant, Cristo Redentor combines Nick De Caro’s lithe string arrangements with Harvey’s groundbreaking electric guitar technique to create something unearthly, far transcending the narrow blues conventions of many of his contemporaries. Mandel’s long, sinewy guitar lines earned him his nickname “The Snake,” apt not only for his drawn out sustain but also his unpredictability; the listener is never sure where he’s going. He doesn’t follow conventional patterns for soloing within songs. He’s in full slither on the epic “Wade On The Water”, partially recorded onstage at The Avalon Ballroom. “I wanted the song to be a big production number with a wide, live feel and lots of natural reverb,” he said in an interview. It takes a certain vision to record a live band performance in order to get that “big” sound, and then blend it with orchestration in the studio to create a track that seamlessly matches the thread of the album. Who does that? Just pure genius!!! WHITE LABEL PROMO with OBI issue. Just never surfaces…. Price: 300 Euro
1290. MANFRED MANN: “Chapter Three – Volume Two” (Philips Japan – SFX-7267) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). First original Japanese press – all complete with rare OBI. RED label PROMO Issue. Released in the UK on vertigo, the Japanese issue came out on Philips, the mother company of Vertigo. High quality pressing and comes housed in thick gatefold jacket. The music is similar and the follow-up of chapter one, filled with brooding jazz tinted and psychedelic infested moves, smoky sax lines priggish moves and menacing vocals. Total killer album and a worthy successor to Chapter One. Original 1970 Japanese pressing with the 1st obi present. Promo issue. Price: Offers!!!!
1291. MANFRED SCHOOF: “European Echoes” FMP Records – FMP-0010) (Record: Excellent – has one tiny non-sounding faint scuff on 2nd side for the rest all is just perfect!!!/ Top Loader Jacket: Excellent – no splits or damages, clean first issue fragile sleeve). Rare original FMP pressing, First issue with orange colored FMP label and 1st FMP design logo. Comes with 1st state jacket – top loader. First title following Bro Records on the FMP label, released in a tiny pressing of 250 copies or so. European Echoes carves out a distinct niche. Brötzmann, Rutherford, von Schlippenbach, Niebergall, Bennink, Van Hove, Kowald, and Parker are all here, along with Derek Bailey, drummer Pierre Favre, saxophonist Gerd Dudek, pianist Irène Schweizer, bassist Arjen Gorter and trumpeters Enrico Rava and Hugh Steinmetz. That’s three trumpets, three saxophones, three pianos, three basses, two drummers, a trombonist and one hairy-assed guitar. Or, more succinctly put, a whole ton of firepower. The first release on the FMP label, that flowed out of the birth of Brotzmann’s Bro records imprint. Damned hard to score these days, 2nd press on FMP is common, but the first pressing with top loader sleeve and orange colored label is a true bitch to unearth. Really nice copy!!!! Gonna be tough improving upon this one… Price: 275 Euro
1292. MANGELSDORFF, ALBERT: “Albert Mangelsdorff and his Friends” (MPS Records – YS-2310-MP) (Record: Mint/ Heavy Gatefold Jacket: Mint/ Obi: Mint). Released in June 1970. Original 1st issue with always missing obi on the Japanese MPS label – first pressing released in 1970 in stunningly death mint condition and housed in a thicker than life fold out jacket. On this one Mangelsdorff teams up with other hardcore players Don Cherry, Elvin Jones, Karl Berger, Attila Zoller. Lee Konitz and Wolfgang Dauner. You can hardly go wrong with such a line-up. The music speaks for its self, lyrical free blowing jazz touching on almost divine spheres. Great all over and ultra collectable, especially in this condition and the white MPS label mark. A must. Music totally waxes your jazzing needs towards eternity. Price: 100 Euro
1293. MANGELSDORFF, ALBERT with JOHN LEWIS & THE ZAGREB JAZZ QUARTET: “Animal Dance” (Atlantic Records – P-4510A) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1975 first original press issue with obi + WHITE LABEL PROMO issue. “This studio date came about as a result of Albert Mangelsdorff’s appearance at the Third Yugoslavian Jazz Festival, where pianist John Lewis was impressed enough with his performance to set up a recording session a few days later. With bassist Karl Theodor Geier and drummer Silvije Glojnaric also on hand, none of the musicians had ever played together, though it made little difference as they quickly absorbed the originals of Lewis and Mangelsdorff, along with the familiar standard "Autumn Leaves" and Gary McFarland’s "Why Are You Blue." The leader's judgment is validated with Mangelsdorff’s impressive work. The final track showcases a separate group, the Zagreb Jazz Quartet, featuring pianist Davor Kajfes, vibraphonist Bosko Petrovic, bassistMiljenko Prohaska and Giojnaric on drums. Long out of print, this Atlantic LP will be somewhat hard to find.” (All Music Guide). Price: 50 Euro
1294. MANSET, GERARD: “S/T” (Odeon – SLOX340 784) (Record: Near Mint/ Flip Back Jacket: Near Mint). Top copy original French pressing. Damned rare record and possibly the best French disc ever. Well, without a single doubt, this is one of the all-times best LP's to have ever come out of France. Gerard Manset 1st album. With this LP, Manset delivered an instant classic, totally deranged, wild, hyper psychedelic and totally in the tradition of French chanson but at the same time ultra-surreal and psyched out. In short the album has in every song all the elements compacted that good music should have. This it totally IT. The string arrangement and melodies are amongst the best you could find in a 60's French production, and the lyrics are just crazy psych nonsense---Released untimely in 1968 during the student riots in Paris. Fortunately, Manset got some success ten years after and EMI released monster that contains the following killer cuts: Animal On Est Mal, Mon Amour, La Toile Du Maitre, Il Rentre à 8 Heures Du Soir, On Ne Tue Pas Son Prochain, La Femme Fusée, L'une Et L'autre, Je Suis Dieu, Tu T'en Vas, La Dernière Symphonie. Aquarius commented on the music like follows – just to show you an other opinion instead of mine: “Gerard Manset is an underground French treasure, recording records since the late '60s but always avoiding the public spotlight, refusing to do interviews, appear on TV or play any of the other silly games often required to attain mainstream success. With a totally seductive voice, and lush arrangements that are as powerful as they are beautiful, this album recorded during the student riots in Paris in 1968 has become one of those discs we can't stop listening to! There is an urgency and passion in these songs rarely heard in modern music. Manset has the same kind of presence and elegance as folks like Serge Gainsbourg, Caetano Veloso, Michel Polnareff and Scott Walker. This is not ye-ye fluffy French pop. Don't get us wrong we love that stuff, but what makes Manset so damn great is how his songs are so melodic and catchy while also being so sensual and impassioned. Totally smart arrangements that will appeal to both psych and pop lovers.” (Aquarius Records). This record is one weird psychedelic trip down Wonderland Avenue. A fantastic head spinner and all-time highest recommendation. Original French pressing in TOP condition but sadly so hard to find. Price: 550 Euro
1295. MANTECA: “Ritmo Y Sabor” (GRC – GRC-1085) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Truly 1st original pressing. Like you might know, most copies of this afro-funk bomb have condition issues – that is if copies do surface at all – being either trashed to dead or press-miss problems. So I am thrilled to be able to offer a truly clean copy without any of the previously mentioned issues, probably one of the best copies out there. Manteca is the nickname for master bongosero LazaroPla, a Cuban legend who used to play with Ernesto Lecuona and the Cuban Boys. His Ritmo + Sabor is one of the holy grail Latin funk LPs given its ridiculously funky percussion. It's an interesting album for Manteca since he didn't record out of Cuba much as a solo artist yet this album has been pressedup three times: GRC (Miami), Sound Triangle (Colombia) and Desca(?). And despite that, you'll still end up forking over a few Franklins. The interplay between the bass lines and the percussion section is ridiculously funky not to mention pure rhythm - notice, there's no melodic composition in the song atall. "Gozando Tropical" is more in a conventional Cuban dance style with its piano montuno riff but even here, the hard timbales still put percussion first...sometimes I feel like the song is mis-engineered and should have cooled down the timbales a bit but then I shrug and figure if the drummer wants to get some, who am I to deny? Price: 400 Euro
1296. MANU LANNHUEL: “S/T” (Production Disques Iris – IRS-3.207) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Mint/ Inserts: Mint). Original French 1976 pressing. Very rare original copy of this French Acid Folk masterpiece that seeped out of the Bretagne region. Great songs, superb intense vocals, dense sometimes almost spooky atmosphere, sound effects, stunning psychedelic guitar leads all over - one of the very best records of its kind!! Not the best pressing as usual but this copy is as good as can be. A stunner. Price: 275 Euro
1297. MARCO DI MARCO – CHRIS WOODS SEXTET: “Together In Paris” (Tam Records – YX-7042) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Another highly butt-shaking deep groovy and funky jazz slide by the always excellent Marco Di Marco, my all-time favorite pianists ever to creep out of Italy - the Italian genius from the 70s! Marco's got a style that features lots of bossa-inspired touches – running up and down the keys with a lively and modalist sound, often backed by an extra-soulful rhythm section and a killer groovy Fender Rhodes electric piano swirls by the man himself, which makes for a style that ranks right up there with some of the best MPS recordings of the 70s. The tunes on this set are were recorded in Paris on November 7th, 1974 and features American altoist Chris Woods in the group – giving the whole a grooving nicely with a cutting and soulful edge. This one here is the damned rare Japanese pressing. So rare, never seen a copy all complete with obi (or without for that matter) as it was released on the tiny Tam records back in 1977. Needles to say these sold almost nothing, making that no copies are floating around. Such a rare Japanese pressing, all complete with never seen “Jazz From Italy” killer obi… awesome!!!! Price: 125 Euro
1298. MARIANO, CHARLIE QUARTET: “Haru No Umi – East Side & West Side” (RCA Records – JRS-7261) (Record: Near Mint/ Gatefold Jacket: Excellent – middle seam crack/ Obi: Near Mint) Seriously rare Japan only issue of spiritual slide. The material on the first side of this LP can only be found on this issue and it is a real stunner, a jaw-breaker when you put your ears to it where Mariano tackles an interpretation of traditional Japanese music composer and koto master Michio Miyagi's "Haru No Umi" and followed by his own composition "Stone Garden of Ryoan Temple". It is also a surprise to see that Mariano's composition isn't played by the quartet but instead fold out into a quintet with Sadao Watanabe (flute), Masabumi Kikuchi (piano), Masanaga Harada (bass) and Masahiko Togachi (drums). But what a track it is, opening up with a contemplative beginning consisting out of mostly dreamy flute and impressionistic piano before it breaks loose and starts to drift into freer areas. But like the wall around Kyoto's famous Ryoan-ji Zen temple garden with it's 15 stones lying as if by chance in a bed of gravel stones, there is still a frame in the composition. Mariano displays an amazing streak of creativity empowered by some sort of Japan-inspired spiritual awakening that resulted in deeply moving music. The term spiritual gets overused sometimes, but this is truly spiritual music. As the needle drops on the title track that opens the album, you are immediately transported to a different mental space with the sound of Mariano’s sax, Masabumi’s dervish-like piano playing, a hypnotic bass line, drums and flute and a soulful improvisation that reigns it all in. It is yet very subtle but also quite powerful. It is just that sort of record, melding styles and backgrounds into an eclectic and powerful creation of improvisation and jazz composition alike, blending it with dazzling Japonized playing and morphing into momentous and pulsing jazz with a heavily physical & meditative presence. There’s a restrained groove about it at times, such as on the “Stone Garden of Ryoan Temple” track but the ensemble is often reaching toward something greater and more intangible, as with the ascendant notes of Masabumi’s piano salvos. Amazing!! Very first time I have an all complete copy and one of the greatest spiritual jazz slides to seep out of Japan! Seriously rare. Never surfaces all complete with obi. Price: Offers!!!
1299. MARCONI NOTARO: “No Sub Reino Dos Metazoarios” (Discos Rozenblit – LPLCP-009) (Record: Excellent – a dash away from Near Mint has the disc has a few sleeve lines one can detect under a bright light = best ever condition for this Brazilian original/ Fragile Gatefold Jacket: Near Mint). This joyous masterpiece stands musically somewhere between the Lula Cortes 'Satwa' and the 'Paebiru' album with Ze Ramhalo. A poet's vision in mellow song, mixed with tropicalia tinged-folk, Latin and bossa nova rhythms, uplifted by joyful experimentations with electric sounds and trance-inducing effects. Tribal-esque percussion compliments the ragas, created by the beautiful sitar-like instrument 'tricordio', made by Lula himself. With all of those who started shouting “private press only” after Shadow named an album after those American self-starters who took their recorded destiny into their own hands, consider this: as hard as it might have been to record, press and distribute your very own wax capsule in America in the early ’70s (and as rare, and good, many of them are), doing the same under Brasil’s military dictatorship was markedly more difficult. And releasing a psychedelic, fuzz and effects drenched opus with revolutionary musings disguised within double entendres? Next to impossible. You’d want this one in your collection if it contained just one good track within its beautifully packaged gatefold cover. That this album screams perfection from start to finish just adds to its legendary status. The brainchild of poet Márconi Notaro, alongside his friends and compatriots Lula Cortes and Ze Ramalho (the men behind perhaps the most legendary of Brasil’s private-pressed albums, 1975’s awesome Paebiru), this album contains what can only be described as Brasilian ragas played with the Portuguese guitar and Lula’s own invention, the Tricordio; improvised passages so fluid you’d swear they were scored; psychedelic-funk jams about staying true to one’s origins; and, throughout, Notaro’s complex yet approachable poetry, sung by the poet himself. The highlight of the album, if there is just one: Notaro’s improvised “Nao Tenho Imaginacao Pra Mudar De Mulher (I Don’t Have The Imagination to Change Wives),” a gorgeously melancholic piece that, when one sees it transcribed is nearly impossible to imagine as having flowed directly from the mind of one of the most underrated Brazilian poet/composers.” (Nowagain) One of the rarest and best psychedelic albums to seep out of Brazil and in awesome condition, I do not believe one can find a copy better than this one here…so make your best move and don’t be shy! Price: Offers!!!
1300. MARIO CASTRO NEVES & SAMBA S.A.: “S/T” (RCA VICTOR – BBL-1390) (Record: Near Mint/ Jacket: Near Mint). One of the rarest Brazilian LP’s out there, 1967 original pressing in absolutely TOP condition of this Brazilian masterpiece: Most copies out there are Peruvian later pressings or trashed to the max Brazilian remnants of what once was a desirable LP. This baby here is probably the cleanest and most perfect copy out there or ever been offered for sale. “Bossa nova has always been a multicultural movement. The American participants (Stan Getz, Bud Shank & Charlie Byrd) were influenced by Brazilian samba; the Brazilian participants (Antonio Carlos Jobim, Luiz Bonfa, Joao and Astrud Gilberto) were influenced by American jazz (specifically, cool jazz). And it is no accident that many bossa nova standards have both English and Portuguese translations; bossa nova has long had one eye on the Brazilian market and the other on the English-speaking world. Recorded in Rio de Janeiro in 1967, Mario Castro-Neves & Samba S.A. is a prime example of bossa nova's multicultural outlook. This LP finds pianist Mario Castro-Neves leading a small Brazilian group, which includes the female vocal duo of Thais and Biba - and instead of having them perform Brazilian songs exclusively - Neves gives the singers a variety of Brazilian and American songs to work with. Clearly, this session was meant to appeal to both Brazilian and English-speaking audiences, which is why familiar Brazilian songs (including Jobim’s "Corcovado" and Walter Santos’ "Vem Balancar") are heard alongside English-language material (such as the standard "Bye Bye Blackbird" and the Chris Montez hit "Keep Talking"). But whether the language is English or Portuguese (mostly the latter), Neves maintains a sensuous and gently swinging approach to the samba rhythm. Samba, of course, can be played aggressively and exuberantly, but the bossa nova recordings of the '60s approached samba in a subtle, relaxed, understated, cool jazz-minded fashion -- and that is the sort of ambience that Neves favors on this pleasing album.” (All Music Guide). This 1967 album by Mario Castro-Neves and his Samba SA group is a real gem -- a breezy vocal group set with an approach that's clearly influenced by the Sergio Mendes Brasil 66 style, but which also has touches of European 60s jazz -- in a cool modal scatting mode that really makes the songs dance around nicely! There's a sparkling sound here that's strongly influenced by bossa, but which also has some sunnier 60s touches too -- and Mario's arranging skills are at an all-time high on the lightly dancing rhythms of the tunes. The sound quality is full of luster and has a fantastic punch, so much richer than the reissue. Top condition 1967 original, impossible to ever upgrade upon. Price: Offers!!!!
1301. MARIO CASTRO NEVES & SAMBAS.A.: “S/T” (RCA JAPAN – Solid-0015) (Record: Near Mint/ Jacket: Near Mint). Sole legal issue as released in 2001 in an edition of only 500 copies in Japan of this Brazilian masterpiece: This 1967 album by Mario Castro-Neves and his Samba SA group is a real gem -- a breezy vocal group set with an approach that's clearly influenced by the Sergio Mendes Brasil 66 style, but which also has touches of European 60s jazz -- in a cool modal scatting mode that really makes the songs dance around nicely! There's a sparkling sound here that's strongly influenced by bossa, but which also has some sunnier 60s touches too -- and Mario's arranging skills are at an all-time high on the lightly dancing rhythms of the tunes. Price: 75 Euro
1302. MARK GLYNNE & BART ZWIER: “Home Comfort” (Divorced Records – DIV-1) (Record: Excellent/ Jacket: Excellent). Released way back in 1980, Mark Glynne and Bart Zwier’s sole recorded album is one of those rare gems that leave you flabbergasted since it occupies a highly unique sonic playground that can hardly be compared to anything else out there. OK, if you want to be simplistic, one could just quickly label it as Dutch wave and walk away. But “Home Comfort” is so much more. It defies categorization or every attempt to properly describe it. I guess one could say it to be an odd and eerie disc that exists in a highly unique and individual musical and psychological landscape. In a way, to me it comes over like the hybridpost-punk bastard child of Robert Wyatt merging with a slowdowned version of Frank Hannaway & Michael Barclay’s “At Home” record overlaid with a laxative induced sing-speak narrative moves. The end result is an utterly singular and obsessive sound world with an approach completely distinct from anything else going on during the era. Spell-binding to say the least and a longtime favorite over here. Price: 150 Euro

1303. BOB MARLEY & THE WAILERS: “Soul Rebels” (Upsetter) (Record: Excellent/ Laminated Jacket: Excellent 〜 Near Mint). Rare original 1970 JAMAICAN 1st press issue. “Originally issued in 1970, Soul Rebels was the first album credited to Bob Marley & the Wailers, and it was also the band's first full-length collaboration with producer Lee “Scratch” Perry, for whom they had already recorded a string of fairly successful singles. Working with the newly configured Upsetters band, Marley and crew delivered a strange and wonderful set of early reggae that at times plays fast and loose with the already established conventions of the genre -- on "My Cup" the beat sounds inside out, while "It's Alright" sounds like a slightly Jamaicanized version of Motown soul. Other songs, such as the beautifully harmonized "Try Me," show their deep roots in rocksteady. One of the most arresting tracks on the album is the Peter Tosh sung "Four Hundred Years," on which Tosh unburdens himself of some of his typically dread pronouncements in his rich, chesty voice.” (All Music Guide). Original 1970 Jamaican 1st pressing in very nice condition. Opening track has a few audible crackling sounds for a couple of clicks, rest plays beautifully EX. Super nice & clean copy for an original 1970 Jamaican pressing!!! Price: 300 Euro

1304. MARLEY, BOB & THE WAILERS: “Catch A Fire” (Island Records Japan/ King Records – ICL-58) (Record: Excellent ~ Near Mint/ Gimmick Zippo Lighter Jacket: Near Mint/ Obi: Mint/ Insert: Near Mint). Bloody rare top copy 1st original Japanese press as released by King Records and complete with stupidly rare very first issue OBI. WHITE label PROMO issue. Never seen the first issue obi before and I have been looking for it for over 15 years. The 2nd pressing released by Toshiba does pop up from time to time but this one is a whole different affair. Bloody rare Japanese 1974 original of one of the greatest LP’s of all time, every track is a killer, brimming over with revolutionary intoned lyrics. The band is massive, Marley at helm, Peter Tosh, Bunny Livingston and Aston "Family Man" Barrett guiding Catch a Fire through loping guitars and attitude and occasional fury. Everything on the record moves hearts and feet. Marley's not the only lead singer; this is very much a group. Slavery's legacy was covered in the lurching "400 Years" and then there was the growing urban alienation that lit up the driving "Concrete Jungle" like a Molotov cocktail, making it the ultimate urban reggae anthem, with its howling guitars and impassioned neo-political lyrics. There was humor in the deadpan "Kinky Reggae," and quality love songs -- like the dynamite "Stir It Up," This original 1st Japanese pressing comes with OBI and is housed in the gimmick Zippo lighter cover. The whole affair is in clean condition, which is nothing short of a small miracle. This is an item you don’t see too often in Japan, top copies with very 1st obi/ pressed by KING records before the switch to Toshiba are nearly inexistent. Major rarity!!! Price: Offers!!!!
1305. MARLEY, BOB: “Catch A Fire” Island Records Japan – ILS-80216) (Record: Near Mint/ Gimmick Zippo Lighter Jacket: Mint/ Obi: Mint/ Insert: Mint). Bloody rare top copy of the 2nd pressl issue, following the 1st press that was released by KING records a couple of years earlier. All is in mint condition. Bloody rare Japanese 1974 original of one of the greatest LP’s of all time, every track is a killer, brimming over with revolutionary intoned lyrics. The band is massive, Marley at helm, Peter Tosh, Bunny Livingston and Aston "Family Man" Barrett guidingCatch a Fire through loping guitars and attitude and occasional fury. Everything on the record moves hearts and feet. Marley's not the only lead singer; this is very much a group. Slavery's legacy was covered in the lurching "400 Years" and then there was the growing urban alienation that lit up the driving "Concrete Jungle" like a Molotov cocktail, making it the ultimate urban reggae anthem, with its howling guitars and impassioned neo-political lyrics. There was humor in the deadpan "Kinky Reggae," and quality love songs -- like the dynamite "Stir It Up," This 2ndt Japanese pressing comes with OBI and is housed in the gimmick Zippo lighter cover. The whole affair is in Mint condition, which is nothing short of a small miracle. This is a item you don’t see too often in Japan, top copies with obi are nearly inexistent. SOLD
1306. MARLEY, BOB & THE WAILERS: “Burnin’” (Island Records Japan – ILS-80134) (Record: Near Mint/ Gatefold Jacket: Mint/ Obi: Mint/ 6 Paged Illustrated Insert: Mint/ Printed Inner Sleeve with Members Bio: Mint). Bloody rare top copy 1st original Japanese press, all is in mint condition. WHITE LABEL PROMO ISSUE!!!! Comes with 1st issue OBI & booklet!! Bloody rare Japanese 1974 original of one of the greatest LP’s of all time, every track is a killer, brimming over with revolutionary intoned lyrics. Price: 150 Euro
1307. MARLEY, BOB & The WAILERS: “Is This Love b/w Crisis version” (island Records – ILR-20421) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Japan original press – TEST Press issue. Price: 100 Euro
1308. MARS: “3E/ 11,000 Volts” (ZE Records – ZE-12010) (Record: Near Mint/ Jacket: Near Mint). TOP condition!!! Rare and original Mars EP, 11,000 Volts is for me the personal highlight of this disc, the voice brings the listener straight into a world of the wasted, just as Patti Smith tried on the song Radio Ethiopia. Where 3E is focused and driving, 11,000 Volts can barely get up. It is minimal in a way but with a narcotic twist to it, like mumbling instead of speaking after having visited the dentist. Novocain bliss mixed with post punk bleakness and teenage suburban angst. This can be attributed to Mars being possibly the darkest and most fucked-up no wave group ever to throb the downtown scene, a band with no musicians in the conventional sense. Mars was flung together out of two actors and two visual artists, who wrote garbled crumples of songs – even their instruments slurred, as if there were something terribly wrong with them. Even more dissonant than contemporaries, Mars rampaged their way through their own compositions with no regard for melody or formal musical training. Briefly signed to the ZE Records label, the quartet completed a single, "3E"/"11,000 Volts", before imploding. This is stuff of legends and so brilliantly executed. Highest recommendation. MUST!!! Price: 100 Euro
1309. MARSHALL McLUHAN: “The Medium is the Massage” (CBS Sony Japan – YS-966-C) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Fully Transcribed 12 Paged Booklet: Near Mint). Very rare Japanese pressing. TOP COPY!!! Released in 1967, this is the audio companion to McLuhan and Fiore’s milestone media/ art theory tract and was assembled by Columbia in-house producer John Simon (his CV also includes Leonard Cohen, Simon and Garfunkel and a documentary LP of the McCarthy trials). “In all this stunning disc is a messy agglomeration of 50s TV announcer voices reading snippets from the book, with a fluctuating backdrop of quotations gone crazy: nonsensical, sped up voices, waltzes, marches, TV tunes, dinner jazz, drum rolls, horror soundtrack splinters, backwards pop and wafts of easy listening” (The Wire). The predecessor of Plunderphonics, inspiration and guiding light for outfits like Negativland and so forth. Totally stunning, hilarious and mind bendingly great. A must – at least to these ears. Original Japanese press that comes housed in a Japan only heavy gatefold jacket complete with fully transcribed 12 page booklet. Price: 75 Euro
1310. The MARZETTE WATTS ENSEMBLE: “S/T” (Savoy – 12193) (Record: Near Mint ~ Mint/ Jacket: Near Mint). Final upgrade condition. Best ever condition I have had so far. Killer free jazz slide by Watts who gets flanked by Patty Waters amongst others on this sheer fantastic disc. Here is what the Reverend Thurston Moore had to say about the LP: “Marzette was a serious black art cat who resided in downtown NYC when Free Jazz as a NEW cultural revolution was in full gear. He painted and composed wonderful music where some of the coolest locals could flow their flavor. One of the heaviest ESP-disk recordings isMarzette’s “Marzette and Company” which has the incredible talents of saxist Byard Lancaster (who released an early indie b&w Free Jazz classic out of Philly called Live at McAllister College) and guitarist SonnySharrock (check his wild influence on Pharaoh Sanders’ Tauhid LP and his own obscure noise guitar masterpiece Black Woman on Vortex)and cornetist Clifford Thornton (academic New Music/Free Jazz“teacher” who released a few crucial sides such as Communications Network on Third World and The Panther and the Lash on America) and the amazing free vocalist Patty Waters (who recorded two infamous hair-raising platters on ESP-Disc). This recording on Savoy was one of a series produced by Bill Dixon, an early associate of Archie Shepp’s, who was an incredible composer in his own right. I’ve heard tapes of Dixon leading Free-Jazz orchestras into sonic symphonic heavens. Very hardcore.” (Thurston Moore) What the man said, very hardcore indeed. Original pressing in TOP SHAPE, just a feast for your ears. Possibly the best condition one can hope for. Price: 500 Euro
1311. MASABUMI KIKUCHI SEXTET: “Matrix” (Victor – SMJX-10078) (Record: Near Mint ~ Mint/ Textured Gatefold Jacket: Near Mint ~ Mint). First original pressing in top condition and one of the greatest Japanese spiritual jazz slides ever put down on wax. For this session some of the heaviest improvisers in Japan interlocked and created this behemoth of a disc. Centered around the groovy and exploding sax lines of Kikuchi Hideyuki and assisted on ivory keys by Kikuchi Masabumi pounding out cascading molten chunks of lava, butt-shaking and vitriolic bass licks of Takitani Hironori and the percussive tribal freak outs by master drummer Moriyama Takeo. Original 1969 pressing in pristine condition – probably the best copy around. This is truly a wonderful album, balancing in between AACM inspired spiritual mellow free jazz interplay and intoxicating groovy interplay. “Matrix” line-up consisted out of the crème of the crème of the Japanese spiritual jazz scene at that day – Futami Tetsuo (tp), Kikuchi Hideyuki (as), Nishimura Akio (ts), Kikuchi Masabumi (p), Takitani Hironori (b), Suzuki Takahiro (dms) – “Matrix” became one of the few Japanese spiritual jazz slides to come out so early that brimmed over with originality. With this line-up, Kikuchi Masabumi strived for recreating or injecting his own compositions with some fire-breathing interplay that drove on a lyrical economy and meticulous musical detail that is deceptively intense. The sextet explores 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-curdlingly amazing slab of panoramic sound clusters. Everything I expect a fantastic spiritual jazz disc to have is embedded within this LP’s grooves, semi-heavy fixes everywhere you look, communal stripped down interplay, individuality and bliss-like cut in interventions, warm sound clusters of groovy interplay. But it isn’t before long they divert again into percussive shakers and intuitive atmospheres of swing-vibe interplay that is not bound to be categorized easily. Hideously rare but sadly undetected piece of Japanese Jazz History. Highest possible recommendation. Top copy original pressing and essential to anyone trying to get firm grasp on Japanese late 1960s spiritual jazz. Price: Offers!!!!
1312. MASABUMI KIKUCHI SEXTET: “Re-confirmation” (Philips – FX-8501) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1970 pressing in top condition. After returning to Japan following a study at Berkeley in 1970, Masabumi Kikuchi formed his first whole-Japanese double-piano/double-drums sextet and released one of the very first fusion/ spiritual jazz album in Japan - "Re-confirmation". Differently from dominated in Japan multi-national projects, where leading domestic jazz musicians played with world (mostly American) stars, Kikuchi Sextet was a rare example of whole-national band. As with many Kikuchi works, his band was deeply rooted in post-bop (especially rhythm section), with partial exception of freer sax player Kohsuke Mine. On this LP, all six Kikuchi originals are full of energy, not particularly aggressive, but tuneful and generally well-balanced and executed, riding spiritually free against a wave of a Fender piano that gives the whole sound a warm texture and its sustained keys evoke the sensation of floating in space, adding a sense of contemplative calm to the tempestuous horns around him. Masabumi plays piano here, weaving through his brother’s gorgeous Fender chords, the horn of Kosuke Minar, the electric bass of Ikeda Yoshio, and Murakami Hiroshi and Kishida Keiji’s’ restrained drum work. Re-Confirmation remains the pinnacle of Japanese spiritual jazz, showing how the caustic fire music that once embodied the genre could be sublimated into a sound of exquisite beauty. Its poignant vibe is sometimes such that it evokes a feeling more than any outright statement of intent. That’s ultimately what faith is—a belief in something that’s not there in front of you, but whose presence can be felt deep within. Re-Confirmation, is just that sort of record, melding styles and backgrounds into an eclectic and powerful creation of improvisation and jazz composition alike. One of the all time classic Japanese spiritual slides. Top condition original with obi! Price: 275 Euro
1313. MASS: “Labour Of Love” (4. A.D./ Warner Pioneer Japan – P-11146) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ 4 Paged Booklet: Mint). My secret Holy Grail of British Post-Punk!!!Mass’ one and only studio album, Labour of Love, is extremely creepy. Hardly any light escapes from this dingy slab, and if it does, the dark shadows cast by the haunting atmosphere and brooding bass lines are always lurking behind. Beginning with lengthy opener “Mass,” Labour of Love delves deeper into the churning post-punk that Bauhaus with Mask and Joy Division left open in Closer. Price: 100 Euro
1314. MATCHING MOLE: “S/T” (Epic – ECPL-45) (Record: Near Mint/ Textured Jacket: Near Mint – still in shrink/ 6 Paged Insert: Near Mint/ Capsule OBI: Mint). Bloody rare Japanese first original pressing complete with illustrated booklet. Never before have I encountered a Japanese high quality original. To top things off, this one comes all-complete with mega rare capsule obi, only the first time in 15 years I see a copy with obi!!! These babies sold next-to-nothing back in the day and if one surfaces, the obi is always missing. Highly sought after with all complete, here is a mint original with obi. Amazing sound quality but sadly impossibly rare, so nice bids are invited for this one….Price: Offers!!!!
1315. MATCHING MOLE: “Little Red Record” (Epic – ECPL-69) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink/ Capsule Obi: Mint – still housed in original shrink/ Two-sided imprinted inner sleeve with liner notes and mole design: Near Mint). Freakingly rare Japan 1971 first original pressing with hopelessly rare OBI present and in absolutely top condition. Released in 1971 Little Red Record was Mole's second album. It was produced by Robert Fripp and it features a cameo appearance by Brian Eno. It is the quintessential Canterbury scene album. Matching Mole's style is notably different from their debut album. The group got rid of the song-oriented ballads almost entirely and introduced an even higher amount of jazz-fueled improvisation to their music. However, showcasing the group's members' musical skill does not seem to be the aim of the numerous improvisational arrangements that appear so frequently on Little Red Record. The heavy repeating passages, which often do provide a base for instrumental soloing, create vibrant musical suspense, which makes the music on this record incredibly moody and full of distinctive mysticism. The typical tongue-in-cheek, Canterbury-styled arrangements are all present and flashing their intoxicating tonal colors. This becomes evident with pre-recorded voices and sounds of various conversations played over the band's music, giving the album an eccentric appeal. An incredibly tight unit featuring Phil Miller (Hatfield and the North) on guitar, Dave McRae (Nucleus) on keyboards, Bill McCormick (Quiet Sun, 801) on bass and Wyatt himself on drums and vocals. Compared to their previous work, Red Record goes way far beyond the limits of Rock and Jazz. Even if mostly instrumental the album includes "Gloria Gloom" a magnificent song and one of the very first Wyatt's critical reflections on Music and Socialism. In one word, a classic!!! Rare beyond belief japan 1st original pressing with OBI….never saw one, took me 15 years to find a copy. Impossible to upgrade. Price: Offers!!!!
1316. ANDREW MATHESON & THE BRATS: “Grown Up Wrong” (Mercury – 6317.504) (Record: Excellent/ Jacket: Excellent ~ Near Mint). 1975 Norway only release that came out in a tiny run of only 563 copies. Still, hardly any original press copies do spring up for sale at all, leading to the believe that fewer than 300 are actually still in existence as sales were depressingly low at the time. That all aside, The Brats – or the Hollywood Brats as they were known sprang from penurious squat-level beginnings, but across 1973-74, these London proto-punks were one of the hottest tickets in town. Daubed in mascara and swanning around the scene on stack heels, they were championed by Keith Moon and wreaked havoc at London’s swankiest clubs, but after they inadvertently aligned themselves with a Kray Twins-affiliated management team, no record company would touch them. Not surprisingly, the band duly disintegrated, though Mercury eventually granted their debut LP Sick On You a limited release (in Norway only) as Grown Up Wrong in 1975 – long after the band had split up but Andrew always clung on to the master tapes of some studio recordings the original band did some years earlier. The music is a glorious mess of spunked out, strung out and drug rattled mid-seventies gutter punk/ glam trash. A riotous splurge of attitood-smeared, New York Dolls-esque raunch’n’roll, Sick On You is still a rough but highly covetable diamond, sparkling with vivid debauched anthems such as Chez Maximes, Courtesan and a provocative, gender-bending cover of The Ronettes’ Then He Kissed Me. One of my all-time fave recordings, took me like forever to find an original spare copy because these babies are so tough to get. The music feels like it left behind the LSD fueled UK psychedelic basement of the late sixties and early seventies to seek only sanctuary in the penthouse of amphetamine-soaked freedom culminating in a glam punk heroin groove that has yet to meet anything coming close to their greatness. Killer. As many copies are quite trashed, this one here is a nice and solid EX copy, will be hard to improve upon this one. One of the best records out there, yet almost no one has an OG filled…this can change NOW!!! Price: Offers!!!

1317. MATSUKAZE KOICHI TRIO Plus TOSHIYUKI DAITOKU: “Earth Mother” (ALM Records – AL-5001) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Killer Japanese spiritual jazz slide that is sadly hopelessly rare and obscure, especially in such a nice nick and all complete. Regarded as one of the most sought-after yet elusive albums from a pivotal era in Japanese jazz, Earth Mother was originally issued in 1978 on Kojima/ ALM, a private label home to some of the most innovative jazz, contemporary classical and free improvisational music released during the late 70s and early 80s with on its roster Takayanagi Masayuki, Abe Kaoru, Suzuki Akio, Somei Satoh and other musical mavericks that defied conventional approaches into sound and music. It was here that Matsukaze Koichi’s Earth Mother found refuge amongst the aforementioned string of experimental and transgressive thinkers. Although that ALM released some groundbreaking jazz slides, most of their output was sadly destined to remain in obscurity for decades because they trailed the fringes of the musical landscape. So it wasn’t until decades after its release that the album found a new audience. Apart from a handful of diehard jazz heads, it were some Tokyo DJ’s that fell in love with its muscular, bass-driven title track with semi-loose polyrhythmic funk groove, attributing to Earth Mother’s new lease on a second life. The album sees saxophonist Matsukaze teaming up with legendary jazz drummer Furusawa Ryojiro, flanked on bass by Tamio Kawabata, cementing the core trio that was augmented by Daitoku Toshiyuki on acoustic piano and Fender Rhodes. The end feels like setting up in the calm eye of a hurricane, morphing into a mythical spiritual jazz slide, seen and heard by very few; often among the top wants for even the most hard-core jazz collectors. The album ranges from heavyweight spiritual jazz and post-bop burners, to Dolphy-esque experimentation that makes it just a perfect one to put on your headphones and get away from the public’s every day agony, guiding you towards the rising edge of a spiritual awakening trip, like acupuncture darts disguised as liquid sound and aimed at your pleasure spots. Top shape original first pressing all complete with insert and rare obi. Price: Offers!!!!

1318. MATSUMOTO HIROSHI & ICHIKAWA HIDEO QUARTET: “Megalopolis” (Victor Records – SMJX-10071) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Obi: Mint). Killer Japanese free jazz slide from 1969. This is IT!! Rarest of the RARE Japanese Jazz LP’s and one of the cornerstones of Japanese spiritual bop jazz!! Mega rare Original first pressing in TOP condition and all complete with bloody rare original obi. The music on the other hand is a sort of crossover, simmering with hypnotic spiritual vibrations, balancing between an improvisational interplay and bare-knuckle group play, hypnotic jazzy vibes popping out of the smog filled skies, ethnic rumbles and space jazz all fusing into one colorful amorphous mass of sonic bliss. Staring off with a distant mesmerizing vibe, the sound gains momentum and slowly builds up towards an entrancing mass of spiritual intoned interplay that makes the ground under your feet swell and become a liquid mass. Free spirited, yet improvisational challenging as well as funky and soulful at the same time, the Quartet proved to be a force to be reckoned with. This was the birth of true Japanese intoned jazz, bridging the gap between group interplay and free improvisational reign without ever loosing direction and steering towards higher planes. A true killer and butt shaker, rich in trance-inducing qualities and hypnotizing/ hallucinatory sonic interplay spiced up with top shelf improvisational interplay. Dead on classic and without a doubt one of the finest spiritual jazz albums to seep out of Japan. Ultra rare and never offered for sale before all complete dead mint original pressing all complete with obi!!!! Massive!!!! Top copy so need some serious offers for this one off chance here. Virginal condition!!! never surfaces with obi complete until...now!!! Price: Offers!!!!

1319. MATUMBI: “Dub Planet Orbit 1” (Extinguish Records – MR007) (Record: Near Mint/ Jacket: Near Mint). Rare UK dub slide released in 1980 in a small run of 300 copies only and this copy here is just in top shape. The first Matumbi record was self released by Dennis Bovell as a private pressing and is one of the finest spaced out & heavy dub slides to seep out of that fertile feeding ground that was the UK in the late 1970s. Rarity-wise it rubs shoulders with the Captain Ganja record and it is just one indispensable slide that splits your head open time and time again when playing it. It has the intense Steppers kind of rhythm of that day England, interlocking with hard and melodious tracks that gets spiced up and shaped into a lysergic doped out vibe by Bovell’s own idiosyncratic mixing style. It is a masterpiece and a ground zero that helped to shape the UK’s dub landscape to come and infecting simultaneously underground punk and rock in their direction shifting sonic approach. In retrospect, Matumbi became one's the most essential a modern dub classics! A young Dennis Bovell mans the desk over H. Tenyue, Fergus Jones and Eton Blake’s driving rhythms. Though this doesn't get as way out as some of the spaciest ON-U dubs, Bovell treats the rhythms with a respect they well deserve, while still bringing a fresh outlook to the knob twirling that recasts these mighty rhythms into ghostly soudscapes. Still it is very moody underground dub – a set that's maybe as heavy as anything coming from the Kingston scene at the time! There's a sense of darkness here that may even go beyond – this unusual sense of resonance that's not entirely in On-U territory, but not far off either – although turned maybe towards music that would have more of a crossover appeal to more conventional listeners of Jamaican sounds! Vocals are by DJ Ranking Ruben in a few spots. This one just hardly ever surfaces, especially in such a top condition as this beauty here. If you dig Prince Far I’s “Cry Tuff Dub Encounter” kind of sound, that this head twister is just totally essential. Life will never ever be the same after sitting through this one. Price: 500 Euro
1320. MAX’S KANSAS CITY: “Max’ Kansas City 1976” (Ram Records/ King Records Japan – GP-474) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint/ Insert: Near Mint). Very rare Japan 1st original pressing from 1976 all-complete with obi. This record is so good it sets my nuts on fire and makes me wanna dive head first into a pool that only got emptied just yesterday. Originally released in 1976 on the tiny label RAM, Max’ Kansas City is a great compilation of almost all the influential and charismatic bands that frequently played there in the early to mid-'70s. The album serves as a reminder and souvenir of punk's early days, featuring the known (Pere Ubu, Suicide, Wayne County) along with the lesser-known (the Fast, the Brats, Harry Toledo). Unlike many compilations of punk's early days, these rare tracks are all great-sounding studio recordings, with absolutely no lo-fi live tracks. You'll be treated to great, early versions of the classics "Final Solution" by Cleveland experimentalists Pere Ubu, as well as "Rocket U.S.A." by New York's confrontational electronic duo Suicide. Wayne County’s title track lists just about every band that was playing the venue at the time of song's writing, many of them reaching legendary status. The real treasure on this slide is Harry Toledo, who only recorded this one song and one EP at the time. But his “Knots” is one of the greatest downer songs blessed with a glorious early Roxy vibe ever to have been put down on wax. There is something hollow and out of focus simmering over the song and spinning this makes my balls contract violently, crawling straight up into my belly and makes me drift over the line into cheap thrills once in a while. Just beautiful and something I can truly recommend you! If you want to re-experience the New York punk of yesteryear, This LP is the ultimate ticket. Never turns up as at the time in Japan this record sold badly and only around 300 copies were issued. Most copies that turn up are white label promo issues as regular copies just did not sell and were withdrawn following the depressing sales. This copy here is one of the few surviving stock copy issues, just never surfaces. Killer slide. Price: 200 Euro

1321. MAY BLITZ: “S/T” (Vertigo/ Philips Japan – SFX-7326) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Stupidly rare Japan original press – RED label PROMO issue – with mega rare OBI. Just never turns up, first copy to cross my eyes in over 15 years. Top condition. Erected around drummer Tony Newman and two Canadians, guitarist and vocalist Jamie Black and bassist Reid Hudson. Molded in the same vein as power trio format of the likes of Cream and the Jimi Hendrix Experience of that day, May Blitz was nothing like them eventually. Neither were they even remotely as successful. In all, their music is a force to reckon with, an amalgam and excellent combination of hard rock, mixed through with blues and psychedelic touches, which at odd times even got spiced up a bit with a whiff of prog. And with all that going, May Blitz even managed to incorporate a stoner vibe as well as comes most prominently to the foreground on tracks like the drug-oriented “Smoking the Day Away” and “I Don’t Know”. Jamie Blacks guitar and even vocals often sound like methedrine soaked somersaulting madman with lots of axe wielding aesthetics. Shredding out some truly killer and devastatingly wasted guitar shreds that gets underscored and beefed up by Newman’s ass-pounding drumming, the band sounded like combo trying to deal with a collectively raving disorder, stomping out slammy arrangements that charges right ahead in a blustery delirium. Their act is wide open which enables them to be just another bunch of disgruntled wild cats with ideas watching while all the bullshit around them is going down. Just so bloody damned good. Top copy 1st Japan original pressing, next to impossible to score in such immaculate condition as this one here and with the mega rare obi present. Price: Offers!!!

1322. MAY BLITZ: “S/T” (Vertigo – 6360.007) (Record: Excellent ~ Near Mint, has 2 very little scuff marks that are inaudible at the 1st track of the 2nd side, apart from that all is virginal/ Gatefold Jacket: Excellent ~ Near Mint/ Company Inner Sleeve with Swirl logo: Excellent). Top copy Vertigo swirl original UK first press. Erected around drummer Tony Newman and two Canadians, guitarist and vocalist Jamie Black and bassist Reid Hudson. Molded in the same vein as power trio format of the likes of Cream and the Jimi Hendrix Experience of that day, May Blitz was nothing like them eventually. Neither were they even remotely as successful. In all, their music is a force to reckon with, an amalgam and excellent combination of hard rock, mixed through with blues and psychedelic touches, which at odd times even got spiced up a bit with a whiff of prog. And with all that going, May Blitz even managed to incorporate a stoner vibe as well as comes most prominently to the foreground on tracks like the drug-oriented “Smoking the Day Away” and “I Don’t Know”. Jamie Blacks guitar and even vocals often sound like methedrine soaked somersaulting madman with lots of axe wielding aesthetics. Shredding out some truly killer and devastatingly wasted guitar shreds that gets underscored and beefed up by Newman’s ass-pounding drumming, the band sounded like combo trying to deal with a collectively raving disorder, stomping out slammy arrangements that charges right ahead in a blustery delirium. Their act is wide open which enables them to be just another bunch of disgruntled wild cats with ideas watching while all the bullshit around them is going down. Just so bloody damned good. Top copy 1st UK original pressing, getting tough to score in such immaculate condition as this one here. Price: 400 Euro
1323. MAY BLITZ: “The 2nd Of May” (Vertigo – 6360.037) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent) Original German pressing in fantastic condition. This was their 2nd and last album and as great that their debut. Vinyl is EX ~ NM, with no defaults, brilliant all the way. Gatefold jacket has no defaults whatsoever, only some signs of its age, so accurately graded at EX. Killer slide…and long time fave here. Price: 150 Euro
1324. MAYALL, JOHN & ERIC CLAPTON: “The Bluesbreakers” (London – King Records – SLC-228) (Record: Mint/ Flip Back Fragile Jacket: Mint/ CIRCULAR Obi: Mint). Very FIRST original pressing complete with 1st issue CIRCULAR OBI in MINT condition, 1st time ever I see a copy of this one housed in 1st issue jacket and complete with 1st issue obi. TOP CONDITION. Also known as the Beanie album…hardly need any explanation. Clapton escaped the Yardbirds, teamed up with Mayall before heading off to form Cream and the rest is history. Still, this album is nothing short but historical and legendary. Top copy Japanese pressing on high quality vinyl and complete with obi. What more can a mortal soul possibly ask for??? Love?? Hey I just beat you to that secret pleasure, so better take pleasure with this. Price: 250 Euro
1325. MAYALL, JOHN: “The Diary of a Band” (London – SL-121~2) (2 LP Set: Near Mint/ Gatefold Jacket: Mint/ Obi: Mint). Original 1968 Japan only gatefold jacket issue complete with obi and in eye-blinding condition. First time ever to encounter a copy of this Japanese edition one, all is like a virgin condition wise so…better act know and hold your peace forever. Price: 150 Euro
1326. MAYALL, JOHN: “The Turning Point” (Polydor Japan – MP-1457) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Attached Insert: Excellent/ Obi: Excellent). Comes with OBI!!! Bloody rare white label promo copy, comes with a Japan only gatefold jacket with attached insert. Well this is a classic, Mayall at his best. So essential. Rare, if not bloody rare WHITE label Japanese 1st issue…how many times have you encountered a white label Polydor pressing before? I thought so…better sniff this one up before its vapor trails run off. Stunning and stupefying cheap. Price: 150 Euro
1327. MAYALL, JOHN: “Looking Back” (London Records/ King – SLC-286) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Original Japanese first pressing that came out in January of 1970. Very interesting collection of non-LP singles from 1964 to 1968, featuring almost all of the notable musicians that passed through the Bluesbreakers throughout the decade. "Sitting in the Rain" (with Peter Green) showcases fine finger picking, the haunting "Jenny" is one of Mayall’s best originals, and "Stormy Monday" is one of the few cuts from 1966 that briefly featured both Eric Clapton and Jack Bruce. TOP condition for this rare first press Japanese issue. Rarely surfaces all complete with the salacious obi. Price: 100 Euro
1328. MAYALL, JOHN: “Blues From Laurel Canyon” (London/ King Records – SLC-315) (Record: Near Mint ~ Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan 1st press with first issue obi. “Mayall’s first post- Bluesbreakers album saw the man returning to his roots after the jazz/blues fusion that was Bare Wires. Blues From Laurel Canyon is a blues album, through and through. Testimony to this is the fact that there's a guitar solo only 50 seconds into the opening track. Indeed, Mayall dispersed the entire brass section for Blues Fro Laurel Canyon and instead chose the solid but relatively limited backing of Mick Taylor (guitar), Colin Allen (drums), and Stephen Thompson (bass). Instantly, it is apparent that John Mayall hasn't lost his touch with the blues. "Vacation," the album's opener, reminds one exactly why this artist is so celebrated for his songwriting ability. The staggering Mick Taylor (here still in his teens) truly proves his worth as a blues guitarist, while Steve Thompson (also in his late teens) works superbly with one of the genre's most interesting drummers, Colin Allen. Blues From Laurel Canyon is as unerring as Bluesbreakers with Eric Clapton and equally as musically interesting. Not only is this one of the finest John Mayall albums, it is also a highlight in the blues genus.” (All Music Guide) Price: 175 Euro

1329. MAYFIELD, CUTIS: “Curtis” (Buddha Records/ Nippon Columbia – YZ-21-DA) (Record: Near Mint/ Gatefold Jacket: Excellent/ Insert: Near Mint/ Obi: Near Mint). Damned scarce japan 1st original pressing complete with obi. “The first solo album by the former leader of the Impressions, Curtis represented a musical apotheosis for Curtis Mayfield -- indeed, it was practically the “Sgt Pepper’s” album of '70s soul, helping with its content and its success to open the whole genre to much bigger, richer musical canvases than artists had previously worked with. All of Mayfield’s years of experience of life, music, and people were pulled together into a rich, powerful, topical musical statement that reflected not only the most up-to-date soul sounds of its period, finely produced by Mayfield himself, and the immediacy of the times and their political and social concerns, but also embraced the most elegant R&B sounds of the past. As a producer, Mayfield embraced the most progressive soul sounds of the era, stretching them out compellingly on numbers like "Move on Up," but he also drew on orchestral sounds (especially harps), to achieve some striking musical timbres and wove all of these influences, plus the topical nature of the songs, into a neat, amazingly lean whole. There was only one hit single off of this record, "(Don't Worry) If There's a Hell Down Below We're All Going to Go," which made number three, but the album as a whole was a single entity and really had to be heard that way.” (All Music Guide). Japan 1st press original that does not turn up often and with obi present!. Price: 175 Euro

1330. MAYFIELD, CURTIS: “Super Fly B/w Eddie You Should Know Better” (Buddah Records – LL-2589-DA) (Single Record: Excellent ~ Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan original single issue from 1972 in great shape. Price: 50 Euro

1331. MAYUZUMI TOSHIHIRO: “Showa – Tempyu – Raku” (Victor – VX-53) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Bloody scarce 1st original pressing of this experimental/ avant-garde masterpiece, first time ever I could secure a top first pressing of this gem. Mayuzumi was one of the first to incorporate electronic music into his scores and profiled himself as an early key-avant-garde player next to Takemitsu, Ichiyanagi and Yuasa. This recording here, dating back to 1971 when Mayuzumi was at the height of his creative powers. Here he worked together with the Gagaku musicians of the Imperial Household Orchestra and created a synthesis of how the composer could succeed in completely amalgamating the modern with the ancient. In the history of Gagaku, you find no transitional period bridging over the gap between then and today. Apparently no new work of consequence was added to the limited repertoire of the Imperial Court musicians in the past millenary. This means that Mayuzumi had essentially to rely on his imagination in order to create a new work immersed deep in musical spirit and sound of yore. The result is that he created a fascinating performance brimming over by an incessant variety of fantastic sonorities between such dynamical extremes as the delicacy of dialoguing flutes and the overwhelming power of a super-fortissimo joined-in by all players. Fantastic compositing that brings together a vibrant avant-garde aesthetic with traditional Gagaku music and creating a musical idiom of multivoiced utterance. In short breathtaking and one of the key-recordings in Japan’s avant-garde history of the late 1960s and early 1970s!!! Highest recommendation!!! Price: 150 Euro
1332. M’BOOM: “Re: Percussion” (Strata East/ Think Records – SES-19732) (Record: Near Mint/ Thick Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Extremely limited high quality Japanese pressing that came out about 10 years ago in a run of only 300 copies and that dried up in a flash. This is the 1st time I encounter a copy of this one. Other than a Japanese release for Think Records almost a decade ago, this killer set contains the initial recording by Max Roach’s all-percussion unit M’Boom. Featured on the nine selections (all group originals, other than Thelonius Monk’s "Epistrophy") are up to eight players, including Roach, Roy Brooks, Joe Chambers, Joe Chambers, Omar Clay, Fred King, Ray Mantilla, Warren Smith and Freddie Waits, utilizing all types of percussion instruments -- vibes, tympani, chimes, timbales, marimba, xylophone, and so on. The colorful sounds are full of surprises, and the music is both consistently stimulating and quite accessible. This release is such a sight for soar eyes, thick and laminated gatefold sleeve, insert and obi and pressed on high quality vinyl. Impossible to execute this one any better. Sadly so rare, but thank God, such amazingly jaw-dropping great music. An absolutely monster heavyweight percussion-led experimental, rhythmic album - quite possibly the rarest of all Strata-East Records! Price: 250 Euro
1333. MC 5: “Kick Out The Jams” (Elektra/ Victor Japan – SJET-8153) (Record: Near Mint/ Jacket: Near Mint ~ Mint/ Outer Jacket Cut-Out Obi: Near Mint ~ Mint). Top condition all complete with die-cut obi stock copy of this uncensored “mother fuckers” heavy ball crusher, released in September 1969 original Electra/ Victor LP by the MC5 “Kick Out The Jams”, all complete with the never-seen-before cut out wrap around obi!!! 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 but has some very minor shelving marks (being some rubbing against the white background but this is almost hardly worth mentioning). 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, which is quite fragile and its often damaged but this one is just pristine without any blemishes. These wrap around die cut obis came out in a series of about 15 albums that next to the MC5 held artists such as Jethro Tull, 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 MC5 LP is concerned, to make things even more mouth-watering, this here is the uncensored version to boot. So seen against this all, you have a genuine rare gem here for grabs, strictly graded like an ascetic monk crawling the hills in search for spiritual salvation. So therefore, this baby will let you bleed a bit and will have to let it go at…best one I have ever had….Price: Offers!!!
1334. MC 5: “Back In The USA” (Atlantic Records Japan – MT-2020) (Record: Mint/ Gatefold Jacket: Near Mint/ OBI: Mint) Rarest of the rare Japan all complete first press issue with OBI!!!! Serious shit! Rarest MC5 slide out there with obi – just surfaces…about never ever. Top condition – best ever and this is also the bloody rare 2nd MC5 LP – comes housed in Japan ONLY gatefold jacket + WHITE LABEL PROMO issue, only a handful seem to be in existence. True 1st issue with matrix numbers ending in A-1-1 and A-1-2. “While lacking the monumental impact o Kick Out The Jams, the MC5’s second album is in many regards their best and most influential, its lean, edgy sound anticipating the emergence of both the punk and power pop movements to follow later in the decade. Bookended by a pair of telling covers – Little Richard’s "Tutti Frutti" and Chuck Berry’s "Back in the U.S.A." -- the disc is as much a look back at rock & roll's origins as it is a push forward into the music's future; given the Five’s vaunted revolutionary leanings, for instance, it's both surprising and refreshing to discover the record's emotional centerpiece is a doo wop-inspired ballad, "Let Me Try," that's the most lovely and gentle song in their catalog. The recurring theme which drives Back In The USA is adolescence, its reminiscences alternately fond and embittered -- while cuts like "Tonight," "Teenage Lust," "High School," and "Shakin' Street" celebrate youth in all its rebellious glory, others like "The American Ruse" and "The Human Being Lawnmower" condemn a system which eats its young, filling their heads with lies before sending them off to war. Equally gripping is the record's singular sound -- produced by Jon Landau with an almost complete disregard for the bottom end, Back In The USA captures a live-wire intensity 180 degrees removed from the group's live sound yet perfectly suited to the material at hand, resulting in music which not only salutes the power of rock & roll but also reaffirms it.” (All Music Guide). Top copy and hardly ever offered Japan Only gatefold jacket white label promo issue with narcoleptically rare hardly ever seen OBI present . Very rare to say the least so give me your best shot and do not be shy to flash the cash for this one …. Price: O-O-O-Offers!!!
1335. MC 5: “Back In The USA” (Atlantic Records Japan – MT-2020) (Record: Mint/ Gatefold Jacket: Near Mint) Bloody rare 2nd MC5 LP – comes housed in Japan ONLY Gatefold jacket. This is the hyper scarce WHITE LABEL PROMO issue, only a handful seem to be in existence. True 1st issue with matrix numbers ending in A-1-1 and A-1-2. While lacking the monumental impact o Kick Out The Jams, the MC5’s second album is in many regards their best and most influential, its lean, edgy sound anticipating the emergence of both the punk and power pop movements to follow later in the decade. Bookended by a pair of telling covers – Little Richard’s "Tutti Frutti" and Chuck Berry’s "Back in the U.S.A." -- the disc is as much a look back at rock & roll's origins as it is a push forward into the music's future; given the Five’s vaunted revolutionary leanings, for instance, it's both surprising and refreshing to discover the record's emotional centerpiece is a doo wop-inspired ballad, "Let Me Try," that's the most lovely and gentle song in their catalog. The recurring theme which drives Back In The USA is adolescence, its reminiscences alternately fond and embittered -- while cuts like "Tonight," "Teenage Lust," "High School," and "Shakin' Street" celebrate youth in all its rebellious glory, others like "The American Ruse" and "The Human Being Lawnmower" condemn a system which eats its young, filling their heads with lies before sending them off to war. Equally gripping is the record's singular sound -- produced by Jon Landau with an almost complete disregard for the bottom end, Back In The USA captures a live-wire intensity 180 degrees removed from the group's live sound yet perfectly suited to the material at hand, resulting in music which not only salutes the power of rock & roll but also reaffirms it.” (All Music Guide). Top copy and hardly ever offered Japan Only gatefold jacket white label promo issue. Very rare to say the least…. Price: 400 Euro
1336. MC5: “Tonight b/w Looking at You” (Atlantic Records Japan – DT-1144) (7 Inch Single Record: Near Mint/ Flip Back kPicture Sleeve: Excellent ~ Near Mint/ Lyrics Insert: Near Mint). Rare Japan 1970 original release, MONO pressing in top condition. Man, how do I envy the dayz that bands like this ruled the airwaves and perverted the minds of teenagers. Ankle-shopping fuzz-wah assaults backed up by talking caveman drumming and frazzled bass pulsations and a singer with a blessed voice that is bruised beyond repair. Add some amphetamine-fuelled basement vibes to the overall mix and you have a volatile sonic mixture that can burst into flames at any given second. The MC5 fucking ruled!!! Bloody rare Japan only single release that comes housed in great sleeve art. Top condition and stupidly rare. Price: 400 Euro
1337. McBEE, CECIL: “Mutima” (Strata-East/ Tokuma – JC-7507) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent – some wrinkles on back). Rare Japan original pressing with always missing obi present. “A landmark recording in early creative improvised modern music, bassist Cecil McBee’s recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-'60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era. "Life Waves" is a stunning piece of composed and improvised music, with a brief clarion horn section setting off McBee’s chordal strumming and harp bop drive. Trumpeter Tex Allen’s brash lines, the incendiary tenor saxophonist George Adams and more thoughtful alto saxophonist Allen Braufman dig into hefty but contrasting solos, while drummer Jimmy Hopps stokes the coals. The other premier piece, "Mutima," has a soaring longer melody switching on and off onto a samba palate that is pretty, beautiful, and much more introspective than other wild and woolly cuts. The legendary but underrecognized flutist Art Webb shines on the floaty free "A Feeling,' and the atypical but wholly contemporized "Tulsa Black," a portent to the music that would be made later in this time period by Sonny Fortune and featuring the wah-wah electric bass guitar work of Cecil McBee, Jr. The two-minute "Voice of the Seventh Angel" sports the disparity of a complex arrangement alongside the beautiful singing of a young Dee Dee Bridgewater, while the marathon "From Within" has McBee performing solo, but overdubbed on two basses in opposite stereo channels, using serene long-toned arco and static pizzicato in arresting sounds that meld into a bridge squawk reminiscent of the saxophone playing of bandmate Adams. In retrospect, McBee’s great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver and countless others. "Mutima" (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player.” (All Music Guide). Price: 300 Euro
1338. McCHURCH SOUNDROOM: “Delusion” (Pilz – 20.21103-7) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Pilz Sticker Insert: Mint). Top copy German 1st original pressing that comes with seldom seen original Pilz sticker as a bonus which was tucked away inside the gatefold!!!. Extremely beautiful and near mint copy of this obscure and extremely rare kraut rock classic. Housed in a stunningly “Skull w/ dripping wax” gatefold cover, this is a vicious psychedelic/progressive masterpiece, with sneering leads, vocals sax, mellotron and wiling guitar riffs that will leave your mind all over the place. Completely vanished and here you have a top-notch copy. They certainly do not come cleaner and more perfectly. Act now and hold your peace forever. So far the only complete copy I know off that comes with the rare PILZ sticker included!!! Price: Offers!!!!
1339. McCOY TYNER TRIO with Roy Haynes and Henry Grimes: “Reaching Fourth” (Impulse Records – SH-3032) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Mint). Bloody scarce Japan 1964 pressing all complete with very first issue obi. Pianist McCoy Tyner’s second set as a leader has as of 1996 featured in a trio with bassist Henry Grimes and drummer Roy Haynes, Tyner performs two of his originals ("Reaching Fourth" and "Blues Back") plus three standards and "Theme For Ernie." One of the two most original and influential pianists to fully emerge in the 1960s (along with Bill Evans), McCoy Tyner’s unique chord voicings and ease at playing creatively over vamps pushed the evolution of jazz piano forward quite a bit. This outing, although not as intense as his work with the John Coltrane Quartet, is generally memorable and still sounds quite viable 35 years later. SOLD

1340. McCOY TYNER: “Reaching Forth” (Impulse/ Toshiba – IMP-88083) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce WHITE label Promotional copy. Japan 2nd press issue. Pianist McCoy Tyner’s second set as a leader has as of 1996 featured in a trio with bassist Henry Grimes and drummer Roy Haynes, Tyner performs two of his originals ("Reaching Fourth" and "Blues Back") plus three standards and "Theme For Ernie." One of the two most original and influential pianists to fully emerge in the 1960s (along with Bill Evans), McCoy Tyner’s unique chord voicings and ease at playing creatively over vamps pushed the evolution of jazz piano forward quite a bit. This outing, although not as intense as his work with the John Coltrane Quartet, is generally memorable and still sounds quite viable 35 years later. Rare PROMO issue with obi. Price: 55 Euro

1341. McINTYRE, KEN with ERIC DOLPHY: “Looking Ahead” (Prestige/ Victor Records – SMJ-7560) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned scare mid-1960s Japan very first original press issue all complete with first issue obi! Pristine condition. “It was quite fitting that Ken McIntyre had an opportunity to record in a quintet with Eric Dolphy for his multi-instrumental approach was similar to Dolphy’s, although he always had a very different sound. On this LP, McIntyre plays alto on four tunes and flute on two others, while Dolphy mostly plays alto but doubles on flute on one number and switches to bass clarinet for "Dianna." With pianist Walter Bishop Jr., bassist Sam Jones and drummer Art Taylor offering concise solos and swinging support, McIntyre somehow almost holds his own with Dolphy on a variety of originals. A very interesting date.” (All Music Guide). Dolphy just never fails to impress and here it is nothing less of earwaxing sonics for days. Damned rare Japan original press issue that sounds fabulous, all complete with obi. Price: 100 Euro
1342. McKINNEY, HAROLD: “Voices And Rhythms Of The Creative Profile” (Tribe – PRSD-2233) (Record: Near Mint/ Jacket: Near Mint – still largely in shrink/ Insert: Near Mint). 1974 Original top condition pressing on blue colored Tribe label imprint. Impossible to upgrade upon. “One of the most righteous albums ever issued by the always-righteous Tribe Records label of Detroit – a really collective effort, one that features ensemble vocals and spiritual jazz – all pulled together by pianist Harold McKinney! The album showcases a group named Voices Of The Creative Profile – formed by McKinney to accompany his Creative Profile instrumental group – and the overall style is a great blend of spiritual soul jazz that gives equal time to the voices and instruments in the set. Gwen McKinney heads up the vocal ensemble, and other players on the set include Wendell Harrison on flute, Marcus Belgrave on trumpet, Billy Turner on percussion, and Ed Pickins on bass. Also features some cool moog from Darryl Dybka.” (Dusty Groove). There are 2 sleeve variations of this one, which both came out at the same time. The one here is the first pressing with a white background and brown lettering as opposed to the 2nd press jacket being a brown fill-in around the title on the sleeve. One of the high-water marks on the Tribe label that contains some incredible spiritual afro-centric jazz that is both deep and intense and blessed with some superb themes. A great combination which gives a powerful afro-centric influenced black jazz masterpiece!!! SOLD
1343. McLEAN, JACKIE: “Steeplechase” (Prestige/ Victor – SMJ-7213) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan very first original pressing of all-time classic jazz slide in top shape. Comes complete with hardly ever seen before very first issue obi. Price: 175 Euro

1344. McLEAN, JACKIE: “Consequence” (Blue Note/ King Records – GXK-8172) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan only Blue Note issue of unreleased material. “This 1965 session pairs Jackie McLean with Lee Morgan in the front line and features a rhythm section of pianist Harold Mabern, bassist Herbie Lewis and drummer Billy Higgins - a powerhouse band. Originally recorded in 1965, it wasn't released on LP until 1979. The music here is much more straight-ahead other McLean dates from the '60s. The presence of Morgan puts McLean in the position of having to be at his best, as on the stellar opening cut, "Bluesanova," which combines bossa, soul-jazz, and hard bop. Another tight moment on the set is McLean’s "Tolypso," a sideways take on calypso that reaches over into hard bop. The interplay between the saxophonist and trumpet player is air-tight and rousing. Other cuts of note are Morgan’s fine swinging ballad "Slumber" and the steaming title cut. This is a welcome addition to the McLean catalog.” (All Music Guide). Top condition Japan only issue and all complete. Price: 125 Euro

1345. MERRILL, Helen with CLIFFORD BROWN: “S/T” (Mercury/ Nippon Phonogram – SFX-7333) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). First original Japanese press issue all complete with obi. “Though she eventually came to be known as a "singer's singer," Helen Merrill’s 1954 debut is an unmitigated success of mainstream jazz. Besides introducing the uniquely talented young singer, the date also featured small-group arrangements by Quincy Jones and marks the introduction of another future star, trumpeter Clifford Brown. Formidable as his playing is, Brown never overshadows Merrill. She is fully up to the challenge on all fronts and enthusiastically tackles uptempo numbers such as "You'd Be So Nice to Come Home To" and "Falling in Love with Love" with aplomb. A winning stylistic combination of cool jazz and hard bop, Merrill particularly excels on Mel Torme’s "Born to Be Blue," making the sophisticated tune her own as she revels in Torme’s down-and-out lyric.” (All Music Guide). SOLD
1346. MERZBOW: “Material Action 2 N.A.M Merzbow – Lowest Music & Arts” (CHAOS0001 – 1983) (Record: Mint/ Jacket: Mint) Hideously rare copy of Merzbow’s 1st album. Top ultimate collectible, fantastic copy of Japanese noise titan Merzbow aka Masami Akita’s ultra-rare 1983 debut LP, his first vinyl outing following a slew of cassette only projects. This is an immense, blood-churning racket, much more punk-primitive than his current work, utilizing tapes, junk percussion, electro-acoustical noise, organ and tape collage alongside his early partner in grime Kiyoshi Mizutani who brings a whole load of tapes, synthesizers, violins and machine noise to the table. A killer, no mistake. One of the best noise records, together with those early Hanatarash discs to seep out of Japan. Organic, slow burning germinated noise chunks of grinding analogue terror and junk slab inferno. Forget about the new kids on the block like Wolf Eyes, how great they may sound and be these days, this is the real dinosaur fossil stuff that inspired all who came hereafter, even if they deny this fact. Monumental and essential stuff. Cannot stress enough the greatness of this disc. Just stunningly beautiful copy. Better copies do not exist and this is the first time I see a truly dead mint copy of this apocalyptic disc. A must. Price: 100 Euro
1347. MERZBOW: “Scum Scissors For Cutting Merzbow” (ZSF –ZSFMZ-007/8) (Gatefold Jacket: Mint/ 2 LP Set: Mint). One of the rarest LP’s in Akita Masami’s early self-run ZSF Label is this vicious scum monster. On this one Akita handles electronic, tapes, bowed instruments, percussion, metaljunks, motor, piano wires, Noise generator, drums, guitar and radio. The whole affair was recorded and mixed between May and December of that unholy year 1988 at his own junked out ZSF Produkt studio. Seriously head-splitting old-skoolnoise/ electronic/ cum/ exploito/ analogue/ distorto/ garbage moves from the master that will bring tears to the eyes of any self-proclaimed noisenik who was until devoted to bedroom anarchists such as that whole new school of US tape shitters. This is the real deal, so time to get real….Price: 175 Euro
1348. MIDORI TAKADA: “Through The Looking Glass” (RCA – RCL-8369) (Record: Excellent ~ Near Mint/ Jacket: Near Mint – faint mildew spot a little visible/ Obi: Near Mint). Bloody rare 1983 Japan original 1st pressing all-complete with obi. One of the highly sought-after minimal music masterpieces to seep out of here, originals just never pop up. Midori Takada is a Japanese composer and percussionist who combines influences from African and East Asian traditional percussion music with American jazz, new age and avant-garde practices. The Looking Glass, her first solo recording, was released in 1983 and became almost instantly unavailable. Recorded in January 1983, she went into the studio for two days. The album was an arduous process, with Takada composing, producing, arranging the microphones and playing everything on it, from marimba to drums, harmonium to Coke bottle. The end result is a fascinating mix of contemplative ambience and childlike wonder, building up to the intensifying polyrhythm’s at its thunderous climax. Entrancing recorder and marimba melodies are slowly overtaken by disquieting, throbbing bongos, which eventually give way to harmonium drone. Takada's work shows an understanding of such varied traditions as Balinese gamelan, African mbira and marimba, Japanese traditional music and the works of such 20th century composers as Glass and Reich. All those elements are grounded by Takada's compositional personality resulting in an album that is at the pinnacle of Japanese ambient music. Marketed as a modern classical recording, it did not sell well at the time and Ms. Takada would not record another solo album until 1999. So original copies – especially all complete with the fragile obi – are far and few…and hardly ever surface. Still it is a delight being able to listen to an original pressing the way it was intended to be. Quite a fetishists dream item, top condition. Price: Offers!!!!
1349. MIGHTY BABY: “S/T” (Head – HDLS-6002) (Record: Near Mint ~ MINT/ Gatefold Jacket: VG++ ~ Excellent, no ring wear or damages but upon close inspection there has been some color restoration near the spine and some faint signs of handling. So VG++ ‾ EX and not too bad at all except for anal mint freaks). Original 1969 UK pressing!! Record is absolutely top, seems to be unplayed and best condition for this record imaginable!!! When the Action broke up in the late 60s, they reformed minus Reggie King as Azoth. The Azoth name was short lived, leading the band to settle on Mighty Baby. The Action had played the club circuit for years, releasing many excellent mod singles before plunging into the world of psychedelia. This band had always worked hard, and now they were finally given the luxury to record a long player. Mighty Baby’s album was released in 1969 off the small independent Head label. At this point, Mighty Baby could technically and instrumentally hold their own against rock’s finest: The Grateful Dead, King Crimson, Collosuem, Caravan and the Allman Brothers. The album is miles away from the soulful, sweaty mod garage of their mid 60s singles and could best be described as a melding of Crosby, Stills, Nash and Young harmonies, Allman Brothers guitar improv and Notorious Byrd Brothers psychedelia. Few debut openers are as good as the revolutionary Egyptian Tomb. It’s a sleek, powerful piece of psychedelia with strong west coast style guitar interplay. At 5:30 minutes, this great song never falls flat and is definitely one of the defining moments of British acid rock. Same Way From The Sun has a similar stoned vibe with psychedelic echo and sounds like it could have been lifted from a really good latter day Byrds album. The spacious, pounding A Friend You Know But Never See, yet another highlight, rocks really hard with some interesting raga style guitar and has a strange mountain air aura. Other works such as the rural I’m From The Country provided a sound Mighty Baby would further explore on their next album, the equally brilliant “Jug of Love” from 1971. Mighty Baby along with the Action and various band member’s solo careers are one of rock’s great lost family trees. During their peak they were innovative and unstoppable, thus the “English Grateful Dead” label really doesn’t do them any justice.” (the rising storm). Top copy of this freakingly rare top lever acid psych guitar jammer that is by many regarded – and rightly so – as one of the best UK album’s ever to seep out of that pocket in time. Amazing condition but as always minimal wear on the fragile non-laminated gatefold cover which had some retouching near spine, the disc on the other hand is the best condition imaginable, never seen such a perfect one as this copy here NM~MINT all the way, so I guess you have a winner here on your hands. Nice and reasonable price as the jacket is not perfect but disc is best in existence so… Price: Offers!!!
1350. MIGHTY BABY: “A Jug Of Love” (Blue Horizon – 2931-001) (Record: Near Mint/ Jacket: Excellent/ Insert: Excellent). Really clean copy and one of the best sleeve condition I have seen so far with hardly any wear. Comes with insert. Original 1971 UK press of their second album and arguably their best. The album was a commercial flop on the short-lived Blue Horizon label and the band’s 2nd 1971 LP remained unheard by most punters at the time. Which was a shame: Mighty Baby’s second album anticipates future developments in aerial guitar music almost as presciently as Pink Floyd’s Meddle. Whereas many psychedelic obscurities merely offer more localized explorations of the new grounds broken by more prominent contemporaries, A Jug of Love stumbles into a unique rarefied headspace. The whole affair is more lysergically intoned as compared to their debut and it has a more spaced out West Coast oriented vibe hovering over it all. The West Coast angle comes when Mighty Baby craft their ego-dissolving sound world without fully abandoning the pop song. Celestial bent notes lock arms with a Crosby, Stills, and Nash-ish chorus in the title track, and “Keep on Jugging” embarks on its third eye-opening voyage from a simple boogie foundation—what concludes with mesmeric bursts of fragmented guitar begins as innocuously as one of The Grateful Dead’s country numbers. Now that is never bad in my book and for Mighty Baby it works gloriously well as their jams never appear to be lost at sea as opposed to many other contemporaries. It especially makes more sense and causes praise when understanding that the whole affair was a rather rushed effort, recorded in barely a week's time. And when knowing this, it makes this album even more ear-bleeding and eye-watering than it initially already was. I for one never get enough of this one. Really nice condition one, record seems as clean as a new born baby’s ass, sleeve as minimal wear on spine only, one of the best so far. Price: Offers!!!
1351. MILES DAVIS: “Ascenseur Pour L’Echafaud with Generique – L’Assasinat de Carala – Sur l’Autoroute b/w Diner au Motel – Chez Le Photographe Du Motel” (Fontana – SFON-3008) (5 Track EP Record: Excellent/ Flip Back Picture Sleeve: Near Mint). Japan only jacket art Miles Davis 5 track EP single issue, plays at 33 RPM. Rarely seen but killer EP, both music wise and package wise. Essential for any self respecting jazz head and Miles buff! Price: 45 Euro
1352. MILES DAVIS/ ART BLAKEY’s JAZZ MESSENGERS: “Ascenseur Pour l’Echafaud” (Fontana – FON-5002) (Record: Excellent ~ Near Mint/ Fragile Flip Back Jacket: VG++ ~ Excellent – lower Middle seam split) Damned scarce Japan 1st original pressing housed in Japan only – and again another – artwork variation for the sleeve. Price: 50 Euro
1353. MILES DAVIS: “Sketches Of Spain” (Nippon Columbia – YS-153) (Record: Near Mint/ Flip Back Jacket: Near Mint). Damned rare & pristine Japan 1961 very first original press issue on the 6-Eye Columbia label & housed in first issue fragile flip back sleeve. “One of Miles Davis’ most enduring and innovative achievements. Recorded between November 1959 and March 1960 – after Coltrane and Cannonball Adderley had left the band -- Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, "Concierto de Aranjuez," after hearing a classical version of it at bassist Joe Mondragon’s house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the "Concierto," Evans’ arrangement provided an orchestra and jazz band – Paul Chambers, Jimmy Cobb and Elvin Jones - the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis’ control over his instrument is singular and Evans’ conducting is flawless. Also notable are "Saeta," with one of the most amazing technical solos of Davis’ career, and the album's closer, "Solea," which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession -- or parade -- with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Span is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz.” (All Music Guide). Top condition - Japan 1st original pressing – housed in fragile flip back sleeve and first Six-Eye Columbia label. Damned rare in such condition! Price: 150 Euro
1354. MILES DAVIS: “Golden Disk” (Prestige/ Nippon Victor – SMJ-7247) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Japan only release that comes housed in Japan only gatefold jacket art, all complete with first issue obi. All is in great shape and the record is virtually untouched. But the admission price is the sleeve and the obi, hard to improve upon all complete with obi Japan only issue… Price: 150 Euro
1355. MILES DAVIS: “Miles Davis Story Vol. 1” (Prestige/ Nippon Victor – MJ-7044) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Very rare early 1960s Japan ONLY Miles release all complete with rare first issue obi. Price: 200 Euro
1356. MILES DAVIS: “Miles Davis Versus Art Blakey” (Philips/ Victor Records – SFL-7232) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Mint) Very rare 1965 Japan only issue all complete with rarely seen first issue obi. All is in amazing condition. Price: 150 Euro
1357. MILES DAVIS: “Bags’ Groove” (Prestige/ Nippon Victor – SMJ-7137) (Record: Excellent/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan first original pressing with rare 1st issue obi in TOP condition. Very 1st issue housed in fragile flip-back sleeve. “There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session – featuring Thelonius Monk -- which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins. Or Horace Silver’s uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of "Airegin" flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches Of Spain epic. The fun and slightly maniacally toned "Oleo" features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc.” (All Music Guide). Damned rare, 1st time ever I see a copy with obi. Later pressings followed on Top Rank and then the late 1960s equalyy rare gatefold sleeve version, but this baby here was that very first press issue. Eat your heart out! Price: 300 Euro
1358. MILES DAVIS ALL STARS: “Walkin’” (Prestige – SMJ-7161) (Record: VG++ ~ Excellent – has a couple of sleeve lines/ Flip Back Jacket: VG++ ‾ Excellent/OBI: Near Mint). First original Japanese pressing, that comes housed in the first press flip back sleeve and complete with first issue OBI. “The undeniable strength and conviction present in Miles Davis performance on Walkin’, underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano) Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis’ quintet includes the primary trio and Dave Schildkraut (alto sax). Walkin’ commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music -- as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie." The improvisation yields some truly memorable solos and exchanges between Davis and Johnson -- who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning." "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles’ impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort.”(All Music – Lindsay Planer). First time I can encounter a first press issue with obi, condition is VG++ but the obi is insanely rare. Price: 200 Euro
1359. MILES DAVIS: “Relaxin’ With The Miles Davis Quintet” (Prestige/ Victor – SMJ-7371) (Record: Near Mint/ Fragile Flip Back Jacket: Excellent/ Obi: Near Mint). Rare very first Japan original pressing all complete with rarely seen very first issue obi. Comes housed in fragile flip back sleeve with black and monochrome gold colored sleeve that only the first issue has. “Relaxin’ features the Miles Davis Quintet in a pair of legendary recording dates -- from May and October of 1956 -- which would generate enough music to produce four separate long-players: Cookin’, Relaxin’, Workin’ and Steamin’. Each of these is considered not only to be among the pinnacle of Davis’ work, but of the entire bop subgenre as well. As with the other titles, Relaxin’ contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet -- who includes: Davis (trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums) and Red Garland (piano) -- to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. "If I Were a Bell" -- from the play Guys and Dolls -- includes some remarkable soloing via Coltrane and Garland. Davis’ solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin’ offers something for every degree of jazz enthusiast.” (All Music Guide). Price: 200 Euro
1360. MILES DAVIS: “Seven Steps To Heaven” (CBS Columbia – YS-292) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan original that comes housed in Japan only sleeve art. Comes all complete with impossibly rare first issue obi. TOP condition! “Seven Steps To Heaven finds Miles Davis standing yet again on the fault line between stylistic epochs. In early 1963, pianist Wynton Kelly,, bassist Paul Chambers, and drummer Jimmy Cobb left to form their own trio, and Davis was forced to form a new band, which included Memphis tenor player George Coleman and bassist Ron Carter.. When Davis next entered the studio in Hollywood, he added local drummer Frank Butler and British studio ace Victor Feldman, who ultimately decided not to go on the road with Davis. It's easy to see why Davis liked Feldman, who contributed the dancing title tune and "Joshua" to the session. On three mellifluous standards -- particularly a cerebral "Basin Street Blues" and a broken-hearted "I Fall in Love Too Easily" -- the pianist plays with an elegant, refined touch, and the kind of rarefied voicings that suggest Ahmad Jamal. Davis responds with some of his most introspective, romantic ballad playing. When Davis returned to New York he finally succeeded in spiriting away a brilliantly gifted 17-year-old drummer from Jackie McLean: Tony Williams. On the title tune you can already hear the difference, as his crisp, driving cymbal beat and jittery, aggressive syncopations propel Davis into the upper reaches of his horn. On "So Near, So Far" the drummer combines with Carter and new pianist Herbie Hancock to expand on a light Afro-Cuban beat with a series of telepathic changes in tempo, texture, and dynamics. Meanwhile, Feldman’s "Joshua" (with its overtones of "So What" and "All Blues") portends the kind of expressive variations on the basic 4/4 pulse that would become the band's trademark, as Davis and Coleman ascend into bebop heaven.” (All Music Guide). Rare 1st original Japan pressing from 1963 in stunning condition. Comes housed in great Japan only design jacket art & with OBI present and flashing its colors. Never seen a complete 1963 first pressing with obi before. Price: 250 Euro

1361. The MILES DAVIS & MILT JACKSON QUINTET/ SEXTET: “S/T” (Top Rank/ Victor Japan – RANK-5030) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Another next-to-impossible to find Japan very first press issue in top condition. All complete with damned rare obi. First time ever I see an all complete original of this essential Miles slide!!! Price: 250 Euro


1362. MILES DAVIS: “Miles” (Top Rank/ Victor Japan – RANK-5066) (Record: Near Mint ~ MINT/ Fragile Flip Back Jacket: MINT/ Obi: Mint). Bloody rare 1st original pressing complete with 1st issue obi and housed in very first issue fragile flip back sleeve. Hardly ever turns up. Best condition imaginable!!! Price: 250 Euro
1363. The MILES DAVIS SEXTET & The THELONIUS MONK QUARTET: “Miles & Monk At Newport” (CBS/ NIPPON COLUMBIA – YS-392-C) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Company Inner Sleeve: Excellent/ OBI: Near Mint). Original Japan 1st press issue that came out in 1965, housed in a fragile flip back sleeve and all complete with rare first issue obi. Featuring the Miles Davis Sextet and the Thelonious Monk Quartet recorded in 1958 and 1963, respectively, this classic album features two of jazz music's most famous groups at the peak of their powers. This 1958 recording from Miles Davis is, in fact, one of the finest live documents of the classic Kind Of Blue-era group featuring John Coltrane and Cannonball Adderley, along with the great Bill Evans on piano. Monk's group as usual featured tenor-man Charlie Rouse, with help from Pee Wee Russell on clarinet, and they really stretch out on two ten+ minute tracks. Top condition and gloriously sounding Japan 1st original press, just about never ever surfaces with all complete and in a condition like this beauty here. Price: 100 Euro

1364. MILES DAVIS & ART BLAKEY AND JAZZ MESSENGERS: “Ascenseur Pour L’Echafaud & Des Femmes Disparaissent” (Philips Records – SFL-7268) (Record: near Mint/ Flip Back Jacket: Near Mint). Japan only issue of great cool jazz soundtrack. Side A is dedicated to the Miles Davis score recorded in a totally improvised manner for the Louis Malle film. This dark and seductive tale is wonderfully accentuated by the late-'50s cool or bop music of Miles Davis, played with French jazzmen -- bassist Pierre Michelot, pianist René Urtreger, and tenor saxophonist Barney Wilen -- and American expatriate drummer Kenny Clarke. This recording evokes the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. At times the distinctive Davis trumpet style is echoed into dire straits or death wish motifs. The B-Side is granted to Art Blakey & the Jazz Messengers in December 1958, playing short themes and sketches that were used in the French film Des Femmes Disparaissent and dwells in a similar dark Nouvelle Vague atmosphere as the Davis recording. The music is bewitchingly beautiful. However, this Japanese edition comes in a totally different sleeve than the European press. Turns up seldom. Price: 50 Euro

1365. MILES DAVIS: “Mode Study – Milestones/ Kind Of Blue” (Nippon Columbia/ CBS – SL-1223~4-C) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 4 Paged Booklet: Near Mint/ First issue OBI: Near Mint). Bloody rare 1966 Japan only Miles Davis issue. Just never surfaces, first copy I encounter in over 15 years time. Top condition in near perfect condition, impossible to lay your mittens on a better copy of this beast. Killer artwork!!! Price: 250 Euro

1366. MILES DAVIS: “In Person At the Blackhawk, San Francisco Vol. 2” (Columbia – SL-1090) (Record: Excellent ~ Near Mint, has one tiny scuff mark on side 2/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare 1962 first Japanese press issue. Never seen before White label PROMO issue with hand-stamped catalogue number. The second volume from Miles Davis’ legendary two-night stand at the Blackhawk in 1961 with his new quintet -- which featured Hank Mobley, Wynton Kelly, Paul Chambers and Jimmy Cobb - is as stunning as the first. Price: 200 Euro

1367. MILES DAVIS: “In Person Vol. 1 – Friday & Saturday Nights At The Blackhawk, San Francisco” (Columbia – PSS-89-C) (Record: Excellent ~ Near Mint/ Flip-back Jacket: Near Mint/ Obi: Near Mint). Original 1964 press issue. Price: 125 Euro
1368. MILES DAVIS: “In Person Vol. 2 – Friday & Saturday Nights At The Blackhawk, San Francisco” (Columbia – PSS-90-C) (Record: Excellent ~ Near Mint/ Flip-back Jacket: Near Mint/ Obi: Near Mint). Original 1964 press issue. Price: 125 Euro
1369. MILES DAVIS: “In Person Friday and Saturday Nights” (Nippon Columbia – YS-171) (Record: Near Mint ~ Mint/ Flip Back Jacket: Mint/ 1st issue OBI: Mint/ 2 Inserts: Mint). Ridiculously rare first original Japanese pressing from 1961 all complete with 1st issue obi and inserts. I have never encountered an all-complete Japanese original pressing before all complete in such beautiful condition. The first of two sets recorded during a weekend in 1961 features the Miles Davis Quintet at a period of time when Hank Mobley was on tenor and the rhythm section was comprised of pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb. What is most remarkable is the way Kelly fits into this particular blend of the Miles band. Kelly’s interplay with Chambers is especially brilliant, because his sense of blues phrasing inside counterpoint harmony is edgy and large, with left-hand chords in the middle register rather than sharp right-hand runs to accentuate choruses. Davis himself has never played with more intensity and muscularity on record than he does here. He is absolutely fierce, both on the Friday night and Saturday night sets. Kelly plays more like a drummer than a pianist, using gorgeously percussive left-hand comps and fills to add bottom to the front line's solos. Mobley displays his bebop rather than hard bop and groove sides here, and reveals his intricate knowledge of the bop phraseology; he sounds free of the baggage and responsibility that he replaced John Coltrane and Cannonball Adderley. His solos on "No Blues" are simply revelatory. This is an underappreciated group because of its relatively short life, but as evidenced here, the band members swung fast and hard and never looked back. Hearing a dropped bass line, an out-of-time cymbal flourish, and a shortened series of phrases by Miles because he miscounted -- you guess the track -- adds to the charm of this being recorded as it was, without any cleanup. It is difficult to recommend this set over Saturday Night or vice versa; Miles fans will need both to fully appreciate how special this engagement with this particular band was.”(Thom Yurek – All Music Guide). Hideously rare 1961 Japanese 1st original copy, all complete and in immaculate condition. Price: 150 Euro

1370. MILES DAVIS: “Miles Ahead – Orchestra Under the Direction of Gil Evans – Miles Davis + 19” (Columbia – YS-304) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Japan very 1st original press issue that comes in Japan only alternate sleeve art. Top shape 1st press original. “This album is perhaps most significant for the process it set in motion -- the collaboration between Gil Evans and Miles Davis. This album is a miracle in itself, the result of a big gamble on the part of Columbia Records, who put together Evans and Davis, who hadn't worked together since recording the critically admired but commercially unsuccessful sides that would later be issued as The Birth of the Cool. Columbia also allowed Evans to assemble a 19-piece band for the recordings, at a time when big bands were far out of fashion and also at a time when the resulting recordings could not be released until two years in the future. Davis was also expected to carry the album as its only soloist, and manage not to get lost among a cast of supporting musicians that included a huge horn section. To a large extent, he succeeds. Evans’ arrangements in particular are well-suited to the format, and he and Davis formed a deep and close partnership where ideas were swapped back and forth, nurtured, and developed long before they were expressed in the studio. Davis gets off to a great start, with the hyper-kinetic "Springsville," which seems to almost perfectly embody Evans’ and Davis’ partnership with its light, flexible exchanges between soloist and orchestra. He is strongest on the ballads, though, where his subdued and wistful tone rises high above the hushed accompaniment, especially on "Miles Ahead" and "Blues for Pablo". The upbeat "I Don't Want to Be Kissed (By Anyone but You)" is another strong song, but shows the weakness of the format as Davis intersperses a charming, bright, technically challenging solo with a blasting horn section that occasionally buries him. It is a fine end, however, to an album that gave a hint of the greatness that would come as Evans and Davis fine-tuned their partnership over the course of the next several years.” (All Music Guide). Price: 75 Euro

1371. MILES DAVIS: “Birth Of Cool” (Capitol – CR-8035) (Red Wax Record: Near Mint/ Textured Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Obi: Near Mint). Beautiful Japanese original pressing with obi and the record pressed on red wax. So dubbed because these three sessions -- two from early 1949, one from March 1950 -- are where the sound known as cool jazz essentially formed, Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there's a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions -- arranged by Gil Evans and featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz and Max Roach -- is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians. Furthermore, the group keeps things short and concise (probably the result of the running time of singles, but the results are the same), which keeps the focus on the tones and tunes. The virtuosity led to relaxing, stylish mood music as the end result -- the very thing that came to define West Coast or "cool" jazz -- but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream” (All Music Guide) Totally essential and ear blisteringly beautiful. Price: 175 Euro
1372. MILES DAVIS: “Blue Moods” (Liberty – LR-8814) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1st press original complete with rare obi. This is the rare WHITE LABEL PROMO issue that comes on RED WAX!!!! Promo ONLY red wax pressing. Comes housed in Japan ONLY jacket art. “In the '50s, the party line among New York jazz critics was that hard bop was the "true faith" and that cool jazz was lightweight and unemotional. But Miles Davis knew better. The trumpeter (whose Birth Of Cool sessions of 1949-1950 proved to be incredibly influential) was smart enough to realize that cool jazz and hard bop were equally valid parts of the house that Charlie Parker built, and he had no problem working with cool jazzmen one minute and hard boppers the next. Recorded for Charles Mingus’ Debut label in 1955, Blue Moods is an excellent example of cool jazz. However, not all of the musicians who join Davis on this album were full-time members of jazz's cool school. Although vibist Teddy Charles was cool-oriented, Mingus (upright bass) and Elvin Jones (drums) were never considered cool players -- and the lyrical trombonist Britt Woodman was, in the '50s, best known for his association with Duke Ellington. Nonetheless, the things that characterized cool jazz -- subtlety, restraint, and understatement – characterize Blue Moods. Mingus and Jones were certainly capable of being forceful and aggressive, but you won't hear them being intense on this disc; a very laid-back, gently introspective approach prevails on interpretations of "Easy Living," "Alone Together," "Nature Boy," and "There's No You."(All Music Guide). Impossibly clean top condition. Price: 150 Euro
1373. MILES DAVIS: “E.S.P.” (Nippon Columbia – YS-525-C) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Excellent). Original 1965 Japan first pressing – 360 Sound orange label and complete with first issue obi. ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet – saxophonist Wayne Shorter, pianist Herbie Hancock, Bassist Ron Carter and drummer Tony Williams -- gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. This is exploratory music, whether it's rushing by in a flurry of notes or elegantly reclining in Hancock’s calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but ESP remains one of their very best albums.” (AMG). Classic Davis slide with first issue obi. Price: 200 Euro

1374. MILES DAVIS: “Four & More – Recorded Live In Concert” (CBS Records – YS-612-C) (Record: Excellent/ Fragile Flip Back Sleeve: Near Mint/ Company Inner Sleeve: Excellent 360 OBI: Near Mint). Scarce Japan 1st original press issue from 1966 complete with rare obi. “In an odd bit of programming, Columbia placed the ballads from Miles Davis’ February 12, 1964, concert on My Funny Valentine and the up-tempo romps on this LP. Davis, probably a bit bored by some of his repertoire and energized by the teenage Tony Williams’ drumming, performed many of his standards at an increasingly faster pace as time went on. These versions of "So What," "Walkin'," "Four," "Joshua," "Seven Steps to Heaven," and even "There Is No Greater Love" are remarkably rapid, with the themes quickly thrown out before Davis, George Coleman and Herbie Hancock take their solos. Highly recommended and rather exciting music, it's one of the last times Davis would be documented playing a full set of standards. Price: 150 Euro

1375. MILES DAVIS: “Sorcerer” (Nippon Columbia – YS-952-C) (Record: Near Mint/ Jacket: Near Mint 360 Sound Columbia Obi: Near Mint). Scarce Japan original 1st pressing in outstanding nick and complete with rare 1st issue obi. “Sorcerer, the third album by the second Miles Davis Quintet, is in a sense a transitional album, a quiet, subdued affair that rarely blows hot, choosing to explore cerebral tonal colorings. Even when the tempo picks up, as it does on the title track, there's little of the dense, manic energy on Miles Smiles -- this is about subtle shadings, even when the compositions are as memorable as Tony Williams "Pee Wee" or Herbie Hancock’s "Sorcerer." As such, it's a little elusive, since it represents the deepening of the band's music as they choose to explore different territory. The emphasis is as much on complex, interweaving chords and a coolly relaxed sound as it is on sheer improvisation, though each member tears off thoroughly compelling solos. Still, the individual flights aren't placed at the forefront the way they were on the two predecessors -- it all merges together, pointing toward the dense soundscapes of Miles’ later '60s work. It's such a layered, intriguing work that the final cut, recorded in 1962 with Bob Dorough on vocals, is an utterly jarring, inappropriate way to end the record, even if it's intended as a tribute to Miles’ then-girlfriend (later, his wife), Cicely Tyson (whose image graces the cover).” (All Music Guide) Price: 200 Euro
1376. MILES DAVIS: “Nefertiti” (Nippon Columbia – YS-990-C) (Record: Excellent ~ Near Mint – has faintly visible hazing at beginning of each side that does not sound/ Jacket: Near Mint/ Obi: Near Mint). Rare 1968 Japan original with first obi present. “Nefertiti, the fourth album by Miles Davis second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In A Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground -- such as Miles’ extended opening solo on "Madness" or Hancock’s long solo toward the end of the piece -- this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti’s charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.” (All Music Guide). Amazing and essential Miles classic slide. Rare Japan 1st press issue with 360 Columbia Obi. Hardly ever surfaces with all complete. Killer!!!! Price: 200 Euro
1377. MILES DAVIS QUINTET: “The Original Quintet (First Recording)” (Prestige – Victor Records – SMJX-10076(M) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top condition original first press 2nd issue issue all complete with rare obi. Miles Davis’ quintet was formed in 1955 and is widely regarded as one of the greatest combos in jazz history. Each of its members were individual creative forces that could have easily been leaders. Miles Davis, trumpet; John Coltrane, tenor sax; Red Garland, piano; Paul Chambers, bass & Philly Joe Jones, drums. Price: 100 Euro
1378. MILES DAVIS: “Workin’ With The Miles Davis Quintet” (Prestige/ Victor – SMJX-10048(M)) (Record: Mint/ Heavy Gatefold Jacket: Mint/ OBI: Mint). Bloody rare 1st original Japanese pressing - 2nd issue - complete with OBI. MONO issue. “Workin’ is the third in a series of four featuring the classic Mils Davis 5tet: Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums). Like its predecessors Cookin’ and Relaxin’, Workin’ is the product of not one -- as mythology would claim -- but two massively productive recording sessions in May and October of 1956, respectively. Contradicting the standard methodology of preparing fresh material for upcoming albums, Davis and company used their far more intimate knowledge of the tunes the quintet was performing live to inform their studio recordings. As was often the case with Davis, the antithesis of the norm is the rule. Armed with some staggering original compositions, pop standards, show tunes, and the occasional jazz cover, Workin’ is the quintessence of group participation. Davis, as well as Coltrane, actually contributes compositions as well as mesmerizing performances to the album. The band's interaction on "Four" extends the assertion that suggests this quintet plays with the consistency of a single, albeit ten-armed, musician. One needs listen no further than the stream of solos from Davis, Coltrane, garland and Jones with Paul Chambers chasing along with his rhythmic metronome. Beneath the smoldering bop of "Trane's Blues" are some challenging chord progressions that are tossed from musician to musician with deceptive ease. Chambers’ solo stands as one of his defining contributions to this band. In sly acknowledgement to the live shows from which these studio recording sessions were inspired, Davis concludes both sets (read: album sides) with "The Theme" -- a brief and mostly improvised tune -- indicating to patrons that the tab must be settled. In this case, settling the tab might include checking out Steamin’, the final Miles Davis 5tet recording to have been culled from these historic sessions.” (All Music). Rare 1st original Japanese MONO press issue complete with rare OBI in MINT condition. Price: 175 Euro
1379. MILES DAVIS QUINTET:Relaxin’ With The Miles Davis Quintet” (Prestige/ Victor Records – SMJX-10059(M) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top condition 2nd press issue all complete with rare obi. “Relaxin’ features the Miles Davis Quintet in a pair of legendary recording dates. It contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet -- who includes: Davis trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) -- to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. "If I Were a Bell" -- from the play Guys and Dolls -- includes some remarkable soloing via Coltrane and Garland. Davis’ solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin offers something for every degree of jazz enthusiast.” (All Music Guide). Price: 150 Euro
1380. MILES DAVIS with SONNY ROLLINS: “DIG” (Prestige – SMJ-7571) (Record: Near Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). One of the great draws of jazz music is how its greatest players all tended to collaborate with each other, and the combination of Miles Davis and Sonny Rollins on Dig is no exception. These sessions, recorded in 1951 for the Prestige label, feel like a playful and inventive introduction between Davis and Rollins. Dig, though, is also an album haunted. 1951 found Davis—along with Rollins and drummer Art Blakey—dealing with drug addiction. He had been loved in Paris in the late ‘40s, and the perceived ambivalence that met him when he returned to New York sent him reeling. Davis turned to heroin, and would spend the first half of the ‘50s trying to shake the habit. These sessions have a sound about them that seems to reflect, intentionally or not, that emptiness Davis felt. There’s a cavernous feel to these recording. You can sense a huge space between the different instruments, and you can almost feel the size of the studio itself. The recording itself also does this hefty atmosphere no favors. The title track itself was a heavily played jazz number, but here it feels fresh and expansive. Rollins and Davis trade solos back and forth, growing in intensity as they do, until the two rise as high as they can go and converge for the explosive last minute of the track. It’s a version based in a seemingly uncontrolled inertia. The playing just takes them over and they charge forward with a youthful exuberance. “Denial” too shows them as musicians on fire. Davis in particular blasts the song open with his quick-fire solos, and Rollins drifts in on his wake and keeps the sound churning.” (Matthew Fiander) Mint condition!!!! Price: 175 Euro
1381. MILES DAVIS: “Blue Haze” (Prestige – SMJ-7573-M) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). “Blue Haze documents two Prestige sessions from May 1953 and March 1954 (plus "I'll Remember April," with altoist Davey Schildkraut from the April 3, 1954 session that yielded half of Walkin’) During this time, a resurgent Miles Davis began to zero in on his own style and sound, taking significant steps away from the rhythmic and harmonic devices of his mentor Dizzy Gillespie. Paralleling his recorded work for Blue Note, Davis was also working with some of the greatest rhythm players in the history of jazz. Blue Haze finds Davis the lone featured horn. "When Lights Are Low" is one of Benny Carter’s most famous melodies, and the song-like cadences suit the ripe, chipper tone of Davis’ horn. John Lewis’ Monk-ish chords signal the sprightly head to "Tune Up," as Percy Heath and Max Roach groove manfully along. "Miles Ahead" is derived from Davis’ earlier "Milestones”. Davis’ loping solo illustrates his leisurely ease in constructing a melody, but his dancing eights with Roach illuminate what fires simmer beneath the surface. Cut by cut, this set documents the trumpeter's search for his ideal rhythm mates. Thanks to Heath, Art Blakey and especially Horace Silver, Davis here sounds far more relaxed, swinging, and rhythmically complex on his famous melody "Four." Their interplay on "Old Devil Moon" is a study in give and take, tension and release. And aroused as he is by Heath’s booming blues beat, Blakey’s ghostly sizzle cymbal, and Silver’s taut accompaniment, Davis turns the title tune into as expressive a film noir blues as you're likely to hear this side of Raymond Chandler” (All Music Guide) Top condition!!!! Price: 175 Euro
1382. MILES DAVIS: “Bags’ Groove” (Prestige – SMJX-10044) (Record: Near Mint/ Gatefold Jacket: Mint/ Obi: Mint). Rare Japan first original pressing with rare 1st issue obi in TOP condition. There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session – featuring Thelonius Monk -- which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins. Or Horace Silver’s uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of "Airegin" flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches Of Spain epic. The fun and slightly maniacally toned "Oleo" features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc.” (All Music Guide). Price: 175 Euro
1383. MILES DAVIS: “Ascenseur Pour l’Echafaud” (Philips – SFX-7170) (Record: Mint/ Heavy Gatefold Jacket: Mint). Rare Japan original pressing of stunning Miles slide. Comes housed in heavy Japan only gatefold sleeve. Jazz and film noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold). This dark and seductive tale is wonderfully accentuated by the late-'50s cool or bop music of Miles Davis, played with French jazzmen -- bassist Pierre Michelot, pianist René Urtreger, and tenor saxophonist Barney Wilen -- and American expatriate drummer Kenny Clarke. This recording evokes the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. Davis had seen a screening of the movie prior to his making of this music, and knew exactly how to portray the smoky hazed or frantic scenes though sonic imagery, dictated by the trumpeter mainly in D-minor and C-seventh chords. Michelot is as important a figure as the trumpeter because he sets the tone, as on the stalking "Visite du Vigile." While the mood of the soundtrack is generally dour and somber, the group collectively picks up the pace exponentially on "Diner au Motel." At times the distinctive Davis trumpet style is echoed into dire straits or death wish motifs, as on "Generique" or "L'Assassinat de Carala," respectively. Clarke is his usual marvelous self, and listeners should pay close attention to the able Urtreger, by no means a virtuoso but a capable and flexible accompanist. This recording can stand proudly alongside Duke Ellington's music from Anatomy of a Murder and the soundtrack of Play Misty for Me as great achievements of artistic excellence in fusing dramatic scenes with equally compelling modern jazz music.” (All Music Guide) Top condition, impossible to ever upgrade upon. Price: 50 Euro
1384. MILES DAVIS QUINTET: “Cookin’” (Prestige/ Victor Records – SMJ-6534) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition MONO pressing. This is one of a tetralogy of albums Miles Davis recorded over the course of two days in 1956 to fulfill a contractual obligation with Prestige. Although this would appear to be a recipe for four lukewarm albums of tedious tune churning, these four records (Relaxin, Steamin, Workin and Cookin) are truly tremendous. These two sessions are early career highlights for both Red Garland and John Coltrane who truly shine on each of these records. Paul Chambers and Philly Joe Jones also provide an excellent rhythm section here. Cookin' bridges the gap between cool and hard bop organically. The album opens with Garland's gentle intro to 'My Funny Valentine' and the quintet plays a beautiful and refreshing rendition of a played out classic. Blues by Five follows in a similar fashion; maintaining a gentle, intricate mood throughout the first side. On side two, Airegin offers a rare and exciting moment in Davis' career when he returns to his bebop roots and plays a fast and dense solo very much unlike his signature cool stylings. The playing is tremendous though, and a true testament to Davis' taste and technique. This solo will also foreshadow Davis' future experimentation in the following decades. The album closes with a long, meandering track much like side one. Cookin' is necessary in the collections of any Davis, Trane or Garland fans. Price: 50 Euro
1385. MILES DAVIS: “Round About Midnight” (CBS Sony – SOPC-57139) (Record: Mint/ Capsule Obi: Mint/ Jacket: Mint – still in shrink). Rare 1st original Japanese pressing on high quality vinyl in impeccable condition. Price: 75 Euro
1386. MILES DAVIS: “Bitches Brew” (CBS Sony – SONP-50255~256) (2 LP Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Excellent). Original 1st press Japanese issue complete with the capsule obi. Getting a bitch to dig up in such a pristine condition as this one here with obi present. The ultimate Miles recording, total classic, a record to fry your brain to cause it comes howling back at you deep in the night. Killer. Price: 150 Euro
1387. MILES DAVIS: “Bitches Brew” (CBS Sony – SOPJ-58~59) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent – no defects at all but has some ageing mildew spots visible/ 2 Inserts: Near Mint/ Cap Obi: Near Mint). Nice condition QUADRAPHONIC version of the always stellar Bitches Brew. Has been a while since I last had a Quad copy to offer. Price: 75 Euro
1388. MILES DAVIS: “On The Corner” (CBS Sony – SOPL-125) (Record & Gatefold Jacket: Mint & Horizontal Capsule Obi: Mint – STILL FACTORY SEALED). First original Japanese press adorned with always-illusive horizontal capsule obi strip. The whole affair is still sealed. Music needs no introduction I guess. Everyone knows what the deal is. Just in case this is not the fact, here is a snippet of what the great Ralph Gleason had to say about it way back in 1972: “Miles’ album plays through almost without a pause even though the tracks are separated by bands. The groove runs quickly across the band or else the music continues into and out of it, I simply can't tell. In any case, the music is laid out there for you as an integral whole, not a series of individual compositions arbitrarily selected and juxtaposed. They fit, like the movement of a long, planned work, and Miles plays them in this manner as well. Throughout the album, there is extensive use of a variety of rhythmic sounds. Shakers, claves, cowbells, weird and exotic drums, wetted thumbs drawn across tight-skin drumheads, anything traditional or invented which could make a sound that seemed to Miles to fit. Electronics include keyboards, guitar and a device on Miles’ horn. Despite the fact that the sound of Miles’ trumpet is heard less on this album than perhaps on any of his others, the totality of the music is possibly under even greater control. He wrote all the compositions and, I believe, personally edited and overdubbed or whatever else was done in the studio to produce the multiplex recording in which polyrhythm’s play such an important part. In spite of the separation into tracks and the titling of them, I am inclined to think that one will not play excerpts from this album unless Columbia slices a single out of it because the music goes so well as a whole story. It is so lyrical and rhythmic. Miles' own horn, as well as the soprano saxophone of Carlos Garnett, produces loving sounds. But the impact of the whole is greater than the sum of any part. It is music of the streets, as I said, and as such it has the throb of the street as well as the beauty of a rose in Spanish Harlem. It is music, which celebrates street life as well as the beauty of life itself, and it brings together (and celebrates the individual beauty of the rhythms of) many different cultures. Even the guitar sounds of David Creamer and the keyboards of Herbie Hancock and Harold I. Williams are utilized in the creation of a lyric feeling and lyric sound without laying them out in linear fashion. This music is more about feelings than notes, as Donald Ayler once remarked.” (Ralph J. Gleason) Stuff of legends, psychedelic as well as minimal as well as funked up jazz. It has it all. Rare & totally vanished first pressing, Japanese edition with obi. SEALED first press original. Price: 200 Euro
1389. MILES DAVIS: “Pangaea” (CBS SONY – SOPZ-96~97) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Booklet: Mint). Japan only issue, 1st original pressing all complete with OBI and booklet. This is the second of two performances from February 1975 at the Osaka Festival Hall in Japan. This is the evening show; the Columbia release Agharta was the afternoon show. Pangaea is comprised of two tracks, "Zimbabwe" and "Gondwana." Each is divided into two parts. The band here is comprised of Sonny Fortune on saxophones, Pete Cosey (who also played synth) and Reggie Lucas on guitars, Michael Henderson on bass, Al Foster on drums, James Mtume on percussion, and Davis on trumpet and organ. The band, no doubt inspired by their amazing performance earlier in the day, comes out swinging, and I mean like Muhammad Ali, not Benny Goodman. This is a take-no-prisoners set. Davis seems to be pushing an agenda of "What the hell is melody and harmony? And bring on the funk -- and while you're at it, Pete, play the hell outta that guitar. More drums!" If there is anything that's consistent in this free-for-all, as everybody interacts with everyone else in an almighty dirty groove & roll while improv is at an all-time high, it's the rhythmic, or should we emphasize "polyrhythmic," invention. Mtume and Foster are monstrous in moving this murky jam session along ("Zimbabwe" is one set, and "Gondwana" is the second of the evening) some surreal lines. When Cosey's not ripping the pickups out of his guitar, he's adding his hands to various percussion instruments in the pursuit of the all-powerful Miles Davis’ inflected voodoo funk. And while it's true that this set is as relentless as the Agharta issue, it's not quite as successful, though it's plenty satisfying. The reason is simple: the dynamic and dramatic tensions of the afternoon session could never have been replicated, they were based on all conditions being right. Here, while the moods and textures are carried and the flow is quite free, the dramatic tension is not as present; the mood is not quite so dark. And while the playing of certain individuals here may be better than it is on Agharta, the band's playing isn't quite at that level. That said, this is still an essential Miles Davis live record and will melt your mind just as easily as Agharta. People would complain on this tour that Davis played with his back to the audience a lot -- Lester Bangs went so far as to say he hated his guts for it. But if you were this focused on creating a noise so hideously beautiful from thin air, you might not have time to socialize either. (Thom Yurek – All Music Guide). Absolutely fantastic and totally necessary Davis slide, original Japan only 1st original pressing in top condition. Price: 100 Euro
1390. MILES DAVIS: “In Concert” (CBS Sony – SOPJ-37‾38) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent/ Capsule Obi: Excellent). First original Japanese pressing all complete with very first issue capsule obi. “Of the myriad double-live sets Miles Davis recorded in the early '70s, In Concert: Live at the Philharmonic Hall is the only one documenting his On The Corner street-funk period, which is immediately obvious from the cover art. In Concert begins to move Davis’ live work even farther away from jazz tradition, as he largely forgoes concepts of soloing or space. Instead, Davis presides over a pulsating mound of rhythm, expanding his percussion section and using traditional lead instruments more to create texture -- including his own horn, which he feeds through a wah-wah pedal and other amplification effects. Drummer Al Foster, tabla player Badal Roy, and percussionist Mtume are the centers of the recording, and electric sitar player Khalil Balakrishna adds an exotic dimension to the already tripped-out sonic stew. And "stew" isn't too far off -- the individual voices and elements in the music tend to get mixed and muddled together, which may be frustrating for some jazz fans not used to listening for the thick layers of texture in the soundscapes or the furious energy in the grooves. There are few melodies to latch onto, save for a theme from On The Corner that Davis frequently uses during the first disc to signal transitions. But melody isn't the point of this music; it's about power, rhythm, and the sum energy of the collective, and of Davis’ electric jazz-rock albums, In Concert does one of the most mind-bending jobs of living up to those ideals.” (All Music). Top copy, 1st original Japanese pressing with capsule obi. Price: 75 Euro
1391. MILES DAVIS: “Live - Evil” (CBS SONY – 28AP-2153‾4) (2 LP Record & Gatefold Jacket & Capsule Obi: Mint & SEALED Condition). Japanese original pressing – green capsule obi version in sealed condition. Live Evil is one of Miles’ most confusing and illuminating documents. As a double album, it features very different settings of his band (actually two very different bands) that featured Michael Henderson, Jack DeJohnette, John McLaughlin, Gary Bartz, Keith Jarret & Airto. The result with these members in a live setting showed compositions that grooved hard and fast, touching on the great funkiness that would come on later. Other members on a different studio recording included Ron Carter, Dave Holland and Chick Corea and Herbie Hancock and Hermeto Pascal. The live material is wonderfully immediate and fiery all cream with enthusiasm, brimming over with a winding, whirring kind of dynamic that seems to turn them back in on themselves, as if the band was really pushing in a free direction that Miles was trying to rein in. It's an awesome record. This is the sound of transition and complexity, and somehow it still grooves wonderfully. Sealed Japan press with obi…Price: 100 Euro
1392. MILES DAVIS: “At Fillmore” (CBS SONY – 28AP-2157-8) (2 LP Record & Gatefold Jacket & Capsule Obi: Mint & SEALED Condition). Japanese original pressing – green capsule obi version in sealed condition. Top copy Japan high quality first original pressing. With the reviews for Bitches Brew in full swing and Steve Grossman firmly established in the saxophone chair recently vacated by Wayne Shorter, Miles threw the band a curveball -- he added Keith Jarrett on organ to a band that already included bassist Dave Holland, electric pianist Chick Corea, percussionist Airto Moreira, and drummer Jack DeJohnette. Miles was playing a four-night stand at the Fillmore East. This double-LP puts together selections from each night, without regard for repetition. But no matter how familiar you are with this-period Miles, It's About That Time is still shocking - it has the same incredibly raw electricity that, say, Dylan's Albert Hall concert has; far edgier than Bitches Brew turned out to be. It's sometimes as if the band are impatiently and angrily re-inventing the material every few seconds. That over-used cliché about 'telepathic interplay' was surely never more appropriate. The sheer rush of ideas is astonishing. Impossible to find better as this one here. Price: 100 Euro
1393. MILES DAVIS: “Bitches Brew” (CBS Sony – 28AP 2151~2) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent – some mildew foxing visible inside the gatefold/ 2 Inserts: Near Mint/ Cap Obi: Near Mint). Clean copy of subliminal Miles slide, this being the 2nd pressing that comes with green colored cap obi variation. Dead cheap so don’t think twice it is alright. Price: 60 Euro
1394. MILES DAVIS: “Pangaea” (CBS SONY – 28AP 2169~70) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Cap Obi: Near Mint/ Insert: Near Mint). Scarce Japan pressing all complete with obi, same as the one above but this one is the 2nd press issue. Top condition with obi and all present! Price: 70 Euro

1395. MILES DAVIS: “Get Up With It” (CBS Sony – 28AP 2163~4) (2 LP Record with Cap OBI and Insert & Gatefold Jacket: MINT – SEALED original). Japan original press issue – all complete with obi and still SEALED! Get Up With It was, upon its release in the 1974 a certifiably Big Record. Miles Davis was a huge star, Bitches Brew, In A Silent Way and On The Corner had all been well received and the FM and black stations in major cities across the US played the hell out of this new LP. And yet, this is a tremendously odd record, one that begins with a tribute to the just deceased Duke Ellington, a 32-minute piece of colossally-cool ambient space jazz called He Loved Him Madly. Davis himself doesn’t even appear until the track is more than a quarter of an hour old. Alongside Herbie Hancock, John McLaughlin and Billy Cobham, Davis was drawing questing, forward-looking loose-limbed psychedelic-funk like Maiysha seemingly from thin air, Rated X was both angry and funny, furious and funky, with Davis playing the keyboard instead of his trademark trumpet. Calypso Frelimo, with John Stubblefield on saxophone, was entirely untethered to the earth and it just soars and soars ever upwards, a truly beautiful expression of maddeningly creative freedom. Get Up With It sneaked in the US Soul Charts of early 1975 alongside Barry White, Kool & The Gang and the O’Jay’s. Miles hit the mainstream vein but at a price. Hereafter, Davis would fall silent for nearly seven years, lost in a drug-induced retirement scarred by throat polyps, hip operations, gallstones and a leg infection that almost saw the whole thing removed. But this one, still puts the F back in Funk Jazz! SOLD

1396. MILES DAVIS: “Black Beauty – Miles Davis At Fillmore West” (CBS Sony – SOPJ-39~40) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent). Japan original 1st press of all killer – no filler Miles jam. Original Japanese press. Recorded on April 10, 1970, Miles Davis and his band lit up the legendary Fillmore West in San Francisco. The core-melting line-up consisted out of Dave Holland on electric bass, Jack DeJohnette pounding away on the drums, and not least of all Chick Corea. Corea has quite amassed some air-pollution like music that defies good taste and such but on this record the man seems to be gifted with fire-breathing fingertips, coming over like almost a totally deranged sonic terrorist, coaxing sapphire bullets of pure hedonist distortion out of his Fender Rhodes and coating the overall sonic assault into a veil of auditory hallucination caused by ring modulator madness. Fronting all this mayhem is of course Miles Davis who begins to flirt with funk rhythms and tossing out more structured song forms in favor of theme-based improvisation. same strong opening theme before veering in different directions; just jaw-dropping great. Original Japanese pressing housed in heavy gatefold jacket. SOLD
1397. MILES DAVIS: “Black Beauty – Miles Davis At Fillmore West” (CBS Sony – SOPJ-39~40) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ 4-paged Insert: Excellent/ OBI: Near Mint). Japan original 1st press of all killer – no filler Miles jam – all complete with scarce OBI. Original Japanese press. Recorded on April 10, 1970, Miles Davis and his band lit up the legendary Fillmore West in San Francisco. The core-melting line-up consisted out of Dave Holland on electric bass, Jack DeJohnette pounding away on the drums, and not least of all Chick Corea. Corea has quite amassed some air-pollution like music that defies good taste and such but on this record the man seems to be gifted with fire-breathing fingertips, coming over like almost a totally deranged sonic terrorist, coaxing sapphire bullets of pure hedonist distortion out of his Fender Rhodes and coating the overall sonic assault into a veil of auditory hallucination caused by ring modulator madness. Fronting all this mayhem is of course Miles Davis who begins to flirt with funk rhythms and tossing out more structured song forms in favor of theme-based improvisation. same strong opening theme before veering in different directions; just jaw-dropping great. Original Japanese pressing housed in heavy gatefold jacket – comes with OBI. SOLD
1398. MILES DAVIS & JOHN COLTRANE: “Live In Stockholm 1960” (DIW Records – DIW-25006‾25007) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi with attached 2 sided insert: Near Mint). This awesome 2 LP set features John Coltrane with the Miles Davis Quintet just a short time before Trane went out on his own. Davis sounds inspired by his star tenor and although Coltrane was reportedly bored with the repertoire ("On Green Dolphin Street," "All Blues," "Fran-Dance," "Walkin'" and two versions of "So What"), he is at his most explorative throughout this often-stunning music. In addition, the rhythm section (pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb) had been together for two years and is really tight. This highly recommended set also includes a brief interview with Coltrane from this period. Comes housed in a thick shiny gatefold jacket art, all complete with a 2 sided insert unto which the obi is attached. The pressing quality and sound is marvelous. Does not turn up too often. Price: 50 Euro
1399. MILES DAVIS: “Live – Evil” (Columbia Records – BL-30955 ‾ 30956) (2LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent). Original US pressing in great condition of subliminal Miles live slide. Price: 65 Euro

1400. The STEVE MILLER BAND: “Children Of The Future” (Capitol – CP-8685) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). WHITE label PROMO issue. Comes with insanely rare obi present and with finally the Obi also in pristine condition. “A psychedelic blues rock-out, 1968's Children Of The Future marked Steve Miller’s earliest attempt at the ascent that brought him supersonic superstardom. Recorded at Olympic Studios in London with storied producer Glyn Johns at the helm, the set played out as pure West Coast rock inflected with decade-of-love psychedelia but intriguingly cloaked in the misty pathos of the U.K. blues ethic. Though bandmate Boz Scaggs contributed a few songs, the bulk of the material was written by Miller while working as a janitor at a music studio in Texas earlier in the year. The best of his efforts resonate in a side one free-for-all that launches with the keys and swirls of the title track and segues smoothly through "Pushed Me Through It" and "In My First Mind," bound for the epic, hazy, lazy, organ-inflected "The Beauty of Time Is That It's Snowing," which ebbs and flows in ways that are continually surprising. The second half of the LP is cast in a different light -- a clutch of songs that groove together but don't have the same sleepy flow. Though it has since attained classic status – Miller himself was still performing it eight years later – Scaggs’ "Baby's Callin' Me Home" is a sparse, lightly instrumentalized piece of good old '60s San Francisco pop. His "Steppin' Stone," on the other hand, is a raucous, heavy-handed blues freakout with a low-riding bass and guitar breaks that angle out in all directions. And whether the title capitalized at all on the Monkees similarly titled song, released a year earlier, is anybody's guess. Children Of The Future was a brilliant debut. And while it is certainly a product of its era, it's still a vibrant reminder of just how the blues co-opted the mainstream to magnificent success.” (All Music Guide). The first Miller Band LP to see the light of day but only the 2nd one to come out in Japan. This is ant all-complete issue with obi also in top shape and another heavy fave around here. Price: Offers!!!

1401. The STEVE MILLER BAND: “Brave New World” (Capitol Records – CP-8744) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). 1969 Japan 1st original pressing – stock copye. Brave New World was more fully realized, and rocked harder, than Miller’s previous outings. His guitar playing is the star of this album, blazing across the whole affair more prominently than on any other release in his lengthy career; many of the songs have a power trio feel. In addition to the fine guitar work, Miller’s vocals are stronger here, and during this era in general, than they would be in his hit making days in the mid-'70s, when he was much more laid-back and overdubbed. Succumbing to a hippier, dippier breeziness previously obscured by raw blues, Brave New World is Steve Miller's first full-blown plunge into the Technicolor waters of the Summer of Love. The record starts with the sound of an exploding A-bomb and quickly trips into harmonized sha-la-las, boogie-blues bass lines, and other signifiers of late-'60s, California-fried rock. Tim Davis sizzles on drums while the Space Cowboy goes intergalactic, groovier and more nuanced than ever. Listen for hints of "Fly Like an Eagle" in the Paul McCartney-backed "My Dark Hour." A truly gorgeous album. Studiply rare all complete with obi. Top condition!. Price: Offers!!!
1402. The STEVE MILLER BAND: “Dear Mary B/w Sittin’ In Circles” (Capitol Records – CR-2274) (Red Wax 7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: excellent). Rare Japan only picture sleeve first original pressing. Comes pressed on Toshiba Records red colored antistatic vinyl. Top condition. Price: 250 Euro
1403. The STEVE MILLER BAND: “Going To The Country b/w Never Kill Another Man” (Capitol – CR-2637) (7 Inch Single Record: Near Mint/ gatefold Picture Sleeve: Excellent ~ Near Mint). Damned scare Steve Miller Band Japan only single issue with picture sleeve. WHITE label PROMO issue. Price: 150 Euro

1404. STEVE MILLER BAND: “Living In The U.S.A b/w Quicksilver Girl” (Capitol/ Toshiba – CR-2176) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan only picture sleeve issue in top shape. Price: 175 Euro

1405. MILT JACKSON: “Jazz ‘N’ Samba” (Impulse – SH-3053) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan very first press issue. “This may not be Milt Jackson's purest album – but oh how we love it! Milt's working here more in a Verve pop jazz mode than a highbrow third stream one – with bossa backings on about half the album, and good small combo work on the rest. The first half features Jimmy Heath on tenor, Tommy Flanagan on piano, Richard Davis on bass, and Connie Kay on drums – all grooving nicely next to Milt's vibes on tracks like "Blues For Juanita", "Gingerbread Boy", and "Big George". The real charmer, though, is the second half – which has Milt playing with the same group, minus Flanagan, plus 2 guitarists for that bossa sound. Lillian Clark sings vocals on 2 cuts – "Jazz N Samba" and "Kiss & Run" – and the side also features the great groover "Jazz Bossa Nova", and the incredible "The Oo-Oo Bossa Nova", which features Joe E Ross from Car 54 going "Oo Oo!" on the breakdowns!” (Dusty Groove). Top condition Japan 1st press issue, complete with fragile flip back sleeve and obi…Price: 75 Euro
1406. MINGUS, CHARLES: “Mingus Ah Um” (Columbia – CL-1370) (Record: Excellent/ Jacket: Excellent, small pen marks on back). Damned rare MONO deep groove WHITE LABEL PROMO 6 Eye Columbia Issue. SOLD
1407. MINGUS, CHARLES: “Ah Um” (Nippon Columbia – YS-128) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Excellent ~ Near Mint/ OBI: Excellent). Bloody rare Japan very first original pressing. Comes housed in first issue fragile flip back sleeve, all complete with never seen before/ never offered for sale before first issue OBI!!! WHITE LABEL PROMO issue. This one is seriously rare. “Charles Mingus debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Cat and the Sinner Lady as his best work overall, it lacks Ah Um’s immediate accessibility and brilliantly sculpted individual tunes. Mingus compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi and Booker Ervin, trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus greatest, most emotionally varied set of compositions. At least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune "Better Get It in Your Soul," taken in a hard-charging 6/8 and punctuated by joyous gospel shouts. "Goodbye Pork Pie Hat" is a slow, graceful elegy for Lester Young who died not long before the sessions. The sharply contrasting "Fables of Faubus" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus.) The underrated "Boogie Stop Shuffle" is bursting with aggressive swing, and elsewhere there are tributes to Mingus most revered influences: "Open Letter to Duke" is inspired by Duke Ellington and "Jelly Roll" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. It simply isn't possible to single out one Mingus album as definitive, but Mingus Ah Um comes the closest.” (All Music Guide). In all these years this is the first time I see a first Japan press issue of this gem. All complete with impossibly rare obi and white label promo to boot. Go figure your next chance to set eyes on this one. Price: 300 Euro
1408. MINGUS, CHARLIE: “Blues & Roots” (Atlantic Records – ATL-5045) (Record: Excellent/ Fragile Flip Back Jacket: Excellent ‾ Near Mint/ Obi: Near Mint). Rare Japan first original MONO press issue all complete with rare first issue obi! eleased in 1960, Blues & Roots is about as aptly titled as albums get, revealing some of Mingus’s more unexpected musical influences...or, at least, they’re unexpected if you think the man grew up listening to a diet of non-stop jazz. As Mingus explained in the album’s liner notes, the record came about as a result of Nesuhi Ertegun suggesting that he record an entire blues album in the style of “Haitian Fight Song” (which made its debut on Mingus’s 1957 Atlantic album, The Clown) in order to silence critics who were saying that Mingus didn’t swing enough. “He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy,” wrote Mingus. “I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed.” On that front, Blues & Roots would seem to have been a success: the All Music Guide says outright that “it ranks as arguably Mingus’s most joyously swinging outing.” It’s also worth noting that Elvis Costello cited the album in a Vanity Fair feature where he put together a 24-hour soundtrack for his life: “8 A.M. The day is picking up pace. Mingus is playing loud in the kitchen, something is boiling. Damned rare Japan 1st original MONO pressing with obi…Price: 75 Euro
1409. MINGUS, CHARLES: “Charles Mingus <Bass> With Orchestra” (Nippon Columbia – NCB-7008) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent). Bloody rare all complete with OBI Japan ONLY issue of Mingus live in Tokyo where he got backed up by Inomata with the New Heard Orchestra. “This is an obscure Charles Mingus session recorded in Japan in 1971, and the second version Denon has released of the same session. The bassist and composer fronted pianist Toshiyuki Miyama & His New Herd Orchestra. Here, however, Miyama, who only played a bit of piano (he was conducting the rest of the time), was supplanted by Mingus’ own pianist and arranger, Jaki Byard. Other players included the leader's tenor saxophonist Bobby Jones and trumpeter Eddie Preston. The program consists of three Mingus originals, "The Man Who Never Sleeps," "O.P.," and "Portrait" (the first release -- with the same title -- featured three erroneously titled selections and an alternate take). This was Mingus gigging, pure and simple. The music is great but not overly inspiring, as the bassist was about to enter into his last great and controversial period of composing for large groups, but had yet to begin. That said, collectors will want to own this for the sheer excellence of the musicianship and terrific arrangements.” (All Music Guide). Damned hard to find Japan only issue, especially all complete with obi. Frist one I ever see all complete so… eat your heart out, if Mingus says anything to you, this is much needed, if not highly essential! Price: 500 Euro

1410. The CHARLIE MINGUS JAZZ WORKSHOP: “Pithecanthropus Erectus” (Atlantic – SMT-2008) (Record: Near Mint/ Gatefold Jacket: Excellent – lower middle seam 1cm crack/ Obi: Near Mint). Damned rare Japan pressing all complete with rare black colored SMT obi. Even more salacious, this is the rarely seen MONO pressing. “Pithecanthropus Erectus was Mingus’ breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with Pithecanthropus Erectus he began seeking new ways to increase the evocative power of the art form and challenge his musicians (who here include altoist Jackie McLean and pianist Mal Waldron) to work outside of convention. The title cut is one of his greatest masterpieces: a four-movement tone poem depicting man's evolution from pride and accomplishment to hubris and slavery and finally to ultimate destruction. The piece is held together by a haunting, repeated theme and broken up by frenetic, sound-effect-filled interludes that grow darker as man's spirit sinks lower. It can be a little hard to follow the story line, but the whole thing seethes with a brooding intensity that comes from the soloist's extraordinary focus on the mood, rather than simply flashing their chops. Mingus’ playful side surfaces on "A Foggy Day (In San Francisco)," which crams numerous sound effects (all from actual instruments) into a highly visual portrait, complete with honking cars, ringing trolleys, sirens, police whistles, change clinking on the sidewalk, and more. This was the first album where Mingus tailored his arrangements to the personalities of his musicians, teaching the pieces by ear instead of writing everything out. Perhaps that's why Pithecanthropus Erectus resembles paintings in sound -- full of sumptuous tone colors learned through Duke Ellington but also rich in sonic details that only could have come from an adventurous modernist. And Mingus plays with the sort of raw passion that comes with the first flush of mastery. Still one of his greatest.” (All Music Guide). Damned this is a shy bird, all complete with obi and mono to boot! Price: 150 Euro

1411. MINGUS, CHARLES: “Mingus At Antibes” (Atlantic – P-5184~5A) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original pressing all complete with obi and insert. You can be sure that jazz fans in the year 1960 were unfamiliar with Charles Mingus’s LPs “Blues And Roots” or “Mingus Ah-Um” when they poured into the Pinède Gould Arena at the Antibes Jazz Festival held in Juan-les-Pins, France on 13 July. At any rate, as can be seen in a short video clip, all the seats were occupied. In addition, a really good trumpeter was there, whose name would later resound throughout Europe: Ted Curson. What is more, the legendary Bud Powell, who lived in France, was invited as a special guest for one number that required a pianist. The Jazz Workshop – which was how Mingus called his working ensemble – presented repertoire that was familiar to all the musicians: “Better Git It In Your Soul”, “Wednesday Night Prayer Meeting” and Dolphy’s wonderful solo on the bass clarinet in “What Love?”. Besides this there was “Cry For Freedom” as “Prayer For Passive Resistance” was also named, and “Folk Forms”, also known as “Ummh”. As a mark of respect towards the guest musician, it was decided to perform the evergreen “I’ll Remember April”, with Powell’s improvisation being applauded enthusiastically by the audience. Charles Mingus was to play in numerous concerts in the 60s and 70s; he recorded more than two-dozen official LPs, accused several concert organizers and tour managers of extortionate robbery, and trampled on illegal recording tapes. But the present live recording was made by the ORTF and released officially later by Atlantic Records. So good, it feels like sweet honey dripping out of your ears when spinning this one…classic from start to finish! Top condition high quality Japanese 1st press original. Price: 50 Euro

1412. MINGUS, CHARLIE: “Blue Bird” (America/ Nippon Columbia – YW-7575-MU) (Record: Near Mint/ Jacket: Near Mint/ Insert/ Near Mint/ Obi: Near Mint). Scarce Japanese high quality original press issue with obi!!! A great French session by Charles Mingus – with a lineup that includes Charles McPherson on alto, Bobby Jones on tenor, Eddie Preston on trumpet, and Jaki Byard on piano! Three tracks, including the great reading of Bird's "Blue Bird" on side 2, and a lengthy take of his own "Reincarnation Of A Lovebird", plus the standard "I Left My Heart In San Francisco". A nice later side in a small group setting. Totally essential in my universe. Japanese press original does not surface all too often…Price: 50 Euro

1413. MINOR THREAT: “S/T” (Dischord – DISCHORD-12) (Record: Near Mint/ Jacket: Mint/ Insert: Near Mint/ Picture Insert: Near Mint/ OBI: Mint) Quite a limited affair, US pressing but with a Japanese import obi slapped on it in an attempt to get some attention down here. Fast, furious, sharp, and lethal, Minor Thread were Washington DC’s straightedge hardcore unit spewing out rapid sonic bullet fire that often clocked in at just around a minute. Their trademark speed and fury embedded even some catchy melodies, that encapsulated their eagerness to vent rage. A real head cleaner and much anticipated issue. Dried up in the bat of an eyelid. Price: 75 Euro
1414. MION, PHILIPPE: “L'Image Econduite” (INA-GRM – 9119mi) (Record: Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Booklet: Mint). Another indispensable title out of the INA GRM catalogue. Philippe Mion's “L'Image Econduite” is one of the harder to locate titles out of that catalogue. “It is a remarkable piece of electro-acoustic music, released on the INA-GRM (Institut National de L'audiovisuel, Groupe de Recherches Musicales) label in 1987. The GRM was founded by Pierre Schaeffer in the 1950s and merged with the INA in the 1970s. Mion assembles a delicious collection of electronic and acoustic sounds, and interleaves them in ways that might be described as fugal. The texture is rich and complex, and yet spares enough to enable each sound combination to be enjoyed to the fullest. L'Image Éconduite was originally a 70-minute composition on 4-track tape, but was trimmed to 57 minutes and reduced to 2 tracks for the LP release. Although divided between the two sides of an LP, it is intended as one uninterrupted movement. The composer recommends that it be listened to fortissimo!” (Mininova). A fabulous tour de force of electro-accustic music that ranks up there with the other classic and can be called proudly a classic in its own right. Quite a tough one to dig up these days. Top copy, total mint condition. Price: 75 Euro
1415. MISFITS: “Cough b/w Cool” (Blank Records) (Single Record: Near Mint/ Thick Picture Sleeve: Near Mint). Early dayz identical reissue/ counterfeit of the first Misfits single. Earliest Misfits incarnation and debut single from 1977. Without a guitarist, the band opted to record their debut single, “Cough / Cool” with Danzig on the organ in lieu of guitar. “Cough / Cool” was ominous. As the monster mash organ rolled in the background, Danzig crooned in his unique Elvis-meets-Morrison vocals while issuing oblique decrees of a sinister nature. “She” was a bit more direct. Most likely detailing and investigating the psyche of Patty Hearst, Danzig utilized a more traditional song format, ending the track with one of his identifiable crescendos. He also began his long running trait of glamorization of the macabre and unexplainable. Caiafra, would on later Misfits releases slam down his bass like a jackhammer, not so much playing the instrument as beating sound out of it. But here, you could practically hear him find his way around the fret-board, cutting bass lines that are gentler and frankly, almost jazzy sounding. This approach would not last long, but like Danzig’s organ solution, it contributed to the release’s unique nature. Price: 30 Euro
1416. MISHA MENGELBERG KWARTET Featuring Gary Peacock: “Driekusman Total Loss” (Varajazz/ DIW – DIW-1011) (Record: Near Mint/ Jacket: Near Mint/ Obi with Insert: Near Mint). Long gone and scarce Japanese high quality issue of legendary Holland jazz slide. Price: 75 Euro
1417. MISHA MENGELBERG & ICP Orchestra: “Japan Japon” (International Music Activity & Instant Composers Pool – IMA1/ICP024/ DIW-1014) (Record: Near Mint/ Jacket: Near Mint/ Obi with Insert: Near Mint/ PROMO ONLY Single: Near Mint/ Single Sleeve: Near Mint) Japan only release of this free jazz monster. Came out in 1982 and was never distributed outside the archipelago. First time ever I see a PROMO issue that comes with the PROMO ONLY 7 Inch present. The single is awesome, with Brötzmann playing a wild solo on a version of Ellingtons 'caravan'. Absolutely beautiful! Recorded live on May 11th and May 17th of the 1982 ICP Orchestra tour throughout Japan. The line-up is just mouth watering and consists of the finest free blowing spirits of that time. Misha Mengelberg (piano, voice), Han Bennink (drums, percussion), Peter Brotzmann (trumpets, sax, bassoon and voice), Keshavan Maslak (trumpet, sax, voice), Michael Moore (sax, clarinet), Walter Wierbos (trombone), Joep Maassen (trombone), Larry Fishkind (tuba), Maurice Horsthuis (viola) and Toshinori Kondo (trumpet, voice). Great free jazz monster record that will blow you out of your lazy sofa. Also quiet rare since it came out in an edition of a few hundred copies way back in 1982. Price: 75 Euro
1418. The MISJA MENGELBERG QUARTET: “As Featured At The Newport Jazz Festival 1966” (Artone – MGOS-9467) (Record: Near Mint/ Flip Back Jacket: Near Mint). Damned clean and rare very first Dutch original press issue. Hardly ever turns up in such outstanding condition as this one here and it sounds astonishing. Brilliant slide where Mengelberg gets flanked by Piet Noordijk, Han Bennink and Rob Langereis. Beautiful with Mengelberg and Bennink playing hard bop and bringing forth a mellow and nice atmosphere that is quite far removed for their later frolics and free roaming jazz aesthetics that they will explore pretty soon on labels such as ICP and FMP. Historically important recording giving exposure to the sonic of the then reigning Dutch jazz scene. Rare Dutch 1st original pressing, super clean for both record and sleeve – gonna be a hard one to ever improve upon. Price: 325 Euro
1419. The MISJA MENGELBERG QUARTET: “As Featured At The Newport Jazz Festival 1966” (CBS Sony – SONP-50394) (Record: Near Mint/ Jacket: Excellent). Original Japan 1st original pressing, white label promo copy. Never ever seen a high quality Japanese pressing from the 1960s of this record ever before and it sounds astonishing. Brilliant slide where Mengelberg gets flanked by Piet Noordijk, Han Bennink and Rob Langereis. Beautiful with Mengelberg and Bennink playing hard bop and bringing forth a mellow and nice atmosphere that is quite far removed for their later frolics and free roaming jazz aesthetics that they will explore pretty soon on labels such as ICP and FMP. Historically important recording giving exposure to the sonic of the then reigning Dutch jazz scene. Rare Japanese 1st original pressing, never seen a Japanese original pressing before and it sound totally bonkers!!! Price: 150 Euro
1420. MISSISSIPPI JOHN HURT: “The Immortal Mississippi John Hurt” (Vanguard/ King Records: Record: Near Mint/ Jacket: Excellent/ Insert: Excellent/ Obi: Excellent). Rarely seen Japan 1st original press issue all complete with obi. One of the best albums of country blues ever recorded. The intricately unflashy finger-picking is delicate, the vocals mellow and sweet. Many tunes that remain associated with Mississippi John Hurt are included here in versions that rival his legendary recordings from the late '20s. "Richland Woman Blues," his moral take on "Stagolee," "Coffee Blues" and "Since I've Laid My Burden Down" sound as fresh as ever in these '60s versions. This album leaves little doubt as to why Mississippi John Hurt was so beloved after his rediscovery. Damned rare Japan original with obi, fist time I encounter a copy of this one. Has some foxing due to yearlong storage but comes all complete. Price: 150 Euro
1421. MITCHELL, ROSCOE SEXTET: “Sound” (Delmark – PA-7020) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 6 paged Insert: Near Mint). Hideously scarce first Japanese press of this free burning epic of a disc, complete with insert and obi. Has been ages since I had a copy complete with 1st press obi, these are getting very thin on the ground. “Sound, mainly taken up by the 46-minute Sound, truly set the standard for the rest of Chicago's creative music. The sextet (with trumpeter Lester Bowie, tenor saxophonist Kalaparusha Maurice McIntyre, trombonist Lester Lashley, bassist Malachi Favors, drummer Alvin Fiedler) challenged the dogmas of jazz improvisation and composition, venturing into dissonance and unusual timbres (even toy instruments). The instruments just did not sound like themselves: they were mere vehicles to produce abstract sounds. These sounds derived from the extended (and mostly dissonant) ranges of the instruments were made to interact and overlap. But the real breakthrough was the very notion of how to play: this was highly intellectual music, meant to be used by a brain, not by a heart, unlike New York's free jazz that was meant to be emphatic and frantic. These musicians were European scientists, not African shamans. They were scientists of the subtle. Thus the effect was that they were more interested in "silence" than in "music". Silence was indeed the "space" in which music happened: silence was a key ingredient in the musical event.” One word: totally essential. Price: 150 Euro
1422. MIYAMA TOSHIYUKI & NEW HERD ORCHESTRA (with SATO MASAHIKO): “Yotsu No Jazz Composition aka Four Jazz Compositions” (Toshiba – TP-9010) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – some faint aging foxing/ 8-Paged Attached Booklet: Near Mint/ Obi: Near Mint). Complete copy with OBI!!! WHITE label PROMO copy. Only the 2nd time ever I have a copy of this MONSTER!!!! One of the best Japanese free jazz improvisation records ever and all complete!!! Hideously rare 1970 free jazz big band squawk that is these days massively in demand. What a blast, free jazz based upon traditional/ classical Japanese themes, merging ancestral musical motives with modern-day improvisation, four compositions of which one by the hand of master Sato Masahiko but all executed with conviction and fire-breathing power by the Miyama Toshiyuki & the New Herd. The opening track by Sato Masahiko entitled “Mumyouju” balanced delicately on the razor’s edge between oriental almost Zen-like minimalism and volcanic orchestral tension that fuses mercurial interplay with enforced proportionate tension that swirls in and out of focus like a demented dervish. A perfect meltdown that gels a traditional aesthetic with a big band improvisational approach. Just breath-taxingly beautiful and setting the pace for the rest of the album to unfold itself upon. The second track “Shirabyoushi” by composer Takami Hiroshi takes the above-mentioned concept towards another level, more avant-garde in its execution without ever loosing the ever building up tension that spikes the orchestral interplay. It even has an almost early-seventies Miles Davis flavor seeping through at times, injecting a certain swing-like funky touch into it, making it lyrically intoxicating like the soundtrack to the 1st Dirty Harry movie while slowly descending in a spiral of stirringly flagellant Mahdi madness. The other two compositions “Ikisudama” by composer Maeda Norio and “Senshuuraku” by Yamamoto Kozaburo develop in a similar vein, walking the same tightrope bouncing in between classical Japanese themes and almost psychochemical interplay that is carefully executed as if the players were a bunch of ascetic monks injected with a hard bop virus while free-roaming the snowy flanks of Mount Fuji. It is just such an amazing disc that had me holding down my jaws in order from preventing them to hit down to the floor on numeral occasions. This amazing record has been out of print since its first pressing in 1970, its rarity sandblasts its reputation amongst a small circle of people in the know, but once one is actually exposed to it, the inescapable judgment is that is measures up to the hype – if there is one already. Probably not because it is too damned obscure so it is about time to ignite one on the merits of this disc alone. Massive and rrrrraaaaaaarrrre, especially with obi and booklet intact. Price: Offers!!!!

1423. MIYASAKA + 5: “Animals Garden” (ALM Records – AL-3007) (Record: Near Mint/ Jacket: Near Mint). Japan 1st original pressing from 1979 on the illustrious ALM label imprint. Top shape. Animals Garden was a one-off project led by master drummer Takashi ‘Bear’ Miyasaka and features a powerful and progressive jazz group including saxophonist Koichi Matsukaze of ‘Earth Mother’ fame. The four extended on display here exemplify the high standard of playing and arranging that was a characteristic of jazz composed and recorded in Japan during the late 1970s and spans a range of styles, from febrile post-bop and head nodding modal, to deep funky blues and spiritual jazzy heights. The record has been steeped in legendary status for the exquisite music on show but it has been an elusive bird ever since it saw the light of day. In short, this baby is uncut pure delight for the ears, shouldering one of the pillars of the jazz heavens. Only superlatives do this one justice, treating you to an explorative sound excursion ranging from butt-shaking bop grooves to spiritually inclined stratospherically jazzy heights. Finger-licking ear-waxing juice to ooze out of your membranes for days on end. This is the good stuff but sadly a bitch to score as original copies are far and few in between. This one here is virginal to satisfy your eargasmatic needs. Highest recommendation!!! Price 500 Euro

1424. MIYAZAWA AKIRA QUARTET (with Sato Masahiko – Arakawa Yasuo – Moriyama Takeo): “Kiso” (Victor – THLP-092) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Out of print and limited to 500 copies identical reissue of this amazing spiritual Japanese free jazz beast that came out almost a decade ago. Comes housed in heavy-duty gatefold jacket, heavy thick high quality vinyl and with obi. For this session some of the heaviest improvisers in Japan interlocked and created this behemoth of a disc. Centered around the groovy and exploding sax lines of Miyazawa Akira and assisted on ivory keys by Sato Masahiko pounding out cascading molten chunks of lava, butt-shaking and vitriolic bass licks of Yasuo Arakawa and the percussive tribal freak outs by master drummer Moriyama Takeo. The whole affair gets kick-started with a sidelong spiritual freakingly heavy track, immediately highlighting the animated strive of this quartet in action way back in 1970. Side A opens up with “Kiso” a tribal free floating lyrical maniac fury excursion that showcases Sato as a golden boy on the ivory keys while Arakawa and Moriyama provide the perfect backbeat for Miyazawa to blow his horn to smithereens. Free but smooth as silk, just perfect. All the way through, the quartet shifts to a higher gear, accelerating speed up frenzy that remains an artfully structuralized berserker blessed with tribalized spiritual jazzy overtones. There is much solo space for each of the four players and the spacious mix buts each of the four equally upfront on different occasions. It is a stunning showcase of visionary talent at the top of their game. They are literally on fire. From the opening notes on, things get rolling, it becomes an unfettered affair, fusing power and poetry into one coherent slab of paradigmatic oriental Fire Music. Cascading notes, tornado-like curveballs of sonic clusters that sound like almost a piano induced frenzy as an afterthought to a firestorm of improvisational interplay. Collective improvisation built up around piano pounding, frantic imploding sax lines and droning base stroking aesthetics evolve into a workout spiked with moments of real intense beauty especially with Sato sweeping across the keys, injecting his play with prepared piano moves while Arakawa scrapes his bass snares and Moriyama cooks up a storm of muffled brushes and strokes while Miyazawa brings the house crashing down. Still like most true inventive Fire Music it is also an mesmerizing and equally rewarding listening experience. These cats had it all down; gracious free-floating grandeur that touches divinity while creation unfolds itself. Beautiful record with interludes ranging from lyrical passages to sheer bursts of brutality and corrosive blasts of sheer white light. In all it is a staggering carnivorous sound form as the players lollopped through some extended nod out freeform jams that marry a primitive blowout aesthetic with lyrical flashes of sonic beauty. A dead stone classic, high quality vinyl pressing with obi, all in stunning mint condition. Highly recommended. Price 85 Euro
1425. MKWAJU: “S/T” (Better Days – YF-7019-ND) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ PROMO Only Insert: Near Mint). Original 1st pressing PROMO issue with additional promo insert. Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato’s debut album, Yasuaki Shimizu’s Kakashi, etc) MKWAJU is the fruit of the collaboration between Takada’s crew and world-famous composer/musical director Joe Hisaishi, the man behind most of Hayao Miyazaki’s Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano’s Sonatine, Hana-Bi, and Kikujiro. The ensemble’s transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album. Historic. Led by Midori Takada on marimba, gong, vibraphone, and tom tom, MKWAJU is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada’s career and an all-around pioneering album. Alongside Takada and Hisaishi, personnel on MKWAJU includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion fame, Junko Arase (heard on Satoshi Ashikawa’s legendary Still Way - Wave Notation 2), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi). Top condition original 1st pressing, promo with obi and additional promo only insert. Price: 400 Euro

1426. MOBLEY, HANK: “No Room For Squares” (Blue Note/ Toshiba – BST-84149) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint). Clean Japanese pressing of essential Mobley jam. “Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 -- a commonly if stupidly held view among the eggheads who do this for a living -- is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley’s deeper concentration on the expressing blues feeling in his trademark hard bop tunes. Mobley assembled a crack band for this blues-drenched hard-rollicking set made up of material written by either him or trumpeter Lee Morgan. Other members of the ensemble were pianist Andrew Hill, drummer Philly Joe Jones and bassist John Ore. The title track, which opens the set, is a stand-in metaphor for the rest: Mobley’s strong and knotty off-minor front-line trading fours with Hill that moves into brief but aggressive soloing for he and Morgan and brings the melody back, altered with the changes from Hill. On Morgan’s "Me 'n' You," an aggressive but short bluesed-out vamp backed by a mutated samba beat, comes right out of the Art Blakey book of the blues and is articulated wonderfully by Mobley’s solo, which alternates between short, clipped phrases along the line of the changes and longer trill and ostinatos where the end of a musical line is dictated by his breath rather than a chord change. Morgan is in the pocket of the blue shades, coloring the ends of his lines with trills and short staccato bursts, warping them in Hill’s open, chromatic voicings. All eight cuts here move with similar fluidity and offer a very gritty and realist approach to the roots of hard bop. Highly recommended.” (All Music Guide). Price: 45 Euro

 

1427. MOBY GRAPE: “WOW” (Columbia – CXS-3/ CS-9613) (Record: Near Mint/ Gatefold Jacket: Excellent). Top copy 1st original pressing, Columbia“Eye” 360 Sound red label. WOW is the true sophomore release, a great second album although many out there find is appropriate to slag it off without mercy, those nitwit fascist drunks. I for one ride hard for this album, making it one of those key-West Coast releases of that era. Even with the band's widening divisions and track record of consistently bad decisions, all five members of the band contribute to WOW - -with some absolutely stunning results. The album is filled with great songs that are sympathetically arranged and performed, among them the fragile "He," the bluesy "Murder In My Heart For The Judge," and the soulful "Bitter Wind." Moby Grape ends the album with a new version of "Naked, If I Want To"--a strutting, funky take on an acoustic track from their debut. Also don’t forget to dig into the 78 RPM mastered “”Just Like Gene Autry” that ends side one, making it in all an acidic spiked album to sit through. Truly amazing and astonishing to these ears, but then again I am a West Coast psych nut and not a treacherous hyena that takes any chance to slag off greatness in order to elevates one’s own miserable existence. So Moby Grape’s “Wow” is a fucking ace record!!! Top copy original pressing!! Price: 50 Euro
1428. MOBY GRAPE: “Grape Jam” (CBS SONY – SONP-50110) (Record: Near Mint ~ Mint/ Jacket: Mint – Still housed in shrink/ Insert: Near Mint/ Capsule OBI: Mint, still housed in shrink). Very rare Japanese 1st press original – all complete with RARE CAPSULE OBI. The jacket & obi are still housed in its original shrink. All is in MINT condition. Moby Grape's self-conscious, but hardly less groovy late 60s excursion into loose, free form and largely instrumental psychedelia – the sweet and therefore appropriately titled Grape Jam! GJ is really a world away from their earlier rock regalia – with superstar special guests Al "How Does It Feel" Cooper and Mike Bloomfield brought in the flesh out the open-ended sounds. The sounds roll from walloping instrumental rock, to bluesier jams, to some driving nearly funky bits! Original Japanese pressing with capsule obi is…bloody rare to say the least. It is the first all complete copy I can lay my hands on in over 15 years!!! The condition is NM~M, impossible to upgrade upon. Just silly rare with OBI Price: 450 Euro
1429. THE MODERN JAZZ DRUMMERS: “Art Blakey – Jimmy Cobb – Chico Hamilton – Luis Hayes – Roy Haynes – Elvin Jones – Philly Joe Jones – Connie Kay – Shelly Manne – Max Roach” (Impulse – SH-3065~66) (2 LP Record Set: Near Mint/ Box Set: Near Mint/ 14 Paged Illustrated Booklet: Mint/ Individual Record Sleeves: Mint/ OBI: Mint). Rare Japan ONLY 2 LP box set that came out in 1966. PROMO issue. Price: 50 Euro
1430. JONATHAN RICHMAN & THE MODERN LOVERS: “Back In The U.S.A. b/w New England” (Beserkley/ Trio Records – PA-203) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare top condition Japan only Modern Lovers single issue. PROMO issue. Price: 250 Euro
1431. The MODERN LOVERS: “Road Runner b/w Pablo Picasso” (Beserkley/ Trio Records – PA-205) (EP Record: Excellent – has a visible scuff on side A that does NOT sound/ Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Excellent) rare Japan only single issue with Japan only picture sleeve – rare PROMO version with misprint on label stating “”Rabloe Picasso” instead of “Pablo”. Price: 200 Euro
1432. The MODERN LOVERS: “S/T” (Beserkley – SUX-182-SE) (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint). Bloody scarce 1st original Japanese pressing from 1980 complete with rare obi. Compiled of demos the band recorded with John Cale in 1973, The Modern Lovers is one of the great proto-punk albums of all time, capturing an angst-ridden adolescent geekiness which is married to a stripped-down, minimalistic rock & roll derived from the art punk of the Velvet Underground. While the sound is in debt to the primal three-chord pounding of early Velvet Underground, the attitude of Jonathan Richman and the Modern Lovers is a million miles away from Lou Reed’s jaded urban nightmares. As he says in the classic two-chord anthem "Roadrunner," Richman is in love with the modern world and rock & roll. He's still a teenager at heart, which means he's not only in love with girls he can't have, but also radios, suburbs, and fast food, and it also means he'll crack jokes like "Pablo Picasso was never called an asshole...not like you." "Pablo Picasso" is the classic sneer, but "She Cracked" and "I'm Straight" are just as nasty, made all the more edgy by the Modern Lovers amateurish, minimalist drive. But beneath his adolescent posturing, Richman is also nakedly emotional, pleading for a lover on "Someone I Care About" and "Girl Friend," or romanticizing the future on "Dignified and Old." That combination of musical simplicity, driving rock & roll, and gawky emotional confessions makes The Modern Lovers one of the most startling proto-punk records -- it strips rock & roll to its core and establishes the rock tradition of the geeky, awkward social outcast venting his frustrations. More importantly, the music is just as raw and exciting now as when it was recorded in 1973, or when it was belatedly released in 1976.” (All Music Guide). Fantastic review of their first LP and spot on description, it nails it right down. One of my all time fave records, if this does not bring tears to your eyes, you must be seriously mentally disturbed or you must be a complete insensitive asshole. Absolute killer with no filler, rock and roll never will get better or more honest than this. Top copy 1st original Japanese pressing with seldom seen obi…what can you possibly ask more for??? Price: 400 Euro
1433. The MODERN LOVERS & JONATHAN RICHMAN: “S/T” (Beserkley – SUX-181-SE)  (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint). Bloody scarce 1st original Japanese pressing from 1980 complete with rare obi. Second Modern Lovers record for which Jonathan Richman’s name was billed over the group and eventually the group’s name would be dropped. A little lighter as far as lyrics are concerned in comparison to the first Modern Lovers record but still the overall vibe is blessed with an amateurish charm for which you keep coming back. Japanese first press is damned rare on these shores and it is the first time I have a copy in with obi. Top condition!!! Price: 400 Euro
1434. MODERN LOVERS & JONATHAN RICHMAN: “Back In Your Life” (Beserkley/ Teichiku – SUX-180-E) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Hard to dig up Japan 1st original pressing from 1980 all complete with obi and in top shape of another subliminal Modern Lovers slide. “Sweet, fun, and honest aptly describe this 1979 long-player by Jonathan Richman. And while some singers badly fumble at being innocently possessed, Richman keeps it all engaging with his unbridled enthusiasm, wit, and crack songs. This was Richman’s first solo venture since forming the Modern Lovers in the early '70s, and the newfound freedom shows on loose doo wop rockers like "Party in the Woods Tonight" and such Sesame Street-issue nature odes as "Buzz Buzz Buzz"; the breezy tone is further plied on surf-toned instrumental "Lover Please" and a harmony and handclapping-rich "Lydia." But it's not all passing fancy, as Richman also waxes sincere and lonely on strong, yet often hushed sides like "Affection," "Emaline," and the title track, his terminally congested vocals and jangly guitar chords perfectly echoing the wistful sentiment. Recent Modern Lovers graduates: start here.” (All Music Guide). Maybe one of the hardest to dig up of all the Modern Lovers slides. Pristine copy with lovely obi flashing its colors with pride!. Price: 250 Euro
1435. MODULO 100: “Nao Fale Com Paredes” (World In Sound – RFR-004) (Record: Near Mint/ Triple Fold Out Jacket: Mint) Long tome since I last had an original copy of this beast, so throwing out this long deleted deluxe reissue of this killer slide. Without a single doubt, this is the best heavy psychedelic disc ever to seep out of Brazil. Like you know, original copies are almost impossible to score and are in most cases beat up. A couple of years ago, World in Sound released a stunning reissue, housed in a heavier/thicker-than-life triple fold out jacket, complete with eye-devouring psyched-out artwork inside. This set was released in an edition of 500 and sold out in no time, again gone for good. The music on the other hand is brain ripper that will lead all of you heavy psych freaks to the best ear-gasm you had in years! Super fuzz wah guitar and organ jamming stoner psych-prog filled with raw, heavy experimental twists and turns, this disc has made all those moves their trademark sound. Non-stop lethal assaults of fuzz guitar and overdriven organ workouts Just a beast of a disc. If you have to make comparisons, well it sounds like early Soft Machine cross breeding with early day Black Sabbath while day-tripping in the South American jungle and chewing away upon those Ibogane leaves. This disc certainly gets you where you wanna go, and fast….so in order to sum it all up this sucker is the Brazilian full-tilt hard psych behemoth. Long tracks, lysergic leads, stoned vocals, organ pumping and comes is a massively heavy triple fold out cover that will also disrupt your vision for days on end……if you can get through the sonic dementia tucked in its grooves…Price: 75 Euro
1436. MOEBIUS & PLANK: “Rastakraut Pasta” (Sky – Sky-039) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). German 1980 original first press issue. A classic in the German Krautrock pantheon although that instead of Krautrock one could switch it for the more appropriate spacehead Krautfunk moniker. This album is total genius, hypnotic motorik and almost industrial impregnated city-sludged monotronic minimal krauttrance electronic offbeat music. With influences even encapsulating references to reggae, the instrumentation on the album includes electronics, voice, guitar, and flute, rendering the general outcome into an hybrid genre crossing and stylings encapsulating album that even till this day remains to sounds fresh and innovative, be it in a primitive way. Languid drum machines frame several interesting exercises in alien pop, from the vocoder experimentation on "News" and "Missi Cacadou" to the title track's hilarious fusion of reggae and Krautrock. Holger Czukay also helps out on three tracks and Conny Plank’s studio provided the place for these at the time revolutionary ideas to germinate. Deep sea intoned industrial carpeted dub infested krautrock funk on Quaaludes is probably the best description I can come up with to pinpoint the atmospherics and sounds the albums steers into. A classic that these days rarely surfaces……top copy. Price: 75 Euro

1437. MOKO BEAVER & OLIVE: “Wasuretai Noni – I Love How You Love Me” (Express – ETP-7723) (Record: Near Mint ~ Mint/Gatefold Jacket: Mint/ Attached insert: Near Mint/ Obi: Mint). Bloody fucking rare 1st original press in top condition with ALWAYS missing obi present in MINT condition!! Ok here you have one of my all time favorite female vocal albums of all time. Hideously rare beyond belief 1969 first pressing, housed in gatefold jacket with OBI. Total mint copies with obi are impossible to score and cost you a kidney or a leg in return. This copy is near mint all way through. This album is one of the finest female vocal chorus albums to seep out of Japan. One problem though, apart from a handful of Japanese die-hard collectors, no one is aware of its existence. Why, because it is so bloody rare….but the music sounds like a flock of angels descending from the skies like valkyries ready to pick up slain heroes and conducted them to Valhalla. By tackling songs – in Japanese – such as “I Love How You Love Me”; “Door to Paradise”, “All I Have to Do Is Dream” and “Sixteen Reasons”, they elevate you to angelic plains of Candy Mountains and pink fluffy clouds. One of the most delicately fragile but exponentionally great Japanese soft female vocal records around. I can only advise you NOT to buy this because it will hit you with too much beauty for you too handle. You will be devastated. Highest possible recommendation and one of the most beautiful Japanese ethereal female vocal discs ever to have been put down on wax and in this case complete with the hardly ever seen OBI. Delusionally astonishing. The last couple of years this one is soaring in demand and getting next to impossible to unearth. Top condition. Price: Offers!!!!

1438. MOMOYAMA HARUE: “Asobi O Sentoya Umareken” (Victor/ Invitation – VIH-28036) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent/ 6-Paged Insert: Mint) First LP release by the late Momoyama Harue dating back to 1981. Her rarest effort and bloody hell, what does it sounds amazing. On her first LP, Momoyama Harue set out to bridge gaps, both musically and historically and single-handedly created a Nipponised sound that was both ethnically influenced by Japan’s rich musical history of the 12th century and it instantly feels both musically liberated and firmly rooted in multi-era reverence. Momoyama evokes a Japanese classicism, which then vanishes and resurfaces in her compositions, jarring the imagination. Still, as far as tonal color is concerned, also Silk Road and Middle Eastern influences seep into the mix, giving more substance to her shamisen playing and accentuating her austere singing style even more, dissecting its movements into fractious pieces. Various kinds of percussion are used, and instruments from the Middle East and China are also added and fundamentally based on the Japanese musical tradition with the intention of naturally blending them together into one cohesive sound. In a way the music comes over as very intuitive and is brimming over with a poetic resonance and a shamanistic sense of beauty. Momoyama’s skeletal music is deceptively intense, yet casual in feel but nevertheless meticulous in its musical detail and lyrical economy. And although the music is so drenched in the past, she succeeds in transporting it to the moment and through its austere intimacy she spans epochs within single syllables and her curious singing style recalls obscure rural rites, beclouded musical traditions and nebulous traditional sacramentarian convocations. A truly eye-filling beautiful recording that is so hard to put down since it exists entirely on its own plane. Never seen a copy before until now and one of the finest records to seep out of Japan that no one has ever heard of. Price: 75 Euro

1439. MOMOYAMA HARUE: “Hikiyomigusa” (Victor – Invitation – VIH-6056) (Record: Near Mint/ Jacket: Near Mint/ 4-paged insert: Near Mint/ Obi: Near Mint). Perfect copy; don’t think they come actually in better shape than this one here. Here is a weird rural rice filed dwelling oddity for you, another gem that evaporated in thin air right straight after its release and which remains undetected and extremely hard to come by till this day. So one word of advice, if you want to detect something new that will stun you and leave you puzzled with a fractured view on traditional Japanese rural music then this one has written you all over it since this baby tends to dwell in some hybrid territories. Momoyama Harue’s music may sound fairly traditional at a first hearing (especially side one) but immediately some connotations to the Goze (or blind female shamisen performers that travel from town to town) pop to mind. That aside, Momoyama is – apart from the musical linkage – still far removed from those Goze. First of all there is her use of the Japanese language in combination with the singing techniques she uses, techniques that generally are applied by jazz vocalists or classically trained singers. Still her roots lie in traditional rurally performed styles of music, especially music out of the high north. Still Momoyama draws a breathe of fresh air into traditionally inclined rural shamisen strummings, making it simultaneously ancestrally rooted and modernistic inclined with a nod towards the avant-garde even. This last aspect becomes especially to the forefront on the 2nd side of the album where she gets flanked by Sakamoto Ryuichi of YMO fame. The addition of Sakamoto to Momoyama’s musical palette works extremely well as he underscores her compositions with some eerie and otherworldly synth induced soundscapes, attributing a kind of electronic music feel to the atavistic and agronomic predisposed sound palette. At times it even resonates out harmonic qualities that are reminiscent to music from the Tibetan high north. In all it is a compelling disc, hard to pinpoint to one single genre and dwelling from traditional shamisen music towards avant-garde inclined indigenous soundscapes. In all this is a disc that left me baffled and puzzled every time I spin it. Too beautiful for words and extremely hard to find. Price: 100 Euro
1440. MONICA LASSEN & THE SOUNDS (aka Kawahara Masami Group featuring Mizutani Kimio): “La Jouissance” (Columbia – YS-2521-AX) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare all complete copy with OBI, first time ever a copy with obi crosses my path. To make it even more salivating. Top condition!!! The follow up disc to Kawahara Masami’s & The Exotic Sounds “Ecstasy – Kokotsu” and Monica Lassen & The Sounds “Women” discs, all executed under the direction of Latin percussion mastermind Kawahara Masami. Top copy of this 1970 released erotic rarity that just never turns up but shedding some light on another aspect of the sub-cultural sexual contaminated fumes that intoxicated the late sixties and early seventies underbelly of swinging Tokyo, this time a bit psyched up by acidic psyched out guitar gun slinging touches provided by Mizutani Kimio who was called in to reinforce the ranks on a couple of tracks. Sonic-wise, the disc unleashes a whirlpool cocktail lounge styled mondo -sexploitation sounds that get spiced up with feminine breathing and respiration sounds, moaning and hissing, laughing and giggling and igniting a maelstrom of assorted eroticism. In all, it resembles “Ecstasy-Kokotsu” disc to some extent. And just like that disc, it was again Kawahara Masami that was in charge of it all, just like he was the person responsible for giving Ike Reiko her distinct sound on the record “Kokotsu no Sekai ” for which he provided the musical backbone and arrangements unto which Ike could utter her depraved songs. This album however pick up where “Kokotsu / Ecstasy” left off and is again spiked to bursting with erotic shrieks and cries fluttering across a multitude of erogenous non-verbal modes such as sibilating suffocated whispers of excitement, and grunting and growling of a caged and sexually charged vixen. Still, it goes beyond mere sexploitation of two tracks for which he called in the assistance of Mizutani Kimio and some psychedelic renegades. Together with that bunch of musical lawless gunslingers, Kawahara puts down some of the most wicked and sexually charged acidic brain melters the world has ever seen. New Rock lysergic moves fuse with sexploitation as they rip apart the chords to “Change of the Seasons”, normally a middle of the road mind-numbing dead-beat track but here transformed into a organ frenzied and acid spiked fuzz guitar and wah-wah driven butt shaker that has to meet its rival yet. Mizutani shines throughout, ripping the air to pieces and turning it into waves of hot molten lava. All the time, this nipple bumping deep throat ball crushing depraved and sexually charged vixen in heat keeps on fire-breathing over it all, instigating Mizutani and fellow gang members into even higher scales of doped up wah-wah infected and fuzz deranged mayhem. It all sounds like an acid spiked orgy going overboard with nipple clamps and throat chokers locked and stocked up. Just massive. It just goes to show you that there are still many undetected hybrid psychedelic monster pieces floating around here that just need to get dusted off and dragged out the dungeons of oblivion. This is one of those, hyper rare and once the larger crowd gets a taste of this one, it will skyrocket into the stratosphere, so for now it is still affordable. First time ever I see a copy with obi. Top Condition & Highest recommendation!! Price: Offers!!!!
1441. MONK, THELONIOUS QUARTET with JOHNNY GRIFFIN: “Recorded At The Five Spot Café, New York City” (Riverside/ Nippon Victor – SR-7040) (Record/ Jacket and OBI: MINT = SEALED COPY). Bloody rare Japan very first original pressing that came out in the early 1960s. Impossible to find a sealed copy with obi of that time. Best condition imaginable. Price: 250 Euro
1442. MONK, THELONIOUS ORCHESTRA: “The Thelonious Monk Orchestra At Town Hall” (Riverside/ Nippon Victor – SR-7068) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Pianist Thelonious Monk's appearance with a tentet at a 1959 Town Hall concert was a major success. With Hal Overton contributing arrangements of Monk's tunes (including a remarkable transcription of Monk's original piano solo on "Little Rootie Tootie") and solos provided by trumpeter Donald Byrd, trombonist Eddie Bert, altoist Phil Woods, Charlie Rouse on tenor, and baritonist Perre Adams, this date was a real standout. There would only be one other recorded occasion -- Monk's 1963 Philharmonic Hall concert -- when the unique pianist was as successfully featured with a larger ensemble. Price: 125 Euro
1443. MONK, THELONIUS: “We See” (Prestige/ Nippon Victor – MJ-7056) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned scarce Japan 1st original deep groove pressing that comes housed in fragile flip back sleeve and all complete with rare obi. “This era of Monk’s recordings is notable as the bridge between his association with Blue Note -- which had concluded in 1952 -- and his most prolific period for Riverside -- commencing in 1955. "Let's Call This" and the second take of "Think of One" are from the November 1953 date and feature Monk (piano) backed by Sonny Rollins  (tenor sax), Julius Watkins (French horn), Percy Heath (bass), and Willie Jones (drums). The remaining tunes present Frank Foster (tenor sax), Ray Copeland (trumpet), Curley Russel (bass), and Art Blakey (drums) from the May 1954 session. Despite some outstanding improvisation between Rollins and Watkins, neither track from 1953 really gains sufficient headway to be primal. That said, they should not be considered as failures either. "Let's Call This" has an easy syncopated rhythm that seemingly fails to inspire the quintet. "Think of One" however, drives a bit harder and includes a few additional off-kilter accents from Monk as well as a somewhat telepathic sense of timing between him and Rollins. What the first pair of selections may have lacked is considerably recouped on the final four pieces. The styles and moods range from the frenetic "Locomotion" and "Hackensack" -- the latter of which is more than just casually reminiscent of "Straight, No Chaser" -- to the sublime and refined cool of "Smoke Gets in Your Eyes," which is the only cover tune on the disc.” (All Music Guide). Price: 100 Euro
1444.MONK, THELONIUS:“Thelonius Monk In Europe Vol. 1” (Riverside/ Nippon Victor – SR-7113) (Record: Excellent/ Flip Back Sleeve: Near Mint/ Obi: Near Mint/ Languette: Mint). Rare Japan 1st original pressing all complete with rare OBI. In 1961, Monk toured Europe to launch his new line of advanced-bop headwear. Material recorded at these concerts were Monk’s last albums to complete his contractual obligations to Riverside after moving to Columbia in 1962 and were not published by Riverside until 1963. Playing concerts in Essen, Amsterdam, Paris, Milan, Zurich, Bologna, Rome, Bern, Manchester and Stockholm, Copenhagen and Berlin, the Monk repertoire was duly offered up each evening and gave rise to many recordings, the Riverside being only a small selection. Rarely seen & offered all-complete first original Japanese perssing. Top condition. Price: 150 Euro
1445. MONK, THELONIUS: “Brilliant Corners” (Riverside/ Victor Records – SR-7007) (Record: Excellent/ Flip Back Jacket: Excellent/ Obi: Near Mint). Scarce Japan 1st original pressing all complete with obligatory obi. “Although Brilliant Corners is Monk’s third disc for Riverside, it's the first on the label to weigh in with such heavy original material. Enthusiasts who become jaded to the idiosyncratic nature of Monk’s playing or his practically arithmetical chord progressions should occasionally revisit Brilliant Corners. There is an inescapable freshness and vitality saturated into every measure of every song. The passage of time makes it all the more difficult to imagine any other musicians bearing the capacity to support Monk with such ironic precision. The assembled quartet for the lion's share of the sessions included Max Roach (percussion), Sonny Rollins (tenor sax), Oscar Pettiford (bass), and Ernie Henry (alto sax). Although a compromise, the selection of Miles Davis’ bassist, Paul Chambers and Terry Clark (trumpet) on "Bemsha Swing" reveals what might be considered an accident of ecstasy, as they provide a timeless balance between support and being able to further the cause musically. Likewise, Roach’s timpani interjections supply an off-balanced sonic surrealism while progressing the rhythm in and out of the holes provided by Monk’s jackrabbit leads. It's easy to write Monk’s ferocity and Forrest Gump-esque ingenuity off as gimmick or quirkiness. What cannot be dismissed is Monk’s ability to translate emotions into the language of music, as in the freedom and abandon he allows through Sonny Rollins’ and Max Roach’s mesmerizing solos in "Brilliant Corners." The childlike innocence evoked by Monk’s incorporation of the celeste during the achingly beautiful ode "Pannonica" raises the emotional bar several degrees. Perhaps more pointed, however, is the impassioned "I Surrender, Dear" -- the only solo performance on the album. Brilliant Corners may well be considered the alpha and omega of post-World War II American jazz. No serious jazz collection should be without it.” (All Music Guide). Price: 125 Euro
1446. MONK, THELONIUS with JOHN COLTRANE: “S/T” (Riverside/ Victor Records – R-5002) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). MONO pressing – damned rare Japan very first original pressing complete with very first obi issue. “Universally regarded as one of the greatest collaborations between the two most influential musicians in modern jazz the Jazzland sessions from Thelonius Monk and John Coltrane should be recognized on other levels. While the mastery of the principals is beyond reproach, credit should also be given to peerless bassist Wilbur Ware, as mighty an anchor as anyone could want. These 1957 dates also sport a variety in drummer-less trio, quartet, septet, or solo piano settings, all emphasizing the compelling and quirky compositions of Monk. A shouted-out, pronounced "Off Minor" and robust, three-minute "Epistrophy" with legendary saxophonists Coleman Hawkins, Gigi Gryce and the brilliant, underappreciated trumpeter Ray Copeland are hallmark tracks that every jazz fan should revere. Of the four quartet sessions, the fleet "Trinkle Tinkle" tests Coltrane’s mettle, as he's perfectly matched alongside Monk. Monk’s solo piano effort, "Functional," is flavored with blues, stride, and boogie-woogie. This will always be an essential item standing proudly among unearthed live sessions from Monk and Coltrane, demarcating a pivotal point during the most significant year in all types of music, from a technical and creative standpoint, but especially the jazz of the immediate future.” (All Music Guide) Bloody rare Japan 1st press original with salivating cool first issue obi. Took me years to secure a copy of this one all complete. Price: 250 Euro
1447. MONK, THELONIUS with JOHN COLTRANE: “S/T” (Riverside/ Victor Records – SR-7002) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Same as the one listed above but this being the STEREO pressing – damned rare Japan very first original pressing complete with very first obi issue that is slightly different in design from the MONO pressing’s obi. Bloody rare Japan 1st press original with salivating cool first issue STEREO obi. Finally happy to be able to offer both versions of this slide. Price: 175 Euro
1448. THELONIUS MONK SEPTET: “Monk’s Music” (Riverside/ Nippon Victor – SR-7027) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Pristine Japanese press original with very first issue obi. “Monk’s Music is often cited as one of the focal points of Monk’s six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk’s signature compositions, but also some amazing interactions from the assembled ensemble. Joining Monk (piano) during these two recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass) and Art Blakey (drums). The true meaning of the album's title exists beyond just Thelonious, as the opening sacred prelude, "Abide With Me," was written by William H. Monk. This brief piece features only the horn quartet, foreshadowing their importance throughout the album. The angular stride style featured during the chorus of "Well You Needn't" is tackled with the same nimble authority as Monk’s completely unfettered solos. If his ability to swing and his utilization of atomic clock accuracy have ever been questioned, the answer lies no further. So utterly free and fantastic, certain passages command immediate review to be fully comprehended. Hearing Coltrane and Hawkins together is admittedly part of the charm in these sides. "Ruby, My Dear" is bathed in the smoky essence of Hawkins’ rich textures and Coltrane’s playful cat-and-mouse aggression. Blakey gently propels the rhythm, never getting in the way and sporting a serene snare groove throughout. "Off Minor" is largely led by Monk, with solos that follow into and out of the memorable chorus that sparkles with the full involvement of the horn and rhythm sections. The same is true for this definitive version of "Epistrophy" -- perhaps the zenith collaborative effort between Coltrane and Monk. Additionally, Blakey is in top form, with a solo that borders on spastic precision.” (All Music Guide). Damned rare first original Japan press issue… Price: 250 Euro
1449. THELONIUS MONK QUARTET: “Misterioso” (Riverside/ Nippon Victor – SR-7031). (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Another tough one to unearth in all its glory, very first Japan original pressing housed in flip back sleeve and complete with rare first issue obi. “This is the second long-player to be taken from the same August 1958 Five Spot recordings that had yielded the similarly brilliant Thelonious In Action. The quartet heard on these sets includes Monk (piano), Johnny Griffin (tenor sax), Roy Haynes (drums) and Ahmed Abdul-Malik (bass). Their overwhelming and instinctual capacities directly contribute to the powerful swingin' and cohesive sound they could continually reinvent. While these are Monk’s tunes, arrangements, and band, it is Griffin who consistently liberates the performances. During "Nutty," his flurry of activity -- which adeptly incorporates several lines from "Surrey With the Fringe on Top" -- has a maniacal swing that is highlighted by some definitive counterplay from both Hayes and Monk. Additionally, the transition between Hayes and Monk is organic and seemingly psychic. "Blues Five Spot" -- a 12-bar blues homage to their current residence -- features solos from each band member. Griffin and Monk again display the seemingly innate ability to instantly recalculate chord structures as well as transmute melodies. The show-stopping solo vamp from Griffin hurls the rhythm along while simultaneously dropping in quotes from other tunes -- such as the theme for the animated Popeye cinematic shorts. Malik’s brief solo, like his band interaction, is underrated yet precisely executed. The title track is given an exploratory performance. While Griffin aptly seizes the reins to blow his bop onslaught, Haynes’ natural and subdued agility perfectly supports the extended tenor solo, creating some unique passages. Ironically, the one Monk solo performance, "Just a Gigolo," is the only composition not by Monk.” (All Music Guide). Never had the luck to encounter an all complete first pressing until now. Never pops up with obi. Price: 200 Euro
1450. MONK, THELONIUS: “Thelonius Himself – Solo Piano By Thelonius Monk” (Riverside/ Victor Records – R-5016) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Mono pressing – damned rare Japan very first original pressing complete with very first obi issue. “On each of his first three recordings for Riverside, Monk included a solo piano presentation, and for many listeners, these were the highlights of each recital. And so it was decided that Monk’s fourth Riverside recording, Thelonius Himself, would be composed entirely of solo interpretations; well, almost. Like a great actor finding heretofore obscure layers of meaning in a familiar soliloquy, Monk takes familiar themes such as "April in Paris," "I Should Care," and "Almost Alone" and distills them down to a single essence. Where most pianists would simply expand upon the tune (or employ the chord changes as a showcase for their own variations), Monk keeps everything focused on thematic materials. For his final selection, "Monk's Mood," the pianist insisted on adding bassist Wilbur Ware and an up-and-coming tenor saxophonist named John Coltrane. By allowing them to italicize and expand upon his basslines and lead melody, Monk enabled listeners to zero in on the essence of his solo and ensemble styles.” (All Music Guide). Stunning but damned rare Japan 1st press issue. MONO!!! Price: 200 Euro
1451. MONK, THELONIUS: “The Artistry Of Thelonius Monk – Twin Deluxe” (Victor Records - SMJ-9009~10) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top condition of scarce Japan only 2 LP issue compiling Monk’s music. Just about never-ever shows up, this baby here is pristine. Comes with nice obi and housed in thick as life gatefold jacket. Japan only issue… Price: 150 Euro
1452. MONK, THELONIUS QUARTET: “Monk’s Dream” (CBS Sony – SONP-50103) (Record: Near Mint/ Jacket: Near Mint/ Cap Obi: Near Mint). Top condition Japan original pressing. “Monk’s Dream is the Columbia Records debut release featuring the Thelonious Monk Quartet: Monk (piano), Charlie Rouse (tenor sax), John Ore (bass), and Frankie Dunlop (drums). Jazz scholars and enthusiasts alike also heralded this combo as the best Monk had been involved with for several years. Although he would perform and record supported by various other musicians, the tight -- almost telepathic -- dimensions that these four shared has rarely been equaled in any genre. By the early '60s, bop had become considered passé by artists as well as fans looking for the next musical trend. This is coupled with the fact that discerning Monk fans would have undoubtedly recognized many of these titles from several live recordings issued at the end of his tenure on Riverside. Not to belabor the point, however, but precious few musicians understood the layer upon layer of complexities and challenges that Monk’s music created. On tracks such as "Five Spot Blues" and "Bolivar Blues," Rouse and Dunlop demonstrate their uncanny abilities by squeezing in well-placed instrumental fills, while never getting hit by the unpredictable rhythmic frisbees being tossed about by Monk. Augmenting the six quartet recordings are two solo sides: "Just a Gigolo" and "Body and Soul." Most notable about Monk’s solo work is how much he retained the same extreme level of intuition throughout the nearly two decades that separate these recordings from his initial renderings in the late '40s. Monk’s Dream is recommended, with something for every degree of Monk enthusiast.” (All Music Guide). Price: 50 Euro
1453. MONK, THELONIOUS with JOHN COLTRANE: “S/T” (Riverside/ Victor Records – SMJ-6149) (Record: Near Mint/ Jacket: Near Mint - small sticker on lower right side/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan 2nd press issue all complete with obi. Rare WHITE label PROMO issue of all time classic recording of these two titans of jazz together in 1957. Price: 50 Euro
1454. MONK, THELONIOUS: “Thelonious Alone In San Francisco” (Riverside/ Victor Records – SMJ-6163) (Record: Near Mint/ Jacket: Near Mint - small sticker on lower right side/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original press issue all complete with obi. Rare WHITE label PROMO issue. With the robust ambience of Fugazi Hall in San Francisco at his disposal, Thelonious Monk recorded ten unaccompanied tracks over two days to create a long-awaited sequel to his immensely endearing Monk himself long-player. As had become somewhat customary for Monk, he brought with him a healthy sampling from his voluminous back catalog, cover tunes, as well as a few new compositions. What is most immediately striking about these recordings is the rich and accurate sound stage at Fugazi Hall. The overtones are rich and thoughtful in their ability to animate Monk’s recreations of some of his most endearing works, such as the pair that opens this set. "Blue Monk" still retains the proud stride and walking blues heritage of previous renderings. Adding a bit of off-tempo improvisation, Monk propels and emphasizes the rhythmic swing even harder. He is obviously also enjoying what he is hearing. The audible maturity guiding Monk through the familiar, albeit offbeat, chord progressions of "Ruby, My Dear" is striking. His nimble reflexes and split-second timing render this version superior. Again, the sound of the hall offers even more to enjoy from this performance. It is unfortunate that the playful solitude of "Round Lights" was never revisited. This freeform composition is framed within a blues structure, yet reveals all of the slightly askew freedom of a Monk original. The recreation of an old 1920s hit, "There's Danger in Your Eyes, Cherie," is another of the highlights from Thelonious Alone In San Francisco that was never recorded again by Monk. The noir qualities are immeasurably enhanced by Monk’s oblique phrasings as well as the eerie resonance of the Fugazi. This is an absolute must-own recording – Monk enthusiast or not.” (All Music Guide). So damned good, so damned essential. Top condition Japanese original with obi & PROMO to boot! Price: 50 Euro
1455. MONK, THELONIOUS: “Thelonious Monk Quartet Plus Two At The Blackhawk” (Riverside/ Victor Records – SMJ-6198) (Record: Near Mint/ Jacket: Near Mint- small sticker on lower right side/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original press issue all complete with obi. Rare WHITE label PROMO issue Thelonious Monk’s 1960 quartet which also includes tenor saxophonist Charlie Rouse, bassist John Ore and drummer Billy Higgins is augmented on this live session by two guests: trumpeter Joe Gordon and the tenor of Harold Land. The extra horns uplift the date and add some surprising moments to what otherwise might have been a conventional but still spirited live session. Highlights include "Let's Call This," "Four in One" and a swinging version of "I'm Getting Sentimental over You." Again top condition promo with obi Japan original press issue. Price: 50 Euro
1456. MONK, THELONIOUS SEPTET: “Monk’s Music” (Riverside/ Victor Records – SMJ-6207) (Record: Near Mint/ Jacket: Near Mint- small sticker on lower right side/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original press issue all complete with obi. Rare WHITE label PROMO issue. “Monk’s Music is often cited as one of the focal points of Monk’s six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk’s signature compositions, but also some amazing interactions from the assembled ensemble. Joining Monk (piano) during these two recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass), and Art Blakey (drums). The true meaning of the album's title exists beyond just Monk, as the opening sacred prelude, "Abide With Me," was written by William H. Monk. This brief piece features only the horn quartet, foreshadowing their importance throughout the album. The angular stride style featured during the chorus of "Well You Needn't" is tackled with the same nimble authority as Monk’s completely unfettered solos. If his ability to swing and his utilization of atomic clock accuracy have ever been questioned, the answer lies no further. So utterly free and fantastic, certain passages command immediate review to be fully comprehended. Hearing Coltrane and Hawkins together is admittedly part of the charm in these sides. "Ruby, My Dear" is bathed in the smoky essence of Hawkins’ rich textures and Coltrane’s playful cat-and-mouse aggression. Blakey gently propels the rhythm, never getting in the way and sporting a serene snare groove throughout. "Off Minor" is largely led by Monk with solos that follow into and out of the memorable chorus that sparkles with the full involvement of the horn and rhythm sections. The same is true for this definitive version of "Epistrophy" -- perhaps the zenith collaborative effort between Coltrane and Monk. Additionally, Blakey is in top form, with a solo that borders on spastic precision.” (All Music Guide). Price: 50 Euro
1457. MONK, THELONIOUS: “Two Hours With Thelonious ‘Olympia’ Concert” (Riverside/ Nippon Victor Records – SR-9002‾3) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 4 Paged Japan Only Picture Booklet: Excellent ‾ Near Mint). Bloody rare White label TEST PRESSING with hand-written catalogue number on labels. Without a doubt the rarest version out there! Top condition. SOLD
1458. MONK, THELONIUS: “Les Liaisons Dangereuses 1960” (Sam Records) (2 LP Record Set Box w/ 48 Paged color booklet/ Set of Picture Cards: Sealed copy). Limited and immediately sold out release, numbered edition, this one being 4576/ 5000. One time only box set issue it seems. Recorded in 1959 but never used, Thelonious Monk’s lost soundtrack to French film Les liaisons dangereuses is finally getting a release. Monk had been offered the opportunity to record in France, the soundtrack to Roger Vadim’s film, Les Liasons Dangereuses. Both Vadim and jazz promoter Marcel Romano were fans of Monk, and wanted him to record new music to complement the avant theme of this movie. Monk’s misfortunes caused him to be unable to fulfill the trip, nor record new compositions. Fortunately, a recording date was set in New York on July 27 at the Nola Studios, and his latest quartet of Charlie Rouse, Sam  Jones, and Art Taylor  entered the studio for a single days session. Romano, at the time was the manager of twenty-two-year-old French tenor sensation, Barney Wilen, who was added to the date as the second horn. Six of Monk’s compositions were recorded as well as the gospel hymn, “We’ll Understand It Better By and By.” Included were the rarely recorded “Light Blue” as well as the solo blues improvisation, “Six in One.” The addition of Barney Wilen on “Rhythm A Ning,” “Crepuscule with Nellie,” and “Ba-Lue Bolivar Ba-Lues-Are” provides a counterpart to Rouse’s bop tenor lines, and fleshes out the familiar Monk tunes. There are a few “misses” included such as “Light Blue,” the newest tune which seems centered around a drum pattern that is repeated for way too long, sounding like Art Taylor testing out the tuning of his drums. The rehearsal tape for this composition is included on the second LP and confirms Monk’s interest in this exercise. Though most of this material is well-known already, there still are many treasures, especially Monk’s handling of “Pannonica” in four versions; a much too brief “By and By,” and some tender readings of “Crepuscule with Nellie” Monk’s masterpiece written for his wife. The soundtrack has been pressed to a double LP box set and includes a booklet with essays and never-before-seen photographs. While Monk composed and performed a large chunk of the score, it was the party scene soundtracked by Art Blakey and the Jazz Messengers, that was originally and most famously released in 1960. Price: 175 Euro
1459. The MONOCHROME SET: “Strange Boutique” (Virgin - Dindisk/ Victor – VIP-6959) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Card: Near Mint/ Obi: Near Mint). The first Monochrome Set LP all complete with obi. “Monochorme Set’s debut album for Virgin followed the indie success of their singles "Alphaville," "Eine Symphonie Des Grauens," and "The Monochrome Set." By the time it was scheduled, Andy Warren (ex-Adam & The Ants) had replaced Jeremy Harrington on bass, and the lineup was completed by guitarist Lester Square (also ex-Ants), Indian-born vocalist/guitarist Bid and former Art Attacks drummer J.D. Haney. Although it can't quite match Eligible Bachelors for songwriting, there are a number of superb, non-single album tracks that make this an essential purchase for fans -- especially "Ici les Enfants," "The Puerto Rican Fence Climber," and "The Lighter Side of Dating." Amid the austerity of post-punk England, and before we became awash with irony and archness, we needed a band who could raise their eyebrows and smirk at it all without ever being condescending (or maybe only a little bit condescending).” (All Music Guide) A classic in my book. So damned good! Price: 75 Euro
1460. MONOCHROME SET: “The Lost Weekend” (Blanco Y Negro/ Warner Pioneer Japan – P-13191) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Japan first original pressing that came out in 1985. The Monochrome Set defined themselves in the late 70s and 80s as England’s wittiest troubadours, avoiding the sombre overtones of post-punk by penning songs that had a clean 60s pop sensibility, allied to vocalist and guitarist Bid’s sandpaper-dry reflections on life and love. Although the recordings were made on Cherry Red’s dime in 1983, the Warner Brothers subsidiary Blanco y Negro would not release the album until 1985. By that point, The Monochrome Set seemed to be winding down anyway, not doing much of anything in 1984. Those were not happy times for The Monochrome Set, though the LP released as The Lost Weekend is pretty jolly. The band was understandably frustrated by how their new label bungled the timing of their first single on it. “Jacob’s Ladder” was getting good radio play, but since the single was not in shops yet, the promotional engine pooped out before anyone could buy it. This is one of the odder points of the Lost Weekend story, since “Jacob’s Ladder”—a trivial fusion of Brit-Pop and gospel—hardly seems like the stuff hits are made of. The band would have done well to relinquish hopes for commercial success and keep the song’s original lyrics, which bandleader Bid says described intercourse in pornographic detail. So the track ends up sounding like a parody that never gets around to the joke. Fortunately, The Monochrome Set’s unique humor is present throughout much of the rest of the LP. Their pop craft is strong too, with wry nods to reggae, tango, sixties dance craze discs, fifties ballads  and psychedelia. Totally overlooked but damned great band. Price: 45 Euro
1461. La MONT ZENO THEATRE: “Black Fairy” (Better Boys Foundation Family Center – BBC-3101) (Record: Near Mint/ Thick Jacket: Near Mint). 1975 US original of scarce spiritual jazz theatre group. "Black Fairy was the second play at the La Mont Zeno Community Theater, a cultural program of the Better Boys Foundation, a family agency located in North Lawndale in Chicago. Many of the youngsters who perform in the play are members of our Youth Theater Development Program which is partially funded by the National Endowment For The Arts. Under the capable guidance of Pemon Rami and his staff, we were able to take youngsters who had no previous theater experience and train them to become competent performers and also teach them other technical theater skills. The result of this effort has made Black Fairy a favorite among both children and adults who have had an opportunity to see it. During the summer of 1974 Black Fairy was performed for over four thousand children in Chicago. And, in April of 1975, it played to over two thousand children in Detroit at Mercy College." (Group statement) Price: 150 Euro
1462. MOONDOG: “The Story Of Moondog” (Prestige Records – PRLP-7099) (Record: Excellent ~ Near Mint / Jacket: Excellent). 1957 US 1st original deep groove pressing in great condition. The third Prestige effort is a tad less accessible than his previous ones, going heavy on percussion numbers utilizing instruments of his own invention: the oo, trimba (a triangular-shaped drum), and tuji (a series of mounted sticks of graduated lengths). There's also a soft shoe dance, a nice piano solo improvisation, and the usual bit of random street noise and quotations of poetry. It's still unpredictable Moondog -- "Wildwood" is reminiscent of Native American chants, and spooky organ underlies the shuffle-shakes of maraca and clave on "Organ Rounds." "Up Broadway," by contrast, is a jubilant jazz/swing cut that would have made a great opening number over the credits of any number of 1950s inner-city crime dramas. This album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog graced with original artwork by no one less than Andy Warhol. Price: Offers!!!
1463. MOONDOG: “Moondog In Europe” (Kopf – RRF-33014) (Record: Near Mint/ JacketNear Mint). Very first original press from 1977, Moondog In Europe was visionary composer Louis Thomas Hardin's first release after moving to Germany. Perhaps reflecting the historicity of his new environment, this album is more structured and formal than most of his previous releases; however, his layered song-cycles are just as circular and experimental, and still backed by a fair amount of tribal percussion. There are moments of whimsy, as on "In Vienna," with its bouncing, music-box like celesta, or on "Viking I," also reflected with a snappy celesta melody, but there are also moments of parlor-room somberness, as on the string arrangements for "Romance In G" or the last 20+ minutes of the album, which is comprised exclusively of extremely heavy pipe-organ suites. Moondog In Europe, though less playful than other of his albums, displays Moondog's virtuosity as a classical composer, with elegantly stylized pieces that see Moondog embracing a grandiosity he hadn't approached previously. Great condition original press issue of scarce title. Price: 150 Euro
1464. MOONDOG: “H’art Songs” (Kopf – RRF-33016) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Excellent). Original 1st pressing from 1979 and the follow-up release to his “Moondog In Europe” recording. “Moondog's 1979 release, H'art Songs, is a collection of, yes, little ditties. All the songs here have a simple, traditional song structure, minimally orchestrated with voice, piano, and the occasional gong or drum. There are very few (if any) chord changes throughout the whole disc, and the chord changes that are present here are very repetitive. The melodies, however, have a grandiose or celestial feel to them, making the music feel bigger or fuller than it is -- and it is this that really makes the music exciting, utilizing unusual chord structures. Lyrics are decidedly political, featuring songs about animal rights, pacifism, the evils of eating meat, and a biting critique of modern colonial expansion. The piano parts are primarily in the upper registers, and this gives the music a chimey sound which compliments Moondog's baritone voice very nicely. A bit too singsongy for more pedestrian tastes and so political that the art suffers somewhat. An interesting turn for Moondog from his more complex compositions.” (All Music Guide). Price: 200 Euro
1465. MORGAN, LEE: “The Sidewinder” (Blue Note – BST-84157) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint/ Company Inner Sleeve: Near Mint/ Obi: Near Mint). Rare Japan iswsue with first issue obi. Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan’s compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson, who at 26 was just beginning to play dates with Blue Note after getting out of the military. Henderson makes a major contribution to the album, especially on "Totem Pole," where his solos showed off his singular style, threatening to upstage Morgan, who is also fairly impressive here. Barry Harris, Bob Cranshaw and Billy Higgins are all in good form throughout the album as well, and the group works together seamlessly to create an album that crackles with energy while maintaining a stylish flow.” (All Music Guide). Top copy!!! Price: 75 Euro
1466. MORGAN, LEE: “The Cooker” (Blue Note/ King Records – GXK-8132) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition high quality Japanese press issue of cookin’ Lee Morgan slide. Listening to Lee Morgan blow his molten solo on “A Night In Tunisia,” the opening track of The Cooker, it’s hard to fathom that he was only 19 years old at the time. Recorded just 2 weeks after Morgan’s dazzling performance on John Coltrane’s masterpiece Blue Train in September 1957, The Cooker was in fact Morgan’s 5th Blue Note album as a leader. Bassist Paul Chambers and drummer Philly Joe Jones (both of whom also played on Blue Train) are joined by baritone saxophone master Pepper Adams and the great Bobby Timmons on piano on this superbly swinging session. Price: 75 Euro
1467. MORGAN, LEE: “Lee Morgan Live At The Lighthouse, Hermosa Beach, California” (Blue Note – BST-89906) (2LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Direct Import Blue Note Obi: Near Mint). Top condition US first original press issue – for import to Japan and which comes with Japan only insert and damned rare Direct Import Obi. Not the rarest Blue Note out there but a tough one to find in decent nick without any ring-wear or any other damages and with OBI present. This one is pristine. An incredible album from Lee Morgan – one of his last records ever, and a set that shows a whole new promise in his music – one that was sadly unfulfilled as a result of his tragic early death. The songs hare are all quite long – stretched out live numbers, but never in a way that's overindulgent (especially in comparison to some of Lee's Blue Note contemporaries) – and put together with a level of creativity and imagination that's simply stunning! Lee's in a beautifully searching mode here – stretching out on his solos, and hitting spaces we never would have imagined in his work even a few short years before. The rest of the group's great too – and include Bennie Maupin on flute, tenor, and bass clarinet, Harold Mabern on piano, Jymie Merritt on bass, and Mickey Roker on drums. Just an amazing slide, extremely affordable although the music itself should be up for offers and heavy bids because it is just that good. Largely overlooked but definitely his best one! First time ever I see a copy complete with OBI!! Price: 200 Euro
1468. MORISADA MICHIHIRO: “Agekunohatemonaku” (Yuyoku Records – YUYOKU-0001) (Record: Near Mint ~ Mint/ Jacket: Mint). Freakingly rare and obscure private press Japanese free jazz bass solo record. The name of Morisada Michihiro might not immediately sound familiar to most of you but attentive readers of these pages might recall that he made one other private press free jazzing monster of a disc for which he teamed up with Motoki Yoshinori called “Tsurusen Kamesen” that came out in 1981 in an edition of 250 copies. This one however precedes that disc and was released in 1979 and pressed up in a tiny edition of only 200 copies. Only the 2nd time ever I have a copy available of this gem, after having heard rumors of its existence, so do not expect to see any other copy popping up any time soon. Morisada shines through on this recording as a true bass virtuoso in the vein as Yoshizawa Motoharu, creating an invigorating improvisational racket that is both venturing in the realms of deviational bliss, earth scorching transcendental power play and well-balanced austere almost minimal improvisations The whole affair was recorded live on August 16th, 1979 at a tiny club called Illimite. Upon spinning this disc I fail to comprehend why these two majestic players could not transcend the tiny circle of admirers and could free themselves from the constraints of the handful of devotees in the know of their incendiary powers. Secondly, this recorded artifact also proves that next to the stronghold of Tokyo – upon whose players all the attention got transfixed – there was a small free jazz scene burning high in Osaka but due to labels there to back up these sonic visionaries, the practitioners themselves had no other way out but to release and distribute amongst friends their own recorded exploits of fire-breathing beauty. Hence the private nature and ultra limited pressing of this disc. Until now I never ever have seen a copy of for sale so grab your change, this is one monster of a disc, the music is almost divine and will jack open your conception of oriental hardcore jazz. – be it I solo setting or in group setting Highest possible recommendation. Killer with absolutely no filler whatsoever. Price: 250 Euro
1469. MORIYAMA TAKEO: “Smile” (Denon – YF-7013-ND) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Top condition Japanese 1st press original that came out in 1980 and all complete with rare OBI. All killer, no filler brain-freezing awesome spiritual jazz slide. Smile have long been in-demand amongst collectors. This can partly be attributed to its obvious quality, but also to the fact that few copies ever made it out of Japan, even up until now, it has always been a most difficult one to acquire. An album with a sweet title, but a very hard groove – a stone stormer from drummer Takeo Moriyama – put together with these soaring reed lines that almost make the whole thing feel like an early 70s album from Elvin Jones! Moriyama and his accompanying musicians recorded the four-track set in November 1980, serving up instrumental workouts that got a good balance between advancement of killer grooves and the showcasing of some remarkable instrumental solos. There's a very spiritual feel to the music at times – a searching quality that comes through especially in the work on tenor from Yoshio Kuniyasu, and additional flute and alto from Kochi Matsukaze – as well as in the piano from Fumio Itabashi, who works here with his best modal impulses – really building up the groove in a wonderful way, and helping to keep the whole thing as soulful as some of the best US work of this nature from the mid 70s. Tracks are all originals – save for the group's version of the famous title tune, which offers up one mellower moment. The most remarkable thing, of course, is Moriyama's drumming. In fact, you'll find few finer jazz drum solos than those on the album's standout moment, epic opener "Exchange". Best condition imaginable and all complete with OBI!!!! Price: 275 Euro
1470. MORIYAMA TAKEO: “Smile” (Denon – YF-7013-ND) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Top condition Japanese 1st press original that came out in 1980. All killer, no filler brain-freezing awesome spiritual jazz slide. Smile have long been in-demand amongst collectors. This can partly be attributed to its obvious quality, but also to the fact that few copies ever made it out of Japan, even up until now, it has always been a most difficult one to acquire. An album with a sweet title, but a very hard groove – a stone stormer from drummer Takeo Moriyama – put together with these soaring reed lines that almost make the whole thing feel like an early 70s album from Elvin Jones! Moriyama and his accompanying musicians recorded the four-track set in November 1980, serving up instrumental workouts that got a good balance between advancement of killer grooves and the showcasing of some remarkable instrumental solos. There's a very spiritual feel to the music at times – a searching quality that comes through especially in the work on tenor from Yoshio Kuniyasu, and additional flute and alto from Kochi Matsukaze – as well as in the piano from Fumio Itabashi, who works here with his best modal impulses – really building up the groove in a wonderful way, and helping to keep the whole thing as soulful as some of the best US work of this nature from the mid 70s. Tracks are all originals – save for the group's version of the famous title tune, which offers up one mellower moment. The most remarkable thing, of course, is Moriyama's drumming. In fact, you'll find few finer jazz drum solos than those on the album's standout moment, epic opener "Exchange". SOLD
1471. MORNING PHASE: (Shadoks) (Record: Mint/ Jacket: Mint) Ltd to 350 hand-numbered copies. Anothertour de force of the always-exquisite Shadoks label. This time they unearthed arare demo pressing of a1971 UK acid folk side that is just awe-inspiring. Maleand female vocals intertwine with totally out of nowhere dark lyrics, hauntingsphere settings and gloomy – yet freaky – takes on the overall songwriting and composition of the songs. This one ranks up there high in the skiesof the UK acid folk pantheon together with Comus and even Mellow Candle, DoctorStrangely Strange and Mushroom. One of the hidden gems within the Shadokscatalogue, this one comes with the highest possible recommendation. Price: 75 Euro
1472. MOROI MAKOTO: “Music for Shakuhachi” (Victor – VX-64) (Record: Near Mint/ Jacket: Mint/ Insert: Near Mint/ OBI: Mint). TOP COPY complete with OBI!!! Bloody damned rare, overlooked and totally vanished (since the day it was released) Japanese avant-garde masterpiece!! Original 1971 pressing that quickly sunk into complete obscurity following its release. First time I have a copy with obi of this Japanese avant-garde milestone! Moroi attempted here to fuse traditional instruments with an avant-garde and experimental mindset, in which he succeeded brilliantly. He aimed at trying to amalgamate the traditional techniques with a progressive musical syntax of contemporary music, add new meanings of expression and to pursue newer tone qualities through performing techniques unseen in a traditional method. So does he apply the principle of “probability” to some of the compositions and the player’s movements, to whom a number of musical fragments are presented and which they are free to play at their own choice and interpretation. Strings often imitate the musical patterns characteristic of the Shakuhachi playing. Through his unique instrumentation, Moroi succeeds wonderfully well in producing astonishing sonic effects. At times when a performance reaches its climax, sounds get amplified several times as loud as the actual volume through a special tape operation/ manipulation peculiar to multi-channel recordings. Following some climaxes a chaotic mass of sounds rapidly subsides into clear melodic lines played by the Shakuhachi. Stunning tour de force and rarely if ever seen original pressing. Bloody damned rare. Cheap price due to catalogue seals attached to label. Highest recommendation if you are interested into either Japanese avant-garde or traditional free-blowing aesthetics like Watazumido… My jaw drops to the floor each time I spin this one…too much beauty for one to handle without obtaining some sort of nerve damage.. Price: 250 Euro
1473. MOROI MAKOTO/ YOSHIRO IRINO: “Contemporary Music For Japanese Instruments” (Toshiba – TA-8009) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint/ 4 Paged Insert: Near Mint). Original 1971 Japanese 1st pressing complete with obi and booklet insert of this majestical avant-garde slide. On this slide, Moroi and Yoshiro are drifting on a course eager to reunite traditional Japanese music aesthetics with a 20th century modern music mindset. By using shakuhachi & shinobue, 13 strings koto, 12 strings koto, bass koto & shamisen weave into being some of the most ethereal Japanese music into being, stringing together faraway galaxies with Kamakura era serenity and making the whole sonic adventure totally mind boggling consummate art. Although the music may at times appear skeletal in its execution, it is nevertheless brimming over with deep undercurrents of depth, meticulous in its musical detail and lyrical economy, rendering it into a deceptively intense musical experience. And although the fact that the music is drenched in the past, its execution by these avant-garde composers makes it so of this moment, blessed with the rare gift of unexpected impact that resonates out of their ability to folding and manipulating space with their traditional instruments. This is some seriously deep shit here folks and to these ears one of the key releases to document the avant-garde scene in Japan during the late 60s and early 70s. So far, this is the sole copy I ever came across of this record complete with obi and booklet. A true jewel and bloody rare indeed. Comes death cheap so start hollering at the moon if you miss out on this one. Price: 100 Euro
1474. MORRICONE,----ENNIO: “Senza Motivo Apparente b/w Ricera” (Canyon – Y-31) (Single EP Record: Near Mint/ Picture Sleeve: Near Mint – has date written in small pen on back/ Company Inner Sleeve: Near Mint). Damned rare 1972 Japan ONLY issue of rare Morricone score. Ennio Morricone's rarest and most unusual Italian film music, SENZA MOVENTE is Morricone's tense, dramatic score for a 1971 crime drama based on a novel by American pulp master Evan Hunter. Previously unreleased early versions of Morricone's themes that only saw the light of day in Japan back in the day. Top shape of rare issue. Price: 150 Euro
1475. MORRIS, SYLVAIN: Dub Wise – Morris On Dub” (Jaywax – Harry J Recording Studio – H.J. 113) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Original 1975 Jamaican pressing of rootsy dub masterpiece made by legendary engineer Sylvain Morris. Growing up in Kingston's Trench Town, Morris’ youthful aptitude for fixing and assembling electronic equipment slipstreamed his route into music: a path that would set the template for the famed engineers of reggae's offshoot, dub - such as King Tubby, Scientist and Mad Professor. (In fact, Morris went by the nicknames of both “scientist” and “professor” when dub was yet to be born).This is a classic early slide filled with knife cutting sparse classic dub for which Morris used as personnel: Carlton Davis, Earl Smith, Albert Chin, George Fullwood, Leslie Butler and Joe White. The outcome is legendary with tracks such as: Expression In Dub / Skank Indego / Seven Heaven Rock / Fat Skank / Ashanti Dub/ Blacks Impression / Naked Spectrum / Safari In Dub / Jucky Jucky / Twin Double. Original Jamaican 1975 pressing in nice nick. Killer with absolutely no filler. Perfect for those hot summer nights. SOLD
1476. MORWELLS: “Dub Me” (Morwell Esq. – MW002LP) (Record: Excellent ~ Near Mint/ Jacket: Excellent – small marking on back and some faint ring-wear. No splits or damages). Stupidly rare 1975 Jamaican 1st pressing in outstanding condition, never surfaces this clean! If a copy surfaces at all it is mostly always in G, G+ or VG condition so no small feat to bring such a pristine copy up to the surface. Very heavy King Tubby dub companion to the vocal album Presenting The Morwells, originally released in 1975, which features some of the first uses of non-musical sound effects such as thunder claps and aeroplane take-offs. Recorded at Channel One and the Black Ark. “By 1975, the Jamaican dub had evolved from being a mere instrumental version of a singer's hit to a unique creative force. Instruments began dropping in and out of the mix unexpectedly, vocals appeared only to be frozen in time by heavy doses of echo and reverb, and filtered drums started changing shape before listeners' ears. The first shots had been fired two years earlier, with the near-simultaneous release of Lee Scratch Perry’s Blackboard Jungle Dub, Herman Chin Loy's Aquarius Dub, and Clive Chin's Java Java Dub opening the floodgates. Lost in the shuffle during the years that followed was this 1975 encounter between King Tubby and the Morwells. Formed in 1973 by Maurice Wellington and Eric Lamont, the duo soon began releasing music on their own MOR-WELL ESQ label. For Dub Me (1975), Tubby draws heavily upon the Morwells' debut album, Presenting the Morwells, on ten mixes, the engineer Tubby is in top form. For the most part, the mixes are more reserved than usual, which is possibly the reason this disc was given a mixed reception upon reissue in 1997. As reggae fans know, however, the presence of the dub master alone makes this worthy of consideration, and there's much to enjoy here. Horn lines and guitar chords hang suspended, high above the drum and bass, Eric Clarke's drum patterns slip and slide across Errol Holt's bass on "Bald Head," and Tubby expertly teases listeners with enticing snippets of vocal on the infectious "Pegasus Rock.” (All Music). Stupidly rare in decent condition, this is one of the top 5 dub slides to tuck away into your suitcase when you bugger off towards that idyllic island in the sun. Price: Offers!!!
1477. MOTHERS OF INVENTION: “Freak Out – MONO version” (Verve – V-5005~2) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint ~ MINT). Top copy mono pressing – monster RARE WHITE LABEL PROMO MONO WEST COAST PRESS in outstanding condition. Records appear to be completely virginal, not even a spindle mark, jacket has no damage, sign of use or even the faintest trace of ring wear, just TOP copy!!! Original WHITE LABEL/ WEST COAST Verve labels with corresponding stock numbers/ Cover version 1: Has blurb on inside gate fold on how to get a map of "freak-out hot spots" in L.A, the so called Freak-Out Hot Spot blotch that only came with the first pressing of this record. Best copy imaginable and MONO = PROMO version…The yellow label East coast pressings do surface from tome to time but the West Coast “White Label Promo” pressings are a bitch to dig up and hardly ever surface, especially in such pristine condition as this one here. Best copy imaginable. SOLD
1478. THE MOTHERS OF INVENTION & FRANK ZAPPA (JAPAN ONLY GATEFOLD JACKET ART): “Freak Out” (Verve/ Nippon Grammophon – SMV-9045/46) (2 LP Set: Near Mint/ Heavy Duty Gatefold Jacket: Near Mint/ Attached 4-Paged full color Booklet: Mint). Bloody freakingly and hideously rare Japanese original pressing. Comes with totally different inner gatefold pictures and attached booklet than the regular US version, fold out booklet depicts a wide-screen amazing live shot of the band in action, only present with the 1st original Japanese pressing. Top copy, all is just Mint as can be. If the obi would be included, this baby would fetch a price here in Japan between 2000 and 3500 green ones. Obi is missing so this rare artifact comes dead cheap. These 1st edition Japanese pressings do never surface, especially “Freak Out” is impossible to lay your hands on, let alone score a virginal copy as this one. Mega collectible and graced with Japan only gatefold and booklet cover art. Price: 350 Euro
1479. MOTHERS OF INVENTION: “We’re Only In It For The Money – Okashi Na Sekai” (Verve Records Japan – SMV-1115) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ OBI: MINT). ABSOLUTELY PERFECT COPY - impossible to ever upgrade upon!!! OK, here you have it, the rarest of the rare Japanese original pressings is this LP by the Mothers released in September 1969 and next to Freak Out the rarest of all Mothers/ Zappa records. Impossibly scarce Japanese 1st original pressing that NEVER turns up, last copy on sale in Japan was like 20 years ago. This is the ultimate copy in virginal MINT condition. COMPLETE WITH OBI!!!! A must for every Mothers fan. Complete copy with obi in this condition is bound to surface never again once. One off chance here. Price: Offers!!!!!!
1480. MOTHERS OF INVENTION: “Absolutely Free – JIYUU NA SEKAI” (Verve Records Japan – MV-1120) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ Attached Japan only Insert: Near Mint ~ Mint/ OBI: MINT). ABSOLUTELY PERFECT COPY - impossible to ever upgrade upon!!! WHITE LABEL PROMO ISSUE!!! OK, here you have it, the rarest of the rare Japanese original pressings is this LP by the Mothers released in January 1970. Impossibly scarce Japanese 1st original pressing that NEVER turns up – especially the promo version with all complete, last copy on sale in Japan was like 20 years ago. This is the ultimate copy in virginal Near MINT condition. COMPLETE WITH OBI!!!! Comes with totally different inner gatefold picture and attached booklet than the regular US version, only present with the 1st original Japanese pressing. A must for every Mothers fan. Complete copy with obi in this condition is bound to surface never again once. One off chance here – especially for a white label promo issue all complete with killer obi!!! Price: Offers!!!
1481. MOTHERS OF INVENTION: “Absolutely Free” (Verve Records – V/5013)(Record: Excellent Minus/ Gatefold Jacket: Near Mint). Impossibly scarce deep groove pressing WHITE label promo copy. Most promotional copies you see areyellow label ones, east coast pressings. This one here is the west coast whitelabel press one. West coast pressings were fewer in those days than East Coastpressings. First time ever I could lay my eyes and hands on a white label copy. A must for every Mothers fan. Price: 400 Euro
1482. MOTHERS OF INVENTION: “Absolutely Free” (Verve – 2317-035) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1967 first UK pressing. Comes on the silver & black Verve label with serial number 2317 035 and matrix numbers ending in A//1 - B//1. Price: 100 Euro
1483. MOTHERS OF INVENTION: “Uncle Meat” (Reprise/ Victor Records – SJET-8151~2) (2 LP Record Set: Near Mint/ Gatefold Jacket: Mint/ Outer Jacket Cut-Out Obi: Excellent ~ Near Mint/ Insert: Mint). September 1969 released original Reprise/ Victor 2 LP set by the Frank Zappa & Mothers of Invention “Uncle Meat”, all complete with the never-seen-before cut out wrap around obi!!! Complete edition 1st pressing is next to impossible to dig up on these shores. Amazing condition!!!! The actual records jacket is total mint as well as the actual record, which I would grade near mint, no flaws or defects whatsoever. The wrap-around-cut-out-obi sleeve I would conservatively grade at Excellent ~ Near mint and has no defects apart from a slight yellowing patina due to age The whole die-cut is in excellent condition and intact and has no defects. These wrap around die cut obis came out in a series of about 15 albums that next to The Mothers of Invention held artists such as Jethro Tull, The Doors, Paul Butterfield Blues Band, MC5, Tim Buckley’s “Goodbye & Hello”, Pentangle 1st LP, The Loving Spoonful, Rhinoceros, Sweetwater, Ansley Dunbar Retaliation, Joni Mitchell and Noel Harrison. So seen against this all, you have a genuine rare gem here for grabs, strictly graded like an ascetic monk crawling the hills in search for spiritual salvation. Top copy of maybe the rarest Zappa related artifact out there. Price: Offers!!!
1484. MOTHERS OF INVENTION: “Burnt Weeny Sandwich” (Bizarre/ Reprise Records – RS-6370) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Big Poster: Near Mint). Original US 1st pressing in outstanding condition – blue/ turquoise Bizarre label first press issue and complete with always-missing poster. Jacket is also ring wear free which is almost impossible with this one, so in all NM condition. Hard to upgrade upon. Price: 250 Euro
1485. MOTHERS OF INVENTION: “Cruising with Ruben & The Jets” (Verve– V&-5055x) (Record: Excellent/ Gatefold Jacket: Excellent). ScarceYELLOW LABEL promotional pressing out of 1968. Frank Zappa, more a parodist than anything else,looks back at the euphony and euphemism of early rock and roll. Some of this is funny; some could pass for the real thing. One of the highpoints of the rockand roll revival. A classic and one of my favorite ever Zappa/ Mothers slides. Price: 200 Euro
1486. MOTHERS OF INVENTION & ZAPPA, FRANK: “Weasels Ripped My Flesh” (Reprise Japan – P-8003R) (Record: Mint/ Jacket: Mint/ Obi: Mint). Bloody rare 1st time Japanese pressing with cool obi. Rarely surfaces these days, this one is a top-notch copy. The obi is what this one is all about, just lovely. The music is of course also fingerlickingly great!! Price: 350 Euro
1487. MOTHERS OF INVENTION: “Just Another Band From L.A.” (Reprise/ Warner Bros. Japan – P-8245R) (Record: Near Mint 〜 Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint/ OBI: Mint). Rare Japan 1st press all complete with insert and OBI. Top copy. Price: 250 Euro
1488. MOTHERS OF INVENTION & ZAPPA, FRANK: “Mothers – Fillmore East – June 1971” (Warner reprise – P-8151R) (Record: Mint/ Jacket: Near MINT/ Obi: Mint/ 4-Paged Insert: Mint). Rare Japanese 1st pressing of this all time Frank Zappa and the Mother of Invention disc complete with obi and Japan only 4 paged insert. Truly stunning vinyl quality that sounds much better than the US press of this disc. Rarely surfaces. A classic from start to finish. Rare and super clean…. The music on the other hand is all killer without a single second of mediocre filler.. Price: 100 Euro
1489. MOTHERS OF INVENTION – FRANK ZAPPA: “Over-Nite Sensation” (Discreet – Warner Pioneer Japan – P-8380D) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Original 1973 Japan 1st original press issue all complete with first issue obi in TOP condition. Classic Zappa & Mothers LP that only had multi-instrumentalist Ian Underwood remaining from the ’60s lineup that unlike his previous outings tightened up the song structures and tucked sexual and social humor into melodic, technically accomplished heavy guitar rock with jazzy chord changes and funky rhythms; meanwhile, Zappa’s growling new post-accident voice takes over the storytelling. “Over-Nite” pushed Zappa’s formidable guitar playing to the fore, along with his increasingly graphic sexual comedy (in contrast to the politicized lyrics of the ’60s), while his typically adventurous, genre-crossing creations were performed by professionally trained, sight-reading musicians capable of executing whatever Zappa threw at them with the utmost ensemble precision (something the original Mothers could never do to their leader’s satisfaction). Amazing slide. Top copy!!! Price: 200 Euro
1490. MOUNT EVEREST TRIO: “Waves from Albert Ayler” (Levande Improviserad Musik – LIM-75-3) (Record: Excellent, disc has a few superficial paper scuff marks/ Jacket: Excellent ~ Near Mint). Hyper rare Swedish hardcore free jazz blow out, original press from 1975. The first thing that struck me was the jacket depicting what looked like as three runaway derelict Hell Angels, chewing on inner tubes and high on petrol fumes. Hell the guy standing on the right could be Lemmy's twin brother! Yes!!! The Mount Everest Trio, viciously rare Swedish free jazz and improve blowout. It all starts of with the Ornette Coleman tune “Ramblin” and right from the start you get sucked in by the hypnotic bass playing of Kjell Jansson. This is the shit, starting of mellow but free as well. Man I am grooving my head off. By the time they steer into Ayler territory with “Spirits”, all gets heated up and Holmstrom tenor is veering left and right, up and down, leaving hardly any room for breathing, a tidal wave of gushing furious notes while the rhythm section tries to hold it within bounds without much avail. No wonder these guys get kicked out of their local Angels' branch because they were just too far out. Roaming freedom is however not all these cats could muster, more ballad intoned excursions also pass the revue and form the perfect counterbalance to keep the whole affair beautifully afloat.. These guys were just built for speed and handcrafted for action. Anyway, as you can see, they waxed this unknown monster LP in '75 for the tiny collective Levande Improviserad Musik label, covering some tunes as well as blowing out some original compositions and ear-shattering free pieces. No record collection will be complete without their explosive "No Hip Shit" in it. Man that is probably one of the best titles ever!! It is just one amazing record. A review: “Waves From Albert Ayler gives good indication by its title of this absolutely invigorating outing by alto and tenor player Gilbert Holmström, bassist Kjell Jansson and drummer Conny Sjökvist. Without a doubt, this album wails from the first seconds of Ayler's "Spirits," which opens the album. But this is not wholly an energy record; there are beautiful down times as well, including the deep ballad "Bananas Oas" and their swinging rendition of Coleman's "Ramblin'," which features some great highlights of Jansson. After starting the album by covering Ayler and Coleman (two American musicians who certainly had a great influence upon them), the Mount Everest Trio kicks into the first original of the session," Orinoco." This piece has a driving urgency that pushes the musicians, who work it into a sweat, and eventually an earthquake whose full-blown force continues to peak right up to the unfortunate fade-out that will leave the listener yearning to hear what was cut so long ago. The trio also whips the energy up into a frenzy during "No Hip Shit," a decidedly un-prettified tough take. Yet following this is another nice wind-down, the more sparse and careful "Elf."” (Joslyn Layne, All Music Guide). Just a killer disc depicting another facet of European free interplay. Hardly if ever surfaces, original 1975 Swedish pressing and like one of their compositions already says “No Hip Shit”, these guys were the real bloody thing! Price: 250 Euro
1491. MOUNTAIN BUS: “Sundance” (Good Records – G101) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Rare US 1971 original private press LP. Great Dead/ Mighty Baby/ Quicksilver influenced melting-away meandering psych moves. Mountain Bus is the kind of band you get into after you’ve exhausted all your major label heroes. They were one of Chicago’s great underground bands that were dealt a bad deck of cards. Mountain Bus were frequently cited as Chicago’s answer to the Grateful Dead, and indeed some of their songs on the above album sound like San Fransisco’s most cherished sons. They formed in 1967 and immediately began a series of extremely low-paying gigs around Chicago. One member worked at a record shop whose owner, dismayed by the major labels' ability to charge whatever they wanted for LPs, decided to start up his own label – Good Records – which would sell records direct to shops for a discount price. But luck was not on their side. First of all Windfall Music (which represented Leslie West's band Mountain) put a restraining order on this barely-known outfit who were earning precisely nothing for their endeavors. Then a lawsuit followed, which, in a nutshell, destroyed Good Records and killed Mountain Bus outright. One quarter-page advert from Billboard in September 1971 trumpets how the band (and their label) are "on our way to the top!" but the sad fact is, they were going nowhere, which is a crying shame as Sun Dance is stuffed full of clear-eyed, post-hippy joyfulness. Opening track Sing a New Song and I Don't Worry About Tomorrow are pitched somewhere between the Byrds and the Grateful Dead, while Rosalie is a funky blues piece which stretches out into a glorious, sun-streaked, barefoot jam with dueling guitar solos, but it's what would have once been side two where things get really interesting. I Know You Rider is an utterly beautiful 10-minute-plus epic that laces a mass of harmonies across a wonderfully motorik rhythm section, Apache Canyon is an dream-sequence instrumental lit by tiny bells, while the closing track, Hexahedron, is precisely the tongue-lolling, hair-thrown-back instrumental that even The Man at his most venal and short-sighted couldn't repress forever. Just so good….Hard to dig up in acceptable condition so very pleased to be able to offer a nice and utterly clean original one. Price: 500 Euro
1492. MTUME UMOJA ENSEMBLE: “Alkebu-Lan – Land Of The Blacks – Live at the East” (Trio Records - Strata-East – PA-3034/35) (2 LP set: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: MINT). Top Copy!! Original 1974 Japanese pressing – complete with never seen OBI. One of the rarest – if not the rarest – disc on the Strata East roster. Recorded August 29, 1971 at The East, New York. Pretty damn wild...and it sound like renegades from the AACM camp crossing the oceans again and venturing towards Africa. Or maybe it resembles the Egyptian Pharoahs going to Saturn. The whole affair starts off with a four-minute speech describing the role of “these jams” in the service of Black Nationalism and then they start freaking out and jamming the roof of the club. It’s a fascinating glimpse of the marriage of early 1970s Afro-centric music, politics and spirituality, plus it really grooves. The music itself fits in very nicely with the music from The Black Artists Group as well as cats such as Human Arts Ensemble, early 1970s Art Ensemble of Chicago, and early Juju. Since this is a live album, the tunes and jams have a very free feel to them, with plenty of percussion, chanting, spoken word, and intense jamming throughout. The music holds up well nearly three and a half decades later, and just reading the credits it's easy to understand why - these cats were for the most part well-known and well-respected performers. The extent to which the spoken sentiments are "dated" I suspect will depend on who you're talking to. Amazing disc and a classic in my book. Top-notch copy and I guess they do not come better than this baby here. Price: 450 Euro
1493. MTUME: “Alkebu-Lan – Land Of The Blacks” (Strata-East – SES-1972~4) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). US first original pressing in outstanding condition. Gatefold sleeve is near mint and hard to improve upon. Price: 500 Euro
1494. MTUME: “Rebirth Cycle” (Third Street Records – TSJ-100) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). Top condition US original first pressing. Drummer James Mtume was a seminal figure in the 1970’s New York free jazz scene - among the wildest of its fiery voices. Part of a remarkable musical legacy - his father and uncles made up the Heath Brothers, he began his career working with Don Cherry, Herbie Hancock, Joe Henderson, and Freddie Hubbard, before releasing his first LP as a band leader on the legendary imprint Strata East - Mtume Umoja Ensemble’s Alkebu-Lan - Land Of The Blacks (Live At The East), in 1972. An astounding work of art, it stands among the greatest capsules of the spirit and anger of Black Nationalist free jazz - a storm set forth in sound. Across the coming decade, he collaborated steadily with Pharoah Sanders, Sonny Rollins, McCoy Tyne, and a string of others, as well as becoming Miles Davis’s percussionist. Incredibly prolific and in demand, it wasn’t until 1977 that his second release emerged, Rebirth Cycle. Featuring a stunning ensemble, it encounters Mtume at the height of his powers, offering an equally tense series of improvisations, imbued with a slower pace and sophistication. Shifting between the depth of spiritual jazz, the raw energy, intellect, and emotion of free jazz, and threaded with soulful vocals, Rebirth Cycle is among the great works of 1970’s black American music. Tinged with the road less traveled - privately issued only months before being signed to Epic as an R&B act, this is the last encounter with one of Jazz’s great talents before he left that world. As seminal and brilliant as they come. Virginal condition 1st press original, impossible to ever upgrade upon. Price: 225 Euro
1495. MULATU ASTATKE & HIS ETHIOPIAN QUINTET: “Afro-Latin Soul” (Worthy Records – W-1014) (Record: Excellent ~ Near Mint – shiny and glossy surface with a few harmless sleeve lines/ Jacket: Near Mint – Promo Stamp on back). Damned nice condition 1966 original pressing. Pure insanity from the mighty Mulatu – one of his few American albums from the 60s! The record's an incredible blend of New York Latin and some of the more Afro-styled grooves Mulatu explored more freely on his Ethiopian recordings – served up in a jazzy style that has plenty of vibes in the mix, and lots of percussion at the bottom! The record is a treasure throughout – other-worldly, yet still very hip and swinging – a mysterious bridge between Latin America and Africa, suspended on waves of wonderful sound! The LP was the first experiment in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.” Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favorite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.” Astatke would start to perfect his Ethio jazz sound on his later album for Worthy. A pioneering sound that would become his trademark, brimming over with Cuban influences, South American cumbia grooves and Ethiopian rhythms. Clean 1966 original pressing. Price: Offers!!!!
1496. MULATU ASTATKE & HIS ETHIOPIAN QUINTET: “Afro-Latin Soul Vol. 2” (Worthy Records – W-1015) (Record: Near Mint/ Jacket: Excellent) Damned nice condition 1966 original pressing. These records stand as important foundational documents of Astatke’s Afro-Latin groove consciousness. The fusion is complete from when the needle hits the groove. This is rare early work from Mulatu – material recorded in America, in the years before Mulatu returned to his Ethiopian homeland, and really set the scene on fire! The style here is a mix of Latin jazz with some more exotic elements – played by a combo that features Mulatu on vibes, alongside bass, congas, and timbales – plus a bit of trumpet and piano! The main groove, though, is heavy on vibes – handled with a very sharp tone, in a way that makes the music groove like some of the best 60s Latin Jazz albums by artists like Louie Ramirez or Pete Terrace. This volume contains a burning boogaloo in "The Panther," whose dancefloor vamp, played in unison by piano and vibes, complements the rhythm section in full with the tune's dancefloor grooves. "Soul Power" is pure African jazz with Rudy Houston's trumpet duetting with the percussion section with only bass underscoring the beat. "Love Mood for Two" offers a lithe melody -- that would not have been out of place on a Motown record -- before the piano's montuno shuffle intertwines with the rhythm section. "The Girl from Addis Ababa" is the first version of Astatke’s most famous tune. Its cooking percussion and punchy vibes harmonically accent the driving piano vamps. This is essential for anyone interested in the early fusion of African and Latin popular music with the improvisational flare of American jazz. Rarely surfaces in such nice nick as this one here, 1966 original 1st pressing! Price: Offers!!!!
1497. MULLIGAN, GERRY with SHELLY MANNE: “I Want To Live” (United Artists/ King Records – SR-3091) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ 2 OBI’s: Mint). 1971 Japan original high quality pressing of West Coast Jazz classic. “Baritonist Gerry Mulligan and a group of West Coast all-stars were heard throughout the soundtrack of the Susan Hayward movie I Want To Live. Although not a soundtrack, this LP features six themes from the movie performed by the same musicians, who this time around get an opportunity to really stretch out. Since the band is comprised of Mulligan, trumpeter Art Farmer, altoist Bud Shank, trombonist Frank Rossolino, pianist Pete Jolly, bassist Red Mitchell and drummer Shelly Manne, virtually all of the music is quite interesting with plenty of fine solos and hard-swinging. Top condition Japan original pressing all complete with 2 obis! Price: 50 Euro
1498. MUNDELL, HUGH: “Africa Must Be Free by 1983” (Message) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Top condition Jamaican original 1st pressing from 1978. “The teenaged Hugh Mundell cut Africa Must Be Free By 1983 under the tutelage of the legendary producer Augustus Pablo in the mid-'70s, and had a Jamaican hit with the title track. Mundell’s artlessly fervent singing is attractive far out of proportion to his technical skill. It's the sincerity and devotion in his voice that make successes of songs like "Let's All Unite" and "My Mind" -- that and the rock-solid instrumental backing of Pablo’s studio band, which at this time included bassist and trombonist Leroy “Horsemouth” Wallace and guitarists Earl “Chinna” Smith and Jeffrey Chung. Like too many of Jamaica's best reggae musicians, Mundell died young -- in an almost creepy irony (given the title of his hit song), he was shot and killed in 1983 at the age of 21.” (All Music Guide) Classic roots reggae album written by Hugh Mundell when he was only 16, with signature floating falsetto set to production by the legendary Augustus Pablo. Amazing slide, close to perfection! Top copy. Price: 125 Euro
1499. MURAOKA MINORU with NEW DIMENSION GROUP: “Osorezan” (Daiei Records – G-4003) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Rare all-complete copy with mega rare OBI. White Label Promo/ test press issue, never seen before. Together with his “Bamboo” LP, the rarest disc to seep out Muraoka’s creative genius. So what is this one all about? “Osorezan” was released on October 1970 and is a vertiginous dust-devil swirler of a disc, offering you the best Muraoka has to offer and at the same time transgressing most recordings ever to have paraded in front of your ears. Yes, it is that good. Of course this is partly to blame to the ace musicians he has surrounded him with such as Ishikawa Akira (drums), Kawasaki Ryo (guitar), amongst others. The whole affair was recorded live in one take in the studio and brings forth a soulful spaciousness that converts jazz & Japanese traditional music aesthetics detached from their antiquity into one grooving rigorous and clear-eyed pleasure. You just sense that all of the participating musicians having a lot of fun, creating music that is episodic and stylistically varied. The opening track “Osorezan” is driven by Muraoka’s shakuhachi tones, Ishikawa Akira delivers surreal ethnic groove percussion licks and the erupting horns, ethereal female whispering vocals, wadaiko, koto, wicked organ licks and vibraphone career wildly in and out of the hypnotic groove. The whole of the record spins off in a similar deeply spellbinding avant-funk, combining elements of traditional Japanese music with fierce grooving funk moves and cool abstraction, even rethinking Brubeck’s “Take Five” by tackling it in an amazing Nipponized version. The loose and fresh energy spilling from its grooves – ignited by the live on the spot recording – link up with various aspects of mini-crescendos that will ignite a sustained euphoria that occasionally will erupt in whooping butt-shaking moves in front of your stereo. In all, it is a wicked ass-kicking disc that will have you begging for more. Insanely in demand these past years but then again once you have played this beast it is easy to understand why. It is a floor burner that will leave you breathless, howling and clawing at your partner like wild beasts in heat. Highest ever-possible recommendation. Price: Offers!!!
1500. MURAOKA TAKERU: “Takeru” (Philips – FX-8502) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint/ Obi: Mint). Absolutely perfect condition 1970 original pressing, red label PROMO issue all complete with freezingly rare obi and insert. One of the best Japanese spiritual jazz slides ever? Yes, definitely but sadly overlooked since the day it came out and as of recently deliriously high in demand and fetching some decent prices – but that is understandable once you sucked your teeth into these addictive sounds. What a mouth-watering line-up with George Otsuka (drums), Takeru Muraoka (tenor sax), Masabumi Kikuchi (electronic piano) and Yoshio Ikeda (bass), recorded at the Victor Recording Studio on February 23rd, 1970. First of all the spacious sounds of the electric piano on Takeru are almost hypnotic in its nature, emitting a groovy, bubbling vibe underscored with a rain forest-kind of stripped down percussion, creamy electric bass, wah-wah licks and punctuating horn lines. A transcendent approach to the sounds that blows towards the heavens with a throaty sax sound and razor-sharp rhythmical breaks. Otsuka conjures a whole world of rigid tribal-esque rhythms and the liquid sounds seem to flow effortlessly from Kikuchi’s electric piano, towards Ikeda’s bass lines and the omnipresent eloquent and cosmic phrasing of Takeru Muraoka’s sax. These dynamic percussion work-outs propel Muraoka’s sax along with the band at full pelt. The whole affair goes from epic modal compositions towards heavy, churning all-incinerating grooves, Muraoka’s saxophone scorching above the volcanic rhythm section, exhorting its mesmerizing quality. This is poetically superstitious music to my ears, beautifully painful and a civilizing force that inhabits an animated strive creating an arresting experience. Upon blasting this one, I always do find my new religion, the one where suicidal novelists rule and acupuncture darts aimed at the pleasure points provide viable escape routes from today’s music’s formulaic gridlock. You thought you had a grip on obscure spiritual jazz and thought your collection was “state of the art” but never had this one? Well go fuck yourself, once you play this magickal slide all evaporates into Australian post-bush-fire ash, confirming the nullification of your musical preconceptions. ‘Nuff said, this one rules, one of the greatest! Best condition imaginable with obi present!!! No defects and virginally white gatefold sleeve with NO blemishes, pristine obi, so do go HEAVY!!! The music demands it!! Price: Offers!!!!
1501. MURRAY, DAVID: “Let The Music Take You” (Marge – Marge-04) (Record: Near Mint/ Jacket: Near Mint/ OBI with Attached Liner Notes: Mint). French original pressing in top condition & comes complete with rare Import OBI with attached liners!!!. Released on Marge, which was basically the follow-up of the Futura label. A wonderful live date from David Murray – recorded in late 70s Paris, but with all the fire of his best work from the US! The group is an extremely hip one – Murray's tenor matched with Butch Morris on cornet, Johnny Dyani on bass, and George Brown on drums – all players that can open up and get a bit free, yet never lose their groove – kind of that perfect balance that made Murray such a standout in the loft jazz years of the New York scene. Even at this point, Murray's got a very open approach to his work that makes him stand out from other players of the era – at one minute going full steam and free, at another laying back and getting a bit more soulful, and another playing in a choppier, more rhythmic style. Price: 50 Euro
1502. MUSEO ROSENBACH: “Zarathustra” (King Records/ Seven Seas – K22P-280) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Japanese pressing in top condition of this Italian prog monster. Released in April 1973, the sole album of this Italian band is nothing short of being the cornerstone of the Italian rock music from the early 70's. Released in 1973, it blends perfectly heavy progressive rock, injecting it with the tension of King Crimson, flashes early sounds of Deep Purple and  the folk influences of Jethro Tull with some parts of Premiata Forneria Marconi and elements of classical Italian music. It all gets waxed down with massive use of Mellotron and Hammond organ, some synthesizers with aggressive guitar work. In short, a whirlwind ripping through the empty canyons of your mind. Essential. Price: 75 Euro
1503. MUSHROOM CEREMONY OF THE MAZATEC INDIANS OF MEXICO: “S/T” (Folkways – FR-8975) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). First original 1956 Folkways issue with blue cover. Later issues have yellow styled jacket. Amazing condition with booklet present. This recording, made by Gordon Wasson in 1956, attempts to chronicle a religious ceremony involving the ingestation of psychedelic mushrooms by Indians who are attempting to communicate with the Divine Spirit. “This field recording is of substantial historical interest, both as the earliest known vinyl document of people under the influence of hallucinogens, and as part of the Wasson couples legendary forays into remote Mexican mountains on the trail of an obscure mushroom cult. Wasson’s exploits became the subject of a Life magazine article which is a watershed event in the history of psychedelics, and the psilocybin shrooms would attract interest from the whole academic/literary/ethno-botanic hallucinogen set in the late 1950s. Although the Mazatec mushroom culture has been well documented over the years, this particular LP has drawn less attention than Wasson’s works and the many subsequent essays and books published, but is obviously worth attention. The actual contents feature curandera Maria Sabina (who would later become famous, as part of the Wasson effect) eating the mushrooms and setting out on a transcendental journey to invoke the mushroom spirit, reporting with a steady flow of words her experiences. The reports are spoken in her native Mazatec dialect, but an ambitious translation/transcription attempt by a linguistic expert can be found on the accompanying booklet. The mushroom cult is eclectic, combining elements of Catholicism with a pantheistic strain, in a way typical for many surviving plant cults around the world. Her voice is an old woman’s, often tired, sometimes venturing into sing-songy nursery rhyme structures, and during the beginning of side 2 (where she’s peaking, bro) moving into a very rapid, unbroken flow of words. Rather remarkable, and according to those who have tripped with it, an efficient guide despite not being a successful invocation of the mushroom spirit (see booklet scans for explanation). Sounds of nature, night birds, barking dogs, and frequent mutterings from Sabina’s fellow Mazatec traveler are also audible.” (Acid Archives). Stunning document and a record that rarely surfaces. Amazing condition and psychedelic as hell. Price: 300 Euro
1504. MUSIC MACHINE: “Turn On” (Original Sound – OSR-LPS-8875) (Record: Near Mint/ Jacket: Near Mint, still in shrink). Original 1966 US MONO pressing. Top copy, hard to upgrade on this one. Classic trashy garage psych classic filled with tons of deranged fuzz mayhem and teenage angst. The band would hereafter fold into the Bonniwell Music Machine. Fronted by Sean Bonniwell, the Music Machine was one of the most gritty and serious sounding bands of the exploding "60's garage punk" scene. High octane loaded, their debut LP came out on the tiny Original Sounds label in 1966. It featured a rougher sound than most bands active on the scene during that period. Bonniwell's voice is what holds the whole album together and makes it such a bewildering listening experience as his vocal chords are remarkably versatile, ranging from a thuggish almost Neanderthal bark to a seductive croon that gets all the girls wild and horny. Their self-penned material are the songs that stand out on this album as they are delivered with raging intensity and tracks like their only hit "Talk Talk", "Trouble", "The People in Me", "Masculine Intuition" and "Wrong" are nothing short of being mesmerizingly awesome, all spiked up with highly charged blasts of intellectual teenage angst. Like many other bands during that day, the Music Machine sleepwalks through the obligatory covers such as "Hey Joe", but even then they derail it into a fuzz-drenched, slowed down treatment. Bonniwell still had a mass of stellar compositions up his sleeve, so it must have been galling to see listless renditions of the likes "96 Tears" compromising what should have been a 100% killer album. Still, even with those present, this album still knocks the living daylights out the vast majority of releases. Wicked album from start to finish with absolutely hardly any filler, all is killer to these ears. Top copy original 1st pressing. Price: 150 Euro
1505. MUSICA ELETTONICA VIVA: “Friday” (Polydor – 583769) (Record: Near Mint/ Laminated Jacket: Near Mint ~ Mint with lamination fully intact). Original 1969 issue. First and only UK original pressing and one of the rarest releases in the UK as far as jazz and improvised music is concerned. First time ever I come across such a virginal copy. “For the realization of "Friday", recorded in London in May 1969, MEV were Frederic Rzewski (piano, electronics, etc.), Alvin Curran (flugelhorn, etc.), Richard Teitelbaum (moog synthesizer), Franco Cataldi (trombone, etc.), Gunther Carius (saxophone, etc.). The main theme around this MEV piece is communication. Communication by means of music can be a very efficient means of reaching quick agreement among large numbers of people, because when you call something music, you have tacitly accepted a convention by which it is understood that the sounds that you make have no particular meaning, they are just sounds and therefore free to serve the general purpose of pure communication. Music can bring people together where language divides them. When this happens, the "concert" will come to resemble other liberated forms such as the party or the day-off, themselves secular remnants or earlier ceremonies. MEV music is not meant to impress people, but to liberate them.” (Soundohm). Virginal original copy of the rarest MEV disc and UK released jazz slides. Indispensable. Most – if not all - copies that surface have condition issues, which is a shame as the music on display is utterly fragile in nature. Vinyl seems hardly if ever been played, jacket hardly touched. Best copy around. Impossible to upgrade upon, Top copy. Price: Offers!!
1506. MUSICA ELETTRONICA VIVA: “Leave the City” (BYG/Actuel – Actuel-31) (Record: Near Mint/ Fold Out Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent) Original WHITE Promotional Label copy, 1971 original 1st Japanese pressing on superb sounding vinyl. First time ever I have an all complete copy adorned with the rarely seen OBI!!! “Musica Elettronica Viva or MEV was founded by Ivan Coaquette (pre-Spacecraft). The line-up included his wife, Patricia and Birgit Knabe, and a string of other collaborators. The music is an extremely experimental form of electronic jazz entangled with free form improvisation, avant-garde, cosmic freak-outs and other space oddities. This is the original 1970 Japanese press that came out simultaneously with the French pressings. One difference, the Japanese vinyl is far more superior than the often lamentable state of the Actuel French pressings. This was the second of 2 MEV albums to released by BYG in 1970, following The Sound Pool (which featured Alvin Curran, Richard Teitelbaum & Frederic Rzewski amongst others). Dynamite stuff, original Japan press, hard to come by, especially the white label promo ones and with obi all there in its full glory. Took me only 13 tears to locale a copy all complete with obi so… . Price: 250 Euro
1507. MUSICA ELETTRONICA VIVA: “The Sound Pool” (Actuel Original Japan Press – Actuel-15) (Record: Near Mint/ Fold Out Jacket: Excellent/ Insert: Mint/ OBI: MINT). Rare white label promotional white label press with ALWAYS MISSING OBI of “Musica Elettronica Viva or MEV were founded by Ivan Coaquette (pre-Spacecraft). The line-up included his wife, Patricia and Birgit Knabe, and a string of other collaborators. The music is an extremely experimental form of electronic jazz entangled with free form improvisation, avant-garde, cosmic freakouts and other space oddities. This is the original 1970 Japanese press that came out simultaneously with the French pressings. One difference, the Japanese vinyl is far more superior than the often lamentable state of the Actuel French pressings. This was the second of 2 MEV albums to released by BYG in 1970, following The Sound Pool (which featured Alvin Curran, Richard Teitelbaum & Frederic Rzewski amongst others). A note of explanation from Frederic Rzewski about the various incarnations of MEV: “In 1968/69 MEV experimented with audience participation and took on a number of new younger people, many of whom were not musicians. We wanted to see how far we could extend the idea of free improvisation, surrounding the core group with people who happened to be around. The group expanded and spawned separate communities. In the early 70's there were three MEV's: one in Rome, led by Alvin Curran; one in New York, where Richard Teitelbaum & I were based; and one in Paris, which was organized by the Coaquettes. Birgit Nona were members of the Living Theatre, with whom we also hung out a lot, and Stefano was one of the younger acolytes. This record was a kind of hippie child who chose MEV as its identity. Nobody ever found out really who was in MEV. At that time, it was part of a movement, and that part of it that was a part of the movement lived and died with that movement.” Dynamite stuff, original Japanese press with insert, white promotion label copy. Stellar and Japanese press is hard to come by. Price: 250 Euro
1508. MUSIQUE CONCRETE: “S/T – Premier Panorama De Musique Concrete” (Ducretet - Thompson/ Nippon Disuku Kabushikikaisha – LDG1497/ DGC-100) (Record: Near Mint/ Jacket: Near Mint). Top copy!! Hopelessly obscure and rare Japan only jacket art issue of subliminal electronic music slide!!! Best condition I have ever seen and complete with plastic outer cover. Original 1st Japanese pressing of 1958, housed in fragile jacket and adorned with Japan only jacket art. Impossible to get this 1958 1st Japanese pressing. This pressing containing groundbreaking works by Pierre Henry, Pierre Schaeffer and Philippe Arthuys. Impossible to get in such a top condition as this copy here. Historical important and a milestone recording. A total must if experimental music is something you live by. TOP COPY!!!! Price: 400 Euro

1509. MYSTIC SIVA: “S/T” (World In Sound – 2001) (Record: Near Mint ~ Mint/ gatefold Jacket: Mint/ Insert: Mint). Long deleted high quality deluxe reissue of one of the finest garage psych albums ever made. Long time and many moons ago (about 25 years ago or so) originals of this killer Michigan garage psych artifact could be had for 300 Euros, sadly those days are long gone and now top copies change hands for close to 4000 Euros, no shit. You all know the music so need to drag on into explaining how fantastic this one is. This one here is the beautiful 1st pressing in deluxe heavy gatefold sleeve and vinyl by World in Sound, which they did way back in 2001, which was later repressed with a slightly altered sleeve. Killer slide.... Price: 75 Euro.

1510. MYTHOS: “S/T” (OHR – OMM.556019) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint, has small perforated hole on right side). FIRST PRESS housed in LAMINATED gatefold jacket. Second issue came out in a non-laminated sleeve. The first Mythos LP was released in 1972; on the legendary 'Deutschrock' label Ohr. On 'Mythos' the band realized a mixture of art rock and psychedelic with oriental influences in lengthy pieces. Stephan Kaske played the melody from Händel's 'Fireworks Music' on the flute in a rock meets-classic version. 'Oriental Journey-Hero's Death' creates a psychedelic mood with sitar and mellotron sounds. 'Encyclopedia Terrae', which takes up the entire second side, is the highlight of the album and features powerful drums meeting up with peaceful sequences, sounds of warfare such as detonating bombs and marching soldiers meeting up with hard guitar riffs. The band already succeeded in creating a classic of the 'Deutschrock' genre with their debut album. This debut album is a pure unadulterated classic space-prog album draped over 5 lush tracks. There are truly many cosmic charms to this space bracelet with some wild nebulas’, space vibes and jams. Vocals are slightly distorted when used and somewhat modulated giving the listen a real outer worldly space feel. Mythos is clearly lost somewhere in the Cosmic Jokers/Ash Ra Temple camp with dreamy psych/folk/prog landscapes. A classic. Price: 275 Euro
1511. 1919: “Earth Song” (Abstract Records – 12-ABS-026) (Record: Near Mint/ Jacket: Excellent).  Damned nice 4 track LP - 1984 original pressing that sounds not unlike Fad Gadget and Killing Joke. Formed in 1980 this band from Bradford was considered part of the early Goth scene. There's indeed a Goth feel to the dance tracks of side two of this EP. 'Giant' especially has that cold and bare sounding 80's dance beat one can imagine the youngsters doing their minimalistic dances to in underground basements, dressed in black and seemingly carrying the burden of a bleak vision of the future on their thin shoulders. I'm no specialist on Goth music, but I don't think it doesn't sound very Gothic by today's standards. I feel their sound (at least on this EP, the only thing I have ever heard of them) has just as much in common with artistic Punk bands à la The Ex and False Prophets for example, even though 1919's music is more straight forward. The use of the saxophone gives it a touch of Morphine as well. And the vocalist, with his thick English accent, has that atonal singing style that's a bit reminiscent of latter-day Johnny Rotten, which works really well in these four songs. Price: 30 Euro

1512. NANA MAKI: “Anchikichou No Blues b/w Neon Machi Blues” (Columbia – SAS-1415) (Record: Excellent/ Picture Sleeve Gatefold Jacket: Near Mint). Released in May 1970. Original press and damned bloody rare! Bloody rare and undetected bottom of the well enka weirdness disc. Nana Maki was one of these odd chicks that tried to cut it in the enka business but failed to even attract a single admirer due to the totally uncommercial nature of her wailing and the strange attitude she personalized toward the music. And wailing is exactly what she did here, just hard enough to strip the paint of your walls and summon the stray dogs to the dinner table at the same time. In a way she reminds me of Sairaiji Hiromi’s first album but Nana Maki is even several decibels more disenchanted than Sairaiji ever was. She just had zero commercial potential and even being able to cut this one single baffles me with disbelief because who on earth thought to be able to shift copies of this misfit enka bomb? I guess economic prosperity and money to burn had something to do with clouding the judgment of major record companies at the time. And thank god for that because it surely brought us one of these still undetected jewels. In all it is odd, weird, strange and comforting uneasing all at the same time. Sake drenched and smoke-stained backing suits perfectly her voice that resembles a beached wailed after a night swimming through sake and downers infested waters. Even at times Nana tried to be sexy and hushes and shrieks loose cries into the dead cold lonely air, all in an attempt to be seductive but she fails with grandeur and misplaced glamour, making this disc even all the more appealing and revealing what a great talent she was a talent or the uncanny, weird and failed erotic. So if there is such a thing as bottom of the well deep enka, then this disc certainly fist this term like no other. Amazing stuff and totally recommended if you could be charmed by such dislocated sonic nymphs like Sairaiji Hiromi. A rare breed indeed and bloody rare. One of Nana Maki’s greatest admirers is also PSF’s Hideo Ikeezumi. Sadly enough this is the sole thing she ever recorded and it only leaves to the imagination what damage she could have done if only she could have cut a whole album filled with this disenchanted approach to enka…… Highest possible recommendation!! Price: 125 Euro

1513. NAOJI KONDO TRIO: “Live At The Tarupho” (Taruho Farm – 1001) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Rare Japan Free Jazzing self-released private press beast that was released on the tiny inexistent label Taruho Farm in 1986 in a tiny edition of 250 copies only. The records were mainly sold on their gigs and never made it in regular outlets at the time. Heralding out of the Kanazawa Prefecture bordering Tokyo, they roamed since their inauguration in 1984 through all the local prefectural jazz joints and cellars, honing their skills. They even played a gig with Sun Ra’s sidekick Dany Davis when he toured Japan. This live recording from January 26th, 1986 sees the trio showing off their skills and electrifies the air in the little club before an audience of free jazz headz. Kondo, heavenly inspired by his hero Ronald Kirk, steals the show, blowing out chunks of molten live while his compatriots charge bass and drum salvos at the speed of light. Still every member of the trio is given ample time to show off his own colors and skills, and especially Fuwa’s floating pulsating bass riffage steals the show here. It is strange that such a well-oiled fire-breathing outfit could remain during their gigging career in such state of general oblivion and obscurity as they certainly had the skills and talent to make more heads turn. Even till this day of nerdy record collecting and free jazz archiving, not many have heard or sought out the greatness of this trio. In a way, it is understandable as the record is totally obscure and damned rare but then lesser gods made the spotlight so why not the Naoji Kondo Trio? Bloody fucking awesome record in my universe… highly recommended!!! Price: Offers!!!!

1514. NARA LEAO: “Nara’s Bossa – Vento De Maio” (Philips Japan – SFX-7213) (Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent, some slight H2O vamping on bottom of obi). Rare Japanese high quality original pressing housed in a gatefold jacket from 1971 and all complete with rare OBI!!! RED LABEL PROMO ISSUE. Nara Leao was one of the greatest Brazilian singers of the bossa nova era in the early '60s she became one of Brazil's biggest stars, lending her gorgeous, delicate voice to the early songs of Chico Buarque, Sidney Miller, and other up-and-coming songwriters. The tracks on this magisterial album have a wonderful feel -- with moments that are rootsier than your average bossa record, and others that are baroque enough to hint at the direction Nara would take a year later with Rogerio Duprat. Despite the bland cover art, this is one of Nara's best albums. Maestro Gaya's arrangements are sleek and sensuous, and Leao's vocals seem increasingly relaxed and serene. Nara flexes her muscle as a song stylist, promoting several up-and-coming songwriters covers several early Chico Buarque songs (he had just recorded his first few albums), including "Noite Dos Mascarados," a duet sung with the then-unknown Gilberto Gil. She also sings one of Gil's early songs, the title track "Vento Do Maio," and a couple more by Sidney Miller. This is stuff of angels that will haunt you. Original Japanese pressing, RED Philips promotional copy label. First time I encounter a Japanese original of this slide, amazing condition!! Price: 150 Euro

1515. NARA LEAO: “Os Meus Amigos Sao Um Barato” (Philips – FDX-353) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint) Very rare Japan 1st original copy from 1977, complete with rarely seen original obi. Top condition. A wonderful album from Nara Leao – and one that features her singing duets with some of the greatest talents of the bossa era and beyond – an amazing lineup that includes Tom Jobim, Caetano Veloso, Gilberto Gil, Edu Lobo, Joao Donato, Carlos Lyra, and others! The sound is wonderful – done with an intimate quality that brings a slightly modern variation of older bossa modes – but with some of the cool, dark inflections that Nara always has in her music. Instrumentation includes a fair bit of acoustic elements, and titles include "Repente", "Amazonas", "Cara Bonita", "Nono", "Joao E Maria", and "Sarara Miolo". Great stuff – and one of her best albums from the later years! Price: 100 Euro
1516. NARA LEAO: “A Musa De Bossa Nova” (Philips – SFX-6032) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japanese original press issue of subliminal recording by the Queen of Bossa Nova. Comes with obligatory obi! Tracks include: Desafinado – Minha Namorada – Rapaz De Bem – Sabia – Meditacao – Garota De Ipanema – Insensatez – Samba De Uma Nota – Corcovado – Chega De Saudade – Voce E Eu – Outra Vez”. Bossa searched for a new music that was specifically Brazilian by mixing Samba’s syncopated rhythms and European vocal treatments. But also by the standards of the day the restrained vocal delivery was a break from popular music. Leão’s songs show a rapid rise from elegant Bossa Nova to music that was radical both lyrically and sonically. Leão’s music was not just lyrically important but also musically. She interpreted songs by some of the musical leaders of the day and adds choral arrangements that wouldn’t sound out of place in a modern composition, this was not “elevator music”. Nara’s recording is a beautifully rhythmical and harmonically complex album that was ahead of it’s time. Price: 150 Euro
1517. NASAL BOYS: “Hot Love b/w Die Wuste Lebt” (Sing Sing – SING040) (Single Record: Near Mint/ Picture Sleeve: Near Mint). Killer punk band heralding out of Switzerland. Long gone and deleted limited reissue of their fierce single. Switzerland’s premiere Punk band Nasal Boys released this much acclaimed 7″ only and that’s a shame. Some of the wildest and fastest Punk around in 1977! “Hot Love” is the instant hit and slightly reminiscent of the throbbing nervous pulse of Richard Hell & The Voidoids, something backed up by their admitted influences. Driving, memorable and like some old hippie once said when he heard early 7 Seconds in a squat: “This sounds a bit like Nasal Boys on 78 rpm”. The b-side is weird. Punk again, aggressive and short, but with some weird 60s feeling thrown in. Can you hear the Monks? I can. In a TV interview from 1977, the band was asked why they didn’t dress punky. “We’re against clichés”, the singer responded, and: “Our main inspiration is U.S. Punk, not U.K. Punk.” Guess one can hear that. Still, the band got famous for opening up for Clash when they played in Zurich in 1977. Price: 50 Euro

1518. NEIGHB’RHOOD CHILDR’N: “S/T” (Atca – A-38005) (Record: Near Mint ~ Mint/ Jacket: Mint, still housed in original shrink - sticker residue on shrink). Top copy, next to impossible to upgrade upon. Amazing original US pressing of killer Oregon acid psych complete with high soaring female vocals and sounding not unlike Jefferson Airplane if one has to throw a comparison around. Marinated in such diverse influences as the mind-splintering mushroom folk-rock blast of the Jefferson Airplane and the feel-good pristine pop of the Turtles, Neighb’rhood Childr’n hailed from the tiny town of Phoenix, Oregon and made deep inroads into the early San Francisco scene. Marked by singer-organist Dyan Hoffman’s wailing vocals and guitarist Rick Bolz’s stinging fuzz leads, the Neighb’rhood Childr’n are one of the most criminally overlooked acts of that era. Their sole recorded album turned out to be an amazingly groovy one, coming from four kids from a rural background. Dyan's voice has the earnest zeal of a young Grace Slick, and the complex arrangements run the table from acid-soaked tripsichord to fiery anthems. Not surprisingly, Dyan reveals that she was inspired by seeing Quicksilver Messenger Service for the first time. From the opening fuzz guitar and Farfisa organ riffs of "Feeling Zero," the band enters a kaleidoscopic and exploratory sound that reigns throughout the whole LP – churning out vibes that feel like an lysergic asymmetric groove that combines propulsion, eloquent ornamentation and cosmic phrasing that comes over like acupuncture darts aimed at your pleasure points. Songs like "Changes Brought to Me," the pure British pop vibe of "Please Leave Me Alone," "Happy World of Captain K" and "Hobbit's Dream," are all earmarks of an isolated time in rock history that, although often replicated, can never be truly duplicated. But the minor-key riffing on "Patterns," and tongue-in-cheek, over-the-top version of "Over the Rainbow" show that the band could rip through the system and tear it apart like a pile of cheap hay. In all, listening to this record acknowledges it as a killer slide and it whips up dreams of daisy-chained sex, amyl nitrates and double-ended Greek dildos hand-painted with flowery designs. This is the good stuff, top copy, impossible to upgrade upon, still housed in original shrink. Price: 375 Euro

1519. The NEON BOYS/ RICHARD HELL & The VOIDOIDS: “That’s All I Know – Love Comes In Spurs b/w *** - Blank Generation”(Shake – Ork/ Memoire Co. Ltd – a-19183-A/ a-19184-B) (EP Single: Excellent ~ Near Mint/ Picture Sleeve: Excellent) Scarce Japan bootleg 4 track single that came out somewhere in the mid 1980s. original press with stamped matrix numbers 19734(D). Just about never turns up. Price: 75 Euro
1520. NEW AGE STEPPERS: “Action Battlefield” (On U-Sound/ EMI Japan – EMS-81452) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1981 Japan pressing, white label promo. The second LP from New Age Steppers, Action Battlefield slightly pares down the line-up found on its predecessor and hones in on vocal-heavy, extended version-like renditions of songs originally written by the likes of Horace Andy ("Problems"), Black Uhuru's Michael Rose ("Observe Life"), B.B. Seaton ("My Love"), and the Heptones' Leroy Sibbles ("Guiding Star"). Features a vocal from a teenage Neneh Cherry, step-daughter of jazz firebrand Don, who had been singing back-ups in the touring line-up of The Slits and would shortly form Rip, Rig & Panic with former members of The Pop Group. Price: 75 Euro
1521. The NEW JAZZ ORCHESTRA: “Le Dejeuner Sur l’Herbe with The New Jazz Orchestra” (Verve – SVLP.9236) (Record: Near Mint/ Laminated Jacket: Excellent ~ Near Mint, has exactly one lamination faint crease in upper right corner). UK original first pressing from 1969 in top condition. The brainchild of composer, arranger and musician Neil Ardley, this magnificent piece of modern jazz orchestration takes a leaf out of the work of both Gil Evans and Duke Ellington, who are clearly major influences upon the mind-set of Ardley, while from a classical perspective the sounds of Debussy and Ravel and early Stravinsky have otherwise exerted their influence upon the arranger. Assembling an all-star cast of British jazz musicians in their prime and these include the late Jack Bruce, Ian Carr, Michael Gibbs, Dick Heckstall-Smith and Henry Lowther among many others, the album is brimming with luscious interpretation of both standards and then new compositions. Of the former, the take on Miles’ ‘Nardis’ takes on something of a late 1950s feel with the use of vibes, a restrained trumpet solo from Carr and an extended bass solo. More than anywhere else, the Davis-Evans collaboration hovers over the title track and this includes the precise clarity of tone of Carr, the Spanish tinge in the use of castanets and some glorious soprano saxophone playing. Gentle in tone, but with a slightly darker and even underlying brooding nature is a version of Coltrane’s ‘Naima’ which features a delicate flute solo and even briefly a freer direction on saxophone. Of the new compositions on offer from British jazz musicians, pride of place goes to the modal number ‘Dusk Fire’ with fine ensemble work and some delicious soprano saxophone. A ballad, same titled, by pianist Mike Taylor is a reflective number with sensitive accompaniment and some subtle shading.” (Tim Stenhouse). Totally indispensable cornerstone of Brit jazz…top copy! Price: 500 Euro

1522. NEW PHONIC ART: “S/T” (Wergo Japan – PA-1079) (Record: Near Mint/ Insert Booklet: Near Mint/ Silk Screen Sleeve: Near Mint/ OBI: Near Mint). Extremely rare Japan only release of New Phonic Art, comes in silk screened jacket and extensive booklet. First time I have an all complete copy with rare OBI present. The New Phonic Art group was formed in April 1966 by Globokar in Berlin and consisted out of C.R. Alsina, J-P. Drouet, V. Globokar and M. Portal as key players in order to join and churn into being a thrilling improvisational masterpiece for which they put to use clavier, electronic organ, percussion, flutes, oboe, alphorn, clarinet and saxophones. Their output was scarce and consisted solely out of an LP released for Wergo, a Japan only LP (this one here) and their contribution to the mythical Wired 3LP set on Deutsche Gramophone. Challenging and highly adventurous listening experience by one of the most thrilling avant-improvisational ensembles to ever walk the face of the earth. Bone chillingly beautiful, addictive like a giant leech crawling upwards on your spine ready to invade your cerebral cortex and affecting your body movement and muscle coordination. Stunning and transfixing listening experience. Bloody rare Japanese press housed in silk-screened cover art. Has been ages since I last had a copy of this one – the rarest to come by in the series and this one comes with the OBI, no small feat! Price: 125 Euro

 

1523. NEW PHONIC ART/ ISKRA 1903/ WIRED: “Free Improvisation” (Deutsche Grammophon 3 LP Box). (3 LP Set: Near Mint/ Outer Box: Near Mint/ Booklet: Near Mind) Legendary three LP box set. “Deutsche Grammophon was prepared in 1974 to allot three Improv groups an album each on an absorbing three LP set. Guitarist Derek Bailey, trombonist Paul Rutherford and bassist Barry Guy move together like facets of a turning mobile sculpture in the superbly integrated trio Iskra 1903, recorded during a concert series in Berlin in 1973. New Phonic Art provide French clarinetist Michel Portal, trombonist Vinko Globokar and percussionist Jean-Pierre Drouet with an alternative improvising context to their thorny involvement with Karlheinz Stockhausen’s “Intuitive music”. They make vivid, dramatic music with Argentinean pianist Carlos Roque Alsina. The real surprise in the box is Wired, recorded in 1970. Canadian Mike Lewis plays sustained Hammond organ, Karl-Heinz Bottner interjects guitar and ocarina voicings, American Michael Ranta adds sparse, clangorous percussion and homemade plucked instruments. Supervisor Conny Plank contributed live electronics. Trimmed from two hours 20 minutes, it’s a spellbinding meditation, a long hidden adjunct to Krautrock’s finest atmospheres and evocations” (Julian Cowely – The Wire). Hugely influential box, top condition. A MUST!! Price: 250 Euro

1524. NEW RACE: “The First And The Last” (Statik Records – STAT LP-168) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). 1981 UK first original pressing of ear shatteringly awesome punk slide. “This album earned credibility for documenting a unique, one-off event. In 1981, ex-Radio Birdman bassist Warrick Gilbert, guitarist Deniz Tek and vocalist Rob Younger saluted their influences by joining the Stooges’ lead guitarist Ron Asheton and MC5 drummer Dennis Thompson MC5 drummer for a six-week blitzkrieg of Australia. The notion made sense, since Radio Birdman had been acclaimed on their Australian home turf yet relegated to cult fodder elsewhere, while the MC5 and the Stooges had never been commercial propositions either. Still, once listeners pass the "punk summit" angle used in promoting the album, they'll find the fruits of this alliance impressive enough to warrant further exploration. Not surprisingly, there's strangled, slash-and-burn guitar playing aplenty on burners like "November 22, 1963," a conspiratorial recall of President John F. Kennedy's assassination. This track, by Asheton’s major post-Stooges outlet Destroy All Monsters would undoubtedly win filmmaker Oliver Stone’s approval. Tek’s “Descent into the Maelstrom" and "Haunted Road" open similar forays into the fretboard jungle, while the Gilbert – Thompson axis never lets up, especially on the drummer's MC5 standard "Gotta Keep Movin'." As these choices show, the set draws evenly from across the board, with "Looking at You" and an understated "Loose" nodding again, respectively, to the MC5 and the Stooges. Tek’s moodier songs, "Breaks My Heart" and "Sad TV," inject variety into the proceedings, while time constraints only permitted one new song to emerge: "Columbia," whose propulsive riff and atypical space-travel theme closes the album on a powerful, decisive note. Strategically overdubbed backing vocals and guitar on three songs, as well as piano on "Descent into the Maelstrom," do nothing to blunt this album's appeal, which offers historical value from a one-off event that never occurred again. Tek’s terse yet engaging liner notes aptly sum up the exercise: "Humor beats bitterness every time." It's hard to disagree when the evidence is this powerful.” (All Music guide). Totally awesome. Price: 40 Euro
1525. NEW RIDERS OF THE PURPLE SAGE: “Louisiana Lady b/w Last Lonely Eagle” (CBS Sony – CBSA-82127) (EP Record: Near Mint/ Picture Sleeve: Near Mint). White label promotional copy. Rare Japanese picture sleeve issue of this Dead related country jammer. First released single in Japan. Top condition. Price: 50 Euro
1526. NEW RIDERS OF THE PURPLE SAGE: “S/T” (CBS SONY – SOPL-271) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Mint). Original Japan 1st original pressing complete with rarely seen first issue cap obi. New Riders of the Purple Sage first ever release in 1971 was an exceptionally strong debut. Possibly partly erected as an answer in lysergic West Coast inspired country-style to the Crosby, Stills Nash & Young’s affecting harmonies, it was notable not only for the involvement of Jerry Garcia as pedal steel guitarist, but also for the great singing from John Dawson, the strong harmonies, David Nelson’s pickin’, and, perhaps most importantly, the catchy strong writing — there wasn’t a weak song in the bunch on their debut. Especially “Dirty Business” floors me time and time again, a brooding epic about a mining disaster and the poor folks caught up in the tragedy that through its melody, singing and mood throws me into a jangled mix of defiance and despair. Not surprisingly, the song was the centerpiece of the group’s sets during the era when Garcia was the Riders’ steel guitarist, famous for his snarling and crackling fuzzed steel line, creating a psychic maze of country induced dementia that seats out heavy psychedelics. How glorious!!!! And addictive!!!! Just never can get enough of the records sonic acupuncture darts aimed at the pleasure spots of my mind. Rarely seen original 1971 Japanese pressing with capsule obi and insert. Top condition!!! Price: 150 Euro
1527. NEW YORK ART QUARTET: “S/T” (ESP Disk – 1004) (Record: Near Mint/ Jacket: Near Mint). Rare 1st original ESP pressing, housed in thicker than life paste on jacket. First 1965 pressing on red label with machine-stamped matrix numbers and ear in trail off. Very first pressing with 180 Riverside Dr., New York address on back of past on sleeve. This adventurous, short-lived quartet only made three albums in its two-year heyday. The best and most easily obtained (although that's relative) is the classic 1964 self-titled free jazz excursion on the ESP label. The unique front-line horn arrangement of trombonist Roswell Rudd and Danish alto saxophonist John Tchicai weaves rapid intricate lines around Lewis Worrell’s bass and the frenzied drums of Milford Graves. Poet Leroi Jones is added to the quartet for his revolutionary/militant spoken word diatribe "Black Dada Nihilismus." While it may sound like an intrusion to some listeners, it must be kept in mind that Jones was an active participant in the early avant-garde scene of New York, making his contribution to this disc vital in capturing the radical surroundings in which the music thrived.” (Al Campbell - All Music Guide). One of the finest titles to emerge out of the stellar ESP stable and one of the finest free jazz recordings to date. 1st original press in TOP condition. True first pressings in top shape are getting tough to unearth these days. Price: 200 Euro

1528. NEW YORK ART QUARTET: “S/T” (ESP Disk/ Victor Records – ESP-1004/ SMJ-7421) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare 1st original ESP pressing for Japan, never encountered before very first pressing on Victor Records and all complete with insanely rare first issue obi. White label PROMO issue to boot…. “This adventurous, short-lived quartet only made three albums in its two-year heyday. The best and most easily obtained (although that's relative) is the classic 1964 self-titled free jazz excursion on the ESP label. The unique front-line horn arrangement of trombonist Roswell Rudd and Danish alto saxophonist John Tchicai weaves rapid intricate lines around Lewis Worrell’s bass and the frenzied drums of Milford Graves. Poet Leroi Jones is added to the quartet for his revolutionary/militant spoken word diatribe "Black Dada Nihilismus." While it may sound like an intrusion to some listeners, it must be kept in mind that Jones was an active participant in the early avant-garde scene of New York, making his contribution to this disc vital in capturing the radical surroundings in which the music thrived.” (Al Campbell - All Music Guide). One of the finest titles to emerge out of the stellar ESP stable and one of the finest free jazz recordings to date. 1st original Japanese press in TOP condition with first press obi present. First time ever I see a copy with obi in over 20 years’ time, it eclipses the US pressing as far as rarity and sound quality is concerned. Price: Offers!!!!

 

1529. NEW YORK ART QUARTET: “Mohawk” (Fontana – 195J.21) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japan original with obi present. One of the three albums the New York Art Quartet cut during their all too brief lifetime and its most difficult one to track down. Price: 75 Euro
1530. The NEW YORK BASS VIOLIN CHOIR: “S/T” (Strata-East/ Teichiku Records – ULS-1676-AF) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing with obi of classic Strata-East spiritual jazz slide. This disc is first and foremost a splendid celebration of the artistry of the bass; and glorifying the instrument is seven of its finest practitioners. Moreover, the bassists are supported by a tenor saxophonist, pianist and percussionist in what its creators called a “narrative folk, jazz opera”. This might easily be Bill Lee’s greatest epiphany. It also celebrates the artistic partnership that Bill Lee shares with the six other bassists on the album. The seven movements run the gamut of musical measures that are a delight from first to last. They also bring out the special qualities of the bass violin quite masterfully. The musicians of the bass violin choir constitute a constellation of stellar virtuosos who weave the most magical tapestry of sound. There is a sense of sharing the sheer physical thrill of the acoustic bass and because the instrument is a lead voice throughout—performed at any given time by a multiplicity of bassists—there is a sense of fierce and brilliant movements at every twist and turn in the music. The deep sonorous drone of the basses contrasts delightfully when, with tripping lines some break away from the business of roar and rumble to soar in the upper atmosphere of the bass. Comes with rare OBI!! Price: 125 Euro
1531. NEW YORK CONTEMPORARY FIVE: “Consequences” (Fontana – SFON-7077) (Record: Near Mint/ Jacket: Near Mint). Japan 1st original pressing in top condition. Historically significant recording by The New York Contemporary Five was recorded on November 11, 1963. The short-lived group, which consists of cornetist Don Cherry, altoist John Tchicai, Archie Shepp on tenor, bassist Don Moore and drummer J.C. Moses, was avant-garde for the period, influenced most by Ornette’s Coleman’s Quartet. Together they were a highly interesting operation unit, oozing out garrulous music that foreshadows a more aggressive version of free jazz to come. The tracks are comprised of herky-jerky free-bop melodies that lead into solo sections at a very quick tempo. Cherry starts off with an energetic, rhythmically active spot highlighting his utterly free approach. He plays specific pitches, but one would be hard-pressed to nail down exactly which specific pitches he plays at any given moment - he plays between the cracks. On tenor, Shepp alternates between engaging the tempo and breaking free entirely. His tone is sandpaper-rough, his phrasing loose to the point of being almost unhinged. The rhythm section is fine; drummer J.C. Moses plays very strong without overwhelming his band mates. Hardly surfaces on these shores or anywhere else for that matter. Utterly clean 1st original Japanese pressing blessed with a crystal clear sound. Stunning. Price: 75 Euro
1532. NEW YORK CONTEMPORARY FIVE: “Vol. 1” (Sonet Records/ Teichiku Records Japan – UPS-2022-N) (Record: Near Mint/ Jacket: Mint/ OBI: Near Mint). Rare Japan very first original pressing all complete with first obi. Top condition of this awesome jazz slide. Killer line-up consisting out of Don Cherry; John Tchicai; Artie Shepp (sic – Japanese misprint on sleeve); Don Moore and J.C. Moses. Top condition!!! Price: 175 Euro
1533. NEW YORK CONTEMPORARY FIVE: “Modern Jazz Spirit Vol. 2” (Union Records/ SONET – UPS-2023N) (Record: Near Mint/ Thick Jacket: Near Mint/ First Issue Obi: Near Mint). Rare Japan first original pressing that comes adorned with Japan ONLY sleeve art and again different Japanese jacket art. Comes with RARE obi present as well which is nothing but a small miracle. Archie Shepp, John Tchicai and Don Cherry formed three-fifths of perhaps the most important, prolific, and seminal band of the early-'60 free jazz movement in the New York Contemporary Five. They were the first real improvising super group, with powerful harmelodic and free bop music influenced directly by Ornette Coleman. It's a recording both historic and smartly played, a must-have item for any serious lover of early modern creative jazz. Price: 175 Euro
1534. NEW YORK CONTEMPORARY FIVE: “Modern Jazz Spirit Vol. 2” (Union Records/ SONET – UPS-2023N) (Record: Near Mint/ Thick Jacket: Near Mint). Rare Japan first original pressing that comes adorned with Japan ONLY sleeve art and again different Japanese jacket art. Obi is missing in action so cheap deal here. Archie Shepp, John Tchicai and Don Cherry formed three-fifths of perhaps the most important, prolific, and seminal band of the early-'60 free jazz movement in the New York Contemporary Five. They were the first real improvising super group, with powerful harmelodic and free bop music influenced directly by Ornette Coleman. It's a recording both historic and smartly played, a must-have item for any serious lover of early modern creative jazz. Price: 75 Euro
1535. NEW YORK CONTEMPORARY FIVE: “Modern Jazz Spirit Vol. 2” (Union Records – UPS-5150) (Record: Near Mint/ Thick Jacket: Excellent ~ Near Mint). Rare Japan original pressing that comes adorned with Japan ONLY sleeve art. Rarely surfaces, only 2nd time I have a copy of this beauty. Price: 100 Euro
1536. NEW YORK CONTEMPORARY FIVE: “Modern Jazz Spirit” (Union Records – UPS-5123) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan only sleeve art issue from 1965 all complete with obi. Just beautiful jacket art with unique shot of Don Cherry! The six tunes on display here were recorded live at the famous Montmartre jazz club in Copenhagen on November 15th, 1963. For that pocket in time it is one of the best and most important avant-garde jazz albums put down on wax, its importance enhanced by the fact that the quintet was formed specifically to come and play in Copenhagen and was disbanded when the musicians returned to New York. The band is led by three of the absolute best of the avant-garde headz at the time: Don Cherry on cornet, Archie Shepp on tenor sax and John Tchicai on alto sax. Listening to this album is a little like poking around a dark, musty room abandoned for years. Here the Quintet (being the first ‘New Thing’ act to bring 3 horns to the foreground) chisels through a heroic scissure. It feels like a shoving match against the established forces with Don Cherry's "Cisum," (music backwards) opening up with a fanfare. A kind of organized chaos follows, the squawking and blipping interlaced with blessed moments of coherence. Coleman's influence hangs heavily over the proceedings. The group dives into two of his compositions, "O.C." and "When Will The Blues Leave?", the latter from his 1958 album Something Else!!!!. Damned rare Japan only issue with obi!. Price: 250 Euro
1537. NEWBORN, PHINEAS: “This is Phineas” (Atlantic Records – ATL-5033) (Record: Excellent/ Fragile Flip Back Jacket: VG++ ~ Excellent – has lower middle seam split/ Insert: Near Mint/ Obi: Near Mint). Original Modern Jazz masterpiece, damned rare original first pressing with very first issue obi for dead cheap. Comes also with always missing insert. Damned rare very first pressing with OBI!!! Price: 75 Euro
1538. NEWBORN Jr., PHINEAS: “The Great Jazz Piano Of Phineas Newborn Jr.” (Contemporary/ King Records – SH-3054) (Record: Near Mint/ Flip Back Jacket: Near Mint). Rare Japan very first original press issue of 1965 in top shape. Comes housed in a fragile flip back sleeve with Japan ONLY sleeve art. This recording lives up to its title. In his prime, Phineas Newborn had phenomenal technique, a creative imagination, and plenty of energy. These trio sessions (with Leroy Vinnegar and Sam Jones on bass and either Milt Turner or Louis Hayes on drums) feature Newborn displaying plenty of heat and fresh ideas on compositions by Bud Powell, Bobby Timmons, Benny Golson, Duke Ellington, Thelonius Monk, Sonny Rollins and Miles Davis along with two compositions of his own. This is piano jazz at its highest level. Rarely turns up 1st press original! Price: 50 Euro
1539. NEWBORN Jr., PHINEAS: “The Newborn Touch” (Contemporary Records/ King Records – SH-3080) (Record: Excellent – has a hairline visible on side 2/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare 1967 Japan 1st original press issue with OBI. “Pianist Phineas Newborn’s only recording of the 1963-1968 period, the trio outing with bassist Leroy Vinnegar and drummer Frank Butler, finds Newborn’s virtuosic style unchanged from the late '50s. As is usual on his Contemporary recordings, the pianist explores superior jazz compositions, in this case interpreting a song a piece by Benny Carter, Russ Freeman, Hampton Hawes, Art Pepper, Ornette Coleman ("The Blessing"), Carl Perkins, Frank Rosolino, Jimmy Woods and Barney Kessel. Newborn’s remarkable control of the piano was still unimpaired, and he is heard giving Oscar Peterson a run for his money.” (All Music Guide). Rare 1st press issue all complete with obi. Price: 90 Euro
1540. NEWMAN, COLIN: “Provisionally Entitled – The Singing Fish” (WEA – P-11147) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Record: Near Mint). Promo issue, Japan original 1981 press issue. The first solo venture of Wire frontman Colin Newman. Provisionally Entitled the Singing Fish came out in 1981 and marked a departure from Newman's previous experience in Wire. Here he wrote all the tracks and played all the instruments. It is completely different from his earlier work and not in the slightest a pop record. Cinematic, but also slightly unfocussed, the thirteen tracks are generally listenable and sometimes impressive, but can sometimes wander along without going anywhere. Not to sees a return to the band format. Without Mike Thorne's input the sound is much sparser allowing each of the elements to thrive: repetitive guitar loops mix with Gillham's odd basslines and Colin's pleasant if far too heavily reverberated vocals. It also gives one an insight as to how Wire might have sounded in the early '80s had they never split. Many of the tracks are reinterpretations of tracks Wire had been playing in 1980 including Safe, We Meet Under Tables and the fantastic You, Me and Happy. An odd cover of Blue Jay Way (The Beatles) rounds off a very good selection. The simple style works well and although the content is rarely challenging or revolutionary it stands true as an excellent release all the same. Price: 50 Euro
1541. NIAGARA: “S/T” (United Artist/ King Records Japan – SR-775) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: MINT). Bloody Rare & never seen before original Japan 1st press issue, released in 1971 and complete with first issue OBI. This was Niagara’s first album, a self-titled affair that was released in 1971 and which gained notoriety due to its controversial "sweaty breasts" album cover. The music on the other hand was unusual since it was a broodingly heavy and purely percussive album on which numerous high-profile drummers came together lead by German musicians Klaus Weiss, Udo Lindenberg and Daniel Fichelscher (who also played in Gila, Amon Düül II and Popol Vuh). The funked up butt-swinging tropical head-spinning vibe of that 1st LP is a unique, driving mix of jazz, rock and skilful adaptations of African elements, all captured and jammed into two long epic tracks. It is nothing short of an astonishing set of heavy, hypnotic drums, voodoo hoedowns and tribal percussive ritualistic grooves. Consisting out of 2 side-long jams, "Sangandongo" and "Malanga" it oozes out heavy psychedelic ethnic funk grooves and break heavy-hitting Afro-flavored rattles and shakes. A classic and a floor burner. Top copy housed in delicious gatefold jacket complete with OBI. Japanese original 1971 pressing never surfaces, until now…Price: 450 Euro
1542. NIBLOCK, PHILL: “Nothin To Look At Just A Record” (India Navigation – IN-3026) (Record: Mint/ Jacket: Mint). Original 1982 US press of this all time bewitching minimal music masterpiece. “The pieces are instrumental works, made on tape, performed as tape only, or tape with live musicians. The scores are the composer’s mix scores. In perform­ance the live musician plays with the tape, moving around the space, either matching tones on the tape or playing adjacent tones, creating shifting pools of beats and changed harmonics as he moves through the space and a duration of time. The pieces are made in stages. First, the tones are selected. The musician is tuned during the recording session by calibrated sine waves and watches oscil­loscope patterns to tune. Numerous examples of each tone are recorded. These tapes are edited (breathing spaces removed) into blocks of repetitions of each tone and then timed. The timed blocks are assigned to tracks and time slots of the eight tracks. In the score, each horizontal line represents a separate track and a duration of time. Figures above the brackets represent minutes and seconds of elapsed time: within the brackets, above the line is the duration of the event; below the line, the frequency of the tone (the pitch in Hertz). After dubbing up the eight tracks, the top four lines (tracks) of the score are mixed down to one channel, and the bottom four to the second channel of the final stereo mix. The music is architectural - the intent is to fill the space. It is non-frontal music, non-proscenium, anti-stage, not about the ensemble sitting in front of the audience, not about a single sound source. At least four speaker systems are desirable, arrayed around the periphery of the room, saturating the total space, engaging the air. The structure of the music comes from the reproduction of the tape (or CD). The live musician is not a soloist with tape background, but the converse”. (Niblock). Price: 150 Euro
1543. NIJIUMU – – HAINO KEIJI: “S/T” (PSF Records – PSF-7) (2LP set: Excellent ~ Near Mint/ Jacket: Near Mint) Well, finally we know the true story about Nijiumu. The outfit was always mistaking as a Haino centered unit (which it eventually became to be) but originally Nijiumu was birthed out the improvisational unit Shokubaiya, a unit centered around Uchida Shizuo (now of Hasegawa Shizuo). Shokubaiya folded into Nijiumu once Haino joined the ranks. And this is the result, although that the unit only recorded “Era of Sad Wings”, this version of Nijiumu was actually Haino solo, disguised with the Nijiumu banner. Two-record set released in 1990 in an edition of 250 copies, making it Haino's most difficult to track down disc. This album is a Haino solo recording and cannot be confused with the other likely named Nijiumu project for which he got assisted by other musicians. So this disc is a SOLO project and was released in an edition of 300 copies. “Up until 1992, all Haino's records had been released on PSF and they were all, without exception, spectacular, be they solo, Fushitsusha, Lost Aaraaff, or Nijiumu. In this database of reviews, you will find both positive and negative reviews but I think you will only find positive reviews of Haino's PSF discography released before 1993. This record falls into that category. It's got a fantastic and unique sound, unlike any other Haino solo record. Perhaps, the distinctiveness of each release, so unlike what came before or after made the PSF catalog so appealing. Later, the slew of, for example, Fushitsusha releases distinguishable only by catalog number lost this appeal. Anyway, this is an interesting record because it begins with mild vocals and guitar before moving into a percussive, almost industrial soundscape.” (David Keffer). A splendid and totally alienating disc with eerie soundscapes and Haino's reverb drenched vocals that wash all over the unearthly electronic mish mash, heated up acoustic instrumentation and creating a levitating storm of late-night moaning and non-conventional instrumentations. Quite alienating and spiritually lifting listening experience and one of Haino's most superb tour de forces. Highly recommended and very rare to say the least. Gorgeous copy, an edition from way back of 250 copies only. Has been ages since I last had a copy of this brain-freezer…Price: 300 Euro
1544. NINA SIMONE: “Forbidden Fruit b/w Work Song” (Pye Records – UP-456-Y) (7 Inch Single Records: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Nice Japan only single issue of two of Simone’s highly acclaimed songs, housed in cool Japan only picture sleeve. Price: 40 Euro
1545. NINA SIMONE: “Strange Fruit – Nina Simone No Sekai” (Philips – SFX-7179) (Record: Near Mint/ Gatefold Jacket: Excellent/ Attached Booklet: Excellent/ OBI: Excellent). White label TEST PRESS issue, Japan only release that came out in the 2nd half of the 1960s. Tracks include: “Strange Fruit – Our Love – Nobody – I’M Gonna Leave You – Don’t Take All Night – Ain’t No Use – Chauffeur – See-Line Woman – Chilly Winds Don’t Blow – Blues On Purpose – Tell Me More And More And Then Some – Take Me To The Water – I Love My Baby”. Seldom seen Japan only gatefold issue – white label test pressing with stamped label. Comes with rare obi as well. Price: 150 Euro
1546. NINA SIMONE: “Forbidden Fruit” (Pye/ Columbia – XS95-Y) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Rarest Japan only Simone issue, all complete with rare silver toned Columbia obi. This one came out in June, 1968. Tracks include: “Rags And Old Iron – No Good Man – Gin House Blues – I’ll Look Around – I Love To Love – Work Song – Where Can I Go Without You – Just Say I Love Him – Memphis In June – Forbidden Fruit”. Beautiful Japan only jacket art gatefold issue adorned with silver colored “Columbia” obi. Just about never surfaces. Beautiful!!! Price: 200 Euro
1547. NINA SIMONE: “Forbidden Fruit – Nina Simone Collections Vol. 1” (Pye Records/ Teichiku – UPS-2026-Y) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Beautiful Japan only issue for standout Nina Simone record. Tracks include: Rags And Old Iron/ No Good Man/ Gin House Blues/ I’ll Look Around/ I Love To Love/ Work Song/ Where Can I Go Without You/ Just Say I Love Him/ Memphis In June/ Forbidden Fruit. Comes with lyrics insert and first issue obi. Price: 50 Euro
1548. NIPPON NO KOMORI UTA with TERAYAMA SHUJI: “S/T” (Victor Records – SJX-2121~4) (4 LP Record Set: Near Mint/ Illustrated & Annotated Booklet: Near Mint/ Cloth Covered Outer Box: Near Mint/ Slip Case Catron Wrap Around Obi: Near Mint). Freakingly rare & obscure set that has haunted me for the past decade until I could finally unearth a copy – all complete with booklet and OBI. Released in 1976, this massive4 LP box set offers the most complete audiophile study into the almost completely extinct and wonderful deep rural world of Japanese Komori Uta or nursery rhymes, a sonic world ruled by old ladies living on the fringes of society, taking care of someone else’s kids and masking a deep sorrow and pain that simmers underneath this now dying song form – it is the first time ever I can offer a copy of this ear bleeding beauty. Stunning collection of raw field recordings put down on tape in various rural places spanning the whole of Japan, from the bleak high north of Aomori and Hokkaido and down to the desolated hamlets of Hokkaido and small and sparsely inhabited little islands dotting the sea and back to the bleak and cold high northern prefecture of Japan’s main island. With insertions and reminiscences by luminaries such as Terayama Shuji, the listener gets guided back towards a long forgotten and largely annihilated musical and cultural tradition of forgotten and long extinct bleak rural traditions. The end result is a snapshot of a decaying world that no longer exists except for buried deep into the memories of Alzheimer patients. The collection is mainly erected around bone-chilling recordings of caretakers singing, old women wailing away in desperation with the cold wind blowing away outside, all set in a sparse setting, sometimes not backed up at all but at all times breathing out a bleakness that is omnipresent throughout the high north. It shows the listener at times through these bare sonic pearls, which seems to be a large influence upon the upbringing of children from previous generations. A stunning aural document that could only have been fruited in the desolated rural places, the last frontier where such aural traditions until not so long ago could withstand the change of the times. Never had a copy of this gem before, here is an all complete copy, all complete with thick slipcase OBI and thick fully illustrated booklet. Absolutely hair-raisingly awesome but sadly insanely rare!!!!! Price: Offers!!!
1549. NIRVANA: “The Story Of Simon Simopath” (Fontana – 885.439.TY) (Record: Near Mint ~ Mint/ Laminated Gatefold Jacket: Mint). Original German pressing. Top condition and clean as can be. Nirvana's 1967 debut. An unashamedly twee early concept album, The Story of Simon Simopath (subtitled "A Science Fiction Pantomime," suitably expressing the deliberately childlike tone of the album) sounds, like most rock concept albums, like a collection of unconnected songs forced together by the story written in the liner notes. Ignoring the rather silly story (something about a boy who wishes he could fly), what's left is a regrettably brief but uniformly solid set of well-constructed psych-pop tunes with attractive melodies and rich, semi-orchestrated arrangements. Although the core of Nirvana was the duo of singer-guitarist Patrick Campbell-Lyons and keyboardist Alex Spyropoulos, the group is here expanded to a sextet including full-time French horn and cello players, and the semi-Baroque arrangements are particularly memorable on the singles "Pentecost Hotel" and "Wings of Love." Although The Story of Simon Simopath has no individual songs as instantly delightful as "Rainbow Chaser," the hit single and key track from their next album All of Us, it's a much more consistent record than that somewhat patchy follow-up.” (All Music Guide) Classic UK pop-psych slide that is musically near perfect. Top copy original German pressing. SOLD

1550. NIRVANA: “Local Anaesthetic” (Vertigo – 6360.031) (Record: Near Mint/ Gatefold Jacket: Excellent) Amazing copy - original UK VERTIGO swirl copy in great condition, next to impossible to upgrade upon. Classic UK pop-psych artifact interwoven with flashy baroque atmospherics that enfold its colors over two sidelong suites, all blending into one glorious sonic illusion. Classic Vertigo slide by this great band. Price: 450 Euro

1551. NIRVANA: “Local Anaesthetic – Nehan” (Vertigo Records – SFX-7381) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Impossibly rare Japanese first original Vertigo Records pressing all complete with OBI!!! This one came out in Japan in 1971 and sold very poorly, resulting that only a very few copies remain in circulation all complete with the Vertigo obi. Comes also on the Vertigo swirl label and sounds absolutely fabulous. First copy I encounter all complete with obi. Price: Offers!!!
1552. NIRVANA: “Songs Of Love And Praise” (Philips – 6308.089) (Record: Near Mint/ Fragile Laminated Jacket: Near Mint). Top condition without any flaws or defects UK first original pressing. By the time of Local Anasthetic (1971), Nirvana was just Campbell-Lyons and session players, Spyropoulos leaving to pursue a solo career. Campbell-Lyons recorded and released a second, once again essentially solo, album under the Nirvana name, Songs of Love and Praise. The album failed to sell, and neither of two singles achieved much in the way of airplay or sales action. He worked for Vertigo as an A&R man and producer at the same time, handling some of their more minor acquisitions, the most impressive of which may well have been Dr. Z, while Mike Absalom was certainly the most obscure. “Songs Of Love And Praise“ contained re-recordings of “Rainbow Chaser“ and “Pentecost Hotel“, along with some fine new material, notably “Please Believe Me“, “I Need Your Love Tonight“ and “Stadium“, which were all written by Campbell-Lyons. On this and all Nirvana albums, he was assisted by a flexible group of close friends. Next to impossible to ever upgrade upon this one, stunningly beautiful UK first original pressing, just flawless... Price: 550 Euro
1553. NIRVANA: “New Folk Sound” (Metromedia/ Nippon Columbia – YS-2348=MD) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare 1971 Japan only issue that comes housed in Japan only jacket art. The final Nirvana LP that got graced in a Japan only sleeve. WHITE LABEL PROMO that comes all complete with never-offered OBI present. Only the 2nd time in my lifetime I could see an original with the obi present. These barely sold when it came out here in 1971, when they surface it is always a promo issue, I wonder if they got actually a regular pressing. This was actually the 3rd Nirvana album, which in the UK was released under the title “Dedicated to Markos III” but for the Japan-only designed sleeve there was opted for an altered sleeve art, a more colorful and brighter artwork as opposed to the original UK sleeve art. Top condition and a real though one with obi. Price: Offers!!!
1554. NIRVANA: “New Folk Sound” (Metromedia/ Nippon Columbia – YS-2348=MD) (Record: Near Mint/ Jacket: VG++ ~ Excellent – has some brownish ageing spots visible on back of sleeve against white background/ Insert: Near Mint). Rare 1971 Japan only issue that comes housed in Japan only jacket art. The final Nirvana LP that got graced in a Japan only sleeve. WHITE LABEL PROMO. SOLD
1555. NIRVANA: “Bleach” (MCA VICTOR/ Geffen – MVJG-25002) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Getting damned rare very first Japan original press issue that came out in 1992, all complete with first issue obi and pressed on high quality vinyl. Totally essential and damned hard to find clean original Japanese 1st pressings with obi. This one is perfect. Price: 150 Euro
1556. NIRVANA: “In Utero” (MCA VICTOR/ Geffen – MVJG-25004) (Record: Mint/ jacket: Mint/ Obi: Mint/ Insert: Mint). Getting damned rare very first Japan original press issue that came out in 1992, all complete with first issue obi and pressed on high quality vinyl. All is complete and getting a real tough one to dig up these days in mint condition with all present. Top copy. Price: 150 Euro
1557. NIRVANA: “From The Muddy Banks Of The Wishkan” (Geffen Records/ MCA Victor Japan – MVJG-32001~2) (2 LP Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ 2 Imprinted Inner Sleeves: Near Mint/ Obi: Near Mint). Scarce Japanese press with obi of classic grunge jammer. This one serves as a perfect mirror to 'Unplugged'. Where that one offered a re-contextualisation of Nirvana's oeuvre, this one offers a reaffirmation of the band's raw power. All the elements that made the band a legend are present here: pile-driver rhythm section, scabrous guitar work that combines a Neil Young-ish tone with a punk sensibility, and Cobain's anguished, sandpaper vocal delivery. Many of Nirvana's best-known songs are included in versions that double the intensity and aggression of the original recordings. 'Smells Like Teen Spirit' finds the band charging at a pace that suggests its life depends on reaching the end of the song. 'Scentless Apprentice' is a raging howl that makes the original version sound like a beer commercial. Nice Japan original! Price: 125 Euro
1558. NISHIOKA TAKASHI: “Maninnoki” (URC Records – URG-4018) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Circular 4 Paged Insert: Near Mint/ Imprinted Inner Sleeve: Near Mint). “Maninnoki” (URC Records – URG-4018) Long time no see all complete original first pressing from 1971!!! Bloody awesome record that is in urgent need for mass-appreciation! After the stunningly “Tokedashita Garasu Hako aka Melting Glass Box” LP, Nishioka departed from his one time only collaborators and embarked on a solo side career, next to his ongoing involvement with Itsutsu no Akai Fusen. “Maninnoki” starts off on a similar path that was left open after “Melting Glass Box” recording came to an end and sees Nishioka broidering on some of the same themes, taking them to hysterical acid folk heights. He even ventures into Dadaist lyrical excursions and phonetic word game dementia that brings ode to the delights of Ramen and other assorted downtown pleasures. The music is fragile, mind-shatteringly great and filled with well-balanced interludes, some found sounds snippets, psychedelic vapors and pastoral recollections gushed out of a concrete cemented jungle of Osaka. The B-side of the disc sees Takashi embarking on a more down to earth folk escapade, which still has some brightly shining moments. The artwork to grace the jacket, courtesy of Keiichi Tanaami, fuses neatly with the sounds embedded within the disc’s grooves and the whole package oozes out a deliriously intoxicating vapor that will succumb unto your senses. Great stuff and one of his best. Rare these days and still fairly undetected by a larger collecting crowd, although that the disc is quite hard to get a hold of. If early seventies acid folk and psych is your thang, this might be the fix you longed for all this time. Great stuff. Price: 75 Euro
1559. NO NECK BLUES BAND: “Hoichoi” (Sound @ One – S@1#1) (Record: Near Mint/ Silk Screen Gatefold Sleeve: Near Mint/ Silk Screen Obi: Mint). Released in 1996, first release of the band on their own Sound @ One imprint. The catalog number indicates this is the first release on the Sound @ One label, but it was released in 1996, after other releases with a higher catalog number. Maybe this later release date is due to the elaborate (yet fragile) packaging; a small strip with the band name is used to close the cover and some black tar/glue is haphazard spread here and there to hold it together (making it impossible to open this record without damaging something). Hoichoi is not written anywhere on the cover or inside but this seems to be the official title. It's also the noisiest thing they've put out yet! Just playing the first untitled track sounds like pure torture for your speakers! The two other tracks are much more psychedelic; delay effects are used profoundly and the usual unidentifiable noises surface here and there. Their best effort without a doubt and the sole record one needs to keep and play at full volume by this band. Price: 75 Euro
1560. NOAH HOWARD: “The Black Ark” (Freedom – Trio Records – PA-7035) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: VG++/ Booklet: Near Mint) Top Notch Copy, Original 1st issue Japanese pressing on high quality vinyl, complete with never seen before obi & Japan ONLY booklet!!!! This is the stunningly rare original Japanese pressing of Noah Howard’s “The Black Ark” - one of the most legendary/unavailable/whispered-about free jazz sessions, featuring a young Arthur Doyle (his recorded debut!!!), Norris “Sirone” Jones, Mohammed Ali, Leslie Waldron, Earl Cross, and Juma ... The excellent cast of supporting musicians that included Sirone (who was then still going under the name Norris Jones) and (in his recording debut) Arthur Doyle who sounds on fire and viciously deranged throughout. Recorded in 1969 in NYC and later released on the UK’s Freedom label, this was also one of Howard’s earlier releases as a leader. This album features four solid compositions by Howard, who is also excellent on alto throughout, whether crafting soulful themes or pursuing more aggressive solos. The whole disc sounds like a napalm bomb dropped on unsuspected villagers and burns throughout its whole duration. Right from the start the tone is set with the opening track “Domiabra” a fierce shakedown for the group to stretch out their lungs and breaths. It all starts off with enough venom to make a Black Mamba snake blush in shame but when Arthur Doyle steps in; the whole affair really reaches volcanic like eruptions of molten aggressive lava concealed as musical notes. One of the disc’s highlights (heel it are all highlights on this one) is “Ole Negro” is and features the expanded rhythm section (Rashid’s brother, Muhammad Ali, on drums and Juma on conga, along with the piano and bass) laying down an incredible, almost hallucination producing foundation for the soloists. The other real winner is the longest piece “Mount Fuji”, which contains trumpeter Earl Cross and Doyle’s most significant contributions and some fine free all incinerating ensemble playing. But when Doyle steps in, then it really begins to hurt so much it becomes an ecstatic experience, almost religious by ripping your eardrums out of their shells with a saxophone that is insane pre-punk fire breathing primitivism as well as gloriously demented. Nobody ever sounded like Doyle and he is the true highlight of the whole disc. The album’s closing track, the pleasant, but all too brief “Queen Anne”, is highlighted by the solos of Waldron and Howard and makes you touch down to earth again. But by then your life will never ever be the same again. A classic that defies and expands free jazz as you knew it. Original first Japanese pressing complete with obi. All time highest recommendation!!!! Price: 300 Euro
1561. NOAH HOWARD: “Space Dimension” (America - 6108) (Record: Near Mint / Jacket: Near Mint). Original 1st press issue in TOP condition, hard to ever improve upon! Killer line-up with Frank Wright, Noah Howard, Bobby Few and Art Taylor. This disc is as forceful as an atomic bomb with all incinerating head on collision tracks such as “Space Dimension” and “Church Number Nine”. Originally released on America, this was the original French pressing. Space Dimension is without a single doubt one of the all time greatest free jazz recordings ever to be put down on wax. At the time of this recording, Noah Howard was living in France and a bunch of fellow free blowing expats joined him over there since Europe was keen on nurturing the hardcore jazz community the States had carelessly spit out. The record was made in the wake of all those great Actual sessions and burns with an unrelenting power, freedom and spirituality. Just lunar crazed stellar hardcore jazz. A must if you consider yourself even remotely interested in adventurous sounds such as free jazz. Price: 125 Euro

1562. NOAH HOWARD: “Patterns” (Altsax) (Record: Near Mint/ Jacket: Near Mint). Killer line-up with Noah Howard, earl Freeman, Han Bennink, Misha Mengelberg, Steve Boston and Jaap Schoonhoven. Released on Howard’s own Altsax label in 1973, “Patterns” is as forceful as an atomic bomb with all incinerating head on collision. “Patterns” is without a single doubt one of the greatest free jazz recordings ever to be put down on wax. At the time of this recording, Noah Howard was living in France and a bunch of fellow free blowing expats and local Dutch free spirits joined him in the Hilversum studios to burn some rubber. The blasted opening sequence, which we seem to enter whilst already in-process, is a space duet for conga and electric guitar unprecedented in the annals of jazz and new music. Jaap Schoonhoven – the later guitarist of the Dutch greasy beat combo the Outsiders is responsible for the frazzled solo he spits all over and under the recording. He is a true revelation and vicious beast all way through. When the rest of the musicians enter there is a heavy attempt to make it a primitivist aerial slugfest that invokes a world of shared improvisation and groups freak out. Patterns is a ferocious, confounding ghost of a disc. The record was made in the wake of all those great Actual sessions and burns with an unrelenting power, freedom and spirituality. Just lunar crazed stellar hardcore jazz. A must if you consider yourself even remotely interested in adventurous sounds such as free jazz. TOP COPY!!!! SOLD

1563. NOAH HOWARD: “Live In Europe Vol.1” (Altsax productions/ Sun Records – SR-105) (Record: Near Mint/ Jacket: Near Mint). Recorded in 1975 live on different European scenes. Classic line-up with Noah Howard blowing his lungs out on alt sax, Takashi Kako pounds the ivory keys of the piano, Kent Carter thugs on the contrabass and all-time favorite skin mangler Muhammad All sets fire to the drums, except for the track Olé, where he is replaced by Oliver Johnson. Again an incendiary set that sets loose some of the finest fire music ever recorded. Noah Howard is in stellar form and Mohamed Ali shreds the dead air to pieces with his drum acrobatics. Truly astonishing. Original press, disc has some superficial scuffs so this one comes cheap. Plays EX though, so better move in on this one, it is just an amazing disc. Price: 75 Euro
1564. NOAH HOWARD: “Schizophrenic Blues – The Noah Howard Quartet Live in Berlin” (FMP Records – SAJ-13) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). First original press, top copy. Great set of tunes delivered by the Noah Howard quartet live in concert on May 12th and 22nd of 1977 in Berlin. For this occasion the quartet consisted out of Noah Howard (Alt), Itaru Oki (trumpet), Jean-Jacques Avenell (double bass) and Oliver Johnson (drums). Veering of with the title track “Schizophrenic Blues” the mood is set for the rest of the concert to unfold itself in. Howard’s playing is crisp, melodic, and clear: alternating intense freedom chases with passages of mournful, Coleman-esque alto wailing. Auguring deep into a spiritual vein and extracting an ecstatic ore Howard and company set course for eloquent and elated interaction and reach exalted highs. Taken as a document this disc captures an exemplary performance by the Noah Howard Quartet and it does so faithfully without any fix it in the mix wizardry. It is an unadorned honest recording that delivers a faithful front row seat experience to what must have been a gig that still sticks in the minds of those who were in attendance. Noah Howard is as always stellar. Price: 100 Euro
1565. NOAH HOWARD: “Ole” (Chiarossuro Records/ Teichiku – ULX-109-CH) (Record: Mint/ Jacket: Mint/ Insert: Mint/ OBI: Near Mint) 1980 high quality Japan press issue of subliminal Noah Howard slide. Comes complete with always-missing OBI…. Killer line-up that included Noah Howard –alto sax/ Takashi Kako- piano/ Kent Carter- bass/ Oliver Johnson- drums on ole (only)/ Muhammad Ali- drums (on the rest). Howard's explosive playing is never overspilling into the realms of excess; instead he maintains a soulful approach, keeping the rhythmic maelstrom in check. Each of the players performs with a virtuosity largely unencountered in contemporary improvisation, and in truth, there's no single star here. As the musicians one-by-one step forward to take a solo spot they each reveal their own unique musical identities. Stunning recording and amazing music. Top condition. Obi is quite a hard one to dig up…. Top condition. Price: 100 Euro
1566. NOISES: “Ilona Chale – Eric Chale – Michel Moers – Daniel Plasschaert – Robert Altaber – Marc Moulin – Ariel Kalma” (Kamikaze Records – Kamikaze-4) (Record: Near Mint/ Jacket: Near Mint). Original 1977 press on Marc Moulin’s (Placebo & Aksak Maboul fame) own private imprint Kamikaze Records. This disc in particular is the finest to see the light of day on the label with sound art/ noise? Contributions by some of Brussels leading scenesters such as Eric Chale, Ilona Chale, Michel Moers, Daniel Plasschaert, Robert Altaber, Marc Moulin and also a lengthy contribution by Ariel Kalma. Id experimental sound sculptures are to your liking, you will definitely fall on your bleeding knees for this holy artifact and make a private shrine for it. Wicked stuff and impossible to come by these past years. All time highest recommendation!! Price: 200 Euro
1567. NORD: “LSD” (LSD Records – LSDl-001) (Record: Near Mint/ Jacket: Near Mint) Freakingly rare to only 100 copies. This is the 2nd copy I can actually see with my own eyes in over 12 years time, just insanely hard to come by. L.S.D. features rough hewn sheets of ominous yet trippy pulsating textural electronics with an obvious debt to the stark Teutonic sound-worlds of Kluster and (especially) Seesselberg. Any glimmers of transcendence are immediately offset by a deadzone ambience that reeks of Maurizio Bianchi. Hiroshi Oikawa's solo explorations of the galactic void seem considerably more enticing to these set of ears than the more formalized quotidian post-industrial constructs he was fabricating under the Nord moniker with Satoshi Katayama on their Pinakotheca label debut LP from three years earlier. If this is cosmic, than it's the cosmos as viewed from the vantage point of a burned out cinder drifting into entropy. Gripping stuff! Price: Offers!!!
1568. NORDSTROM, BENGT: “Natural Music” (Bird Notes – BNLP2 – MATRIX NUMBERS: 9F/ 10M) (Record: Near Mint/ Jacket: Near Mint). Monster rarity again, Swedish private press masterpiece, released in an edition of around 20 copies only and containing some of the strongest solo saxophone improvisations ever to be put down on wax, yes and dare I say it…even surpassing Abe Kaoru in my book. Largely and almost totally unknown, recorded and released in 1968, Bengt Nordstrom remained virtually unknown outside of Sweden and being the country’s most intriguing jazz musician. Partly due to his limited discography, he was overlooked by a wider audience. Yet, his contribution to the development of the modern & free jazz scene in Sweden cannot be overestimated, and neither can his influence on his fellow musicians, to whom he was the embodiment of jazz. He was the first to recognize the uniqueness of Albert Ayler and releasing his music in 1962 on his Bird Notes imprint. Concerning this issue: Bird Notes is quite a chaotic and difficult label to dive into as the pressings were done in only a handful of copies and Nordstrom was in a habit of re-using identical catalogue numbers and sleeves (if there were any) for a variety of his releases. Although Bengt used this sleeve for a couple (2) of his releases, one cannot identify his Bird Notes issues by the catalogue numbers only as he used identical catalogue numbering for a different variety of music so one can only distinguish his releases by its matrix numbers! Talking about obfuscation & mystification, no shit, he was the master! The 9F matrix number sometimes shows up but 10M is stupidly rare! On this one however, matrix number 9F is Bengt Nordström on tenor sax ”Spontaneous Creation” which was recorded on February 1st, 1968. Matrix number 10M-side is a recording also by Bengt Nordström on tenor sax somewhere in 1968. Of this one, although the sleeve was used for at least 2 other and different Bird Notes issues with again different music, was released in an edition of about 20 copies only!!! That said, Nordstrom’s improvisational free playing is out of this world and it feels upon listening to him that I have tapped into a rich & greedy musical vein that demands me to milk it like a terminal heroin addict. Speaking of weird and rare private press free improvisation jazz, well look no further, you just stumbled upon it! Price: Offers!!!!
1569. NORDSTROM, BENGT: “Sounds Of Life” (Bird Notes – BNLP2 – MATRIX NUMBERS: 5B/ 5D) (Record: Near Mint/ Jacket: Near Mint). Nordstrom’s Bird Notes label is the only label in the whole wide world that justifies the reading and inspection of matrix numbers. Bengt was notorious for re-using the only sleeve art he ever made for his own music but inserting it with different sonic marvels he recorded all by himself. So although the jacket art is the same, the music it beheld was always entirely different. Next to that was the tiny miniscule pressing quantity he applied to release his high-quality music, in most cases not exceeding a run of 5 to maximum 20 copies!!! Of this one here there were no more than 10 copies ever pressed. This is again a free-floating; free-roaming live recording of Bengt Nordstrom solo saxophone improvisations that took place somewhere in 1968! Wyld, lyrical, warm-toned, this is prime Bengt in action, at times extremely furious and unleashing a deep subterranean vibe and in the blink of an eye shape-shifting into a lyrical but nevertheless lethal sax howl, the music is nothing short of an arresting experience. As if engaged in a prison riot, Bengt’s playing deliriously hurtles in and out of focus without ever losing its violent fit of deliriously intoxicating madness. This is some of the most beautiful free saxophone playing ever to have caressed my earlobes!!! At times, Conny Lundin joins in on contrabass and evoking images not unlike of Yoshizawa Motoharu, although Lundin’s playing is a more civilized and droned out force. Sadly Lundlin is totally under-recorded and this is one of the few recordings he is actually on! He stopped playing near the end of the 1960’s and shifted to painting and died at a young age. Here tracks include Lundin playing solo bass somewhere recorded in 1964 and Bengt blowing a solo plastic alto sax, also recorded in 1964, Followed by Conny Lundin solo bass in 1964/ “bird notes” solo plastic alto sax 1965, “the bass player” Conny Lundin solo bass in 1964. Talking about obscure late 1960’s privately run free jazz labels, well you do not have to look any further, we have a winner right here. Again an ultra rare private issue, released in an edition of between 10 copies maximum, again housed in the one sleeve he had but with different matrix numbers and hand stamped labels. Rare for eternity, this shit just never gets offered. Wanna fix of maniac sax fury of the highest order? Well this is it right here, take no substitutes!!! Price: Offers!!!
1570. NORDSTROM, BENGT: “Natural Music” (Bird Notes – BNLP2 – MATRIX NUMBERS: 8B/ 9D) (Record: Near Mint/ Jacket: Near Mint). More dysfunctional but highly inflammable free jazz weirdness for you, coming from the most exciting privately run label there ever was!!! Another ultra rare Bird Notes issue and again – you could have guessed it – released in late 1968 in a run of only 30 copies!! Another animated strive out of the dark woods of Sweden. Comprised out of solo soprano sax recorded in 1968 and "the horn song” - solo soprano sax recorded in 1967. Bengt again blows out a weird hell-broth of incendiary sax tones, creating a high-tension music that just bounces of the walls and comes back at ya. Lethal, quelling the darker side of solitary free improvisational playing where the tiniest gestures trigger apocalyptic waves of sound. Bengt succeeds in dissecting all of his fire-breathing movements into fractious pieces of sound, resembling almost a methodical surge towards a Dickensian severity in tonal color. He solitarily creates an utterly compelling panoramic sound, an intuitive approach setting off a tornado of dusty note clusters that engulf the aural landscape. Highly addictive free improvisational solitary sonics that leave you gasping for air! Again ultra limited small private pressing from 1968…you can count on one had the people who have an actual copy and I am afraid this situation ain’t going to improve ever. Probably the smallest run ever of a private label! So rare for eternity but luckily enough filled with some of the best music ever put down on wax. Highest recommendation!!! Price: Offers!!!!
1571. NORDSTROM, BENGT: “Natural Music” (Bird Notes – BNLP2 – MATRIX NUMBERS: 8A/ 8D) (Record: Near Mint/ Jacket: Near Mint). Another elusive Bird Notes release, this one was probably released in a run of about 35 copies. The record starts off with 8A: “Bird Notes and Folk Tunes ” and is played by Bengt on alto sax where he gets flanked by renowned scenester Sven Hessle on bass. It was recorded in June of 1967. The flipside is 8D, played at 45 rpm – “Spontaneous Creation Second Variation”, recorded in 1968 and has Bengt on alto sax solo. This is not your normal kind of middle-of-the-road smooth jazz trip you get subjected to when tuning in to your favorite FM station iat any given time of the day or night. It’s highly unlikely you’ll hear the walls of Jericho thunder down on the swirl of hard bop, the deep trance dream of spiritual jazz noodlings or even the superhuman sports jams of fusion. Instead, your ears will be smeared with a smooth, homogenous blend of mindless soul and corporate R&B muck. This craven for commercialism you get susceptive to on a daily basis seems like innocent frolics compared to murky rites on this slab of vinyl. Here things are really cookin!! In fact, it all boils down, making you realize that it is OK to create your own rules for music and that there is no need to conform to pre-existing conventions in terms of elements like rhythm, harmony and melody that normally cannot exist without some sort of conformity. Nordstrom’s music is fearsome/fearless solo sax improvisations at times backed up by Hessle on bass. Starting off with some sort of melodic idea, Nordstrom starts chasing it at high velocity, no idea where it might lead him. It's driven on thunderous, passionate and declamatory feelings he passionately harbors for this sound. Such a commitment from the performer deserves a similar level of engagement from the listener. It's more or less an ethical issue – when listening to this, it feels out of place to be doing something other than just absorbing the music. Bengt’s primitivist sax howl is rough and at times even abrasive. It's raw, soulful, completely unrefined, like the blues rendered as a weeping sore. You either submit to it totally, or you don't listen at all. Very heady stuff indeed and rare to say the least. Price: Offers!!! Price: Offers!!!!
1572. NORDSTROM, BENGT: “Sounds Of Life- BNLP4C” (Bird Notes – BNLP7A/ 7B) (Record: Excellent ~ Near Mint/ Generic Sleeve: Near Mint). Another hideously rare Bird Notes LP - again issued in a minuscule run of only a handful. The matrix number side 7A --> consists of a sidelong Bengt Nordstrom saxophoine free improvisation ride that ranks - at least to these ears as one of his best, covering all the bases from well-carved meadering slow tempo breatheing exercises up to wyld volcanic eruptions that tilt the seismic scale towards the gospel acpocalypse. The matrix number 7B is a whole different affair with a great Conny Lundin demonic bass solo all complete with manic cackles and liquid pacing. Again damned rare, hardly - if never offered up for grabs so make your best move. Rare for all eternity and ear-bleeedingly great sounds. If free improvisation and free jazz is your thang, then how can you surpass on Nordstrom, you just need all he ever recorded. Highest recommendation!!! Price: Offers!!!!
1573. NOTSENSIBLES: “I’M In Love With Margret Thatcher b/w Little Boxes – Garry Bushel’s Band Of The Week” (Redball Records – RR-021) (EP Record: Near Mint/ Picture Sleeve: Excellent). Classic 1979 UK punk slide. The Notsensibles recorded the Margaret Thatcher song in 1979 with a small independent record label and had 1,000 records produced for the sum of £600. The band scraped the money together by pooling what was left from our gigs, and by borrowing from various friends and parents. It was the true punk rock spirit, far removed from some of our more illustrious peers who were signed to major record labels. It was around the same time as the 1979 General Election when the song was conceived and not intended to be a tribute or anything at all to do with Margaret Thatcher. Simply the band was messing about with a three-chord riff, which had a catchy melody line, and the words ‘I’m in love with Margaret Thatcher’ just seemed to fit. We didn’t really know that much about Margaret Thatcher at the time except that she was in the news hoping to be elected Prime Minister and had been the Education Secretary in a previous government. While in that office she had put up the school leaving age causing some of us to be stuck at school an extra year longer than we wanted and had stopped free milk for schoolchildren. It was just a name to fit with the melody line, until we thought of something better. We added the Margaret Thatcher is so sexy verse (even though she obviously wasn’t), and the original line went on to say “I blush when she’s on telly, because I think she fancies me”. It was only when we changed “blush” to “I go red” that Bingo…we realized that was it’ and 34 years later fueled the debate of – “do they, or don’t they, really love her?” Then John Peel picked up on the song and began playing it on his Radio One show. Suddenly demand exceeded supply. The original 1000 sold out, and the band scrambled around to get more copies pressed, eventually doing so on our own Snotty Snail label. The song went on to sell approx. 20,000 copies and reached No 2 in the independent charts, only being kept off the top spot by Joy Division’s ‘Love Will Tear us apart’. Our Margaret Thatcher song proved a rousing finale at gigs, but never once were we accused by anyone of being Tories or Thatcherites and even the most anti-Thatcher people would happily join in the chorus. The song did prove a bit of a millstone around the band’s neck as it overshadowed other catchier songs of ours, such as ‘I Thought You Were Dead” and “The Telephone Rings Again’. The Notsensibles eventually split in 1982 and that was it or so we thought and ‘I’m in love with Margaret Thatcher’ would be consigned to a period of punk rock history. Price: 50 Euro
1574. NOVEMBER: “2: a November” (Sonet – SLP-2520) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1971 Swedish 1st press – this being the MONO pressing. 2:a November (1971) was produced by Georg Wadenius (of Made In Sweden) and showed a greater range - the music is heavier when Rolf is let loose, but also softer in parts with piano and melancholic vocals. This was the second album of this Swedish bunch bringing forth an amazing vibe oozing out great heavy bluesy hard psych ripping vibes, demonic vocals and wailing guitars. One of Sweden’s finest band to emerge, every track is a winner. Brilliant all way through!!! Price: 250 Euro
1575. NOVEMBER: “6: e November” (Sonet – SLP-2530) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint) Original 1972 Sweden press issue in top condition by Sweden’s finest heavy psych/ prog outfit. 2:a November (1971) was produced by Georg Wadenius (of Made In Sweden) and showed a greater range - the music is heavier when Rolf is let loose, but also softer in parts with piano and melancholic vocals. Their last album continued this trend and is arguably their finest effort. Christer Stålbrandt later started a new group named Saga. Meanwhile Inge became a member of heavy jazz-rockers Energy.” (Scented Gardens Of The Mind by Dag Erik Asbjørnsen). Top copy. Price: 400 Euro

1576. NUGGETS: “Original Artifacts From The First Psychedelic Era 1965 ~ 1968” (Elektra Records – 7E-2006) (2 LP Record Set: Excellent/ Gatefold Jacket: Excellent ~ Near Mint/ Company Inner Sleeves: Excellent). First original US pressing – White label PROMO issue. “The brainchild of Elektra Records chief Jac Holzman, Nuggets was a double-album survey of grass roots American garage-rock “one-hit wonders”, originally released in 1972, at the very moment when rock’n’roll was making its first backwards-looking audit. Curated by critic Lenny Kaye whose original liner notes would coin the term punk rock), it documented the widely pervading influence of the so-called British Invasion on young mid-to-late-60s beat combos across the USA. Stuffed with short, sharp, electric guitar and Farfisa organ-soaked essays remain preserved in musical amber, evincing the impact of The Beatles (to an almost preposterous level – faux Scouse accents and all – on The Knickerbockers’ Lies), The Rolling Stones, The Animals, Them et al on an eclectic tranche of musicians. These acts’ recordings would project British Invasion tropes through the prism of 1960s American musical (and, increasingly, counter-) culture. Typically, The Electric Prunes’ I Had Too Much to Dream (Last Night), The Seeds Pushin’ Too Hard and the 13th Floor Elevators You’re Gonna Miss Me – all of which would enjoy deferred "classic" status courtesy of Nuggets – are products of a ricocheting process of cross-fertilisation. US blues and soul-inspired British styles are bent back into feisty, indigenous variants on garage-rock, brimming with "out there" lyrics and disorientating studio effects which bear testimony to a burgeoning awareness of drug-induced altered states. Count Five’s spiky Psychotic Reaction proffers the missing link between The Yardbirds and early Television, while The Remains’ angsty Don’t Look Back might have been the blueprint for Richard hell & The Voidoids. The Shadows of Knight’s Oh Yeah, meanwhile, is surely the prototype for David Bowie’s The Jean Jeanie. Thus, Nuggets remains a Rosetta Stone among rock compilations and an indispensable resource for anyone interested in the rapid, wild and vivid evolution of 1960s psychedelia.” (David Sheppard – BBC) Much needed white label PROMO first US press issue of totally influential compilation that shaped a whole generation towards good taste. Price: 175 Euro