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

2324. WAKHEVITCH, IGOR: “Logos” (EMI Pathe – C064-10934) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top Copy, original 1970 pressing. “With such a background, and a concept based on Greek legend, Logos (Rituel Sonore) amounted to a revolutionary creation for a 1970 release. Even if you know works like Pierre Henry’s The Green Queen, which was weirdly comprised of rock and avant-garde musics fused together, you’ll still be in for a surprise. Here we have a soprano singer, strange orchestral textures and percussives (drums, cymbals, gongs, etc.) blended with effects and processing. As the ominous percussion sets off with drum-rolls and ritualistic tension, the mood is of a looming anticipation of what is to come. Here we go through phases of weird swirling effects, vivid reverb and atmosphere. The tension becomes overpowering; yet we are led on. Here we have the key to Igor Wakhévitch’s sound, in a tension that becomes awe-inspiring. The climax of the whole opus comes with “Danse Sacrale”, an extraordinary psychedelic instrumental performed by Triangle (one of the earliest French psychedelic bands) that has to be heard to be believed. A great band in their early days, this goes to prove that Triangle were not just Pink Floyd cum Traffic copyists. This all amounts to a unique fusing of psychedelia and the avant-garde, and an awesome experience!” (J. Coulthart). Another indispensable entry in the Wakhevitch saga and just as the rest as indispensable. Highest recommendation. Bloody rare in a condition like this one here. Price: 250 Euro
2325. WAKEVITCH IGOR: “Docteur Faust” (Pathe EMI – 2C 072-11.537) (Record: Near Mint/ Jacket: Near Mint - on back upper side faintest trace of minimal wear, hardly worth mentioning). TOP COPY!! Original French pressing and easily the best record out of the whole Wakevitch discography. Has been literally ages since I have encountered an original copy of this beast and this one here is in the best condition imaginable!!! Docteur Faust was created for a festival in Avignon, and was later choreographed. Though, the mind boggles as to how anyone could dance to this. “Full of fury and energy” to quote a reviewer at the Avignon festival, it certainly is! On one hand this is a more balanced blending of classical and dramatic music, yet also it is much more extreme. There’s a wealth of sonic collage, dense musique concrète, and bizarre music that collide and fragment against rock structures. There’s also moments of pure classical avant-garde moving into ensemble pieces feeling like Henze meets Ligeti or Xenakis. The use of electronics is really vivid too. There are no rules or boundaries in what makes up a Wakevitch composition! The rock elements return throughout this album and, although not credited, I would guess that again Triangle members are featured. The guitar reminds of Alain Renaud, and percussion is quite distinctive, backed-up with weirdly treated organ. Although a short album, it is so engrossing and weird that it would be too-much if it were much longer." (Alan Freeman) Docteur Faust from 1971, which again presents adept pairings of potentially disparate elements. Sounding like a strict soundtrack for a staging of the Faust story, the music is a highly theatrical, event-driven collage of electronic and tape manipulations, dramatic narration, rockist interludes, musique concrete and passages of classical orchestration and vocals. It's a fascinating work that takes the skills he cultivated during his time with Schaeffer’s GRM and expands them into a more macroscopic view. Price: 450 Euro
2326. WALDRON, MAL: “Bethlehem Left Alone – A Dedication To Billie Holiday” (Polydor – MP-2150) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Very rare Japan 1st original pressing that came out in April 1971. Recorded in February 24, 1959, this set records a great line-up with altoist Jackie McLean sitting in with pianist Mal Waldron’s trio (which includes bassist Julian Euell and drummer Al Dreares) on the title cut, a number co-written by Waldron and Billie Holiday. Although Waldron dedicated the album to Lady Day and talks about her a bit on the last track in a short interview with vibraphonist Teddy Charles (which was recorded a bit later), he actually only performs one song from her repertoire: "You Don't Know What Love Is." Otherwise this recording session has the title cut, two other typically brooding Waldron originals plus Sonny Rollins’ "Airegin." McLean’s emotional alto is such a strong asset on the title cut that one wishes he were on the rest of this worthwhile set. Top condition and seldom seen Japanese 1st press original. Price: 75 Euro
2327. The MAL WALDRON TRIO: “Impressions” (Prestige New Jazz/ Victor Records – MJ-7017) (Record: Near Mint/ Flip Back Jacket: Near Mint). Very first original Japanese press issue – Deep Groove pressing and comes housed in fragile flip back sleeve. A lesser-known Mal Waldron session from the 1950's. Teamed up in a trio with bassist Addison Farmer and drummer Al “Tootie” Heath, Waldron performs three originals from what he called his "Overseas Suite" along with a fine song by his wife ("All About Us") and three standards. Waldron’s brooding Monk-influenced style is heard in its early prime on this excellent release. Price:125 Euro

2328. WALDRON, MAL: “Mal-1” (Prestige/ Victor Records – SMJ-7430) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan very first pressing, deep groove and with first issue obi present. Never seen before WHITE label PROMO issue. Top condition! “Mal Waldron’s recording debut as a leader presents the pianist with his many gifts already well developed. For the 1956 quartet date, he takes charge to strike a balance between the sound of a blowing session and the refinement of a more polished date. The spontaneity is there, but the set also benefits from Waldron’s thoughtful charts. At this stage of his development, Waldron was a distinctive bop pianist whose occasional sputtering, knotty phrasing revealed the acknowledged influence of Monk as well as similarities with contemporaries Al Haig and Bud Powell. For this set, though, the focus is not on Waldron’s playing, but on his ability to lead from the piano bench. The horn players -- top-flight boppers Idrees Sulieman on trumpet and Gigi Gryce on alto sax -- contribute hot solos played with class and authority, and disciplined ensemble work supports the overall structure of Waldron’s charts. Some of the arrangements seem written with a larger ensemble in mind, but they also work in the quartet setting, with Waldron’s effective use of staggered horn entries, dynamics, interesting harmonies, and occasional countermelodies adding color and variety to the performances. The tracks comprise a bright, focused performance of Benny Golson’s "Stablemates," a sparse, bluesy take of the standard "Yesterdays," a pair of good Waldron originals and one from Sulieman, along with Lee Sears’ "Transfiguration." Bassist Julian Euell and drummer Arthur Edgehill supply a strong and reliable bop pulse.” (All Music Guide). I am a sucker for all Waldron did, but his early stuff really gets under my skin. Never had this rare 1st Japanese pressing before, hard to track down on these shores, just about never ever surfaces and this clean, I must be loosing the last bit of sanity I still had. Price: 250 Euro

2329. WALDRON, MAL: “Mal/2 with Jackie McLean; John Coltrane; Idrees Sulieman; Sahib Shihab and Bill Hardman” (Prestige/ Victor Records – SMJ-7442) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Rare Japan first press original all complete with gold colored obi. Signed by Mal himself on the back of the sleeve with a personal dedication to one of his Japanese girlfriends he fooled around with while on tour. It reads “Anata Wa watashi No Koibito Desu” meaning as much as “You are my lover” signed Mal Waldron. “Before becoming an expatriate in 1965 and eventually settling in Munich, pianist Mal Waldron cut several stateside hard bop albums full of his idiosyncratic and Monk-ish piano work, and featuring choice contributions by some of the music's finest. For this 1957 date, Waldron worked with a stellar sextet interchangeably manned by John Coltrane, Jackie McLean, Idrees Sulieman, Art Taylor and others. Bookended by the pianist's ebullient "Potpourri" and the avant-noir blues "One by One," the set also includes a fetching cover of Cole Poter’s "From This Moment On" and a beautifully complex arrangement of Billie Holyday’s "Don't Explain." Solo highlights include McLean’s keenly constructed solo on Waldron’s "J.M.'s Dream Doll" (dedicated to the alto saxophonist and his wife) and Sulieman’s incredibly rich and supple trumpet work on "One by One." For his part, Coltrane is in good form throughout, save for a few sour notes and some faltering solos; at this time Coltrane was still coming into his own and a few years shy of the masterful hard bop sides he would record for Atlantic. Waldron here leads a potent crew on an engaging and original set of arrangements. A cut above many of the relatively straightforward and blues-based hard bop dates of the time.” (All Music Guide) Top condition very first press issue. Signed with personal dedication from Mal to his girlfriend. Unique! Price: 125 Euro
2330. WALDRON, MAL: “Mal 3 – Sounds” (Prestige – Victor World Group – SMJ-7448) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1st original pressing all complete with rare blue colored Victor World Group obi. This is an unusual set by pianist Mal Waldron. He utilizes a sextet with trumpeter Art Farmer, flutist Eric Dixon, cellist Calo Scott, bassist Julian Euell and drummer Elvin Jones on three of his picturesque originals and his wife Elaine Waldron contributes vocals to the wordless "Portrait of a Young Mother" and Harold Arlen’s "For Every Man There's a Woman." Price: 150 Euro

2331. WALDRON, MAL: “The Quest” (Prestige/ Victor Records – SMJ-7077) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan original 1st press all complete with rare obi. Pivotal work from Waldron – stepping out of the blowing session mode, emerging as one of the 60s most striking modernists. Like a lot of Waldron's records from the time, this set shows an amazing desire for new forms and modern ideas, and the mix of players – Eric Dolphy, Booker Ervin, Ron Carter, Joe Benjamin, and Charlie Persip – pulls the material in several different ways. Carter plays bowed cello, as he did on Dolphy's Out There session, and he gives the set a dark moody feel. Ervin's in his best modernist mode, and he ably trades lines with Dolphy and keeps the whole thing moving nicely. Waldron's writing and arranging is superb, and the tracks feature a lot of weird time structures and unusual modal patterns. Price: 300 Euro

2332. WALDRON, MAL: “All Alone” (Victor Records/ Globe – MJ-7114) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Scarce Japan 1st original pressing all complete with obi. Originally released in Italy on GTA in 1966, this is the first Japanese pressing of that post-Bop face slasher. Austere, minimal, stark and highly atmospheric solo piano album, All Alone. The brooding title track is one of the most haunting explorations of solitude. It was also influenced by Billie Holiday, with whom he worked during the last years of her life, and who inspired many of Waldron’s compositions. While playing this late at night, goose bumps pop up all over your skin and you just hope it ain’t no Covid-19 come down that makes you reach out for that quick fix of bleach to pop into your veins. Desolation rules!! Damned a hard one to track down with obi there. Price: 85 Euro

2333. WALDRON, MAL: “Black Glory” (Trio Records – PA-7003) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japanese pressing all complete with obi of a trio outing for pianist Mal Waldron, bassist Jimmy Woode and drummer Pierre Favre. Waldron has continued to evolve through the decades while keeping his basic sound. A master at using repetition and brooding chords, Waldron is in excellent form on five of his originals plus Woode’s brief "M.C," playing with a knowledge of the avant-garde but still connected to the hard bop tradition. Top condition! Price: 50 Euro

2334. WALDRON, MAL: “Les Nuits De La Negritude” (Freedom/ Trio Records – PA-7117) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce all complete 1975 Japan original pressing, all complete and in perfect shape. Impossible to find better and more economically viable as opposed the bloody rare original. Still, this one is not that easy to catch ouy there in the wild, so do not kind yourself. Highest recommendation. Damn, love the obi on this one! Price: 100 Euro

2335. WALDRON, MAL: “Tokyo Bound” (Victor Records – SMJX-10089) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached inside gatefold 4-paged Picture Booklet: Near Mint/ Obi: Near Mint). Japan only issue, 1970 original pressing and one of Waldron’s finest outings. Complete first pressing with rare obi attached. Beautiful overseas work from him – from that time when he'd almost disappeared from the US recording scene, but was making some of his most inventive music in Europe and Japan! The trio features Yasuo Arakawa on bass and Takeshi Inomata on drums – and titles are all long, very modern, and include "Japanese Island", "Rock For Jimbo San", "Mount Fujiyama", and "Atomic Energy". One of his finest recordings and a Japan only issue that comes with cool obi! Price: 150 Euro
2336. WALDRON, MAL: “The Call” (Globe – SMJX-10125) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Excellent/ OBI: Mint). Japanese original first pressing that comes housed in Japan ONLY gatefold cover art. Complete with obi. 1971 original press. Over two long takes, averaging 20 minutes each, Waldron and an all-star team transport you to a warm and inviting sound that is in equal parts a hard bop jam, a twisted psychedelic dream, and a free jazz meditation. The title track brings an enervating sound, slick and classic as can be. Bassist Eberhard Weber, along with drummer Fred Braceful, spurs through some thickly settled spaces, courtesy of Jimmy Jackson on the organ, all led by Waldron’s interplanetary surf. It is a joyful epic that peaks in a glorious bouquet of heat distortion, smooth as it is sere. Lively solo action from Weber and Braceful pushes the band’s sound into delicate relief, throwing you into a dark groove before restoring us to light. “Thoughts” is an altogether different spoonful. A diary of aural scribblings, it unfolds private wishes with meticulous patience. After a watery intro, Waldron lays down a chalky little vamp. Subtler denouements and a twist of introspection complete the cocktail. You’ll find no miniature umbrella peeking out above this rim…only the curve of a listening ear. Waldron skips you like a stone into heavier grooves, which in return spiral into whispers. Drums curl inward, and in these quiet crawlspaces between the floorboards of the mind, we take our rest, lost among the dust bunnies whose filaments are string and wire and electric current. This is music that tastes exactly like what it’s made of. Soulful, spiritual, funked out psychedelic and a touch of free roaming madness, a total brain melting killer slide and probably Waldron’s finest moment ever. Original Japanese 1971 1st original pressing in TOP condition, complete with obi and Japan only gatefold cover art. Damned rare on these shores…. Price: 150 Euro
2337. WALDRON, MAL with GARY PEACOCK & HIROSHI MURAKAMI: “First Encounter” (Record: Near Mint/ Gatefold Jacket: Excellent - some faint foxing/ Insert: Near Mint/ OBI: Excellent ~ Near Mint). Rare Japan only issue all complete with rarely seen OBI. Japan only release of subliminal Waldron date in Tokyo, March 8, 1971 where he teams up with other seasoned players Gary Peacock and Murakami Hiroshi for a first encounter. The end result is a gem of a record where the trio creates 4 long tracks in a spiritual jazz inclined manner, made up out of spun-out improvisations on the four originals (three by Waldron and one from Peacock) that are melancholic in nature with an introverted and subtle undertone. The interplay between Waldron and Peacock on the inside/outside music is the main asset to this obscure but generally rewarding session. Japan only issue. SOLD
2338. WALDRON, MAL & STEVE LACY: “Journey Without End” (Victor – SMJX-10134) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Cap Obi: Mint). WHITE label PROMO. Japan only release of 1972. First ever all complete copy I encounter with OBI!!! The whole affair was recorded in Paris in 1971 and released on the Japanese RCA Victor label. The album was the first of many recorded collaborations between the two musicians. The line-up consists out of Mal Waldron: piano; Steve Lacy: soprano; Kent Carter: bass; Noel McGhee: drums. So far, this recording remains quite rare since it was never reissued, hence this Japanese pressing is the sole version available of one of the finest Lacy – Waldron joint ventures. Just beautiful, this is a TOP copy. No defects. Obi is so damned rare, it hurts my eyes just looking at it! Never had a promo copy before! Price: 300 Euro
2339. WALDRON, MAL & STEVE LACY: “Journey Without End” (Victor – SMJX-10134) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Cap Obi: Mint). Japan only release from 1972. First ever all complete copy I encounter with OBI!!! The whole affair was recorded in Paris in 1971 and released on the Japanese RCA Victor label. The album was the first of many recorded collaborations between the two musicians. The line-up consists out of Mal Waldron: piano; Steve Lacy: soprano; Kent Carter: bass; Noel McGhee: drums. So far, this recording remains quite rare since it was never reissued, hence this Japanese pressing is the sole version available of one of the finest Lacy – Waldron joint ventures. Just beautiful, this is a TOP copy. No defects. Obi is so damned rare; it hurts my eyes just looking at it! Price: 250 Euro

2340. WALDRON, MAL: “Mal: Live 4 To 1” (Philips – FX-8513~4) (2 LP Record: Near Mint/ Box Set Jacket: Near Mint/ 12-Paged Booklet: Mint/ Obi: Mint). Damned rare Japan 1971 very first original press issue that was released as a box set. Later issues were housed in a gatefold sleeve, only very first pressing came out as a beautiful box set with booklet. Japan ONLY issue. What a fabulous Mal slide, seeing him live in action in Tokyo and recorded over two nights (March 2nd and 3rd, 1971) both in solo setting, duo setting with Masabumi Kikuchi and in group settings with Isao Suzuki, Yoshiyuki Nakamura, Kohsuke Mine and Yoshiyuki Nakamura. Such a beautiful recording, both intimate and bustling with vibrancy, Mal with Japanese jazz heads is always a feast for your ears to indulge in and this one is no different. Comes complete with obi as well. Top shape and ear-bleedingly beautiful, what more can a mortal soul possibly ask more for? Price: 250 Euro

2341. WALDRON, MAL: “Free At Last” (Globe – SMJX-10098) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Annotated Booklet: Near Mint/ Gold Colored First Issue Obi: Mint). Japan 1st original pressing all complete with booklet and obi, this is only the 2nd time in all my years of dealing rare records that I can lay my hands on an all-complete first press Japanese copy in mint condition. The German ECM pressing is an easy score, but this one lives in a different parallel universe altogether. Recorded in Ludwigsburg in November 1969, featuring the great American pianist Mal Waldron, whose resume included work with Coltrane, Mingus, Dolphy and Billie Holiday. As Mal wrote: “This album represents my meeting with free jazz. Free jazz for me does not mean complete anarchy… You will hear me playing rhythmically instead of soloing on chord changes.” As Jazz Journal noted, “tough, two-handed modal blues” predominates, and the music sounds as fresh now as the day it was recorded. Indeed, the tersely-grooving “Boo” and “Rock My Soul” could be club hits half a century later. "The title's no mistake, as the album was really one of Mal Waldron's first really outside sessions – a real embrace of the free jazz modes coming out of the European scene of the 60s, but in a way that's slightly different than most! As Waldron states in the liner notes, his vision here is free, but not total chaos – an approach to music that's much more unfettered than before, yet still somewhat rhythmically structured – so that the tunes themselves roll out with a great deal of drive and energy, almost modal at points, but a bit fuller overall. The rhythm section here is a great part of the success of the album – with Clarence Becton on drums and the amazing Isla Eckinger on bass – a player whose pulsating approach is a perfect foil for Waldron's bold work on piano. There's actually a surprising amount of groove-driven numbers here – hardly the free jazz of the FMP scene, and more in the mode of some of the most unfettered expressions going down at MPS at the time" (Dustygroove). This for fucks sake is good beyond believe…a cornerstone recording and the rarest version out there…salivatingly awesome both sonically as visually, take no substitutes! Price: 125 Euro
2342. WALDRON, MAL AND TERUMASA HINO: “Reminicent Suite” (Victor Records – SMJX-10155) (Record: Excellent ~ Near Mint/ Jacket: Excellent – some foxing on back of sleeve/ Insert: Near Mint/ Obi: Near Mint). Original 1972 pressing only released in japan and one of the hardest to track down Mal slides. WHITE label PROMO all complete with OBI. The obscure "Reminicent Suite" is a rarely seen or heard gem! It was recorded in Japan during Mal's regular Japanese tour and finds him working with the leading Japanese trumpeter and his group, the Terumasa Hino Quintet, with Mal Waldron taking the piano chair. Terumasa's Quintet was one of the leading Japanese advanced post-bop collectives of that time, including such sound members as bass legend Isao Suzuki and drummer Motohiko Hino. Improved with Mal's piano perfectly communicating the band's sound as a small orchestra. "Reminicent Suite" is a Waldron composition with strong tunes, well organized and it ranks amongst his strongest works floating on a deep spiritual jazz vibe. Terumasa's trumpet is fast, strong and almost steals the show, but Mal's piano fits perfectly here, it sounds like he was a Quintet member for months or years. Each musician has enough space for improvisation, a great example of really collective work. Side B's "Black Forest" is a shorter and more percussive composition with stronger Japanese music influence. Repetitive rhythmic structure is used as a basic line for soloists changing each other. Less orchestrated, but melodic, and of the same high intensity level, it perfectly completes side A's "Suite..". Never released outside of Japan, this album is too obscure to be better known and more popular. It's a real pity - this work is a true Mal Waldron and Japanese jazz masterpiece. SOLD
2343. WALDRON, MAL: “Meditations – Live at Dug” (Victor – SMJX-10147) (Record: Near Mint/ Jacket: Mint – still in shrink/ Obi: Mint – still in shrink/ Insert: Mint). Scarce Japan only Waldron slide that is nothing short of jaw-dropping amazing. Amazing solo outing that as far as song selection and introvert atmosphere does come close to his “Les Nuits de la Negritude” slide. Intimate, dark and brooding, an embryonic sense of disintegration, performed before a small audience. Mal Waldron at his best and maybe his darkest. Just makes the hairs on your neck stand up and have you suppress silent screams down your throat. Bone-chilling stuff. Does not surface that often all complete with obi and in this condition. Price: 150 Euro
2344. WALES, HOWARD & JERRY GARCIA: “Hooteroll?” (Epic – EPIA-53022) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Original 1st Japanese press issue on high quality vinyl. 1971 release. “Prior to releasing his first non-Grateful Dead-related solo albums, Jerry Garcia (guitar) teamed up with Howard Wales (keyboards), another Bay Area performer, for the instrumental studio outing Hooteroll? (1971). “Morning in Marin" and the funky "South Side Strut" fuse intricate and advanced jazz progressions with soulful and driving rhythms The blend of Fierro’s windswept flute, Wales’ robust piano inflections, and Garcia’s weepy pedal steel guitar licks put the selection in a category all its own. The moody "Up From the Desert" embraces a slightly ethereal air, especially within the quaint baroque introductory passages. "One A.M. Approach" is remarkable in its intimacy between the co-leads. Garcia brings a quality and pure tonality that he would rarely revisit, either on his own or in the context of the Grateful Dead.” (All Music Guide). Top copy. Price: 65 Euro
2345. WALLINGTON, GEORGE AND HIS BAND: “Showcase” (Blue Note/ Toshiba EMI – BN-5045) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japanese pressing all complete with obi and insert. Recorded in 1954 and one of those glorious early Blue Note slides that sadly gets overlooked by many jazz heads. “The name Wallington, selected more or less at random by its owner, hides a colorful cosmopolitan background, for George Figlia, as they called him when he made his bow in Palermo, Sicily in 1923, was the son of an Italian opera singer and grew up in a classical setting, but grew out of it into the jazz world when he first listened to Basie and Lester Young. George was only 15 when he quit high school to work in Brooklyn and Greenwich village, playing with small bands for "pocket money and hot dogs" as he recalls. A chance meeting with Max Roach led to his participation in the birth rites of the bop movement. With Max, Dizzy Gillespie, Oscar Pettiford and Don Byas, he became one fifth of the first real bop combo ever to play on 52nd Street, in 1944. Later, working with Charlie Parker, Georgie Auld, Red Rodney et al. he became a constant protagonist of the new jazz school. [...] The collaboration with Quincy [Jones] on three Wallington originals, and on the other material in this set, was a prime factor in the success of the session.” (Leonard Feather). Price: 40 Euro

2346. WALT DICKERSON: “This Is Walt Dickerson!” (Prestige/ Victor Records – SMJ-7313) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Freakingly rare Japan 1st press original from 1962 all complete with never offered before 1st issue obi. “Walt Dickerson never got quite the credit he deserved for pioneering a modernist approach to the vibes during the early '60s, aligning himself with the emerging "new thing" scene and expanding the instrument's vocabulary beyond Milt Jackson’s blues and bop influences. Dickerson’s groundbreaking sessions for Prestige all predated the rise of Bobby Hutcherson as the hot new "out" vibes player at Blue Note, and while Hutcherson was a bit freer early on, Dickerson’s work still sounded adventurous and forward-looking. This Is Walt Dickerson!, his opening salvo, is every bit the statement of purpose the exclamatory title suggests. Each of the six selections is a Dickerson original, and he proves to be a marvelously evocative composer. Witness the cool, film-noir ambience of the mildly dissonant opener, "Time"; the haunting atmospherics of "Elizabeth," a tribute to his wife; the way the repeated riff of "Death and Taxes" imparts the sense of drudgery and inevitability suggested by the title; or the way Dickerson and pianist Austin Crowe keep twisting the rhythmic emphasis and cadences over the repetitive beat of "The Cry." Dickerson’s harmonically advanced playing is just as distinctive, too. He keeps the use of vibrato to a bare minimum, so much so that it's almost a shock when he lets some shimmering chords ring out on "Infinite You"; moreover, his use of rubber mallets instead of the customary felt-tipped augments his soft, controlled tone. In addition to Crowe, Dickerson is backed by bassist Bob Lewis and future Cecil Taylor drummer Andrew Cyrille. A striking debut, This Is Walt Dickerson! sets the stage for continued excellence, but also proves that Dickerson’s talent was already fully formed.” (All Music Guide). Top shape, and with damned rare 1st issue obi…one off chance, never seen it until now. Price: 250 Euro

2347. WALT DICKERSON: “To My Queen” (Prestige/ Victor Records – SMJ-7223) (Record: Near Mint/ Fragile Flip Back Sleeve: Excellent – with languette still attached onto the sleeve/ Obi: Near Mint). Rare and seldom seen Japan original pressing in outstanding condition, and the first time ever I see a copy all complete with damned rare first issue obi. Comes with Japan only sleeve art. “To My Queen is Walt Dickerson’s crowning achievement, a perfect balance between his intellectually advanced concepts and deeply felt passion. Dickerson had always displayed a fertile imagination, but there hadn't been much indication that his vision could be as expansive as it was on To My Queen. Never before had he attempted such extended, freely structured performances, which makes the album's consistency and focus all the more impressive. Like the foreground of a canvas, the listener's attention naturally falls on the title cut, a side-long, 17-and-a-half-minute opus (written in tribute to his wife, Elizabeth) that became Dickerson’s signature piece. It's deliberate, spare, and tender, with the soloists accompanied by either a gentle swing or the barest hints of support Dickerson’s shimmering opening statements are followed by thoughtful explorations from pianist Andrew Hill and bassist George Tucker. while drummer Andrew Cyrille offers subtle, whisper-quiet shadings, save for occasional drum rolls that come off like momentarily swelling passions amidst all the introspection. The second half of the album maintains the mood set by the first, featuring an 11-minute version of "How Deep Is the Ocean" and a vibes/bass duet on "God Bless the Child" that trumps Dickerson’s earlier effort in the same vein. This is arguably the finest quartet Dickerson ever led, not just because of the advanced musicianship and sympathetic interplay, but also because each member serves the material with taste and care. The whole album is swathed in a gauzy glow that speaks even more eloquently than its creator's conceptual ambition; this is music from the heart as well as the mind.” (All Music Guide). A bewitchingly beautiful and austere recording. Makes your ears glowing like fireflies during a rainstorm. Damn that obi is so scarce it just hurts my eyes by looking at it. Price: 175 Euro

2348. WALTER BISHOP JR. TRIO: “Speak Low” (Trio Records – PA-3077) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). First Japanese press issue in top shape. “The first album as a leader would of course be an occasion of incredible pressure, especially for an artist such as this one. By the time this recording was originally released in 1961, pianist Walter Bishop Jr. had spent so much time in other people's bands that it seemed the sideman stigmata would never heal. And it really never did, since despite more than a dozen efforts as leader between this one and his death in 1998 he never really achieved the acknowledgement as a leader that some of his contemporaries did, even ones who were somewhat lesser players. Of course anyone who peruses commentary on the bebop era that Bishop paid his dues in will come across opinions to the contrary. It is sometimes said that this pianist "lacked chops," hip lingo concerning technique and not meant to suggest he failed to stop off at the butcher on the way home as requested. True, this is not a flashy keyboardist and also one who did not choose his debut as a leader to unveil a stack of up till then hidden original masterpieces of composition. He plays standards here, choosing either the long or short form for six different titles, some of them quite familiar. Listeners may be advised that this is a side worth owning simply for the playing of the bassist, Jimmy Garrsion, the value of the piano playing put aside temporarily. While that group was quite adept at playing standards, the type of straight-ahead approach presented in the Bishop trio was more the way Coltrane played before Garrison came into his group. This album is full of this bassist's wonderful touch with mainstream jazz material, including some rumbling arco solos and terrific walking. "Blues in the Closet" holds steady to its quick tempo; after all, Garrison hardly flagged on the long, fast "Chasin' the Trane" that would follow only a few years later. G.T Hogan is on drums. Notice his fine brush work. A diminishing art today." Many keyboardists have missed out on the influence of pianists such as Bishop who knows how to state themes simply and eloquently. His use of dissonance in 1961 is subtle, hinting at tritones in "Sometimes I'm Happy" and letting somewhat delirious overtones ring out on the superb performance of "Alone Together." Needless to say, the piano is a bit out of tune here and there, adding to the mystique.” (AMG). First ever Japan press issue in top condition and with obi. Price: 50 Euro
2349. WARTTS, ANDREW AND THE GOSPEL STORYTELLERS: “There Is A God Somewhere” (Champ Records – LP-1962) (Record: Near Mint/ Jacket: Mint, still housed in original shrink). Original US first press issue in absolutely top condition. Andrew Wartts, based in Bloomington, Illinois, recorded his landmark gospel album There Is A God Somewhere album in the early 1980s and released it on the small Champ imprint based in Nashville, Tennessee. It took funk archivists years to discover this gem, but it’s a timely resurface. Wartts sound – a mixture of soulful, funky, melancholic yet celebratory exhortations to the Lord – belies the music’s age. In a time when most contemporary-leaning Gospel acts were moving towards the “boogie” sounds of then-pop stars such as Prince and Rick James, Wartts stood firm in his commitment to James Brown style funk. As an example, check out “Peter And John,” a quirky riff on “Give It Up, Turn It Loose.” Turning around neatly in 4/4, the rhythm section chooses to skirt, rather than emphasize, “the one.” The result is a slightly off putting, but wholly original entry into the Gospel-Funk archives. Just an awesome slide. Price: 450 Euro
2350. WATANABE KAZUMI: “Infinite – Kazumi Watanabe First” (Express – ETP-9038) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – no defects of blemishes, faintest trace of light foxing due to age but very minimal). Damned rare 1971 WHITE label PROMO issue in top shape. What a killer slide, total head-spin of a disc. The Kazumi Watanabe Quintet consisted out of Watanabe Kazumi on guitar, Uematsu Takao tenor sax, Ichikawa Hideo on piano, Suzuki Yoshio on bass and Hino Motohiko on drums – quite a stellar all-star lineup. Beyond any doubt, this is another Japanese Jazz masterpiece recording by Watanabe Kazumi, his first LP recorded when he was only 17 years old and still a high school student. However, when listening it is impossible to detect a 17-year-old at helm of this session with seasoned players since his technique and sensibility he attributes to the music is as mature as the recordings of his peers. His guitar playing is fluent and warm, brimming over with lyrical detail and balancing on the tightrope between spiritual jazz and free improvisation. Kaleidoscopic fingerpicking hurtling in and out of focus, creating and exploratory sound floating somewhere between the boundless fury of haunting freeform echoes and the warm, controlled burn of an unexpected impact dispersing a poetic resonance. It is all here, free form interplay, modal hard bop, spiritual inclined excursions, Bossa-induced alterations, etc. but all are spiced up by Watanabe’s infectious guitar lines veering off the excellent band’s interchange. A debut could not possibly cause a bigger splash of disbelief than this baby here, every track is a winner and sitting through this one is being immersed in one long arresting experience of consummate art. Rare first press original in top shape & white label promo issue to boot! Highest recommendation! Price: 500 Euro
2351. WATERS, MUDDY: “Best Of Muddy Waters” (Victor Records – SJET-8156) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ OBI: Mint). Rare Japan only issue – Japan 1st original pressing all complete with rare green colored SJET obi. Price: 75 Euro
2352. WATERS, MUDDY: “The Best Of Muddy Waters Vol. 2” (Victor Records – SJET-8343) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint) Rare Japan only issue – Japan 1st original pressing all complete with rare green colored SJET obi. White label PROMO issue. Price: 75 Euro
2353. WAYNE SHORTER: “Wayning Moments” (Victor Records/ Vee Jay – SMJ-7515) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Nice condition Japan original press issue of classic Shorter slide, comes housed in Japan only sleeve art. “This is not experimental jazz. It is finely performed mainstream jazz of the era in which it was made. While this recording does not equal the quality of the sessions to be recorded by Shorter later in the decade for Blue Note, it is pleasantly played bop. Shorter’s tenor saxophone shows a conservative side, to be sure, and a young Freddie Hubbard hardly takes any chances. Still, the rhythm section anchored by pianist Eddie Higgins and including bassist Jymie Merritt and drummer Marshall Thompson, keeps a solid beat and the results are pleasant enough. Double takes of all but one of the eight charts is included, though there are really not any important substantive differences from the originals. The short recording times of each track limits the solos, but there is nonetheless an attractive simplicity infusing the set. Overall, this does not represent the best work of either Shorter or Hubbard but it is still an interesting, if non-essential part of the discography of each of them.” (All Music Guide). Rare Japanese press original. With obi! SOLD
2354. WAYNE SHORTER: “Speak No Evil” (Blue Note/ King Records – GXK-8077) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). All complete and pristine Japanese original press issue of classic Wayne Shorter. “On the spectrum of jazz challenges, Wayne Shorter’s “Speak No Evil” appears to lean toward the easy side. The title track of the eminent saxophonist and composer’s 1964 masterpiece Speak No Evil sits in a comfortable and utterly approachable medium swing. Its primary theme is a series of long tones outlining placid, open-vista harmony. Its bridge resembles something from the notebook of Thelonious Monk – a simple staccato motif that stairsteps up and down, each phrase defined by strategic accents. Yet as often happens in the music of Wayne Shorter, things are not entirely what they seem. There are layers. The notes of the melody tell one story; the chords nudge the musicians someplace else, a realm where theory lessons are of limited value and instinct matters more than intellect. To thrive in this place, the musicians have to relinquish the tricks of the jazz trade – the lightning-fast bebop runs, the killer licks they lean on to navigate chord changes. The tune, simple though it may be, comes with its own specific language – a trait it shares with many of Shorter’s pieces. Before diving into the conversation, the improviser has to discover the specific quirks of the form, its textures and temperament. How challenging is this? Even Shorter, who wrote the tune, sometimes struggles. He begins “Speak No Evil” by repeating a deftly tongued single note over and over, as though chopping his way into new territory. Shorter’s first few lines are simple declarations with a smidgen of blues in them – he’s not thinking about solo hijinks, he’s just trying to hang with the slalom course that is his creation. As he steers around tight curves, his lines coalesce into a kind of spontaneous lyricism – he’s singing through the horn, linking seemingly disconnected phrases into one (!) hauntingly memorable chorus. The subsequent soloists embrace his melody-first example when improvising: trumpeter Freddie Hubbard blows wistful then tender then fierce; pianist Herbie Hancock follows spry modal lines into quiet introspective corners. This subtle “guiding” of soloists is a crucial component of Speak No Evil, and much of Wayne Shorter’s compositional output. The last of three monumental works Shorter recorded in 1964 (the others are Night Dreamer and Juju), this album frequently turns up on shortlists of essential jazz, and one reason is Shorter’s ability to coax those around him out of their comfort zones, and into new ways of playing. Shorter’s melodies encourage musicians to stretch, and so do his vividly imagined harmonic environments – playgrounds, really. No other jazz figure found such innovative ways to balance hard bop rhythmic fire against delicately loosened (yet, crucially, still tonal) harmony. And where some contemporaries built brainy maze-like contraptions, Shorter went straight for the heart, trusting that the poignancy he embedded in his structures would stir something similar within the soloists. The moods he explores here are deep and absorbing, far from typical jazz club fare: “Dance Cadaverous” offers a macabre tour of a haunted house (or, perhaps, a haunted mind), while the keening octaves of “Infant Eyes” sketch human vulnerability with a rare sustained empathy. Incredibly, these pieces become deeper and thicker in the solo passages, as each of the players gingerly endeavors to enhance the beauty already on the page. That’s what every composer wants – the chance for the vague notions he scribbles on paper to take root, expand and blossom as music. Shorter managed that with astounding consistency over the years, creating a songbook that’s regularly described as the “mother lode” of jazz composition. That songbook has many riches – some are stone simple, some merely sound simple, and some are deceptively sophisticated and complex. It’s a vast trove of heady music, and the high-level sorcery at work within Speak No Evil is a great way to begin exploring it.” (Blue Note Records) Price: 100 Euro
2355. WAYNE SHORTER: “Super Nova” (Blue Note/ King Records – GXF-3019) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint). Nice Japanese pressing of seminal deep space/psych jazz recording that blows me away every time I slab it on. It was the summer of 1969, flower power was in the air, conventional hard bop was in serious trouble, and Wayne Shorter wrought the hipfest Super Nova in the company of a gaggle of guitarists and percussionists. Super Nova, while typical in many ways of jazz in 1969, is by no means the average Blue Note session or the average Wayne Shorter album. Recorded just 8 days after the Bitches Brew session, many of the same artists from Bitches Brew appear here: saxophonist Wayne Shorter, guitarist John McLaughlin, drummer Jack DeJohnette, and pianist Chick Corea (playing drums and vibes on this!). Other Miles Davis alums appear: Brazilian percussionist Airto Moreira and acoustic bass player Miroslav Vitous (both later would become members of Wayne Shorter's Weather Report). The band plays new versions of 3 Shorter tracks previously recorded with Miles Davis (but not released until Water Babies in 1976). They are performed much better in this context. Though this is post-bop (stretching into free jazz)... it's far more melodic than the dark moody Bitches Brew. Highly recommended. Stunning copy all complete with OBI. All killer with absolutely no filler! Price: 50 Euro
2356. WAYNE SHORTER: “Odyssey Of Iska” (Blue Note/ King Records – BST-84363) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japanese pressing all complete with first issue obi. The present album can be seen as the missing Shorter link between Miles’ Bitches Brew and Wayne’s first album with Weather Report, and to be honest, it would heartily gain a spot next to or between those two. Produced by Duke Pearson (a Don Byrd acolyte), OOI is quite a departure on his previous solo works, Opening on the Wind track, Wayne directly puts a hypnotizing imprint with his slow sax, while the two bassists (McBee and Carter) and three drummers (Mouzon mainly, Cuomo and Hart) and two percussionists (Friedman and again Cuomo) lay an amazing bed on which to expand on. Of course the improvs often veer slightly-dissonant, but it is nothing to be afraid of either. The following Storm track is in the cacophonic continuation of Wind, but Bertoncini’s guitar is much more present, but don’t expect to hear the complete mayhem that the title inaptly induces, unlike the following Calm track’s name is infinitely more accurate a description, but also the A-side’s most accessible track. The flipside opens on the almost-12mins Brazilian bossa number De Pois Do Amor, which takes a few minutes to develop its charms, once Shorter’s superb sax parts takes us in its lovely meanders, helped by Friedman’s marimba playing. Emptiness is definitely not an accurate name for the second part of De Pois, even if three drummers and two bassists, but it ends in a no-tune’s land. The closing 9-mins Joy track opens erratically, but once the bass riff is settled (somewhat reminiscent of Trane’s ALS), it first hovers around, before diving head first in improvised vibes and sax solos and gradually speeds up.” (Sean Trane) Amazing album from start to finish, if Bitches Brew is up your alley, this one is also obligatory. Comes with OBI. Price: 75 Euro
2357. WES MONTGOMERY: “Montgomeryland” (Liberty – LLJ-80062) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Very first Japanese press issue with very first obi!!! WHITE label PROMO issue. Wes Montgomery (1925-1968) is widely recognized as one of the most revered guitarists in jazz history. Recorded a year after his debut album The Montgomery Brothers And 5 Others, Montgomeryland features Wes with his brothers Buddy on piano and Monk on bass, plus saxophonists Pony Poindexter and Harold Land. Price: 75 Euro
2358. WEST COAST POP ART EXPERIMENTAL BAND: “Part One” (Reprise – R-6247) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Company Inner Sleeve: Excellent). Extremely rare US first original pressing – this being the MONO issue. Comes housed in MONO sleeve with no stereo printed on top like most copies. Also comes with the first numbering on sleeve is R-6247 for the MONO as opposed to RS-6247 for the stereo issue. Rare to see one housed in an actual and promo MONO deigned sleeve. That aside, this copy is as perfect as they come, impossible to ever upgrade upon. Rare first original pressing on white MONO label. Top original 1st press copy of this all time psych classic. Best copy and condition imaginable!!! Price: 300 Euro
2359. WEST COAST POP ART EXPERIMENTAL BAND: “Part One” (Reprise – RS-6247) (Record: Near Mint ~ Mint/ Jacket: Mint, still housed in shrink). Top condition first press US original with sleeve still housed in shrink. Very first press issue with matrix numbers ending in A-1/ B-1 respectively. Absolutely TOP condition and next to impossible to ever find a better one. Price: 300 Euro
2360. The WEST COAST POP ART EXPERIMENTAL BAND: “Vol. 2” (Reprise – R-6270) (Record: Excellent ~ Near Mint/ Jacket: Excellent/ Company Inner Sleeve: Excellent). Beautiful condition copy of rare WHITE LABEL PROMO & MONO issue of West Coast Pop Art Experimental Band’s 2nd LP. Comes also housed in Mono sleeve complete with “Promotion – Not For Sale” sticker on lower right hand corner. Rarely seen clean PROMO & MONO issue. Price: 300 Euro
2361. WEST COAST POP ART EXPERIMENTAL BAND: “Vol. II” (Reprise – RS-6270) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ MINT) 1st original US pressing on the tri-color steamboat label. TOP COPY in absolutely perfect condition, record has no signs of being played a lot, the jacket has NO ring wear at all and looks like it was printed only yesterday! With their soaring psychedelia, achingly pure folk-rock and Zappa/Beefheart strangeness, these seminal underground gems from the West Coast Pop Art Experimental Band - Part One, Vol. 2 and A Child's Guide To Good & Evil - can be seen as encyclopedic primers of the late-'60s Los Angeles musical experience. Never seen a copy as clean and perfect as this one, jacket is always prone to ring wear but this one looks like new. Impossible to ever upgrade upon! Price: 250 Euro
2362. WEST COAST POP ART EXPERIMENTAL BAND: “Where’s My Daddy?” (Amos Records – AAS.7004) (Record: Excellent/ Jacket: Near Mint). Original US pressing, just a top copy, a shy away from Near Mint. “1969's Where's My Daddy?, surely must qualify as one of the creepier musical efforts of its year. Even without prior knowledge of bandleader and lyricist Bob Markley’s later descent into severe mental problems, not to mention a string of arrests involving underage girls, the lyrics of this album are disturbing; with that background, some of them are downright horrifying. A concept album of sorts, Where's My Daddy? charts the odyssey of "Poor Patty" (possibly the barefoot ten-year-old street kid pictured on the album's sleeve) through the post-Summer of Love bad trips of the Los Angeles street scene. From the Lolita-like innuendoes of "Everyone's Innocent Daughter" to the climactic "Two People," which ends up with a beaten and raped Patty pleading her case to a disinterested judge, side two of Where's My Daddy? is like one of those cautionary morality films of the '40s and '50s as reinterpreted by Dennis Hopper’s character from Blue Velvet. The music seems almost secondary, with most of the brief tracks consisting of little more than one- or two-chord vamps under Markley's increasingly fragmented and freaky story.” (From All Music Guide). To these ears a fantastic album with “Help I Am A Rock” standing out amogst a bunch of oddly normal but highly weird tunes. A classic. Price: 150 Euro
2363. WESTBROOK, MIKE: “Love Songs” (Deram – SML-1069) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original UK 1970 pressing unboxed Decca in TOP shape. Released in 1970 on Deram Records. A concept album from pianist and composer Mike Westbrook along with his "big band". There’s really a lot going on in this album; individually, collectively, scored and improvised, but in my opinion the arrangements with their themes etc. are so good that the result is a real stunner, rather than cluttered or overbearing. A jazz/soul record that embraces both the deep, funky and the jazzy. A warm feel flows throughout the whole album is present without getting cheesy as the title of the album could suggest. Its amazing how its up-tempo funky tracks still can sound so deep without suggesting some sort of dance party, but reaches into your soul and moves you. Stunning LP and a cornerstone recording in the UK jazz scene. A Must, top copy. SOLD

2364. The MIKE WESTBROOK CONCERT BAND: “Marching Song Vol. 1” (Deram/ King Records – DL-3002) (Record: Near Mint/ Jacket: Near Mint). Original Japan 1970 pressing in outstanding condition. Originally released on Deram in 1969 and followed by a Japanese pressing the following year, at a time of escalating world conflicts, this was pianist/ bandleader Mike Westbrook’s aural depiction of man’s inhumanity to man. Assembling some two-dozen key session players, he delivered obliquely orchestrated music that represented the light and shade, peaks and troughs of conflict. Mostly brass- and reeds-led, the pieces are in turn profoundly disturbing, relaxing, jubilatory and saddening. It makes at times for a most challenging listen, though always demands reflection and raises questions. Fantastic recording. SOLD

2365. THE MIKE WESTBROOK CONCERT BAND: “Marching Songs Vol. 2” (Deram – SML-1048) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint/ Company Inner Sleeve: Excellent ~ Near Mint) Original UK 1st pressing on the collectible Deram label, 1969 1st issue. The second volume of Mike Westbrook’s Marching Song work was issued simultaneously with the first volume at the end of 1969. Since the first and second sides of Marching Songs Vol. 2 are labeled "side three" and "side four," it's fair to deduce that it's meant to be listened to in combination with the first volume, even if the volumes happened to have originally been issued on separate LPs. Marching Songs Vol. 2 is, like its predecessor, a mix of progressive big band and avant-garde jazz that has often been interpreted as a statement on the nature of war, and sometimes as a specifically anti-war statement. However, it's not only devoted to angrily implied protest, though it has its share of cacophonous passages. There are also lightly swinging, rather accessible pieces (like "Home") that reflect non-combat wartime scenarios, as well as subdued compositions with horn soloing that act somewhat as lulls in the fighting, like the opening "Transition" and the more dramatic "Ballad." "Prelude," meanwhile, has something of a post-modern sitting-around-the-campfire feel, and "Tension" expands its cinematic implications with dynamic interplay that would sit well on the soundtrack of a thriller. "Conflict," however, has all of the large-scale dissonance both avant-garde jazzers and anti-war protesters might be thirsting for, a bent that becomes more pronounced as the record storms toward its conclusion. There's no shortage of quite out-there sections, however, with the several-dozen-strong cast of players -- including such standout names as Kenny Wheeler on trumpet and flügelhorn, Barre Philips on bass, and John Marshall on drums -- guaranteeing depth and richness to the arrangements. If it's consciously studied as a concept work, it's not so much an antiwar protest as a reflection of war's many moods and stages, from gung-ho patriotism to between-battle ennui and post-conflict exhaustion.” (All Music Guide). Totally essential UK jazz slide. Top condition!!! Price: 175 Euro
2366. WESTBROOK, MIKE: “Metropolis” (RCA Records/ Victor Records – RCA-6060) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Scarce Japan 1st original pressing that saw the light of day in 1972 and which comes all complete with rare OBI. Metropolis can be regarded as his best works, precisely because they stray the farthest away from the Ellington aural realm. Composed in parts as early as late 68, Metropolis had seen many different versions and line-ups until it received its final studio form in the summer of 71, recorded over three days in the famous Lansdowne studios. Graced with an outstanding and atypical (for jazz circles) gatefold empty-highway artwork, the 9-movement Metropolis sees a big part of the who’s who in the London Jazz scene as partakers, including stalwarts like Wheeler, Beckett, Lowther, Rutherford, Osborne, Warleigh, Skidmore, Warren, Khan, Taylor, Boyle, Miller, Laurence, Jackson, Marshall and the delicious but discrete Norma Winstone… just to mention those. Yes, we’re in a big-band mode, but we’re definitely not treading the traditional type, but more of a JR/F mode. Don’t be afraid by the relatively improvised and dissonant intro, because it’s really one of the only two times Metropolis will stray across the un-melodic boundary. Indeed, the second movement opens of wild trumpets to feature an up-tempo JR/F, while Miller’s bass paves the way for Warleigh’s flute and Winstone’s strange vocalising on the third movement. The album will keep on alternating between wild and enthralling fusion moments to more-improvised collective meanderings, and some (but not many) inescapable Ellington-influenced passages. The album reaches some awesome and unsuspected climaxes around the end of the 6th movement, soon enhanced by slow Westbrook-piano and Boyle-guitar, but the 8th movement is also worth the detour and wait. The closing movement is an emotional exchange between Beckett’s trumpet and Westbrook’s piano (and later Taylor’s Rhodes), quite a fitting outro for such an amazing concept suite. With this album, Westbrook arrives on the same level as Graham Collier, Michael Garrick, Neil Ardley and Ian Carr in achieving a very British mix of jazz and rock, one that’s fairly different and emancipated of the Atlantic cousin. As far as I am concerned this album is a no-brainer. Price: 250 Euro
2367. WESTBROOK, MIKE: “Metropolis” (RCA Records/ Victor Records – RCA-6060) (Record: Near Mint/ Gatefold Jacket: Near Mint). Scarce Japan 1st original pressing that saw the light of day in 1972 – same one as the LP listed above but the obi is missing. Also this copy is a scarce WHITE label PROMO issue, so it could be a nice catch. Cheap price for a killer slide in great shape. Price: 75 Euro
2368. WHITE HEAVEN: “Next To Nothing” (Noon – Noon-LP9601) (Record: Mint/ Gatefold Jacket: Mint/ Outer paper wrapping: Mint). Limited to 250 copies releases from years long gone, the hardest to track down White Heaven slide and to these ears their best. Rare limited 250 only of their final effort that was released in 1994. Housed in old style thick cardboard gatefold cover but the very fragile paper slick wrap that used to be around it is missing. Cuts are “Midsummer Stroll”, “Shadow of the Sun”, “Strange Bedfellow”, “Look of Love”, “Wednesday”, and “Out There”. Both cover and disc are NM. Comes with insert. Hereafter the band disintegrated and molded into the Stars but never was able to attain the grandeur and magick of those White Heaven days. Kurihara steals the show on this one and especially the version of the “Look of Love” is a jaw-dropping great piece of work, centered around Hirano Go’s minimal repetitive piano chords that slowly gain momentum by melting into a wash of shimmering feedback licks unleashed by Kurihara. Possibly the finest 12 minutes to be poured into wax. Killer disc. Totally essential. Only 250 copies pressed and getting a tough score. Price: 450 Euro
2369. WHITE HEAVEN: “Levitation” (The Now Sound) (Record: Near Mint/ Jacket: Mint). Early times White Heaven slide that sees the band live in action way back in during their “Electric Cool Acid” period – which by many is considered their best incarnation ever. Recorded before “Out” saw the light of day, the line-up here was You Ishihara (vocals/ guitar), Michio Kurihara (guitar), Soichiro Nakamura (bass) and Ken Ishihara (drums). They rip through classics such as Cold Hour, Dull Hands, Out of My Window and Snow on the Table. Delirious acid drenched and amphetamine soaked basement psych live in Tokyo in 1988. This is the 1st original pressing and not the common bootleg that is floating around of this one. Killer with absolutely no filler. Been ages since I saw a copy of this one. Price: 100 Euro
2370. WHITE HEAVEN: “Threshold Of The Pain b/w 4 Hours” (HG Fact – HG-014) (7 Inch Record: Near Mint/ gatefold Picture Sleeve: Near Mint/ Insert: Near Mint). Bloody scarce White Heaven solo single release that dates back to the 1995 glory days of Japanese underground psych galore injected with a hefty dose of PSF fumes. Has been ages since I have seen a copy of this brilliant slab of sonic Valhalla. Price: 50 Euro
2371. WHITE, LENNY: “Venusian Summer” (Warner Pioneer – P-10148A) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original 1975 1st press from Japan with OBI. Amazing slab of hot boiling jazz funk. One of the better entries to emerge from a genre that was quickly growing tired. “Return To Forever drummer Lenny White, while not as powerful or talented as counterparts Billy Cobham or Alphonse Mouzon had an excellent feel for funk and an amazing sense of taste. "Chicken-Fried Steak" contains enough odd-time beats and fills to satisfy any drum fanatic, but White proves to be more than just a technician. "The Venusian Summer Suite" and "Mating Drive" are both moody pieces that were obviously influenced by the music of Tangerine Dream. But the primary reason this session succeeds is "Prince of the Sea." It is a strong composition that features Al Di Meola and Larry Coryell. This was their only recorded performance together in the '70s and fans are still seeking this recording out to see "who won". (All Music Guide) Getting tougher and tougher to unearth since a new generation of listeners have discovered this one. Price: 50 Euro
2372. The WHO: “Sell Out” (Polydor Japan – SLPM-1394) (Record: Mint/ Flip Back Fragile Jacket: Mint). Original first issue Japanese pressing that comes housed in a Japan only jacket. Released in 1968 and in total mint condition, impossible to upgrade upon. Music needs no introduction I guess, a classic all way round. Amazing TOP condition and hardly ever surfaces on these shores so rare forever. In this condition it will be impossible to score, perfect all way round. Price: Offers!!!!!
2373. WIEBEL FETZER: “Live” (Bazillus Switzerland – ZILL-111) (2 LP Set: Near Mint/ Silk Screen Jacket: Near Mint). Original Swiss private pressing that came out in an edition of 250 copies back in 1971. Recorded at the "Weisser Wind" of Zürich, on 27th April 1971. Seven Swiss, three Danes, an American and a Swede – amongst them Krokodil’s drummer & percussionist Dude Durs, John Tchicai, Peter Warren and Irene Schweizer – experimented live in a one-off concert with creating new sounds through intuitive approach and creating a new musical language that balances between free improvisation, derelict funky vibes, tribal hoedowns, asymmetric grooves and mutant variations of electric jazz and rock. The result is just astonishing, brilliant and out of time!!! That session will always remain timeless and you can call it free and experimental jazz / rock but still that will fail to nail it down properly as it embodies elements of it all and molds it into a new intoxicating musical language that will keep you begging for more and more. It is dense, subtle and refined – almost like a cocktail of Bitches Brew era Miles Davis, the tribal stomping grounds of Amon Duul II and Stravinsky’s pagan sacrifice vibes in The Rite of Spring all sprinkled over by a lethal dose of raw breakdowns of huffing brass and droning psychedelic moods and once the group is firing on all cylinders it is just impossible to resist, mainlining free jazz, electric boogie and psyched out hoedowns all in one. An addictive cocktail for sure and one killer of a rare 2 LP set. Bloody rare privately released 2 LP set in TOP condition, this is beyond awesome!!!! Price: 450 Euro

2374. WILEN, BARNEY: “Tilt” (Vogue/ Wing – BVJJ-2937) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Top condition long deleted high-quality Japanese issue of cornerstone French jazz slide. Amazing debut as leader for French tenor sax superhero Barney Wilen who was not even 20 at the time! Recorded in Paris in January 1957 with Maurice Vander (piano), Bibi Rovère (bass) and Al Levitt (drums) on the first side and Jack Cnudde (piano), Bibi Rovère (bass) and Charles Saudrais (drums) on the side two. Classic slide and Japan high quality pressing of always elusive French masterpiece de jazz! Price: 75 Euro

2375. WILEN, BARNEY: “Barney” (RCA Records – RCA-6018) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan very first press issue from 1972 all complete with obi of killer hard bop slide by Wilen. Originally only released in France in 1960, this Japanese press is one that hardly turns up as sales back then were depressingly low. An elite front line of Dorham and Wilen with Duke Jordan, supported by the best of Paris’s sidemen, recorded live at the Club Saint-Germain, Paris. Wilen’s fluid and melodic swing is a delight, having found for himself a distinctive voice, perhaps tenor saxophone with a French accent. Barney was recorded in Paris around the same time as the film score – Un Temoin Dans La Ville, a film noir on the theme of murder, vengeance, and taxis. Three months later, Wilen recorded in New York, with Art Blakey Jazz Messengers, the film sound track to Les Liaisons Dangereuses – a morality tale of seduction, revenge and human malice. The year previously Miles Davis recorded the soundtrack with Wilen for Ascenseur pour l’Echafaud a story of  love and betrayal, murder, and fate. A great time for black and white French art-house flicks about enduring human themes with cool American jazz scores. The French original is impossibly rare and expensive. Not that the Japanese is that easy to come by either. Pressings of this provenance are in the fortunate position where the technology of vinyl production in Japan was well advanced and not degraded by and original tapes are not yet effectively deteriorated. The result is sweet. Comes complete with rare OBI as well. Price: 175 Euro
2376. WILEN, BAREY: “Auto Jazz – Tragic Destiny of Lorenzo Bandini” (MPS Records Japan – YS-2203-MP) (Record: Mint/ Heavy Laminated Gatefold Jacket: Near Mint, has only a few mildew stains inside gatefold visible against white background). Rare white label promotional copy. French tenorist and racing enthusiast Barney Wilen's arrived at the 1967 Monaco Grand Prix with his Nagra sound recording system in hand, planning nothing more than to tape the race for private use. But when famed Italian Formula One racer Lorenzo Bandini lost control of his car and crashed, suffering horrific burns that claimed his life three days later,, Wilen et to work on integrating the tape into a new composition celebrating the driver's life and career. The resulting Auto Jazz – Tragic Destiny of Lorenzo Bandini remains one of the most adventurous and potent recordings in Wilen’s catalog, its careening, visceral music brilliantly paralleling the exhilaration of its subject matter. Bandini's Ferrari speeds in and out of the musical narrative, jockeying for position amid Wilen's soaring tenor and Eddy Gaumont’s crashing drums while uniting driver and musicians in their reckless abandon and addiction to adrenaline.” (Jason Ankeny – AllMusic) 1969 Japanese 5-track LP featuring the soundtrack of the 1967 Monaco Grand Prix incorporated into the five-movement 'Musique Concrete' suite in which the unfortunate Lorenzo Bandini lost his life after a crash on the 87th lap. Against a crashing free jazz setting with incorporated musique concrete sounds of vintage race cars speeding around, motors humming, race announcements, Wilen churns out an incendiary set fuelled with gut wrenching moves, twists and turns. The race sound s mix perfectly with the burning fire music, a match made in heavens that ended in disaster for Bandini. The whole affair comes housed in a great front laminated gatefold picture sleeve. Top copy original Japanese pressing on high quality vinyl. A feast for your ears and eyes, jacket comes in thick laminated gatefold jacket. SOLD
2377. WILEN, BARNEY & his AMAZING FREE ROCK BAND: “Dear Dr. Leary” (MPS Records – YS-2301-MP) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Mint/ Insert: Mint/ OBI: Near Mint) ORIGINAL FIRST JAPANESE PRESSING FROM 1970 with heavy foldout cover. WHITE LABEL PROMO & best copy I have seen so far, impossible to upgrade!!!! Also the first time I can lay my mittens on an all complete copy with rare OBI! This is stellar oddball free jazz meets psychedelic pop record, the most perfect hybrid configuration between these two worlds. The result is a galvanizing mercurial mixture that rips through free hardcore jazz while touching elaborately at the lysergic colored mind drops scattered all over the 1968 music scene by the Beatles and other pioneering mind benders. Exotic, weird, out of place and totally in tune, while dropping out of fixed musical straight jackets, Barney and his free rock band artificially fertilize a new musical species and this before sheep Dolly and her test tube babies caused havoc amongst the straight people. They certainly have the ability to turn you on. Great stuff ignited by a defused atomic line-up. Personnel: Barney Wilen (tenor & soprano-saxophone), Joachim Kuhn (piano, organ), Mimi Lorenzini (guitar), Gunter Lenz (bass, electr. bass), Aldo Romano (drums) & Wolfgang Paap (drums). A rarity, first Japanese pressing on the MPS label and pressed on high quality vinyl. With obi – a small miracle! Price: 200 Euro
2378. BARNEY WILEN & his AMAZING FREE ROCK BAND: “Dear Dr. Leary” (MPS Records – YS-2301-MP) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ Insert: Near Mint) ORIGINAL FIRST JAPANESE PRESSING FROM 1970 with heavy foldout cover. Stock copy and obi is missing so again a dirt cheap one. Price: 100 Euro
2379. WILEN, BARNEY: “Moshi” (Saravah Records – SH 10028.10029) (2 LP Record: Near mint/ gatefold Jacket: Near Mint). In 1970 Barney Wilen assembled a team of filmmakers, technicians, and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects, and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier, and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, street-legal funk. Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of indeterminate origins. A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz and funky noise, with some cuts that are spacey, and others that are nice and funky. Price: 475 Euro
2380. WILKERSON, DON: “Elder Don” (Blue Note/ Toshiba EMI – BN-4121) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Top condition high-quality Japanese press issue. “Don Wilkerson's first Blue Note session, Elder Don is a highly enjoyable set of hard-swinging, bluesy soul-jazz and hard bop. It's hardly a one-note collection -- "Senorita Eula" swings with a Latin lilt, "Scrappy" is a hard-hitting R&B number, the lightly Cuban recasting of Bob Wills' Western swing classic "San Antonio Rose" is fluid and infectious, "Lone Star Shuffle" and "Drawin' a Tip" are wonderful blues shuffles, and the ballad "Poor Butterfly" has a graceful, lyrical quality -- which is part of the reason why it's so impressive. Still, all of the credit for Elder Don’s success has to go to Wilkerson, whose vibrant, robust tone dominates the session, and since he's playing with exceptional guitarist Grant Green and excellent drummer Willie Bobo, as well as pianist Johnny Acean and bassist Lloyd Trotman, that's no small accomplishment. In fact, records like this go a long way in proving that Wilkerson was one of the great underrated saxophonists of his time.” (All Music Guide) Price: 60 Euro
2381. WILLIAM S. BURROUGHS: “Call Me Burroughs” (ESP Disk – ESP-1050) (Record: Near Mint/ Jacket: Excellent, middle lower split seam of 1 cm, apart from that top condition). Burroughs reads selections from Naked Lunch and Nova Express. Call Me Burroughs was recorded in a basement apartment in London that Paul McCartney had outfitted with some tape recorders and which Burroughs had access to. Naked Lunch had started life as a series of "routines", little spoken word scenarios that Burroughs would entertain his pals with. To hear him read "Dr. Benway" or "Bradley The Buyer", in his dry, flat, timeless voice, is like having a private performance of Burroughs doing routines right in your own home. An all time classic in awesome condition. 1st original pressing. Price: 150 Euro
2382. WILLIAM S. BURROUGHS: “Nothing Here Now but the Recordings” (Industrial – IR0016) (Record: Near Mint/ Jacket: Near Mint). Original 1981 press as released on Throbbing Gristle’s own Industrial Records imprint. Definitely the greatest Burroughs recording to have ever seen the light of day on wax. The LP collects tracks recorded from 1959 up until 1978 but the largest bulk of the material was recorded in the early 1960s. It is a magnificent collection of Burroughs tape, radio and TV cut-up experiments. His nasal clinical voice interlocks neatly with rasping blurring slur of the tape hissing away, spiced up with radio buzzing statics, street noises and cut-up juxtapositions. Reverb and echo bouncing off against the hotel walls where it all was recorded before being sliced to pieces, re-connected and dismembered, this sonic travelogue into the working mode of one of the 20th century’s greatest ever writers is a truly alchemical voyage, a chilling trip through rasping reverb drenched spoken weird executed in the clipped clinical monotones typical of speeded up and slowing down voices of an analytical mind at play. Aural experimentation through recorded sub-vocal speech and manhandling throat held microphones and inching the recorded tape manually across the recording heads of the machine, it takes you on a voyage few artists have ever undertaken. Just sheer brilliance!! Price: 150 Euro

2383. WILLIAMS, ANTHONY: “Spring” (Blue Note – BST-84216) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint). Liberty US press issue fully signed by all members in the band being Wayne Shorter; Gary Peacock; Tony Williams, Herbie Hancock and Sam Rivers, making this a quite unique item, a piece of history. “Spring is his second Blue Note as leader. Williams is the perfect host, serving up probably one of Sam River’s best albums, as well as one of Hancock’s best and a great Gary Peacock record. There is a solo Williams track too, for those who like their percussion neat. It feels very 1965. Jazz is freeing up nicely, with new players charting course for new lands, much looser in structure and direction. The musical purpose is expressive rather than narrative; the beat offers continuous propulsion in place of formal time signature. The “rhythm section” steps forward as an equal to the front line, everyone is a soloist, instruments freed from their traditional roles, Hancock’s piano is percussive, the bass no longer walks but adds texture and shades of color. Interesting decision by Williams to run with two tenor saxophone players, Shorter and Rivers, both leading lights of the post-bop scene. This often gives rise to a little friendly competition for pole position. Seems to me a beneficial decision, as I think Shorter is pushed to up his game. The music was progressing towards its destiny, the inevitable rendezvous between modern jazz and modern art.” (London-Jazz-Collector). Great copy fully signed by the whole band…. Price: 200 Euro

2384. THE TONY WILLIAMS LIFETIME: “(Turn It Over)” (Polydor – 2425-019) (Record: Near Mint/ Laminated Jacket: Near Mint). First original UK pressing – comes housed in fragile laminated jacket complete with lamination perfectly intact!!!! UK pressing of this album is quite rare and superior. Top copy. Price: 150 Euro
2385. WILLIAMS, TONY: “The Tony Williams Lifetime Emergency” (Polydor – 25-3001) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint). Original US pressing in top condition. Gatefold jacket is free from ring wear, next to impossible to upgrade upon. “Williams's group Lifetime, which looked on paper like an organ jazz-funk trio, produced in 1969 this headlong hybrid from jazz complexity and rock immediacy. Williams, fresh from edging Davis towards his jazz-rock-soul period, concocts a driving, high-volume fusion that has more conviction and flare than anyone else's would until the advent of the great Mahavishnu Orchestra a couple of years later. That band was led by Williams's collaborator here, John McLaughlin, as blistering and savvy a guitarist as any jazz-rock saw. Larry Young's organ is a skirmishing juggernaut, clearing and blasting into space above, behind, beneath, and between the drummer's crashing, jittering rhythms. A cautionary note: To be sure, Williams's singing on Emergency! is brave, at best, but it is blessedly limited.” (Peter Monaghan). Spot on, a true classic and in pristine shape. Price: 75 Euro
2386. WILLIS, BUTCH & THE ROCKS: “Forthcomings” (Love Records – BW-1002) (Record: Near Mint/ Jacket: Near Mint – Still In shrink). To these ears one of the greatest but sadly overlooked totally wacked out outsiders LP’s to seep out of Middle slime USA. Released in 1986, “Forthcomings” is a brain numbing blast and the song “drugs” which opens up side two is one of the greatest and wasted songs ever recorded and which has kept on haunting me for over almost two decades. “In the mind of Butch Willis, he and his group The Rocks are the entry-level equivalent of Bob Seger & The Silver Bullet Band, Bruce Springsteen & The E-Street Band, or even the latter-day Rolling Stones. They play straight-arrow AOR hard rock, with a lot of sheen and just a little tiny bit of gristle. By Butch's way of seeing things, the only reason he and his band don't have a major-label record contract is due to clerical oversight. To the rest of the world, however, he and The Rocks belong much more to the realm of such outsider musical artists as The Twinkeyz, Electric Eels, Shuggie Rodelle & His Imbiblio Band or the singing flea market cowboy Buddy Max, than they do to the world of arena rock. As evidenced by the two albums he released on his own Love label in the mid-1980s, Of and Forthcomings, Willis and his revolving-door band of D.C.-area musicians are anything but pedestrian. Would Bob Seger have a full-time band member whose sole duty is to stand there and chop at his throat while warbling vocal tones? While much of Willis' material centers on banal topics given humorous slants ("Kitty Cat," "TVs From Outer Space," "Pizza On My Jeans"), he is equally capable of a sublime treatment of classical themes ("The Girl's On My Mind," "Everything's Alright," "The Garden's Outside"). At their best, his Rocks are capable of generating a surging undertow of rhythmic noise, over which Butch can pour out his heart and "throat guitarist" Al Breon can uvulate like there's no tomorrow, contributing a warp factor reminiscent of Tommy Hall's electric jug playing with the 13th Floor Elevators. Willis's songs are exciting, his lyrics entrancing, and his quavering voice and unsteady physical presence are like watching a hobbled old lady trying to cross a busy intersection against the light. Add to that a Maryland twang ready-made for a John Waters Dreamland production or the cast of Heavy Metal Parking Lot and Butch's obvious sartorial splendor, and you've got the makings of a true star.” (Phil Milstein). Spot on, Butch Willis and the Rocks are nothing but phenomenal, and Forthcomings is an absolute masterpiece in my book. Highest possible recommendation!!!! Price: 100 Euro
2387. WINSTONE, NORMA: “Edge Of Time” (Argo – ZDA.148) (Record: Near Mint/ Jacket: Near Mint). Top condition UK original pressing. British jazz vocalist Norma Winstone’s solo debut is an entrancing meld of creative composition, improvisation, and arrangement. Winstone is no ordinary jazz singer. Her grasp of the entire tradition is as complete as her improvising chops are sharp. Winstone surrounds herself with the cream of the crop of Britain's brilliant jazz wunderkind here: Kenny Wheeler, Paul Rutherford, Art Themen, Chris Pyne, Chris Laurence and John Taylor, just to name a few. She embraces the vocal tradition in order to stretch it on the album's centerpiece, "Enjoy This Day," with glorious interplay between Winstone and Wheeler (whose solo is one of the best of his early career) led by John Taylor’s two-handed harmonic extrapolations -- the tune was composed by Winstone and Taylor and he arranged it. As she shimmers through "Enjoy This Day," the vanguard tonalities of John Surman’s  "Erebus (Son of Chaos)," and the elegant balladic traditionalism of "Songs for a Child," Winstone’s commitment to offering new vistas for voice is total, matched only by her astounding ability to erect new vocal architectures in phrasing, breath control, and pure emotional transcendence. Of the seven selections here, each is a new chapter, a new way of hearing and engaging a vocalist at her most restless, yet who remains in absolute control.” (All Music Guide). One of the UK’s cornerstone jazz slides. Does not turn up often in decent condition and this copy here certainly will satisfy all your nerdy condition needs. Highly essential!!! Price: 450 Euro
2388. WIRE: “Document And Eyewitness – Electric Ballroom LP” (Japan Record – RTL-3501) (2 LP Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Japan 1982 original first pressing, rare promo issue. Great live recording of their 1980 show at London’s The Electric Ballroom, the band’s last before a five-year hiatus. Conceived as a multimedia event that would feature absurdist “actions and interventions,” experimental performances by Wire members and their associates, and, of course, very little of the band’s then-released music, the show was meant to expand on the ideas the group had showcased in their divisive-but-accomplished residence at the Jeannetta Cochrane Theatre late in 1979. So, an audience already nonplussed by the lack of Pink Flag vehemence in the band’s recent music was treated to Colin Newman singing while wearing an oversized beekeeper’s veil, DAF joining in for a chorus sporting headdresses made out of newspaper, an inflatable jet, a huge white sheet paraded across the stage through the whole evening, Angela Conway dragging two tied-up men, and a life-sized goose lamp. Price: 50 Euro

2389. WISHBONE ASH: “Vas Dis b/w Jail Bait” (MCA Records – D-1145) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint) Scarce Japan only picture sleeve issue, WHITE label PROMO issue. Top condition. Price: 175 Euro

2390. WISHBONE ASH: “Blowin’ Free b/w No Easy Road” (MCA Records – D-1177) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan only Wishbone Ash single record with unique picture sleeve. Rare WHITE label PROMO issue. Price: 100 Euro

2391. WISHBONE ASH: “Argus” (MCA Records/ Victor Musical Industries – MCA-6066) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Original 1st original Japanese pressing on high quality vinyl and in exquisite condition. Classic slide that needs no introduction I guess. Personally I ride hard for the 3 first Wishbone Ash albums. Essential!!! Price: 50 Euro

2392. WITCH: “Lazy Bones” (Shadoks) (Record: Mint/ Jacket: Mint). “The Witch was a Tuff sounding lo-fi band From Zambia. Witch released just one album, Lazy Bones, in 1975. It is a work of sheer genius. Witch played a sort of wah-wah psych but with a bit more darkness. Check out the opening track, "Black Tears." It starts out rather melancholy and builds into a chugging, almost Sabbath-inspired shuffle before finishing with a doomy end. Lazy Bones!! sounds as if it was recorded live to 2-track with the vocals and some acoustic guitar added later. The spartan production only makes the album more Tuff. The drum fills and vocals at times overload the mics. You can almost hear the suffocating heat of whatever slap dash Zambian studio they were in.” (Tuff Rock). A stunning blast out of Zambia in 1975. A soul-shouting edge combines with hard driving punk/garage guitars, tons of wah-wah, mesmeric melodic constructs, heavy African rhythms and powering blues testifying that sounds like a more militant/low-down take on South American psych. Price: 75 Euro

2393. The WIZARDS FROM KANSAS: “S/T” (Mercury – SR-61309) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). Top condition, US first original press issue of superb West Coast/ Airplane-like guitar psych. Hard to find a better copy, still housed in original shrink with shop sticker on shrink. Actually, hailing from Kansas, The Wizards From Kansas were an obscure country-influenced outfit whose debut album featured some fine versions of classics from the period, including Buffy St. Marie's "Codeine," as well as some excellent originals such as "Misty Mountainside," "Country Dawn" and "She Rides With Witches." The original five-piece band enjoyed considerable local success, eventually finding themselves playing the Fillmore East, a gig which led to a number of offers of record deals which the group turned down. However, towards the end of 1969, Mercury Records finally wore them down, and the band signed to the label, with their eponymous first (and only album) appearing in the summer of 1970. During the album's recording, several of the band members decided they preferred playing jazz and duly departed to pursue their interests, leaving Mercury with a new album, but no band to promote it. Predictably, the label lost interest and the record sunk without trace. There is a lot of fine stuff on this album, which is both extremely collectable and highly recommended. Price: 350 Euro

2394. JIMMY WOODS SEXTET featuring ELVIN JONES: “Conflict” (Contemporary/ King Records – SH-3051) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1965 first press issue all complete with never seen before OBI. “Jimmy Woods was a talented musician who made few recorded appearances before vanishing into obscurity. Conflictis the second of two '60s solo records on Contemporary. It’s tempting to judge Woods solely on the company he keeps—certainly the likes of Andrew Hill, Elvin Jones, and Harold Land don’t have to be bothered with middling talent. However, Woods proves he can more than handle the responsibilities on a program consisting entirely of forward-thinking, advanced hard bop originals, which also utilize inventive call-and-response riffs. “Conflict” is a lopsided blues with an edgy vamp from Hill which allows the front line to indulge in some grand exploratory work. On the other hand, “Apart Together” features a complicated head and the type of restless chord progressions that serious musicians love to dig in to. Woods demonstrates his ability to handle the changes and aptly deserves the company he keeps. Elvin Jones fits in his usual thunderous moments, and the rest of the sidemen, Hill and Carmell Jones in particular, are models of creative expression. Contemporary signed Woods after Ornette Coleman’s departure to Atlantic. While not quite an equal replacement, Woods proved that he was a talented musician whose time in the spotlight, for whatever reason, was brief.” (All About Jazz). Damned rare Japan 1st original pressing in top shape. Never have I seen a Japan original before all complete with obi – let alone in such pristine shape as this baby here. Price: 150 Euro
2395. WOORDEN: “S/T” (Omega – 333.023) (Record: Near Mint/ Gatefold Jacket: Near Mint). Bloody rare original 1967 Dutch private pressing. The best – rarest – most disoriented psychedelic & crackbrained weird/ disoriented avant-garde/ frenzied free jazzing and lysergically dysfunctional LP to seep out of the Low Lands. This is nothing short of being the most legendary Dutch underground piece that appeals to just anybody – whatever your musical persuasion may be – folk, free jazz blowouts, poetry, weird effects, musique concrete, tape effects, psychedelic rock, lysergic daydreams, improvisation jams, doped up freefall for all, etc it is all there because it was a time when there were no limits and no laws. There is one female vocal folk track on this disc that blows the whole of the “Wicker Man” album (which I deeply and dearly love) straight out of this solar system. Then there is the totally delusional tripped out gatefold jacket art that again ranks amongst one of the best jackets ever to have hit the streets. Totally lysergic and mentally confusion. The record was instigated by Holland’s most revered writer/ poet/ enfant terrible Simon Vinkenoog and was issued in an edition of 300 to 500 copies (depending on the source) and only been offered for sale at the time at head shops and coffee shops of Amsterdam. Never ever turned up in quantity so rare for eternity. Top copy so…hit me with your best shot and we take it from there and further, to infinity and beyond…Price: Offers!!!
2396. WOOTEN, BILLY: “Lost Tapes” (P-Vine Records – PLP-6895) (Record: Mint/ Jacket: Mint/ Obi: Mint). Japan only original pressing of unreleased material. Long gone issue that saw the light of day back in 2007. As good and as essential as his sole relese, so you know you need this if you are a serious funky jazz head. Price: 85 Euro
2397. WORKSHOP: “S/T” (Finlayson – FTV-001) (Record: Mint/ Jacket: Mint). Totally obscure German outfit that recorded in the late 1980s and released two records, this one their first which was released privately in 1990. Sonicwise, the Workshop sounds totally out of tune with the decade they were active in since they could have easily have been flanking Can during the early seventies since they bring forth similar intoxicating krautrock vibes. Really an astonishing album that will set any doped up party on fire and breathing out a cloud of lysergic intensity, bringing out the voodoo craze. Just fantastic. Price: 100 Euro
2398. WRIGHT FRANK TRIO: “Frank Wright Trio” (ESP Disk – 1023) (Record: Near Mint/ Jacket: Near Mint – still in original shrink). US original pressing still housed in shrink. All of tenor saxophonist Frank Wright recordings can be considered a bit of a blowout. For his debut as a leader, Wright, who is joined by bassist Henry Grimes and drummer Tom Price, rips into three of his originals: "The Earth," "The Moon" and "Jerry." Highly recommended to open-eared listeners who enjoy hearing fiery sound explorations. Especially love the gold-colored sticker on the shrink that wars you: “Caution: This Modern Jazz Record is imported and there is a fear of injuring your health and making you mad in case you usually hear this record too much loudly”. Don’t say you haven’t been warned. Blast the shit out of it and drive your neighbors up into the curtains. Price: 125 Euro
2399. WRIGHT, FRANK QUARTET: “Church Number Nine” (Calumet – C-3674) (Record: Near Mint/ Jacket: Near Mint). TOP COPY!!! This is the free jazz record everyone seems to be after. No wonder, hideously rare, released in a tine private run of only 300 copies back in 1971 and ominously freaking heavy. “Church Number Nine” was originally released in 1973 (though recorded on March 7th 1970) on the Calumet label, a venture that instantly evaporated into thin air after its initial release. Only 300 copies of the album made it into circulation, the rest were apparently destroyed. The two sides of the disc are entitled “Parts One” and “Two”, although that each was recorded as an individual piece in its own right. The line-up on the other hand is mouth wateringly great, similar to Wright’s BYG Actuel outing "One For John": Wright on tenor, Noah Howard on alto, Bobby Few on piano and Mohamed Ali on drums. The opening track is a monumental twenty-six-minute slab of holy rolling free gospel. Heavily indebted to Ayler, Wrights take on the spiritual is spiced up by adding additional percussion. This is when not blowing their horns to smithereens since both Wright and Howard unleash an all-incinerating racket, an ominously heavy whirlwind of feverish sonic infernal blowing. Bobby few can stay impassive and exerts explosive, alternating churchy licks and furious clusters until the whole comes crashing down like the walls of Jericho under the blasts of the horns. The second piece is comprised out of tight bursts of energy, ripping notes to pieces like a there is no tomorrow. Heavy, mind bendingly great and without a single doubt one of the greatest free blowing jazz discs ever to be put down on wax. This is a top copy; I do not believe they come any better than this one. Act now and hold your peace forever. Price: 500 Euro
2400. WRIGHT, FRANK QUARTET: “Center of the World” (Center of the World - CW-001) (Record: Near Mint/ Jacket: Near Mint). First original French only pressing of killer Wright action. Here you have another delirious free jazz blast straight from the past, ready to jack up and inject your life with enough thrill and joy to last a lifetime. Center of the World Records was Frank Wright's own imprint and this disc was the first to come out on the label. The quartet here reads like a dream-team of free blowing spirits- Rev. Frank Wright on tenor, Muhammad Ali on the skins, Alan Silva on contrabass and Bobby Few on the keys. Together they unleash a tsunami of vicious interplay, full frontal collision interaction and uncompromising improvisational mayhem. In other words a free jazz classic that rips through all the registers known to man. This baby burns and will leave core-melting tire-tracks all over your sorry ass. You won't regret a single second wasted while emerging yourself into this sonic whiplash of sound. Hell, you will even condemn yourself for not having obtained this baby much earlier. Get it now, great price seen the scarcity of this disc. Highest recommendation. Price: 150 Euro

2401. WRIGHT, Frank QUARTET: “Center of the World” (Center of the World - CW-001) (Record: Near Mint/ Jacket: Near Mint). Second sleeve variation – one that does not pop up so often. Here you have another delirious free jazz blast straight from the past, ready to jack up and inject your life with enough thrill and joy to last a lifetime. Center of the World Records was Frank Wright's own imprint and this disc was the first to come out on the label. The quartet here reads like a dream-team of free blowing spirits- Rev. Frank Wright on tenor, Muhammad Ali on the skins, Alan Silva on contrabass and Bobby Few on the keys. Together they unleash a tsunami of vicious interplay, full frontal collision interaction and uncompromising improvisational mayhem. In other words a free jazz classic that rips through all the registers known to man. This baby burns and will leave core-melting tire-tracks all over your sorry ass. You won't regret a single second wasted while emerging yourself into this sonic whiplash of sound. Hell, you will even condemn yourself for not having obtained this baby much earlier. Price: 75 Euro


2402. WRIGHT, FRANK QUARTET: “Live – Last Polka In Nancy?” (Center of the World - CW-002) (Record: Near Mint/ Jacket: Near Mint). Original 1973 pressing. Here you have another delirious free jazz blast straight from the past, ready to jack up and inject your life with enough thrill and joy to last a lifetime. Center of the World Records was Frank Wright's own imprint and this disc was the first to come out on the label. The quartet here reads like a dream-team of free blowing spirits- Rev. Frank Wright on tenor, Muhammad Ali on the skins, Alan Silva on contrabass and Bobby Few on the keys. Together they unleash a tsunami of vicious interplay, full frontal collision interaction and uncompromising improvisational mayhem. In other words a free jazz classic that rips through all the registers known to man. This baby burns and will leave core-melting tire-tracks all over your sorry ass. You won't regret a single second wasted while emerging yourself into this sonic whiplash of sound. Hell, you will even condemn yourself for not having obtained this baby much earlier. Get it now, great price seen the scarcity of this disc. Highest recommendation. Price: 150 Euro
2403. WRIGHT, FRANK: “One For John” (BYG RECORDS JAPAN - Actuel – Actuel 35) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ MINT/ Japan ONLY Insert: Mint/ OBI: Mint) Bloody rare real time Japan Original press complete with mega rare obi – comes on super high quality Japanese virgin vinyl, sounding light-years superior to the crappy French original pressing. First time ever I can offer a copy with obi. Frank Wright's ensembles tended to tear the roof off with this recording. Recorded in Paris, Studio Saravah on May 12th, 1969,the all-star line-up consisted out of Frank Wright (ts), Noah Howard (as), Bobby Few (p) and Muhammad Ali (d). Ayler-esque melodies quickly blast off to the stratosphere. Wright's gruff tenor contrasts nicely with Howard's sweeter tone, which is not really less intense, just less ferocious. Few's playing is nothing short of elegant even when the rest of the band is whipping up a storm and Ali loud percussive crash, urgent staccato rolls across his toms and his tribal rattle and shakes locks all the players together. The music is dense and speedy, frantically chaotic, coloring the space that destroys the listener’s perception of time, catapulting him into the void of free form. A rare combination of freedom and intensity with lyrical, spiritual beauty that's found on most late 1960s and ealy’70s Wright recordings. This record is a beast and indispensable in any free jazz and fire breathing musical collection. TOP condition & rare Japanese original pressing from 1971!!!! One of the rarest BYG titles next to Gong to seep out of Japan all complete with obi. Price: 400 Euro
2404. WRIGHT, FRANK: “One For John” (BYG Actuel – actuel 36/ 529.336) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top condition French first original pressing one of the finest spiritual free jazz howlers out there. Killer!!! Price: 85 Euro
2405. WRIGHT, FRANK QUARTET: “Uhuru Na Umoja” (America – AM-6104) (Record: Mint/ Jacket: Excellent ~ Near Mint, has some minor lower spine rubbing). Top notch virginal MINT copy!! This is the free jazz record everyone seems to be after or at least should be after. No wonder, the music is brain meltingly great, the disc is quite rare and ominously freaking heavy. “Uhuru Na Umoja” was originally released in 1972~3 on the French America label. The line-up on the other hand is mouth wateringly great, similar to Wright’s BYG Actuel outing "One For John": Wright on tenor, Noah Howard on alto, Bobby Few on piano and Art Taylor filling the on drums for Ali. The opening track is a monumental nine minutes and half slab of holy rolling free gospel. Heavily indebted to Ayler, Wrights take on the spiritual is spiced up by adding additional percussion. This is when not blowing their horns to smithereens since both Wright and Howard unleash an all-incinerating racket, an ominously heavy whirlwind of feverish sonic infernal blowing. Bobby few can stay impassive and exerts explosive, alternating churchy licks and furious clusters until the whole comes crashing down like the walls of Jericho under the blasts of the horns. The following piece is comprised out of tight bursts of energy, ripping notes to pieces like a there is no tomorrow. This is what Thurston Moore had to say about this monolith recordings when he included it in his top ten of free jazz slammers: “Tenor saxist Frank Wright may be (previous to Charles Gayle's current reign) the heir apparent to both Trane and Ayler. Unfortunately he had a heart attack a few years back while rockin' the bandstand. All his recordings are more than worthwhile especially his BYG outing "One For John" (529.336/Actuel Vol. 36), his two ESP sessions (on CD from Forced Exposure) and his Center-of-the-World series of trio recordings with Alan Silva (bass) and Muhammed Ali (drums - Rashied's brother, not the pugilist) on the French label Sun. This LP "Uhuru.." is nothing short of killer with the great Noah Howard (alto), Bobby Few (pianist of Steve Lacy fame) and Art Taylor (heavy old-school drummer in free mode) going OUT and AT IT in stunning reverie.” Heavy, mind bendingly great and without a single doubt one of the greatest free blowing jazz discs ever to be put down on wax. This is a top copy; I do not believe they come any better than this one, apart from the little lower split seam. Act now and hold your peace forever. Price: 150 Euro
2406. WRIGHT, FRANK with Bobby Few & Alan Silva: “Solos – Duets” (Center Of The World – SR-102) (Record: Near Mint/ Jacket: Near Mint). Original 1975 French first press issue in top shape. Every record that features Frank Wright is highly essential and this one is no different. Like the title already suggests he ventures in salivating solo and duet settings with his long standing collaborators Few and Silva. A genuine thing of uncut and unspoiled beauty. Top copy. Price: 75 Euro
2407. WRIGHT, FRANK with Bobby Few & Alan Silva: “Solos – Duets” (Center Of The World – SR-103) (Record: Near Mint/ Jacket: Excellent – minimal lower seam rubbing of 1 cm). Original 1975 French first press issue in top shape. Another indispensable Frank Wright delight. The follow-up to the above one and also released on his own Center Of The World imprint. Features Bobby Few on piano and a bit of voice, Alan Silva on bass and piano, and Frank Wright on tenor and bass clarinet! Titles include "Echo Send", "Sound Of A", "Song For Cyrille Children Of Joy", and "El Torro". High tension music from start to finish! Price: 75 Euro

2408. WRIGHT, LEO: “Suddenly The Blues” (Atlantic/ Nippon Victor – SMJ-7109) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan very first original press issue from 1963 and complete with never seen before first issue obi. A record of incredible beauty from the great Leo Wright – and a record that stays glued in my personal collection for all eternity! Wright's one of those excellent players from the 60s who never really gets his due – largely because he was always hiding behind larger groups, and because he left the US in the decade for an extended stint in Europe. Still he cut some fantastic early work with both Dizzy Gillespie and Lalo Schifrin – and this album captures him right during the peak of that early period! The record features light lively backing from a quartet that includes Kenny Burrell on guitar, Ron Carter on bass, and Rudy Collins on drums – and some tracks have a beautifully groovy sound that's slightly bossa, slightly soul jazz. One of the best of these is Wright's great cover of "A Felicidade", but the record contains many other great moments, like "The Wiggler", "Tali", "Sassy Lady", and "Dionysis". Price: 125 Euro

2409. WYATT, ROBERT: “Rock Bottom” (Nippon Columbia – YQ-7017-VR) (Record: Near Mint/ Jacket: VG++ ~ Excellent – no defects or splits, sole defect is clearly visible brownish foxing on back of sleeve/ Insert: Near Mint/ Obi: Near Mint/ Additional set of 4 PROMO Pictures from Virgin Records sized 2 x 16,5 – 12cm & 2 x 7,8 ~ 9,6cm: Near Mint). Rare copy that comes with rarely seen set of 4 PROMO PICTURES handed down by Virgin Records Japan back in the day. Totally vanished original 1st Japanese pressing on high quality vinyl and complete with eye-popping obi of Robert Wyatt’s first ever solo release (not counting The End of an Ear) following his stint with Matching Mole and his accident that left him paralyzed from the waist down. “Rock Bottom” is simply one of the most beautiful sounding introvert discs ever made, makes me cry each time I spin it and after all these years it still sounds as fresh as the day I first discovered it. The most beautiful record ever-recorded, final. First time I come across a copy with a set of 4 PROMO pictures, making this one quite unique. Price: 300 Euro

2410. ROBERT WYATT: “Ruth Is Stranger Than Richard” (Nippon Columbia – YX-7050-VR) (Record: Mint/ Jacket: Excellent 〜 Near Mint/ OBI: Mint/ Insert: Near Mint). The rarest of Wyatt’s released solo albums as Japan 1st original pressing with obi. There was no way that Wyatt’s follow-up to Rock Bottom could be as personal and searching, but this album that came barely a year later instead collects some earlier material to be revamped for this release. "Soup Song," for instance, is a rewrite of "Slow Walkin' Talk," written before the forming of Soft Machine. "Team Spirit," written with Phil Manzanera and Bill MacCormick of Quiet Sun would turn up the same year as "Frontera" on Manzanera's Diamond Head. While some of the songs tend to plod along, the dirge-like "Five Black Notes and One White Notes," a lethargic cover of Offenbach's "Baccarole," Charlie Haden’s "Song for Che," and Fred Frith’s piano team-up with Wyatt on "Muddy Mouth" are magical. As usual, the assembled band, including the underrated Gary Windo on sax and Mongezi Feza on trumpet, never disappoint.” (All Music Guide) First time in all these years I actually can lay my hands on the 1st Japanese pressing. Price: 300 Euro
2411. WYATT, ROBERT: “Old Rottenhat” (Rough Trade/ Tokuma Japan – 25RTL-3011) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Promo copy, 1st original Japanese pressing of subliminal solo recordings by former Soft Machine and Matching Mole kingpin. Stuff of legends, Wyatt solo material is amazing and so needed. TOP copy. Price: 40 Euro
2412. WYATT, ROBERT: “Dondestan” (Rough Trade – R2741) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Scarce 1991 UK first original pressing of subliminal Wyatt recording. Price: 50 Euro
2413. X: “Under The Big Black Sun” (Elektra Records – P-11209) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). X first release on Japanese soil, the first wave of LA Punk!!! Rare promotional copy with obi. X’s major debut after leaving Slash Records, produced by Ray Manzarek of the Doors fame and to critical acclaim – both positive and negative due to trading in their downtown L.A. punk status for a flirtation with a major label. Still the result is awesome and the band lost nothing of its underground credentials and flavor. So classic and so bloody fuckin’ killer!!! Price: 50 Euro
2414. XENAKIS, IANNIS: “Persephasa” (Philips – 6521.020) (Record: Excellent/ Jacket: Near Mint). Original 1st press issue. Historical and rare record by this fantastic composer, here performed by the Percussions de Strasbourg. Superb avant-garde and experimental music of the highest echelon. Needs no further introduction I guess. Extremely beautiful copy in top-notch condition. Price: 50 Euro
2415. XENAKIS, IANNIS: “Persephassa” (Philips – SFX-8570) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Scarce japan original 1st pressing all-complete with nice obi and housed in Japan only sleeve art. Persephassa is a piece for six percussionists composed by Iannis Xenakis in 1969. The piece was commissioned for the first-ever Shiraz Festival (organized by the Empress of Iran), held at the historic desert site of Persepolis. The title refers to the goddess Persephone, "the personification of telluric forces and of transmutations of life." Persephassa gains much of its effect from having the six percussionists distributed around the audience. The treatment of space as a musical parameter is one of the most important preoccupations of Xenakis' music, particularly in his works of the mid-to-late 1960s. The dramatic impact of utilizing the performance space in this manner is evident many passages throughout the piece in which accents or imitative rhythms are passed around the ensemble. The percussionists use a wide range of instruments and sound effects during the piece, including sirens, maracas, and pebbles, along with an arsenal of drums, wood blocks, cymbals, and gongs. Price: 60 Euro
2416. XENAKIS, IANNIS: “Persepolis” (Philips Japan – SFX-8683) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint). Hideously rare Japanese 1st pressing – WHITE LABEL PROMOTIONAL COPY with OBI - that comes with different cover art than the French pressing of the album. What makes this copy so bloody sought after is the presence of the rarely seen obi attached to the jacket. The music needs hardly any introduction to the readers of these pages but just in cage you are wondering who this funny fellow was, a quick rundown. To punt it bluntly, Xenakis is a tank and “Persepolis” adequately proves this point. The monolithic mass of the composition has more connection to the hypothetical first bludgeoning forays into noise as practiced by an angry snot-nosed teenager than it has to anything made by those who consider it authoritative. “Persepolis” floods the pathetic streets of civility with layer after layer of undulating moans, grotesque annihilative washes of unrelenting sonic mayhem and convultional sibilating shrieks. The multitude of tape pieces emerging from this time (1971) have some amount of nimbly spliced twists and tasty dollops of academic masturbation coming out to the foreground. Xenakis’ music on the other hand is especially on this groundbreaking composition far removed from it and is as human or inhuman as our atomic makeup. Persepolis is a demanding piece and an all obliterating in its path type of listening experience; it’s not one to use for ambient mood-music! But, like many of Xenakis’ best works, it provides opportunity for intense and a transformative experience; you won’t be the same at the end of this pieces as you were when you started listening (you may even hate it). To these ears, it is one of the greatest compositions ever, life will never ever be the same after sitting through it. Massive! Price: 250 Euro
2417. XENAKIS, IANNIS: “Oresteia” (Erato/ Nippon Columbia – OS-2916-RE) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint). Rare Japan original pressing with rarely seen obi. Comes housed in Japan only silver foil jacket art. Written for an orchestra of 12 instrumentalists and a choir of children who play on a variety of instruments, Oresteia is one sonic ride that makes you beg for more and more. What gives this music its strange fascination is the combination of generally tonal, chant-like vocal elements with primitive sounding (but actually very technically sophisticated) instrumental interludes. In this respect it is not so far removed from Stravinsky’s The Rite of Spring or the vocal works of Varèse. You can hear this very clearly in the second movement, with its delirious writing for percussion and high baritone, as well as in the chanting of the chorus in Les Choephores. The stylized instrumental writing, often monophonic and permeated with strange percussion sounds and extremes of pitch (both high and low), adds to the impression of primal starkness, and how well it suits the drama! One of the most compelling works of Xenakis, it never fails to astound you. Top condition!!! Price: 85 Euro
2418. XENAKIS, IANNIS: “Atrees – Morsima-Amorsima – ST 4 – Nomos Alpha” (Angel Records – EAC-80302) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan original pressing all complete with obi. Price: 50 Euro
2419. XENAKIS IANNIS 5 LP BOX SET: “Xenakis” (Erato/ Nippon Columbia – OS-2363~7-RE) (5 LP's: Near Mint ~ MINT/ Outer Box: Near Mint ~ MINT/ 12 paged Illustrated Japanese Booklet: Near Mint ~ MINT/ 36-Paged Illustrated French Booklet: Near Mint/ OBI: MINT). Totally TOP NM copy complete with never seen OBI – Japanese pressing sounds so much better than the French one – a world of difference if you would like to enjoy Xenakis to its fullest effect. Rare Japanese pressing on high quality vinyl of this legendary but rare 5 LP box documenting the many sides of the greatest composer ever, Iannis Xenakis. Ranging from orchestral works over to orchestra and magnetic tape compositions up to pure electronic works, this box sheds great clarity upon some of his works such as the highlight of the set the early electronic works that concern themselves with the human expression as poured into a cloud of pointillistic noise. With the total control that electronic and magnetic tools allowed, Xenakis could fully explore his concepts of sonic architecture. Massive stuff and hard to get in such a nice nick as this copy here. Totally indispensable!!! Original 1970 Japanese pressing!!!! Price: 300 Euro
2420. XTC: “Go 2” (Virgin – VIP-6928) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Japan original press with obi. Go 2 is not XTC’s high water mark but it is still a very enjoyable slide. The record was conceived in a hurry following their debut White Music and it shows in comparison. Still, Go 2 is enjoyable with slightly more melodic takes and high energy playing. The LP has still some standout tracks such as “Mechanic Dancing” and the title song “Go 2”. That aside, the cover art is very striking and highly original for its time. Rare Japanese original 1st pressing with nice Virgin obi and 4-paged insert. Price: 100 Euro