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Adderley, Cannonball - Pyramid
(Fantasy F-9455 US-74 VG+ 275:-)

Julian "Cannonball" Adderley's final studio album is a remarkable farewell. Recorded with a septet lineup featuring cornet player Nat Adderley and clavinet player George Duke it features Adderley's alto and soprano saxes in a funky brand of fusion. The music never succumbs to the lumbering excesses the fusion style was beginning to become known for by this time. The centerpiece is the three-part "Suite Cannon," a complex yet swinging affair full of Adderley's typical grace and fire.

Original US pressing; both sleeve and vinyl are graded VG+.
Anderson, Ernestine - Ernestine Anderson
(Mercury SR-60074 US-59 VG+ 500:-)

Positioned squarely in the mainstream, at home in the worlds of jazz and pop standards as well as the blues, comfortable with small groups and big bands, Ernestine Anderson regularly received a lot of airplay on radio stations. She fit those demographics well with her tasteful, slightly gritty, moderately swinging contralto; she rarely probed too deeply into emotional quagmires, but always gave listeners an honest musical account.

This was her first full-length recording session. Backed by an orchestra arranged by Pete Rugolo, Anderson (who was at the time influenced by Dinah Washington) is in good voice and swings without getting very far from the melodies.

Original US STEREO pressing; both sleeve and vinyl are graded VG+.
Ayler, Albert - Lörrach/Paris 1966
(Hat MUSICS-3500 Swz-82 EX 300:-)

Albert Ayler soared comet-like in the jazz firmament, scorching some and mesmerizing many while leaving an incandescent tail across said sky that survives today.

This 2LP set was recorded in Lörrach and Paris in 1966 and clock collectively to an hour and change. Five tracks from a German radio gig open the gig, starting with an epic odyssey through the Ayler signature “Bells” and its Teutonic-folk-song-on-acid rondo that soon accelerates to maelstrom-intensity. Albert sounds great through it all, singing and screaming through his tenor and calling down the spirits.

Original Swiss pressing; both sleeve and vinyls are graded EX.
Babs, Alice - Alice and Wonderband
(Decca LK-4326 Swe-59 VG+ 500:-)

A popular singer when she was still a young teenager, Alice Babs has had a long and varied career. She made her recording debut in 1939 at the age of 15 and, although her yodelling made her initially popular and the novelty "Swing It, Mr. Teacher" was her first hit, Babs even at the start had a highly appealing voice and a lightly swinging style. She mostly recorded in jazz and swing-oriented settings throughout the years of World War II. Babs remained active throughout the 1950s and '60s in Europe, singing everything from jazz (recording with Duke Ellington in 1963 and performing the classic "Heaven" at his second spiritual concert) and pop to a bit of classical music. By the late '70s, Alice Babs had become less active but into the mid-'90s, she occasionally performed on special occasions.

Very uncommon first issue in great condition. This is the original from 1959 ( later released on Telestar ) on the lightblue Decca label. The music is charming vocal jazz not unlike Monica Zetterlund's "Swedish sensation" album. Listen to "I can't give you anything but love" with music from Benny Bailey, Arne Domnerus & Bengt Hallberg among others. Very clean copy, just a few pressing marks on vinyl not affecting play.
Baker, Chet - Leaving
(Intercord ‎INT 160.154 Ger-80 EX 800:-)

One of the most visible exponents of the West Coast cool school of jazz, trumpeter Chet Baker played in an intimate style that was far more restrained and mellow than incendiary boppers like Dizzy Gillespie and Fats Navarro or aggressively blowing hard boppers like Clifford Brown and Freddie Hubbard. Baker preferred to cook on a lower flame, enthralling audiences with his warm, expressive trumpet work and alluring vocals.

This album was recorded at the Munich Sound Studios with Dennis Luxion (p), Nicola Stilo (af) and Ricardo del Fra (b).

Original German pressing; both sleeve and vinyl are graded EX.
Bartel - Bartel
(Perception PLP-20 US-71 VG+ 350:-)

Jon Bartel was bitten by the rock and roll bug while a kid in Pennsylvania. By the mid-1960s he was playing keyboards and fronting Johnny Bartel and the Soul Masters. Bartel then signed to Jimmy Curtiss' newly formed Perception label and released his first album in 1971.

"Bartel" contains soul flavored jazz, with a few instrumental tracks featuring sax.

Original US pressing. The sleeve shows some ringwear; the vinyl is graded VG+.
Basie, Count - Dance Session
(Clef MGC-626 US-54 VG+ 300:-

The first of Basie's excellent Dance Session albums for Clef – no-nonsense albums that really get at the high-grooving side of the group, and which feature the kind of compelling and catchy tunes that always made them a favorite on the dancefloor! The Count manages to play a bit of organ on the session, in the tone that we really like at the time – and arrangements are by Ernie Wilkins, Neal Hefti, Johnny Mandel, and Frank Wess.

Original US pressing; both sleeve and vinyl are graded VG+.
Beckett, Harry - Got it Made
(Ogun OG-020 UK-77 EX 375:-)

Harold Winston Beckett's reputation extends throughout Europe and the USA. He played with Charles Mingus in the film ‘All Night Long’, and has worked with John Surman, Graham Collier, Django Bates, Ronnie Scott, Kathy Stobart, Charlie Watts, Stan Tracey, Annie Whitehead, Jah Wobble, David Murray, Pierre Dorge, Chris McGregor's Brotherhood of Breath, Ian Carr's Nucleus, to name but a few.

For his Joy Unlimited project, Beckett recruited a solid bunch of fellows; Ray Russell, Roy Babbington, Alan Jackson and others with one foot in jazz and beyond and the other in rock and musicals. The result is accessible, but never facile, slick or clichéed.

Original UK pressing; both sleeve and vinyl are graded EX.
Beckett, Harry - Memories of Bacares
(Ogun OG-800 UK-76 EX 375:-)

Harold Winston Beckett's reputation extends throughout Europe and the USA. He played with Charles Mingus in the film ‘All Night Long’, and has worked with John Surman, Graham Collier, Django Bates, Ronnie Scott, Kathy Stobart, Charlie Watts, Stan Tracey, Annie Whitehead, Jah Wobble, David Murray, Pierre Dorge, Chris McGregor's Brotherhood of Breath, Ian Carr's Nucleus, to name but a few.

For his Joy Unlimited project, Beckett recruited a solid bunch of fellows; Ray Russell, Roy Babbington, Alan Jackson and others with one foot in jazz and beyond and the other in rock and musicals. The result is accessible, but never facile, slick or clichéed. "Memories of Bacares" was recorded live at Hackney Jazz, November 25, 1975.

Original UK pressing; both sleeve and vinyl are graded EX.
Bostic, Earl - Earl Bostic and his Alto Sax
(Parlophone PMD-1016 UK-54 VG+ 375:-)

Alto saxophonist Earl Bostic was a technical master of his instrument, yet remained somewhat underappreciated by jazz fans due to the string of simple, popular R&B/jump blues hits he recorded during his heyday in the '50s.

This copy is overall in Very Good+ conditon; the sleeve has a bit of loosening of the laminate and the vinyl a few small marks.
Brötzmann/Bennink - Ein Halber Hund
((FMP ‎FMP-0420 Ger-77 VG+ 500:-)

The first duo album between jazz titans Peter Brötzmann and Han Bennink finds them a playful mood, showing off their virtuosic range with forays into viola, piano, clarinet, and banjo! Their musical interactions are deft and constantly surprising, like brilliant magicians who move effortlessly from one astonishing trick to another.

Original German pressing. The sleeve shows some general wear and discoloration; the vinyl is graded EX.
Brötzmann/Bennink - Schwarzwaldfahrt
(FMP ‎FMP-0440 Ger-77 VG+ 400:-)

Genius – and one of Peter Brötzmann's greatest albums from the time! The record features spare duets between him and percussionist Han Bennink – recorded in the Black Forest, in a very nature-oriented setting that often has Bennink playing on rocks, sticks, and whatever else he could find – even some water, which sounds especially amazing!

Original German pressing. The sleeve shows some general wear and discoloration; the vinyl is graded EX.
Carter, Benny - Swingin' the 20's
(Contemporary S-7561 US-58 EX 400:-)

Combining altoist Benny Carter with pianist Earl Hines in a quartet is an idea with plenty of potential, but the results of this 1958 session are relaxed rather than explosive. Carter and Hines explore a dozen tunes (standards as well as forgotten songs like "All Alone" and "Mary Lou") with respect and light swing, but one wishes that there were a bit more competitiveness to replace some of the mutual respect.
Davis, Eddie - Count Basie presents
(Roulette R-52007 US-58 EX 400:-)

Great small combo work from Eddie Lockjaw Davis – very much in the mode of his early Cookbook albums for Prestige, but with the added bonus of Count Basie on piano and Joe Newman on trumpet! Davis' raw tenor sound gets plenty of time in the spotlight, but Newman gets in a few strong solos too – and although Shirley Scott is backing up the group with the strongest sound on Hammond, Basie also tickles the ivories a bit in the background – and ensures that there's a bit of a Basie swing to the whole record! Titles include "Farouk", "Lock Up", "Telegraph", "Marie", "Swingin Till The Girls Come Home", "Street Of Dreams", and "A Misty One".
Davis, Miles - Collectors Items
(Prestige LP-7044 US-56 VG 400:-)

A session of "collectors items" that Miles Davis recorded for Prestige in the 50s – both dates that were too short to be issued as albums by themselves, combined here into one full length record! The first batch of material is from 1953 – and features Davis working with Sonny Rollins and Charlie Parker (playing here under his "Charlie Chan" session name) – all in a mode that steps off a bit from the boppishness of Davis' Blue Note recordings.

Original US pressing on the "W.50th St" label. The sleeve shows general wear with residue of tape around the edges and a previous owners name on the back; the vinyl has a few marks, but plays nicely. The label has "SH" written on Side 1.
Davis, Miles - Diggin'
(Prestige PR-7281 US-63 VG+ 500:-)

A key early appearance on record by Sonny Rollins – recorded here with Miles Davis and Jackie McLean in the landmark 1951 "Dig" session!

The album's the stuff that 50s bop dreams are made of – a session that has up-and-coming modernists working in the new freedom of the long playing record! Rollins is young, but a surprisingly strong voice on the set – and Jackie McLean's alto is incredibly sharp at this point, with strong hints of the genius to come later in the decade. The rest of the lineup includes Walter Bishop on piano, Tommy Potter on bass, and Art Blakey on drums.

First US pressing with the new title and yellow/black 'fireworks' label, 'Bergenfield, N.J.' adress on both sides and RVG etched in runout area; both sleeve and vinyl are graded VG+.
Davis, Miles - Miles ahead
(Columbia CL-1041 US-57 VG 600:-)

A masterful meeting of two 50s modern jazz talents – the trumpet of Miles Davis balanced with the arrangements of Gil Evans – with results that have made the album one of Miles' greatest ever!

The sound here is completely sublime – as Davis gets all chromatic and spooky over Evans' edgey arrangements – shimmering nicely in a perfect blend of modernism and lighter, more lyrical touches. The record's filled with loads of the kind of solos that Miles brought to his smaller group records – but they almost flower even more amazingly here in the larger setting.

Original US pressing on the "Six Logo" Columbia label; the sleeve is split at the bottom and has a previous owners name on the back; the vinyl is graded Very Good+.
Davis, Miles - Miles Davis at Fillmore
(CBS S-66257 UK-71 VG+ 375:-)

Throughout a professional career lasting 50 years, Miles Davis' approach to jazz was dazzlingly protean - he was in the thick of almost every important innovation and stylistic development in Jazz music, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions.

AT FILLMORE is the second release to document Miles' live presentation of BITCHES BREW's breakthroughs. Broken up into four parts, it shows the unprecedented growth of the same band that recorded BLACK BEAUTY just three months earlier. The addition of Keith Jarrett's organ expands the music even further over the borders that defined "jazz," creating a singular hybrid of rock, blues and jazz.

Original UK pressing in a gatefold pocket picture sleeve. The sleeve shows minimal wear - the vinyl is graded EX - a nice copy!
Davis, Miles - Miles Smiles
(CBS SBPG-62933 UK-68 VG+ 375:-)

Miles Smiles, but his grin is a wry one – given the angular energy of the set! The album's a landmark effort from the mid 60s quintet that includes Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams – all of whom work without fail to capture Davis' newly emerging approach to jazz – a style that's touched with some of the light lyricism of the late 50s, but which has much sharper edges overall – and really approaches some of the best "new thing" modes that were going down at labels like Blue Note or Impulse! Many tunes have a subtly spare quality, but nonetheless work with a tremendous amount of power!

Early UK 2nd pressing, with orange CBS Type 3 "33⅓" labels.
Gillespie & Charley Christian, Dizzy - 1941
(Esoteric ESJ-4 US-53 VG+ 500:-)

Four Charley Christian Tunes from Minton's 1941; Up on Teddy's Hill, Guy's got to Go, On with Charlie Christian and Down on Teddy's Hill. The Dizzy Gillespie side features Don Byas, Kenny Kersey and Nick Flinton; Stardust and Kerouac.

The sleeve is split on top and bottom of the opening - otherwise all in Very Good+ condition.
Gillespie, Dizzy - A Portrait of Duke Ellington
(Verve MGV-8386 US-60 EX 500:-)

A portrait of Duke, done by Dizzy -- and one that's got a whole different feel than you might think! Gillespie's working here with arrangements by a young Clare Fischer -- who takes Ellington's themes and recasts them with an even deeper sense of color and tone -- one that pushes the already-modern themes of the numbers into a whole new realm of sound, and uses the horn passages to carve things out a lot differently than Duke might have done! The result is a wonderfully striking session -- one with familiar melodies that unfold in a whole new way -- and which showcases some great phrasing from Dizzy, over rhythms by a combo that features Hank Jones, George Duvivier, and Charlie Persip -- playing alongside a group of larger horns. Titles include "Perdido", "Caravan", "Upper Manhattan Medical Group", and "Chelsea Bridge".
Gillespie, Dizzy - Dizzy Gillespie Story
(Savoy MG-12110 US-57 EX 400:-)

This set features eight tracks of famed trumpeter Dizzy Gillespie sitting in with Johnny Richards' orchestra at a session that was recorded for the West Coast label Discovery Records (and released under the title Dizzy Gillespie Plays, Johnny Richards Conducts) and four tracks cut with the so-called BeBop Boys from a session held in 1946. Savoy combined the tracks for its 1957 release titled The Dizzy Gillespie Story.
Grupo Cubano De Jazz ‎– Jazz Cuba
(Palma LP-1011 Cub-64 VG+ 275:-)

Fantastic afro-cuban jazz recording by trombonist Pucho Escalanta and his jazz crew.

Rare Cuban pressing; both sleeve and vinyl are graded VG+.
Hallberg, Bengt - same
(Philips P-08201-L Hol-6? VG+ 350:-)

One of Sweden's top jazz pianists, Bengt Hallberg made his first trio recordings when he was 17. In the 1950s, he recorded with Lars Gullin, Arne Domnérus, and such traveling Americans as Clifford Brown, Stan Gets, and Quincy Jones. He worked as a member of the Swedish Radio Big Band (1956-1963), and, although in demand as a writer for films and television, Hallberg has continued playing jazz on a part-time basis (often with Domnérus and Karin Krog), mostly recording for Swedish labels such as Metronome, Sonet, and Phontastic.
Hamilton, Chico - Sweet Smell of Success
(Brunswick LAT-8225 UK-57 VG+ 300:-)

Elmer Bernstein's orchestra plays the principal music on this, his fourth movie soundtrack, with Chico Hamilton's groundbreaking quintet (including cellist Fred Katz) provide the rest of the sounds.

Original UK Vinyl; both sleeve and vinyl are graded Very Good+.
Harriott & John Mayer, Joe - Indo Jazz Fusions
(Double-Up DOU-123 UK-76 EX 300:-)

The double quintet on 1967's INDO-JAZZ FUSIONS consists of Joe Harriott's jazz quintet and John Mayer's group of Indian instrumentalists.

Little known outside of the British jazz scene, Harriott was well-regarded for his pursuit of Charlie Parker's legacy into freer terrain. That aspect, though, is downplayed on this project, where the focus is on the writing and arranging, and the possibilities available in a complete integration of the players. A product of a time when sitars and tablas were de rigueur hippie accoutrements, the set has an appealing pop sensibility, at times sounding like the music from a lost Peter Sellers movie or an episode of the "Mission Impossible" TV series.

UK re-issue 2LP set; both sleeve and vinyl are graded EX.
Herbolzenheimer, Peter - Wide Open
(MPS 21.21948-8 Ger-73 EX 300:-)

Peter Herbolzheimer’s band offers up a full bag of brassy tricks on their second MPS recording of 1973. WIDE OPEN contains the full course with all the trimmings – luscious arrangements, a vibrant rhythmic foundation, and heady solos. RC&B at its brassy best.

Original German pressing; both sleeve and vinyl are graded EX.
Jackson, Milt - Opus de Jazz
(Savoy MG-12038 US-55 VG+ 350:-)

One of the best-known 50s jazz sessions from the Savoy label – a laidback classic that's a great illustration of the label's shift in modes after the early bop years! The setting here is relatively informal – with Milt Jackson as the ersatz leader, working almost in blowing session mode with hip players who include Frank Wess on flute and tenor, Hank Jones on piano, Eddie Jones on bass and Kenny Clarke on drums – all players who relax into a groove wonderfully, and really open up on the album's four long tracks. Titles include the classic reading of "Opus De Funk", plus "Opus Pocus", "You Leave Me Breathless", and "Opus & Interlude".
Jones, Quincy - The Birth of a Band!
(Mercury MMC-14038 UK-59 EX 300:-)

One of Jones' finest jazz recordings - the arrangements feature such top players as trumpeter Harry "Sweets" Edison, Zoot Sims, and Sam "The Man" Taylor on tenors, altoist Phil Woods, and flügelhornist Clark Terry. Highlights include the title cut, "The Midnight Sun Will Never Set," "Moanin'," and three Benny Golson tunes ("I Remember Clifford," "Along Came Betty," and "Whisper Not").

1959 UK MONO pressing, front laminated flipback picture sleeve.
Lambert, Hendricks & Ross - Sing a Song of Basie
(ABC Paramount ABC-223 US-58 EX 400:-)

The premiere vocal jazz group, Lambert, Hendricks & Ross made their recording debut on this classic album. After unsuccessfully searching for a dozen singers in 1957 who could sing vocalese in a re-creation of some famous records by the Count Basie Orchestra, Dave Lambert, Jon Hendricks and Annie Ross decided to overdub their voices several times instead. Utilizing just a rhythm section, the vocalists sing the witty and inventive lyrics of Hendricks in note-for-note reproductions of ten Basie records. Highlights include "It's Sand, Man!," "One O'Clock Jump," the up-tempo "Little Pony," and "Avenue C." This record was a sensation when it was released and it is still quite enjoyable and unique.
Lawson-Haggart Band - Boppin' at the Hop
(Brunswick STA-3010 UK-60 EX 800:-)

These great instrumentals are arranged and played especially for dancing... Nobody sits when the Lawson-Haggart group starts rockin'!
Malfatti-Wittwer - Thrumblin'
(FMP Records FMP-0350 Ger-76 VG+ 500:-)

This series of startling duets features two extremely underrated musicians - trombonist Radu Malfatti and guitarist Stephan Wittwer, who warp their instrument's trademark sounds into unusual textures and timbres. Better yet is their near telepathic interplay and ability to create continual surprises.

Original German pressing. The sleeve shows some minor wear - the vinyl is graded EX.
Martinez, Sabu - Groovin'
(Metronome MLP-15316 Swe-68 VG+ 350:-)

Percussionist Luis "Sabu" Martinez is one of the all-time greats of Latin music – and this record came out of Sweden, where Sabu was residing during the 70s – enjoying some success as an expatriot jazz player in the European scene. The album mixes Latin grooves and hard funk in a way that's rarely been duplicated, and which has ensured Sabu a place in the funk hall of fame for all time!
Mellé, Gil - Tome VI
(Verve V6-8744 US-68 EX 300:-)

An amazing little album – a set that's billed as the first album of "electronic jazz", and which features Gil working with his Jazz Electronauts combo!

Although Melle's perhaps best known for his baritone sax modern sides of the 50s for Blue Note and Prestige, his influence on this album is possibly a far greater one on modern music – because Gil creates a sublime blend of jazz roots and more sophisticated instrumentation – cast out in ways that are complicated, yet never too harsh or overly-academic! The electronic aspects of the record are sometimes sparing – mixed into the styles of the combo, often through Gil's use of soprano sax – almost as a magic wand to shape the sound of the rest of the music.

Original US pressing; both sleeve and vinyl are graded EX.
Mitchell, Blue - Booty
(Mainstream MRL-413 US-74 EX 275:-)

Funky stuff for Mainstream, with a number of different players on each track – including Charles Williams, Charles Kynard, Curtis Fuller, Ron Carter, Paul Humphrey, Harold Mabern, and Ray Barretto – but a pretty consistent groove throughout! Blue's trumpet always works well in this sort of setting – as he's got no problem with kicking back and blasting solos over the top of a group driven by other players.

Original US pressing; both sleeve and vinyl are graded EX.
Modern Jazz Quartet - Fontessa
(Atlantic ‎1231 US-56 VG+ 275:-)

Pianist John Lewis, vibraphonist Milt Jackson, bassist Ray Brown and drummer Kenny Clarke first came together as the rhythm section of the 1946 Dizzy Gillespie & His Orchestra and they had occasional features that gave the overworked brass players a well-deserved rest. In 1952, with Percy Heath taking Brown's place, the Modern Jazz Quartet (MJQ) became a permanent group. Other than Connie Kay succeeding Clarke in 1955, the band's personnel was set.

"Fontessa" has a particularly strong all-around set of tunes. While John Lewis' "Versailles" and an 11-minute "Fontessa" show the seriousness of the group, other pieces look toward the group's roots in bop and permit the band to swing hard.

Original US MONO pressing on the black/silver label; both sleeve and vinyl are graded VG+.
Modern Jazz Quartet - Under the Jasmin Tree
(Apple SAPCOR-4 UK-68 VG+ 300:-)

Apple in its Rocking '60s heyday was one of the most daringly eclectic labels on the scene, and as the sole jazz act on the roster, the MJQ was given complete artistic freedom, with no electric guitars or period psychedelia apart from the misleading cover art. The program is more or less standard, poised, painstakingly structured, gently swinging MJQ fare, with the group's contrapuntal interplay as telepathic as ever.

Rare original UK stereo LP, housed in a fully laminated picture sleeve complete with jet black company inner. A nice copy and a gem for jazz and Apple collectors alike!
Moody, James - Moody's Mood for Love
(Metronome MLP-15219 Swe-66 EX 300:-)

James Moody was an institution in jazz from the late '40s into the 21st century, whether on tenor, flute, occasional alto, or yodeling his way through his "Moody's Mood for Love". After serving in the Air Force (1943-1946), he joined Dizzy Gillespie's bebop orchestra and began a lifelong friendship with the trumpeter. Moody toured Europe with Gillespie and then stayed overseas for several years, working with Miles Davis, Max Roach, and top European players. His 1949 recording of "I'm in the Mood for Love" became a hit in 1952 under the title of "Moody's Mood for Love".

The tunes on this album was recorded in Stockholm between in October 1965 and features Swedish jazz giants Arne Domnérus, Gösta Theselius, Rolf Berg a.o.

Original Swedish pressing. Both sleeve and vinyl are graded EX.
Mulligan & Paul Desmond, Gerry - same
(Fantasy 3-220 US-56 EX 500:-)

This is the first recorded collaboration of baritone saxophone great Gerry Mulligan and the witty alto saxophonist Paul Desmond. Despite hardly any preparation for these recording sessions, the two men complement one another's playing beautifully, as both of them were highly melodic improvisers.

This re-issue combines two 10" albums originally released by Fantasy Records in 1953 and 1955.

Original US pressing, on RED vinyl. Both sleeve and vinyl are graded Excellent!
Mulligan, Gerry - A Profile of Gerry Mulligan
(Mercury MG-20453 US-59 EX 450:-)

"A Profile..." was recorded in New York City after Mulligan had returned to his hometown following the 1954 drug bust that ended his starmaking Los Angeles group with Chet Baker. As a result, some call these sessions the first flowering of "West Coast" cool jazz on the Eastern Seaboard, but in point of fact, these tracks can be traced directly back to Mulligan's work with Miles Davis and Gil Evans on the "Birth of the Cool" sessions in 1949.
Pettiford, Oscar - OP's Jazz Men
(ABC Paramount ABC-227 US-58 VG 500:-)

Oscar Pettiford was an jazz double bassist, cellist and composer known particularly for his pioneering work in BeBop. Pettiford is considered the pioneer of the cello as a solo instrument in jazz music. He first played the cello as a practical joke on his band leader [Woody Herman] when he walked off stage during his solo spot and came back, unexpectedly with a cello and played on that. In 1949, after suffering a broken arm, Pettiford found it impossible to play his bass, so he experimented with a cello a friend had lent him. Tuning it in fourths, like a double bass, but one octave higher, Pettiford found it possible to perform during his rehabilitation (during which time his arm was in a sling) and made his first recordings with the instrument in 1950. The cello thus became his secondary instrument, and he continued to perform and record with it throughout the remainder of his career. Aong with his contemporary, Charles Mingus, Pettiford stands out as one of the most-recorded bass-playing bandleader/composers in jazz.
Shank & Bob Brookmeyer, Bud - same
(Vogue LDE-181 UK-56 EX 400:-)

British issue of the Pacific Jazz 10" album issued in 1955. Bud and Bob are joined by Claude Williamson (piano), Larry Bunker (drums), Joe Mondragon and Buddy Clark (bass).
Shank, Bud - Bud Shank and Three Trombones
(Pacific Jazz PJLP-14 US-54 VG+ 400:-)

Bud Shank began his career pigeonholed as a cool-schooler, but those who have listened to the altoist progress over the long haul know that he has become one of the hottest, most original players of the immediate post-Parker generation. Shank's keening, blithely melodic, and tonally expressive style is one of the more genuinely distinctive approaches to have grown out of the bebop idiom.

On this 1954 10" album his is joined by the trombones of Bob Enevoldsen, Stu Williamson and Maynard Ferguson.
Silver, Horace - Serenade to a Soul Sister
(Blue Note BST-84277 USA-68 VG+ 300:-)

The quintessential sound of late 60s Horace Silver – on one hand still very much in the Blue Note soul jazz groove that earned him plenty of jukebox single play, but on the other hand really stretching out with a style that's a bit more righteous than before! Horace shows that he can still pen a hit when he wants – and gave the world the tune "Psychedelic Sally" with this set – but he also displays a penchant for more complicated rhythms and freer horn expressions on beautiful tunes like "Kindred Spirits", "Rain Dance", and "Jungle Juice". The group's filled with great players – from tenor work by Stanley Turrentine and Bennie Maupin, trumpet by Charles Tolliver, and drums by a young Billy Cobham!

Original US pressing. The sleeve shows minor wear - the vinyl is graded VG+.
Silver, Horace - Total Response
(Blue Note BST-84.368K Ger-70 EX 275:-)

Horace Silver at his most righteous – stepping out here in the amazing Phase 2 of his United States Of The Mind series – with some heavy vocals from the great Andy Bey! The grooves are more complicated than Silver was laying down a few years before – yet still equally soulful – and in addition to vocals by Be, and his sister Salome, the group also features Silver on electric piano, plus Cecil Bridgewater on trumpet & fluegelhorn, Harold Vick on tenor sax, and Bob Cranshaw on bass, Richie Resnicoff on guitar and Mickey Roker on drums – a sweet little combo who really open up with a hip, righteous groove!

Original German pressing; the sleeve shows very minor wear - the vinyl is graded EX.
Solar Plexus - Solar Plexus
(Odeon 4E 154-34573/4 Swe-72 VG+ 350:-)

Solar Plexus was a high profile jazz rock band from Stockholm formed in 1969. The band was fronted by the popular singer Tommy Körberg and the sound was in large oriented around keyboard playing of talented Monica Dominique. Other members were guitarist George Wadenius and drummer Tommy Borgudd from Made in Sweden, with whom some comparisons to the sound can be made -a groovy psychedelic jazz sometimes crossing over to the genre of symphonic rock.

Original Swedish 2LP set; both sleeve and vinyl are graded Very Good+.
Solar Plexus - Solar Plexus 2
(Odeon 4E-062-34797 Swe-73 EX 350:-)

Solar Plexus was a high profile jazz rock band from Stockholm formed in 1969. The band was fronted by the popular singer Tommy Körberg and the sound was in large oriented around keyboard playing of talented Monica Dominique. Other members were guitarist George Wadenius and drummer Tommy Borgudd from Made in Sweden, with whom some comparisons to the sound can be made -
a groovy psychedelic jazz sometimes crossing over to the genre of symphonic rock.

Original Swedish pressing; both sleeve and vinyl are graded Excellent.
Stańko, Tomasz ‎– Witkacy Peyotl / Freelectronic
(PolJazz PSJ-154/5 Pol-86 VG+ 275:-)

Tomasz Stańko is by far the most accomplished Polish jazz musician. Throughout his incredible career he has recorded cult albums, been present for years in the top ten of Downbeat’s annual critics poll, and despite being an active musician for over 50 years, he shows no sign of slowing down any time soon.

One of Stańko’s personal favourites in his discography and one of the few albums produced in the studio, not recorded live. "Witkacy/Peyotl Freelectronic" is the most electronic and funky album of Tomasz Stańko with excerpts from Stanisław Ignacy Witkiewicz's psychedelic work "Narkotyki / Narcotics" read by an actor. There is no word better to describe this music than freelectronic.

Original Polish pressing. The sleeve shows minor wear - the vinyls are graded EX.
Taylor, Cecil - It is in the Brewing Luminous
(hat HUT-SIXTEEN (2R16) Swz-81 VG+ 300:-)

This 2LP live performance from 1980 features pianist Cecil Taylor with a particularly intriguing sextet comprised of his longtime altoist Jimmy Lyons, violinist Ramsey Ameen, Alan Silva on bass and cello and both Jerome Cooper and Sunny Murray on drums.

Not too surprisingly, the playing is quite intense and dense with only a few moments of lyricism popping through. Taylor sounds very much like a human dynamo while Lyons' solos are full of fragile beauty. This is brilliant music that will not sound "safe" or "easy listening" even a century from now.

Original Swiss pressing. The sleeve shows minor wear - the vinyls are graded EX.
Taylor, Cecil - One Too Many
(Hat Hut Hut TWO (3R02) Swz-80 VG+ 300:-)

Even for tough ears, the unflinching ferocity of Cecil Taylor can be a test of nerve. Taylor plays the piano like a drummer in hyperdrive, or like Art Tatum with contemporary-classical leanings trying to jam a lifetime of musical erudition into an hour. The effect can make unprepared listeners feel like they're trying to stand up in a hurricane. This live 3LP set from Stuttgart in 1978 hurls that independence at you with a furiously sustained intensity.

Original Swiss pressing. The box shows normal wear - the vinyls are graded EX.
v/a - Sounds
(Blue Tower BTLP-01/02 Swe-90 VG+ 400:-)

The small Blue Tower label began its documentation of the Swedish free improvisation scene, circa the late '80s, with this monumental double album. Musically, it is a superb collection that shows the country's improvisers operating with the force, precision, and -- most importantly -- overall weirdness of the British improvising scene of the '70s. The lavish packaging and thorough liner notes in the form of a handsome bilingual booklet smartly attached inside make this quite a desirable item to have in one's collection.
Wilson, Anthony - Power if Nine
(Groove Note GRV-1035 US-06 NM 300:-)

A new album by Anthony Wilson featuring the super talented and top selling jazz vocalist Diana Krall with whom Anthony has been recording and touring for the last three to four years.
Krall appears on the track "Looking Back" on vocals. The material includes a mix of Wilson originals and some jazz standards. Pressed on 180-gram vinyl, this two-LP set includes eight tracks on regular 33 1/3 with a four tracks cut at 45. The album was produced by Joe Harley and recorded by Michael Ross at Oceanway in Hollywood.

1 LP with a 45 rpm bonus vinyl.
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