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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 - Live in Sweden
(Dragon DRLP-56 Swe-84 VG+ 375:-)

Chesney Henry Baker was an extremely handsome young man and this, coupled with his reckless, drug-addled life, earned him the tag "the James Dean of Jazz". But even after he lost his looks, Baker's trumpet and vocals continued to spellbind.

A great live performance from Chet Baker and the Åke Johansson Trio recorded at the Nefertiti Club, Gothenburg, on the last night of his 1983 Swedish tour. A set of vintage Chet with a mixture of standards, including two vocals, and modern jazz classics.

Original Swedish pressing. Inaudible marks on tracks 1 and 2, Side 2.'
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.
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!
Domnérus, Arne - Jazz at the Pawnshop
(Proprius PROP-7778/79 Swe-90 EX 375:-)

Under två decemberkvällar 1976 skrevs svensk jazzhistoria på Stampen (”The Pawnshop”) i Gamla stan. Fem musiker på den trånga scenen med vibrafon, trumset, piano och bas samt en blåsare. Lars Erstrand, Egil Johansen, Bengt Hallberg, Georg Riedel och Arne Domnérus, alla i sina bästa år trots att de startat sina karriärer 25 år tidigare. Det blev två gnistrande kvällar med samtliga magnifikt inspirerade. Inspelningarna har under åren kommit ut i spridda skurar på lp och cd och har sålt runt 500.000 ex världen över i olika format.

1990 Swedish re-issue; both sleeve and vinyl are graded EX.
Ellington, Duke - Cosmic Scene
(Columbia CL-1198 US-58 EX 300:-)

A lost Ellington gem from the late 50s – a session that has a decidedly different look than some of his other records of the time! We don't know if the Duke was into Sun Ra – but it almost seems like he was copping his thunder with this title and band name – a fair bit more flashy than the usual presentation for the Ellington group! The record's not nearly as trippy as you'd expect – but it's still a prime set of Ellingtonia from those key late 50s years – material played by a smaller group of "Spacemen" than Duke's fuller orchestra – with a bit more room for small group interaction, almost in a Verve mode.

Original US MONO pressing; both sleeve and vinyl are graded EX.
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".
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+.
Hamilton, Chico - Sweet Smell of Success
Brunswick LAT-8225 UK-57 VG+ 275:-)

A wonderful bit of cinematic jazz from the 50s. The Chico Hamilton combo was a key part of the LA scene at the time, but are oddly featured as a regular club act in the movie's New York setting – but we'll gladly forgive that geographic error, given that the music on the set is so great. The quality's a bit like some of the Hamilton Quintet work on World Pacific – but there's a slightly freer, more urgent feel here too – work that's sometimes somewhat driving, and beautifully blended from the guitar of John Pisano, clarinet of Paul Horn, cello of Fred Katz, piano of Carson Smith, and drums from Chico.

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-12036 US-55 VG+ 275:-)

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.

Original US pressing; both sleeve and vinyl are graded VG+.
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.
Kessel, Barney - Kessel plays Standards
(Contemporary C-3512 US-56 EX 700:-)

Guitarist Barney Kessel teams up with Bob Cooper (mostly on oboe but also doubling a bit on tenor), either Claude Williamson or Hampton Hawes on piano, Monty Budwig or Red Mitchell on bass, and Shelly Manne or Chuck Thompson on drums. Other than his own "64 Bars on Wilshire" and "Barney's Blues," the repertoire is comprised of jazz standards. Inventive frameworks and the utilization of Cooper's jazz oboe (a real rarity in jazz of the time) give the otherwise boppish session its own personality.

Original US pressing; both sleeve and vinyl are graded EX.
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'!
Louiss - Surman - Humair ‎– Our Kind Of Sabi
(MPS Records MPS-15049 Fra-70 EX 350:-)

The brilliant French Hammond organist and pianist Eddy Louiss worked with the likes of Kenny Clarke, Jean-Luc Ponty, and Stan Getz; reed player John Surman and drummer Daniel Humair have long been major forces on the European scene.

"Our kind of Sabi" is a classy trio album with Louiss’ superb Hammond organ play front and center and a glimmering of the Caribbean dancing in the shadows.

Original French pressing; both sleeve and vinyl are graded EX.
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.
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.
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 2
(Odeon 4E-062-34797 Swe-73 VG+ 350:-)

In terms of sheer musicality, it was hard to beat Solar Plexus. Led by married couple Carl-Axel and Monica Dominique, and featuring Jojje Wadenius and Bo Häggström from Made In Sweden, they could play anything – and sometimes did.

Their second album, aptly titled ”2” was recorded without Wadenius who had just left Sweden to join Blood Sweat & Tears. Tommy Körberg in turn had found his place in Solar Plexus; the band won a powerhouse vocalist but lost some of their curious-minded experimentation. ”2” isn't as adventurous as their first album focusing more on soul styled songs to fit Körberg's vocals.
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.
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.
von Schlippenbach, Alexander ‎– Globe Unity
(MPS Records MPS-15016 Fra-7? VG+ 275:-)


Educated at avantgarde classical music, German pianist Alexander Von Schlippenbach entered the fray of free-jazz via Gunther Hampel's and Manfred Schoof's quintets. He formed the Globe Unity Orchestra in 1966, a big band that bridged the techniques of free-jazz and the techniques of the classical avantgarde (including the twelve-tone scale).

The two pieces on "Globe Unity" are manifestos of two different kinds of free jazz: "Globe Unity" is a series of energetic improvised solos grafted onto the very loose structure of Von Schlippenbach's written score, while "Sun" is an even looser soundscape roamed by discrete percussion instruments, piano and vibraphone.

1970's French re-issue; both sleeve and vinyl are graded VG+.
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