Record Collecting

  DEEP PURPLE Shades Of Deep Purple Original 1969 Japanese Nippon Grammophon pressed 8-track stereo LP, unique to Japan high quality laminated gatefold picture sleeve with a completely different design to the more common UK & US issues & Japanesebiography information & lyrics inside. The sleeve is in superb condition with the minimum of shelfwear & NO evident edge scuffing with only some light foxing on the inside, the vinyl is IMMACULATE - A fantastic copy of this extremely rare album!

Jutta Hipp is another forgotten '50s jazz pianist with an odd past. She recorded briefly but gave up on jazz in 1956 for reasons that remain mysterious. The German-born Hipp spent her teens under Nazi rule and performed in Germany after the war. She recorded in Germany sporadically from 1952 to '55, and a year later she caught the ear of producer Leonard Feather, who was in Duisburg, Germany. Feather urged Hipp to come to New York. Hipp did just that—arriving in the early spring. Horace Silver talked her up in New York, and Hipp overnight became the first and only female jazz instrumentalist to be signed by Blue Note. The label first released a live recording that Hipp had made in 1954 with sidemen—New Faces, New Sounds from Germany. She also recorded live in April '56 at New York's Hickory House. Volumes 1 and 2 for Blue Note feature Hipp in a trio setting.  In the summer of '56, Hipp performed at the Newport Jazz Festival and in July she recorded on Blue Note with Zoot Sims—an album that would be her last recording. According to Wikipedia, her nervousness playing with top-flight players caused her to abandon jazz and become a seamstress in 1958, dying in 2003 in Queens, N.Y. virtually unknown. Sounds like a bit of a stretch to me, so I nosed around. In 2006, a summary of Katja von Schuttenbach's masters thesis appeared in the July/August 2006 Jazz Podium magazine (go here). Von Schuttenbach [pictured] had just received her Master of Arts in Jazz History & Research from Rutgers University. According to von Schuttenbach's thesis, Hipp had stage fright and alcohol problems—but her ambitions were the victim of Leonard Feather's amorous pursuits. Von Schuttenbach states that when mentor Feather was spurned by Hipp, he choked off her career: "It appears that the unwilling and resisting Hipp hadturned from protégée to persona non grata for Featherwithin months after her arrival," Von Schuttenbach writes. "He retaliated by writing negatively about Hipp in his still widely read encyclopedias and personal memoir, even claiming that Horace Silver’s influence had destroyed Hipp’s playing style....In 1958 Hipp still lived in New York City but was destitute. She had lost her apartment because she couldn’t pay her rent and she didn’t even have enough money to buy a meal." For whatever reason, von Schuttenbach's assertions in the Jazz Podium go undocumented. It's unclear whether her statements about the Feather-Hipp relationship were based on love letters, interviews with sources who had intimate knowledge of Feather's pursuits, or were merely conjecture. [Pictured above: Leonard Feather] Before coming to the attention of Feather, Hipp developed her piano style in Germany, and until now many of her early recordings were thought to be lost. Jazz Haus found them and has released Jutta Hipp: The German Recordings 1952-1955. The results are rather fascinating.  Though Hipp's playing in 1952 was somewhat wooden, she clearly was deeply influenced by Lennie Tristano's inside-out piano style. Her approach cheers up a bit in '53, on tracks like Moonlight in Vermont and Come Back to Sorrento, but these, too, remain brooding, as if played to a metronome. By 1955, Hipp had become more adventurous and sure of herself. For me, Hipp's Hickory House trio recordings remain undisturbed examples of her adventurous style and soling while her album with Sims demonstrates an acute ear for accompaniment. What happened after these sessions remains foggy, but I hope to be in touch with Katja von Schuttenbach to learn more. JazzWax tracks: You'll find Jutta Hipp: The German Recordings 1952-1955 here. JazzWax clip: Here's Hipp playing Out of Nowhere—recorded in Germany in November 1952, with Hans Koller on tenor sax, Franz "Shorty" Roeder on bass and Karl Sanner on drums...   Out of Nowhere

re-post .Mix inspired by the excellent Motor City Burning documentary.1. Looking at You - MC52, City Slang - Sonic's Rendezvous Band3. Heavy Music part 2 - Bob Seeger System4. Wait a Minuite - Tim Tam & The Turn Ons5. Farmer John - Tidal Waves6. Who Do You Love - The Woolies7. Respect - The Rationals8. Nowhere To Run - Martha Reeves & The Vandellas9. Law of The Land - The Temptations10. Funky Dollar Bill - Funkadelic11. 96 Tears - ? And the Mysterians12. Journey to The Centre of the Mind - Amboy Dukes13. 1969 - The Stooges14.Generation Landslide - Alice Cooper15 .Nothing is the same (Get it together ) - Grand Funk Railroad16. Keep on Rocking - Death17. Consolation Prizes - Iggy Pop; James Williamson18. The Motor City Is Burning - John Lee Hookerlink

Solo album number three . Sonically it's very different from his first two 'Glam' albums. Another Green World is an early example of 'ambient' music. Of the fourteen tracks , only five are songs.. .review below..1.Sky Saw – 3:252.Over Fire Island – 1:493.St. Elmo's Fire– 3:024.In Dark Trees – 2:295.The Big Ship – 3:016.I'll Come Running– 3:487.Another Green World– 1:288.Sombre Reptiles – 2:269.Little Fishes – 1:3010.Golden Hours– 4:0111.Becalmed" – 3:5612.Zawinul/Lava– 3:0013.Everything Merges with the Night – 3:5914.Spirits Drifting – 2:36 A universally acknowledged masterpiece, Another Green World represents a departure from song structure and toward a more ethereal, minimalistic approach to sound. Despite the stripped-down arrangements, the album's sumptuous tone quality reflects Eno's growing virtuosity at handling the recording studio as an instrument in itself (à la Brian Wilson). There are a few pop songs scattered here and there ("St. Elmo's Fire," "I'll Come Running," "Golden Hours"), but most of the album consists of deliberately paced instrumentals that, while often closer to ambient music than pop, are both melodic and rhythmic; many, like "Sky Saw," "In Dark Trees," and "Little Fishes," are highly imagistic, like paintings done in sound that actually resemble their titles. Lyrics are infrequent, but when they do pop up, they follow the free-associative style of albums past; this time, though, the humor seems less bizarre than gently whimsical and addled, fitting perfectly into the dreamlike mood of the rest of the album. Most of Another Green World is like experiencing a soothing, dream-filled slumber while awake, and even if some of the pieces have dark or threatening qualities, the moments of unease are temporary, like a passing nightmare whose feeling lingers briefly upon waking but whose content is forgotten. Unlike some of his later, full-fledged ambient work, Eno's gift for melodicism and tight focus here keep the entirety of the album in the forefront of the listener's consciousness, making it the perfect introduction to his achievements even for those who find ambient music difficult to enjoy.linkBrian Eno – vocals, synthesizer, bass guitar, guitar, percussion, drum machine, pianos, keyboards, organs (Hammond, Farfisa), Yamaha bass pedals, sound effectsJohn Cale – viola on Sky Saw, Golden HoursPhil Collins – percussion, drums on Sky Saw, Over Fire Island", and Zawinul/LavaRobert Fripp – guitarsPercy Jones – fretless bass on Sky Saw, Over Fire Island, and Zawinul/LavaRoderick Melvin – keyboards, Fender Rhodes pianoPaul Rudolph – bass guitar on Sky Saw"and I'll Come Running, guitar on Zawinul/Lava, snare drum on I'll Come RunningBrian Turrington – bass guitar, piano on Everything Merges With the Night

PAUL WELLER Like Water Needs A Flower 2010 UK Record Store Day limited edition 4-track 12" vinyl EP, 'A Monstrous Psychedelic Bubble Mix' by the Amorphous Androgynous including 3 mixes of Aim High, also includes Pieces Of A Dream. Housed in a illustrated picture sleeve **Strictly Limited to 500 Copies ONLY**   THE FACES Pool Hall Richard 1974 Japanese 2-track Warner 'Burbank' label vinyl 7" single also including I Wish It Would Rain [With A Trumpet], comes with a unique fold-out 'Tetsu Yamauchi & Rod Stewart' picture insert produced for the Japanese fans, also has the lyrics for both songs on the inside along with biography text and picture discography on the reverse.   THIN LIZZY Wild One - The Very Best Of Thin Lizzy 1996 Japanese 29-track promo sample 2-CD set, issued to radio stations and reviewers ahead of the actual release date. Including a bonus 10-track live CD featuring Bad Reputation, Opium Trail, Are You Ready, Chinatown, Got To Give It Up and Emerald. Custom 'Sample' printed inner rim on each disc, comes with a 28-page picture sleeve booklet with Japanese text biography and lyrics, plus obi-strip.

Yesterday I posted on composer, arranger and pianist Nils Lindberg's 1962 album Trisection, a superb but almost unknown 12-piece jazz recording. I also provided a bit of background on Sweden's 100-year love affair with jazz. Today, a conversation with Nils on Sax Appeal (1960) and Trisection (1962)—two of his early jazz albums recorded in Stockholm: JazzWax: What was your major influence when writing and arranging Sax Appeal?Nils Lindberg: The songs I wrote for Sax Appeal were inspired by the feeling in Swedish folk tunes. For example, the tune Curbits was built on the chords of just such a song. My arrangements, however, were inspired by Woody Herman´s recording of Four Brothers. I liked the records made by Herman´s Third Herd very much. JW: Did you listen to jazz radio in Sweden when you were young?NL: Oh, yes. I first heard American jazz after 1945 when the American Forces Radio started broadcasting from Germany. Many Swedish jazz musicians also listened to the network. During World War  II, no U.S. jazz records had reached Sweden, so when the war was over we were very grateful and excited to listen on the radio and buy and listen to American jazz records.  JW: Which American records and arrangers most influenced you leading up to Trisection?NL: Gil Evans and his [Birth of the Cool] recordings with Miles Davis. JW: Where did you write the music for Trisection?NL: After working very hard as a pianist in dance bands in Stockholm, I went up north in 1961 to Dalarna, Sweden, where my parents’ home is located and where I was brought up. Dalarna has a beautiful landscape and a strong folklore tradition. I composed the music there during the summer of that year. JW: Did you have a strong sense of what you wanted to write?NL: I had no vision whatsoever of what Trisection should be or sound like. I just wrote this suite as I felt it. Of course, the traditional fiddlers in Dalarna and my interest in jazz were strong inspirations. [Pictured above: Dalarna, Sweden] JW: Given your exceptional command of the jazz orchestra, why did you not travel to the U.S. to work, the way musicians like Lalo Schifrin and Michel Legrand did, in the movies and TV?NL: I had a family and three sons, so I had to work here in Sweden. I also had no opportunity to go to the U.S. No one asked. Through vocalist Alice Babs, Duke Ellington had listened to my music and asked me to write for his band. He also recorded my Far Away Star with Alice Babs.  [Pictured above: Dalarna, Sweden] JW: Duke Ellington toured Scandinavia quite a bit.NL: During Duke´s Scandinavian tour in 1973, I played piano on all concerts with his band. After the tour he asked me to work with him in U.S., but he diedsome months after his offer, so who knows what might have happened. Since then, I have played many concerts in the U.S., mainly at colleges and universities. JazzWax tracks: As mentioned yesterday, you'll find three Nils Lindberg albums—Sax Appeal, Trisection and Symphony #1 and Jazz From Studio A—on a single download called Nils Lindberg: Essential Swedish Jazz Masters. You'll just have to rearrange the tracks a bit, as outlined in yesterday's post. JazzWax clip: Here's Curbits from Nils Lindberg's Sax Appeal...   Curbits

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NIRVANA Pennyroyal Tea Rare 100% genuine original 1994 WITHDRAWN German 3-track CD single featuring Remix Version, I Hate Myself And I Want To Die & Where Did You Sleep Last Night MTV Unplugged Version, unique 'cup of tea' picture sleeve GED21907 - this highly sought after rarity was recalled before release after the tragedy of Kurt's death and only a handful are thought to have survived! See 'more info' for further details on this item.   THE BEATLES Sgt. Pepper's Lonely Hearts Club Band Original 1967 UK first pressing 13-track MONO LP on the black & yellow Parlophone label, complete with sheet of cutouts & flame inner, in WIDE SPINED internal flipback picture sleeve variant with inverted title on the spine. Both sleeve & vinyl are in excellent condition.   BLACK SABBATH The Best Of Black Sabbath Mega rare 1971 Japanese-only 8-track stereo LP on the Vertigo 'swirl' label, comes in a unique textured gatefold picture sleeve with integral 4-page booklet featuring a colour portrait of the band, Japanese text biography and lyrics, complete with the almost impossible to find Vertigo logo/'Do It Rock' series obi-strip. The sleeve shows only some light foxing on the inside and only light signs of shelfwear. The obi has faded alittle at the top otherwise intact with no rips, tears or creases. The vinyl has only a couple of very light hairline marks but is otherwise in an amazing condition with no spindle marks on the labels. An oustanding copy of this very sought after 40 year old pressing.

“Marilina” con Los Personalities   “Me Tienes a Mi”   Falcon Records

Today I'm going to tell you about one of the finest jazz albums recorded in the early '60s—an album that is likely unfamiliar to you but will surely become one of your favorites. The album is Trisection by Swedish composer, arranger and pianist Nils Lindberg. (Tomorrow I'll have an interview with Nils from Stockholm about the music.) Sweden has a long jazz history and remains one of the oldest and most prolific jazz centers outside of the U.S. The country's relationship with jazz dates back to 1913, when its first jazz recordings were made in Stockholm, four years before our own in 1917. The song recorded was Alexander's Ragtime Band, by the Pinets Orchestra. Over the years, American jazz musicians have traveled there. The first to record in Stockholm was Louis Armstrong, with his Hot Harlem Band, during a concert in October 1933. Benny Carter was in Stockholm next in 1936, Kenny Clarke in 1938 and Duke Ellington in 1939. Bebop made its way to Sweden in 1947 with Chubby Jackson, and Dizzy Gillespie was there in 1948. James Moody recorded there with his Swedish Crowns in 1949, a session that included I'm in the Mood for Love. Swedish jazz musicians like baritone saxophonist Lars Gullin are revered by American fans who know their work. One of the finest is Nils Lindberg, 79 [pictured], who studied classical composition at the Royal College of Music in Stockholm and is known today as a composer of jazz and classical, including a style that combines jazz, Swedish folk music and classical music. His first jazz album was Sax Appeal (1960), backed by his Swedish Modern Jazz Group. His music and arranging owes a great deal to Woody Herman's reed-centric "Four Brothers" sound. Nils' band featured Rolf Billberg (as) Harry Backlund, Allan Lundstrom (ts) Lars Gullin (bar) Nils Lindberg (p) Sture Nordin (b) and Conny Svensson (d). It's a superb swinging recording with gorgeous sax writing and piano playing by Nils. In December 1962, Nils recorded a magnificent album called Trisection, including American expatriate trumpeter Idrees Sulieman. What makes this 1963 release so special is its Birth of the Cool feel and Gil Evans influences, served up by beautiful, gentle reeds. The band includes Idrees Sulieman, Jan Allan (tp) Sven-Olof Walldoff (b-tp) Eje Thelin (tb) Olle Holmqvist (tu) Rolf Billberg (as) Bertil Lofdahl, Harry Backlund (ts) Erik Nilsson (bar) Nils Lindberg (p) Sture Nordin (b) and Sture Kallin (d). Rather than continue to rave about this music, I should let you hear the first movement. Here's Trisection I (tomorrow I'll post a track from Sax Appeal)...   Trisection 1   JazzWax tracks: You'll find three Nils Lindberg albums—including Trisection Suite—on a single download called Nils Lindberg: Essential Swedish Jazz Masters. You'll just have to rearrange the tracks a bit: Sax Appeal—Curbits, Play for Love, Birdland, Brand New, Blues for Bill and Zodiac. Trisection—Trisection I, Trisection II, Trisection III, Daydreaming, Ars Gratia Artis and Joker. The rest is from Symphony No. 1 & Jazz From Studio A—with Benny Bailey (tp) Ake Persson (tb) Rolf Billberg (as) Bjarne Nerem (ts) Nils Lindberg (p,ldr) Georg Riedel (b) Egil Johansen (d). You'll also find Sax Appeal and Trisection on a Swedish CD here. And a new CD release of Sax Appeal is available at eBay, with four previously unreleased tracks. A special JazzWax thanks to Todd Selbert, who used Trisection in a blindfold test when I was over at his apartment a few weeks ago—and made me guess for over a half hour without success.  Bonus clip: Here's Lars Gullin, Nils Lindberg (interviewed and in concert) and alto saxophonist Rolf Billberg from a documentary on Gullin broadcast on Swedish television...