Christian predating redding

20-Dec-2016 13:58

I have seen LPs by Salvador Dali, Kurt Schwitters, Jean Dubuffet and Jean Tinguley.Usually the great men are assisted by a few musically-inclined chums. ABE KAORU: “Winter 1972” (Sound Works – MN-3039) (Record: Mint/ Plain Cover: Mint).One of the rarest privately released Japanese jazz slides is this one by Abe Kaoru.Aggressive, wild, going berserk while shouting “My paintbrush is a rocket” which gets carried away in a maelstrom of electronic sounds, a tsunami of noise and assorted debris and we are talking 1961 here!!This is noise avant-la-lettre, but not like the noise salon bourgeois kids shit out these days, this on the contrary is quite mind alteringly innovative, rich in sonic texture and challenging upon spinning it. original pressing and impossible to score these past few years!!The soundtrack – which you see here – came out in a delusion eye popping beautiful book like hard cover jacket with cloth bound spine, contained a 30 pages counting photo book for which Jan Vrijman the text wrote with pictures of Appel taken by Ed van der Eslken.

TOP COPY, first original As opposed to Malesch, Second shows some slight change in direction for the band. Just Regarding the story of the Mulatu recording -itself a true rarity- and the value it reaches, it is unbelievable to hear it in this setting, which is totally demented.

It becomes readily apparent on the first track that the band's sound is slightly jazzier and the melodies are a little tighter and stronger. Top copy, getting scarce on the ground clean originals. It is certainly something to wrap your mind around, sweating out heavy psychedelics while grooving to an Ethiopian nightclub vibe.

The guitar duels between Ulbrich and Diez are utterly gorgeous, and the melodies absolutely shimmer throughout the album. The perfect marriage between asymmetric grooves and synthetic sounds, which is the vilest kind of bait these wicked Italians knew I would go for, just like rubbing burning oil on my rubber legs and fire up the dance floor at night with a head full of acid. “I paint like a barbarian in these barbarian times” Appel often told journalists and the same can be said about this recording eh made.

Stunning saxophone solo action recorded in 1972 and released in 1973 in a tiny minuscule run of about 50 copies only.

Definitely one of the all-time rarest and legendary jazz slides ever.

TOP COPY, first original As opposed to Malesch, Second shows some slight change in direction for the band. Just Regarding the story of the Mulatu recording -itself a true rarity- and the value it reaches, it is unbelievable to hear it in this setting, which is totally demented.It becomes readily apparent on the first track that the band's sound is slightly jazzier and the melodies are a little tighter and stronger. Top copy, getting scarce on the ground clean originals. It is certainly something to wrap your mind around, sweating out heavy psychedelics while grooving to an Ethiopian nightclub vibe.The guitar duels between Ulbrich and Diez are utterly gorgeous, and the melodies absolutely shimmer throughout the album. The perfect marriage between asymmetric grooves and synthetic sounds, which is the vilest kind of bait these wicked Italians knew I would go for, just like rubbing burning oil on my rubber legs and fire up the dance floor at night with a head full of acid. “I paint like a barbarian in these barbarian times” Appel often told journalists and the same can be said about this recording eh made.Stunning saxophone solo action recorded in 1972 and released in 1973 in a tiny minuscule run of about 50 copies only.Definitely one of the all-time rarest and legendary jazz slides ever.The A-side is a rare avant-garde recording by Ichiyanagi Toshi, consisting out of prepared piano crossbreeding with the austere sounds of the Shakuhachi, making it a juxtaposition in a feverish demented way as opposed to the derelict acid dementia of Yanagida and Apryl Fool on the other side.