Catalog 18: Free Jazz New York Jazz

Boo-Hooray is pleased to present our 18th catalog, dedicated to the New Black Music of the 1960s, For over a decade, Boo-Hooray has been committed to the organization, stabilization, and
more widely known as “free jazz.” preservation of cultural narratives through archival placement. Today, we continue and expand
our mission through the sale of individual items and smaller collections. We encourage visitors
Usually defined by its improvisatory mode or amelodic form, the New Black Music in effect troubles to browse our extensive inventory of rare books, ephemera, archives and collections and invite
the binary of composition and improvisation, utilizing the latter for the rigorous deconstruction of you to our gallery and bookshop in Manhattan’s Chinatown, open on Saturdays 12-6pm and by
composition and melody as they are traditionally understood. During the late-1950s and throughout appointment.
the 1960s, the transformations in (free) jazz reflected Black life and politics: musicians and writers
such as Milford Graves and Amiri Baraka theorized and historicized jazz as a distinctly African Catalog prepared by Sebas Alarcon, Cataloger, with Evan Neuhausen, Archivist & Rare Book
art form, positing it in opposition to dominant Western musical stricture and its key terms and Cataloger and Daylon Orr, Managing Director and Senior Cataloger. Photography and layout by Sebas
orientations (i.e. tone, melody, tempo); jazz went through and beyond these constraints to find with additional photography by Evan. Please direct all inquiries to Daylon (info@boo-hooray. com).
energy, movement, thought, timbre, texture, rhythms, overtones and microtones, multiphonics, Afterword by Mats Gustafsson. Cover collaged from a design by BrownJohn for Jazz New York.
and tone clusters. These are the musicians’ sounds released into a new limitation; not, as Ornette
Coleman remarked in an interview with Jacques Derrida, into the “extraordinary freedom” we may Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit
think. card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will
be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide
The drive towards new infrastructure did not stop in the ambit of musical form, but also led to new advance notice of the return.
projects in distribution and production. The most notable of these is perhaps Milford Graves and
Don Pullen’s SRP (variously referred to as Self-Reliance Program, Self-Reliance Productions, and
Self-Reliance Project), through which they released a live recording of their concert at Yale University
(item no. 10), circumventing the dominant music labels in a precursor to “DIY culture.” Amiri
Baraka’s Jihad Productions is another notable example, represented in this catalog by issue no. 4 of
Cricket (item no. 12) and Baraka’s poem “Akrikan Revolution” (no. 34).

The combination of these efforts lent themselves to radical political activity. Musicians organized
performances, concerts, and festivals that doubled as either political or mutual aid efforts, such as
a benefit festival for the Panther 21 (item no. 22), and the “Jazz Springs in the Bronx” benefit concert
for Melrose Community School (item no. 24). The influence, conversely, of the music on the politics
can be seen on item no. 47, the “a Love Supreme” ceremony for the first graduates of Merritt College’s
African-American Studies program.

The title of this catalog emphasizes the importance of select New York venues and record labels
to free jazz, such as Slugs’ In The Far East (see items no. 1 - 9) and ESP-Disk (item no. 17), though
its spread covers the span of the New Music across the country and into Europe. Furthermore, we
include the jazz of the 1940s and 1950s preceding it (items no. 69 - 89) and its legacy in the late-
1970s and beyond (items. 90 - 110).
 Table of Contents

1. Slugs’ in the Far East: Jan. 12 - Feb. 14 .............................................................................................................................................. SOLD 47. a love Supreme: Student-Community African-American Libation Ceremony [Eldridge Cleaver,
2. Slugs’ in the Far East: Oct. 5 - Oct. 31 ............................................................................................................................................... $950 Black Studies, Black Panther Party] ..................................................................................................................................................... $1250
3. Slugs’ in the Far East: May 31 - June 26 ........................................................................................................................................ SOLD 48. John Coltrane July ‘66 [Japanese, final tour program] ............................................................................................... $1500
4. Slugs’ in the Far East: October 11 - November 13 ................................................................................................................... SOLD 49. One Mind Temple John Coltrane Pamphlet .......................................................................................................................... $1500
5. Slugs’ in the Far East: November 15 1966 Thru January 1 1967 ................................................................................. $1250 50. Guerilla Volume 2, Number 2 .............................................................................................................................................................. SOLD
6. Slugs’ in the Far East: Oct. 10 - Nov. 12 ............................................................................................................................................ SOLD 51. The Detroit Contemporary 5 [with John Sinclair] ................................................................................................................ $750
7. Slugs’ in the Far East: April 1 - May 4 .............................................................................................................................................. $1250 52. Jazz Digest: Volume One, Number One January 1966 ..................................................................................................... SOLD
8. Slugs’ in the Ear East: Jan 3 - Feb. 5 ............................................................................................................................................... $950 53. Sun Ra Saturn Records Flyer ............................................................................................................................................................ $1200
9. Slugs’ in the Far East: Feb. 7 - Mar. 5 ................................................................................................................................................ SOLD 54. The Sun Ra Arkestra Is Now Available for Bookings ....................................................................................................... SOLD
10. Don Pullen and Milford Graves in concert at Yale University ............................................................................... $2500 55. My Brother the Wind [original proof sheet] .......................................................................................................................... $1500
11. John W. Coltrane 1926 - 1967 [funeral program] .................................................................................................................. $1500 56. The Immeasurable Equation by Sun Ra .................................................................................................................................... $700
12. The Cricket: Trippin’ A Need For Change [No. 4] .................................................................................................................... SOLD 57. [Unused Sun Ra Album Art] “When Sun Comes Out” ................................................................................................. $3500
13. Black Fire Nos. 1-3 [complete run] ................................................................................................................................................... SOLD 58. Universe in Blue [original LP wrap proof sheet] .................................................................................................................. SOLD
14. Dizzy Gillespie Y Su Orquesta .............................................................................................................................................................. SOLD 59. Sun Ra Promotional Photograph ...................................................................................................................................................... $150
15. The Night of the Purple Moon [original proof sheet] ...................................................................................................... $1250 60. Sun Ra Arkestra Business Card - Alton Abraham ............................................................................................................ $300
16. New Year’s Eve Party with the Cecil Taylor Quartet and Archie Shepp-Bill Dixon Quartet ............... $350 61. Sun Ra Promotional Photograph ..................................................................................................................................................... $350
17. Four ESP-Disk Catalogs ........................................................................................................................................................................... $1500 62. Photograph of Thelonius Monk ........................................................................................................................................................ $250
18. The Left Bank Jazz Society Proudly Presents Pharaoh Sanders [Pharoah Sanders] ............................ SOLD 63. Thelonius Monk [photograph] ........................................................................................................................................................... SOLD
19. Photograph of Pharoah Sanders ....................................................................................................................................................... SOLD 64. Maurice McIntyre Press Photograph ............................................................................................................................................. $100
20. Ray Pino Presents Jazz Live - Provocative - Soulful - And Funky Featuring Herbie Hancock ...... SOLD 65. Photograph of Akunda Brian Hollis ................................................................................................................................................ $100
21. The Jazz Workshop Presents Ornette Coleman .................................................................................................................... SOLD 66. Ahmad Salaheldeen press photo ..................................................................................................................................................... $150
22. A Black Festival [Panther 21, Pharaoh Sanders, Archie Shepp] ............................................................................. SOLD 67. Photograph of Majid Shabazz ............................................................................................................................................................. $150
23. 4–Day Festival of the Arts for the Benefit of the Harlem Jazz Music Center, Inc. .................................. SOLD 68. JAZZ 1970 .............................................................................................................................................................................................................. $250
24. Jazz Springs In the Bronx ...................................................................................................................................................................... $350 69. Birdland Stars of 56 and the East-West All Stars [Count Basie, Joe Williams, Sarah Vaughan] $150
25. Jazz Party: Walter Bowe and the Angry Young Men .......................................................................................................... $450 70. Instamatic photograph of Count Basie ..................................................................................................................................... $350
26. Photograph of Don and Moki Cherry ............................................................................................................................................ $350 71. Birdland Souvenir Photo ........................................................................................................................................................................... $450
27. The Living Theatre Presents The Charles Mingus Jazz Workshop with Kenneth Patchen ............ SOLD 72. Jazz New York: Program For the New York Jazz Festival 1956 .................................................................................. $350
28. The Connection at The Living Theatre ........................................................................................................................................ SOLD 73. Jazz Information Vol. 2 No. 14 .................................................................................................................................................................. $50
29. Theatre des Nations: U.S.A. The Living Theatre .................................................................................................................... $250 74. Ernie Fields’ World Famous Orchestra and Entertainers ............................................................................................ $250
30. The Living Theatre of New York ......................................................................................................................................................... $250 75. Cafe Society Menu [first racially integrated nightclub in New York City] ................................................... $1250
31. For The Benefit of Leroi Jones [Cecil Taylor, Don Cherry, Frank O’Hara, Paul Blackburn] .................. $250 76. Pla-Mor Ballroom Menu [signed by Frankie Masters] ................................................................................................... $450
32. Afrikan Revolution: a poem by Imamu Amiri Baraka [First Edition] ................................................................ SOLD 77. [Segregated Jazz Club] The World Famous Cotton Club: Program and Menu ........................................... SOLD
33. Tracks [Diane Di Prima, Eldridge Cleaver, Pharoah Sanders] .................................................................................. SOLD 78. The Hickory House Dinner Menu ...................................................................................................................................................... SOLD
34. Word Jazz — Publication One Published Impulsively .................................................................................................... SOLD 79. Louis Armstrong And His Concert Group: The Ambassador of Jazz .................................................................. $250
35. Ahnoi, No. 5: Music Issue (Fall/Winter 1985) ......................................................................................................................... SOLD 80. The Establishment Dinner Menu .................................................................................................................................................... $250
36. Amiri Baraka Poster .................................................................................................................................................................................... $250 81. The Dizzy Gillespie Quintet & The Jimmy Smith Trio: Program and Flyer .................................................... $350
37. NYC / Jazz: A Selected Catalog of Jazz Activity, Vol. 1 No. 5 ........................................................................................ $250 82. CODA Vol. 2 No. 3 — July 1959 .............................................................................................................................................................. $350
38. NYC / Jazz A Selected Catalog of Jazz Activity: Vol. 1 No. 6 ......................................................................................... $250 83. The Miles Davis Quintet .......................................................................................................................................................................... $450
39. Jazz On A Summer’s Day [unused design for promotional material] .............................................................SOLD 84. Bud Powell Live at Gyllene Cirkeln Stockholm .................................................................................................................... SOLD
40. Newport Jazz Festival ‘65 ....................................................................................................................................................................... $450 85. Cat Anderson at Gyllene Cirkeln ...................................................................................................................................................... $450
41. Jelly Roll Presents Charles Mingus and The Art Ensemble of Chicago... ...................................................... $450 86. Lucky Thompson at Gyllene Cirkeln ............................................................................................................................................. $450
42. Stivers Promotions Presents The Fantastic Four ............................................................................................................... $125 87. Lou Donaldson Quartet at Gyllene Cirkeln .............................................................................................................................. $350
43. Keystone Kalendar [Charles Mingus, Cecil Taylor] ........................................................................................................... SOLD 88. Eje Thelin at Gyllene Cirkeln ............................................................................................................................................................... $250
44. Keystone Kalender [Pharoah Sanders, Cecil Taylor, Rahsaan Roland Kirk] ................................................ $350 89. Jazzkonsert till minne av Charlie Parker ................................................................................................................................. $300
45. Miles [poster] ..................................................................................................................................................................................................... $150 90. The Songs of Louis Armstrong ........................................................................................................................................................... $150
46. Charles Tyler Trio at New Orleans House ................................................................................................................................... SOLD 91. Miles Davis and B.B. King at Constitution Hall ..................................................................................................................... $750
92. Early Show [Left Bank Jazz Society] .............................................................................................................................................. $250
93. Jazzmobile: Thirteenth Year of Free Concerts 1977 .......................................................................................................... SOLD
94. The 5th Newport Jazz Festival: Osaka ........................................................................................................................................... $175
95. The October Revolution in Jazz ............................................................................................................................................................. $75
96. A’s 3 Wednesday’s in January ............................................................................................................................................................ $350
97. From the Art Bears and Henry Cow … Fred Frith, Chris Cutler, Henry Kaiser plus Rova Saxophone
Quartet ............................................................................................................................................................................................................................ SOLD
98. Jazz Punk Bonanza ...................................................................................................................................................................................... SOLD
99. Ten Hail Mary’s .................................................................................................................................................................................................. $150
100. Urban Sax: 30 Saxophones ................................................................................................................................................................ $200
101. A La Raffinerie Du Plan K: Archie Shepp Big Band .......................................................................................................... $250
102. [Suppressed Festival] Pražské Jazzové Dny ‘80 [10th Prague Jazz Days Festival 1980] ................. $250
103. Don Cherry’s NU at Riley Smith Hall ........................................................................................................................................... SOLD
104. The Pittsburgh New Music Ensemble Presents Legendary Improvising Ensemble from England
AMM ....................................................................................................................................................................................................................................... $75
105. Music and The Shadow People ....................................................................................................................................................... $150
106. Images and Signs – A Card Game [Numbered] ................................................................................................................. SOLD
107. WRCT and WPTS welcome a world-class avant-garde event featuring the Peter Brötzmann Trio
with Gregg Bendian and William Parker ................................................................................................................................................ $75
108. Butt Rag No. 9 ................................................................................................................................................................................................ SOLD
109. Loose Booty [Milford Graves, Joe McPhee, Richard Hell, James Nares, Thurston Moore]............... SOLD
110. Onyx Collective Live At Ghengis Cohen ................................................................................................................................. $3000
Slugs’ in the Far East

Opening in the mid-1960s at 242 East 3rd St between Avenues B and C, Slugs’ was a
influential early free jazz club run by Jerry Schultz and Robert Schoenholt. Though originally
dubbed “Slugs’ Saloon,” New York regulations forbid any nominal “saloons” and it was
thus rechristened “Slugs in the far east,” situated, as it was, outside the district of more
reputable Lower East Side venues. The bar was at first strictly of the jukebox and fifty cent
beer variety until Jackie McLean hosted a packed concert and split the take with the club.
More shows followed, and Slugs’ became almost immediately a home for avant-garde jazz.

Slugs’ mythos was propelled by its distinctly underground and sordid features. The beer was
cheap, the bartenders mean, vomit crusted the floors (with the owners often opting to cover
it with a blanket than clean it up), musicians hung around and relaxed, then occasionally
performed in weekly shows that would often rotate between the musicians on stage and
those who happened to be in the audience. Regular performers included Sonny Rollins,
Albert Ayler, Ornette Coleman, and Sun Ra; whereas visitors counted Salvador Dali (who
brought a candle to deal with the dim-lighting, looked at some paintings, and left), Bob
Thompson, Paul H. Brown, Larry Rivers. Archie Shepp and Miles Davis were also regulars,
who came to relax and scout fresh talent. At one point, Art Blakey hosted a weekly Slugs jam
session.

By 1972, the owners and bartenders were burnt out, the rent had gone up, and regular
performer Lee Morgan was shot to death inside the venue by his common-law wife, Helen
Moore. The club closed closed its doors soon after.

1. Slugs’ in the Far East: Jan. 12 - Feb. 14

New York: Slugs / Murray Poster Printing Co., 1971. Offset on thick card stock. 14 x 22 in. Very good,
“1971” written in red marker, circled, on poster, minor bumps and creases to edges.

Poster promoting a month of shows at Slugs’, featuring performances by Donald Byrd, Leon Thomas,
Elvin Jones, Lee Morgan, and McCoy Tyner.

SOLD
2. Slugs’ in the Far East: Oct. 5 - Oct. 31

New York: Slugs’, [1965]. Offset. 5 ½ x 8 ½ in; framed to 8 x 11 ½ in. Near fine.

Flyer promoting a month of shows at Slugs’, with performances by the Pepper Adams and Thad
Jones Quintet, the Charles Davis quintet, the Grachan Moncur III Quintet, and the Blue Mitchell
Quintet featuring Junior Cook.

$950

3. Slugs’ in the Far East: May 31 - June 26

New York: Slugs’, [1966]. Offset. 5 ½ x 8 ½ in; framed to 8 x 11 ½ in. Near fine.

Flyer promoting a month of shows at Slugs’, with performances by the Joe Henderson Sextet, the Lee
Morgan Quintet, the Grant Green and John Patton Quintet, and the Yusef Lateef Quintet.

SOLD

4. Slugs’ in the Far East: October 11 - November 13

New York: Slugs, [1966]. Offset. 5 ½ x 8 1/2 in; framed to 8 x 11 ½ in. Near fine.

Flyer promoting a month of shows at Slugs’, featuring performances by the Benny Powell Quartet,
the Ornette Coleman Trio, the Grant Green and John Patton Quartet, the Curtis Fuller Quintet, the Lou
Donaldson Quartet, and the Stanley Turrentine and Shirley Scott Trio.

SOLD

5. Slugs’ in the Far East: November 15 - January 1

New York: Slugs / Brooklyn Poster Printing Co., 1966. Offset. 5 ½ x 8 ½ in; framed to 8 x 11 ½ in. Near
fine.

Flyer promoting a month and a half of shows at Slugs’, with performances by the Yusef Lateef
Quartet, the Hank Mobley Quintet, the Charles Lloyd Quartet, the Joe Henderson Sextet, and the
Jackie McLean Quartet.

$1250
6. Slugs’ in the Far East: Oct. 10 - Nov. 12

New York: Slugs’ / Murray Poster Printing Co., [1967]. Offset. 5 ½ x 8 ½ in; framed to 8 x 11 ½ in. Near
fine.

Flyer promoting a month of shows at Slugs’, with performances by Wynton Kelly, Jackie McLean, the
Cecil Taylor Unit, the Yusuf Lateef Quartet, the Charles McPherson Quintet with George Coleman, and
weekly performances from Sun Ra and His Astro-Infinity Music every Monday night.

SOLD

7. Slugs’ in the Far East: April 1 - May 4

New York: Slugs / Murray Poster Printing Co., [1969]. Offset. 5 ½ x 8 ½ in; framed to 8 x 11 ½ in. Near
fine.

Flyer promoting a month of shows at Slugs’, with performances by the Pharoah Sanders Quintet, the
Cecil Taylor Unit, the Chico Hamilton Octet, the Jeremy Steig Quintet, and the Lee Morgan Quintet.

$1250

8. Slugs’ in the Ear East: Jan 3 - Feb. 5

New York: Slugs’, [1967]. Offset. 5 ½ x 8 ½ in; framed to 8 x 11 ½ in. Near fine.

Flyer promoting a month of shows at Slugs’, with performances by the respective quartets and
quintets of Kenny Burrell, Philly Joe Jones, Freddie Hubbard, Yusef Lateef, and a workshop led by
Grachan Moncur III.

$950

9. Slugs’ in the Far East: Feb. 7 - Mar. 5

New York: Slugs’, [1967]. Offset. 5 ½ x 8 ½ in; framed to 8 x 11 ½ in. Near fine.

Flyer promoting a month of shows at Slugs’, with performances from the Jackie McLean Quartet, the
George Benson Quartet, the Kenny Dorham Quintet, and the Stanley Turrentine Quintet; with Sun Ra
and His Astro-Infinity Music playing every Monday night.

SOLD
10. Don Pullen and Milford Graves in Concert at Yale University

New York: SRP Records, 1966. VG+. Includes three 8 ½ x 11 in. photo mechanical reproductions of
reviews of the album all very good, with foxing and light discoloration.

The rare first pressing of the first release by Pullen and Graves’ SRP Records, with photo mechanical
reproductions of press clippings, suggesting this example was likely a promotional copy.

Launching SRP (variously referred to as Self-Reliance Program, Self-Reliance Productions, and Self- 11. John W. Coltrane 1926 - 1967 [funeral program]
Reliance Project) and the release of this record was an important moment in the two musicians’
respective careers and a key contribution to the history of autonomous Black cultural production. New York: np, 1967. Offset on rag paper. Four panel pamphlet formed from folding single leaf. 5 ½ x 8
Graves and Pullen recorded and produced the record themselves, hand-designed the covers, and ½ in. Very good with slight toning to recto and glue residue on verso.
distributed a thousand copies. The project was to conceive of “a music free of Western tradition,” for
which they needed to cut loose from dependence on “RCA and Columbia and those companies.” The program from John Coltrane’s funeral service, held on July 21, 1967 at St. Peter’s Lutheran Church
in New York City, four days after the landmark jazz musician’s death at 40.
Early listeners and critics, such as Amiri Baraka, were quick to note its significance. In a review
for the Down Beat, a photocopy of which is included in this example, Baraka praises the spirit of The program features the photograph used as the cover of A Love Supreme, taken by Coltrane’s close
its distribution, and further notes that “Pullen and Graves are making some of the deepest music friend Bob Thiele. On the inside pages, the program outlines the proceedings: a reading of Coltrane’s
anywhere. It wants nothing.” poem “A Love Supreme” by trumpeter and friend Cal Massey, religious readings, and performances
by the Albert Ayler Quartet and the Ornette Coleman Quartet.
This example includes three Xeroxes of early write-ups and reviews for the record, including Baraka’s
aforementioned “A Few Notes On The Avant-Garde” for Down Beat magazine, Bill Mathieu’s later “Not asleep, no.
review of the record for Down Beat magazine, and two write-ups from Max Harrison for Jazz Monthly. Awake and more alive than ever before.”

$2500 $1500
12. The Cricket: Trippin’ A Need For Change [No. 4]

Newark: Jihad Productions, 1969. Saddle-stapled, in wraps. Mimeograph. 65pp. 8 ⅜ x 10 ⅞ in. Very
good, with light wear and discoloration to edges and spine of wraps.

The exceedingly rare fourth and final issue, in the complete “State A,” of Baraka’s underground
music magazine, The Cricket - with contributions from Sun Ra, Ishmael Reed, and Albert Ayler. This
example is the complete version.

Edited by the poets and writers Amiri Baraka, A. B. Spellman, and Larry Neal, Cricket had a four issue
run in 1968–69. This issue features a poem by Sun Ra, a tabloid gag by Ishmael Reed, a vision by
Albert Ayler, and essays and plays by Amiri Baraka, alongside other collected writings in an array of
genres: poetry, gossip, concert and record reviews, short plays, and essays on music and politics.

Emerging from the heart of a Black Nationalist political movement, the magazine was published
by Baraka’s New Jersey-based Jihad Productions shortly after the Newark Riots. It set forth an anti-
commercial ideology, and provided a space for critics, poets, musicians, and journalists such as
Mtume, Haki Madhubuti, Sonia Sanchez, Keorapetse Kgisitsile, and Stanley Crouch to devise new
styles of political and music writing. As David Grundy writes in the introduction to Blank Forms’
recent facsimile reprint of Cricket’s four issues, the publication attempted to create “a form of
music writing which united politics, poetry, and aesthetics as a part of a broader movement for
change; resisting the entire apparatus through which music is produced.”

This issue is known to exist in two versions: in Version A, the recto of the first leaf is printed with
the phrase “Trippin’: A Need for Change,” the table of contents covers both the recto and verso of the
second leaf, and the recto of the final printed leaf is numbered p. 65 and has an article titled “Aide
Denies LBJ Called Pope ‘A Dumb Cunt.’” In Version B, the recto of the first leaf is blank, the verso of
the contents leaf is blank, and the printed text ceases with p. 64. This example is Version A.

In an interview in issue 21 of Handbone, Baraka stated that each issue was printed in an edition of
around 500 - this being one of the few still extant.

“In the half-between world

SOLD
13. Black Fire Nos. 1-3 [complete run]

Washington, D.C.: Black Fire Distributors, [1973] - 1975. Three issues. Saddle-stapled in illustrated
wraps. Offset. 12pp; 24pp; 36pp. Nos 1 and 3: 8 ⅝ x 11 in; No. 2: 8 ⅜ x 11 in. All very good to near fine.

A full run of the New Music catalog founded by Jimmy Gray in collaboration with Strata-East Records,
featuring lists of records released by Black-owned independent labels including Strata-East, Tribe,
and Black Jazz, among others. Notably, every label featured in the magazine presented their address
for contact, in an effort to facilitate connections within the community.

The three issues feature many exceptional photographs of famous bands and musicians, including
Miles Davis, Rashied Ali, and Oneness of JuJu. Upon initial publication, saxophonist James “Plunky”
Branch didn’t know his label, Strata-East Records, was involved with the publication. He was furious
over being included without his knowledge, and nearly started legal action before the label clarified
their involvement. In an interview with Downbeat, Branch recalls a phone call from a representative:
“No, that’s Jimmy from D.C.! He is promoting for us there.” Shortly after that, Gray and Branch
became close-friends and formed Black Fire Records, a label that grew out of the jazz, funk and R&B
scenes in D.C. and Virginia, influenced by their Afrocentric left-wing politics and spirituality.

The second issue, subtitled “Coltrane Lives,” is heavily illustrated with photographs of the famous
musician in an homage published six years after his death. These pictures are intermittently placed
alongside the records in the catalog, positing an aesthetic indebtedness and lineage within the
New Music. The third issue features essays, interviews, and poems alongside striking photography,
featuring writing from Andrew Cyrille about his collaboration with Milford Graves on Dialogue of
the Drums, essays on Eric Dolphy, the New York Jazz Repertory Company, the National Jazz Archive,
Clifford Thorton’s Communications Network, all alongside lush photography of musicians such as
Charles Mingus.

“Yet so many people are standing still waiting for: ‘that lucky break or one big win,’ ‘the SBA loan,’
‘the right time,’ or . . . . Add your own excuse and call it your ‘reason’ or read this magazine and find
many small organizations surviving through unity of purpose. Black Fire Distributors is but one of
the many.”

SOLD
14. Dizzy Gillespie Y Su Orquesta 15. The Night of the Purple Moon [original proof sheet]

Barcelona: Hot Club de Barcelona and Club 49, [1953]. Offset on black cardstock. 12 ½ x 16 ¾ in. Very Sun Ra
good, with light edge wear commensurate to age.
[Chicago]: [Thoth Intergalactic / El Saturn Records], [1970]. Offset. 16 ¼ x 21 ¼ in. Near fine.
Poster for a 1953 Dizzy Gillespie concert at the Windsor Palace in Barcelona, presented by the Hot
Club de Barcelona and Club 49, two renowned post-war Catalan cultural institutions providing Original proof sheet of album artwork from El Saturn Records for the 1970 Sun Ra album, The Night of
refuge for artists and intellectuals during the Franco dictatorship. In the post-war period, Club the Purple Moon, printed in a warm purple ink.
49 hosted artists such as Merce Cunningham, John Cage, Joan Miró, and Roberto Gerhard. A rare
document of post-war jazz in Francoist Spain. Night of the Purple Moon was recorded and released in 1970, featuring a pared-down version of the
Arkestra, with saxophonist John Gilmore, bassist Stafford James, percussionist Danny Davis, and
SOLD Sun Ra on his Minimoog and Rock-Si-Chord synthesizers.

Provenance: the collection of Ahmed Abdullah.

$1250
16. New Year’s Eve Party with Cecil Taylor Quartet and Archie Shepp-Bill Dixon Quartet

New York: The Living Theatre, 1962. Offset. 8 ½ x 14 in. Very good with slight loss top corners.

Flyer promoting a 1962 New Year’s Eve Party benefit concert for the Renaissance House, The Living
Theatre, and the Provincetown Review, featuring the Cecil Taylor Quartet and the Archie Shepp-Bill
Dixon Quartet at the Renaissance House in New York.

The party came at a turning point in the careers of many involved. A month before the performance,
Taylor had recorded his landmark live album Nefertiti, the Beautiful One Has Come with Sunny Murray
and Jimmy Lyons, today regarded as one of the greatest live recordings in jazz history ; Shepp had
released his debut album only three months earlier, with the Savoy LP Archie Shepp-Bill Dixon Quartet;
while The Living Theatre had just began their production of Bertolt Brecht’s “Man is Man,” which
would tour the world and helped establish The Living Theatre as the premiere avant-garde theater
company in the world. Additionally, the Renaissance House, an avant-garde performance venue
in New York, had presented Allan Kaprow’s happening The Courtyard earlier in the year, and the
Provincetown Review, an influential alternative literary journal, had gained increased influence and
notoriority following editor Bill Ward’s recent obscenity arrest. Finally, this flyer is a rare document
of overlap between the Black and white New York avant-gardes, which historically have often been
rigorously segregated.

Surely the place to be at in New York on New Years Eve in 1962.

$350
17. Four ESP-Disk Catalogs

New York: ESP Disk, 1967-71. Four volumes. Offset. All 20pp, except for “ESP-Disk,” which is 6pp. From
6 x 9 in. to 11 1/2 x 16 1/2 in. All very good.

Four ESP-DISK catalogs, likely contsituting a complete set of their printed catalogs.

This collection includes “We Mass Produce Art Objects That When Properly Manipulated Make
Innovational Sounds to Be Dug: 1967 ESP Disk Trade Catalog,” which covers the label’s first 60
releases; the 1969 “Special Complete ESP Catalog,” with the Business Reply Mail envelope tipped in;
“ESP Volume One, Number One,” the premier issue of the 1971 ESP publication that looked to “provide
news of artists, their lyrics, and other data concerning the listening experience”; and “ESP-Disk,” a
1971 catalog featuring cover art from Gilbert Shelton. Besides these four, We have seen no additional
ESP catalogs in institutional holdings or in commerce; this collection likely constitutes a complete
set of the label’s printed catalogs.

ESP was a key actor in bringing free jazz to the larger jazz world, releasing records by Albert Ayler,
Pharoah Sanders, Sun Ra, and Milford Graves. Founded by Bernard Stollman as a label to promote
the Esperanto language, ESP promptly shifted course after Stollman heard Ayler play at the Baby
Grand Bar in 1964; Ayler’s Spiritual Unity was the label’s second release. Often a source of frustration
and fury for the musicians who worked with him due to small or nonexistent payments, Stollman
nonetheless maintained a philosophy of “the artists alone decide what you will hear on their ESP-
DISK,” which was not particularly profitable but led to the creation of a musical output with outsized
influence and contemporary resonance. Stollman expanded the label’s range, releasing records in
other avant-garde traditions, including proto-noise band The Godz and Ed Sanders’ band The Fugs.

“All of the sounds in this catalog have one thing in common . . . . . They were made by free men, doing
their own thing.”

$1500
18. The Left Bank Jazz Society Proudly Presents Pharaoh Sanders 19. Photograph of Pharoah Sanders

Baltimore: Left Bank Jazz Society, 1976. Offset on green colored stock. 8 ½ x 11 in. Very good; bottom [Antibes, France]: np, [1968]. Vintage b/w silver gelatin print. 8 x 10 in. Near fine; paper reading
corners bumped and light edgewear. “Pharoah Sanders” pasted to verso.

Flyer promoting a 1976 Pharoah Sanders concert at Baltimore’s Famous Ballroom, presented by Photograph of Pharoah Sanders performing in Antibes, France in 1968.
the Left Bank Jazz Society. After forming in Baltimore in 1964, the Left Bank Jazz Society hosted a
residency featuring some of the most prominent jazz and New Music practitioners of the decade, SOLD
such as John Coltrane and Duke Ellington.

SOLD
20. Ray Pino Presents Jazz Live - Provocative - Soulful - And Funky Featuring Herbie Hancock 21. The Jazz Workshop Presents Ornette Coleman
Septet
Boston: The Jazz Workshop, [1970]. Offset on yellow stock. 8 ½ x 11 in. Very good.
Baltimore: Ray Pino / Famous Ballroom, 1971. Offset on green colored stock. 8 ½ x 11 in. Very good, with
light edgewear and bumping at corners. Flyer promoting a 1970 series of concerts by Ornette Coleman at the Jazz Workshop in Boston. The
Jazz Workshop opened in 1953 and operated in various venues throughout the city until 1978; during
Flyer promoting a 1971 benefit concert at Baltimore’s Famous Ballroom, presented by Ray Pino and this time, the Workshop hosted manifold classes, informal jam sessions, and performances by
featuring the Herbie Hancock Septet. The concert raised awareness and funds for sickle cell anemia Miles Davis, Duke Ellington, John Coltrane, Herbie Hancock, Sun Ra, and many more.
research - the flyer includes a definition of anemia in the bottom right corner. Ray Pino was a jazz
promoter in Baltimore who worked diligently to bring jazz musicians to the city. He also directed the SOLD
1967-1968 Laurel Jazz Festival, and was an advisor to the Left Bank Jazz Society.

SOLD
22. A Black Festival [Panther 21, Pharoah Sanders, Archie Shepp]

New York: Cal Massey & the Committee to Defend the Panther 21, 1970. Offset on orange stock. 8 1/2 x
10 ¾ in. Light wear to top edge of sheet, and light bumping to bottom left corner; else near fine.

Flyer promoting a benefit festival for the New York Panther 21, bringing together sa wide array of
artists and musicians, including Pharoah Sanders, Alice Coltrane, Anthony Braxton, Archie Shepp,
Rashied Ali, Cal Massey, Sonny Red, Cedar Walton, Eddie Gale, Jackie McLean, Lee Morgan, McCoy
Tyner, Freddie Hubbard, Louis Hayes, and Junior Cook.

In 1969, twenty-one members of the Black Panther Party in New York were wrongfully arrested for
allegedly planning to bomb and assault two police stations and an education office. The group
included Sundiata Acoli, Michael “Cetawayo” Tabor, Afeni Shakur, and Dhoruba bin-Wahad, and
bail for each was set astronomically high, guaranteeing their continued imprisonment. Assata
Shakur later remarked “it was well known by everybody in the movement that the New York police
had kidnapped the most experienced, able, and intelligent leaders of the New York branch and
demanded $100,000 ransom for each one.”

In 1971, following two years of intense public pressure and campaigning from the Committee to
Defend the Panther 21, all of the accused were acquitted by the jury following revelations that
police infiltrators played the leading roles in the allegedly insurrectionary activities. Many of these
revelations came when Afeni Shakur, mother of Tupac Shakur, cross-examined one of the infiltrators,
and compelled him to reveal that he himself had planned the alleged crimes.

An extraordinary and historic document of collaboration among avant-garde black musicians in

SOLD
23. 4–Day Festival of the Arts for the Benefit of the Harlem Jazz Music Center, Inc.

New York: Afro-Arts Cultural Center / Bureau of Continuing Education, 1970. Offset. 8 ½ x 11 in. Very
good. 24. Jazz Springs In the Bronx

Flyer promoting a “4-Day Festival of the Arts” in April 1974 for the benefit of the Harlem Jazz Music New York: Bronx Community College, 1971. Offset on yellow stock. 7 x 11 in. Near fine.
Center, located in the Mary McLeod Bethune School in New York. The Society of Black Composers,
Inc, the Warren Smith Composers Workshop, the Herbie Hancock Sextet, and Betty Carter and Trio Flyer promoting a “Jazz Springs In The Bronx for Melrose Community School” benefit concert for the
all performed. The festival was presented in cooperation with the Afro-Arts Cultural Center and The school and its students, featuring a wide range of musicians including Vera Auer, Eric Blewett, Cecil
Bureau of Continuing Education. & Dee Dee Bridgewater, Anthony Coleman, Al Dreares, Eric Bonnemere, Al Foster, Curtis Fuller, Roy
Haynes, Sam Jones, Cliff Jordan, Harold Mabern, Howard McGhee, Gene Roland, Andrei & Ricardo
The musicians who made up the Society of Black Composers included some of the leading figures Strobert, Charles Sullivan, Bobby Timmons, Chris White, Richard Williams, and Joe Lee Wilson.
in Black music such as Marion Brown, Ornette Coleman, Herbie Hancock, Oliver Nelson, and David
Baker; their aim was “to provide a permanent forum for the exposure of Black Composers, their A document of community organizing overlapping with a New York’s robust jazz community.
works and their thoughts; to collect and disseminate information related to Black Composers and
their activities; and to enrich the cultural life of the community at large.” $350

SOLD
25. Jazz Party: Walter Bowe and the Angry Young Men 26. Photograph of Don and Moki Cherry

New York: [Walter Bowe], 1963. Offset, postmarked on verso, addressed to a prominent New York David Gahr
filmmaker. 9 ½ x 14 in. Very good; yellowing commensurate with age and lines from folding for
mailing. New York: David Gahr, 1973. Vintage b/w silver gelatin print. 8 x 10 in. Small stain to top edge of recto,
slight creasing at two corners; else near fine.
Poster promoting a recurring “Jazz Party” hosted by Walter Bowe and his band “The Angry Young
Men,” featuring their renditions of traditional and modern dancing jazz at 9:30pm every Friday Photograph of Don and Moki Cherry performing at the 1973 Newport Jazz Festival in New York with
night. The poster was mailed by Bowe to a prominent NYC filmmaker, documenting the underground Cherry’s ensemble, The Organic Music Theatre.
connection between the avant-garde jazz and film scenes of the early 1960s.
$350
“Free Black-eyed peas and rice for early comers.”

$450
27. The Living Theatre Presents The Charles Mingus Jazz Workshop with Kenneth Patchen

New York: The Living Theatre, ca. 1964. Offset. 8 ½ x 13 in. Near fine.

Flyer promoting the Charles Mingus Jazz Workshop with Kenneth Patchen, presented by the Living
Theatre. The Jazz Workshop was Charles Mingus’ mid-sized ensemble of rotating musicians
who toured and recorded with him. In this show, presented by the Living Theater, they performed
alongside the influential poet Kenneth Patchen, who did not see fame in his lifetime due to his
opposition to the United States involvement in World War II, but influenced the beat generation
and his peers, Henry Miller and E.E. Cummings. This particular show was also part of Mingus’
experimentation with actors and poets performing alongisde his compositions and improvisations
– a mode of performance he never felt he fully realized.

Charles Mingus founded his Jazz Workshop in the 1940s and originally saw the participation of
musicians Art Blakey, Thelonius Monk, and Max Roach, among others. Mingus approach to the
workshop broke new ground, as he was among the first band leaders to demand from his musicians
spontaneity and independent explorations of his musical compositions. Due to its rigor and
technical demands, the Workshop was referred to a “a university for jazz” amongst Mingus’ peers.
After Mingus’ death in 1979, his wife Sue Mingus continued the mission to have Mingus’ music
played by rotating sets of musicians; the Workshop continues to perform his music today.

SOLD
28. The Connection at The Living Theatre 29. Theatre des Nations: U.S.A. The Living Theatre

[Jack Gelber]. New York: Inkweed Studios, 1959. Screenprint on board. 22 x 14 in. Very good, with edge Designed by Marcel Jacno. Paris: Théâtre des Nations, [1962]. Offset. 15 ½ x 23 ½ in. Very good, with
wear. Sticker pasted to recto with dates of show. wear on the top edge.

Directed by Judith Malina, designed by Julian Beck, written by Jack Gelber, and with music by Poster for several performances of the Living Theatre’s repertory productions of The Apple and The
Freddie Red, The Connection follows a theatrical producer and writer as they attempt to stage a play Connection by Jack Gelber, and Dans la Jungle Des Villes by Bertolt Brecht for the 1962 Théâtre des
about the lives of various proficient drug users and inhabitants of the New York demimonde. The Nations festival in Paris. The company had just won the festival’s Grand Prix the previous year, and
play consists of conversations between the characters as they wait around to score. It won three would move to Europe the following year.
Obie awards in 1959-1960, including best new play, best all-around production, and best actor. From
the first production in 1959 at the Living Theatre. Designed by the French artist Marcel Jacno, who created some of the hallmarks of stylish French
life, such as the packaging of the French cigarettes Gauloises, along with countless posters and
This poster was printed by Inkweed Studios, a company founded by Lionel Ziprin, one of the great illustrations.
nearly-forgotten figures of the New York Underground. Included among the contributors to Inkweed’s
printing projects are Bruce Connor, Jordan Belson, Harry Smith, and Barbara Remmington. $250

$300
30. The Living Theatre of New York 31. For The Benefit of Leroi Jones [Cecil Taylor, Don Cherry, Frank O’Hara, Paul Blackburn]

[Lille:] Palais des Beaux-Arts, [1962]. Offset. 15 ½ x 23 ½ in. Very good, with light wear commensurate New York: Living Theater, 1963. Offset. 8 x 10 ½ in. Near fine.
to age.
A benefit for the poet, writer, and editor LeRoi Jones (later Amiri Baraka), with readings, concerts, and
Poster for two performances by the Living Theatre of their respective productions of The Connection lectures by Cecil Taylor, Don Cherry, Frank O’Hara, Paul Blackburn, and more.
and The Apple, both by Jack Gelber and held at the Palais des Beaux-Arts in Paris.
The Living Theatre organized the benefit for LeRoi Jones, who was then seriously ill, along with his
$250 wife Hettie Jones. His seminal work of musicology, Blues People, would be published later that year.

$250
32. Afrikan Revolution: a poem by Imamu Amiri Baraka [First Edition]

Amiri Baraka Baraka had traveled to Conakry to attend Cabral’s funeral, and was among the few speakers in the
symposium held by the revolutionary party in honor of Cabral; there, delegates from 80 sovereign
Newark: Jihad Publishing Co., 1973. Saddle-stapled. Offset on brown stock. 8pp. First Edition. 4 x 5 ½ nations, guerilla movements, and supporting groups from Europe gathered to honor Cabral’s
in. One spot of light discoloration on back wrap (< 1/3 in.); else near fine. achievements and reflect on the state of anti-imperialist struggle. Notably, the North Vietnamese
delegation received a standing ovation for their continued resistance to the U.S. offensive. Baraka’s
The first edition of Amiri Baraka’s Afrikan Revolution: a poem, published by Jihad Publishing poem captures the mournful and militant anger after the funeral.
Company, an editorial and publishing enterprise started by Baraka to amplify the work of The Jihad
Cultural Center in Newark. A remarkable document of the literary production of the Black radical tradition.

The poem was written in Conakry, Guinea on February 4th, 1973, days after the funeral of Marxist “All capitalists, racists, liars, Imperialists, All who can not change
revolutionary leader and Pan-African intellectual Amilcar Cabral. The head of the African Party for they also must be eradicated, their lifestyle, philosophies
the Independence of Guinea and Cape Verde (PAIGC), Cabral helped wage 10 years of guerilla warfare Habits, flunkies, pleasures, wiped out — eliminated”
against an occupying Portuguese army; he was assassinated in 1973, just months before Guinea-
Bisseau and Cape Verde achieved independence. SOLD
33. Tracks [Diane Di Prima, Eldridge Cleaver, Pharoah Sanders]

Whitney Field, Peter Birkerts, John Rau, eds.

[Birmingham]: np, 1968. Unbound, previously saddle-stapled, in illustrated wraps, with tipped in
table of contents sheet. Offset. 8 x 10 ½ in. 50pp. Spotting to wraps and table of contents, and minor
loss to rear wrap and final leaf, not exceeding ¼ in. depth.

Likely the only issue published of the exceedingly rare literary magazine featuring the works of
Diane Di Prima, Eldridge Cleaver, Brad Leithauser, John and Leni Sinclair, Mimi Haas, Lisa Petrides,
alongside a notable interview with Pharoah Sanders; with rich illustrations and photography
throughout.

Aside from integrating the jazz and poetry of the late 1960s with the political consciousness of the
rapidly expanding Black Panther Party, the magazine also exhibits a surprising historical range, with
an essay on Nietzsche’s relationship to Wagner, and a poem written for the mad Roman emperor
Caligula.

A document of the American post-war avant-garde, including poetry, radical politics, and free jazz.

Two copies located on OCLC as of February 2023.

SOLD
34. Word Jazz — Publication One Published Impulsively

Ken Nordine

[Chicago]: Ken Nordine, 1956. One large two sided leaf (25 ¼ x 18 in.) folded to create sixteen sides.
Offset. 6 ⅜ x 9 in. Very good, with light wear along fold lines.

An exceptionally rare fold-out publication by the voice-over and recording artist Ken Nordine that
shares its name with the record he released the following year with Dot Records. The zine includes
variously rendered aphorisms, a grim note from an American existentialist, a short story called
“Are These Ideas Right or Wrong?”, and a comic study on the manic depressive disposition. Nordine
writes in the contents that he is “on words,” whereas Dick Tyler is on xylotypography: beautiful
reproductions of wood-cuttings illustrate the different texts.

“The intent of the contents is to make myself naked with my clothes on.”

SOLD
35. Ahnoi, No. 5: Music Issue (Fall/Winter 1985)

Cheryl Fish, Joel Lewis, Ed Smith, eds.

New York: Gaede’s Pond Press, 1985. Side stapled sheets. Xerox on rectos only. 34pp. 8 ½ x 11 in. Very
good.

Issue no. 5, “The Music Issue,” of rare underground poetry magazine Ahnoi, which was associated
with the Poetry Project at St. Mark’s Church. This issue features interviews with Amiri Baraka and
Anne Waldman, poems by Clark Coolidge and David Meltzer, songs from Allen Ginsberg and Maureen
Owen, and a reprint of Albert Ayler’s vision that was originally published in The Cricket. Notably this 36. Amiri Baraka Poster
issue places the New Music alongside the avant-garde and language poets of 1980s New York. The
interview with Baraka covers an assessment of John Coltrane’s legacy; Atyer’s vision conveys a New York: Personality Posters Co. Inc., 1968. Offset. 29 x 41 in. “Printed in USA” stamp in top right
deeply religious, eschatological, exposition written only a year before his death. corner. “418 Leroi Jones” printed in the top right corner. Near fine.

An artifact of the intersections of free jazz and poetry in New York. Large poster of a black and white photograph of Amiri Baraka speaking into a microphone.

SOLD $250
37. NYC / Jazz: A Selected Catalog of Jazz Activity, Vol. 1 No. 5 38. NYC / Jazz A Selected Catalog of Jazz Activity: Vol. 1 No. 6

New York: NYC/Jazz, 1978. Two sided 14 x 20 in. leaf folded into quarters. Offset. 7 x 10 in. Very good, New York: NYC/Jazz, 1978. Two sided 14 x 20 in. leaf folded into quarters. Offset. 7 x 10 in. Very good,
with wear at corners, and light discoloration on back wrap and interior pages. with two light fingerprint smudges on the first interior fold.

The fifth issue of NYC / Jazz, a monthly fold-out catalog of jazz activity in New York. This issue The sixth issue of NYC / Jazz, a monthly catalog of jazz activity in New York, featuring a list of notable
includes a list of notable upcoming jazz record releases; a map of locations of interest for jazz in jazz record releases, a map of locations of interest for jazz in New York, a column by Robert Kraft
New York; a notable write-up on Ornette Coleman by Robert Kraft; a list of jazz radio stations; and commemorating Duke Ellington on what would have been his 79th birthday, alongside a reprint of
photographs of Hakim Jami, Jackie Paris, the Ensemble Muntu, and Bob Dorough. Ellington’s essay “The Art Is In The Cooking”; a list of jazz radio stations; and photographs of Helen
Humes, Junior Mance, and Jemeel Moondoc, the altoist-composer lead of the Ensemble Muntu,
Two holdings of NYC/Jazz on OCLC as of February 2023; the only copy of this issue found at NYPL. advertising the musicians respective upcoming New York performances.

$250 Two holdings of NYC/Jazz on OCLC as of February 2023; the only copy of this issue found at NYPL.

$250
39. Jazz On A Summer’s Day [unused design for promotional material]

[Louis Armstrong, Mahalia Jackson, Thelonius Monk and Henry Grimes, Chuck Berry, Chico Hamilton,
Anita O’Day, Sonny Stitt, Dinah Washington, Gerry Mulligan]

np: np, 1959. Hand drawn graphite, ink, and paint on paper. Two 16 x 18 1/4 in. sheets stapled to board.,
framed to 17 3/4 x 20 in. Paper discolored commensurate with age, paste residue on verso and
staples at corners with holes from prior staples. Very good.

Draft for a commercially unused design for Bert Stern’s 1959 film Jazz On A Summer’s Day. A classic
of music documentary and concert film (perhaps the first concert film made), the movie was shot
at the 1958 Newport Jazz Festival. Featuring rousing and intimate performances by Louis Armstrong,
Mahalia Jackson, Thelonius Monk and Henry Grimes, Chuck Berry, Chico Hamilton, Anita O’Day, and
other stars of the time, the film cuts between performances and footage of jazz fans and revelers
enjoying a beautiful summer day. The result is a portrait of not just the performers but the elan and
brio that characterized the jazz scene when it was the hippest and coolest music in the world. As
one contemporaneous reviewer wrote: “as generous a dish of top jazz music as any cat could take in
one gulp.”

The lettering bears a striking resemblance to that on the original poster and a 1961 7” release of a
selection of songs Louis Armstrong performed at the festival. The artist–likely employed in the art
department of Galaxy Productions–is unknown.

SOLD
40. Newport Jazz Festival ‘65

Newport, RI: Newport Jazz Festival, 1965. Offset. Saddle stapled in wraps. 40pp. Illustrated throughout.
Very good.

Program for the 1965 Newport Jazz Festival, featuring write-ups on Frank Sinatra and the nature
of jazz festivals, an illuminating essay on the New Music, and extensive photography throughout.
The festival featured performances from Dizzy Gillespie, Pete Seeger, Muddy Waters, Les McCann,
Archie Shepp, Cecil Taylor, Art Blakey, Miles Davis, Thelonius Monk, John Coltrane, Buddy Rich, Duke
Ellington, Stan Getz, Count Basie, and Frank Sinatra.

Only one holding located on OCLC as of February 2023.

$450
41. Jelly Roll Presents Charles Mingus and The Art Ensemble of Chicago at the Berkeley 42. Stivers Promotions Presents The Fantastic Four
Community Theatre
Oakland: Stivers Promotions / The Players, ca. 1970s. Offset. 8 ½ x 11 in. Light wear to corners, else
Berkeley: Berkeley Community Theater / Jelly Roll, [1973]. Offset. 8 ½ x 11 in. Very good, with some light near fine.
wear to the top edge of the sheet.
Flyer promoting a show by “The Fantastic Four” at The Players in Oakland, presented by Stivers
Flyer for a concert featuring Charles Mingus and the Art Ensemble of Chicago at the Berkeley Promotions. The Fantastic Four consisted of Johnny Dial on the Hammond organ, James Haynes
Community Theatre, presented by Jelly Roll. on the drums, Geneo on the saxophone, and Bill Brown on the guitar. Documentation of a largely
unknown group in the 1970s Bay Area.
Only months prior, Mingus had formed a new quintet with Don Pullen, Jack Walrath, and George
Adams—together they had recorded Mingus Moves, which was released soon after this performance. $125
The Art Ensemble of Chicago had just returned from Paris, taken a residency at Michigan State
University, and released Fanfare For the Warrior, one of their more commercially successful records.

A document of free jazz legends at the height of their powers.

$450
43. Keystone Kalendar [Charles Mingus, Cecil Taylor] 44. Keystone Kalender [Pharoah Sanders, Cecil Taylor, Rahsaan Roland Kirk]

San Francisco: Keystone Korner, [1973]. Offset. 8 ½ x 11 in. Very good, with a spot of light discoloration San Francisco: Keystone Korner, [1973]. Offset. 5 ¼ x 8 ½ in. Near fine.
on the top right corner.
Handbill calendar for shows at the Keystone Korner in May and June of 1973, featuring residencies
Handbill calendar for shows at Keystone Korner in October, November, and December of 1973, from Pharoah Sanders, Airto & Carnival Time, Donald Byrd, the Robben Ford Band, Cecil Taylor, and
featuring week-long residencies from Grover Washington Jr., Cecil Taylor, Jimmy Whitherspooon, Rahsaan Roland Kirk, whose performance was released by Atlantic Records.
Robben Ford, Freddie Hubbard, Les McCann, the Cannonball Adderley Quintet, Charles Mingus, and
Keith Jarrett. $350

The kalendar demonstrates a typical few monts at the fabled San Francisco jazz venue, indicative of
the depth and wide array of talented musicians composing and playing jazz at the time.

SOLD
 46. Charles Tyler Trio at New Orleans House

Berkeley: New Orleans House, [1971]. Blue screenprint on heavy stock. 14 x 22 in. Some toning
commensurate with age; else near fine.
45. Miles [poster]
Vivid poster for a 1971 performance by the Charles Tyler Trio at New Orleans House. Started as a jazz
club in 1966, this small venue quickly shifted its focus and became primarily a place for lesser-
[California]: Jazz Collectors Series, 1967. Offset. 17 x 22 in. Very good, with light wear.
known rock performances until its closure in 1975. Hot Tuna recorded their first album at New
Orleans House, and Flamin Groovies performed there regularly.
Miles Davis poster made by Sam Smidt in 1967. Smidt designed many posters of prominent
musicians for the Jazz Collectors Series and for the Pacific Jazz Festival in California.
Charles Tyler was jazz saxophonist who played frequently with Albert Ayler, Ornette Coleman, and
Sunny Murray; he recorded his first album as band leader with ESP-Disk in 1966. Tyler moved to
$150
Stockholm in 1982 following a European tour with Sun Ra and the Arkestra. A rare artifact from an
underdocumented jazz and rock club in Berkeley. Posters and flyers from New Orleans House remain
exceedingly rare.

SOLD
47. a love Supreme: Student-Community African-American Libation Ceremony [Eldridge Cleaver,
Black Studies, Black Panther Party]

Oakland: Soul Student Advisory Council, 1968. Offset. 8 1/2 x 11 in. Slight creasing on right side; else
near fine.

Poster for a celebration in honor of the first graduating class of Merritt College’s African-American
Studies Program, one of the first such programs in America.

In 1963, in their first organizing project, Huey Newton and Bobby Seale led a group of Merritt
College students to demand a Black history course. Newton and Seale subsequently formed the
Soul Student Advisory Council—a direct precursor to the Black Panther Party—in 1966 to push for
the development of a Black Studies curricula. While the program at Merritt College would not gain
official accreditation from the Department of Education until 1970, the flyer is an artifact from one
of America’s first Black Studies programs, dating the Merritt College program to at least a year
before San Francisco State became the first American university to gain official accreditation for
its program. That the curriculum for Merritt College’s program was developed by the precursor
organization to The Black Panther Party demonstrates the radical political milieu from which Black
Studies university programs originate.

A document from the birthplace of The Black Panther Party, the movement to develop Black Studies
programs and curricula in America, and the mutually flowing influence between the Black avant-
garde and political vanguard.

$1250
 49. One Mind Temple John Coltrane [pamphlet]

San Francisco: np, [1971]. Two-sided sheet folded to create a 4 pp. pamphlet. Offset. 4 ¼ x 5 ⅜ in. Very
48. John Coltrane July ‘66 [Japan, final tour program] good, with two spots of light discoloration on the back wrap (<⅛ in. & ~¼ in.), and some light wear
on the edges of wraps.
Tokyo: Kings Record Co. / Daily Sports, 1966. Saddle stapled, in wraps. Offset, with 6 ¾ x 2 ⅞ in. ticket
and 10 x 13 in. leaf from magazine tipped in. 32pp. Text in Japanese. 10 ⅛ x 14 ¼ in. Very good. Devotional fold-out pamphlet from the One Mind Temple, later known as the John Coltrane Church,
featuring a fragment of the liner notes to A Love Supreme with a facsimile of Coltrane’s signature.
Program for John Coltrane’s July ‘66 tour of Japan, featuring extensive photography of Coltrane’s
last band: a quintet that included Coltrane’s wife, pianist and harpist Alice Coltrane; saxophonist The liner notes and album were foundational texts for the Coltrane Church; Coltrane was first
and bass clarinetist Pharoah Sanders; bassist Jimmy Garrison; and drummer Rashied Ali. This was canonized as a saint by the Temple, and a few years later, was worshiped as God, or as an incarnation
Coltrane’s final tour, just weeks before his death. of the divine. Located in the Fillmore district, the church was a community and mutual aid hub, with
connections to the Black Panther Party and Huey P. Newton, as well as other Bay area community
The program also includes a ticket to Coltrane’s concert in Osaka tipped, and a page from a organizations. By 1982, the Temple had been consecrated into the African Orthodox Church.
Japanese magazine prominently featuring a photograph of Coltrane.
Printed as the church had its first major reorganization, moving to their famous Divisadero Street
$1500 location and becoming the “One Mind Temple,” this remarkable pamphlet documents the lasting
influence of Coltrane’s studies of spirit and divinity.

$1500
50. Guerilla Volume 1, Number 2

Allen Van Newkirk, ed.

Detroit: Guerilla, 1967. Offset on newsprint. 28pp. 11 ¼ x 15 ½ in. Very good, with a horizontal foldline
from folding into halves, chipping at fold of wrappers, an open tear at the right edge (< ½ in.) and the
bottom edge (~ ½ in.) of front wrap; some minor wear, chipping, and tearing at edges of most sheets;
and, a some wear to the horizontal fold of the last sheet.

The second and final issue of the extremely rare radical underground newspaper Guerilla, “a national
newspaper of contemporary kulchur,” edited by Allen Van Newkirk and an editorial team at the
Detroit Artists’ Workshop Press.

A flagship in revolutionary thought, poetry, and news, the newspaper was published during the
summer riots in Detroit in 1967 and the height of the White Panther - Detroit Free Press literary
movement. Situated squarely in the window of political possibility inaugerated by 1960s riots,
the newspaper featured a star-studded roster, with Ellen Phelan serving as Art Editor, and a list of
contributing editors that included Sun Ra, Diane Di Prima, Michael McClure, Stan Brakhage, John
Sinclair, Robert Kelly, Marion Brown, David Meltzer, and Joel Oppenheimer.

This issue features poetry by Di Prima and Robert Kelly, an essay from Gilbert Sorrentino on avant-
rock and another from John Sinclair on Jazz and Bebop, alongside a letter on film by Stan Brakhage,
and an epistolary poem to George Büchner by Michael McClure. It also features striking cartoons,
illustrations, and photography.

While Guerilla billed itself in the first issue as a “monthly” newspaper, this second issue appeared
four months late—in the interim the police had assaulted the Guerilla editorial offices, then shared
with the Artists’ Workshop Press, and arrested the entire editorial staff. By the time the second issue
appeared, some of the staff was still pending trial, and co-editor John Sinclair had resigned over an
internal dispute about Guerilla’s attitude towards hippies. The editorial displays ambivalent and
critical feelings regarding the middle-class youth movement.

Editor Allen Van Newkirk later made news again. In 2005, Newkirk was arrested and shot following
a December 12th armed robbery of a Toys R’ Us near Vancouver, British Columbia. Newkirk had
attempted to flee the toy-shop, but crashed into a police-car after a short chase. After crashing
he opened fire on the cops; he was shot and killed. Sources say his commitments to surrealism
determined the location of the robbery.

An astonishing document of humor, politics and music printed under the banner of surrealism and
revolutionary politics.

SOLD
51. The Detroit Contemporary 5 [John Sinclair] 52. Jazz Digest: Volume One, Number One January 1966

Newark: The Artists’ Workshop / Detroit & The Jazz Art Music Society, 1966. Mimeograph on tan stock New Orleans: Jazz Digest, 1966. Mimeograph. Side stapled. 10 pp. 8 ½ x 11 in. Very good, with wear and
from type and holograph. 7 ½ x 11 in. Very good; mild age toning and edges embrittled. toning commensurate with age, and very small punctures throughout likely a result of printing or
binding.
Handbill promoting “The Detroit Contemporary 5, featuring Marion Brown,” a series of concerts
in Newark, presented by The Artists’ Workshop from Detroit, and the Jazz Art Music Society from Premiere issue of Jazz Digest, a New Orleans based jazz magazine that in a “relatively condensed
Newark. Ensemble member John Sinclair would go on to found the White Panther Party two years form” looked to establish a “successful co-operative enterprise dealing with the jazz medium of
later and play in the celebrated proto-punk band MC5. expression.” This issue includes various essays (including a “How To Choose a Reed” guide), reviews
of records from the preceding year, a catalog of the extremely scarce Black Patti recordings, and a
The Detroit Contemporary 5 (DC5) was a fluid ensemble from Detroit that included John Dana, note on the “Chicago scene.”
Ronald Johnson, John Sinclair, and trumpetist Charles Moore. It had grown out of the Detroit Artists’
Workshop, an important meeting ground for musicians and other artists at the height of the Detroit An example of the expansive DIY publishing culture around free jazz. Four copies located on OCLC as
Free Press artistic movement. The concert was part of DC5’s ten day tour of the east coast, and of February 2023.
featured the renowned alto player Marion Brown. The politically oriented jazz scene in Newark would
soon coalesce with Amiri Baraka’s Jihad Productions. SOLD

A document of the intersecting networks of avant-garde jazz and radical politics.

$750
53. Sun Ra Saturn Records Flyer 54. The Sun Ra Arkestra Is Now Available for Bookings

Sun Ra. Chicago: Saturn Records / El Saturn Research, ca. 1960. Offset. 12 x 11 in. Very good, creases to Sun Ra. Chicago: Atra Productions, 1960. Offset. 13 ½ x 10 in. Very good, creases and bumps to
top edge. corners, slight water damage to top corner.

Double-sided Saturn Records flyer promoting Sun Ra’s words and music, featuring “comments and Poster from 1960 advertising Sun-Ra and His Arkestra for bookings at parties, concerts, and dances.
poetry by Sun Ra” on verso with an early promotional picture of Ra on the recto. A scarce piece of Verso includes reproductions of press clippings on the Sun Ra Arkestra collaged with various
ephemera from early in Sun Ra’s career. newspapers and magazines.

$1200 “There is nothing new under the sun, but the music of the sun is new because the sun is the pace-
setter of tomorrow.”

SOLD
55. My Brother the Wind [original proof sheet] 56. The Immeasurable Equation by Sun Ra

Sun Ra. [Chicago]: El Saturn Records, [1970]. Offset. 19 x 13 ½ in. Near fine. Sun Ra. Chicago: Ihnfinity Inc. / Saturn Research, ca. 1972. Screenprint in blue ink on thick gray stock,
right edge deckled. 11 ½ x 8 ½ in. Near fine.
Original proof sheet of album artwork from El Saturn Records for the 1970 Sun Ra album, My Brother
the Wind, printed in a red-orange ink. Recorded in 1969 and released the following year, My Brother An unused and unfolded wrap for Sun Ra’s book of poetry “The Immeasurable Equation”, originally
the Wind was the first of Sun Ra’s releases to utilize the recently-introduced Moog synthesizer; he published in 1972 and re-printed many times in various iterations. The original edition was
utilized the new technology to transmit his otherworldly imagination into futuristic and never- distributed widely from the bandstand at Sun Ra performances and features more than 60 poems
before heard sounds, broadening the artist’s creative horizons. by the artist. It is unclear which edition this cover is from; though most likely not the true first, print
quality and paper stock suggests an early edition.
$1500
$700
57. [Unused Sun Ra Album Art] When Sun Comes Out 58. Universe in Blue [original LP wrap proof sheet]

Sun Ra; Claude Dangerfield, design. Sun Ra; Claude Dangerfield, design.

[Chicago]: El Saturn Records, ca. 1963. Offset. 22 ½ x 12 ½ in. Near fine. Chicago: Saturn Records, [1972]. Offset. 26 x 14 in. Very good, slight creasing and bumping across the
sheet.
Original proof sheet of unused album artwork from El Saturn Records for the 1963 Sun Ra album,
When Sun Comes Out, printed in red and blue ink on goldenrod paper. This is the first of many Sun Ra Original proof sheet of album artwork for Sun Ra’s 1972 live album Universe in Blue. This sheet
albums to be recorded at the Choreographer’s Workshop, the Arkestra’s rehearsal space in New York. includes both front and back covers and spine text, printed in lush blues and red. The album was
recorded live across a number of performances, most likely at the Lower East Side jazz club Slugs,
This alternate artwork was never used in any releases of the album, and is therefore incredibly where Sun Ra and his Arkestra performed regularly throughout the late-1960’s.
scarce. Designed by Claude Dangerfield, who designed many album covers and promotional
artworks for Sun Ra beginning in the late-1950s. Dangerfield was a DuSable high school student SOLD
alongside Arkestra members John Gilmore, Pat Patrick, and manager Alton Abraham. Many of
Dangerfield’s early designs were never used as album artwork and only survive as original sketches
or proofs, such as this work.

When Sun Comes Out was a landmark record for Sun Ra: it was the first New York recording to be
released with Ra’s own El Saturn Records, and featuring Tommy Hunter’s first stereo recordings at
the Choreographer’s Workshop.

A remarkable trace of Sun Ra’s early visual language and a heretofore unseen Sun Ra album artwork.

$3500
59. Sun Ra Promotional Photograph 60. Sun Ra Arkestra Business Card - Alton Abraham

Sun Ra. [New York]: [ESP-Disk / Fontana Records], [1965]. Offset. 7 ⅜ x 8 ⅞ in. Very good. Chicago: El Saturn Research, ca. 1970. Offset. 2 x 3 ½ in. Near fine.

Promotional photograph for the 1965 release of The Heliocentric Worlds of Sun Ra, Volume One. Alton Abraham’s business card while managing The Sun Ra Arkestra and El Saturn Research
in Chicago. His title is listed as Communications Consultant / “Sound Networking Specialist,
$150 Computerized Music Systems.”

After meeting in 1951, Abraham and Ra became quick friends and collaborators, sharing an interest
in the occult, ancient history, numerology, and science. Abraham co-founded El Saturn Records with
Ra and his brother Artis Abraham in 1957, and helped Sun Ra with publishing, administrative work,
booking, and promotion throughout the artist’s most prolific years in the 1950s through 1970s.

$300
61. Sun Ra Promotional Photograph 62. Photograph of Thelonius Monk

[Chicago]: Saturn Records, ca. 1970s. Offset. 13 ½ x 13 ½ in. Very good, some bumps to sheet with np: np, 1968. Vintage b/w silver gelatin print. 8 x 10 in. Near fine with red editorial markings on recto
minor toning to edges. and editorial annotations on verso.

Black and white photograph of Sun Ra printed on light blue LP-sized sheet, possibly for inclusion Photograph of Thelonius Monk at his piano in 1968.
with a record release.
$250
$350
63. Thelonius Monk [photograph]

Doug Quackenbush

np: Doug Quackenbush, [1964]. Vintage b/w silver gelatin photograph, with Quackenbush stamp on
verso. 8 x 10 in. Very good, with some toning commensurate to age, and light wear to verso.

Silver gelatin photograph of the eminent pianist and composer Thelonius Monk, captured by the
photographer Doug Quackenbush. Monk is photographed performing behind a piano, blurred into
the stage.

Quackenbush was a fashion photographer by trade who moonlit as a jazz photographer. He was a
devoted listener of Thelonius Monk, and after a chance encounter, became the musician’s fly on the
wall photographer for three months in the summer of 1964.

Monk biographer Robin D.G. Kelley writes that Quakenbush “took over six hundred shots of
Thelonious, in black-and-white and color, creating one of the most comprehensive and compelling
visual portraits of the man—second only to Nica’s collection of Polaroids taken over the course
of two decades.” Kelley quotes Quackenbush’s description of the project: “Here was a man ‘being
himself,’... not just in his music, but in his whole being. He looked the way he sounded, whether
he was playing or dancing. I decided that I wanted to make pictures of what that looked like.”
(Thelonious Monk: The Life and Times of an American Original, p. 361).

SOLD
64. Maurice McIntyre Press Photograph 65. Photograph of Akunda Brian Hollis

Chicago: Delmark Records and A.A.C.M., ca. 1969. Vintage b/w silver gelatin print. 8 x 10 in. Very good. Jim Dulzo

Press photograph of saxophonist Kalaparusha Maurice McIntyre, produced by Delmark Records Detroit: Detroit News, ca. 1960s. Vintage b/w silver gelatin print. 8 x 10 in. Very good with various
and the Association for the Advancement of Creative Musicians (A.A.C.M.) McIntyre was a member annotations and stamps on verso.
of A.A.C.M., which formed in 1965 to nurture the American jazz community. Other notable members
included Anthony Braxton, Henry Threadgill, and the Art Ensemble of Chicago. Photograph of a young Akunda Brian Hollis. Hollis has played in several afro-beat and jazz
ensembles as a percussionist, including the Aboriginal Percussion Choir, Odu Afrobeat Orchestra,
$100 and The Sun Messengers. He also performed with Marshall Allen and Carl Craig on a Sun Ra tribute
album.

$100
66. Ahmad Salaheldeen press photo 67. Photograph of Majid Shabazz

np: np, ca. 1960s. Vintage b/w silver gelatin print. 8 x 10 in. Small spot at bottom of recto; else near St. Petersburg, FL: np, 1977. Vintage b/w silver gelatin print. Very good with editorial annotations to
fine. margins of recto and verso; newspaper clipping that photograph accompanied taped to verso.

Press photograph of Ahmad Salaheldeen, the Chicago saxophonist trained in the bebop tradition Photograph of the percussionist Majid Shabazz performing on the drums in 1977. Shabazz performed
who nonetheless overlapped with many musicians in the avant-garde scene; he frequently sat in on on several Pharoah Sanders albums and on Alice Coltrane’s masterpiece, Journey in Satchidananda.
Sun Ra rehearsals in the 1960s.
$150
$150
 69. Birdland Stars of ‘56 and the East-West All Stars [Count Basie, Joe Williams, Sarah Vaughan]
68. JAZZ 1970
New York: Birdland, 1956. Saddle stapled, in wraps. Offset. 24pp. 9 x 12 in. Very good, with light wear on
Bartholomew Gray. Christer Landegren, Bernd Junker and Alfred Hicks, photos. wraps commensurate with age.

Djursholm: All and The Rest Production, 1970. Perfect bound in wraps. Offset on glossy stock. 36pp. 8 Program for the Birdland Stars of ‘56 and the East-West All Stars performing at Birdland, the fabled
¼ x 11 ¾ in. Spotting to wraps; else very good. jazz venue that hosted musicians such as Charlie Parker, Stan Getz, Harry Belafonte, Miles Davis,
John Coltrane, Lester Young, Thelonius Monk, and virtually every other renowned mid-century jazz
Swedish photobook of prominent jazz musicians depicted in black and white portraits taken by musician.
Christer Landegren, staff photographer for Stockholm’s Orkester Jornal, Bernd Junker, and Alfred
Hicks; with captions by Bartholomew Gray. Among the musicians photographed are Duke Ellington, The Birdland Stars of ‘56 included Sarah Vaughan, Count Basie, Al Hibbler, Lester Young, Johnny
Miles Davis, Sun Ra, Thelonius Monk, Coleman Hawkins, Sonny Rollins, Cecil Taylor, Ornette Coleman, Smith, Bud Powell, and Joe Williams; the East/West All Star Jazz Septet consisted of Kenney Dorham,
B.B. King, Don Cherry, Dizzy Gillespie, Art Blakey, and Archie Shepp. Gray’s captions creatively Conti Condoli, Joe Benjamin, Al Cohn, Roy Haines, Phil Woods, and Jimmy Jones. The program
describe or praise the musicians in simple musings: features extensive photography, writing on the Birdland Stars, and an essay on Birdland by Allan
Morrison.
“Duke Ellington. Pianist, composer. Who knows maybe there is a Nobel Prize waiting for this great
teacher of love.” “The club rests on what Broadway historians regard as hallowed ground.”

$250 $150
70. Instamatic photograph of Count Basie 71. Birdland Souvenir Photo

Paris: E.A. Wiggins, ca. 1970s. 3 ½ x 3 ½ in. instamatic photograph. Very good with slight creasing at New York City: np, ca. 1950s. Sepia-tinted silver gelatin photograph (8 x 10 in.) in illustrated cardstock
top edge. “Count Basie also thanks Mme. Cialey for her ‘soul food’ + ‘home’ hospitality before leaving folder, 9 ½ x 11 in. Very good, with some foxing on the folder, and a holograph mark on the back wrap.
Paris for London.” written in unknown hand in verso.
Souvenir photo from Birdland, the celebrated and notorious New York Jazz club that hosted
Photograph of Count Basie posed with a friend in Paris, likely in the 1970s. musicians such as Charlie Parker, Harry Belafonte, Stan Getz, Miles Davis, John Coltrane, Art Blakey,
Thelonius Monk, and countless others.
$350
$450
72. Jazz New York: Program For the New York Jazz Festival 1956

Don Friedman, Ken Joffe, eds. Design by BrownJohn and Jacques Willaumez Associates Incorporated
Designers.

New York: New York Jazz Festival, 1956. Perfect bound in wraps. Offset. [80pp]. 8 ½ x 11 in. Very good,
with light edge wear and discoloration to wraps, and an open tear to outer edge of rear wrap (< ½ in.)

Program for the First Annual New York Jazz Festival in 1956, presented by Don Friedman and Ken
Joffe in association with K & J Heyman and A & S Markelson.

Friedman and Joffe introduced and edited this attractive program with fresh, ahead of its time,
proto New Wave and graffiti design by BrownJohn and acques Willaumez Associates Incorporated
Designers. The magazine includes photo portfolios from Ken Heyman, Carole Galletly, and Chuck
Lilly, and essays by Gary Lewis, Paul Sampson, Nat Hentoff, William Brown, and others.

The festival’s lineup included Billie Holiday, Count Basie, Dave Brubeck, Gerry Mulligan, Joe Williams,
Erroll Garner, Gene Krupa, and Coleman Hawkins.

“New York City has long been one of the main supporters of Jazz in the country. It is only appropriate
that the greatest city in the world should have a great Jazz Festival.”

$350
73. Jazz Information, Vol. 2 No. 14
74. Ernie Fields’ World Famous Orchestra and Entertainers
New York: Jazz Information, 1941. Saddle-stapled. Offset. 5 ½ x 8 ⅜ in. Worn covers detached from
staples, light wear and discoloration throughout; good. Los Angeles: Reg. D. Marshall Agency, [1940s]. Offset. 8 ½ x 11 in. Very good.

An issue of the scarce Jazz Information, “America’s first magazine devoted exclusively to jazz music,” Rare flyer promoting Ernie Fields’ national tour in the 1940s with his World Famous Orchestra and
featuring the latest news on jazz, record reviews, collectors’ information, discographies, critical and Entertainers. Notably, the group toured for troops stationed at domestic military bases during World
historical features, and many rare photographs. War II, as well as for colleges, country clubs, and fraternal organizations.

$50 $250
75. Cafe Society Menu [first racially integrated nightclub in New York City] 76. Pla-Mor Ballroom Menu [signed by Frankie Masters]

New York: np, [ca. 1940s]. Saddle stapled, with one missing staple and another loose staple, with Lincoln, NE: np, 1947. Pamphlet formed from single leaf. Offset on cardstock, with holograph
tasseled blue string adorning the spine. Offset. 8pp. 8 ½ x 11 ¾ in. Toning and foxing on wraps, signature on cover. [4] pp. 8 x10 in. Very good, with light horizontal lines from folding into thirds,
interiors clean; very good. discoloration on the lower right edge of exterior recto, and light discoloration commensurate with
age.
Dinner and drink menu for the first racially integrated nightclub in New York City — and perhaps
the country. Advertised as “the wrong place for the right people,” the nightclub opened in 1938 and Dinner menu for Pla Mor, the largest ballroom of the Midwest in the 1940s, signed by prominent big
featured performances by Sarah Vaughan, Big Joe Turner, Albert Ammons, Lena Horne, Ruth Brown, band leader Frankie Masters.
Pearl Bailey, and Billie Holliday, who first performed “Strange Fruit” there.
Open since 1929, the ballroom hosted many big band legends such as Count Basie, Glenn Miller, and
Holliday’s performance was oddly and intensely shaped by the well-meaning owner, manager, Harry James; it remains active today. Verso of menu promotes a weekly “Waltz Night,” a series of
and founder Barney Josephson, who insisted the set end with “Strange Fruit,” without an encore concerts, notably one by Frankie Masters, as well as some other shows including an “All American
or restaurant service following it, so that the audience could “sit and think with it.” This was Speed Derby of 1947, a streamlined endurance contest.”
emblematic of his intentions for the club: a vexed affront on rich society, mocking the racist
socialites that frequented segregated nightclubs such as the Cotton Club, by way of murals done by Rare trace of a regional hub of Jazz and Big Band music.
Anton Refregier and other Village artists with political, ironic, and experimental proclivities. By 1948,
Josephson’s brother was subpoenaed by the House of Un-American Committee; anti-communist $450
harassment and suppression would eventually bring New York’s first integrated nightclub to close
bringing attacks on the nightclub to close.

$1250
77. [Segregated Jazz Club] The World Famous Cotton Club: Program and Menu 78. The Hickory House Dinner Menu

New York: Cotton Club, 1936. Saddle-stapled, in illustrated wraps. Offset. 4pp. 10 x 13 in. Very good, New York: np, [ca. 1940s]. Double sided sheet folded to create four pages, with a “Chef’s Special” 4 x 2
with wear and discoloration to wraps commensurate with age. ½ in. card stapled to the interior. Offset on green cardstock. 10 ¾ x 14 ¼ in. Very good, with wear and
discoloration commensurate to age, and a pinhole on the right-side of verso.
Program and Dinner menu from the notorious segregated night-club Cotton Club, promoting Dan
Healy’s “Cotton Club Parade,” a show featuring Cab Calloway and the dancer Bill Bailey. Dinner menu for the Hickory House, the renowned New York jazz club located on West 52nd Street.
The club was opened in 1933—the very dawn of post-prohibition New York—by John Popkin.
“A Jim Crow club for gangsters and monied whites,” the Cotton Club originally opened in Harlem in
1922, looking to provide, as Langston Hughes put it,”an authentic black entertainment to a wealthy, The Hickory House was both a swing venue and a spot to grab cocktails and dinner before a show.
whites-only audience.” The club displayed popular technologies in brutish and racist segregation By the 1950s, the venue hosted and served many influential musicians, such as Duke Ellington, Billy
with “jungle music” and a plantation-themed interior. Black people could not initially attend the Strayhorn, Oscar Pettiford, and Thelonius Monk, who would stop by the club for a meal, and watch
club as guests (and when they later did, it was in a hostile, segregated, and mocked fashion); they the house trio, which consisted of Marian McPartland, Bill Crow, and Joe Morello. Some would even
worked in the club as major entertainers: musicians Duke Ellington and Cab Calloway were there join in with the house musicians; most famously, after coaxing, Ellington is reported to have joined
spring-boarded into fame. them on the bandstand.

The program prominently exhibits racist imagery and language, documenting the brutal systems of “Life! Life! From ten thirty until scrambled eggs there is always a popular singy rhythm band to beat
capture and commodification that jazz musicians were forced to contend with. out tuneful and catchy syncopations in their own inimitable style.”

SOLD SOLD
79. Louis Armstrong And His Concert Group: The Ambassador of Jazz 80. The Establishment Dinner Menu

New York: Associated Booking Corp, [ca. 1957]. Saddle stapled in wraps. Offset. 20pp. 9 x 12 in. Very London: np, [1962]. Double-sided 8 x 9 ¾ in. sheet folded to create four side menu. Offset on orange
good, with some light wear and discoloration commensurate to age. cardstock. 4 ⅞ x 8 in. Adhesive residue on verso, else very good.

Official program for Louis Armstrong and His Concert Group, featuring Amstrong in his “Ambassador Dinner menu for the Establishment, the London nightclub better known for hosting satirical comedy,
Satch” wardrobe on the cover. The program includes four essays, alongside many photos and though it prominently booked prominent jazz acts during its three year run, including the Dudley
copies of news clippings from 1956; notable features include Eddy Gilmore’s Associated Press Moore trio. The menu doubles as a flyer for comedic actor Frankie Howard’s season at the club.
article “Trumpet-Blowing Ambassador” and Art Buchwald’s “Paris--And People: ‘Satchmo’ Abroad.”
The program concludes with photos of the All Stars from the end of 1957, including Trummy Young, $250
Edmond Hall, Billy Kyle, Mort Herbert, Barrett Deems and Velma Middleton.

$250
 82. CODA Vol. 2 No. 3 — July 1959
81. The Dizzy Gillespie Quintet & The Jimmy Smith Trio [Program and Flyer]
Toronto: Coda Magazine, 1959. Side stapled. Mimeograph. 27 pp. 8 ½ x 11 in. Very good, with light wear
and toning commensurate with age, and the rear cover detached but present.
Leeds: Odeon / Harold Davison and Norman Granz, [1965]. One saddle-stapled, offset printed 16pp
program (8 ¼ x 10 in.), and one double-sided leaf, with holograph annotation on verso (7 x 10 in.)
A 1959 issue of Coda, featuring a lengthy news section describing and advertising the upcoming jazz
Both very good, with light spotting on the top edge of flyer, and light discoloration on program
goings-on in Toronto and abroad, most notably the First Canadian Jazz Festival in Toronto, a three
commensurate with age. Holograph annotation and signatures in unknown hand on verso.
day festival that saw performances from Louis Armstrong, Count Basie, Dizzie Gillespie, Miles Davis,
Cannonball Adderly, and Coleman Hawkins, among others. The magazine also features reviews and
Program and flyer for a concert by the Dizzy Gillespie Quintet and the Jimmy Smith Trio in the Odeon
essays on the latest records and polemics handwringing over the “whole idea of jazz festivals.”
Leeds, on their tour of Britain in 1965. The program features essays on both musicians alongside
extensive photography and an emphatically contemporary visual language.
The polemics culminate in a hilarious column by one “Kant Argue,” who includes a miniature two
act play mocking Liberty Magazine’s sports editor’s article on jazz, that “frightful farrago of rubbish
$350
called ‘The Weird World of Canada’s ‘Beat’ Jazzmen’.”

$350
83. The Miles Davis Quintet
84. Bud Powell Live at Gyllene Cirkeln Stockholm
Great Britain: Harold Davison and Norman Granz, 1960. Saddle stapled, in wraps. Offset. 16pp. 8 x 10 ½
Stockholm: Gyllene Cirkeln, [1962]. Screenprint. 13 3⁄4 x 19 1⁄2 in. Pin holes at corners with slight loss
in. Vertical line from folding in half, and light wear; very good.
at top left corner; very good.
Program for the Miles Davis Quintet’s first tour of the UK in September and October of 1960.
Original screeprinted poster promoting a performance by Bud Powell at the historic Golden Circle
Having followed up 1959’s Kind of Blue with Sketches of Spain, Davis embarked on a European tour
jazz venue the year of its opening.
with Jimmie Cobb, Paul Chambers, Wynton Kelly, and Sonny Stitt. This 16-page program features
photographs, illustrations, a tour itinerary, and an essay and profile by Keith Goodwin.
The Gyllene Cirkeln [Golden Circle] jazz club was the hub of Stockholm’s jazz scene from 1962 until it
closed in 1969. The club was at the center of Sweden’s underground music scene, frequently hosting
$450
American and international musicians. In 1970 the Rolling Stones famously performed there after
hours, and Ornette Coleman, Cecil Taylor, Jack McDuff, and Pink Floyd all released live recordings
from the club.

SOLD
85. Cat Anderson at Gyllene Cirkeln 86. Lucky Thompson at Gyllene Cirkeln

Stockholm: Gyllene Cirkeln, [1963]. Screenprint. 19 ¾ x 27 ¾ in. Very good, with an open tear at the Stockholm: Gyllene Cirkeln, ca. early 1960s. Screenprint. 14 x 19 3/4 in. Very good with wear at corners
top right corner (≈ 1 ½ in.) and light edge-wear. and horizontal fold line at top.

Original screenprinted poster for Cat Anderson’s 1963 concert at the Gyllene Cirkeln in 1963. Original screenprinted poster promoting an evening with American saxophonist Lucky Thompson,
Anderson had finished touring Europe as a section musician for Duke Ellington, but following the backed by bassist Jimmy Woode, Danish pianist Knud Jörgensen and Swedish drummer Stubben.
end of the tour, he stayed in Europe and performed as a solo musician.
$450
Jazz critic Lennart Östberg reviewed his concert: “As a soloist, Cat Anderson is rather a musician of
the intimate form, who prefers to express his musical views with long well-formulated sentences
punctuated by lines of emphatic exclamation.”

$450
 88. Eje Thelin at Gyllene Cirkeln
87. Lou Donaldson Quartet at Gyllene Cirkeln
Stockholm: Gyllene Cirkeln, 1964. Screenprint. 19 3/4 x 27 1/2 in. Very good with 3/4 in. closed tear at
Stockholm: Gyllene Cirkeln, ca. 1963. Screenprint. 19 3/4 x 27 1/2 in. Very good. right side, creasing at top right corner, and wear along right side, including a closed tear (~2 in).

Original screeprinted poster promoting a three week Lou Donaldson Quartet residency at the Gyllene Original screenprinted poster for a concert by the Eje Thelin quintet at the Gyllene Cirkeln in 1964 -
Cirkeln [Golden Circle]. Donaldson is an American alto sax player, known both in his own right and as Thelin’s return to the Swedish stage after international success.
a longtime member of Art Blakey’s quintet, appearing on Blakey’s most acclaimed albums.
$250
$350
89. Jazzkonsert till minne av Charlie Parker 90. The Songs of Louis Armstrong [poster]

Stockholm: Konserthuset, 1955. Saddle-stapled. Offset. [4]pp. Text in Swedish. 7 x 9 ½ in. Very good. New York: Saint Peter’s Church Jazz Ministry, 1979. Offset. 8 ½ x 16 in. Very good; folded into quarters
for mailing.
Swedish program for a 1955 memorial concert in the Stockholm Konserthuset organized in honor
of the late Charlie Parker, who had passed away a few months prior, and hosted by the Swedish jazz Poster promoting a concert of “the songs of Louis Armstrong” as rendered by Armstrong protegé
magazine Orkesterjournalen. Brooks Kerr at Saint Peter’s Church, also featuring Vic Dickenson, Sonny Greer, Art Hall, Heywood
Henry, and Jimmie Maxwell. Notably, the guest of honor for the night was Lil Hardin Armstrong, Louis
The program includes a roster of the performers, listing Parker collaborator Lasse Gullins, alongside Armstrong’s widow.
Simon Brehms, Georg Riedels, Bengt Hallbergs, Sonya Hederbratt, Putte Wickmans, Hacke Björksten,
Arne Domnerus, Gunnar Nilson, and Gösta Theselius, and also includes a biography and obituary of $150
Parker.

$300
91. Miles Davis and B.B. King at Constitution Hall

Baltimore: Globe Poster Corp. [1986]. Three color day-glo screenprint on cardstock. 22 x 30 ¾ in. Four
closed tears at edges, none exceeding ¾ in.; several closed >½ in. stress tears originating on verso
not obstructing image or text; loss due to stress tear on verso at right side not obstructing image or
text; 2 in. streak at center bottom; print remains bright and legible; very good.

Huge day-glo poster advertising a concert given by two legends of American music at Constitution
Hall in Washington, D.C. on Friday April 4, 1986.

$750
92. Early Show [Left Bank Jazz Society] 93. Jazzmobile: Thirteenth Year of Free Concerts 1977

[Baltimore]: Left Bank Jazz Society, 1977. Xerox. 8 ½ x 11 in. Very good with lines from folding to mail, New York: Jazzmobile, 1977. Offset. 8 ½ x 11 in. Very good, with two horizontal fold-lines from folding
wear at edges, and small closed tear at one crease. into thirds, and light wear at corners.

Flyer for an early show and party at Baltimore’s legendary Famous Ballroom, operated by the non- Flyer promoting Jazzmobile, an annual series of free jazz concerts in New York, in its thirteenth
profit Left Bank Jazz Society from 1966-1984. Tons of fun prizes, contests, and free half gallon of iteration in 1977. The concerts that year notably featured the Charles Mingus Jazz Workshop,
liquor for the 9am to 1pm affair. alongside the Clifford Jordan Quintet, Mongo Santamaria, Sociedad ‘76, and the Roland Alexander
Sextet.
“It’s Okay: Bring Your Tennis Partner, Gold Club, Jogging Group, Etc.”
SOLD
$250
94. The 5th Newport Jazz Festival: Osaka 95. The October Revolution in Jazz

Osaka: Universal Orient Productions / Bonus Seat Concert, [1973]. Offset on glossy stock. 5 ¾ x 8 ¼ Jinichi Uekusa
in. Near fine.
Tokyo: Shobunsha, 2005. Perfect bound, with obi band. Offset. 229 pp. 8th printing. Text in Japanese.
Handbill promoting the 5th Newport Jazz Festival in Osaka, featuring performances by the Archie 5 x 7 ½ in. Near fine.
Shepp Sextet, the Lee Konitz Quintet, Gato Barbieri, and Ray Bryant. Verso lists shows presented by
Bonus Seat Concert, including Sarah Vaughan, T. Rex, and Ray Charles on their tours of Japan in 1973. Jinichi Uesuka’s scrap book on the free jazz movement covering the history of the fabled 1964
jazz festival by way of biographies of free jazz musicians Ornette Coleman, Cecil Taylor, and others
$175 devoted to the creation of the new music.

Organized by Bill Dixon, the October Revolution in Jazz led directly to the formation of the Jazz
Composers Guild, whose roster included Cecil Taylor, Archie Shepp, Sun Ra, Mike Mantler, Burton
Greene, Roswell Rudd, John Tchicai, and Bill Dixon.

$75
96. A’s 3 Wednesday’s in January

New York: Arleen Schloss, [1981]. Xerox. 8 ½ x 11 in. Very good, with some edgewear and loss not
obstructing text.
97. From the Art Bears and Henry Cow … Fred Frith, Chris Cutler, Henry Kaiser plus Rova
Handbill calendar for “A’s 3 Wednesday’s in January,” the famous shows hosted by Arleen Schloss Saxophone Quartet
in her loft in the late 1970s and early 1980s. Notably, the first show in the bill on January 14th
featured Kalaparusha, the renowned free jazz musician, playing alongside the new wave Zoid Boiz, Berkeley: The Bear’s Lair, [1979]. Offset. 11 x 8 ½ in. Very good, with light wear to top edge.
action poet Bern Porter, guitarist Paul Cebar, performer Rolf Brand, and a film by Angela Scheirl. A
remarkable appearance of the storied jazz musician in a space crucial to the budding downtown Flyer promoting a performance by Fred Frith and Chris Cutler, former members of the Art Bears and
scene of New York in the 1980s. The later show on January 21 featured the notorious noise musician Henry Cow, playing with Henry Kaiser, alongside an additional performance by the Rova Saxophone
Von LMO’s band Information, and the final show on January 28, 1981 featured the avant-garde jazz Quarter at the Bear’s Lair pub and coffeehouse on the U.C. Berkeley campus in October of 1979.
musician Frank Lowe. A striking document of the avant-garde scene overlap.
The musicians involved were all deeply engaged in the avant-garde music tradition of the late 1970s,
Over the coming years, Arleen Schloss would continue to host a striking array of artists and with Rova taking extensive influence from the free jazz music of the previous decade and mixing it
musicians performed including Jean-Michel Basquiat and his band Gray, Thurston Moore, Glenn with white experimental music traditions such as that of Oliver Messiaen and John Cage.
Branca, Phoebe Legere and Eric Bogosian, Richard Hambleton, Elliott Sharp, Suicide, and more.
SOLD
“The Daylight/Nightlife of Going Things
I’d love 2 but I can’t think!”

$350
98. Jazz Punk Bonanza 99. Ten Hail Mary’s

London: The London Musicians Collective, [1980]. Offset. 8 1/4 x 11 1/2 in. Very good, with foxing, light New York: Sin Club, 1993. Offset. 8 ½ x 11 in. Very good, with light edge-wear, a closed tear on the right
discoloration at edges, and a horizontal fold line from folding into halves. edge (≈ 1/4 in.), and two fold lines from folding into quarters.

Flyer promoting the Jazz Punk Bonanza of 1980, hosted by the London Musicians Collective, and Flyer promoting a late night show at the Sin Club in New York, featuring free jazz-cum-noise act
featuring the bands Alteration, Dislocation Dance, Spurtz, Nightingales, the Door and the Window, Borbetomagus alongside the hardcore punk band Cause For Alarm, in a crossing of free jazz and
Reptile Ranch, Low Flying Aircraft, Take It, Instant Automatons, and Pretentious Art Forms. noise with hardcore punk in a single bill that would soon come to typify the programming of the
underground NYC music scene.
SOLD
$150
100. Urban Sax: 30 Saxophones 101. A La Raffinerie Du Plan K: Archie Shepp Big Band

Brussels: ABC et RTBF Bruxelles / Un Concert Crocodile, 1979. Offset. 22 ½ x 28 ¾ in. Very good, with Brussels: Brussels Loft and Plan K, [1979]. Offset. 16 ½ x 21 ¾ in. Very good.
light wear on bottom edge.
Striking poster promoting Archie Shepp’s Big Band concert at La Raffinerie du Plan K, the renowned
Poster promoting an Urban Sax concert at the Halles de Scharbeek in Brussels, with an opening act sugar-refinery turned venue in Brussels that had just opened that year. Shepp recorded for
“Reliquary for the Brave” by Marc Hérouet and J.L. Rasinfosse. Coltrane’s Ascension in 1965; fourteen years later, by the time of this show, he maintained his avant-
garde explorations in the U.S. and abroad.
Urban Sax was an ensemble founded by Gilbert Artman, consisting of a massive amount of
saxophones. This concert, for instance, advertises 30 saxophones. Exhibited in the bottom right $250
hand side of the poster, the players wore silver-metallic full body suits topped with gas masks, their
performance revolving around minimal repetitions yet constant sound.

The use of instruments to short-circuit the musical performance into a more direct expression of
concept or feeling is intensively indebted to the free jazz tradition.

$200
102. [Repressed] Pražské Jazzové Dny ‘80 [10th Prague Jazz Days Festival 1980]

Joska Skalník; Jiří Kučera, photographer; with [Mögel, Etron Fou Leloublan, This Heat, Art Zoyd, Jiří
Stivín, Emil Viklicky]. Prague: N.p., 1980. Offset. 30 1/2 x 25 3/8 in. Edge wear to bottom right, else very
good.

Poster advertising the repressed 10th Jazz Days Festival in Prague, scheduled to take place in 1980.
Mögel, Etron Fou Leloublan, This Heat, Art Zoyd, Jiří Stivín, Emil Viklicky, Lindsay Cooper’s feminist
improv trio the Marx Brothers, and several other Czech and international avant-garde and jazz
artists were scheduled to perform. Instead the Jazz Days Festival was canceled by the Soviet-aligned
authorities claiming that too many people were planning to attend and that the festival would be a
public disturbance. This was one of the final conflicts between the Czechoslovakian government and
the Jazz Section of the Czech Musician’s Union. The Jazz Section had formed in 1971 and grown into
a prominent sponsor of revolutionary cultural output, publishing books, periodicals, and samizdat
dedicated to alternative culture. Three years after this canceled festival, in 1983, the entire Czech
Musician’s Union would be disbanded by the government after refusing to ban the Jazz Section.

A document of dissident alternative culture from Czechoslovakia, and a record of an event that never
had the chance to happen.

$250
103. Don Cherry’s NU at Riley Smith Hall 104. The Pittsburgh New Music Ensemble Presents Legendary Improvising Ensemble from
England AMM
Leeds: Arts Council Tours, [1987]. Offset. 17 ½ x 25 in. Holograph annotation to verso in unknown
hand; overall, very good. Pittsburgh: Pittsburgh New Music Ensemble / Duquesne University, 1988. Xerox. 8 1/2 x 11 in. Very
good, with light wear, some foxing, and two fold lines from folding into quarters.
Poster for Don Cherry’s NU at Riley Smith Hall at Leeds University on October 10, 1987.
Flyer promoting a show at Duquesne University’s School of Music Recital Hall featuring the highly
NU was the cooperative musical group Don Cherry initiated with Edward Blackwell, Carlos Ware, influential English free jazz ensemble AMM, hosted by the Pittsburgh New Music Ensemble.
Nana Vasconcelos and Mark Helias in the mid 1980’s, of which only a few live recordings have
survived. $75

SOLD
105. Music and The Shadow People

William Parker

New York: Centering Music, 1995. Saddle-stapled, in red cardstock wraps. Offset. 58pp. First Edition. 5
½ x 8 ½ in. Light wear on top left corner of recto of wraps, else near fine. 106. Images and Signs – A Card Game [Numbered]

Rare first edition of musician and composer William Parker’s artists’ book “tone poem” Music and P[eter] Brötzmann
The Shadow People. Richly illustrated, with play and variation in size and type of font, the book
visually illustrates the “tone world” developed as the setting of the poem, in which “shadow people” Ystad: Brötzmann, 2002. Two 3 ¾ x 2 ½ in. hand-stamped carton boxes, one titled “Signs” with 25
- artists by another name - musically create a way out of the machinations of capital. richly illustrated cards ( 3 ⅜ x 2 ¼ in.), and another titled “Images” with 16 richly illustrated cards of
the same size. Offset printed cards. First and only edition, number 17 of 120. Near fine.
The poem has been adapted into performance on three occasions. First produced as an
interdisciplinary performance piece for the Guelph Jazz Festival in 2002, it was then produced as a A set of two card games developed by the free jazz musician Peter Brötzmann, originally released
radio play by Andrew O’Connor in 2015, before he further adapted the play into a live performance for at a performance at the Ystad Exhibition in Sweden in 2002. Brötzmann dealt hands of cards to his
musicians, actors, and immersive multi-channel sound design in 2022. Chicago Tentet, prompting them to perform a musical translation of the images in the cards. The
slow experiments in interpretation makeup the game.
Heralded by the Village Voice as “the most consistently brilliant free jazz bassist of all time,” Parker
is a multidisciplinary artist who has recorded 40 albums as a bandleader playing his own music and “Signs” consists of 24 abstract images in black and white, whereas “Images” consists of 15 abstract
concepts. He’s also recorded and toured for Cecil Taylor, Milford Graves, Don Cherry, Bill Dixon, and illustrations in color. Each box carries an adjoining title card, as well as a note from Brötzmann titled
Peter Brotzmann, and developed a reputation as a connector and hub of information concerning the “some little advices and instructions” that outlines the very loose game: “take a walk into the woods
history of creative music, having published seven books covering philosophy, poetry, and the history / take your voice, kazoo / first of all: burn the guitars, / then take out one of the games, shuffle /
of music and improvisation. activate your fantasy . . .”

$150 SOLD
107. Peter Brötzmann Trio with Gregg Bendian and William Parker 108. Butt Rag No. 9

[Pittsburgh]: WRCT / WPTS, [1988]. Xerox. 8 ½ x 11 in. Very good, with a closed tear on the top edge (< Chicago: Butt Rag, 1994. Saddle stapled. Offset. 8 x 10 ½ in. 96 pages [92 pp]. Very good.
½ in.), and a horizontal fold line from folding into halves.
Issue No. 9 of Butt Rag, the music magazine “published with virtually no temporal consistency.”
Flyer promoting a show at Carnegie Mellon’s Skibo Hall featuring Peter Brötzmann, legendary Issue No. 9 features an interview with the renowned saxophonist Charles Gayle, a treatise on noise,
saxophonist from Germany and “father of European free jazz,” with Gregg Bendian and William and a essay on Wädi Gysi by the critic and curator John Corbett.
Parker.
SOLD
$75
109. Loose Booty [Milford Graves, Joe McPhee, Richard Hell, James Nares, Thurston Moore]

Chicago: Art Institute Chicago, 2014. Two posters. Offset. 14 x 22 in. Near fine.

Two posters promoting Loose Booty, an evening of performance with Milford Graves & Joe McPhee,
Richard Hell, and Thurston Moore, curated by gallerist and scholar John Corbett with Christopher
Wool, on the occasion of Wool’s retrospective at the Art Institute of Chicago.

The evening included a screening James Nares’s 2011 film “Street” with Moore playing live; a
reading from Richard Hell, and as a grand finale, drummer Milford Graves performed with multi-
instrumentalist Joe McPhee for the first time, only Graves’ second ever appearance in Chicago. A
document of free jazz’s confluence with punk and contemporary art.

SOLD
110. [Original Artwork] Onyx Collective Live At Ghengis Cohen

Josh Smith

Los Angeles: [Josh Smith], [2016]. Illustration in red ink.. 7 3/8 x 9 7/8 in. framed to 14 1/4 x 16 3/4 in.
Very good.

Original artwork for poster promoting an Onyx Collective concert at Ghengis Cohen in Los Angeles, in
the hand of the visual artist Josh Smith.

The New York jazz ensemble, founded in New York by Isiah Barr, Austin Williamson, and others, has
been widely celebrated since its formation, and has released albums with Supreme, Know Wave,
and Big Dada. They have collaborated with numerous other members of the 2010s New York music
underground, including Wiki, Princess Nokia, Dev Hynes [Blood Orange], and Nick Hakim. Josh Smith
is a New York-based painter, sculptor, and bookmaker who first became known in the early 2000s for
a series of canvases depicting his own name.

Unique.

$3000
 HIT THE WALL!
We need them. We need to feel them. To feel. Them. We need them.

In order to connect. To the time. When it was done. To understand the initial ideas. To feel the original
DISCAHOLIC AUCTION #5
rare jazz, free jazz, spiritual jazz, improvised and experimental music on vinyl!
intentions and to be able to go deeper into the ideas of it all. To feel it.
Derek Bailey once told us: “Music is like living, but better”. What section do you hit, the first thing you do entering a record shop
where you have never been to before?
Free music is a way of living. Living is a way of music making. Can you hear it? Can you feel it? New arrivals?
Experimental music?
A free way of listening leads to a free way of thinking. Which leads to a free way of acting. The old Collector items?
Christmas records?
situationists knew this early on. I try to live by it. This is FREEdom to me. No one is really free. But, we
are free to create. In any way we need and want. To communicate. Using our experiences. Our ideas. To
interact. To feel. YOU… HIT THE WALL!

One key to open some of those doors (still looking for the missing doors…) is records. Albums. And
all related to that specific culture. Printed matters. The connection you get when you FEEL the old
1st press vinyl and the jacket housing it, beats it all. An original inner sleeve. I smile. I walk the few
steps to my turntable station and make the album spin. Preferably in 33 1/3 rpm or 45 rpm. What´s
your spin? I see marks of use on the vinyl. On the cover. I see signs of wear. I see spindle marks on
the labels. I hold the cover. I see small secret notes. Sometimes a poem. An essay. I hear background
noises. Of love. Of dedication. I smile. I hear a connection to the time when it was all made. When it
was all invented. When the re-search was done. The deeper search. I can feel it.

I love looking at the signs. Of age. Of love. Of usage. The connections.

The whole beautiful vibe of the object. Telling us something. Of a deeper understanding. This aint
about digital shit. No jitter. No onesandzeroes. This shit is real. This shit is for real.

And it has a feel. A vibe. A personality.

I luuuuuv to sit with it all. In front of my speakers. Sipping a Swedish malt. Contemplating. Making
the associations. Looking at the art works. The liner notes. The labels. Feeling it. Enjoying the tactility
of it all. The smell.

I can´t help it. It makes me smile. It makes me feel good. It makes me feel.

I find information. And Inspiration. In my collection. In my archive. It makes me grow. It helps me. I
need my archive. My roots. My future. For a better living.

I luuuuuuv to trim my (vinyl)garden. I keep on finding new vinyls to add to my collection. Sometimes
getting rid of objects that is of better use for somebody else. It is a mystery to me. How one chooses.
What to keep. It is a mystery to me what trigs my appetite. I love the mystery. I love the hunt. For the
objects. Advice given, by my fellow discaholics and friends. I love to hunt for those rare objects. The
ultimate being a combination of great music, creative cover art and a rare object. Those objects
make me feel good. I smile. I feel. Feel me? Albert Ayler – Something Different!!!!!! Vol 2, Bird Notes BNLP 2A/2B
Many unique Sun Ra objects
I smile. WE NEED THEM! Some extreme John Cage items
A variety of unique Nondo, Bird Notes, Dogtown, Blue Note, Jihad and more…
– Mats Gustafsson, Discaholic Archives, Nickelsdorf, Feb 2023.
Bidding start: March 1st, Bidding end: March 31st
Order the printed catalogue: [email protected]
Get the pdf: http://matsgus.com/discaholic_corner/
The first antiquarian catalog devoted to
Free Jazz and the New Thing

[email protected]