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Seymour Kassel Records

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Seymour Kassel Records

SEYMOUR KASSEL is a vinyl records collector & trader. Seymour selects rare and original albums, first pressing, early matrix and limited edition vinyls.

Rare & original vinyls for collectors. Sister project of Saint-Martin Bookshop

06/04/2024

Gainsbourg débarque chez Seymour Kassel !

23/03/2024

Beastie Boys "The In Sound From Way Out!"
(Grand Royal, USA, 1996)
(1st press, Limited Version yellow/orange translucent vinyl, Numbered #2475, NM/NM)

"Originally released through the Beastie Boys' French fan club, The In Sound From Way Out! is a collection of the group's funky instrumentals from Check Your Head and Ill Communication, with a couple of new tracks thrown in. The Beasties have a flair for loose, gritty funk and soul-jazz, and the stuttering, greasy keyboards of Money Mark give the music an extra edge -- he helps make the music sound as authentic as anything from the early '70s."

22/03/2024

Françoise Hardy "Françoise Hardy [La question]"
(CBS, Holland, 1971) VG+/VG+

"Throughout her career, most of Françoise Hardy's arrangements have tended toward the lush, though in a good way. La Question is lush too, but it's one of her most sparsely produced efforts, usually finding her voice accompanied by little more than an acoustic guitar, touches of bass, and very subtle orchestration. Much of the record's lights-low ambience could be attributed to Tuca (no last name given), who played guitar, co-arranged, and co-wrote most of the tunes (though Hardy did contribute to the composition of a few tracks). It may be her best post-'60s effort, songs like "Chanson d'O" and "Le Martien" featuring some of her most whispery, seductive vocals."

21/03/2024

Psychic TV "N.Y. Scum"
(Temple Records, UK, 1984) NM/NM

"N.Y. Scum is a live album by Psychic TV recorded at The Danceteria in New York on November 19, 1983. The album was released as a 12" vinyl record in a limited edition of 5,000 copies."

16/03/2024

Tuxedomoon "Scream With a View (EP)" (1979)
(Crammed-Cramboy, Belgium, 1985) NM/NM

"Scream With A View, recorded surreptitiously in The Residents' private studio in 1979, advances brilliant melodic concepts through analog technology for a sound barely comprehensible today. On "Where Interests Lie," punchy drum machine underlies barbed and eerie leads from guitarist Michael Belfer (The Sleepers). "(Special Treatment for the) Family Man" – a reference to Dan White's trial for the assassination of San Francisco's mayor George Moscone and supervisor Harvey Milk in 1978 – is an indignant vigil cut with a rare brand of macabre humor. Saxophone, Polymoog, violin, e-bowed guitar, and CB radio interference make Scream With A View the insidious foil to the urgent No Tears EP."

15/03/2024

NEU! "NEU!"
(Brain, Germany, 1972) Gatefold VG+/VG+
!

"Fresh after leaving Kraftwerk in the fall of 1971 for what they perceived to be a lack of vision, guitarist Michael Rother and drummer Klaus Dinger formed their own unit and changed the face of German rock forever -- eventually influencing their former employer, Florian Schneider of Kraftwerk. The 1974 album Autobahn was a genteel reconsideration of the music played here. Neu! created a sound that was literally made for cruising in an automobile. While here in the States people were flipping out over "Radar Love" by Golden Earring, if they'd known about this first Neu! disc, they would never have bothered. Dinger's mechanical, cut time drumming and Rother's two-note bass runs adorned with cleverly manipulated and dreamy guitar riffs and fills were the hallmarks of the "motorik" sound that would become the band's trademark. On "Hallogallo", which opens the disc, the listener encounters a timeless rock & roll sound world. The driving guitar playing one chord in different cadences and rhythmic patters, the four-snare to the floor pulse with a high hat and bass drum for ballast, and a bassline that is used more for keeping the drummer on time than as a rhythm instrument in its own right. These are draped in Rother's liquidy, cascading single note drones and runs, so even as the tune's momentum propels the listener into a movement oriented robotic dance, the guitar's lyrical economy brings an aesthetic beauty into the mix that opens the space up from inside. The tense ambient soundscape of "Sonderangebot" balances things a bit before the slower-than-Neil Young "Weissensee" opens with a subtle industrial clamor and opens up into a lyrical exploration of distorted slide guitar aesthetics with an uncharacteristic drum elegance that keeps the guitar in check.

"Im Glück" tracks a restrained, droning path through the textural palette of the guitar, treated with whispering distortion and echo. All hell breaks loose again on Dinger's "Negativland" as an industrial soundscape eventually gives way to a bass and guitar squall as darkly enticing as anything on Joy Division's Unknown Pleasures. It's really obvious now how the JD's sound was influenced by this simply and darkly delicious brew of noise, bass throb, percussive hypnosis, and an oddly placed, strangely under-mixed, guitar. Rother's style had as much to do with not playing as it did with virtuosity, and his fills of open chords, stuttered cadences, and broken syntax provided a much-needed diversion for the metronymic regularity of the rhythm section. Rother didn't riff; he painted a mix with whatever was necessary to get the point across. His mannerisms here are not to draw attention to himself, but rather to that numbing, incessant rhythm provided wondrously by Dinger. Neu!'s debut album was driving music for the apocalypse in 1971."

14/03/2024

Art Blakey & The Jazz Messengers
"Meet You at the Jazz Corner of the World, Volume 1"
(Blue Note, US, 1961) Mono NM/VG+

"This is the first of two volumes featuring the oft-documented late-'50s/early-'60s incarnation of the Jazz Messengers -- with Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Timmons (piano), and Jymie Merritt (bass). As always, the combo is led by the aggressive skins of Art Blakey (drums). Here all ears are tuned to the proverbial "jazz corner of the world," better known as Birdland, where the quintet serves up a healthy sampling of its concurrent catalog. Although the live recording suffers from a bit of distortion -- which appears to be on the master tape rather than being a manufacturing flaw -- the overall quality of the performance significantly downplays any and all audio anomalies. After a rousing introduction from Birdland's master of ceremonies -- the highly affable P*e Wee Marquette -- the band introduces Hank Mobley's easy-boppin' and appropriately enough titled "The Opener" -- which is punctuated by some stirring interaction between Shorter and Morgan.
The syncopated blues changes that drive through Morgan's own "What Know" reflect his abilities as the quintessential composer for these Jazz Messengers. He incorporates his solid swinging improvisational skills into an open and free exchange of sonic ideas, not only with Shorter -- whose solos sound comparatively stilted at times -- but with the rock-solid rhythm section as well, which is led by Morgan's sonic cues. The second half of the disc contains some of the most inspired sides to be found on either installment of Meet You at the Jazz Corner of the World. The melodic and sensitive rendition of "'Round About Midnight" ranks among the best cover versions of the Thelonious Monk standard. Again, Shorter and Morgan seamlessly banter back and forth -- with the latter executing a fluidity that contrasts with Shorter's angular responses. A spirited "The Breeze and I" concludes this edition, allowing Timmons the opportunity to stretch out and motivate the exchange of musical ideas with solos that are well-placed and likewise sit comfortably in the context of this brass-driven combo. The sheer volume of releases by Art Blakey & the Jazz Messengers -- especially this aggregate -- has obscured Meet You at the Jazz Corner of the World in the context of the plethora of similarly classic live platters. That said, both volumes are a welcome addition to the library of most any jazz lover."

09/03/2024

Betty Davis "They Say I'm Different"
(Just Sunshine Records, Canada, 1974) VG+/VG+

"Betty Davis' second full-length featured a similar set of songs as her debut, though with Davis herself in the production chair and a radically different lineup. The openers, "Shoo-B-Doop and Cop Him" and "He Was a Big Freak," are big, blowsy tunes with stop-start funk rhythms and Davis in her usual persona as the aggressive sexual predator. On the title track, she reminisces about her childhood and compares herself to kindred spirits of the past, a succession of blues legends she holds fond -- including special time for Bessie Smith, Chuck Berry, and Robert Johnson. A pair of unknowns, guitarist Cordell Dudley and bassist Larry Johnson, do a fair job of replacing the stars from her first record.

As a result, They Say I'm Different is more keyboard-dominated than her debut, with prominent electric piano, clavinet, and organ from Merl Saunders, Hershall Kennedy, and Tony Vaughn. The material was even more extreme than on her debut; "He Was a Big Freak" featured a prominent bo***ge theme, while "Your Mama Wants Ya Back" and "Don't Call Her No Tramp" dealt with prostitution, or at least inferred it. With the exception of the two openers, though, They Say I'm Different lacked the excellent songs and strong playing of her debut; an explosive and outré record, but more a variation on the same theme she'd explored before."

09/03/2024

Henri Mancini "Touch of Evil (OST)"
(Challenge, USA, 1958) VG+/VG+

"The superb soundtrack to Orson Welles classic cult noir-thriller from 1958. It was his first major soundtrack and features a smorgasbord of styles including smoky Tijuana jazz jive, Afro-Cuban percussion and honky-tonk instrumental jump blues all with a strong rock'n'roll influence. All the tracks here were used as what's known in the movie industry as "source music", which means that the music comes from a visible source such as a jukebox, a radio an orchestra or piano player. Using the music in this way contributed to the realities of Welles locations and provided an unsettling contrast to the vicious characters and action taking place in the seedy town that the movie was set.

The film "Touch of Evil" is a noir classic, packed with a stellar cast (Charlton Heston, Janet Leigh, Orson Welles, Marlene Dietrich, Zsa Zsa Gabor, Mercedes McCambridge, Dennis Weaver, Akim Tamiroff), classic Wellesian camera flourishes, and a storyline as tense and taut as best noir films. It was essential, therefore, that the accompanying score to this masterwork not only compliment the action, but actually become part of the film itself. Indeed, Welles and Mancini inserted the music into the plot of the film by having the majority of the score emanate from a screen source, be it a jukebox, a loudspeaker, or a cheap radio. Welles knew the value of music in film, and decided that the music for this film would be different. "What we want is musical color," said Welles, "rather than movement - sustained washes of sound rather than tempestuous , melodramatic, or operatic style of scoring."

Mancini delivered and then some. Whether in the insanely good title track (as good title music as anything ever delivered on the screen), the bongo-powered "The Boss," the bluesy jazz of "Reflection," the rock-n-roll fueled "Strollin' Blues," "Orson Around," "Rock Me To Sleep," "The Big Drag," and others, or even the piano-roll anachronism that is "Tana's Theme," the music is uniformly strong and able to stand on its own merits away from the confines of 24 frames per second - an astounding feat considering the constraints given to Mancini by the director.

Undoubtedly, it ranks with "Breakfast at Tiffany's" and "Two for the Road" as the best film score ever composed by Mancini."

08/03/2024

Kruder & Dorfmeister "The K&D Sessions™"
(!K7 Records, Germany, 1998) NM/NM

"While Kruder & Dorfmeister remained unwilling to release a "proper" album even several years after their breakout, The K&D Sessions is proof positive they're still doing what they do best -- making the most blissfully blunted music the world has ever heard. The four LP set is first and foremost a K&D mix album, to add to the two they'd already released. It's also a remix collection, though; each of the 21 tracks are reworkings (by Kruder, Dorfmeister, or both) for artists including Roni Size, Lamb, David Holmes, Bomb the Bass, Depeche Mode, Bone Thugs-N-Harmony, Sofa Surfers, and Count Basic.

As could be expected, The K&D Sessions is earthy, downtempo and acid-based, even moreso than previous mix albums by the pair. The pinging vocal samples that echo through the duo's remix of "Bug Powder Dust" by Bomb the Bass prove amply that Kruder & Dorfmeister have a better handle on 21st-century dub techniques than any other producers out there, and the impossibly deep beats on almost every track simply couldn't have been recorded by any other act. Yes, it's a bit of a shame that the pair still hadn't released an album of own-productions, but with (re)mix albums this stunning and accomplished, Kruder & Dorfmeister hardly needed one to gain respect."

08/03/2024

Pierre Henry "Le voyage (D'après le livre des morts Tibétain)"
(Prospective 21e Siècle, Philips, France, 1967) NM/VG+
INA grm

"Pierre Henry was among the pivotal forces behind the development of musique concrète, becoming one of the first formally educated musician to devote his energies to the electronic medium. Le Voyage, is based on the Tibetan Book of the Dead. The tracks were created on 25th June 1963 at Eglise Saint-Julien-le-Pauvre."

07/03/2024

Eric Dolphy "Out to Lunch!"
(Blue Note, USA, 1964 - Repress Stereo 1966) VG+/VG+

"Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done.

But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes."

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Maandag	11:00 - 19:00
Dinsdag	11:00 - 19:00
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Zaterdag	11:00 - 19:00

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