Magewind - s/t 1981 lp RARE Private Jazz Funk Fusion AOR NM

$

35

Welcome to our ( further continued!) Winter Special 2026 "Gigantic" Jazz-Funk, Soul Jazz, Spiritual, Fusion, Private Press, Part 3.The main focus is jazz-funk, spiritual jazz, fusion, soul-jazz, rare groove lp's, largely from the late 1960's-1970's into the early 80's, all originals, no reissues! WE COMBINE SHIPPING! :)
150 lp's, all originals (no reissues!), many have soundclips, which are from the actual record!

This week features part III, there was so much we just didn't have the time to properly list in the first two auctions, (there also will be a Part IV later in Spring, of curated grail pieces!), this one has a lot of amazing rare jazz-fusion, heavy jazz-funk, cinematic library style jazz-funk rare groove, the funkiest instrumental jazz-rock, leftfield electronic jazz, rare private presses, spiritual jazz/avant and tons of open drum breaks! Beginning with quickly rising to grail status Sam Morrison - Natural Layers 1977 Chiaroscuro record on to  albums like Gil Scott-Heron's 1977 masterpiece "Bridges" on Arista, numerous MPS records from George Duke, to Rhythm Combination, and Csaba Deseo, an extremely rare unknown jazz-fusion private press by Rob Dame (No, not the known "November"!), a large # of lp's from the ECM label, Jan Hammer's hype rare 1977 "Melodies" (Peep David Earle Johnson's "Time Is Free" 1977 Vanguard lp if you dig that one!), sureshots like Lonnie Liston Smith's "Expansions", Mike Longo's "900 Shares Of The Blues" on Groove Merchant, the 1st press 1974 Impulse! John Coltrane - Interstellar Space, the 1968 Ozzie Torrens - Boogaloo in Apartment 41 lp on Decca, Woody Shaw, Herbie Hancock, Grassella Oliphant, M'Boom, The Peddlers 1972 UK Only "Suite London", rare Nanette Natal, Caroline Peyton, and so much more :) 

**Note on grading: We have been proud to send thousands of records to delighted customers, but there is always room for improvement, we want to continually strive to be as accurate, honest, and detailed as possible. These records that have been collected and loved over the years, coming from a collector, one who listens to the records, enjoys the music, we are only growing more meticulous in our visual aspect of grading the vinyl, while also maintaining a balanced emphasis on the sound quality, utilizing sound clips (we do not manipulate them whatsoever, and we never will!), full front to back recent thorough listenings, and for the covers to use detailed photos, write detailed aspects for the grade, we want people to know exactly what they're getting, as collectors, lovers of music, we promise to always carry ourselves with integrity, we're in the business of delighting people, to treat others as the best experiences we've had as buyers, and all of our items are guaranteed. We won't stop growing, learning, and listening. A very special warm thank you to all our incredible return "customers", we really think of you all as fellow friends in vinyl, and if this is your first time bidding with us, we hope our "record" speaks for itself, ensuring a secure feeling to bid with confidence, thank you all, truly together we make this community one that spreads the love, sharing in this special thing of all of ours :) ***

* After this week's auction, (In no particular order) we have in the auction pipeline:
A major Modern soul/Gospel Boogie/AOR lp's
A "golden era" late 70's - early 70's funk/soul lp's
A Psych / Rock / Country / Alternative rare lp's
A Random Rap GFunk Indie R&B, Rare Hip-Hop, Neo-Soul, New Jack Swing CD's & Tapes
A Part 4 "Giant Jazz" sale lp's
A funk/soul/boogie 7" 45rpm's
*^(Each are loaded with some of the rarest, high end stuff, plenty that haven't shown up in years, unknown mind-blowers, Grail Pieces, like always, all original editions!)
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All soundclips used are unedited directly from the item up for sale :). See below for detailed grading!
***Everything is 100% guaranteed! We've sold over 1,500+ records in the past year alone, with 100% positive feedback, bid with confidence :)

Feel free to message any questions!

*Note: Any Item that does not have a soundclip, feel free to message us, and we can make one for you :)

**Note: for items with multiple players, the title of track is above each player; the player enables scrolling through!**

Soundclip info: B1 "Don't Turn Around", A3 "Nothin' To It", A1 "Fun City", a3 begins at , a1 begins at    
Soundclip:  Update your internet browser to latest version in order to play audio clip.

Media Grade:  NM (top copy, peep the soundclips!)  
Sleeve Grade:  VG+ (Contains original release inner sleeve w/info! Light storage wear, rubwear, overall solid copy, see photos!)
Year / Label / Catalogue #:   1981  /  Private Press  / GJ-10881  (1st press, stereo)
Brief Comments: Super rare, killer private press out of Milwaukee, Wisconsin. Largely instrumental, a couple AOR jazzy Modern Soul type cuts that are superb, all original compositions by the group, heavy electronic jazz-funk rare groovers, "Siesta" is a dope Latin Jazz Funk cut, B3 "Lonely River" is an amazing jazz fusion AOR modern soul type cut, the whole lp is fire, one that's been long flying under the radar, wildly I can remember when for the longest time it was inaccurately called a private prog rock lp (maybe the name, font?), when it did surface (I do know this disappointed a lot of prog rock purist collectors), the labels are dope (the B-Side is a Wizard in black/gray, another factor that probably contributed to the misperception). As it continues to spread word of mouth, it's closing in on a tipping point, where the prog rock folk selling their copies they bought not knowing it's killer jazz-funk, synthed out, AOR style, it's just going to dry up, as much put into the release, and it sold decently on consignment in Milwaukee, Madison (College town in Wisconsin), a store in Chicago had copies, so did a spot in Des Moines. There wasn't a whole lot pressed up, it was supposed to generate enough of a buzz, so that Mercury might pick them up (maybe they had Uriah Heep style cover font, group name, to seem "a fit" for the Chicago based major label), they did take chances (Rush being the most famous perhaps), but there was no equivalent Donna Halper (the legendary Cleveland, OH radio DJ, who played Rush's s/t album, the first on Moon, especially the track "Working Man", which was called in for, it was so popular, Halper, she is amazing, it was somewhat early in her career, but she called Mercury and insisted they would have a hit with Rush, who even came to Cleveland prior to signing, to meet Halper, who they thank on the Mercury 1st press), they just didn't have that magic breakthrough single, or series of circumstances, it was completely FM oriented, but College DJ's by this time were beginning to segment, and didn't have an obvious track anyways for the radio (although, alumni of University Wisconsin-Madison of the era might remember it being played in full a few times!). 
The Aunt Clara, is one of the member's biological Aunt, who had a fair amount of money (not a multi-millionaire, but wealth through her marriage), and funded the release, the nephew being a favorite, it made for a professional looking / sounding album, and these guys were extremely talented (all original tracks), great vocals, but they were just 5, 6 years too late, major labels were beginning to grow more conservative in "hits", "established", "radio friendly", and the few that had spots for more cutting-edge musicians/bands, were mostly those who had label recording experience, a sufficient fan base, and when it came to jazz, anything "jazz", by 1981, Wynton Marsalis & His Neo-Bop conservatory gang had poisoned anything with their "f" words (funk, fusion, fun itself), George Duke, Roy Ayers were rebranded Soul, Funk, "Urban" but not nowhere near the "jazz" section (Herb Alpert settled on Adult Contemporary, there was "Quiet Storm", and Kenny G who we all get a little wrong, Kashif was his dude, also Adult Contemporary, maybe one for jazz, to give Stanley Couch something to write complaints about), Weather Report was a legacy band, but they started getting more "Rock" categorized, a lot of indie labels, or small labels like Inner City kept fusion alive for a little while, Pat Metheny Group also established long enough to get ECM to Geffen respectability, but a lot of Jazz-Funk / Fusion stuff, the best of the 80's, ends up being private press, or Overseas (Japan, Europe).....
I know I make Wynton Marsalis out to be some kind of villain, but he's not, along with older brother Branford, father Ellis, (brother Delfeayo was the hippest, with the hip-hop Buckshot LeFonque stuff), they grew up in New Orleans, learning classical, and jazz music, fighting to get into any symphony programs, the racism was deeply ingrained, but Wynton became the first African-American to perform trumpet (any instrument) publicly with the New Orleans Civic Orchestra, as the only black member in the entire orchestra (this was was mid 70's, not mid 50's!), his father Ellis played jazz, but nothing past Fats Waller's day (an exception with MJQ's Django, a modal piece from the early 1960's), his father pressed "respectability" into him, not realizing it was "respectability from elite white folk", Wynton got accepted into both Julliard, and Northwestern, opting for Julliard, which also had an impact, it is not Berklee School Of Music, even the Peabody School could definitely get down, Julliard in 1979, 1980 (right now, a disappointment to music as a whole, making robots, and killing creativity) was extremely conservative, and Wynton was one of the few African-American students at the time (Julliard didn't have a Black Student Union until 2016, and African-American's make up only 8% of the student body, 84% of Julliard students come from Affluent households, I want to break out the seasoning just thinking about this!), I think if a white Philips Exeter student brought up James Brown, let alone an African-American from New Orleans(!) Julliard's policy at the time would have been virtually expulsion by firing squad! "Fusion" probably would have been met with a mandatory year of suspension, and re-education camp. Jazz, if Duke Ellington, maybe Charlie Parker, for the most specific musicology purposes, may have been tolerated at best (Marsalis left Julliard after two years). Marsalis then ended up with Art Blakey, and Art Blakey in 1977, 1973, 1963, 1956, all would have been fine. By 1979, 1980, the man God bless him became the crankiest man in jazz, he had the extreme fortune of getting James Williams (the actual composer of Stretching, and other tunes, he would join in 1978, leave in 1981), but Blakey was simply riding on his name, the talent he once attracted, left long ago, by the early-mid 70's, doing a painful year or two, then heading out the door (Blakey never got over the changes jazz made, with the advent of electronics, funk, rock, world, new styles, forms, he didn't have the same clout Mingus did, and Mingus did explore, Blakey had to be forced into it, and Blakey saw former alumni doing much better in their careers, which galled him, he wasn't like Miles), Art Blakey did get down on prestige in the early 70's, because he was so competitive with Miles, he inadvertently hired forward thinking young cats, but he couldn't stomach it, and his career was going to end not with a bang, but a flush, not a royal one either!
Wynton's brother Branford, he also wasn't a neo-bop purist marauder, but he went to Berklee College of Music (famed for its inclusive, forward thinking jazz program), Wynton and Branford spent two years playing with Blakey, Branford just dying to get out, and Wynton, hanging on to a lot of Blakey's cranky tirades (Branford Marsalis would play with Sting in 1985). Really Ellis the father, and especially Wynton the son, more than anyone else wanted jazz sterile, dead, back in the conservatory, to bebop, to be rehearsed like classical music, under glass, robotically. But ultimately, Wynton Marsalis is a tragic figure. Horrific racism, overcoming it, but that means being alone, in the void searching, for acceptance when no one seems to want you (Ellis Marsalis threw a fit when he found out Wynton had played some funk music as a teen, it put an end to that), the classical establishment South or North, was not going to be anything but cold, and set impossibly high standards, then put you down even after you passed it. Wynton internalized, that safety meant formulating a way to fit in, accommodate himself, jazz as an extension, into conservatory culture, not the other way around (I'm sorry Wynton, you didn't change them man, I love you as a brother, but you sacrificed what made jazz, jazz, to put it under museum glass, and pin the butterfly so to speak) and worse actively evangelized this message, to "save" jazz from that funk, that rock, that rhythm, and cranks like Art Blakey (by then stuck in 1958), and Stanley Couch (once a righteous dude, sold out, becoming Uncle Stanley, specializing in putting down anything that hinted at Black, as a black man himself, a hired gun for the white old cultural establishment), were given platforms by the old ivory tower, conservatory whites, given lucrative writing, recording contracts, proselytizing, and excommunicating heretics. (Even they were not foolish enough to even think to step to Miles, even on his last album, with hip-hop, they kept it alright, just saying Miles keeps it fresh, sort of thing, which I think came from the heart, the part still living).
I think Wynton internalized a sort of equation, not by choice, but forced by circumstance, and it is tragic....it went; safety = conservatory, = respectability = preservation of jazz = safety. I can't imagine, I've read his story, but I haven't lived his life, and I believe he is wrong, a gifted musician beyond question, and that it's easy to see how he arrived at it, getting pushed, to where that seemed the only corner to go to. I don't blame him, I think the "Respectable" affluent whites of New Orleans Classical music scene, the "Respectable" affluent whites of Julliard, the bitterness of a man opposed to change (did Wynton, not see Ellis in Art Blakey? The same reason, perhaps, brother Branford, couldn't wait to get out?) who had been denied cultural cache long overdo, who found they no longer had the support of their people, but sometimes a shuck and jive looks like playing pre-approved white friendly 1940's jazz, well-dressed, and maybe they shake your hand, give you money, give an image of you respect, but not if you don't play along to the music already on the approved list. 
Thank God, that at least changed.
Sorry, this is still the Magewind listing, anyhow, peep the soundclips :)






*Tariffs aren't going to impact used vinyl records / music media, we wish they were never in place at all, so for international buyers, don't worry on that account!
For our record grading, we stand by the merits outlined in the scale below, anything VG or below will have a detailed explanation in brackets next to the grade.
For sleeves, we will mention anytime there is split, or defect not visible in the photos in brackets next to the grade, otherwise we refer to the photos for the merit of the grade. Of course any questions, concerns, are always welcome :) 
Our media grading scale is as follows: [*Quick note, our VPI is still in storage on the other side of the US, we do brush clean many  items carefully, but we have to prioritize, we won't leave anyone stranded with a filthy record, only "filthy" good! We don't factor dust particles into the grading]
NM = Essentially a pristine album, like new, rarely used.
EX = Under bright light if there is any scuffs or mark, which will be inaudible, most collectors and sellers would tend to consider it closer to NM, EX is also the grade others might call VG++ under the same level of conservative scrutiny.
VG+ = More then a small handful of scuffs, light marks, nothing feelable, will have high-gloss, a thoroughly enjoyable copy that may only have tiny moments of barely perceptible surface noise overpowered by the music. Our VG+ will satisfy the vast majority of collectors as a nice keeper copy, as collector's ourselves for nearly two decades, this grade is aimed to be a great keeper. Note if say the record has a light DNAP warp, but otherwise is NM, we will automatically put it to VG+ and detail that. Another scenario is if a copy plays at a solid EX, but visually is VG, the composite grade will be VG+, and detailed as such.
VG = More hairlines, more marks, maybe a few visible scratches, no more then two feelable scratches (which automatically lowers to VG-), there likely will be surface noise, but will play through, still being an enjoyable copy, the audio quality will satisfy most collector's (the golden rule: if it doesn't satisfy us, it won't be VG), if a record is otherwise EX, but has a slight momentary skip, where 99% of the record is EX, we will note that, and put it at VG. Usually will retain a nice gloss.
VG- = More Scratches than VG, surface noise will jump out more, it be overpowered for longer stretches, or compete with the music in places, it will likely play all the way through on most turntables, a copy that you can still get a decent play enjoyment from.
G+ = Lots of scratches, deeper ones, surface noise now mostly overpowers or competes with the music. It may skip in some places. We don't tend to sell G+ copies, unless the rarity is so great, and that will be precisely detailed.
Thrashed = Pretty much a "Theoretical Grade" for us, it be for all intents & purposes virtually unplayable, it would be for display purposes, or perhaps if you needed the cover but not the record. It's "theoretical" because so far we haven't sold or identified anything intended to sell at this bottom level.
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Kindly,
-Alec :D
&
-Ellie :)