{"title":"Atlantic","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eFounded in 1947, Atlantic Records built its reputation on jazz, R\u0026amp;B and soul before expanding into rock and becoming one of the most influential labels of the 20th century. From groundbreaking albums by John Coltrane, Charles Mingus and Ornette Coleman to iconic releases by Ray Charles, Aretha Franklin and Led Zeppelin, Atlantic’s catalogue spans genres and generations. Known for bold artistry and enduring sound, its vinyl pressings remain highly collectible worldwide. Explore our curated selection of Atlantic Records vinyl — rare originals, timeless reissues and essential albums across jazz, soul and rock.\u003c\/p\u003e","products":[{"product_id":"the-modern-jazz-quartet","title":"The Modern Jazz Quartet -  The Modern Jazz Quartet (1957 Atlantic Japan LP Vinyl)","description":"\u003cp data-end=\"578\" data-start=\"223\"\u003eReleased in 1957 on Atlantic Records, \u003cem data-end=\"286\" data-start=\"261\"\u003eThe Modern Jazz Quartet\u003c\/em\u003e captures the ensemble’s refined blend of cool jazz, chamber music elegance, and swinging interplay. With \u003cstrong data-end=\"408\" data-start=\"392\"\u003eMilt Jackson\u003c\/strong\u003e (vibraphone), \u003cstrong data-end=\"437\" data-start=\"423\"\u003eJohn Lewis\u003c\/strong\u003e (piano), \u003cstrong data-end=\"462\" data-start=\"447\"\u003ePercy Heath\u003c\/strong\u003e (bass), and \u003cstrong data-end=\"489\" data-start=\"475\"\u003eConnie Kay\u003c\/strong\u003e (drums), the MJQ established themselves as one of the most distinctive groups in jazz.\u003c\/p\u003e\n\u003cp data-end=\"850\" data-start=\"580\"\u003eThe album balances sophistication and warmth, from the blues-inflected \u003cem data-end=\"671\" data-start=\"651\"\u003eThe Golden Striker\u003c\/em\u003e to lyrical standards and intricate originals. Jackson’s shimmering vibes and Lewis’s poised piano playing create a sound that is graceful, disciplined, yet full of subtle fire.\u003cstrong data-end=\"873\" data-start=\"852\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"1159\" data-start=\"986\"\u003ePolished, stylish, and timeless, \u003cem data-end=\"1044\" data-start=\"1019\"\u003eThe Modern Jazz Quartet\u003c\/em\u003e is a perfect entry point into the group’s catalogue and a classic example of their unique chamber-jazz approach.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: VG+\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e None\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42472995848251,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4095.jpg?v=1758316749"},{"product_id":"the-modern-jazz-quartet-fontessa","title":"The Modern Jazz Quartet – Fontessa (1956 Atlantic LP Vinyl)","description":"\u003cp data-start=\"193\" data-end=\"570\"\u003eOriginally released in 1956 on Atlantic, \u003cem data-start=\"223\" data-end=\"233\"\u003eFontessa\u003c\/em\u003e is one of the defining albums by \u003cstrong data-start=\"267\" data-end=\"294\"\u003eThe Modern Jazz Quartet\u003c\/strong\u003e — \u003cstrong data-start=\"297\" data-end=\"313\"\u003eMilt Jackson\u003c\/strong\u003e (vibraphone), \u003cstrong data-start=\"328\" data-end=\"342\"\u003eJohn Lewis\u003c\/strong\u003e (piano), \u003cstrong data-start=\"352\" data-end=\"367\"\u003ePercy Heath\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"380\" data-end=\"394\"\u003eConnie Kay\u003c\/strong\u003e (drums). Known for their elegant chamber-jazz style, the MJQ balance sophistication with swing, blurring the lines between classical influence and modern jazz improvisation.\u003c\/p\u003e\n\u003cp data-start=\"572\" data-end=\"933\"\u003eThe title suite \u003cem data-start=\"588\" data-end=\"598\"\u003eFontessa\u003c\/em\u003e shows the group’s playful side, inspired by the commedia dell’arte, while tracks like \u003cem data-start=\"685\" data-end=\"699\"\u003eWoody ’n You\u003c\/em\u003e and \u003cem data-start=\"704\" data-end=\"716\"\u003eAngel Eyes\u003c\/em\u003e highlight their ability to breathe fresh life into standards. With Jackson’s shimmering vibes and Lewis’s refined piano lines at the core, the quartet creates music that is polished, inventive, and deeply engaging.\u003cstrong data-start=\"935\" data-end=\"956\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1035\" data-end=\"1197\"\u003eA cornerstone of the MJQ catalogue, \u003cem data-start=\"1071\" data-end=\"1081\"\u003eFontessa\u003c\/em\u003e is stylish, graceful, and endlessly listenable — the perfect entry point into their world of cool sophistication.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: EX\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42494760058939,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4256.jpg?v=1759027962"},{"product_id":"the-modern-jazz-quartet-pyramid","title":"The Modern Jazz Quartet – Pyramid (1960 Atlantic Japan Vinyl LP)","description":"\u003cp data-end=\"537\" data-start=\"191\"\u003eReleased in 1960 on Atlantic, \u003cem data-end=\"230\" data-start=\"221\"\u003ePyramid\u003c\/em\u003e finds \u003cstrong data-end=\"264\" data-start=\"237\"\u003eThe Modern Jazz Quartet\u003c\/strong\u003e — \u003cstrong data-end=\"283\" data-start=\"267\"\u003eMilt Jackson\u003c\/strong\u003e (vibraphone), \u003cstrong data-end=\"312\" data-start=\"298\"\u003eJohn Lewis\u003c\/strong\u003e (piano), \u003cstrong data-end=\"337\" data-start=\"322\"\u003ePercy Heath\u003c\/strong\u003e (bass), and \u003cstrong data-end=\"364\" data-start=\"350\"\u003eConnie Kay\u003c\/strong\u003e (drums) — at the height of their sophisticated, chamber-jazz style. The album blends cool elegance with bluesy swing, showing the group’s balance of restraint and warmth.\u003c\/p\u003e\n\u003cp data-end=\"907\" data-start=\"539\"\u003eThe title track, composed by Ray Brown, unfolds with intricate interplay and shimmering textures, while pieces like \u003cem data-end=\"707\" data-start=\"655\"\u003eIt Don’t Mean a Thing (If It Ain’t Got That Swing)\u003c\/em\u003e highlight their ability to reinterpret classics with poise and subtle fire. The album also includes originals like \u003cem data-end=\"831\" data-start=\"823\"\u003eDjango\u003c\/em\u003e, cementing the quartet’s status as innovators of modern small-group jazz.\u003cstrong data-end=\"930\" data-start=\"909\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-end=\"1187\" data-start=\"1046\"\u003eStylish, inventive, and timeless, \u003cem data-end=\"1089\" data-start=\"1080\"\u003ePyramid\u003c\/em\u003e is one of MJQ’s strongest releases — a perfect blend of classical influence and jazz tradition.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: VG+\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42495059722299,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4258.jpg?v=1759057147"},{"product_id":"stanley-clarke-school-days","title":"Stanley Clarke – School Days (1976 Atlantic Japan LP Vinyl)","description":"\u003cp data-start=\"181\" data-end=\"517\"\u003eReleased in 1976 on Atlantic, \u003cem data-start=\"211\" data-end=\"224\"\u003eSchool Days\u003c\/em\u003e is the landmark solo album by bassist \u003cstrong data-start=\"263\" data-end=\"281\"\u003eStanley Clarke\u003c\/strong\u003e, a defining statement of the jazz fusion era. With his virtuosic electric bass playing at the center, Clarke blends funk, rock, and jazz into a powerful, groove-driven set that influenced generations of bassists and fusion musicians.\u003c\/p\u003e\n\u003cp data-start=\"519\" data-end=\"866\"\u003eThe title track quickly became Clarke’s signature piece, showcasing his percussive slap-bass technique and melodic inventiveness. Throughout the album, he’s joined by top fusion players including \u003cstrong data-start=\"715\" data-end=\"730\"\u003eGeorge Duke\u003c\/strong\u003e, \u003cstrong data-start=\"732\" data-end=\"751\"\u003eJohn McLaughlin\u003c\/strong\u003e, \u003cstrong data-start=\"753\" data-end=\"769\"\u003eBilly Cobham\u003c\/strong\u003e, and \u003cstrong data-start=\"775\" data-end=\"790\"\u003eGerry Brown\u003c\/strong\u003e, creating music that is both technically dazzling and irresistibly funky.\u003cstrong data-start=\"868\" data-end=\"889\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"969\" data-end=\"1117\"\u003eExplosive, funky, and groundbreaking, \u003cem data-start=\"1007\" data-end=\"1020\"\u003eSchool Days\u003c\/em\u003e remains one of the essential bass-driven albums of the 1970s and a cornerstone of jazz fusion.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: EX\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42507491934267,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4324.jpg?v=1759580331"},{"product_id":"charles-lloyd-forest-flower","title":"Charles Lloyd – Forest Flower (1967 Atlantic LP Vinyl)","description":"\u003cp data-start=\"446\" data-end=\"923\"\u003eReleased in \u003cstrong data-start=\"458\" data-end=\"466\"\u003e1967\u003c\/strong\u003e on \u003cstrong data-start=\"470\" data-end=\"500\"\u003eAtlantic Records (SD 1473)\u003c\/strong\u003e, \u003cem data-start=\"502\" data-end=\"517\"\u003eForest Flower\u003c\/em\u003e captures \u003cstrong data-start=\"527\" data-end=\"544\"\u003eCharles Lloyd\u003c\/strong\u003e live at the \u003cstrong data-start=\"557\" data-end=\"583\"\u003eMonterey Jazz Festival\u003c\/strong\u003e in 1966 — a luminous, free-flowing performance that became both a critical and commercial triumph. With a quartet featuring \u003cstrong data-start=\"708\" data-end=\"725\"\u003eKeith Jarrett\u003c\/strong\u003e on piano, \u003cstrong data-start=\"736\" data-end=\"751\"\u003eCecil McBee\u003c\/strong\u003e on bass, and \u003cstrong data-start=\"765\" data-end=\"784\"\u003eJack DeJohnette\u003c\/strong\u003e on drums, Lloyd blends post-bop sophistication with a spirit of openness and adventure that mirrors the cultural mood of the late 1960s.\u003c\/p\u003e\n\u003cp data-start=\"925\" data-end=\"1328\"\u003eThe two-part suite \u003cem data-start=\"944\" data-end=\"969\"\u003eForest Flower – Sunrise\u003c\/em\u003e and \u003cem data-start=\"974\" data-end=\"982\"\u003eSunset\u003c\/em\u003e is the album’s centrepiece — lyrical, hypnotic, and endlessly expansive, it moves from quiet introspection to joyous release. On side B, the quartet stretches out across \u003cem data-start=\"1153\" data-end=\"1162\"\u003eSorcery\u003c\/em\u003e, \u003cem data-start=\"1164\" data-end=\"1177\"\u003eSong of Her\u003c\/em\u003e, and \u003cem data-start=\"1183\" data-end=\"1200\"\u003eEast of the Sun\u003c\/em\u003e, with Jarrett’s luminous touch and DeJohnette’s dynamic drumming providing the perfect foil for Lloyd’s airy tenor and flute.\u003c\/p\u003e\n\u003cp data-start=\"1330\" data-end=\"1657\"\u003eThe result is music that feels spontaneous yet serene, deeply rooted yet boundary-breaking — one of the defining live recordings of the post-bop era. Pressed in stereo and presented in a striking \u003cstrong data-start=\"1526\" data-end=\"1545\"\u003egatefold sleeve\u003c\/strong\u003e, the original Atlantic issue remains a landmark document of 1960s jazz at its most spiritual and exploratory.\u003c\/p\u003e\n\u003cp data-end=\"1214\" data-start=\"1061\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42511247310907,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4423.jpg?v=1759836441"},{"product_id":"ray-charles-the-genius-of-ray-charles","title":"Ray Charles – The Genius of Ray Charles (1970s Atlantic US Vinyl LP)","description":"\u003cp data-start=\"560\" data-end=\"862\"\u003eOriginally released in 1959 and reissued in stereo on \u003cstrong data-start=\"614\" data-end=\"644\"\u003eAtlantic Records (SD-1312)\u003c\/strong\u003e during the 1970s, \u003cem data-start=\"663\" data-end=\"690\"\u003eThe Genius of Ray Charles\u003c\/em\u003e captures \u003cstrong data-start=\"700\" data-end=\"715\"\u003eRay Charles\u003c\/strong\u003e at the height of his creative powers, expanding his sound from rhythm and blues roots into lush big band swing and sweeping orchestral balladry.\u003c\/p\u003e\n\u003cp data-start=\"864\" data-end=\"1311\"\u003eSide A finds Charles fronting a powerhouse jazz ensemble drawn from Count Basie’s band, including \u003cstrong data-start=\"962\" data-end=\"977\"\u003eClark Terry\u003c\/strong\u003e, \u003cstrong data-start=\"979\" data-end=\"993\"\u003eJoe Newman\u003c\/strong\u003e, \u003cstrong data-start=\"995\" data-end=\"1009\"\u003eFrank Wess\u003c\/strong\u003e, \u003cstrong data-start=\"1011\" data-end=\"1028\"\u003eFreddie Green\u003c\/strong\u003e, and \u003cstrong data-start=\"1034\" data-end=\"1053\"\u003eQuentin Jackson\u003c\/strong\u003e, with arrangements that swing hard and sparkle with energy. The band roars through \u003cem data-start=\"1137\" data-end=\"1162\"\u003eLet the Good Times Roll\u003c\/em\u003e, \u003cem data-start=\"1164\" data-end=\"1190\"\u003eAlexander’s Ragtime Band\u003c\/em\u003e, and \u003cem data-start=\"1196\" data-end=\"1207\"\u003eDeed I Do\u003c\/em\u003e — joyous, full-bodied performances driven by Charles’s unmistakable piano touch and soulful phrasing.\u003c\/p\u003e\n\u003cp data-start=\"1313\" data-end=\"1619\"\u003eSide B shifts tone, with \u003cstrong data-start=\"1338\" data-end=\"1357\"\u003eHarry Lookofsky\u003c\/strong\u003e conducting strings and horns in rich, cinematic settings. Here, Charles transforms standards like \u003cem data-start=\"1456\" data-end=\"1481\"\u003eCome Rain or Come Shine\u003c\/em\u003e and \u003cem data-start=\"1486\" data-end=\"1505\"\u003eJust for a Thrill\u003c\/em\u003e into deeply felt torch songs — performances that prefigured his later orchestral masterpieces on ABC-Paramount.\u003c\/p\u003e\n\u003cp data-start=\"1621\" data-end=\"1916\"\u003eThis \u003cstrong data-start=\"1626\" data-end=\"1656\"\u003eSpecialty Records pressing\u003c\/strong\u003e, identifiable by its red-and-green Atlantic label, delivers warm, dynamic stereo sound and the full majesty of these sessions. \u003cem data-start=\"1784\" data-end=\"1811\"\u003eThe Genius of Ray Charles\u003c\/em\u003e remains a cornerstone in both jazz and soul history — where gospel fire meets big band sophistication.\u003c\/p\u003e\n\u003cp data-end=\"1214\" data-start=\"1061\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42534962528315,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4576.jpg?v=1760831524"},{"product_id":"carmen-mcrae-the-sound-of-silence-japanese-atlantic-vinyl-lp-gatefold","title":"Carmen McRae - The Sound Of Silence (Japanese Atlantic Vinyl LP Gatefold)","description":"\u003cp class=\"whitespace-normal break-words\"\u003eOne of jazz's most sophisticated and emotionally astute vocalists, Carmen McRae delivers a masterclass in interpretive singing on \u003cem\u003eThe Sound Of Silence\u003c\/em\u003e, an album that finds her tackling a diverse repertoire ranging from Duke Ellington standards to contemporary pop material. This 1969 Japanese pressing, the first Japanese release officially licensed by Atlantic Records and manufactured by Nippon Grammophon on their green and light blue label, captures McRae's artistry in a beautifully presented gatefold edition.\u003c\/p\u003e\n\u003cp class=\"whitespace-normal break-words\"\u003eThe album's title track, Simon \u0026amp; Garfunkel's \"The Sound Of Silence\", demonstrates McRae's remarkable ability to take popular songs and transform them into jazz vehicles without losing their essential character. Similarly, her interpretation of Jimmy Webb's sprawling \"MacArthur Park\" is audacious and successful, proof that McRae could inhabit virtually any material and make it her own. These contemporary choices sit comfortably alongside timeless standards like Ellington's \"I Got It Bad And That Ain't Good\", Hoagy Carmichael's \"Stardust\", and the Hungarian suicide song \"Gloomy Sunday\", which McRae performs with haunting restraint.\u003c\/p\u003e\n\u003cp class=\"whitespace-normal break-words\"\u003eWhat sets McRae apart from many of her contemporaries is her musician's approach to singing. Her pitch is impeccable, her time feel sophisticated, and her phrasing constantly interesting without calling attention to itself. She never over-sings or relies on vocal acrobatics, instead using her rich, slightly husky tone and innate musicality to serve each song's emotional truth. Whether delivering the melancholy of \"Poor Butterfly\" or the wistfulness of \"The Folks Who Live On The Hill\", McRae's artistry is consistently compelling.\u003c\/p\u003e\n\u003cp class=\"whitespace-normal break-words\"\u003eThis Japanese gatefold pressing represents an important moment when Atlantic Records was expanding McRae's reach internationally. The Nippon Grammophon manufacturing ensures excellent sound quality that does justice to McRae's voice and the arrangements.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: VG+\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42590716330043,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4923.jpg?v=1762137667"},{"product_id":"lennie-tristano-lennie-tristano-1976-japanese-atlantic-vinyl-lp-mono","title":"Lennie Tristano - Lennie Tristano (1976 Japanese Atlantic Vinyl LP Mono)","description":"\u003cp data-end=\"1214\" data-start=\"1061\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e None\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLennie Tristano - Lennie Tristano\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - Japanese Atlantic Mono Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most intellectually rigorous and harmonically advanced pianists in jazz history, Lennie Tristano receives deserved documentation on this self-titled album combining 1955 studio recordings and live performances. Released in Japan in December 1976 on Atlantic through Warner-Pioneer Corporation, this mono pressing preserves two distinct facets of Tristano's artistry: his unaccompanied explorations and his work with the brilliant alto saxophonist Lee Konitz, his most famous student and closest musical collaborator.\u003c\/p\u003e\n\u003cp\u003eThe album opens with four solo piano performances recorded in New York City in 1955. These tracks showcase Tristano's revolutionary approach to the instrument, characterised by linear independence between his hands, sophisticated harmonic reharmonisation, and an almost contrapuntal approach to improvisation. \"Line Up\", \"Requiem\", \"Turkish Mambo\", and \"East Thirty-Second\" demonstrate his ability to create complex, multi-layered music entirely on his own, each hand functioning as an independent voice in intricate conversation.\u003c\/p\u003e\n\u003cp\u003eThe second half of the album presents live recordings from the Sing Sing Room at the Confucius Restaurant in New York City during summer 1955, featuring Lee Konitz on alto saxophone, Gene Ramey on bass, and Art Taylor on drums. These four standards - \"These Foolish Things\", \"You Go To My Head\", \"If I Had You\", \"Ghost Of A Chance\", and \"All The Things You Are\" - reveal the telepathic musical relationship between Tristano and Konitz. Both musicians shared an aesthetic of cool detachment, sophisticated harmonic thinking, and melodic lines that seemed to float above the rhythm section's pulse.\u003c\/p\u003e\n\u003cp\u003eTristano's playing on these live tracks is remarkable for its precision and harmonic density even at rapid tempos. His touch is light yet perfectly articulated, his lines seemingly inevitable yet constantly surprising. Konitz's alto weaves through similar harmonic territory with his distinctively cool tone and long, sinuous phrases. The rhythm section of Ramey and Taylor provides steady, unobtrusive support, allowing the frontline to explore freely.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing includes an LP-sized insert with track information and Japanese liner notes, providing valuable context about Tristano's place in jazz history. Made by Warner-Pioneer Corporation, this mono pressing captures the intimacy of both the solo recordings and the small club atmosphere of the live performances.\u003c\/p\u003e\n\u003cp\u003eTristano remains a somewhat obscure figure despite his immense influence on cool jazz and the development of advanced improvisation techniques. For collectors interested in the intellectual and harmonic evolution of jazz piano, this album is essential listening.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43028783759419,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5217.jpg?v=1763636822"},{"product_id":"john-coltrane-giant-steps-1968-us-atlantic-vinyl-lp-stereo-reissue","title":"John Coltrane - Giant Steps (1968 US Atlantic Vinyl LP Stereo Reissue)","description":"\u003cp data-end=\"1214\" data-start=\"1061\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: VG+ (one noticable scuff on side 1 but plays fine)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX (still in original shrink wrap)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane - Giant Steps\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1968 US Atlantic Stereo Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most important albums in jazz history, \u003cem\u003eGiant Steps\u003c\/em\u003e represents John Coltrane's first recording as a leader after leaving Miles Davis' group and his definitive statement on harmonic complexity and technical virtuosity. Recorded in 1959 and released in 1960, this album introduced Coltrane's revolutionary approach to chord changes and harmonic movement that would forever alter jazz improvisation. This 1968 US Atlantic pressing, identifiable by its red and green labels with the 1841 Broadway address and gold embossed \"Stereo\" on the cover, captures this landmark recording with excellent sonic quality, mastered at Longwear Plating and pressed by Presswell.\u003c\/p\u003e\n\u003cp\u003eThe title track \"Giant Steps\" is one of the most famous and demanding compositions in jazz. Coltrane's chord progression moves through major thirds in a constantly modulating pattern that creates immense challenges for improvisers. His own solo navigates these \"Coltrane changes\" with breathtaking speed and precision, establishing a technical and harmonic benchmark that saxophonists still measure themselves against decades later. Tommy Flanagan's piano solo on this track famously struggles with the changes, a testament to how revolutionary and difficult Coltrane's concept was even for one of the era's finest pianists.\u003c\/p\u003e\n\u003cp\u003e\"Cousin Mary\" provides a more straightforward blues-based respite, though even here Coltrane's harmonic sophistication elevates the material. \"Countdown\" takes the chord progression of Miles Davis' \"Tune Up\" and completely reimagines it with Coltrane's harmonic substitutions, demonstrating how his approach could transform existing material. \"Spiral\" and \"Syeeda's Song Flute\" (named for his daughter) showcase different facets of his compositional thinking.\u003c\/p\u003e\n\u003cp\u003eThe album's ballad centrepiece, \"Naima\", named for Coltrane's first wife, stands as one of the most beautiful compositions in jazz. With Wynton Kelly replacing Flanagan on piano and Jimmy Cobb on drums for this track, Coltrane's tender, searching melody and his reverential approach to the composition reveal the spiritual dimension that would increasingly define his work. \"Mr. P.C.\", dedicated to bassist Paul Chambers, closes the album with an uptempo blues that allows all the musicians to stretch out.\u003c\/p\u003e\n\u003cp\u003eThe rhythm section work throughout is exemplary. Paul Chambers' bass playing provides both harmonic foundation and melodic counterpoint, his tone warm and his time impeccable. Art Taylor's drumming on most tracks is crisp and supportive, while Jimmy Cobb's sensitive accompaniment on \"Naima\" perfectly suits that composition's contemplative mood. Tommy Flanagan, despite being challenged by \"Giant Steps\", demonstrates his usual elegance and harmonic sophistication throughout, while Wynton Kelly brings his characteristic bluesy touch to \"Naima\".\u003c\/p\u003e\n\u003cp\u003eThis 1968 pressing represents Atlantic's continued recognition of the album's importance eight years after its initial release. Mastered at Longwear Plating, the same facility that mastered many Atlantic jazz classics, and pressed by Presswell, this edition maintains the sonic clarity essential to appreciating Coltrane's rapid, complex lines and the quartet's interplay.\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/7cZ6oBx0SEUPDAoxJtxNDh?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43033380618299,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5203_c69f3329-8fc5-48c2-a00a-df7d426404f7.jpg?v=1763855509"},{"product_id":"john-coltrane-coltrane-jazz-1972-japanese-atlantic-vinyl-lp","title":"John Coltrane - Coltrane Jazz (1972 Japanese Atlantic Vinyl LP)","description":"\u003cp data-end=\"1214\" data-start=\"1061\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: VG+\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e None\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Coltrane - Coltrane Jazz\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - Japanese Atlantic Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA fascinating transitional document, \u003cem\u003eColtrane Jazz\u003c\/em\u003e captures John Coltrane during the crucial period between leaving Miles Davis' group and forming his own legendary classic quartet. Drawn from two sessions in late 1959, just months after his watershed Giant Steps album, this collection showcases Coltrane working with two different rhythm sections: the Miles Davis rhythm team of Wynton Kelly, Paul Chambers, and Jimmy Cobb on most tracks, and members of his emerging classic quartet (McCoy Tyner and Elvin Jones) on others. This 1972 Japanese pressing on Atlantic, part of the Jazz Age series and manufactured by Warner-Pioneer Corporation, includes an insert and represents an early Japanese reissue of this important Atlantic session.\u003c\/p\u003e\n\u003cp\u003eThe album reveals Coltrane in a moment of artistic transition. On tracks like \"Little Old Lady\" and \"I'll Wait And Pray\", recorded on 24 November 1959 with the Kelly-Chambers-Cobb trio, Coltrane demonstrates his ability to transform standards through his developing \"sheets of sound\" approach while working within the hard bop framework these Miles Davis veterans knew intimately. Kelly's bluesy, rhythmic piano, Chambers' melodic yet supportive bass, and Cobb's crisp drumming provide the perfect foundation for Coltrane's increasingly intense explorations.\u003c\/p\u003e\n\u003cp\u003eThe 2 December 1959 session introduces what would become Coltrane's classic quartet rhythm section: McCoy Tyner on piano and Elvin Jones on drums, with Steve Davis replacing Chambers on bass. \"Village Blues\" becomes the most forward-looking track on the album, with Jones' polyrhythmic drumming and Tyner's modal piano voicings pointing toward the sound that would define Coltrane's masterpieces of the early 1960s. The contrast between the two rhythm sections across the album illustrates Coltrane's artistic evolution in real time.\u003c\/p\u003e\n\u003cp\u003e\"My Shining Hour\", \"Fifth House\", and \"Harmonique\" showcase Coltrane's gift for both ballad interpretation and uptempo invention. His tone by late 1959 had fully developed its characteristic power and edge, and his technical facility allowed him to execute rapid, complex lines while maintaining emotional directness. \"Like Sonny\" pays homage to Sonny Rollins, Coltrane's friendly rival for the title of jazz's greatest tenor saxophonist, while \"Some Other Blues\" demonstrates that even Coltrane's blues playing was becoming increasingly sophisticated harmonically.\u003c\/p\u003e\n\u003cp\u003eWhat makes this album particularly valuable historically is hearing Coltrane with both the rhythm section of his immediate past (Kelly, Chambers, Cobb - the Miles Davis group) and his immediate future (Tyner, Jones - his own classic quartet, with bassist Jimmy Garrison soon to join). The juxtaposition reveals how Coltrane's concept demanded different rhythmic and harmonic support than what even the superb Davis rhythm section could provide.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing, manufactured by Warner-Pioneer Corporation (Atlantic's Japanese licensee following the company's renaming in April 1972), offers excellent sound quality that captures both Coltrane's powerful tenor and the rhythmic details of two exceptional rhythm sections. The inclusion of an insert with session details and liner notes adds valuable context for understanding this transitional moment in Coltrane's career.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43050201776187,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5363.jpg?v=1764451651"},{"product_id":"charlie-mingus-jazz-workshop-pithecanthropus-erectus-1972-japanese-atlantic-mono-lp","title":"Charlie Mingus Jazz Workshop - Pithecanthropus Erectus (1972 Japanese Atlantic Mono LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: EX\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Charlie Mingus Jazz Workshop - \u003cem\u003ePithecanthropus Erectus\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1972 Japanese Atlantic Jazz Age Series Mono Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCharles Mingus' groundbreaking 1956 album \u003cem\u003ePithecanthropus Erectus\u003c\/em\u003e showcases the bassist\/composer at a crucial transitional moment, creating extended compositions that tell programmatic stories through collective improvisation. The title track, depicting the rise and fall of humanity's evolutionary ancestor, builds from careful ensemble work through increasingly frenzied collective improvisation to chaotic collapse, demonstrating Mingus' ambition to expand jazz composition beyond conventional song forms. Featuring alto saxophonist Jackie McLean, tenor saxophonist J.R. Monterose, pianist Mal Waldron, and drummer Willie Jones, this session captures Mingus' Jazz Workshop concept in action: compositions as frameworks for group exploration rather than mere vehicles for solos. Released in Japan in 1972 as part of Atlantic's Jazz Age series and manufactured by Warner-Pioneer Corporation, this mono pressing presents this landmark post-bop recording.\u003c\/p\u003e\n\u003cp\u003eBeyond the ambitious title track, the album includes three contrasting pieces. Gershwin's \"A Foggy Day\" receives straightforward yet sophisticated treatment, demonstrating the group's command of standards alongside Mingus' originals. \"Profile Of Jackie\" showcases McLean's distinctive alto saxophone sound, his angular approach perfectly suited to Mingus' compositional vision, while \"Love Chant\" closes the album with modal exploration and collective interaction. Mingus' bass playing throughout combines virtuoso technique with compositional thinking, his instrument functioning as both harmonic foundation and melodic voice. Waldron's piano and the two-tenor frontline create dense textures that support Mingus' programmatic concepts.\u003c\/p\u003e\n\u003cp\u003eLicensed from Atlantic Recording Corporation and manufactured by Warner-Pioneer Corporation, this Japanese pressing includes some notable label errors: mono recording incorrectly marked stereo on labels, wrong composer credit for \"A Foggy Day\" on the A-side label (listing Mingus instead of the Gershwins), and differing running times between cover and labels. Despite these printing errors, the recording itself remains intact, capturing this essential Mingus statement that influenced free jazz, avant-garde composition, and extended-form jazz writing.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43183822569531,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5909.jpg?v=1769819548"},{"product_id":"ornette-coleman-the-shape-of-jazz-to-come-1971-japanese-atlantic-stereo-lp","title":"Ornette Coleman - The Shape Of Jazz To Come (1971 Japanese Atlantic Stereo LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrnette Coleman - \u003cem\u003eThe Shape Of Jazz To Come\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1971 Japanese Atlantic Jazz Age Series Stereo Reissue with Japanese Insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOrnette Coleman's revolutionary 1959 album redefined jazz's possibilities, abandoning conventional chord changes in favour of collective improvisation guided by melody and emotion rather than harmonic structures. Recorded on 22 May 1959 with his quartet—cornetist Don Cherry, bassist Charlie Haden, and drummer Billy Higgins—this session sparked fierce debate while inspiring generations of musicians to explore beyond bebop's harmonic conventions. The six Coleman compositions, including the haunting \"Lonely Woman\" (featuring one of jazz's most memorable themes), demonstrate that freedom from chord changes didn't mean formlessness but rather new organisational principles based on melody, rhythm, and collective interaction. Released in Japan in September 1971 as part of Atlantic's Jazz Age series and manufactured by Warner Bros.-Pioneer Corporation, this stereo pressing includes Japanese liner notes insert.\u003c\/p\u003e\n\u003cp\u003eColeman's alto saxophone sound—crying, wailing, occasionally harsh—conveys emotion directly without bebop's virtuosic harmonic navigation, while Don Cherry's pocket cornet provides complementary voice with similarly vocal quality. The two horn players engage in conversations that sound both ancient (recalling early New Orleans polyphony) and utterly modern, their lines interweaving without harmonic constraints. Charlie Haden's bass work provides melodic and rhythmic foundation rather than conventional chord changes, while Billy Higgins' drumming swings intensely while supporting rather than directing the harmonic flow.\u003c\/p\u003e\n\u003cp\u003eBeyond the famous \"Lonely Woman\", tracks like \"Eventually\", \"Peace\", and \"Focus On Sanity\" demonstrate Coleman's gift for memorable melodies that serve as springboards for exploration. His compositions possess folk-like simplicity that belies their radical harmonic implications.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43187899367483,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5938.jpg?v=1770013367"},{"product_id":"the-charles-lloyd-quartet-dream-weaver-1976-japanese-atlantic-vinyl-lp","title":"The Charles Lloyd Quartet - Dream Weaver (1976 Japanese Atlantic Vinyl LP)","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Charles Lloyd Quartet - \u003cem\u003eDream Weaver\u003c\/em\u003e | Vinyl LP - 1976 Japanese Atlantic Jazz Forever 1500 Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eThe debut studio recording of the classic Charles Lloyd Quartet\u003c\/strong\u003e: Lloyd on tenor saxophone and flute, Keith Jarrett on piano, Cecil McBee on bass and Jack DeJohnette on drums, recorded at Atlantic Studio in New York in March 1966\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eSeven pieces across two suites and three standalone tracks\u003c\/strong\u003e, opening with a twelve-minute \"Autumn Sequence\" built around the standard \"Autumn Leaves\" and closing with the Latin ensemble piece \"Sombrero Sam\"\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e1976 Japanese reissue\u003c\/strong\u003e on Atlantic's Jazz Forever 1500 series (P-4539A), manufactured by Warner-Pioneer Corporation, reissuing the 1966 Atlantic SD 1459\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRecorded at Atlantic Studio in New York in March 1966 and released that July as Atlantic SD 1459, \u003cem\u003eDream Weaver \u003c\/em\u003eis the first studio date of the Charles Lloyd Quartet in the configuration that would go on to define the group's reputation. Lloyd on tenor saxophone and flute, Keith Jarrett on piano, Cecil McBee on bass and Jack DeJohnette on drums were still a new band when this was made; \u003cem\u003eForest Flower\u003c\/em\u003e, the live Monterey Jazz Festival recording that would become Lloyd's commercial breakthrough and reach a rock audience previously unreached by jazz, was recorded later the same year. \u003cem\u003eDream Weaver \u003c\/em\u003eprecedes that success and shows the quartet before it became a phenomenon, the four musicians already playing with the collective confidence that \u003cem\u003eForest Flower\u003c\/em\u003e would bring to a much wider audience. Side A is structured around two suites. \"Autumn Sequence\" opens the record with Lloyd on flute: his \"Autumn Prelude\" leads directly into the standard \"Autumn Leaves\" (music by Joseph Kosma, lyrics by Jacques Prévert and Johnny Mercer), with Lloyd remaining on flute throughout before \"Autumn Echo\" closes the sequence. The \"Dream Weaver\" suite that follows moves in two parts: \"Meditation\", which carries something of Coltrane's brooding quality, and the hypnotic \"Dervish Dance\", which draws on Arabic and Indian modes. Side B opens with the modal \"Bird Flight\", followed by the ballad \"Love Ship\", and closes with \"Sombrero Sam\", a Latin ensemble piece that became a regular feature of the group's live set and was released as a single. All compositions except \"Autumn Leaves\" are Lloyd originals.\u003c\/p\u003e\n\u003cp\u003eThe record was produced by George Avakian and Arif Mardin. Liner notes on the original US pressing were written by Avakian. This 1976 Japanese reissue on Atlantic's Jazz Forever 1500 series (P-4539A) was released on 25 May 1976 and manufactured by Warner-Pioneer Corporation, Atlantic's Japanese licensee in this period. It is a reissue of the stereo SD 1459 pressing.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43259265843259,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6336.jpg?v=1772787433"},{"product_id":"john-lewis-sacha-distel-afternoon-in-paris-1958-japanese-atlantic-atl-5013-original-lp-mono","title":"John Lewis \u0026 Sacha Distel - Afternoon in Paris (1958 Japanese Atlantic ATL-5013 Original LP, Mono)","description":"\u003cp data-end=\"1214\" data-start=\"1061\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: NM\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Lewis \u0026amp; Sacha Distel - \u003cem\u003eAfternoon in Paris\u003c\/em\u003e | Vinyl LP - 1958 Japanese Atlantic ATL-5013 Original Mono Pressing (Victor Record Company Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eRecorded in Paris on 4 and 7 December 1956\u003c\/strong\u003e; a co-led session by MJQ pianist John Lewis and French guitarist Sacha Distel\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eThe B-side is effectively the Modern Jazz Quartet minus Milt Jackson\u003c\/strong\u003e: Lewis on piano, Percy Heath on bass, Kenny Clarke (the MJQ's original drummer, since replaced by Kay) on drums, extended into a quintet with Distel on guitar and Wilen on tenor\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e1958 original Japanese Atlantic pressing\u003c\/strong\u003e manufactured by Victor Record Company Ltd., mono, in flip-back cover\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eJohn Lewis was in Paris with the Modern Jazz Quartet in November and December 1956. While there, he recorded two sessions for the French label Disques Versailles with a small group built around Sacha Distel on guitar and Barney Wilen on tenor saxophone. Distel, then 22, was already a respected figure in French jazz circles. Wilen, born in Nice to a French mother and an American father, was 19. Within a year he would be playing on Miles Davis's \u003cem\u003eAscenseur pour l'échafaud\u003c\/em\u003e soundtrack, alongside Pierre Michelot and Kenny Clarke — two of the same musicians who appear here. The album was recorded across two dates in December 1956, with different rhythm sections for each. Side A uses Connie Kay on drums and Michelot on bass; Side B uses Kenny Clarke and Percy Heath. Clarke, Kay, Heath and Lewis were, between them, the core of the Modern Jazz Quartet — Clarke having been the MJQ's original drummer before Connie Kay succeeded him in 1955.\u003c\/p\u003e\n\u003cp\u003eThe six tracks divide between jazz standards and one Lewis original. \"I Cover the Waterfront,\" \"Dear Old Stockholm,\" \"All the Things You Are\" and \"Willow Weep for Me\" are the standards; \"Bags' Groove\" is Milt Jackson's blues — the absent MJQ vibraphonist's most famous composition, played here without him. The title track, \"Afternoon in Paris,\" is by Lewis. Wilen's solos throughout are relaxed and large-toned for a player his age; the American critical reception at the time noted the surprise of his playing on \"Bags' Groove\" in particular. The album was licensed by Atlantic for the American market in 1957, with cover design by Marvin Israel and liner notes by Ralph J. Gleason. This Japanese pressing (ATL-5013) was manufactured by Victor Record Company Ltd. in 1958, the year following the US release.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43283554435131,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6386.jpg?v=1773527351"},{"product_id":"milt-jackson-plenty-plenty-soul-1976-japanese-atlantic-vinyl-lp","title":"Milt Jackson - Plenty, Plenty Soul (1976 Japanese Atlantic Vinyl LP)","description":"\u003cp data-end=\"1214\" data-start=\"1061\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: NM\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMilt Jackson - \u003cem\u003ePlenty, Plenty Soul \u003c\/em\u003e| Vinyl LP - 1976 Japanese Atlantic (P-4550A, Jazz Forever 1500, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMilt Jackson was a member of the Modern Jazz Quartet and one of the most important vibraphonists in jazz. \u003cem\u003ePlenty, Plenty Soul\u003c\/em\u003e is a departure from the MJQ's chamber-jazz aesthetic: a full-blown hard bop record in two formats, one with a nine-piece ensemble and one with a sextet. Nesuhi Ertegun produced for Atlantic. Quincy Jones arranged all seven tracks, though his contributions are most audible on Side A, where he shapes a nonet built around Jackson, Joe Newman on trumpet, Jimmy Cleveland on trombone, Frank Foster on tenor saxophone, Sahib Shihab on baritone, Horace Silver on piano, Percy Heath on bass and Art Blakey on drums. The ninth player on Side A was the alto saxophonist credited as \"Ronnie Peters\" — in reality Cannonball Adderley, who was contractually unable to record under his own name for another label's session.\u003c\/p\u003e\n\u003cp\u003eSide A was recorded on 7 January 1957; Side B was recorded two days earlier, on 5 January, with a smaller lineup: Jackson, Newman, Lucky Thompson on tenor saxophone, Silver on piano, Oscar Pettiford on bass and Connie Kay on drums. \"Sermonette\" (B1), which Adderley had composed and was his most widely played piece at the time, appears here — making his presence felt on both sides despite the contractual obscuring. The remaining originals are by Jackson except \"Boogity Boogity\" (A2) and \"Blues at Twilight\" (B4), both by Jones. Down Beat awarded the record five stars on its 1957 release. This pressing is from the 1976 Japanese Atlantic Jazz Forever 1500 series, manufactured by Warner-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43329077837883,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6469.jpg?v=1774732574"},{"product_id":"azymuth-aguia-nao-come-mosca-1977-japanese-atlantic-vinyl-lp","title":"Azymuth - Águia Não Come Mosca (1977 Japanese Atlantic Vinyl LP)","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAzymuth - \u003cem\u003eÁguia Não Come Mosca\u003c\/em\u003e | Vinyl LP - 1977 Japanese Atlantic (P-10512A, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAzymuth formed in Rio de Janeiro in the early 1970s as a trio of multi-instrumentalists: José Roberto Bertrami on keyboards and vocals, Alexandre Malheiros on bass, guitar and vocals, and Ivan \"Mamão\" Conti on drums, percussion and vocals. They called their music \"samba doido\" — crazy samba — and by the time they recorded \u003cem\u003eÁguia Não Come Mosca\u003c\/em\u003e in 1977, the third of their albums for Atlantic Brazil, the sound was fully formed: Fender Rhodes and synthesiser built on top of a live percussion foundation, Brazilian folk rhythms pushed through jazz harmony and electric funk arrangement.\u003c\/p\u003e\n\u003cp\u003eThe album's title translates as \"an eagle doesn't eat flies\" — a Brazilian expression for not wasting attention on small things. The ten tracks across the record demonstrate the range of what that meant in practice. \"Vôo Sobre O Horizonte\" opens with acoustic guitar and voice before the full band enters. The title track, \"Águia Não Come Mosca,\" features Paulo Moura on soprano saxophone — the only guest appearance on the session. \"Tamborim, Cuíca, Ganzá, Berimbau\" pulls back to a percussion-centred samba-funk, the instrumentation listed as the track title. \"Falcon Love Call (Armazém No. 2)\" moves into synthesiser boogie; the closing \"Águia Negra X Dragão Negro\" is pure high-tempo batucada, the horns and keyboards cleared away to leave rhythm alone.\u003c\/p\u003e\n\u003cp\u003eLater rated among the top 100 Brazilian albums of all time by Brazilian DJ and critic Ed Motta it is among the most sought-after Azymuth pressings by international collectors. This is the 1977 Japanese Atlantic pressing, manufactured by Warner-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43380422508603,"sku":null,"price":130.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6499.jpg?v=1775266443"},{"product_id":"billy-cobham-total-eclipse-1974-japanese-atlantic-vinyl-lp","title":"Billy Cobham - Total Eclipse (1974 Japanese Atlantic Vinyl LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e None\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Cobham - \u003cem\u003eTotal Eclipse\u003c\/em\u003e | Vinyl LP - 1974 Japanese Atlantic (P-8539A, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBilly Cobham had played drums in Miles Davis's \u003cem\u003eBitches Brew\u003c\/em\u003e band and then spent two years as a founding member of the Mahavishnu Orchestra before recording his debut \u003cem\u003eSpectrum\u003c\/em\u003e in 1973. \u003cem\u003eTotal Eclipse\u003c\/em\u003e, his third Atlantic album, came out in 1974 and retained the core ensemble from \u003cem\u003eCrosswinds\u003c\/em\u003e: Mike Brecker on flute, soprano and tenor saxophone, Randy Brecker on trumpet and flugelhorn, John Abercrombie on electric and Ovation guitars, Glenn Ferris on trombone and bass trombone, Milcho Leviev on keyboards and Alex Blake on electric bass. Ken Scott, who had engineered the Beatles' \u003cem\u003eAbbey Road\u003c\/em\u003e and produced Supertramp's \u003cem\u003eCrime of the Century\u003c\/em\u003e, produced alongside Cobham. The sessions took place at Atlantic Recording Studios and Electric Lady Studios in New York, with remixing at Scorpio and Trident Studios in London.\u003c\/p\u003e\n\u003cp\u003eAll eight pieces are Cobham originals. \"Solarization\" opens Side A as a five-part suite running eleven minutes — each of the five movements named in the grooves — that moves through attacking jazz-rock, a Leviev solo piano interlude, smoother trombone writing from Ferris and a hard closing recapitulation. \"Lunarputians\" is the funk track on the album; the title piece and \"Bandits\" complete the side. Side B opens with \"Moon Germs,\" where Cornell Dupree — uncredited in the Discogs entry but confirmed from the original rear cover and Jazz Journal discography — plays his only extended guitar solo of the session. \"The Moon Ain't Made of Green Cheese\" runs under a minute, Cobham at the acoustic piano. \"Sea of Tranquility\" follows at nearly eleven minutes. \"Last Frontier\" closes. The album reached No. 6 on the Billboard jazz album chart.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43458896658491,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6764.jpg?v=1777258822"},{"product_id":"charles-mingus-changes-one-1975-japanese-atlantic-stereo-lp","title":"Charles Mingus - Changes One (1975 Japanese Atlantic Stereo LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eCharles Mingus - \u003cem\u003eChanges One\u003c\/em\u003e | Vinyl LP - 1975 Japanese Atlantic (P-10086A, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis album was recorded four years before \u003cmeta charset=\"utf-8\"\u003eCharles Mingus died on January 5, 1979.\u003c\/p\u003e\n\u003cp\u003e\"Remember Rockefeller at Attica\" opens the record at six minutes, the title a direct address to the governor who had ordered the retaking of Attica Correctional Facility in September 1971, resulting in the deaths of 29 inmates and 10 hostages. Mingus's approach is to name the political fact in the title and let the music carry the intensity. \"Sue's Changes\" runs seventeen minutes across chord sequences Mingus had been developing for years, Adams and Walrath trading and building over Pullen's clusters and Richmond's drumming. The dynamics through the piece shift several times without announcing the changes.\u003c\/p\u003e\n\u003cp\u003e\"Devil Blues\" is the album's strangest piece. Clarence \"Gatemouth\" Brown provided the lyrics, Adams wrote the melody and sings and Mingus wrote the horn lines that carry the response. Adams's voice is used with the same directness as his saxophone. \"Duke Ellington's Sound of Love\" was written after Ellington died in April 1974. It is not an elegy in any conventional sense, closer to a tribute to Ellington's compositional method than to the man himself, and it is the most harmonically complex piece on the record.\u003c\/p\u003e\n\u003cp\u003eThis is the 1975 Japanese Atlantic pressing (P-10086A), manufactured by Warner-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43517764108347,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6964.jpg?v=1778899908"},{"product_id":"charles-mingus-mingus-at-antibes-1979-japanese-atlantic-gatefold-2lp","title":"Charles Mingus - Mingus at Antibes (1979 Japanese Atlantic Gatefold 2LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\/EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eCharles Mingus - \u003cem\u003eMingus at Antibes\u003c\/em\u003e | 2 x Vinyl LP - 1979 Japanese Atlantic (P-5184~85, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMingus had one of the best bands of his career on July 13, 1960. The quintet had Booker Ervin on tenor, Eric Dolphy on alto, Ted Curson on trumpet, Dannie Richmond on drums. No pianist, the harmonic space open, the soloists working against Mingus's bass without a piano voicing to lean on. Recorded by Barclay Studios for Atlantic, it sat largely unreleased until BYG issued a partial version in 1974 and Atlantic released the complete double album in 1979. This Japanese pressing was manufactured by Warner-Pioneer that same year.\u003c\/p\u003e\n\u003cp\u003e\"Wednesday Night Prayer Meeting\" opens the record. Mingus touches the piano himself here, driving the band from two instruments, the 6\/4 gospel feel building as the soloists take their turns and the band shouts back. Ervin and Dolphy are both at full stretch. \"Prayer for Passive Resistance\" is slower and more menacing, Ervin taking the solo feature over the ensemble. \"What Love?\" runs thirteen minutes, Curson and Mingus open it, Mingus takes a solo, the band develops a dialogue between Dolphy's alto and Mingus's bass that was unlike anything else being played in 1960.\u003c\/p\u003e\n\u003cp\u003eBud Powell, who had been living in Paris since 1959, walked on for \"I'll Remember April.\" Mingus and Richmond accompany him carefully. The final two pieces give the concert its emotional conclusion. \"Folk Forms I\" is a stop-and-go blues in F; \"Better Git Hit in Your Soul,\" the \u003cem\u003eMingus Ah Um\u003c\/em\u003e piece, closes the night with the same gospel intensity that opened it, Mingus back at the piano and the band working up to a drawn-out finish.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43517948788795,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6969.jpg?v=1778908300"},{"product_id":"john-coltrane-my-favorite-things-1976-japanese-atlantic-stereo-lp","title":"John Coltrane - My Favorite Things (1976 Japanese Atlantic Stereo LP)","description":"\u003cp data-end=\"1214\" data-start=\"1061\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: VG+\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: VG+\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eJohn Coltrane - \u003cem\u003eMy Favorite Things\u003c\/em\u003e | Vinyl LP - 1976 Japanese Atlantic Stereo Reissue (P-7505A, Pick Up Your Music \/ Jazz-Forever Excellent, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eNesuhi Ertegun signed Coltrane to Atlantic in 1959 and recorded him across two years and several sessions. This album, recorded in October 1960, was the one that reached the widest audience. The quartet at this point had Steve Davis on bass (Jimmy Garrison would arrive the following year), Elvin Jones on drums and McCoy Tyner on Piano. Both Jones and Tyner had already been working with Coltrane for several months.\u003c\/p\u003e\n\u003cp\u003eThe title track is what the album is built on. Rodgers and Hammerstein wrote \"My Favorite Things\" for the 1959 Broadway production of \u003cem\u003eThe Sound of Music\u003c\/em\u003e. Coltrane recorded it about twelve months after it opened. He plays it on soprano saxophone, an instrument he had only recently taken up after hearing Steve Lacy's playing. Tyner's right hand plays the waltz melody against a bass vamp from his left while Coltrane improvises above, the 3\/4 time held throughout even as the harmony opens up. The recording ran thirteen minutes and forty seconds and Atlantic released it as an LP track, not a single. It became Coltrane's best-selling record.\u003c\/p\u003e\n\u003cp\u003e\"Everytime We Say Goodbye\" is Cole Porter's 1944 ballad, Coltrane remaining on soprano, the approach more restrained than the title track. Side B switches to tenor. \"Summertime\" is the Gershwin and DuBose Heyward piece from \u003cem\u003ePorgy and Bess\u003c\/em\u003e (1935), at eleven and a half minutes the longest improvisation on the album after the title track, Coltrane working through the melody with considerably more freedom than he had used on the soprano pieces. \"But Not for Me\" closes the record, also on tenor, the Gershwin and Gershwin standard from \u003cem\u003eGirl Crazy\u003c\/em\u003e (1930).\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese Atlantic stereo reissue (P-7505A), manufactured by Warner-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43518533369915,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6994.jpg?v=1778978421"},{"product_id":"mingus-oh-yeah-1976-japanese-atlantic-lp-signed-dannie-richmond","title":"Mingus - Oh Yeah (1976 Japanese Atlantic LP) SIGNED Dannie Richmond","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: VG+\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eMingus - \u003cem\u003eOh Yeah\u003c\/em\u003e | Vinyl LP - 1976 Japanese Atlantic Stereo Reissue (P-4544A, Jazz Forever 1500, Warner-Pioneer Corporation) SIGNED BY DANNIE RICHMOND\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"font-claude-response-body whitespace-normal break-words pl-2\"\u003eThis copy is signed on the front cover by Dannie Richmond, Mingus's drummer and one of the most recorded sidemen in jazz history; Richmond died on March 15, 1988\u003c\/li\u003e\n\u003cli class=\"font-claude-response-body whitespace-normal break-words pl-2\"\u003eRecorded in a single session on November 6, 1961 at Atlantic Studios, New York; produced by Nesuhi Ertegun; Mingus plays piano throughout and does not play bass, hiring Doug Watkins instead; he sings on three tracks; all seven compositions are Mingus originals; Roland Kirk spent only three months with the Mingus band and this is the only studio document of that period\u003c\/li\u003e\n\u003cli class=\"font-claude-response-body whitespace-normal break-words pl-2\"\u003e1976 Japanese Atlantic stereo reissue (P-4544A), Jazz Forever 1500 series; manufactured by Warner-Pioneer Corporation; includes insert\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRoland Kirk only played with Mingus for three months. This album is what those three months produced. Recorded in a single afternoon on November 6, 1961, at Atlantic Studios, it is the wildest entry in Mingus's Atlantic catalogue and by some distance the most difficult to categorise. Mingus had decided not to play bass, hiring Doug Watkins to hold that role while he accompanied the band on piano and sang on several tracks. His singing does not aim for technical accomplishment. It aims for effect.\u003c\/p\u003e\n\u003cp\u003eThe album opens with \"Hog Callin' Blues,\" Kirk and Booker Ervin trading and building over the rhythm section while Mingus shouts encouragement from behind the piano. \"Devil Woman\" slows to a grinding blues with Mingus delivering stream-of-consciousness couplets over his own accompaniment. \"Wham Bam Thank You Ma'am\" is angular and Monk-influenced, hard bop treated with deliberate wrongness. Side B opens with \"Ecclusiastics\" 9the misspelling is Mingus's own), a gospel-jazz piece in which he testifies over the ensemble, the band responding like a congregation. \"Oh Lord Don't Let Them Drop That Atomic Bomb on Me\" is a church blues with Kirk playing with unusual restraint. \"Eat That Chicken\" is comic and stride-inflected, nodding at Fats Waller. \"Passions of a Man\" closes the record with something closer to musique concrète. Kirk's sirens and whistles, vocalising, found sounds, barely any jazz framework at all.\u003c\/p\u003e\n\u003cp\u003eKirk was blind and twenty-one years old at the time of the session. He played tenor saxophone, manzello, stritch, flute and siren simultaneously or in rapid succession. \u003c\/p\u003e\n\u003cp\u003eThis copy is signed on the front cover by Dannie Richmond, who played drums on the session. Richmond worked alongside Mingus from 1956 until Mingus's death in 1979. \u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43518539431995,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6999.jpg?v=1778980835"},{"product_id":"ray-charles-the-right-time-1980-japanese-atlantic-mono-compilation-lp","title":"Ray Charles - The Right Time (1980 Japanese Atlantic Mono Compilation LP)","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: VG+\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eRay Charles - \u003cem\u003eThe Right Time\u003c\/em\u003e | Vinyl LP - 1980 Japanese Atlantic Mono Compilation (P-6184A, Warner-Pioneer Corporation, R\u0026amp;B Forever 2000 Series)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis compilation pulls from the period when Ray Charles was effectively building soul music in real time. The Atlantic years gave him the studio freedom to take what he'd absorbed in Florida churches and Seattle clubs and run it through the New York rhythm sections Ahmet Ertegun and Jerry Wexler put in front of him. \"Lonely Avenue\" (Doc Pomus, 1956) shows him preaching the blues over a stomping triplet pattern. \"Swanee River Rock\" rewrites Stephen Foster as a backbeat rave-up. \"I'm Movin' On\" stalks a Hank Snow country hit and drags it into rhythm and blues two years before the Modern Sounds project would make that crossover a national event. The headline track, recorded December 1958 with the Raelettes, is the bridge: Margie Hendrix tearing the roof off while Ray works the piano like a Pentecostal organ.\u003c\/p\u003e\n\u003cp\u003eThe R\u0026amp;B Forever 2000 series was Warner-Pioneer's early-1980s programme of mid-priced Japanese reissues of the Atlantic and Stax catalogue. By the time this came out in 1980, the original Atlantic singles and album masters were already a quarter-century old, and Japanese audiences had developed a clear taste for them. Mono is the right call for material recorded between 1952 and 1959, when these were all single-microphone or two-track sessions long before stereo became the default. This is the 1980 Japanese Atlantic mono compilation pressing, manufactured by Warner-Pioneer Corporation as part of the R\u0026amp;B Forever 2000 series.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43536550199355,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7038.jpg?v=1779423448"},{"product_id":"the-modern-jazz-quartet-the-last-concert-1975-japanese-atlantic-gatefold-2lp","title":"The Modern Jazz Quartet - The Last Concert (1975 Japanese Atlantic Gatefold 2LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\/EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eVG+\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eThe Modern Jazz Quartet - \u003cem\u003eThe Last Concert\u003c\/em\u003e | Vinyl 2LP - 1975 Japanese Atlantic Gatefold (P-6321-2A, manufactured by Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe Modern Jazz Quartet emerged in 1952 from the rhythm section of Dizzy Gillespie's big band, but spent the next two decades pulling jazz in a direction nobody else had tried. John Lewis, the pianist and musical director, wanted to apply Bach and Renaissance counterpoint to the blues. Milt Jackson, the most lyrical vibraphonist alive, wanted to swing. The tension between those two impulses defined the group. Percy Heath's bass and Connie Kay's restrained, jewel-like drumming completed a unit so locked-in it was effectively chamber music in a tuxedo. By the time they walked off the Avery Fisher stage on 25 November 1974, they had been together as a quartet for almost two decades. The setlist is a deliberate retrospective: their own pieces (\"Django\", \"Skating in Central Park\", \"The Cylinder\", \"Blues in A Minor\"), Lewis' commissioned music for Roger Vadim's \u003cem\u003eSait-on jamais\u003c\/em\u003e film score (\"One Never Knows\", \"The Golden Striker\"), Jackson's signature blues \"Bags' Groove\", and the bebop they were raised on (Parker's \"Confirmation\", Gillespie's \"Night in Tunisia\", Monk's \"'Round Midnight\").\u003c\/p\u003e\n\u003cp\u003eWhat was billed as a farewell turned out to be a seven-year intermission. The group reunited in 1981 and kept performing until Milt Jackson's death in 1999, but neither the comeback nor the more extensive \u003cem\u003eComplete Last Concert\u003c\/em\u003e 2CD that Atlantic compiled in 1988 diminishes what this original 1975 2LP represents. The set was recorded as a deliberate document of an ending, and the playing carries that weight. This is the contemporary Japanese pressing, manufactured by Warner-Pioneer Corporation under Atlantic's Japanese licence in the same year as the US issue.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43540612055099,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7070.jpg?v=1779505623"},{"product_id":"charles-mingus-cumbia-and-jazz-fusion-1978-japanese-atlantic-stereo-lp","title":"Charles Mingus - Cumbia and Jazz Fusion (1978 Japanese Atlantic Stereo LP)","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: EX\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eCharles Mingus - \u003cem\u003eCumbia and Jazz Fusion\u003c\/em\u003e | Vinyl LP - 1978 Japanese Atlantic (P-10531A, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eElio Petri made Todo Modo in 1976 as a barely disguised attack on the Italian Christian Democratic Party. He hired Mingus to write the music. Mingus went to Rome, recorded with a local ensemble at Dirmaphon Studio in March and April 1976, and delivered the score. Petri didn't use it. The Atlantic contract gave Mingus the opportunity to record his larger composition in New York in March 1977, and Atlantic released both pieces on a single LP in May 1978.\u003c\/p\u003e\n\u003cp\u003e\"Cumbia and Jazz Fusion\" is the more ambitious of the two. Mingus assembled 15 musicians including four conga players, a bassoonist and Mauricio Smith on a range of flutes and saxophones alongside the horn players he had been working with through the previous five years. The piece draws on the Afro-Colombian musical tradition of cumbia, the repeated percussion pattern holding the ensemble's collective improvisation together for nearly half an hour. Mingus sings briefly and speaks over the ensemble at one point. Jimmy Knepper's trombone is the clearest voice in the horn section; Ricky Ford's tenor and George Adams's playing give the piece its most searching extended solos.\u003c\/p\u003e\n\u003cp\u003e\"Music for Todo Modo\" has a different character: darker and more orchestral, closer to film scoring in its texture, the Italian ensemble's oboe and English horn prominent in a way that distinguishes it from anything else in Mingus's late Atlantic recordings. Dannie Richmond plays on both sides, the one constant between the two sessions and two different ensembles.\u003c\/p\u003e\n\u003cp\u003eThis is the 1978 Japanese Atlantic pressing (P-10531A), manufactured by Warner-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43555097837627,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7132.jpg?v=1780054102"},{"product_id":"ornette-coleman-double-quartet-free-jazz-1972-japanese-atlantic-stereo-gatefold-lp","title":"Ornette Coleman Double Quartet - Free Jazz (1972 Japanese Atlantic Stereo Gatefold LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: VG+\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eVG+\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eOrnette Coleman Double Quartet - \u003cem\u003eFree Jazz\u003c\/em\u003e | Vinyl LP - 1972 Japanese Atlantic Stereo Gatefold Reissue (P-6059A, Jazz Age Series, Warner Bros.-Pioneer Corporation)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eOrnette Coleman assembled eight musicians at Atlantic Recording Studios on December 21, 1960, split them into two quartets and asked them to improvise simultaneously for as long as it took. Tom Dowd placed the two groups in stereo: Coleman's quartet - Coleman on alto, Don Cherry on pocket trumpet, Scott LaFaro on bass and Billy Higgins on drums - on the left channel; Dolphy's on the right, with Eric Dolphy on bass clarinet, Freddie Hubbard on trumpet, Charlie Haden on bass and Ed Blackwell on drums. The two quartets interact across the channels throughout, listening and responding to each other in real time.\u003c\/p\u003e\n\u003cp\u003eThe performance ran 36 minutes and 23 seconds. Coleman wrote a series of brief thematic cells that each musician was given in advance; beyond that there was no arrangement. The LP format required a fade at the end of Side A and a resume at the start of Side B; otherwise the record plays the session exactly as it unfolded. Nothing was edited, spliced or rerecorded.\u003c\/p\u003e\n\u003cp\u003eThe title aligned the album with a movement that had not yet been named at the moment of recording. When Atlantic released the album in February 1961, it arrived alongside Down Beat's Leonard Feather review awarding it zero stars - reportedly without his having heard the record. The rating was one of several gestures that defined the hostile critical reception free jazz initially encountered. Nesuhi Ertegun had bought Coleman's recordings regardless and found the Atlantic audience receptive enough to continue recording him through 1962.\u003c\/p\u003e\n\u003cp\u003eThis is the 1972 Japanese Atlantic gatefold reissue (P-6059A), Jazz Age series, manufactured by Warner Bros.-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43556145201211,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7165.jpg?v=1780122846"},{"product_id":"lennie-tristano-the-new-tristano-1977-japanese-atlantic-stereo-lp","title":"Lennie Tristano - The New Tristano (1977 Japanese Atlantic Stereo LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLennie Tristano - \u003cem\u003eThe New Tristano\u003c\/em\u003e | Vinyl LP - 1977 Japanese Atlantic Stereo Reissue (P-7531A, Jazz-Forever Excellent 2, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTristano was born in Chicago in 1919 to Italian immigrant parents. He lost his sight entirely by age nine. He studied at the American Conservatory of Music in Chicago, moved to New York in 1946 and within three years had attracted a circle of musicians including Lee Konitz and Warne Marsh who studied with him and performed in his groups. In 1949 he recorded \"Intuition\" and \"Digression\" for Capitol - two pieces of collective improvisation without written themes, generally acknowledged as the first recordings of free jazz, six years before Ornette Coleman or Cecil Taylor.\u003c\/p\u003e\n\u003cp\u003eBy 1961, when he recorded this album, he had largely withdrawn from public performance. His 1956 Atlantic debut had attracted controversy: four of its tracks used overdubbing and tape speed manipulation, anticipating techniques that would not become common in jazz recording for another decade. For this follow-up, Tristano or Atlantic (or both) addressed that controversy on the cover itself.\u003c\/p\u003e\n\u003cp\u003eThe music operates at a level of rhythmic and harmonic complexity that can make it difficult to hear the underlying standards. \"Becoming\" is built on the chord changes of Cole Porter's \"What Is This Thing Called Love?\" but the melody is entirely Tristano's, the rhythm irregular and shifting. \"C Minor Complex\" and \"G Minor Complex\" work through their respective tonalities with the kind of relentless attention to harmonic detail that made Tristano's teaching as influential as his playing. \"Scene and Variations\" uses \"My Melancholy Baby\" as its framework, three movements named for the people closest to Tristano: his daughter Carol, his wife Tania and Bud Powell.\u003c\/p\u003e\n\u003cp\u003eThis is the 1977 Japanese Atlantic stereo reissue (P-7531A), Jazz-Forever Excellent 2 series, manufactured by Warner-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43572738424891,"sku":null,"price":30.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7184.jpg?v=1780624210"},{"product_id":"john-lewis-the-john-lewis-piano-1973-japanese-atlantic-mono-lp","title":"John Lewis - The John Lewis Piano (1973 Japanese Atlantic Mono LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: VG+\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eVG+\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eJohn Lewis - \u003cem\u003eThe John Lewis Piano\u003c\/em\u003e | Vinyl LP - 1973 Japanese Atlantic Mono (P-6117A, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eJohn Lewis is best known as the pianist, composer and musical director of the Modern Jazz Quartet. His Atlantic solo records sit beside the MJQ catalogue as a parallel body of work, more explicitly shaped by his interests in European classical form and third stream composition than the MJQ recordings allowed.\u003c\/p\u003e\n\u003cp\u003eThis album assembles seven pieces from three different sessions. \"Harlequin\" opens with solo piano, Lewis working through a melody built on the same \u003cem\u003ecommedia dell'arte\u003c\/em\u003e tradition that would later surface in the MJQ's Fontessa and in the closing \"Two Lyric Pieces.\" \"Little Girl Blue\" (Rodgers and Hart, from \u003cem\u003eJumbo\u003c\/em\u003e, 1935) and \"D and E\" bring in Heath and Kay for two trio readings. \"The Bad and the Beautiful\" is David Raksin's love theme from the 1952 Vincente Minnelli film of the same name, played as a slow duo with Barry Galbraith's guitar. \"It Never Entered My Mind,\" also Rodgers and Hart (from \u003cem\u003eHigher and Higher\u003c\/em\u003e, 1940), and \"Warmeland\" continue the Galbraith duos. \"Warmeland\" is the Swedish folk melody from the Värmland region that Miles Davis had recorded as \"Dear Old Stockholm\" in 1952; Lewis's approach is softer and more deliberate.\u003c\/p\u003e\n\u003cp\u003e\"Two Lyric Pieces\" closes the album at nearly eleven minutes. Jim Hall replaces Galbraith. The suite's two movements are \"Pierrot\" and \"Colombine,\" named for the \u003cem\u003ecommedia dell'arte\u003c\/em\u003e characters whose masked interactions Lewis had used as compositional metaphors since the early 1950s. Hall's guitar and Lewis's piano interact with the same precision and listening that Hall would later bring to his duo work with Bill Evans.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese Atlantic mono pressing (P-6117A), manufactured by Warner-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43572788068411,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7200.jpg?v=1780627121"},{"product_id":"joe-zawinul-zawinul-1981-japanese-atlantic-vinyl-lp","title":"Joe Zawinul - Zawinul (1981 Japanese Atlantic Vinyl LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: EX\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eVG+\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eJoe Zawinul - \u003cem\u003eZawinul\u003c\/em\u003e | Vinyl LP - 1981 Japanese Atlantic Reissue (P-11037A, Warner-Pioneer Corporation)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eJoe Zawinul arrived in New York from Vienna in 1959, speaking almost no English. By August 1970, when he recorded this album, he had spent a decade with Cannonball Adderley (writing \"Mercy, Mercy, Mercy\"), contributed \"In a Silent Way\" and \"Pharaoh's Dance\" to Miles Davis's two most important electric records, and was preparing to launch Weather Report with Wayne Shorter and Miroslav Vitous. This album, released the same month as Weather Report's debut, sits between those two careers and carries material from both.\u003c\/p\u003e\n\u003cp\u003eZawinul and Herbie Hancock sit at two electric pianos throughout, their instruments layered so closely in the mix that the two voices merge and separate without clear boundaries. Vitous and Booker play contrabass. Three percussionists rotate. The horn players change track by track: Woody Shaw on trumpet for four of the five pieces, Jimmy Owens replacing him on \"His Last Journey\" (which also features DeJohnette on melodica). Wayne Shorter appears on \"Double Image\" only, alongside Hubert Laws and DeJohnette on percussion, making it the de facto first document of the Zawinul\/Shorter\/Vitous axis that became Weather Report.\u003c\/p\u003e\n\u003cp\u003e\"In a Silent Way\" is four and a half minutes of the piece Zawinul had originally written as a longer composition. When Miles Davis and Teo Macero recorded it in February 1969, they edited it down to a two-minute statement and used it as a bookend. Here Zawinul restores the full introduction and plays it as he intended it: impressions of his childhood as a shepherd boy in Austria, the electric piano sustained over a slow drone. \"His Last Journey\" is a tone poem for his grandfather's funeral in an Austrian mountain village. \"Arrival in New York\" closes the album at two minutes: his first impression of the city when he arrived on a ship from France as a young man.\u003c\/p\u003e\n\u003cp\u003eThis is the 1981 Japanese Atlantic reissue (P-11037A), manufactured by Warner-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43655704084539,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7307.jpg?v=1781495418"}],"url":"https:\/\/lushliferecords.com.au\/collections\/atlantic.oembed?page=2","provider":"Lush Life Records","version":"1.0","type":"link"}