{"title":"Back in Stock","description":"\u003cp\u003eThis page collects everything that's recently returned to the shelves. Some of these titles won't last long the second time around, particularly original pressings and limited reissues, so if something caught your eye before and it's here again, don't sit on it.\u003c\/p\u003e","products":[{"product_id":"donald-byrd-slow-drag-blue-note-tone-poet-180g-gatefold-vinyl-lp","title":"Donald Byrd - Slow Drag (Blue Note Tone Poet 180g Gatefold Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eDonald Byrd - \u003cem\u003eSlow Drag\u003c\/em\u003e | Vinyl LP - Blue Note Tone Poet Series, all-analog 180g reissue (gatefold, Kevin Gray mastering)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1967 Donald Byrd, the Detroit trumpeter who had been one of Blue Note's most dependable leaders through the hard bop years, was near the end of his straight-ahead run, a few years before Black Byrd and the jazz-funk records that made him a star. \u003cem\u003eSlow Drag\u003c\/em\u003e catches him still in the older mode, cut at Rudy Van Gelder's studio in May 1967 with a strong quintet: Sonny Red on alto, Cedar Walton on piano, Walter Booker on bass and Billy Higgins on drums. It is hard bop with a relaxed, bluesy roll to it, soul-jazz around the edges. The title track stretches out over nine minutes on a slow, greasy groove, Sonny Red contributes the blues \"Jelly Roll\", and the ballads \"Secret Love\" and \"My Ideal\" let Byrd show off the warm, rounded tone he was known for. You can hear the music starting to loosen toward the modal and the funky, but it swings the whole way.\u003c\/p\u003e\n\u003cp\u003eByrd would soon leave hard bop behind almost entirely, and \u003cem\u003eSlow Drag\u003c\/em\u003e became one of the quieter gems near the end of that chapter, a favourite among Blue Note collectors precisely because it is less famous than his big sellers. This is the Blue Note Tone Poet edition, the audiophile reissue series overseen by Joe Harley. It is an all-analog pressing, mastered by Kevin Gray from the original tapes, pressed on 180g vinyl at RTI, and housed in a heavyweight Stoughton gatefold jacket with Francis Wolff's session photographs and Nat Hentoff's original notes. It is about as good as this music has ever sounded at home.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42554740342843,"sku":null,"price":110.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/91utdc4Pf3L._AC_SL1500.jpg?v=1761382588"},{"product_id":"arthur-verocai-arthur-verocai-2024-mr-bongo-reissue-vinyl-lp-gatefold","title":"Arthur Verocai - Arthur Verocai (2024 Mr Bongo Reissue Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eArthur Verocai - \u003cem\u003eArthur Verocai\u003c\/em\u003e | Vinyl LP - 2024 Mr Bongo Reissue (MRBLP133PN)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eArthur Verocai's 1972 debut on Continental Records\u003c\/strong\u003e, recorded at Studio Somil in Rio de Janeiro, produced and arranged entirely by Verocai himself; a 29-minute orchestral fusion of samba, bossa nova, jazz, soul and funk that sold almost nothing on release and now commands around $2,000 for an original copy\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eSampled by MF Doom, Ludacris, Action Bronson, Little Brother and others\u003c\/strong\u003e; 9th Wonder's production for Ludacris drew from \"Na Boca Do Sol\" — one of several tracks that seeded the album's rediscovery through hip-hop in the early 2000s\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eReissued from the original Continental master tapes\u003c\/strong\u003e, transferred under Arthur Verocai's supervision; replica gatefold artwork\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eWhen Arthur Verocai released his debut album on Continental Records in 1972, it sold almost nothing. The label withdrew it quickly, and Verocai spent the following decades arranging jingles and writing for television rather than recording as a leader. By the time the album was rediscovered — first through hip-hop producers in the early 2000s and then through a CD reissue on Luv N' Haight in 2003 — the original vinyl had become one of the most sought-after Brazilian records of the era. \u003cmeta charset=\"utf-8\"\u003eMadlib is quoted as saying: \"I could listen to the album everyday for the rest of my life.\"\u003c\/p\u003e\n\u003cp\u003eVerocai had arranged for Jorge Ben, Gal Costa, Ivan Lins, Elis Regina and others before making this album; the self-titled record is where that accumulated skill turned entirely inward. He produced, arranged, conducted and played guitar across all ten tracks, drawing on a large cast of Rio session musicians including Oberdan Magalhães on saxophone and flute, Paulo Moura on soprano saxophone, Pedro dos Santos on percussion, and a string and brass section that gives the record much of its orchestral weight. Vocalists include Célia on \"Seriado\" and a young Toninho Horta, then early in a career that would make him one of Brazil's most important guitarist-composers.\u003c\/p\u003e\n\u003cp\u003e\"Caboclo\" opens with a breakbeat groove and strings simultaneously; \"Pelas Sombras\" is denser and more cinematic, with Oberdan's flute over a deep low end; \"Seriado\" and \"Na Boca Do Sol\" carry the rhythm-section weight that made the record a target for sample-based producers. \"Dedicada A Ela\" (A5) is the sole track with an external lyric credit, written by Paulinho Tapajós.\u003c\/p\u003e\n\u003cp\u003eThis 2024 pressing (MRBLP133PN) is taken from the original Continental master tapes, transferred under Verocai's supervision, in a replica gatefold sleeve.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43264217645115,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a2363968462_10.jpg?v=1772930813"},{"product_id":"miles-davis-in-a-silent-way-2015-legacy-columbia-eu-reissue-vinyl-lp","title":"Miles Davis - In A Silent Way (2015 Legacy\/Columbia EU Reissue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis -\u003cem\u003e In A Silent Wa\u003c\/em\u003ey | Vinyl LP - 2015 Legacy\/Columbia Reissue \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eMiles Davis's 1969 landmark\u003c\/strong\u003e, recorded in a single session on 18 February 1969 at CBS 30th Street Studio in New York City, produced by Teo Macero; regarded as Davis's first fusion recording and the beginning of his electric period, with eight musicians including Wayne Shorter, John McLaughlin, Herbie Hancock, Chick Corea and Josef Zawinul\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eTwo side-long pieces\u003c\/strong\u003e — \"Shhh\/Peaceful\" and \"In A Silent Way\/It's About That Time\"\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\u003cstrong\u003e2015 Legacy\/Columbia EU reissue\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMiles Davis recorded \u003cem\u003eIn A Silent Way\u003c\/em\u003e in a single session on 18 February 1969 at CBS 30th Street Studio B in New York City. He brought eight musicians: Wayne Shorter on soprano saxophone, John McLaughlin on electric guitar, Herbie Hancock and Chick Corea on electric piano, Josef Zawinul on electric piano and organ, Dave Holland on bass, and Tony Williams on drums. Teo Macero produced. Stan Tonkel engineered. The session ran for approximately three hours and produced around 40 minutes of committed material, the tape machine running continuously as the musicians worked through the pieces with minimal verbal instruction from Davis and no written charts.\u003c\/p\u003e\n\u003cp\u003eWhat was released on 30 July 1969 was not a direct document of that session but a construction assembled by Macero using tape editing techniques he had developed across years of work with Davis, Duke Ellington and Dave Brubeck at Columbia. Macero shaped the recordings in accordance with classical sonata form — each of the two side-long pieces moves through three sections, with the opening material repeated at the close, giving the album a symmetry no single improvised take possessed. \"In A Silent Way\" is a Zawinul composition; \"It's About That Time\" is Davis's. \"Shhh\/Peaceful\" is Davis's. The album was controversial on release — jazz critics were unsettled by the electric instrumentation and the editorial construction; rock critics were divided on whether it was jazz or something else entirely. It has since been consistently placed among the most important recordings in Davis's career, and among the most significant in the history of jazz.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43285279342651,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/190759506516.jpg?v=1773649931"},{"product_id":"herbie-hancock-empyrean-isles-2023-blue-note-classic-vinyl-series-vinyl-lp","title":"Herbie Hancock - Empyrean Isles (2023 Blue Note Classic Vinyl Series Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHerbie Hancock - \u003cem\u003eEmpyrean Isles\u003c\/em\u003e | Vinyl LP - 2023 Blue Note Classic Vinyl Series (180g, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eHerbie Hancock's fourth Blue Note album\u003c\/strong\u003e, recorded on 17 June 1964 at Van Gelder Studio, Englewood Cliffs; a quartet with Freddie Hubbard on cornet, Ron Carter on bass and Tony Williams on drums — three of the four members of the Miles Davis Second Great Quintet's rhythm section, with Hubbard as the single horn\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFour Hancock originals including \"Cantaloupe Island,\"\u003c\/strong\u003e sampled by UK jazz-rap group Us3 for \"Cantaloop (Flip Fantasia)\" in 1993, and \"The Egg,\" a 14-minute free improvisation that closes the album on entirely different terms\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2023 Blue Note Classic Vinyl Series\u003c\/strong\u003e, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio, pressed at Optimal Media GmbH on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eWhen Herbie Hancock went into Van Gelder Studio on 17 June 1964, he brought three musicians from the Miles Davis rhythm section: Ron Carter on bass and Tony Williams on drums. The third Davis band member present was not Miles but Freddie Hubbard — and Hubbard, who played trumpet on virtually every other session of this period, played cornet on this one. The reason for the switch has not been fully documented, but the cornet's warmer, slightly brighter tone is audible across all four tracks. Alfred Lion produced; Rudy Van Gelder engineered.\u003c\/p\u003e\n\u003cp\u003eHancock had composed all four pieces over the preceding two years, building a set that moves from the controlled energy of \"One Finger Snap\" through the lush ballad \"Oliloqui Valley\" to \"Cantaloupe Island\" on Side B — a funky 16-bar groove built on a piano vamp that alternates between three minor chords — and finally to \"The Egg,\" which runs to 14 minutes and functions as a free improvisation built on a repeated ostinato figure. \"Cantaloupe Island\" was sampled by the British jazz-rap group Us3 for \"Cantaloop (Flip Fantasia)\" from \u003cem\u003eHand on the Torch\u003c\/em\u003e (Blue Note, 1993), which reached the Top 10 in the US and became the most widely heard iteration of Hancock's composition outside the jazz world. Hancock has said he preferred the original 1964 arrangement to his later funk-era versions. The album was his fourth for Blue Note; \u003cem\u003eMaiden Voyage\u003c\/em\u003e would follow the next year. This 2023 pressing is mastered from the original analogue tapes by Kevin Gray at Cohearent Audio and pressed on 180g vinyl at Optimal Media GmbH.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43288414388283,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/910fYQ52a-L._AC_SL1500.jpg?v=1773746589"},{"product_id":"joe-henderson-our-thing-2026-blue-note-classic-vinyl-series","title":"Joe Henderson - Our Thing (2026 Blue Note Classic Vinyl Series)","description":"\u003cp\u003e\u003cstrong\u003eJoe Henderson - \u003cem\u003eOur Thing\u003c\/em\u003e | Vinyl LP - 2026 Blue Note Classic Vinyl Series (180g, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eJoe Henderson's second Blue Note album\u003c\/strong\u003e, recorded on 9 September 1963 at Van Gelder Studio, Englewood Cliffs — three months after his debut \u003cem\u003ePage One\u003c\/em\u003e with the same frontline partnership of Henderson and Kenny Dorham\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFive originals written collectively by Henderson and Dorham\u003c\/strong\u003e: Henderson contributed \"Teeter Totter\" and the title track; Dorham wrote \"Pedro's Time,\" \"Back Road\" and the closing \"Escapade\"\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2026 Blue Note Classic Vinyl Series\u003c\/strong\u003e, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio, pressed at Optimal Media GmbH on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eJoe Henderson recorded his debut \u003cem\u003ePage One\u003c\/em\u003e for Blue Note in June 1963, then returned to Van Gelder Studio in Englewood Cliffs on 9 September 1963 for this follow-up. The core relationship was the same — Henderson's tenor alongside Kenny Dorham's trumpet, Pete La Roca on drums — but Andrew Hill came in on piano where McCoy Tyner had played on \u003cem\u003ePage One\u003c\/em\u003e, and Eddie Khan on bass replaced Butch Warren. The substitution of Hill for Tyner is the record's defining character shift. Tyner's playing provides a rhythmic anchor; Hill's is more elliptical, his voicings deliberately off-centre in a way that keeps the harmonic ground unstable. \u003c\/p\u003e\n\u003cp\u003eThe five tracks were composed entirely by the two frontline players. Henderson wrote the opening \"Teeter Totter\" and the title track; Dorham wrote the remaining three. \"Pedro's Time\" has a Latin feel and a 10-minute runtime that gives both players extended solo space. \"Escapade\" closes the album as a lyrical Dorham ballad, measured and cinematic. Dorham, whose career as a bandleader had produced \u003cem\u003eUna Mas\u003c\/em\u003e for Blue Note the same year, is given unusual room here to demonstrate his composing voice alongside Henderson's. \u003cmeta charset=\"utf-8\"\u003eThe Henderson-Dorham partnership produced some of the most consistent hard bop-to-post-bop music of the early 1960s; Dorham also contributed to \u003cem\u003eSong For My Father\u003c\/em\u003e (Horace Silver) and \u003cem\u003eIdle Moments\u003c\/em\u003e (Grant Green) in the same year. When the album was released in 1964 it received a measured reception, but it has since become an essential post-bop recording of the era. This 2026 pressing is the latest in the Classic Vinyl Series, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio and pressed on 180g vinyl at Optimal Media GmbH.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43290619445307,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/JoeHenderson-OurThing_1LP-Cvr_RGB.webp?v=1773872304"},{"product_id":"surprise-chef-daylight-savings-2020-mr-bongo-vinyl-lp","title":"Surprise Chef - Daylight Savings (2020 Mr Bongo Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eSurprise Chef - \u003cem\u003eDaylight Savings\u003c\/em\u003e | Vinyl LP - 2020 Mr Bongo (MRBLP208, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eSurprise Chef's second album\u003c\/strong\u003e, recorded over a spring weekend in 2019\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eTen original compositions written collectively by the whole band\u003c\/strong\u003e, drawing on 1970s cinematic soul and jazz-funk production in the tradition of David Axelrod, Alain Goraguer and Melbourne contemporaries Karate Boogaloo and The Putbacks\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eAn Australian band on an international label \u003c\/strong\u003e— one of the few Melbourne jazz-funk groups to have broken through to a significant international audience, with this album appearing on numerous year-end lists for 2020\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eSurprise Chef are a Melbourne band operating from their own studio in Coburg's inner north, which they call the College of Knowledge. Their debut \u003cem\u003eAll News Is Good News\u003c\/em\u003e (2019) was originally released on their own College of Knowledge Records before Mr Bongo picked it up for international distribution. \u003cem\u003eDaylight Savings\u003c\/em\u003e followed in October 2020, also on Mr Bongo. The record was made over a single spring weekend in 2019, the same weekend Victoria's daylight saving period began. Henry Jenkins engineered using analogue recording techniques in the band's own space, then mixed at Plug Seven Studios in Collingwood.\u003c\/p\u003e\n\u003cp\u003eThe influences they name are specific: David Axelrod's orchestral soul productions, the French cinematic composer Alain Goraguer, El Michels Affair's approach to vintage funk reconstruction, and the Melbourne bands Karate Boogaloo and The Putbacks. What the record sounds like in practice is instrumental jazz-funk with a strong emphasis on rhythm section interplay — Jethro Curtin on keyboards and vibraphone, Lachlan Stuckey on guitar, Carl Lindeberg on bass, Andrew Congues on drums, and a three-person percussion section in Hudson Whitlock, Lucky Pereira and Joe Orton, who also plays slide guitar. The ten tracks move between groove-focused pieces and more melodically developed cues, with the vibraphone giving several tracks a particularly warm, vintage quality. This is a Melbourne band building an international reputation from a DIY setup in a house in Coburg — and the record sounds considerably larger than that suggests.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43293757112379,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a2315860153_10.jpg?v=1774010610"},{"product_id":"joe-henderson-tetragon-2026-milestone-jazz-dispensary-vinyl-lp","title":"Joe Henderson - Tetragon (2026 Milestone\/Jazz Dispensary Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eJoe Henderson Quartets - \u003cem\u003eTetragon\u003c\/em\u003e | Vinyl LP - 2026 Jazz Dispensary Top Shelf Series 180g (CR00968, Kevin Gray\/Cohearent Audio)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOrrin Keepnews signed Joe Henderson to Milestone after Henderson's Blue Note years ended, and \u003cem\u003eTetragon\u003c\/em\u003e was the second album from that relationship. The unusual structure — two separate but sonically related quartets recorded six months apart at the same studio — was Keepnews' idea. He asked Henderson in the liner notes whether the different rhythm sections had changed his playing. Henderson's answer was that Friedman had a more romantic approach, Barron something harder-driving, but that the presence of Ron Carter throughout held both sessions together.\u003c\/p\u003e\n\u003cp\u003eRon Carter plays on all seven tracks and contributed two compositions. \"R.J.\" was named for his son; \"First Trip\" is similarly personal. Henderson wrote \"The Bead Game\" (eight minutes, free, no apparent melody) and the angular title track. \"Invitation\" — by Bronisław Kaper, the Polish-born film composer whose jazz standards have been recorded repeatedly — opens Side A. \"I've Got You Under My Skin\" closes the record. \"Waltz for Zweetie\" (B2) has a credit history: the original pressing attributed it to Walter Bishop Jr. and misspelled the title as \"Sweetie.\" Keepnews later corrected both — the composer is Bishop's father, Walter Bishop Sr., and the dedication is to someone called Zweetie, not Sweetie.\u003c\/p\u003e\n\u003cp\u003eThis is Henderson's first studio recording with Jack DeJohnette — they had performed together but never taped. DeJohnette was twenty-two. The original Milestone MSP 9017 has been out of print on vinyl for more than fifty years. Kevin Gray mastered this edition \u003cmeta charset=\"utf-8\"\u003efrom the original master tapes for the Jazz Dispensary and Craft Recordings' Top Shelf Series; pressing is 180g.\u003c\/p\u003e","brand":"Milestone","offers":[{"title":"Default Title","offer_id":43414519316539,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a1846080134_10.jpg?v=1776067405"},{"product_id":"wayne-shorter-speak-no-evil-2024-blue-note-85th-anniversary-limited-edition-blue-vinyl-lp","title":"Wayne Shorter - Speak No Evil (2024 Blue Note 85th Anniversary Limited Edition Blue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWayne Shorter - \u003cem\u003eSpeak No Evil\u003c\/em\u003e | Vinyl LP - 2024 Blue Note 85th Anniversary Limited Edition Blue Vinyl (5879067, 3000 copies worldwide)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWayne Shorter recorded \u003cem\u003eSpeak No Evil\u003c\/em\u003e on Christmas Eve, 1964. He had joined the Miles Davis Quintet four months earlier. Alfred Lion produced. For the session, Shorter brought Freddie Hubbard on trumpet — Hubbard had been in Art Blakey's Jazz Messengers with Shorter, and the easy fluency between them is all over the record — alongside Herbie Hancock and Ron Carter, both from Miles's band, and Elvin Jones, who had been inside the Coltrane quartet since 1960. Rudy Van Gelder engineered.\u003c\/p\u003e\n\u003cp\u003eAll six tracks are Shorter originals. \"Witch Hunt\" opens Side A with a blues-inflected theme stated in trumpet and saxophone unison. \"Fee-Fi-Fo-Fum\" moves harder; \"Dance Cadaverous\" is the most oblique piece on the side. \"Speak No Evil,\" which opens Side B, carries the melody in the same unison horn voicing as the opener, Horn and piano split around Shorter's solo. \"Infant Eyes\" is a ballad for Shorter's daughter Miyako — essentially a long saxophone statement with a brief Hancock coda, nine bars in ABA form, the tonal centre shifting through several modes. \"Wild Flower\" closes the record open and fast, Hubbard and Hancock forward. The album was recorded in 1964 and released June 1966.\u003c\/p\u003e\n\u003cp\u003eThis is the 2024 Blue Note 85th Anniversary limited edition on blue vinyl, limited to 3000 copies worldwide. Mastered by Kevin Gray at Cohearent Audio. Pressed in Germany. Comes with obi.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43414655238203,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/61FA1lPP1kS._UF894_1000_QL80.jpg?v=1776075542"},{"product_id":"lee-morgan-search-for-the-new-land-2024-blue-note-classic-vinyl-series-vinyl-lp","title":"Lee Morgan - Search for the New Land (2024 Blue Note Classic Vinyl Series Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eLee Morgan - \u003cem\u003eSearch for the New Land\u003c\/em\u003e | Vinyl LP - 2024 Blue Note Classic Vinyl Series 180g (5831994, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLee Morgan recorded \u003cem\u003eThe Sidewinder\u003c\/em\u003e in December 1963 and \u003cem\u003eSearch for the New Land\u003c\/em\u003e two months later, in February 1964, before either was released. When \u003cem\u003eThe Sidewinder\u003c\/em\u003e came out in July 1964 and went to No. 25 on the Billboard 200, Alfred Lion pulled the newer session from the release schedule and pushed Morgan back toward the commercial groove. \u003cem\u003eSearch for the New Land\u003c\/em\u003e sat in the vault until August 1966. By then the Blue Note moment it belonged to had largely passed.\u003c\/p\u003e\n\u003cp\u003eMorgan was twenty-five at the time of the session and assembled the best musicians available: Wayne Shorter on tenor, Herbie Hancock on piano, Grant Green on guitar, Reggie Workman on bass and Billy Higgins on drums. Alfred Lion produced; Rudy Van Gelder engineered. Nat Hentoff wrote the liner notes; Francis Wolff photographed the cover. All five tracks are Morgan originals, published by Nom Music Inc.\u003c\/p\u003e\n\u003cp\u003eThe sixteen-minute title track that opens Side A does not build toward a climax so much as unfold outward from a central modal vamp — the theme appears, recedes, and the soloists take the space between. Shorter and Hancock are in particular form. Side B compresses the range: \"Mr. Kenyatta\" and \"Morgan the Pirate\" push hard, \"Melancholee\" slows things to a ballad. Morgan was shot and killed at Slug's Saloon in New York on February 19, 1972. This Classic Vinyl Series edition was mastered by Kevin Gray at Cohearent Audio from the original analog master tapes and pressed on 180g vinyl at Optimal Media GmbH.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43418931068987,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/81cYaLNL76L._UF894_1000_QL80.jpg?v=1776172695"},{"product_id":"andrew-hill-point-of-departure-2022-blue-note-classic-vinyl-series-vinyl-lp","title":"Andrew Hill - Point of Departure (2022 Blue Note Classic Vinyl Series Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eAndrew Hill - \u003cem\u003ePoint of Departure\u003c\/em\u003e | Vinyl LP - 2022 Blue Note Classic Vinyl Series 180g (4535330, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlfred Lion first encountered Andrew Hill through Kenny Dorham, who had brought Hill along to a Joe Henderson Blue Note date in 1963. Lion was struck by the volume and originality of Hill's own compositions — he signed him on the spot and recorded four albums in five months. Hill's fourth for Blue Note was \u003cem\u003ePoint of Departure\u003c\/em\u003e, a sextet date recorded March 21, 1964 at Van Gelder Studio. Alfred Lion produced; Rudy Van Gelder engineered; Reid Miles designed the cover; Francis Wolff photographed it; Nat Hentoff wrote the liner notes.\u003c\/p\u003e\n\u003cp\u003eThe ensemble covered an unusual range of musical personality. Kenny Dorham had been a hard bop trumpet fixture since the bebop era. Joe Henderson, whose \u003cem\u003ePage One\u003c\/em\u003e Blue Note debut had been recorded the previous year, was already one of the most sought-after tenors of the period. Eric Dolphy played alto saxophone, bass clarinet and flute throughout — his approach the most openly free of any of the three horn players. Richard Davis on bass and Tony Williams on drums provided a rhythm section that could hold together harmonically complex material without conventional chord structures. Hill told Hentoff: \"Because of Tony Williams being on the date, I was certainly freer rhythmically. And the way I set up the tunes, it was more possible for the jazz musicians to get away from chord patterns and work around tonal centers.\"\u003c\/p\u003e\n\u003cp\u003eAll five tracks are Hill originals. Dolphy died on June 29, 1964, three months after the session. The album was held and not released until April 1965. Kevin Gray mastered this Classic Vinyl edition at Cohearent Audio from the original analog master tapes; Optimal pressed it on 180g vinyl in Germany.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43437597884475,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602445353309.jpg?v=1776729848"},{"product_id":"jackie-mclean-let-freedom-ring-2024-blue-note-tone-poet-series-gatefold-lp","title":"Jackie McLean - Let Freedom Ring (2024 Blue Note Tone Poet Series Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eJackie McLean - \u003cem\u003eLet Freedom Ring\u003c\/em\u003e | Vinyl LP - 2024 Blue Note Tone Poet Series 180g Gatefold (602448644343, Kevin Gray\/RTI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJackie McLean had been recording for Blue Note since 1959 and playing hard bop since the early 1950s. By March 1962, when he walked into Van Gelder Studio with Walter Davis Jr. on piano, Herbie Lewis on bass and Billy Higgins on drums, he had been listening to Ornette Coleman and John Coltrane for two years and wanted to bring what he heard into his own language without abandoning it. The result was four pieces that moved between hard bop structure and something more open, the boundaries crossed mid-phrase rather than mid-track.\u003c\/p\u003e\n\u003cp\u003e\"Melody for Melonae\" opens with McLean's alto at the top of its register, holding a long note that bends upward into a shriek. It was the first time he had used this technique on record, and it changed the sound of the rest of his Blue Note career. The composition is slow, the rhythm section floating rather than driving, the blues feeling held in the harmony while the solo moves above and around it. \"I'll Keep Loving You\" is Bud Powell's ballad, the one standard on the album, McLean's reading restrained and interior.\u003c\/p\u003e\n\u003cp\u003eSide B opens with \"Rene,\" a twelve-bar blues with conventional changes that McLean plays as if the form were a suggestion. \"Omega\" closes the album as the most abstract piece, more modal than blues, Higgins and Lewis pushing the tempo while Davis's piano stabs percussively. Higgins had been the original drummer in Ornette Coleman's quartet and had recorded \u003cem\u003eThe Shape of Jazz to Come\u003c\/em\u003e in 1959. What he brought from that experience into this rhythm section is audible throughout: a looseness with the beat that gives McLean room to stretch without the floor disappearing.\u003c\/p\u003e\n\u003cp\u003eThis is the 2024 Blue Note Tone Poet Series pressing, mastered by Kevin Gray at Cohearent Audio from the original analog tapes, pressed on 180g vinyl at RTI.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43601627054139,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/71WOHjEA7rL._UF1000_1000_QL80.jpg?v=1781130801"}],"url":"https:\/\/lushliferecords.com.au\/collections\/back-in-stock.oembed","provider":"Lush Life Records","version":"1.0","type":"link"}