{"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":"grant-green-idle-moments-blue-note-classic-vinyl-series-lp","title":"Grant Green - Idle Moments (Blue Note Classic Vinyl Series LP)","description":"\u003cp\u003e\u003cstrong\u003eGrant Green - \u003cem\u003eIdle Moments\u003c\/em\u003e | Vinyl LP - Blue Note Classic Vinyl Series Reissue (BST 84154, all-analogue, mastered by Kevin Gray)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGrant Green was 28 when he recorded \u003cem\u003eIdle Moments\u003c\/em\u003e across two days in November 1963. He'd been a Blue Note artist for two years, brought to the label by Lou Donaldson after teaching himself guitar growing up in St. Louis, and by this point he'd recorded more sessions for Alfred Lion than almost anyone else on the roster. This one is different from the soul-jazz and organ-trio dates Green is best known for. The sextet has Joe Henderson on tenor saxophone and Bobby Hutcherson, who was 22, on vibraphone, and the combination of Green's single-note lines with Hutcherson's crystalline chords and Henderson's warm, slightly oblique phrasing gives the music a quality closer to chamber jazz than hard bop. Duke Pearson plays piano, Bob Cranshaw plays bass and Al Harewood plays drums.\u003c\/p\u003e\n\u003cp\u003ePearson wrote the title track and \"Nomad\" and wrote the liner notes. The title track was supposed to be shorter. Because the melody repeats, the musicians confused whether a chorus lasted 16 or 32 bars, and Green ended up soloing for 64 bars instead of 32. Henderson, Hutcherson and Pearson followed, and the result was a nearly 15-minute piece that unfolds with a patience the Blue Note catalogue rarely allowed. John Lewis's \"Django,\" the Modern Jazz Quartet standard, takes up most of side B's opening and gets a bluesy reading that pulls the tune away from its usual classical poise. Green's own \"Jean De Fleur\" is the most conventional hard bop piece on the record and the only track where the pace picks up.\u003c\/p\u003e\n\u003cp\u003eThis is the Blue Note Classic Vinyl Series reissue (BST 84154 \/ 3579910), mastered by Kevin Gray at Cohearent Audio from the original master tapes and pressed at Optimal Media on 180g vinyl. \u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461521575995,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602435799100.jpg?v=1757901058"},{"product_id":"dave-brubeck-quartet-time-out-180g-vinyl-lp-reissue","title":"Dave Brubeck Quartet - Time Out (180g Vinyl LP Reissue)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eDave Brubeck Quartet - \u003cem\u003eTime Out\u003c\/em\u003e | Vinyl LP - 2024 Columbia\/Legacy Reissue (CS 8192, 180g)\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eDave Brubeck's quartet recorded \u003cem\u003eTime Out\u003c\/em\u003e across three sessions in the summer of 1959 at Columbia's 30th Street Studio in New York, the same converted church where Miles Davis recorded \u003cem\u003eKind of Blue\u003c\/em\u003e earlier that year. Columbia's executives didn't want to release it. An album built on odd time signatures, they argued, wouldn't sell. They were wrong by a factor that nobody predicted. \"Take Five,\" composed by Paul Desmond rather than Brubeck, used a 5\/4 meter that should have been too unusual for popular success but became one of the most played jazz pieces in history, a staple of radio, film soundtracks and waiting rooms for six decades. Joe Morello's brushwork on the track is what makes it work: his ride pattern holds the 5\/4 feel steady enough that the listener doesn't count, just moves.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\"Blue Rondo à la Turk\" opens the album with a 9\/8 pattern Brubeck heard in Turkish street music, subdivided into groups of 2+2+2+3 rather than the usual 3+3+3. \"Strange Meadow Lark\" is the ballad, Brubeck playing solo piano before Desmond enters. \"Three To Get Ready\" shifts between 3\/4 and 4\/4 every two bars. \"Everybody's Jumpin'\" and \"Pick Up Sticks\" are the most straightforwardly swinging pieces, and Gene Wright's bass anchors all of it with the steadiness the time signatures demand. Desmond's alto saxophone tone, dry and light and utterly distinctive, carries the melodies across every track.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThis is the 2024 Columbia\/Legacy reissue (CS 8192 \/ 19802803211), pressed on 180g vinyl.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":42553515245627,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/198028032117.jpg?v=1761305925"},{"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":105.0,"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":"bobby-hutcherson-san-francisco-2023-blue-note-classic-vinyl-180g-lp","title":"Bobby Hutcherson - San Francisco (Blue Note Classic Vinyl 180g LP)","description":"\u003cp\u003eA landmark recording in Bobby Hutcherson's distinguished Blue Note discography, \u003cem\u003eSan Francisco\u003c\/em\u003e captures the vibraphonist at a transitional moment in jazz history, bridging adventurous post-bop with the emerging jazz-funk aesthetic of the early 1970s. Recorded on 15 July 1970 at UA Studios in Los Angeles with tenor saxophonist Harold Land, pianist Joe Sample (of The Crusaders), bassist John Williams, and drummer Mickey Roker, this album demonstrates how sophisticated musicians navigated the stylistic shifts toward electric instruments and funk grooves without compromising harmonic depth or improvisational integrity. Producer Duke Pearson's guidance ensures the six compositions balance accessibility with artistic substance, from the opening \"Goin' Down South\" through the evocative closer \"A Night In Barcelona\".\u003c\/p\u003e\n\u003cp\u003eJoe Sample's presence is crucial, his electric piano work adding contemporary texture while his acoustic piano maintains connection to hard bop tradition. Harold Land's tenor saxophone, warm and melodically inventive, provides perfect frontline partnership with Hutcherson's shimmering vibraphone, marimba, and percussion. John Williams' use of both acoustic and electric bass reflects the era's instrumental evolution, while Mickey Roker's drumming moves effortlessly between swing and funk as each composition requires. Land's rare use of oboe on \"Procession\" adds distinctive colour rarely heard in jazz-funk contexts.\u003c\/p\u003e\n\u003cp\u003eThis 20 January 2023 reissue represents state-of-the-art contemporary vinyl production. Kevin Gray, working at Cohearent Audio, has remastered and cut lacquers from the original tapes, while Optimal Media in Germany has pressed this on 180-gram vinyl. This combination of Gray's audiophile expertise and Optimal's pressing quality (consistently ranked among the world's finest plants) ensures this is likely the best-sounding edition of \u003cem\u003eSan Francisco\u003c\/em\u003e ever available, superior to the original 1970 pressing in clarity and dynamics while maintaining tonal accuracy. Part of Blue Note's Classic Vinyl Series, this reissue offers collectors and audiophiles a premium presentation of an essential jazz-funk recording.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43083371610171,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/BobbyHutcherson-SanFrancisco_LP-Cvr_1024x_c8074a54-0443-40c2-b052-aec15a70cda5.jpg?v=1766111733"},{"product_id":"sven-wunder-eastern-flowers-2020-swedish-piano-piano-vinyl-lp","title":"Sven Wunder - Eastern Flowers (2020 Swedish Piano Piano Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eSven Wunder - \u003cem\u003eEastern Flowers\u003c\/em\u003e (Doğu Çiçekleri) | Vinyl LP - 2020 Swedish Piano Piano Records Repress (PP1001)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eSven Wunder's debut album\u003c\/strong\u003e, originally released in 2019 in Stockholm as \u003cem\u003eDoğu Çiçekleri\u003c\/em\u003e: thirteen instrumental pieces drawing on Anatolian rock, Levantine folk music and European jazz-funk, built around the Saz, organs, synthesizers and electric bass\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eThe record that established Piano Piano as a label\u003c\/strong\u003e, selling out on word of mouth through a single Stockholm record shop before international represses reached wider distribution through Mr Bongo\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\"Lotus\" was sampled by Czarface\u003c\/strong\u003e (Wu-Tang Clan's Inspectah Deck with 7L \u0026amp; Esoteric) on \"The Czarlaac Pit\" from their 2022 album \u003cem\u003eCzarmageddon\u003c\/em\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eJoel Danell is a Stockholm-based composer and double-bass player who grew up around jazz, spent his teens listening to Anatolian and Eastern European music, and built a career writing for television and film under his own name. In 2018, between soundtrack commissions, he sat down and recorded what would become \u003cem\u003eDoğu Çiçekleri\u003c\/em\u003e, a Turkish word meaning \"Eastern Flowers,\" under the alias Sven Wunder. The record was pressed in a small run and placed in a single Stockholm record shop, Record Mania, with no promotional campaign. It sold through on word of mouth. Danell and partner John Henriksson founded Piano Piano Records around it. The international repress renamed it \u003cem\u003eEastern Flowers\u003c\/em\u003e and gave it the wider reach it had already earned, distributed through Mr Bongo in the UK and Light in the Attic in the United States.\u003c\/p\u003e\n\u003cp\u003eThe album takes its subject from the flora of the Levantine coast and the wider eastern Mediterranean, thirteen tracks named after flowers — tulip, magnolia, lotus, hibiscus, chamomile, the Gilboa Iris of the mountains straddling Israel and Jordan — and built from instruments that place the music geographically: the Saz, the long-necked Turkish lute central to Anatolian folk and rock traditions, moving over groovy organs, far-out synthesizers and a locked-down electric bass. The frame of reference is library music and 1960s and 1970s jazz-funk, but the Saz pulls the whole thing eastward, and Danell's instinct for groove keeps it from becoming pastiche. The music sits in a similar territory to Ananda Shankar's East-West fusions and the loopier end of Madlib's globetrotting library investigations. \"Lotus\" was sampled by Czarface — the group formed by underground hip-hop duo 7L \u0026amp; Esoteric and Wu-Tang Clan's Inspectah Deck — on \"The Czarlaac Pit\" from their 2022 album \u003cem\u003eCzarmageddon\u003c\/em\u003e, a track that also featured Tom Hardy.\u003c\/p\u003e\n\u003cp\u003eThis is the second edition repress on PP1001, released in Sweden on 19 June 2020, one week after the international release of \u003cem\u003eWabi Sabi\u003c\/em\u003e.\u003c\/p\u003e","brand":"Piano Piano","offers":[{"title":"Default Title","offer_id":43263142559803,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a3811029397_10.jpg?v=1772861647"},{"product_id":"lonnie-smith-afro-desia-2024-mr-bongo-groove-merchant-reissue-lp-gatefold","title":"Lonnie Smith - Afro-Desia (2024 Mr Bongo Groove Merchant Reissue LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eLonnie Smith - \u003cem\u003eAfro-Desia\u003c\/em\u003e | Vinyl LP - 2024 Mr Bongo Gatefold Reissue (MRBLP297)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eLonnie Smith's 1975 Hammond B3 jazz-funk landmark\u003c\/strong\u003e for Groove Merchant, produced by label owner Sonny Lester, with an uncredited George Benson on guitar, Joe Lovano on saxophone and Ron Carter on bass\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFive tracks\u003c\/strong\u003e ranging from the 15-minute free-wheeling \"Spirits Free\" to the Latin-inflected \"Straight to the Point,\" covering Smith's full range from cosmic organ exploration to locked-in soul-jazz groove\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eAmong the earliest recordings of Joe Lovano\u003c\/strong\u003e, who went on to become one of the most important tenor saxophonists of the following four decades\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eGatefold reissue\u003c\/strong\u003e pressed at Optimal Media GmbH; the second release in Mr Bongo's Groove Merchant catalogue series\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eLonnie Smith had been a central figure in soul-jazz and hard bop since the late 1960s, recording for Blue Note alongside Lee Morgan, George Benson and others, and building a reputation as one of the most inventive Hammond B3 players in jazz. By 1975, recording for Sonny Lester's Groove Merchant label, he assembled a lineup of Ron Carter on bass, Ben Riley on drums, a young Joe Lovano on tenor and soprano saxophone, and a mysterious guitarist who does not appear on the sleeve under his own name. \"Compliments of a Friend\" is widely understood to be George Benson, who had worked closely with Smith in the 1960s and could not be credited for contractual reasons. His guitar is present on the title track, \"Favors\" and \"The Awakening.\"\u003c\/p\u003e\n\u003cp\u003eThe five tracks span the full range of Smith's idiom. \"Afrodesia\" opens the record with a nine-minute piece that moves from electric funk to open improvisation, Hopkins and Lovano trading on trumpet and saxophone over Armstrong's bass and a layered rhythm section. \"Spirits Free\" runs to fifteen minutes, rising and falling across free sections, spacey organ passages and funky grooves. Side B brings a sharper, more direct feel: \"Straight to the Point\" kicks off with a carnival pulse, and \"Favors\" — a reworking of Coltrane's \"Impressions,\" though uncredited on the original sleeve — extends into a ten-minute trio improvisation with Benson and Lovano. \"The Awakening\" closes the record in the same territory. Smith had not yet adopted the \"Dr.\" prefix in 1975; that came later in his career. \u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43264173408315,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a0099247125_10.jpg?v=1772928691"},{"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":"sven-wunder-natura-morta-2021-piano-piano-vinyl-lp","title":"Sven Wunder - Natura Morta (2021 Piano Piano Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eSven Wunder - \u003cem\u003eNatura Morta\u003c\/em\u003e | Vinyl LP - 2021 Piano Piano Repress (PP1003)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSven Wunder followed \u003cem\u003eEastern Flowers\u003c\/em\u003e (2019) and \u003cem\u003eWabi Sabi\u003c\/em\u003e (2020) with a third album that moved its conceptual frame from Turkish-Anatolian folk and Japanese aesthetics to Italian visual art. \u003cem\u003eNatura Morta\u003c\/em\u003e — \"dead nature\" in Italian, the traditional term for still life painting — takes the genre's history as its structural and thematic organiser. The album opens with \"En Plein Air,\" which refers to the practice of painting in natural outdoor light, and moves through \"Impasto\" (the technique of applying paint in thick, textured strokes), \"Prussian Blue\" (the synthetic pigment that replaced natural lapis lazuli), \"Alla Prima\" (wet-on-wet painting, completed in a single session), \"Umber\" (the earth pigment from Umbria), the Baroque reference of \"Barocco, Ma Non Troppo,\" and \"Pentimento\" — the word for traces of earlier paint layers visible beneath the surface of a finished work. \"Memento Mori\" is both a genre of still life painting and a Latin phrase meaning \"remember that you will die.\"\u003c\/p\u003e\n\u003cp\u003eThe musical approach is the synthesis of Wunder's previous two albums: the jazz-funk rhythmic language of \u003cem\u003eEastern Flowers\u003c\/em\u003e combined with the broader orchestral and atmospheric range of \u003cem\u003eWabi Sabi\u003c\/em\u003e, now with a 15-piece string section and closer ties to the Italian library tradition of the 1970s. \u003c\/p\u003e","brand":"Piano Piano","offers":[{"title":"Default Title","offer_id":43296165363771,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a2162085194_10.jpg?v=1774134525"},{"product_id":"ryo-kawasaki-juice-2022-mr-bongo-first-european-reissue-lp-mrblp252-replica-obi","title":"Ryo Kawasaki - Juice (2022 Mr Bongo Reissue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eRyo Kawasaki - \u003cem\u003eJuice\u003c\/em\u003e | Vinyl LP - 2022 Mr Bongo First European Reissue (MRBLP252, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eRyo Kawasaki's 1976 jazz-funk fusion debut for RCA\u003c\/strong\u003e, recorded at RCA Studios in New York on 5–7 May 1976; Kawasaki's first album on an American major label, featuring Tom Coster (Santana) on keyboards, Sam Morrison (Miles Davis) on tenor saxophone and flute, Hugh McCracken on rhythm guitar, Stu Woods on bass and Jimmie Young on drums\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\"Bamboo Child\"\u003c\/strong\u003e (B3) has been sampled by Diamond D, Puff Daddy and Kool G Rap; the album has become a sought-after crate-digging record in the jazz-funk and hip-hop communities on both sides of the Atlantic\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2022 Mr Bongo reissue \u003c\/strong\u003eis the first European pressing of the album, previously available only as a Japanese RCA original and through import copies. Replica sleeve, obi and labels\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRyo Kawasaki moved from Tokyo to New York in 1973 and spent the next few years working with Gil Evans, Elvin Jones and Chico Hamilton before signing to RCA — one of the first Japanese artists to sign with an American major, following Sadao Watanabe and Terumasa Hino. \u003cem\u003eJuice\u003c\/em\u003e was recorded at RCA Studios over three days in May 1976, produced by Mike Lipskin and engineered by Bob Simpson. Kawasaki wrote six of the seven tracks; the one exception is \"The Breeze and I\" (A3), the Ernesto Lecuona standard best known from his suite \"Andalucía,\" given an English lyric by Al Stillman and here performed as an instrumental. For the session, Kawasaki recruited Tom Coster from Santana on keyboards, Sam Morrison from the Miles Davis band on tenor saxophone, soprano saxophone and alto flute, Hugh McCracken — a ubiquitous session guitarist of the period — on rhythm guitar, and Stu Woods and Jimmie Young as the rhythm section.\u003c\/p\u003e\n\u003cp\u003eThe record moves between jazz-funk grooves, fusion shred and the emerging electric jazz of the mid-1970s New York studio scene. \"Bamboo Child\" (B3), a slower spiritual funk piece built on a deep repeating groove, became the album's most lasting track in the crate-digging and hip-hop communities — sampled by Diamond D, Puff Daddy and Kool G Rap. The Bandcamp Daily placed \"El Toro\" in the tradition of the Loft party circuit and described it as the kind of track that would have cleared the floor at David Mancuso's New York Loft. Original copies of the RCA Japan pressing have remained difficult and expensive to find outside Japan. This 2022 Mr Bongo reissue is the first European pressing, with replica sleeve, obi and labels, pressed at Optimal Media GmbH and licensed from Sony Music Entertainment.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43296185548859,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a2631642814_10.jpg?v=1774135223"},{"product_id":"ze-ibarra-afim-2025-mr-bongo-vinyl-lp","title":"Zé Ibarra - AFIM (2025 Mr Bongo Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eZé Ibarra - \u003cem\u003eAFIM\u003c\/em\u003e | Vinyl LP - 2025 Mr Bongo Limited Edition Transparent (\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eMRBLP324\u003c\/span\u003e)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eZé Ibarra is best known outside Brazil as a member of Bala Desejo, the Latin Grammy Award-winning four-piece that sits at the centre of contemporary Brazilian popular music. He also plays in Dônica, has toured with Milton Nascimento as guitarist and vocalist, and has performed solo shows in Japan, Portugal and the US. \u003cem\u003eAFIM\u003c\/em\u003e is his second solo album, co-produced with Lucas Nunes — fellow Bala Desejo and Dônica member — and co-released internationally on Mr Bongo and in Brazil on Coala Records.\u003c\/p\u003e\n\u003cp\u003eThe core band across the eight tracks consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar. Guest contributors include Jonas Sá on keyboards and synthesisers, Frederico Heliodoro on guitar and bass across several tracks, and Lucas Demoro on piano, guitar and synthesiser. The Copacabana Horns — Diogo Gomes on trumpet, Marlon Sette on trombone, Jorge Continentino on saxophone and flute — appear on the opening track \"Infinito em nós.\" String arrangements on \"Essa Confusão\" are by Jaques Morelenbaum, the renowned Brazilian cellist and arranger who has worked with Caetano Veloso and Ryuichi Sakamoto, among many others. \"Segredo\" is a composition by Sophia Chablau; \"Essa Confusão\" is co-written by Dora Morelenbaum; the album also includes a cover of a Tom Veloso composition.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43328015171643,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a1939148540_10.jpg?v=1774667753"},{"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":"horace-parlan-quintet-speakin-my-piece-2023-blue-note-classic-vinyl-series-vinyl-lp","title":"Horace Parlan Quintet - Speakin' My Piece (Blue Note Classic Vinyl Series Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHorace Parlan Quintet - \u003cem\u003eSpeakin' My Piece\u003c\/em\u003e | Vinyl LP - 2023 Blue Note Classic Vinyl Series 180g (4859550, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHorace Parlan had spent 1959 inside Charles Mingus's band, appearing on \u003cem\u003eMingus Ah Um\u003c\/em\u003e and \u003cem\u003eBlues \u0026amp; Roots\u003c\/em\u003e. By 1960 he was leading his own Blue Note dates. \u003cem\u003eSpeakin' My Piece\u003c\/em\u003e, his third for the label, brought in Tommy and Stanley Turrentine on trumpet and tenor — brothers from Pittsburgh, where Parlan had grown up. Alfred Lion produced; Rudy Van Gelder engineered.\u003c\/p\u003e\n\u003cp\u003eSix tracks, each running between six and eight minutes. Three are Parlan originals: \"Wadin',\" \"Up in Cynthia's Room\" and the title track. \"Borderline\" is by Stanley Turrentine; \"Rastus\" by Tommy. \"Oh So Blue,\" the ballad that anchors Side B, is by Leon Mitchell. The register throughout stays unhurried and blues-grounded. Parlan had limited mobility in his right hand from childhood polio, and it shaped his playing into something economical and direct — heavy on left-hand figures, with the right used precisely where it lands hardest. Stanley Turrentine's large tone fills the space Parlan's piano opens up. Tommy's trumpet is harder-edged. George Tucker on bass and Al Harewood on drums hold everything steady.\u003c\/p\u003e\n\u003cp\u003eKevin Gray mastered this Classic Vinyl Series edition at Cohearent Audio from the original analog master tapes; Optimal pressed on 180g vinyl in Germany.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43429389697083,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602448595508.jpg?v=1776411727"},{"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":90.0,"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"},{"product_id":"knats-a-great-day-in-newcastle-2026-gearbox-records-vinyl-lp","title":"Knats - A Great Day in Newcastle (2026 Gearbox Records Vinyl LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eKnats - \u003cem\u003eA Great Day in Newcastle\u003c\/em\u003e | Vinyl LP - 2026 Gearbox Records (GB4012)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThree lifelong friends from Newcastle built this band. Stan Woodward plays bass, writes most of the music and handles the arrangements alongside King David Ike-Elechi on drums and Ferg Kilsby on trumpet. For their second album they brought in Geordie Greep, the black midi guitarist and solo artist, as producer and guitarist on every track. They also brought in Cooper Robson, a poet whose words carry seven of the nine tracks.\u003c\/p\u003e\n\u003cp\u003eThe album's compositional approach is unusual for a jazz-fusion record. Woodward builds his pieces around Olivier Messiaen's modes of limited transposition, creating harmonic colour that sounds suspended and unresolved without losing its rhythmic drive. The press materials describe this as \"Geordie Jazz Noir.\" That phrase does more work than most genre labels: the music is dark, narrative-driven, rooted in a specific place, and persistently funny despite the subject matter.\u003c\/p\u003e\n\u003cp\u003e\"7 Bridges to Burn\" opens with a piece written and arranged by pianist Josh Mitchell-Rayner, the one track not written by Woodward. \"Gainsborough Grove\" and \"Wor Jackie\" follow. \"Wor Jackie\" is the album's emotional anchor: the story of Jackie Milburn, Newcastle United's greatest goalscorer, who split his working days between the football pitch and the coal mine. George Johnson's tenor saxophone and Woodward's bass drive the rhythm while Robson's poetry navigates the story. \"Messy-In\" and \"Azure Blues\" (co-written with Kilsby) close Side A. Side B opens with \"Bigg Market Scrappa\" and \"Carpet Doctor\" before \"Never Gonna Be a Boxer,\" which the band described as a tongue-in-cheek story about a young man pressured into fighting culture who knows it is not in his nature. \"Farewell Johnny Miner\" closes the album. The song is by folk songwriter Ed Pickford, the intro song written by Woodward, and the track incorporates BBC interview material from Durham miners recorded in the 1960s. Woodward, Ike-Elechi and Kilsby sing alongside Robson.\u003c\/p\u003e","brand":"Gearbox Records","offers":[{"title":"Default Title","offer_id":43620294066235,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a3088128743_10.jpg?v=1781239626"},{"product_id":"miles-davis-a-tribute-to-jack-johnson-2020-columbia-legacy-vinyl-lp","title":"Miles Davis - A Tribute to Jack Johnson (Columbia\/Legacy Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eA Tribute to Jack Johnson\u003c\/em\u003e | Vinyl LP - 2020 Columbia\/Legacy European Reissue (19075950871, Record Industry)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMiles Davis made a promise during this period that he could put together \"the greatest rock band you ever heard.\" This album is the evidence.\u003c\/p\u003e\n\u003cp\u003e\"Right Off\" runs nearly 27 minutes. Henderson's bass opens alone with Cobham, a groove so locked that McLaughlin's entry over the top sounds like an explosion. The story, repeated by McLaughlin in multiple interviews, is that Davis was in the control room when McLaughlin started playing and ran into the studio to answer him. What follows is the most aggressive, rhythmically intense music Davis ever released. McLaughlin plays as if he is competing with the trumpet rather than accompanying it. Grossman's soprano saxophone enters later. At roughly 18 minutes, McLaughlin hammers a riff directly from Sly Stone's \"Sing a Simple Song,\" the citation deliberate and unashamed.\u003c\/p\u003e\n\u003cp\u003e\"Yesternow\" fills the entire second side and occupies different territory: slower, more spaced out, closer to the ambient drift of \u003cem\u003eIn a Silent Way\u003c\/em\u003e. At one point Macero splices in a passage from \"Shhh\/Peaceful,\" Davis literally sampling his own earlier work.\u003c\/p\u003e\n\u003cp\u003eThe credited personnel tells only part of the story. Macero built both tracks from multiple session tapes, incorporating material from musicians not listed on the LP: Sonny Sharrock, Chick Corea, Dave Holland, Jack DeJohnette and Bennie Maupin all contributed to the raw sessions.\u003c\/p\u003e\n\u003cp\u003eThis is the 2020 EU Columbia\/Legacy reissue, pressed at Record Industry in the Netherlands.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43653814353979,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/190759508718.jpg?v=1781390288"},{"product_id":"floating-points-pharoah-sanders-the-london-symphony-orchestra-promises-vinyl-lp","title":"Floating Points, Pharoah Sanders \u0026 The London Symphony Orchestra - Promises (Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eFloating Points, Pharoah Sanders \u0026amp; The London Symphony Orchestra - \u003cem\u003ePromises\u003c\/em\u003e | Gatefold Vinyl LP - 2025 Luaka Bop Reissue (680899909716)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003ePharoah Sanders's final album\u003c\/strong\u003e, recorded when the saxophonist was 80, a single 46-minute composition in nine movements built around a seven-note harpsichord motif that Floating Points (Sam Shepherd) wrote and Sanders answered with his tenor and his voice.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe London Symphony Orchestra\u003c\/strong\u003e, conducted by Sally Herbert and led by concertmaster Carmine Lauri, enters in the middle movements and draws the piece toward a crescendo that resolves back into silence.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNamed Album of the Year by Pitchfork, The Guardian, The Wire and Mojo\u003c\/strong\u003e, Grammy-nominated, and widely regarded as the most significant jazz recording of the decade. Sanders died on September 24, 2022.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eSam Shepherd met Pharoah Sanders in 2015, and the collaboration that became \u003cem\u003ePromises\u003c\/em\u003e took five years to finish. Shepherd, who records as Floating Points and holds a PhD in neuroscience from UCL, wrote a single continuous composition in nine movements built around a descending seven-note harpsichord motif. The motif opens the record and recurs throughout, sometimes on harpsichord, sometimes on celesta, Fender Rhodes or one of the seven synthesisers Shepherd plays across the album: an Oberheim 4 Voice, an OB-Xa, a Solina String Ensemble, a Therevox, an EMS Synthi, an ARP 2600 and a Buchla 200e. Against this shifting electronic and keyboard backdrop, Sanders plays tenor saxophone and sings. His tone is weathered and unhurried. He enters where the music asks him to, stays as long as the phrase needs, and leaves without announcing his departure. The London Symphony Orchestra, conducted by Sally Herbert, enters in the middle movements and expands the harmonic field until the climax of Movement 7, then withdraws as the piece settles back toward the simplicity of its opening.\u003c\/p\u003e\n\u003cp\u003eSanders recorded his parts at Sargent Recorders in Los Angeles. The LSO recorded at Air Lyndhurst Studios in London. \u003cmeta charset=\"utf-8\"\u003eSanders died on September 24, 2022 at the age of 81, eighteen months after the album's release.\u003c\/p\u003e\n\u003cp\u003eThis is the 2025 Luaka Bop reissue (680899909716). The original pressing came out on Luaka Bop in March 2021 with a die-cut outer sleeve. This 2025 reissue uses a gatefold sleeve but is otherwise the same pressing: single LP, Chris Bellman lacquer cut. \u003c\/p\u003e","brand":"Luaka Bop","offers":[{"title":"Default Title","offer_id":44161869152315,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a2975740667_10_88f54618-2f6e-45ca-81a8-0192668db66a.jpg?v=1788998989"},{"product_id":"dexter-gordon-go-blue-note-85-limited-edition-blue-vinyl-lp","title":"Dexter Gordon - Go! (Blue Note 85 Limited Edition Blue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eDexter Gordon - \u003cem\u003eGo!\u003c\/em\u003e | Vinyl LP - Blue Note 85 Limited Edition Reissue (BST 84112, blue vinyl)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDexter Gordon was among the first tenor saxophonists to play bebop. He'd worked in Lionel Hampton's band at 17, recorded with Dizzy Gillespie and Wardell Gray through the 1940s, and then spent most of the 1950s out of action. When he signed with Blue Note in 1961, the comeback run that followed produced eleven sessions in four years, and the pair recorded on a single Monday in August 1962, \u003cem\u003eGo!\u003c\/em\u003e and \u003cem\u003eA Swingin' Affair\u003c\/em\u003e, are the ones most often cited as his best. Sonny Clark plays piano. Clark had recorded \u003cem\u003eCool Struttin'\u003c\/em\u003e for Blue Note four years earlier and was a regular on the label's session roster, and his playing here has the same unhurried quality it had on that earlier album. Butch Warren plays bass and Billy Higgins plays drums, completing a rhythm section that sounds, as Ira Gitler wrote in the original liner notes, as if they were playing a nightclub gig rather than a studio session. The repertoire splits between Gordon's original \"Cheese Cake,\" a boogaloo-era piece that became a standard, two big band numbers (\"Second Balcony Jump\" from the Billy Eckstine orchestra and \"Three O'Clock In The Morning\") and three ballads and standards including Cole Porter's \"Love For Sale.\" Gordon was famous for reciting a song's lyrics to himself before playing, and on the ballad \"I Guess I'll Hang My Tears Out To Dry\" and \"Where Are You\" you can hear that approach in how his phrases follow the cadence of the words.\u003c\/p\u003e\n\u003cp\u003eThis is the Blue Note 85 limited edition reissue (BST 84112 \/ 6511733), pressed on blue vinyl at Optimal Media using Kevin Gray's mastering from the Classic Vinyl Series.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":44162334883899,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602435799070.jpg?v=1789004400"}],"url":"https:\/\/lushliferecords.com.au\/collections\/back-in-stock.oembed?page=2","provider":"Lush Life Records","version":"1.0","type":"link"}