{"title":"Blue Note","description":"\u003cp data-start=\"152\" data-end=\"640\"\u003eBlue Note Records stands at the heart of jazz history. Since 1939, the label has released timeless albums that shaped bebop, hard bop and beyond — with iconic cover art and impeccable sound that continue to inspire collectors worldwide. From Miles Davis and Thelonious Monk to modern voices like Robert Glasper, Blue Note vinyl is essential listening. Explore our curated selection of original pressings, reissues and contemporary classics that embody the unmistakable Blue Note legacy.\u003c\/p\u003e","products":[{"product_id":"dexter-gordon-go-blue-note-classic-vinyl-series","title":"Dexter Gordon - Go! 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Backed by an all-star trio of \u003cstrong data-start=\"331\" data-end=\"346\"\u003eSonny Clark\u003c\/strong\u003e (piano), \u003cstrong data-start=\"356\" data-end=\"372\"\u003eButch Warren\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"385\" data-end=\"402\"\u003eBilly Higgins\u003c\/strong\u003e (drums), Gordon stretches out with his trademark blend of big tone, lyrical phrasing, and bebop fire.\u003c\/p\u003e\n\u003cp data-start=\"508\" data-end=\"768\"\u003eFrom the breezy opener \u003cem data-start=\"531\" data-end=\"544\"\u003eCheese Cake\u003c\/em\u003e to tender ballads like \u003cem data-start=\"568\" data-end=\"607\"\u003eI Guess I’ll Hang My Tears Out to Dry\u003c\/em\u003e, every track captures Gordon’s effortless command and charm. It’s a record that’s both inviting for new listeners and deeply rewarding for longtime jazz fans.\u003cstrong data-start=\"770\" data-end=\"791\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"946\" data-end=\"1039\"\u003e\u003cem data-start=\"946\" data-end=\"950\"\u003eGo\u003c\/em\u003e remains a quintessential Blue Note album — smooth, swinging, and endlessly replayable.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461405970491,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/f41b0ed94dc5689a4c9401b6ef8d1352_570x570_41b434c3-0f3b-4b06-8391-341076e2b7a1.webp?v=1757895016"},{"product_id":"eric-dolphy-out-to-lunch","title":"Eric Dolphy - Out To Lunch! (2021 Blue Note Reissue LP Vinyl)","description":"\u003cp data-end=\"519\" data-start=\"180\"\u003eReleased in 1964 on Blue Note, \u003cem data-end=\"226\" data-start=\"211\"\u003eOut to Lunch!\u003c\/em\u003e is the definitive statement from avant-garde innovator \u003cstrong data-end=\"297\" data-start=\"282\"\u003eEric Dolphy\u003c\/strong\u003e. Featuring \u003cstrong data-end=\"328\" data-start=\"309\"\u003eFreddie Hubbard\u003c\/strong\u003e (trumpet), \u003cstrong data-end=\"360\" data-start=\"340\"\u003eBobby Hutcherson\u003c\/strong\u003e (vibraphone), \u003cstrong data-end=\"392\" data-start=\"375\"\u003eRichard Davis\u003c\/strong\u003e (bass), and \u003cstrong data-end=\"422\" data-start=\"405\"\u003eTony Williams\u003c\/strong\u003e (drums — at just 18 years old), the album balances free-form exploration with swinging energy.\u003c\/p\u003e\n\u003cp data-end=\"848\" data-start=\"521\"\u003eDolphy’s compositions are daring yet accessible: the playful chaos of \u003cem data-end=\"606\" data-start=\"591\"\u003eHat and Beard\u003c\/em\u003e (a nod to Thelonious Monk), the off-kilter grooves of \u003cem data-end=\"696\" data-start=\"661\"\u003eSomething Sweet, Something Tender\u003c\/em\u003e, and the angular drive of the title track. Hutcherson’s vibes and Williams’s restless drumming create a soundscape that still feels fresh and modern.\u003c\/p\u003e\n\u003cp data-end=\"848\" data-start=\"521\"\u003e\u003cmeta charset=\"utf-8\"\u003eA true landmark in avant-garde jazz, \u003cem data-end=\"1040\" data-start=\"1025\"\u003eOut to Lunch!\u003c\/em\u003e is both adventurous and essential — the record that cemented Dolphy’s genius. \u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461513089083,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/2unilp87502__87259.jpg?v=1757899336"},{"product_id":"grant-green-idle-moments","title":"Grant Green - Idle Moments (2021 Blue Note Reissue LP Vinyl)","description":"\u003cp data-start=\"178\" data-end=\"518\"\u003e\u003cem data-start=\"178\" data-end=\"192\"\u003eIdle Moments\u003c\/em\u003e is guitarist \u003cstrong data-start=\"206\" data-end=\"223\"\u003eGrant Green’s\u003c\/strong\u003e masterpiece, recorded in 1963 and released on Blue Note in 1965. Known for its relaxed, soulful atmosphere, the album features an all-star lineup: \u003cstrong data-start=\"371\" data-end=\"388\"\u003eJoe Henderson\u003c\/strong\u003e (tenor sax), \u003cstrong data-start=\"402\" data-end=\"422\"\u003eBobby Hutcherson\u003c\/strong\u003e (vibraphone), \u003cstrong data-start=\"437\" data-end=\"453\"\u003eDuke Pearson\u003c\/strong\u003e (piano), \u003cstrong data-start=\"463\" data-end=\"479\"\u003eBob Cranshaw\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"492\" data-end=\"507\"\u003eAl Harewood\u003c\/strong\u003e (drums).\u003c\/p\u003e\n\u003cp data-start=\"520\" data-end=\"903\"\u003eThe title track is a 15-minute odyssey of understated beauty — one of the most celebrated performances in the Blue Note catalogue. Henderson’s lyrical tenor, Hutcherson’s shimmering vibes, and Pearson’s tasteful comping perfectly complement Green’s warm, fluid guitar tone. Shorter pieces like \u003cem data-start=\"814\" data-end=\"829\"\u003eJean de Fleur\u003c\/em\u003e and \u003cem data-start=\"834\" data-end=\"841\"\u003eNomad\u003c\/em\u003e add swing and drive, balancing the album’s meditative mood.\u003c\/p\u003e\n\u003cp data-start=\"986\" data-end=\"1147\"\u003eElegant, atmospheric, and endlessly replayable, \u003cem data-start=\"1034\" data-end=\"1048\"\u003eIdle Moments\u003c\/em\u003e is the perfect introduction to Grant Green and one of the finest Blue Note albums ever recorded.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461521575995,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602435799100.jpg?v=1757901058"},{"product_id":"herbie-hancock-maiden-voyage-2021-blue-note-classic-vinyl-180g-lp","title":"Herbie Hancock - Maiden Voyage (2021 Blue Note Classic Vinyl 180g LP)","description":"\u003cp\u003e\u003cstrong\u003eHerbie Hancock - \u003cem\u003eMaiden Voyage\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 2021 Blue Note Classic Vinyl Series 180g Audiophile Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHerbie Hancock's 1965 masterpiece stands as one of Blue Note's most celebrated albums, the pianist\/composer leading an all-star quintet featuring trumpeter Freddie Hubbard, tenor saxophonist George Coleman, bassist Ron Carter, and drummer Tony Williams through five Hancock compositions exploring modal jazz with nautical themes. The title track has become a jazz standard, its evocative melody and sophisticated harmonic movement capturing the feeling of oceanic voyage, while tracks like \"Dolphin Dance\" and \"The Eye Of The Hurricane\" demonstrate Hancock's gift for memorable themes and adventurous improvisation. Released on 24 September 2021 as part of Blue Note's Classic Vinyl Series, this worldwide audiophile reissue was mastered by Kevin Gray at Cohearent Audio from the original analog tapes and manufactured at Germany's Optimal plant on 180g vinyl.\u003c\/p\u003e\n\u003cp\u003eThe quintet represents mid-1960s jazz at its peak: Hubbard's powerful, lyrical trumpet, Coleman's robust tenor saxophone, and the rhythm section of Carter and Williams (both from Miles Davis' second great quintet alongside Hancock) create ideal conditions for exploring Hancock's modal compositions. His piano work balances harmonic sophistication with rhythmic invention, comping creating textures as interesting as his solo statements. The modal approach allows freer improvisation than bebop's rapid chord changes while maintaining more structure than complete free jazz, Hancock's compositions providing memorable melodies and rich harmonic colours.\u003c\/p\u003e\n\u003cp\u003eBeyond the famous title track, \"Dolphin Dance\" showcases Hancock's gift for writing complex yet singable melodies, while \"Survival Of The Fittest\" and \"Little One\" explore different facets of modal jazz. \"The Eye Of The Hurricane\" creates atmospheric calm before returning to intensity, demonstrating the nautical theme's conceptual coherence. Mastered by renowned engineer Kevin Gray at Cohearent Audio directly from the original analog tapes and pressed at Optimal on 180g vinyl, this Blue Note Classic Vinyl Series edition offers this essential hard bop\/modal landmark in optimal sound quality.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461523673147,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/71AOkbmj4HL._AC_SL1400.jpg?v=1757901856"},{"product_id":"john-coltrane-blue-train","title":"John Coltrane - Blue train (2022 Blue Note Tone Poet Reissue LP Vinyl)","description":"\u003cp data-start=\"178\" data-end=\"545\"\u003e\u003cem data-start=\"178\" data-end=\"190\"\u003eBlue Train\u003c\/em\u003e (1957) is \u003cstrong data-start=\"201\" data-end=\"220\"\u003eJohn Coltrane’s\u003c\/strong\u003e only session as a leader for Blue Note — and one of the greatest hard bop albums ever recorded. With an all-star lineup featuring \u003cstrong data-start=\"351\" data-end=\"365\"\u003eLee Morgan\u003c\/strong\u003e (trumpet), \u003cstrong data-start=\"377\" data-end=\"394\"\u003eCurtis Fuller\u003c\/strong\u003e (trombone), \u003cstrong data-start=\"407\" data-end=\"421\"\u003eKenny Drew\u003c\/strong\u003e (piano), \u003cstrong data-start=\"431\" data-end=\"448\"\u003ePaul Chambers\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"461\" data-end=\"481\"\u003ePhilly Joe Jones\u003c\/strong\u003e (drums), the album captures Coltrane in full creative flight.\u003c\/p\u003e\n\u003cp data-start=\"547\" data-end=\"839\"\u003eFrom the moody, unforgettable title track to the blistering swing of \u003cem data-start=\"616\" data-end=\"628\"\u003eLocomotion\u003c\/em\u003e and the lyrical ballad \u003cem data-start=\"652\" data-end=\"671\"\u003eI’m Old Fashioned\u003c\/em\u003e, every tune is a showcase of Coltrane’s evolving mastery. The blend of bold solos and tight ensemble work makes \u003cem data-start=\"784\" data-end=\"796\"\u003eBlue Train\u003c\/em\u003e both accessible and endlessly rewarding.\u003cstrong data-start=\"841\" data-end=\"862\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"952\" data-end=\"1061\"\u003eA cornerstone of any jazz collection, \u003cem data-start=\"990\" data-end=\"1002\"\u003eBlue Train\u003c\/em\u003e is Coltrane at his most powerful, lyrical, and inspired.\u003c\/p\u003e\n\u003cp data-start=\"952\" data-end=\"1061\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eTone Poet Vinyl Edition was produced by \u003c\/span\u003e\u003cstrong\u003eJoe Harley,\u003c\/strong\u003e\u003cspan\u003e mastered by \u003c\/span\u003e\u003cstrong\u003eKevin Gray\u003c\/strong\u003e\u003cspan\u003e from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.\u003c\/span\u003e\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461681614907,"sku":null,"price":120.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/1.JC_BLUETRAIN_MONO_COVER_1000X1000_f15a93f7-357f-4d3e-8630-dad238d24104.webp?v=1757905949"},{"product_id":"bud-powell-the-amazing-bud-powell-volume-2","title":"Bud Powell – The Amazing Bud Powell, Volume 2 (2012 Blue Note Japan Reissue LP Vinyl)","description":"\u003cp\u003eReleased in 1954 on Blue Note, \u003cem\u003eThe Amazing Bud Powell, Volume 2\u003c\/em\u003e continues the landmark series that cemented Powell as one of the greatest pianists of the bebop era. His dazzling right-hand lines, harmonic daring, and rhythmic drive are on full display across this set of trio and quartet recordings.\u003c\/p\u003e\n\u003cp\u003eFeaturing sessions with \u003cstrong\u003eSonny Rollins\u003c\/strong\u003e (tenor sax), \u003cstrong\u003eFats Navarro\u003c\/strong\u003e (trumpet), \u003cstrong\u003eTommy Potter\u003c\/strong\u003e and \u003cstrong\u003eCurly Russell\u003c\/strong\u003e (bass), and \u003cstrong\u003eRoy Haynes\u003c\/strong\u003e, \u003cstrong\u003eArt Blakey\u003c\/strong\u003e, and \u003cstrong\u003eMax Roach\u003c\/strong\u003e (drums), the album captures some of the finest musicians of the period in peak form. The blend of bebop standards and Powell originals shows both his virtuosity and his depth as a composer.\u003c\/p\u003e\n\u003cp\u003eEssential listening for bop lovers, \u003cem\u003eThe Amazing Bud Powell, Volume 2\u003c\/em\u003e is a fiery yet lyrical portrait of a genius who helped shape modern jazz piano.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42506650419259,"sku":null,"price":130.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4326.jpg?v=1759538246"},{"product_id":"art-blakey-and-the-jazz-messengers-at-the-cafe-bohemia-volume-3","title":"Art Blakey and The Jazz Messengers – At The Cafe Bohemia Volume 3 (1983 Blue Note Japan Reissue LP Vinyl)","description":"\u003cp\u003eRecorded live at the Café Bohemia in New York City on \u003cstrong\u003eNovember 23, 1955\u003c\/strong\u003e, this session captures the original edition of \u003cstrong\u003eArt Blakey’s Jazz Messengers\u003c\/strong\u003e in their raw, hard-swinging glory. Released later as \u003cem\u003eVolume 3\u003c\/em\u003e, the album completes the legendary series of recordings that introduced the world to the Messengers’ hard bop sound.\u003c\/p\u003e\n\u003cp\u003eThe lineup features \u003cstrong\u003eKenny Dorham\u003c\/strong\u003e (trumpet), \u003cstrong\u003eHank Mobley\u003c\/strong\u003e (tenor saxophone), \u003cstrong\u003eHorace Silver\u003c\/strong\u003e (piano), \u003cstrong\u003eDoug Watkins\u003c\/strong\u003e (bass), and \u003cstrong\u003eArt Blakey\u003c\/strong\u003e (drums) — a band often referred to as “the original Messengers.” Their interplay is fiery and soulful, with Dorham and Mobley’s horn lines soaring over Silver’s bluesy piano and Blakey’s thunderous drumming.\u003c\/p\u003e\n\u003cp\u003eWith its mix of originals and standards, \u003cem\u003eAt the Café Bohemia, Volume 3\u003c\/em\u003e is a vital live document — showing how the Jazz Messengers forged the blueprint for hard bop in a packed New York club.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42506794369083,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4316.jpg?v=1759550084"},{"product_id":"art-blakey-and-the-jazz-messengers-art-blakey-and-the-jazz-messengers","title":"Art Blakey And The Jazz Messengers – Art Blakey And The Jazz Messengers (1977 Blue Note Japan Reissue LP Vinyl)","description":"\u003cp\u003eOriginally released in 1959 on Blue Note, this self-titled album captures a transitional lineup of \u003cstrong\u003eArt Blakey and the Jazz Messengers\u003c\/strong\u003e just before the arrival of Wayne Shorter. Featuring \u003cstrong\u003eLee Morgan\u003c\/strong\u003e (trumpet), \u003cstrong\u003eBenny Golson\u003c\/strong\u003e (tenor saxophone), \u003cstrong\u003eBobby Timmons\u003c\/strong\u003e (piano), and \u003cstrong\u003eJymie Merritt\u003c\/strong\u003e (bass), the record helped define the group’s soulful, blues-driven hard bop sound.\u003c\/p\u003e\n\u003cp\u003eThe session includes Golson’s timeless composition \u003cem\u003eBlues March\u003c\/em\u003e, which became a Jazz Messengers anthem, along with \u003cem\u003eAlong Came Betty\u003c\/em\u003e and Timmons’s gospel-tinged \u003cem\u003eMoanin’\u003c\/em\u003e. Blakey’s powerful drumming anchors the ensemble, while Morgan’s fiery trumpet and Golson’s warm tenor add balance and depth.\u003c\/p\u003e\n\u003cp\u003eWith its mix of soul, blues, and bop, \u003cem\u003eArt Blakey and the Jazz Messengers\u003c\/em\u003e stands as one of the group’s most beloved recordings and a cornerstone of hard bop.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42506831626299,"sku":null,"price":85.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4334.jpg?v=1759551735"},{"product_id":"miles-davis-volume-2-1977-japanese-blue-note-gxf-3012-limited-edition-vinyl-lp-mono","title":"Miles Davis - Volume 2 (1977 Japanese Blue Note GXF-3012 Limited Edition Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eVolume 2\u003c\/em\u003e | Vinyl LP Mono - 1977 Japanese Blue Note Limited Edition Reissue (GXF-3012(M), King Record Co. Ltd)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThese sessions catch Davis before almost everything he is remembered for. He was 25 at the first of them, five years past the Charlie Parker quintet and four past the \u003cem\u003eBirth of the Cool\u003c\/em\u003e nonet, and deep enough into heroin addiction that he later wrote that he, Jimmy Heath and Art Blakey were all high in the studio at the 1953 date. The First Great Quintet was still two years away. What the three sessions document is a trumpeter working out what to do with the bebop vocabulary he had learned from Parker and Gillespie, and the results are less consistent than his later records but frequently startling. The May 1952 date, his first for Blue Note, has Jackie McLean a few days short of his twenty-first birthday alongside J.J. Johnson, Gil Coggins, Oscar Pettiford and Kenny Clarke, and McLean's own \"Donna\" is one of two tracks from it here. The April 1953 session swaps in Jimmy Heath on tenor and his brother Percy on bass with Blakey on drums, and the material is drawn from the bebop composer's canon: Bud Powell's \"Tempus Fugit,\" Gillespie and Gil Fuller's \"I Waited for You,\" Ray Brown's \"Ray's Idea.\" Both of the 1953 tracks here are alternate masters, which Lion added to fill the extra space the 12-inch format gave him.\u003c\/p\u003e\n\u003cp\u003eThe March 1954 quartet session is where the record settles. No second horn, just Davis with Horace Silver, Percy Heath and Blakey, and it accounts for six of the eleven tracks. \"Well You Needn't\" is Monk's, and Davis takes it without any of the angularity Monk brought to his own material. \"It Never Entered My Mind\" is the ballad, played with the Harmon mute and the economy that would define him within two years. \"Take-Off,\" \"Weirdo,\" \"The Leap\" and \"Lazy Susan\" fill the rest. Silver was 25 and had joined Blakey's Jazz Messengers, and his comping here is already unmistakable. Alfred Lion produced all three sessions. Doug Hawkins recorded the 1952 and 1953 dates at WOR Studios on Broadway, and Rudy Van Gelder recorded the 1954 session at Hackensack and remastered the earlier material for this compilation. F\u003c\/p\u003e\n\u003cp\u003eThis is the 1977 Japanese limited edition on Blue Note GXF-3012(M), manufactured by King Record Co. Ltd.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42508891455547,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7881.jpg?v=1784876649"},{"product_id":"duke-pearson-tender-feelins","title":"Duke Pearson – Tender Feelin's (1989 Blue Note Japan Reissue LP Vinyl)","description":"\u003cp\u003eOriginally recorded in 1959 and reissued here in \u003cstrong\u003e1989\u003c\/strong\u003e by \u003cstrong\u003eBlue Note Japan\u003c\/strong\u003e, \u003cem\u003eTender Feelin's\u003c\/em\u003e showcases pianist \u003cstrong\u003eDuke Pearson\u003c\/strong\u003e in one of his most lyrical and understated sessions. With \u003cstrong\u003eGene Taylor\u003c\/strong\u003e on bass and \u003cstrong\u003eLex Humphries\u003c\/strong\u003e on drums, the trio creates a warm, intimate atmosphere that balances elegance with quiet swing.\u003c\/p\u003e\n\u003cp\u003ePearson’s touch is refined yet full of character — his phrasing elegant, his voicings luminous. Standards such as \u003cem\u003eI’m a Fool to Want You\u003c\/em\u003e and \u003cem\u003eOn Green Dolphin Street\u003c\/em\u003e are treated with tenderness and restraint, while originals like \u003cem\u003eBluebird of Happiness\u003c\/em\u003e and \u003cem\u003e3 A.M.\u003c\/em\u003e reveal his gift for melody and nuance.\u003c\/p\u003e\n\u003cp\u003eThere’s a reflective calm that runs through the album, the kind of quiet depth that rewards close listening. 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Together they balance sharp rhythm and lyrical flow, that unmistakable late-60s Blue Note chemistry between precision and feel.\u003c\/p\u003e\n\u003cp data-start=\"1038\" data-end=\"1427\"\u003eThe title track \u003cem data-start=\"1054\" data-end=\"1065\"\u003eSlow Drag\u003c\/em\u003e sets the tone, unfolding in relaxed swing, all brass and swagger. \u003cem data-start=\"1132\" data-end=\"1148\"\u003eBooker’s Bossa\u003c\/em\u003e and \u003cem data-start=\"1153\" data-end=\"1165\"\u003eJelly Roll\u003c\/em\u003e glide with effortless groove, while Byrd’s take on \u003cem data-start=\"1217\" data-end=\"1230\"\u003eSecret Love\u003c\/em\u003e is smooth but searching, built around Walton’s sparkling piano work. \u003cem data-start=\"1300\" data-end=\"1311\"\u003eThe Loner\u003c\/em\u003e and \u003cem data-start=\"1316\" data-end=\"1326\"\u003eMy Ideal\u003c\/em\u003e close the record with warmth and understatement, proof that Byrd could speak volumes in restraint.\u003c\/p\u003e\n\u003cp data-start=\"1429\" data-end=\"1781\"\u003eRemastered from the original analog tapes and pressed on \u003cstrong data-start=\"1486\" data-end=\"1504\"\u003e180-gram vinyl\u003c\/strong\u003e, this \u003cstrong data-start=\"1511\" data-end=\"1541\"\u003eTone Poet gatefold edition\u003c\/strong\u003e offers Van Gelder’s full sonic depth — crisp horns, resonant bass, and that signature room sound. 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This 1979 Japanese limited edition pressing, manufactured by King Record Co. and released on Blue Note's GXF series, presents Clark's artistry with the sonic excellence Japanese audiophile editions are prized for.\u003c\/p\u003e\n\u003cp\u003eRecorded at Rudy Van Gelder's legendary Hackensack studio under the guidance of Blue Note founder Alfred Lion, the album features Clark primarily supported by bassist Paul Chambers and drummer Wes Landers, with Jymie Merritt taking over bass duties on the final track. The trio format allows Clark's piano playing to take centre stage, and he responds with performances that balance sophistication and soul, technical facility and emotional directness.\u003c\/p\u003e\n\u003cp\u003eClark's approach to the piano was marked by a crystalline touch and a harmonic vocabulary that drew from bebop while looking forward to the modal explorations that would define the early 1960s. Whether navigating blues changes, interpreting standards, or working through original compositions, Clark maintained a distinctive voice that was both cerebral and deeply swinging. His tragic early death in 1963 cut short a career that was still developing, making sessions like this all the more valuable.\u003c\/p\u003e\n\u003cp\u003eThis limited edition Japanese pressing includes the original insert and represents the session with exceptional clarity and warmth. For collectors of Blue Note's catalogue and admirers of piano trio jazz, this is an essential document of an under-appreciated master.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42589106372667,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4909_51f5be07-a30e-490f-a4c3-64ed511f74bd.jpg?v=1762039129"},{"product_id":"sonny-clark-trio-sonny-clark-trio-1978-japanese-blue-note-stereo-lp","title":"Sonny Clark Trio - Sonny Clark Trio (1978 Japanese Blue Note Stereo LP)","description":"\u003cp\u003e\u003cstrong\u003eSonny Clark Trio - \u003cem\u003eSonny Clark Trio\u003c\/em\u003e | Vinyl LP - 1978 Japanese Blue Note Stereo (GXK 8051, Blue Note Masterpiece Selection 150, King Record Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSonny Clark recorded three albums for Blue Note in a three-month burst in 1957. The first two, \u003cem\u003eDial 'S' for Sonny\u003c\/em\u003e and \u003cem\u003eSonny's Crib\u003c\/em\u003e, used larger groups with horns. This one put him in front with only Paul Chambers and Philly Joe Jones.\u003c\/p\u003e\n\u003cp\u003eThe album opens with \"Be-Bop,\" Gillespie's bebop theme, and Clark plays it for nearly ten minutes. It is not the most harmonically complex piece in the bebop repertoire, but that is partly the point — the trio uses its relative simplicity to stretch and improvise rather than navigate. Chambers's bass lines are prominent throughout; Jones plays with the loose authority he brought to everything in this period. \"I Didn't Know What Time It Was,\" the Rodgers and Hart standard from Too Many Girls (1939), follows at medium tempo. \"Two Bass Hit,\" by Gillespie and John Lewis, closes Side A.\u003c\/p\u003e\n\u003cp\u003eSide B opens with Tadd Dameron's \"Tadd's Delight,\" another bebop head given a long, open treatment. \"Softly as in a Morning Sunrise\", Sigmund Romberg and Oscar Hammerstein II's piece from \u003cem\u003eThe New Moon\u003c\/em\u003e (1928), runs six and a half minutes, Clark's phrasing more searching than his Side A playing. \"I'll Remember April,\" the Gene de Paul, Don Raye and Patricia Johnston standard from 1941, closes the record.\u003c\/p\u003e\n\u003cp\u003eThis is the 1978 Japanese Blue Note stereo pressing (GXK 8051), Blue Note Masterpiece Selection 150, manufactured by King Record Co. Ltd.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42589436510267,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6930.jpg?v=1778648494"},{"product_id":"charlie-christian-edmond-hall-memorable-sessions-japanese-blue-note-vinyl-lp","title":"Charlie Christian \/ Edmond Hall - Memorable Sessions (Japanese Blue Note Vinyl LP)","description":"\u003cp\u003eA treasured document of pre-bebop jazz at its finest, Memorable Sessions brings together historic recordings featuring two masters of their respective instruments: the revolutionary guitarist Charlie Christian and the magnificent clarinetist Edmond Hall. Released in Japan on Blue Note in 1969, this album preserves eight performances originally recorded in the 1940s, capturing a pivotal moment when swing was evolving toward modern jazz.\u003c\/p\u003e\n\u003cp\u003eThe album is split between two distinct lineups, each offering its own delights. Side A features the Edmond Hall Celeste Quartet, a unique ensemble built around boogie-woogie pianist Meade \"Lux\" Lewis playing celesta (the same ethereal keyboard instrument heard in \"Dance of the Sugar Plum Fairy\"). Joining Hall's warm clarinet are the legendary guitarist Charlie Christian, whose single-note solo lines and electric amplification revolutionised jazz guitar, and bassist Israel Crosby. The four tracks, including two versions of \"Profoundly Blue\" (the original and an alternate master), showcase a chamber jazz aesthetic that's both intimate and swinging.\u003c\/p\u003e\n\u003cp\u003eSide B presents Edmond Hall's All Star Quintet, a different configuration featuring pianist Teddy Wilson, vibraphonist Red Norvo, guitarist Carl Kress, and bassist Johnny Williams. Wilson and Norvo, both giants of the swing era, bring elegance and sophistication to tracks like \"Blue Interval\" and \"Smooth Sailing\". The interplay between Hall's fluid clarinet, Norvo's shimmering vibes, and Wilson's refined piano creates a sound that's both relaxed and deeply musical.\u003c\/p\u003e\n\u003cp\u003eFor guitar enthusiasts, hearing Charlie Christian on the four tracks is invaluable. Christian died tragically young in 1942 at just 25, making every surviving recording precious. His linear, horn-like approach to the guitar influenced generations of players and helped establish the instrument as a lead voice in jazz. This Japanese pressing offers collectors a chance to own these historic performances with the quality Blue Note releases are known for.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42591179046971,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4920_e99b9201-c606-4773-a66c-27ab083aefd6.jpg?v=1762168359"},{"product_id":"elvin-jones-poly-currents-us-blue-note-vinyl-lp-stereo","title":"Elvin Jones - Poly-Currents (US Blue Note Vinyl LP Stereo)","description":"\u003cp\u003eOne of the most powerful and innovative drummers in jazz history steps into the leader's chair for \u003cem\u003ePoly-Currents\u003c\/em\u003e, a commanding post-bop session that showcases Elvin Jones' polyrhythmic mastery and his ability to inspire extraordinary playing from his band. Recorded on 26 September 1969 at Van Gelder Studio and released in 1970, this original US Blue Note pressing was distributed by Toshiba Musical Industries Ltd. for the Japanese market, complete with Japanese liner notes, making it a fascinating hybrid of American manufacturing and Japanese distribution.\u003c\/p\u003e\n\u003cp\u003eFresh from his transformative years with the John Coltrane Quartet, Jones brings that experience to bear on \u003cem\u003ePoly-Currents\u003c\/em\u003e, creating a swirling, multi-layered rhythmic foundation that propels the music forward while allowing space for individual expression. The frontline features three exceptional horn players: the muscular tenor of George Coleman, the versatile multi-instrumentalist Joe Farrell on tenor saxophone, bass flute and English horn, and the robust baritone of Pepper Adams. Bassist Wilbur Little and conga master Candido Camero complete the rhythm section, adding depth and colour to Jones' propulsive drumming.\u003c\/p\u003e\n\u003cp\u003eThe five tracks demonstrate the band's range and Jones' compositional vision. The opening \"Agenda\" establishes the album's energetic tone, while \"Agappe Love\" (Jones' spelling of agape, the Greek word for unconditional love) offers a more contemplative mood. \"Mr. Jones\" serves as a showcase for the leader's rhythmic innovations, with the horns navigating complex time signatures over his polyrhythmic foundation. \"Yes\" features Fred Tompkins on flute alongside the core band, and the album closes with \"Whew\", a title that perfectly captures the exhilaration and intensity of the music.\u003c\/p\u003e\n\u003cp\u003eThis pressing represents the best of both worlds for collectors: the superior Van Gelder mastering and pressing quality of the original US release, combined with the Japanese market's attention to presentation through the addition of liner notes. The blue and white Liberty-era Blue Note label represents the final years of the label's golden age, while the Van Gelder stamp in the dead wax confirms authenticity.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42591195529275,"sku":null,"price":125.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4900_5b191fee-fe23-4a97-9e7a-23546064a98d.jpg?v=1762171130"},{"product_id":"ornette-coleman-trio-at-the-golden-circle-stockholm-vol-2-us-blue-note-with-japanese-obi","title":"Ornette Coleman Trio - At The Golden Circle Stockholm Vol. 2 (US Blue Note with Japanese Obi)","description":"\u003cp\u003e\u003cstrong\u003eThe Ornette Coleman Trio - At The Golden Circle Stockholm Volume Two Vinyl LP - US Blue Note Pressing with Japanese Obi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most important documents of free jazz, \u003cem\u003eAt The Golden Circle Stockholm Volume Two\u003c\/em\u003e captures Ornette Coleman's revolutionary trio in concert at Stockholm's Golden Circle club in December 1965. This remarkable copy represents a fascinating hybrid: an original US Blue Note pressing (circa 1973) distributed by Toshiba Musical Industries for the Japanese market, complete with Japanese obi strip marked \"direct import\" and remarkably still in its original shrink wrap with the obi outside the wrap.\u003c\/p\u003e\n\u003cp\u003eBy 1965, Coleman had already fundamentally altered the course of jazz with his concept of \"harmolodics\" and his abandonment of predetermined chord changes in favour of collective improvisation guided by melody and emotion. This trio, featuring the sympathetic and adventurous bassist David Izenzon and drummer Charles Moffett, represented Coleman's working group during this period, and their musical telepathy is evident throughout these live performances.\u003c\/p\u003e\n\u003cp\u003eThe four tracks showcase Coleman's multi-instrumental approach and compositional range. \"Snowflakes And Sunshine\" opens with Coleman on violin and trumpet, demonstrating his commitment to approaching all instruments with fresh ears, unencumbered by traditional technique. \"Morning Song\", \"The Riddle\", and \"Antiques\" feature his alto saxophone, the instrument on which his voice is most fully developed. His playing here is both lyrical and explosive, tender and confrontational, always singing a deeply personal blues inflected with harmonic freedom that was still shocking to many listeners in 1965.\u003c\/p\u003e\n\u003cp\u003eIzenzon's bass playing deserves special mention. Rather than simply walking time or providing roots, he engages in genuine three-way conversation, sometimes mirroring Coleman's melodic ideas, sometimes providing rhythmic propulsion, and sometimes venturing into entirely independent territory. Moffett's drumming is equally liberated, responding to the moment rather than maintaining rigid timekeeping, yet always propelling the music forward with energy and purpose.\u003c\/p\u003e\n\u003cp\u003eThis US pressing with Japanese distribution represents an unusual collecting opportunity: the sonic quality of an original US Blue Note pressing combined with the presentation elements that make Japanese jazz releases so appealing to collectors.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42705839816763,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5099.jpg?v=1763006231"},{"product_id":"bobby-hutcherson-san-francisco-2023-blue-note-classic-vinyl-180g-lp","title":"Bobby Hutcherson - San Francisco (2023 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. 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The album features the remarkable frontline of Hubbard, tenor saxophonist Wayne Shorter, and euphonium player Bernard McKinney, creating unusual timbral combinations rarely heard in jazz. Backed by the rhythm section that would soon become John Coltrane's classic quartet (pianist McCoy Tyner, bassist Art Davis, and drummer Elvin Jones), Hubbard delivers five compositions ranging from the modal opener \"Arietis\" through the ballad \"Weaver Of Dreams\" to the explosive closer \"Crisis\", showcasing both his formidable technical command and his gift for memorable melodic writing.\u003c\/p\u003e\n\u003cp\u003eThe euphonium's inclusion is the session's distinctive feature, McKinney's mellow, tuba-like voice adding unusual harmonic depth to the frontline while creating textural contrasts with Hubbard's brilliant trumpet and Shorter's probing tenor. Shorter, just beginning his rise to prominence, contributes sophisticated solos that hint at the harmonic and rhythmic innovations he would soon explore with Miles Davis. The rhythm section, already working together in various contexts before officially joining Coltrane, demonstrates the telepathic interaction and propulsive energy that would define 1960s modern jazz. Tyner's block chords and modal voicings, Jones' polyrhythmic drumming, and Davis' melodic bass work provide both grounding and inspiration for the frontline's explorations.\u003c\/p\u003e\n\u003cp\u003eThis 22 October 2021 reissue represents premium contemporary vinyl production. Kevin Gray's remastering at Cohearent Audio draws from the original Van Gelder tapes, while Optimal Media in Germany has pressed this on 180-gram vinyl. Gray's all-analogue mastering combined with Optimal's quality pressing ensures this ranks among the finest-sounding editions of Ready For Freddie available, capturing Van Gelder's pristine 1961 recording with modern clarity and dynamics. 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Originally released in 1956 on Pacific Jazz and reissued in this 2023 Blue Note Tone Poet Series repress, the album features Baker's tender readings of songs like \"My Funny Valentine\", \"I Fall In Love Too Easily\", and \"Look For The Silver Lining\", accompanied by pianist Russ Freeman and rotating rhythm sections. Mastered by Kevin Gray at Cohearent Audio and pressed by Record Technology Incorporated on 180-gram mono vinyl in a gatefold sleeve, this represents the finest available contemporary presentation of Baker's landmark vocal debut.\u003c\/p\u003e\n\u003cp\u003eBaker's voice, criticized by some for limited range and technique, possesses an emotional directness that transcends conventional vocal virtuosity. His half-spoken, half-sung delivery conveys loneliness, yearning, and a kind of bruised romanticism that made him an icon of 1950s cool jazz aesthetics. Freeman's sensitive piano accompaniment and the various rhythm sections (featuring Carson Smith and Jimmy Bond on bass, Bob Neel and others on drums) provide subtle support that never overwhelms Baker's delicate voice and trumpet. The 14 standards receive readings that have become definitive for many listeners, particularly \"My Funny Valentine\", which Baker essentially claimed as his signature song through this performance.\u003c\/p\u003e\n\u003cp\u003eThis 2023 repress of the 2020 Tone Poet release differs slightly from the original pressing in RTI plating identifiers and hype sticker wording (now \"cut directly from the original analog tapes\" rather than \"mastered from\"). The Tone Poet Series represents Blue Note's commitment to audiophile-quality reissues using all-analog mastering by Kevin Gray, RTI's premium pressing, and Stoughton tip-on gatefold packaging. 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Recorded by Rudy Van Gelder at his Hackensack studio, the six-track album balances Clark originals with standards, his elegant yet funky piano style anchoring arrangements that allow each horn player space to develop ideas. Released in Japan on 26 December 1990 as part of Blue Note's BLP 1500 Revival series and LP Last Reissue programme, this limited edition mono pressing by Toshiba EMI includes an LP-sized fold-out insert depicting other reissues and was issued with a Blue Note Club members card.\u003c\/p\u003e\n\u003cp\u003eClark's compositions \"Dial 'S' For Sonny\", \"Bootin' It\", \"Sonny's Mood\", and \"Shoutin' On A Riff\" demonstrate his gift for memorable hard bop themes that swing naturally while providing harmonic interest. The standards \"It Could Happen To You\" and \"Love Walked In\" receive sophisticated treatments that respect the melodies while allowing for modern reharmonization. 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Recorded on 2 December 1956 at Rudy Van Gelder's Hackensack studio, this sextet session features an exceptional lineup: tenor saxophonist Hank Mobley, alto saxophonist Kenny Rodgers, pianist Horace Silver, bassist Paul Chambers, and drummer Charlie Persip. The six compositions (all Morgan originals except the closing \"D's Fink\") showcase his gift for memorable hard bop themes and his already mature trumpet technique. Released in Japan on 26 December 1990 as part of Blue Note's BLP 1500 Revival series, this limited edition mono pressing by Toshiba EMI documents Morgan at the beginning of a brilliant career cut tragically short.\u003c\/p\u003e\n\u003cp\u003eAt eighteen, Morgan displays remarkable compositional and improvisational skills, his trumpet work combining bebop fluency with a distinctive sound and phrasing that would influence countless players. The three-horn frontline of Morgan, Mobley, and Rodgers creates rich ensemble textures, while Silver's piano provides both hard-driving accompaniment and characteristically funky solo statements. The rhythm section of Chambers and Persip, both established masters despite their youth, swings effortlessly throughout. Mobley's distinctive tenor sound, slightly behind the beat with a gentle edge, complements Morgan's brighter, more aggressive trumpet perfectly.\u003c\/p\u003e\n\u003cp\u003eVan Gelder's recording captures each instrument with clarity while maintaining the warmth expected from mid-1950s Blue Note sessions. 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Recorded on 11 December 1960 at Rudy Van Gelder's Englewood Cliffs studio and produced by Alfred Lion, the six Drew originals demonstrate his compositional range from the funky title track through blues-based material to the closing ballad. Released in Japan on 8 November 1989 as part of Blue Note's LP Last Reissue programme and manufactured by Toshiba EMI, this limited edition stereo pressing captures Drew before his 1961 move to Europe where he would spend most of his remaining career.\u003c\/p\u003e\n\u003cp\u003eDrew's compositions provide ideal frameworks for the quintet's explorations, each theme balancing memorable melodies with harmonic interest. The frontline pairing of Hubbard and Mobley represents complementary approaches: Hubbard's bright, aggressive trumpet meeting Mobley's warm, slightly behind-the-beat tenor sound. Drew's piano work demonstrates both his fluent bebop technique and his gift for blues-based funk, tracks like \"Funk-Cosity\" and \"The Pot's On\" showcasing the harder-edged side of hard bop. 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Recorded on 2 August 1959 at Rudy Van Gelder's Englewood Cliffs studio and produced by Alfred Lion, the six Davis originals demonstrate his compositional gifts and his commanding piano style that made him a sought-after sideman for Art Blakey's Jazz Messengers and other leading groups. Released in Japan on 8 November 1989 as the first in Blue Note's LP Last Reissue programme and manufactured by Toshiba EMI with Westrex 3D-II cutting, this limited edition stereo pressing includes Japanese insert.\u003c\/p\u003e\n\u003cp\u003eDavis' compositions showcase hard bop's full range, from the uptempo burners \"'Smake It\" and \"Loodle-Lot\" through the more contemplative \"Sweetness\" to the Latin-influenced \"Rhumba Nhumba\". The frontline pairing of Byrd and McLean represents complementary approaches: Byrd's warm, rounded trumpet tone meeting McLean's more angular, intense alto saxophone sound. Davis' piano work combines bebop fluency with blues feeling, his comping providing both harmonic support and rhythmic drive. The rhythm section of Jones and Taylor, both Blue Note mainstays, swings relentlessly while responding sensitively to the soloists' directions.\u003c\/p\u003e\n\u003cp\u003eVan Gelder's recording captures the quintet with characteristic clarity, the stereo format allowing spatial separation between the horns while maintaining ensemble cohesion. 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Recorded on 5 December 1959 at Rudy Van Gelder's Englewood Cliffs studio and produced by Alfred Lion, the eight tracks (originally released as BLP 4032) demonstrate Red's powerful, blues-inflected alto sound and his ability to lead a session with authority despite being less celebrated than contemporaries like Cannonball Adderley or Jackie McLean. Released in Japan on 8 November 1989 as part of Blue Note's LP Last Reissue programme and manufactured by Toshiba EMI, this limited edition stereo pressing documents an under-appreciated hard bop voice.\u003c\/p\u003e\n\u003cp\u003eRed's alto saxophone playing combines bebop fluency with Detroit's blues-drenched tradition, his tone robust and his phrasing direct. The presence of Wynton Kelly on piano throughout provides both harmonic sophistication and bluesy groove, Kelly's distinctive comping style supporting Red's explorations while his solo statements demonstrate the melodic invention that made him Miles Davis' pianist of choice during this period. The rhythm section changes reflect scheduling realities: Jones and Brooks handle most tracks with muscular swing, while Chambers and Cobb (Davis' rhythm section at the time) bring slightly different energy to the closing two tracks.\u003c\/p\u003e\n\u003cp\u003eThe material balances standards like \"Stay As Sweet As You Are\" and \"I've Never Been In Love Before\" with Red originals including \"Bluesville\", \"Blues In The Pocket\", and the uptempo \"The Lope\". Each composition showcases Red's gifts as both melodic interpreter and blues-based improviser. 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Mobley's \"round sound\" tenor approach—less aggressive than Coltrane, warmer than Rollins—finds ideal setting in this quartet, his playing demonstrating melodic clarity and rhythmic subtlety often overlooked in favour of more explosive contemporaries. The rhythm section, all from Miles Davis' groups of the period, swings effortlessly throughout, Kelly's bluesy piano work, Chambers' melodic bass lines, and Blakey's driving yet supportive drums creating perfect foundation for Mobley's explorations. Released on 11 October 2024 as part of Blue Note's 85th Anniversary Collection and pressed at Germany's Optimal Media on limited edition blue vinyl with obi strip, this worldwide reissue honours one of hard bop's essential albums.\u003c\/p\u003e\n\u003cp\u003eThe six tracks showcase Mobley's compositional gifts alongside his interpretive skills. His originals \"This I Dig Of You\", \"Dig Dis\", and the title track \"Soul Station\" demonstrate his ability to write memorable themes that swing naturally while providing harmonic interest, while his readings of standards \"Remember\", \"Split Feelin's\", and \"If I Should Lose You\" reveal how he could make familiar material sound fresh through his distinctive phrasing and tone. Mobley's playing never overwhelms; instead, he draws listeners in through subtle melodic development and perfect time feel.\u003c\/p\u003e\n\u003cp\u003eThe rhythm section's chemistry reflects their shared experience in Davis' groups, each musician understanding when to push and when to lay back. Kelly's comping creates harmonic bed that supports without constraining, Chambers' bass work functions as both foundation and melodic voice, and Blakey demonstrates that his explosive power could be channeled into sensitive accompaniment when context demanded.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43214808776763,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/HankMobley_SoulStation.jpg?v=1771025868"},{"product_id":"immanuel-wilkins-the-7th-hand-2022-blue-note-gold-2lp-special-edition","title":"Immanuel Wilkins - The 7th Hand (2022 Blue Note Gold 2LP Special Edition)","description":"\u003cp\u003e\u003cstrong\u003eImmanuel Wilkins - \u003cem\u003eThe 7th Hand\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eDouble Vinyl LP - 2022 Blue Note Special Edition Gold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eModern spiritual jazz masterpiece\u003c\/strong\u003e - Wilkins' acclaimed sophomore album following breakthrough debut\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSpecial edition gold vinyl\u003c\/strong\u003e - limited 2LP pressing with Sterling Sound lacquer cutting\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eContemporary Blue Note at its finest\u003c\/strong\u003e - quartet exploring Coltrane's lineage for today\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAlto saxophonist Immanuel Wilkins' second Blue Note album expands the spiritual jazz vision established on his acclaimed 2020 debut Omega, the quartet of Wilkins, pianist Micah Thomas, bassist Daryl Johns, and drummer Kweku Sumbry exploring eight compositions across two LPs. The album's title references both the biblical seventh day of rest and the concept of divine intervention, Wilkins' music seeking transcendence through collective improvisation and spiritual searching. Released on 28 January 2022 by Blue Note as a special edition gold vinyl 2LP with lacquers cut at Sterling Sound, this pressing captures Wilkins continuing to establish himself as one of contemporary jazz's most compelling voices, his alto saxophone work drawing from John Coltrane's spiritual explorations while creating distinctly modern statements.\u003c\/p\u003e\n\u003cp\u003eWilkins' compositional approach balances written material with extended improvisational sections, the quartet developing themes through patient collective exploration rather than rapid solo exchanges. His alto saxophone playing demonstrates both technical command and emotional directness, his tone singing and urgent, his phrases building intensity through repetition and gradual development echoing Coltrane's modal explorations. Thomas' piano work provides both harmonic foundation and independent melodic voice, his comping creating spaces for the saxophone while his solos contribute to the music's spiritual dimension. Johns' bass and Sumbry's drums function as more than rhythm section, their interaction creating polyrhythmic complexity and dynamic range essential to the music's architecture.\u003c\/p\u003e\n\u003cp\u003eThe eight compositions explore different facets of Wilkins' vision, from the opening \"Emanation\" through \"Don't Break\", \"Fugitive Ritual, Selah\", and the closing \"Lift\" plus a D2C exclusive track, each piece balancing structure with freedom. The album's extended format across two LPs allows development impossible within single LP constraints, the quartet's explorations given space to breathe and evolve organically. 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Recorded on 21 December 1962 at Rudy Van Gelder's Englewood Cliffs studio with a quartet featuring 22-year-old pianist Herbie Hancock, bassist Butch Warren, drummer Billy Higgins, and tambourine player Garvin Masseaux, the album transforms \"Just A Closer Walk With Thee\", \"Joshua Fit De Battle Ob Jericho\", \"Nobody Knows The Trouble I've Seen\", \"Go Down Moses\", and \"Sometimes I Feel Like A Motherless Child\" into swinging jazz statements. Released in Japan in 1979 as part of Blue Note's Masterpiece Selection 150 series and manufactured by King Record Co. Ltd., this stereo pressing captures Green's bluesy single-note lines meeting the spiritual power of material rooted in slavery and emancipation.\u003c\/p\u003e\n\u003cp\u003eGreen's guitar approach, influenced by Charlie Christian and rooted in blues tradition, proves ideal for this material. His single-note melodic lines state the familiar melodies before developing them through improvisation, his phrasing maintaining connection to the spirituals' emotional core while transforming them into modern jazz. Hancock's piano work, recorded early in his Blue Note tenure (before joining Miles Davis' quintet), demonstrates the harmonic sophistication and blues feeling that would characterize his career. Warren's bass and Higgins' drums provide foundation that swings effortlessly, while Masseaux's tambourine on selected tracks adds rhythmic colour suggesting gospel church services.\u003c\/p\u003e\n\u003cp\u003eThe album's conceptual strength lies in Green's respectful yet transformative approach to sacred material. Rather than merely using spirituals as jazz vehicles, he honours their spiritual dimension while demonstrating their musical sophistication and emotional power. The five tracks span approximately 36 minutes, each spiritual receiving patient development that respects the source material's gravity. 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Featuring 22-year-old trumpeter Freddie Hubbard (months before his own Blue Note debut), pianist Duke Jordan, bassist Sam Jones, and drummer Art Taylor, the sextet performs six Brooks compositions demonstrating his gift for memorable melodies and sophisticated harmonic movement. Brooks' tenor saxophone sound, influenced by Sonny Rollins yet distinctly his own, combines technical command with deeply personal expression, his playing on tracks like the title composition \"True Blue\" and \"Miss Hazel\" revealing why fellow musicians revered him despite his lack of commercial recognition. Released in Japan in 1981 by King Record Co. Ltd. as part of Blue Note's Collectors' Item Series, this represents the album's first stereo pressing—Blue Note's original issue was monaural only—and its first Japanese pressing.\u003c\/p\u003e\n\u003cp\u003eBrooks' compositional voice emerges fully formed across these six tracks, each theme balancing accessibility with harmonic sophistication. His playing demonstrates the influence of Rollins' thematic development alongside his own darker, more introspective approach. The frontline pairing with the young Hubbard creates ideal contrast, Hubbard's bright, assertive trumpet meeting Brooks' more brooding tenor sound. Duke Jordan's piano, drawing from bebop traditions, provides both harmonic support and melodic invention, while Jones and Taylor's rhythm section swings with authoritative precision.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrue Blue\u003c\/em\u003e revealed Brooks as one of hard bop's most distinctive and accomplished voices, his premature death in 1974 at age 42 robbing jazz of a major talent. This 1981 Japanese pressing represents historic significance as the album's first stereo edition, Van Gelder's original stereo recording finally available after two decades of mono-only availability. Manufactured by King Record Co. Ltd. as part of Blue Note's Collectors' Item Series, this pressing documents a lost classic finally receiving its due recognition.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43226608697403,"sku":null,"price":130.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6153.jpg?v=1771589172"},{"product_id":"jackie-mclean-one-step-beyond-1978-japanese-blue-note-masterpiece-selection-lp","title":"Jackie McLean - One Step Beyond (1978 Japanese Blue Note Masterpiece Selection LP)","description":"\u003cp\u003e\u003cstrong\u003eJackie McLean - \u003cem\u003eOne Step Beyond\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1978 Japanese Blue Note Masterpiece Selection 150 Stereo Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMcLean's avant-garde breakthrough\u003c\/strong\u003e - pushing beyond hard bop into freer territory with adventurous quintet\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e17-year-old Tony Williams on drums\u003c\/strong\u003e - future Miles Davis drummer's Blue Note debut\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJapanese Masterpiece Selection 150\u003c\/strong\u003e - 1978 King Records pressing with obi and insert.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eAlto saxophonist Jackie McLean's 1963 Blue Note session represents his move beyond conventional hard bop into more adventurous territory, the quintet featuring vibraphonist Bobby Hutcherson, trombonist Grachan Moncur III, bassist Eddie Khan, and 17-year-old drummer Tony Williams (months before joining Miles Davis' quintet) exploring four McLean compositions that balance structure with greater harmonic and rhythmic freedom. Recorded at Van Gelder Studio, the album's title reflects McLean's conscious step beyond bebop and hard bop conventions toward the \"new thing\" emerging in early 1960s jazz, his alto saxophone sound—edgy, intense, slightly sharp in pitch—perfectly suited to this more exploratory music. Released in Japan in 1978 as part of Blue Note's Masterpiece Selection 150 series by King Record Co. Ltd. with obi and insert, this pressing captures McLean at a creative crossroads, pushing boundaries while maintaining connection to jazz tradition.\u003c\/p\u003e\n\u003cp\u003eThe quintet's unusual instrumentation (alto, trombone, vibes, bass, drums—no piano or guitar) creates open harmonic space allowing freer improvisation, Hutcherson's vibraphone adding shimmering colours while Moncur's trombone provides lower register counterpoint to McLean's alto. Williams' drumming, astonishingly mature for seventeen, demonstrates the rhythmic sophistication and independent voice that would revolutionize jazz drumming with Davis. Tracks like \"Frankenstein\" and \"Ghost Town\" explore dissonance and unconventional structures while \"Saturday And Sunday\" and \"Blue Rondo\" maintain stronger melodic and formal frameworks. Van Gelder's recording and King Records' Japanese pressing preserve this pivotal session where hard bop met the avant-garde.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43232590954555,"sku":null,"price":140.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6184.jpg?v=1771806629"},{"product_id":"sonny-rollins-volume-2-1990-japanese-blue-note-lp-last-reissue-mono-lp","title":"Sonny Rollins - Volume 2 (1990 Japanese Blue Note LP Last Reissue Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eSonny Rollins - \u003cem\u003eVolume 2\u003c\/em\u003e | Vinyl LP - 1990 Japanese Blue Note LP Last Reissue Mono Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe only session that put Thelonious Monk and Horace Silver in the same studio\u003c\/strong\u003e at the same time, both playing piano on \"Misterioso\" while Monk appears alone with Rollins on \"Reflections\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAn all-star Blue Note hard bop session\u003c\/strong\u003e from April 14, 1957, with J.J. Johnson on trombone, Paul Chambers on bass and Art Blakey on drums, recorded by Rudy Van Gelder at his Hackensack studio\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMono original, as recorded\u003c\/strong\u003e: BLP 1558 was never issued in genuine stereo and this pressing maintains the mono source\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRecorded on April 14, 1957 at Van Gelder Studio in Hackensack, New Jersey, and released on Blue Note the same year as BLP 1558, this is one of the most cast-loaded sessions in the label's catalogue. Alongside Rollins on tenor saxophone are J.J. Johnson on trombone, Paul Chambers on bass, Art Blakey on drums, and two pianists: Horace Silver, who takes piano duties across four of the six tracks, and Thelonious Monk, who plays on his own compositions \"Misterioso\" and \"Reflections\". On \"Misterioso\" both pianists appear together, a convergence unique in the Blue Note discography, Monk's oblique, repeating blues figure anchoring an ensemble that includes Johnson's trombone pushing hard against Rollins' tenor. On \"Reflections\" Monk plays with only Rollins, Chambers and Blakey, Johnson absent, the quartet reduced to its most minimal and concentrated form for one of the most pensive ballad readings either man committed to tape. The remaining four tracks belong to Silver and the full sextet: the two Rollins originals \"Why Don't I\" and \"Wail March\", and the standards \"You Stepped Out of a Dream\" and \"Poor Butterfly\". Chambers plays a bowed solo on \"You Stepped Out of a Dream\" that several contemporary reviewers singled out, and Blakey's drumming throughout, particularly on \"Wail March\", gives the session a momentum closer to the Jazz Messengers than to the pianoless approach Rollins would take later the same year at the Village Vanguard. Produced by Alfred Lion and engineered by Rudy Van Gelder, originally released in September 1957.\u003c\/p\u003e\n\u003cp\u003eThis pressing was issued in Japan on 26 December 1990 as part of Toshiba EMI's Blue Note LP Last Reissue series, the 62nd title in that programme, which was designed to return the Blue Note back catalogue to correct mono configuration for Japanese collectors who had previously encountered many of these titles in rechannelled pseudo-stereo formats. BLP 1558 was recorded in mono and no genuine stereo version exists. The pressing is manufactured by Toshiba EMI Ltd. and includes Japanese liner notes.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43257899679803,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6326.jpg?v=1772755830"},{"product_id":"mccoy-tyner-the-real-mccoy-1977-japanese-blue-note-gxf-3008-limited-edition-lp","title":"McCoy Tyner - The Real McCoy (1977 Japanese Blue Note GXF-3008 Limited Edition LP)","description":"\u003cp\u003e\u003cstrong\u003eMcCoy Tyner - \u003cem\u003eThe Real McCoy\u003c\/em\u003e | Vinyl LP - 1977 Japanese Blue Note GXF-3008 (King Record 1800 Series Limited Edition)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMcCoy Tyner's 1967 Blue Note landmark\u003c\/strong\u003e, recorded in a single session on 21 April 1967 at Van Gelder Studio, Englewood Cliffs, with Joe Henderson on tenor saxophone, Ron Carter on bass and Elvin Jones on drums; produced by Alfred Lion and engineered by Rudy Van Gelder\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTyner's first major statement as a leader after leaving the John Coltrane Quartet\u003c\/strong\u003e in 1965, and widely considered among the most fully realised piano quartet recordings in the Blue Note catalogue\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eA 1977 limited edition pressing from King Record's \"Immortal Masterpiece Selection\"\u003c\/strong\u003e, one of 20 titles chosen to mark King's acquisition of the Blue Note Japan distribution contract; includes two LP-sized gatefold inserts\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eManufactured by King Record Co. Ltd., Japan\u003c\/strong\u003e — the same plant behind the most sought-after Japanese Blue Note pressings of the era\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMcCoy Tyner recorded \u003cem\u003eThe Real McCoy\u003c\/em\u003e on 21 April 1967 at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey — his second Blue Note album and the record on which his post-Coltrane voice came into its own. He had spent five years in John Coltrane's quartet, a period that shaped his approach to harmony, modal texture and rhythmic density, but by 1967 he was working through those ideas on his own terms. Alfred Lion produced. All five compositions are Tyner originals, and the personnel — Joe Henderson on tenor, Ron Carter on bass, Elvin Jones on drums — is as strong a quartet as Blue Note assembled that year. Henderson's presence as a co-equal voice, rather than a backing instrument, gives the music an argumentative quality: the interplay between piano and tenor on \"Passion Dance\" and the closer \"Blues on the Corner\" has rarely been bettered in a piano-led small group setting.\u003c\/p\u003e\n\u003cp\u003eThis 1977 Japanese pressing is from the \"Blue Note Immortal Masterpiece Selection\", a limited edition series of 20 titles issued by King Record Co. Ltd. to mark their acquisition of the Blue Note Japan distribution contract. It preceded the 1978 Blue Note Masterpiece Selection 150 series. The pressing comes with two LP-sized inserts: an alphabetical Blue Note artist listing printed on both sides, and a Japanese-language track information sheet.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43266354118715,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6355.jpg?v=1773054049"},{"product_id":"horace-silver-quintet-song-for-my-father-2021-blue-note-classic-vinyl-series-lp","title":"Horace Silver Quintet - Song For My Father (2021 Blue Note Classic Vinyl Series LP)","description":"\u003cp\u003e\u003cstrong\u003eHorace Silver Quintet - \u003cem\u003eSong For My Father\u003c\/em\u003e | Vinyl LP - 2021 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\u003eHorace Silver's most celebrated album\u003c\/strong\u003e, drawn from two separate Blue Note sessions: October 1963 and January and October 1964 at Van Gelder Studio, Englewood Cliffs\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eThe bossa nova rhythm and Cape Verdean melodic line of \"Song for My Father\"\u003c\/strong\u003e — written as a tribute to Silver's father — became one of the most-sampled piano vamps in jazz; Steely Dan's \"Rikki Don't Lose That Number\" (1974) draws directly from its bass ostinato\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\"The Kicker\" is the sole non-Silver original on the album\u003c\/strong\u003e, written by Joe Henderson; \"Lonely Woman\" (B3) is a Silver composition unrelated to Ornette Coleman's piece of the same name\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2021 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\u003e\u003cem\u003eSong for My Father\u003c\/em\u003e was assembled from two Blue Note sessions recorded a year apart, using two different quintet lineups. The three tracks that open and close the LP sides — \"Calcutta Cutie\" and \"Lonely Woman\" — come from the October 1963 session with Junior Cook on tenor, Blue Mitchell on trumpet, Gene Taylor on bass and Roy Brooks on drums. The remaining four tracks, including the title piece, were recorded in January and October 1964 with a completely rebuilt quintet: Joe Henderson on tenor, Carmell Jones on trumpet, Teddy Smith on bass and Roger Humphries on drums. Alfred Lion produced both sessions; Rudy Van Gelder engineered at his Englewood Cliffs studio.\u003c\/p\u003e\n\u003cp\u003eThe title track opens the record. Silver wrote it after a visit to Brazil introduced him to bossa nova rhythms, and he drew the melodic line from his father's Cape Verdean heritage — John Tavares Silva came from the island of Maio. The subtitle \"Cantiga Para Meu Pai\" means \"Song for My Father\" in Portuguese. The bass ostinato in F minor became one of the most sampled bass lines in jazz: Steely Dan used it as the foundation for \"Rikki Don't Lose That Number\" on \u003cem\u003ePretzel Logic\u003c\/em\u003e (1974). Henderson's tenor across the 1964 tracks plays with a clarity and phrasing that distinguishes him immediately from his predecessor — \"The Kicker\" (B2), the one track on the album not written by Silver, is Henderson's own composition. This 2021 pressing is part of the Blue Note 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":43285368307771,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/71dYvkobHCL._UF894_1000_QL80.jpg?v=1773660093"},{"product_id":"hank-mobley-no-room-for-squares-2023-blue-note-classic-vinyl-series-vinyl-lp","title":"Hank Mobley - No Room For Squares (2023 Blue Note Classic Vinyl Series Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHank Mobley - \u003cem\u003eNo Room For Squares\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\u003eHank Mobley's 1963 Blue Note recording\u003c\/strong\u003e drawn from two sessions with two completely different quintets: the March session brings Donald Byrd on trumpet, Herbie Hancock on piano and Butch Warren on bass; the October session substitutes Lee Morgan, Andrew Hill and John Ore — Philly Joe Jones on drums throughout both\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eSix originals by Mobley and Lee Morgan\u003c\/strong\u003e, including Morgan's tender ballad \"Carolyn\" and the hard-driving \"Me 'N You\"; Andrew Hill's angular piano comping and Hancock's more open harmonic approach give the two sessions a noticeably different character across the same LP\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eOne of Reid Miles's most celebrated Blue Note cover designs\u003c\/strong\u003e, applied to one of Mobley's most consistently strong recordings as a bandleader and composer\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 by Kevin Gray at Cohearent Audio, pressed at Optimal Media GmbH on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eHank Mobley recorded \u003cem\u003eNo Room For Squares\u003c\/em\u003e across two Blue Note sessions in 1963, six months apart at Van Gelder Studio in Englewood Cliffs. The two dates used entirely different personnel beyond Mobley himself and drummer Philly Joe Jones. On 7 March, Mobley brought Donald Byrd on trumpet, Herbie Hancock on piano and Butch Warren on bass; the two tracks from this session — \"Up A Step\" and \"Old World, New Imports\" — appear as A3 and B3. On 2 October, the quintet was rebuilt with Lee Morgan on trumpet, Andrew Hill on piano and John Ore on bass, producing the four tracks that bracket them. Alfred Lion produced both sessions; Rudy Van Gelder engineered.\u003c\/p\u003e\n\u003cp\u003eThe split generates a useful contrast. Hancock's piano provides harmonic clarity and a looser, post-bop flow; Hill's comping is more angular and modal. Morgan and Byrd are similarly distinct — Morgan brings a more lyrical directness, Byrd a cooler precision. Mobley's tenor is a consistent presence across both, rolling and unhurried. Of the six compositions, four are Mobley originals (\"Three Way Split,\" \"Up A Step,\" \"No Room For Squares,\" \"Old World, New Imports\") and two are Morgan's: the ballad \"Carolyn,\" one of the more touching things Morgan wrote, and the funky, driving \"Me 'N You.\" Alfred Lion had the cover designed by Reid Miles — one of the most widely reproduced of the Blue Note cover designs. The album was originally released in May 1964. This 2023 Classic Vinyl Series pressing is mastered by Kevin Gray at Cohearent Audio and pressed at Optimal Media GmbH on 180g vinyl.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43285371748411,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/61Mz6agCB5L._UF1000_1000_QL80.jpg?v=1773661100"},{"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":"wayne-shorter-juju-1985-japanese-blue-note-bnj-71056-lp","title":"Wayne Shorter - Juju (1985 Japanese Blue Note BNJ 71056 LP)","description":"\u003cp\u003e\u003cstrong\u003eWayne Shorter - \u003cem\u003eJuju\u003c\/em\u003e | Vinyl LP - 1985 Japanese Blue Note (BNJ 71056, Blue Note 4000 Series Original Collection 100, Toshiba EMI Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eWayne Shorter's second Blue Note album as leader\u003c\/strong\u003e, recorded at Van Gelder Studio on 3 August 1964 — one month before he joined the Miles Davis Quintet; produced by Alfred Lion; engineered by Rudy Van Gelder; all six tracks are Shorter originals\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe rhythm section brings together three musicians with direct ties to John Coltrane's classic quartet\u003c\/strong\u003e: McCoy Tyner on piano, Reggie Workman on bass and Elvin Jones on drums; the combination locates Shorter's voice at the intersection of Coltrane's harmonic world and his own compositional language\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSix original compositions including the title track\u003c\/strong\u003e, \"Deluge,\" \"House of Jade,\" \"Mahjong,\" \"Yes or No\" and \"Twelve More Bars to Go\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1985 Japanese Blue Note pressing (BNJ 71056)\u003c\/strong\u003e, Blue Note 4000 Series Original Collection 100; manufactured by Toshiba EMI Ltd.; comes with Japanese insert booklet\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eWayne Shorter recorded \u003cem\u003eJuju\u003c\/em\u003e on 3 August 1964 at Rudy Van Gelder's studio in Englewood Cliffs, three months after \u003cem\u003eNight Dreamer\u003c\/em\u003e and one month before he joined the Miles Davis Quintet. Alfred Lion produced. The session brought together McCoy Tyner, Reggie Workman and Elvin Jones, each of whom had worked with John Coltrane's classic quartet, in a combination that positioned Shorter's compositional language directly adjacent to the modal and post-modal developments Coltrane was driving at the same moment.\u003c\/p\u003e\n\u003cp\u003eAll six tracks are Shorter originals. The title track turns on a B augmented chord and whole-tone scalar movement that gives it a floating, non-resolving quality. \"Deluge\" pushes harder. \"House of Jade\" moves to extended held tones, Shorter sustaining a single pitch across the bar while the rhythm section plays around it. \"Mahjong\" and \"Yes or No\" bring contrasting rhythmic textures; \"Twelve More Bars to Go\" closes the record with a blues framework run through Shorter's harmonic sensibility rather than conventional blues language.\u003c\/p\u003e\n\u003cp\u003eThis 1985 Japanese pressing is part of the Blue Note 4000 Series Original Collection 100, manufactured by Toshiba EMI Ltd., and includes the Japanese insert booklet. This reissue didn't feature an obi strip.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43405679591483,"sku":null,"price":140.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6533.jpg?v=1775773310"},{"product_id":"wayne-shorter-super-nova-1978-japanese-blue-note-gxk-8048-lp","title":"Wayne Shorter - Super Nova (1978 Japanese Blue Note GXK 8048 LP)","description":"\u003cp\u003e\u003cstrong\u003eWayne Shorter - \u003cem\u003eSuper Nova\u003c\/em\u003e | Vinyl LP - 1978 Japanese Blue Note (GXK 8048, Blue Note Masterpiece Selection 150, King Record Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn August 1969 Wayne Shorter had just recorded \u003cem\u003eIn A Silent Way\u003c\/em\u003e with Miles Davis. The Blue Note contract was still running. Duke Pearson produced the session that became \u003cem\u003eSuper Nova\u003c\/em\u003e at A\u0026amp;R Studios in New York, and the ensemble he assembled looks nothing like any previous Shorter Blue Note date. Two guitarists — John McLaughlin and Sonny Sharrock — covered ground between modal rock and pure noise. Miroslav Vitous, already essential to what would become Weather Report, played bass. Two drummers split the kit: Jack DeJohnette also played kalimba; Chick Corea played drums and vibraphone instead of piano. Airto Moreira handled percussion.\u003c\/p\u003e\n\u003cp\u003eFive of the six tracks are Shorter originals, though three — \"Swee-Pea,\" \"Water Babies\" and \"Capricorn\" — had already been recorded with the Miles Davis Quintet in 1967 during sessions that wouldn't be released until 1976 as the \u003cem\u003eWater Babies\u003c\/em\u003e album. The versions here are barely recognisable by comparison. \"Dindi,\" the Jobim standard, sits at the end of Side A and is completely different from everything around it: Walter Booker and McLaughlin play classical guitar, Maria Booker sings, Shorter is almost quiet. The B-side opens with \"Water Babies\" and closes with \"More Than Human,\" and neither pulls any punches.\u003c\/p\u003e\n\u003cp\u003eThis 1978 Japanese pressing is part of the Blue Note Masterpiece Selection 150 series, manufactured by King Record Co. Ltd.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43405704331323,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6543.jpg?v=1775775707"},{"product_id":"horace-parlan-headin-south-1983-japanese-blue-note-bnj-71007-promo-lp","title":"Horace Parlan - Headin' South (1983 Japanese Blue Note BNJ-71007 Promo LP)","description":"\u003cp\u003e\u003cstrong\u003eHorace Parlan - \u003cem\u003eHeadin' South\u003c\/em\u003e | Vinyl LP - 1983 Japanese Blue Note Promo Reissue (BNJ-71007, Modern Piano Collection, Toshiba EMI Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHorace Parlan was born in Pittsburgh in 1931 and contracted polio as a child, which left the fingers of his right hand partially paralysed. He compensated by building an unusually powerful left hand and a sparse, rhythmically concentrated right-hand approach. By 1957 he was in Charles Mingus's band; by 1960 he was recording four albums for Blue Note in a single year, all at Van Gelder Studio in Englewood Cliffs.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHeadin' South\u003c\/em\u003e was the last of those four 1960 sessions, cut on 6 December with George Tucker on bass and Al Harewood on drums — the same rhythm section from the \u003cem\u003eUs Three\u003c\/em\u003e date in April — plus Ray Barretto on congas for five of the eight tracks. Barretto was deep in his Afro-Cuban jazz period at this point, recording prolifically with Blue Note and Prestige artists. His congas on \"Headin' South,\" \"The Song Is Ended\" and \"Summertime\" push the pocket of Harewood's drumming sideways. \"Congalegre\" — the title is Parlan's invented portmanteau of conga and allegre — features Harewood and Tucker without Barretto, the trio alone at pace. Parlan's piano on the ballads is deliberate and spare, as on \"Prelude to a Kiss\" and \"My Mother's Eyes.\" Tucker died in 1965 at thirty-eight from a stroke mid-performance; Harewood lived to ninety. This 1983 Japanese pressing is a promo issue from the Blue Note Modern Piano Collection series, manufactured by Toshiba EMI Ltd.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43407831007291,"sku":null,"price":160.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6538.jpg?v=1775807846"},{"product_id":"joe-henderson-page-one-1984-japanese-blue-note-vinyl-lp","title":"Joe Henderson - Page One (1984 Japanese Blue Note Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eJoe Henderson - \u003cem\u003ePage One\u003c\/em\u003e | Vinyl LP - 1984 Japanese Blue Note Reissue (BNJ71024, The Hits of Blue Note Part 2, Toshiba EMI Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eHenderson's debut as a leader\u003c\/strong\u003e, recorded June 3, 1963 at Van Gelder Studio; Kenny Dorham on trumpet, McCoy Tyner on piano, Butch Warren on bass, Pete La Roca on drums\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e\"Blue Bossa\" and \"Recorda-Me\"\u003c\/strong\u003e have both become standards and remain among the most played tunes in the hard bop repertoire; all six tracks are originals by either Henderson or Dorham\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1984 Japanese Blue Note pressing (BNJ71024)\u003c\/strong\u003e, manufactured by Toshiba EMI Ltd.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eKenny Dorham had already done the work before Henderson walked into Van Gelder's studio. He introduced Henderson to Blue Note, put him on \u003cem\u003eUna Mas\u003c\/em\u003e a few weeks earlier, and made sure he got his own session booked for June 1963. He brought along Butch Warren and Pete La Roca, wrote two of the six tunes, played on all of them, and wrote the liner notes. Alfred Lion produced. If \u003cem\u003ePage One\u003c\/em\u003e reads as a debut, it's partly because Dorham designed it that way.\u003c\/p\u003e\n\u003cp\u003eThe two Dorham compositions — \"Blue Bossa\" and \"La Mesha\" — open Side A. \"Blue Bossa\" is the bossa nova-tinged piece that became a jam session permanent fixture almost immediately; \"La Mesha\" is a short, quiet ballad. Henderson wrote the other four: \"Homestretch\" runs hard, \"Recorda-Me\" is his other enduring standard, \"Jinrikisha\" swings hard and \"Out of the Night\" closes on a slow blues crawl. McCoy Tyner appears on all six tracks but couldn't be credited by name on the original cover — he had just signed to Impulse Records, making him contractually off-limits for a Blue Note artist credit. He's listed as \"ETC.\" The Japanese pressing states the situation directly: \"McCoy Tyner performs by courtesy of Impulse Records.\"\u003c\/p\u003e\n\u003cp\u003eHenderson was 26 years old when this was recorded. Dorham described him in the liner notes as \"one of the most musical young saxophonists to show since Charlie Parker.\" This 1984 Japanese pressing is part of \u003cem\u003eThe Hits of Blue Note Part 2\u003c\/em\u003e series, manufactured by Toshiba EMI Ltd., and includes a four-page folded insert with Japanese liner notes and a Henderson Blue Note discography.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43410966544443,"sku":null,"price":170.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6580.jpg?v=1775943066"},{"product_id":"wayne-shorter-the-all-seeing-eye-1967-japanese-distributed-us-blue-note-bst-84219-lp","title":"Wayne Shorter - The All Seeing Eye (1967 Japanese-distributed US Blue Note BST 84219 LP)","description":"\u003cp\u003e\u003cstrong\u003eWayne Shorter - \u003cem\u003eThe All Seeing Eye\u003c\/em\u003e | Vinyl LP - 1967 US Blue Note (BST 84219, Liberty Records label, Japanese distribution via Toshiba Musical Industries Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is the original US Liberty-era pressing of \u003cem\u003eThe All Seeing Eye\u003c\/em\u003e, distributed in Japan through Toshiba Musical Industries with a Japanese obi and insert. The blue\/white label carries the \"A Division of Liberty Records, Inc.\" identifier, dating it to the period after Liberty acquired Blue Note in 1966. Alfred Lion produced the original October 1965 session; Rudy Van Gelder engineered; Reid Miles designed the cover; Francis Wolff photographed it. Nat Hentoff wrote the liner notes from an extended interview with Shorter.\u003c\/p\u003e\n\u003cp\u003eThe album is five pieces and was planned as a suite rather than a collection of separate tracks. Shorter told Hentoff what each piece meant: \"The All Seeing Eye\" is about creation and God's role in it; \"Genesis\" starts in free tempo and moves into 4\/4 as the world settles; \"Chaos\" is war and human misunderstanding; \"Face of the Deep\" is a minor-key ballad meant to be hopeful, God looking at what has been made; \"Mephistopheles\" — written by Alan Shorter, who plays flugelhorn on it — closes the suite with the demonic counterweight. The ensemble Shorter assembled was a septet: Freddie Hubbard on trumpet, Grachan Moncur III on trombone, James Spaulding on alto saxophone, Herbie Hancock on piano, Ron Carter on bass and Joe Chambers on drums. Shorter was a year into the Miles Davis Quintet when this was recorded, and the space that quintet opened up is audible in every bar.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43410987286587,"sku":null,"price":160.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6594.jpg?v=1775944738"},{"product_id":"sonny-rollins-a-night-at-the-village-vanguard-1978-japanese-blue-note-gxk-8101m-mono-lp","title":"Sonny Rollins - A Night at the Village Vanguard (1978 Japanese Blue Note GXK 8101(M) Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eSonny Rollins - \u003cem\u003eA Night at the Village Vanguard\u003c\/em\u003e | Vinyl LP - 1978 Japanese Blue Note Mono Reissue (GXK 8101(M), Blue Note Masterpiece Selection 150, King Record Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlfred Lion had already recorded Rollins in the studio three times for Blue Note. On November 3, 1957, he sent Rudy Van Gelder to the Village Vanguard to record the first live session ever made there. Rollins played three sets. For the afternoon matinee, the rhythm section was Donald Bailey on bass and Pete La Roca on drums; for the two evening sets, he switched to Wilbur Ware on bass and Elvin Jones on drums — the switch apparently made between sets, Jones claiming he happened upon Ware outside and was told Rollins was looking for him. The evening sessions dominate the original LP: Ware and Jones appear on five of the six tracks. Bailey and La Roca appear only on \"A Night in Tunisia.\"\u003c\/p\u003e\n\u003cp\u003eNo pianist. Rollins plays these standards and two originals in trio format, which means every harmonic implication in the solos is his to handle alone. \"Striver's Row\" and \"Sonnymoon for Two\" are Rollins originals — the second named for his wife. \"Old Devil Moon,\" \"Softly as in a Morning Sunrise,\" \"A Night in Tunisia\" and \"I Can't Get Started\" are standards, each given long, searching treatment. Elvin Jones had not yet become the figure he would be inside the Coltrane quartet, but the interactive, polyrhythmic approach that defines his playing was already in place. Wilbur Ware's bass lines move constantly. The album was released in 1958. More material from the same session was released as \u003cem\u003eMore from the Vanguard\u003c\/em\u003e in 1975.\u003c\/p\u003e\n\u003cp\u003eThis 1978 Japanese mono pressing is part of the Blue Note Masterpiece Selection 150 series, manufactured by King Record Co. Ltd., and includes the Japanese insert.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43411353239611,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6636.jpg?v=1775985822"}],"url":"https:\/\/lushliferecords.com.au\/collections\/blue-note.oembed?page=6","provider":"Lush Life Records","version":"1.0","type":"link"}