{"title":"Columbia \/ CBS","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eColumbia Records signed Miles Davis, Dave Brubeck, Thelonious Monk and Charles Mingus across a run that defined post-war jazz. Outside North America, the same catalogue was released under the CBS name (a trademark distinction, not a separate label), and Japanese, European and Australian pressings carry that imprint. This collection brings both together: US Columbias, international CBS pressings, and reissues from across the label's jazz catalogue.\u003cbr\u003e\u003c\/p\u003e","products":[{"product_id":"herbie-hancock-thrust","title":"Herbie Hancock - Thrust (1974 Columbia Reissue LP Vinyl)","description":"\u003cp\u003eA defining work from Herbie Hancock's jazz-funk era, Thrust delivers a seamless blend of improvisational flair and deep funk grooves. This sought-after US Pitman pressing (PC 32965) from 1974 captures the raw energy of one of Hancock's most electrifying studio albums.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":42447490973755,"sku":null,"price":30.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4238.jpg?v=1759018737"},{"product_id":"lester-young-the-lester-young-story-volume-1","title":"The Lester Young Story Volume 1 (Double-LP)","description":"\u003cp\u003eCelebrate the early brilliance of Lester \"Pres\" Young with this enthralling 1976 UK Columbia (CBS) release. Spanning rare and historically rich recordings from 1936 to 1938, this double-album compilation delivers a compelling look into Young’s formative years alongside legends like Teddy Wilson, Billie Holiday, and Count Basie. The mono, gatefold presentation makes it a standout collector’s piece.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42447560179771,"sku":null,"price":20.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4236.jpg?v=1759019442"},{"product_id":"miles-davis-kind-of-blue","title":"Miles Davis - Kind Of Blue (2015 Columbia Reissue LP Vinyl)","description":"\u003cp data-start=\"255\" data-end=\"583\"\u003e\u003cem data-start=\"255\" data-end=\"269\"\u003eKind of Blue\u003c\/em\u003e isn’t just Miles Davis’s most famous album — it’s the most celebrated jazz record of all time. Recorded in 1959 with a dream lineup — \u003cstrong data-start=\"404\" data-end=\"421\"\u003eJohn Coltrane\u003c\/strong\u003e, \u003cstrong data-start=\"423\" data-end=\"446\"\u003eCannonball Adderley\u003c\/strong\u003e, \u003cstrong data-start=\"448\" data-end=\"462\"\u003eBill Evans\u003c\/strong\u003e, \u003cstrong data-start=\"464\" data-end=\"481\"\u003ePaul Chambers\u003c\/strong\u003e, and \u003cstrong data-start=\"487\" data-end=\"501\"\u003eJimmy Cobb\u003c\/strong\u003e — it redefined modern jazz with its modal approach and spacious, lyrical sound.\u003c\/p\u003e\n\u003cp data-start=\"585\" data-end=\"865\"\u003eFrom the cool sway of \u003cem data-start=\"607\" data-end=\"616\"\u003eSo What\u003c\/em\u003e to the haunting beauty of \u003cem data-start=\"643\" data-end=\"658\"\u003eBlue in Green\u003c\/em\u003e and the graceful flow of \u003cem data-start=\"684\" data-end=\"695\"\u003eAll Blues\u003c\/em\u003e, every note feels timeless. The interplay between Davis, Coltrane, and Evans remains unmatched, making this an album that rewards both casual listening and deep study.\u003cstrong data-start=\"867\" data-end=\"888\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"981\" data-end=\"1093\"\u003eUniversally regarded as a masterpiece, \u003cem data-start=\"1020\" data-end=\"1034\"\u003eKind of Blue\u003c\/em\u003e belongs in every collection — the definitive jazz album.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":42460431614011,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/888751119215.jpg?v=1757853398"},{"product_id":"miles-davis-1958-miles-1979-japanese-cbs-sony-mono-vinyl-lp","title":"Miles Davis - 1958 Miles (1979 Japanese CBS\/Sony Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003e1958 Miles\u003c\/em\u003e | Vinyl LP - 1979 Japanese CBS\/Sony Mono (20AP 1401, CBS Favorite Jazz series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1958 Miles\u003c\/em\u003e gathers one of the most beautiful sessions Miles Davis ever recorded. By the spring of 1958 his sextet had reached an extraordinary line-up, John Coltrane and Cannonball Adderley sharing the front line, Paul Chambers and Jimmy Cobb in the rhythm section, and a young Bill Evans newly installed at the piano in place of Red Garland. Evans changed everything. His impressionistic, classically shaded harmony pulled Miles's music towards the spare, modal, floating sound that would become \u003cem\u003eKind of Blue\u003c\/em\u003e a year later, and you can hear the shift happening in real time here. The May 1958 date is the heart of the record: a definitive \"On Green Dolphin Street\", a \"Stella By Starlight\" of almost unbearable tenderness with Miles on muted trumpet, and a long, easy \"Love For Sale\". The set opens out with \"Fran-Dance\", Miles's reworking of an old folk tune, and closes with \"Little Melonae\", a Jackie McLean line from an earlier 1958 date with Red Garland and Philly Joe Jones still aboard. It is Miles at a hinge point, and it is gorgeous.\u003c\/p\u003e\n\u003cp\u003eThis material has been scattered across various American releases over the years, but Japanese collectors have long treasured \u003cem\u003e1958 Miles\u003c\/em\u003e as the album that gathers the best of it in one place, and this CBS\/Sony pressing is one of the reasons. Japanese buyers took the presentation seriously: the cover carries a print by Masuo Ikeda, one of the country's most celebrated postwar artists, and the pressing itself is prized for its quiet, well-defined sound.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1979 Japanese mono edition on CBS\/Sony, part of the CBS Favorite Jazz series, catalogue number 20AP 1401.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42473674768443,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8205.jpg?v=1786072538"},{"product_id":"miles-davis-bitches-brew","title":"Miles Davis – Bitches Brew (2015 Columbia Reissue 2LP Vinyl)","description":"\u003cp data-start=\"179\" data-end=\"590\"\u003eReleased in 1970 on Columbia, \u003cem data-start=\"209\" data-end=\"223\"\u003eBitches Brew\u003c\/em\u003e is \u003cstrong data-start=\"227\" data-end=\"244\"\u003eMiles Davis’s\u003c\/strong\u003e groundbreaking fusion masterpiece — the album that redefined the direction of modern jazz. With a massive ensemble including \u003cstrong data-start=\"370\" data-end=\"387\"\u003eWayne Shorter\u003c\/strong\u003e, \u003cstrong data-start=\"389\" data-end=\"404\"\u003eJoe Zawinul\u003c\/strong\u003e, \u003cstrong data-start=\"406\" data-end=\"421\"\u003eChick Corea\u003c\/strong\u003e, \u003cstrong data-start=\"423\" data-end=\"442\"\u003eJohn McLaughlin\u003c\/strong\u003e, \u003cstrong data-start=\"444\" data-end=\"460\"\u003eDave Holland\u003c\/strong\u003e, and \u003cstrong data-start=\"466\" data-end=\"485\"\u003eJack DeJohnette\u003c\/strong\u003e, Davis blended electric instruments, rock rhythms, and free improvisation into something entirely new.\u003c\/p\u003e\n\u003cp data-start=\"592\" data-end=\"917\"\u003eThe music is sprawling, atmospheric, and hypnotic: shifting grooves, layered textures, and searing trumpet lines that stretch jazz beyond its traditional boundaries. From the dark intensity of the title track to the churning momentum of \u003cem data-start=\"829\" data-end=\"846\"\u003ePharaoh’s Dance\u003c\/em\u003e, this double LP is as radical and essential today as it was in 1970.\u003cstrong data-start=\"919\" data-end=\"940\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1028\" data-end=\"1161\"\u003eA landmark release, \u003cem data-start=\"1048\" data-end=\"1062\"\u003eBitches Brew\u003c\/em\u003e stands as the birth of jazz fusion and one of the most influential albums in 20th-century music.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":42474060972091,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/c551539bab2745d0b2e8df07480050f4_700x700_70836f98-97c4-4f50-9815-a79b9b0ea8c3.webp?v=1758363713"},{"product_id":"miles-davis-sketches-of-spain-1981-japanese-cbs-sony-vinyl-lp","title":"Miles Davis - Sketches Of Spain (1981 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eSketches Of Spain\u003c\/em\u003e | Vinyl LP - 1981 Japanese CBS\/Sony Reissue (18AP 2057, Miles 25 Series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEvans played Davis a recording of Rodrigo's \u003cem\u003eConcierto de Aranjuez\u003c\/em\u003e and Davis wanted to record it. The arrangement that Evans produced from the second movement (Adagio) took the 16 minutes of side A to execute, and the session on November 20, 1959 was by Davis's account one of the most physically demanding recording dates of his career. The difficulty is audible in the best way. Davis's trumpet sounds exposed against the orchestral backdrop, carrying a long, mournful melody through a web of French horns, harp, flute and bass clarinet that Evans voices in clusters so dense they shimmer rather than resolve. There's almost no improvisation in the conventional sense. Davis plays the line Evans wrote for him, and what makes it work is the tone: dry, precise, unadorned, sitting on top of the orchestra rather than blending into it. \"Will O' The Wisp,\" from de Falla's ballet \u003cem\u003eEl Amor Brujo\u003c\/em\u003e, is the shortest track and the most contained, Davis's flugelhorn carrying a fragmented melody over muted brass.\u003c\/p\u003e\n\u003cp\u003eSide B is where Evans's original compositions take over. \"The Pan Piper\" was inspired by a field recording of Peruvian music, its melody drawn from a single instrument against a rhythmic backdrop that Elvin Jones anchors with hand percussion rather than the drum kit he played in Coltrane's quartet. \"Saeta\" reimagines the vocal form sung during Semana Santa processions in Seville: Davis's trumpet functions as the human voice, crying out above a slow march. \"Solea,\" the 12-minute closing piece, is based on the soleá, one of the foundational forms of flamenco, and is the track where Davis sounds most like himself, stretching further from the written material than anywhere else on the album.\u003c\/p\u003e\n\u003cp\u003eThis is the 1981 Japanese stereo reissue on CBS\/Sony 18AP 2057.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42533950980155,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7542.jpg?v=1782603008"},{"product_id":"the-dave-brubeck-quartet-time-out-2024-columbia-legacy-vinyl-lp","title":"The Dave Brubeck Quartet – Time Out (2024 Columbia Legacy Vinyl LP)","description":"\u003cp data-start=\"397\" data-end=\"829\"\u003eFirst released in 1959 and reissued here in \u003cstrong data-start=\"441\" data-end=\"468\"\u003e2024 on Columbia Legacy\u003c\/strong\u003e, \u003cem data-start=\"470\" data-end=\"480\"\u003eTime Out\u003c\/em\u003e remains one of the most recognisable and best-selling \u003cstrong data-start=\"535\" data-end=\"559\"\u003ejazz albums on vinyl\u003c\/strong\u003e, a record that broke every rule while still swinging with poise and clarity. Pianist \u003cstrong data-start=\"645\" data-end=\"661\"\u003eDave Brubeck\u003c\/strong\u003e and alto saxophonist \u003cstrong data-start=\"683\" data-end=\"699\"\u003ePaul Desmond\u003c\/strong\u003e pushed the limits of rhythm, bringing odd time signatures into mainstream jazz and making them feel as natural as a blues walk.\u003c\/p\u003e\n\u003cp data-start=\"831\" data-end=\"1424\"\u003eThe opener \u003cem data-start=\"842\" data-end=\"864\"\u003eBlue Rondo à la Turk\u003c\/em\u003e sets the tone, shifting effortlessly between Eastern-inspired patterns and cool West Coast swing. \u003cem data-start=\"963\" data-end=\"984\"\u003eStrange Meadow Lark\u003c\/em\u003e follows with a long, impressionistic piano introduction before giving way to Desmond’s light-as-air tone. And of course \u003cem data-start=\"1105\" data-end=\"1116\"\u003eTake Five\u003c\/em\u003e sits at the centre of it all, a 5\/4 masterpiece that became jazz’s first true crossover hit. The second side moves between the playful \u003cem data-start=\"1252\" data-end=\"1272\"\u003eThree to Get Ready\u003c\/em\u003e and the relaxed bounce of \u003cem data-start=\"1299\" data-end=\"1314\"\u003eKathy’s Waltz\u003c\/em\u003e, closing with \u003cem data-start=\"1329\" data-end=\"1345\"\u003ePick Up Sticks\u003c\/em\u003e, where \u003cstrong data-start=\"1353\" data-end=\"1368\"\u003eJoe Morello\u003c\/strong\u003e’s drums and \u003cstrong data-start=\"1381\" data-end=\"1398\"\u003eGene Wright’s\u003c\/strong\u003e bass bring it all home.\u003c\/p\u003e\n\u003cp data-start=\"1426\" data-end=\"1782\"\u003eThis \u003cstrong data-start=\"1431\" data-end=\"1461\"\u003eEuropean 180-gram pressing\u003c\/strong\u003e from Columbia and Legacy offers superb warmth and depth, with full stereo separation and beautifully restored artwork. \u003cem data-start=\"1581\" data-end=\"1591\"\u003eTime Out\u003c\/em\u003e isn’t just a cornerstone of \u003cstrong data-start=\"1620\" data-end=\"1633\"\u003ecool jazz\u003c\/strong\u003e and \u003cstrong data-start=\"1638\" data-end=\"1656\"\u003ebop innovation\u003c\/strong\u003e; it’s one of those rare albums that makes complexity sound effortless, a timeless listen for both newcomers and collectors.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":42553515245627,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/198028032117.jpg?v=1761305925"},{"product_id":"weather-report-heavy-weather-1977-japanese-cbs-sony-vinyl-lp","title":"Weather Report - Heavy Weather (1977 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWeather Report - \u003cem\u003eHeavy Weather\u003c\/em\u003e | Vinyl LP - 1977 Japanese CBS\/Sony (25AP 357)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy the time of \u003cem\u003eHeavy Weather\u003c\/em\u003e, Jaco Pastorius had fully arrived. He had joined for the previous album, \u003cem\u003eBlack Market\u003c\/em\u003e (1976), replacing Alphonso Johnson on a couple of tracks, but here he plays bass on everything except the percussion feature, and his contribution goes well beyond the bass chair. He co-produced the album, wrote two of its most celebrated pieces (\"Teen Town,\" where he plays both bass and drums, and \"Havona\"), and shaped the sound of the record through his knowledge of the studio. His fretless bass functions as a third melodic voice, dancing above the range where a bass is supposed to sit. \"Birdland\" is the track everyone knows, Zawinul's tribute to the New York club where he had heard Basie, Ellington, Armstrong and Davis, and where he met his wife. The Oberheim synthesiser creates the illusion of a horn section, Jaco plays the melody in harmonics at the introduction, and the whole thing builds through section after section without a wasted bar. It reached the pop charts, which almost no instrumental jazz recording did in 1977. \"A Remark You Made\" follows, a slow, wordless ballad with Shorter's soprano saxophone floating over Zawinul's Rhodes and Jaco's bass, the most purely beautiful thing on the album.\u003c\/p\u003e\n\u003cp\u003eThe rest of the record moves between moods and textures. \"Teen Town\" is Jaco's showcase, fast and manic, with his bass carrying the melody. \"Harlequin\" is a Shorter ballad. \"Rumba Mamá\" (recorded live at the 1976 Montreux Jazz Festival) is a percussion duet between Acuña and Badrena, all timbales and voices. \"Palladium\" is a Shorter piece with a driving Latin feel. \"The Juggler\" brings in Zawinul on guitar and tabla. \"Havona\" closes the album with Jaco's most harmonically ambitious composition, a fast, complex piece that gives everyone room to stretch. Zawinul had become the band's de facto director in the studio by this point, his synthesisers dictating the textures and his arrangements carefully planned, with less of the free improvisation of the group's early years. But the interplay between Zawinul, Shorter and Pastorius is what makes the album endure. One of the most celebrated albums in jazz fusion history, Weather Report's \u003cem\u003eHeavy Weather\u003c\/em\u003e stands as a landmark recording that defined the genre's golden era. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThis is the 1977 Japanese pressing on CBS\/Sony 25AP 357. Comes with yellow obi and Japanese insert.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42586027524155,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7691.jpg?v=1783898032"},{"product_id":"wilbur-harden-with-john-coltrane-mainstream-1958-japanese-savoy-vinyl-lp","title":"Wilbur Harden With John Coltrane - Mainstream 1958 (Japanese Savoy Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWilbur Harden, John Coltrane, Tommy Flanagan, Doug Watkins, Louis Hayes - Mainstream 1958: The East Coast Jazz Scene Vinyl LP - Japanese CBS\/Sony Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA remarkable document from a pivotal moment in John Coltrane's development, \u003cem\u003eMainstream 1958\u003c\/em\u003e captures the tenor saxophonist during his transitional period between his years with Miles Davis and the formation of his own revolutionary quartet. Recorded on 13 March 1958 at Rudy Van Gelder's Hackensack studio, this session finds Coltrane alongside flugelhorn player Wilbur Harden, whose warm, mellow horn tone provides an intriguing contrast to Coltrane's increasingly intense explorations. This 1975 Japanese reissue on CBS\/Sony, part of their Original Savoy Recording series, preserves these historically significant performances with the mono fidelity that captures the music's essence.\u003c\/p\u003e\n\u003cp\u003eWilbur Harden remains one of hard bop's under-appreciated figures, a flugelhorn specialist whose melodic approach and compositional skills deserved wider recognition. All five compositions here are Harden originals, showcasing his writing ability across a range of moods and tempos. What makes this session special is hearing Coltrane within Harden's musical context rather than as the dominant voice. While Coltrane's solos reveal the \"sheets of sound\" approach and harmonic restlessness that would soon revolutionise jazz, he's working within Harden's frameworks and sharing space with the leader's lyrical flugelhorn.\u003c\/p\u003e\n\u003cp\u003eThe rhythm section is impeccable: Tommy Flanagan on piano, one of the era's most tasteful and harmonically sophisticated accompanists; Doug Watkins on bass, providing solid yet melodic support; and the young Louis Hayes on drums, already demonstrating the crisp attack and musical intelligence that would make him one of hard bop's most in-demand drummers. Together, they create the perfect foundation for the frontline's explorations.\u003c\/p\u003e\n\u003cp\u003eTracks like \"Wells Fargo\" and \"West 42nd Street\" demonstrate the quintet's ability to swing hard while maintaining compositional interest, while \"E.F.F.P.H.\", \"Snuffy\", and \"Rhodomagnetics\" showcase Harden's diverse compositional palette. Throughout, Coltrane's tenor playing is fascinating to hear in this context, showing both where he'd been and where he was heading.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing includes an LP-sized insert and represents Van Gelder's original mono recording with excellent fidelity. For Coltrane completists and those interested in hard bop's development, this session offers crucial insights into a transformative period.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42703397781563,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5095.jpg?v=1763004374"},{"product_id":"billie-holiday-lady-in-satin-1980-japanese-cbs-sony-vinyl-lp","title":"Billie Holiday - Lady In Satin (1980 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eBillie Holiday With Ray Ellis And His Orchestra - Lady In Satin Vinyl LP - Japanese CBS\/Sony Reissue with Obi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBillie Holiday's penultimate studio album and arguably her most emotionally devastating recording, \u003cem\u003eLady In Satin\u003c\/em\u003e presents the legendary singer backed by lush orchestral arrangements from Ray Ellis. Recorded in February 1958, just 17 months before her death, this album finds Holiday's voice ravaged by years of hard living, yet paradoxically at its most expressive and moving. This 1980 Japanese pressing on CBS\/Sony, part of their Jazz Flash 50 series and complete with two Japanese inserts and obi strip, preserves one of the most poignant documents in vocal jazz history.\u003c\/p\u003e\n\u003cp\u003eBy 1958, Holiday's voice had lost the youthful suppleness and purity of her 1930s and 1940s recordings. The instrument was frayed, the range diminished, the tone sometimes cracked and uncertain. Yet what emerged was something perhaps even more powerful: a voice that had lived every word it sang, that conveyed heartbreak, resignation, and hard-won wisdom with devastating authenticity. Holiday insisted on Ray Ellis' string arrangements despite some critics feeling they were too ornate, and in retrospect, the contrast between the lush orchestration and her fragile voice creates an almost unbearable beauty.\u003c\/p\u003e\n\u003cp\u003eThe twelve songs, all classics of romantic loss and melancholy, become something beyond typical torch singing in Holiday's interpretation. \"I'm A Fool To Want You\" appears twice, once in stereo and once in the original mono recording, each version a masterclass in emotional vulnerability. \"You Don't Know What Love Is\", \"I Get Along Without You Very Well\", and \"Glad To Be Unhappy\" receive readings that strip away any pretence or vocal showmanship, leaving only raw feeling.\u003c\/p\u003e\n\u003cp\u003eHoliday's phrasing, always her greatest gift, remains impeccable. Even when the voice wavers, her placement of words, her slight delays and rushes, her ability to find meaning in every syllable, demonstrates why she influenced generations of singers across all genres. Irving Townsend's liner notes, included in this Japanese edition, provide moving context about the recording sessions and Holiday's state of mind during this twilight period of her career.\u003c\/p\u003e\n\u003cp\u003eThis CBS\/Sony pressing includes both the stereo versions and the mono recordings of \"I'm A Fool To Want You\" and \"The End Of A Love Affair\", offering both sonic approaches to this material. The two Japanese inserts and obi strip add valuable context and make this an attractive edition for collectors of both Holiday's work and Japanese jazz pressings.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43011664937019,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5140.jpg?v=1763274180"},{"product_id":"charles-mingus-mingus-dynasty-1973-japanese-cbs-sony-limited-edition-vinyl-lp","title":"Charles Mingus - Mingus Dynasty (1973 Japanese CBS\/Sony Limited Edition Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eCharles Mingus And His Jazz Groups - Mingus Dynasty (Vinyl LP - Limited Edition Japanese CBS\/Sony Reissue)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA compelling collection of Charles Mingus compositions performed by two different ensembles across two November 1959 recording sessions, \u003cem\u003eMingus Dynasty\u003c\/em\u003e captures the legendary bassist and composer leading groups through material ranging from hard-driving post-bop to tender balladry. This 1973 limited edition Japanese pressing on CBS\/Sony, part of their CBS Sony Jazz 1300 series, presents these historically significant performances with the care and quality Japanese reissues are celebrated for.\u003c\/p\u003e\n\u003cp\u003eThe album showcases Mingus working with an exceptional roster of musicians across nine tracks. The first session, recorded on 1 November 1959, features a nine-piece ensemble including saxophonists Jerome Richardson and Benny Golson, trumpeter Richard Williams, trombonist Jimmy Knepper, vibraphonist Teddy Charles, and the rhythm section of Roland Hanna on piano, Mingus on bass, and the indispensable Dannie Richmond on drums. Tracks like \"Diane\", \"Song With Orange\", \"Gunslinging Bird\", \"Far Wells, Mill Valley\", and \"New Now, Know How\" demonstrate Mingus' compositional range and his ability to write for larger ensembles with sophisticated voicings and unexpected harmonic turns.\u003c\/p\u003e\n\u003cp\u003eThe second session, from 13 November 1959, presents a slightly smaller group featuring the fiery tenor saxophonist Booker Ervin, alto saxophonist John Handy, trumpeter Don Ellis, Jimmy Knepper returning on trombone, Roland Hanna on piano, and the Mingus-Richmond rhythm team. \"Slop\" opens the album with characteristic Mingus energy and humour, while \"Things Ain't What They Used To Be\" swings with authority. Duke Ellington's \"Mood Indigo\" receives a Mingus reimagining that honours the original while making it unmistakably his own. The album closes with \"Put Me In That Dungeon\", featuring two cellists (Maurice Brown and Seymour Barab) adding unusual timbral colours to Mingus' composition.\u003c\/p\u003e\n\u003cp\u003eWhat makes \u003cem\u003eMingus Dynasty\u003c\/em\u003e particularly valuable is hearing Mingus work with different instrumental configurations and personnel across the same month. The contrast between the sessions reveals his adaptability and the consistency of his vision regardless of lineup. Jimmy Knepper's trombone and Dannie Richmond's drums appear on all tracks, providing continuity and showcasing two of Mingus' most important long-term collaborators.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing offers excellent stereo sound that captures both the ensemble textures of the larger group and the more intimate interplay of the smaller lineup. As a limited edition release in the CBS Sony Jazz 1300 series, this represents a carefully curated addition to CBS\/Sony's jazz catalogue for the Japanese market.\u003c\/p\u003e\n\u003cp\u003eIncludes original insert.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43028441530427,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5215.jpg?v=1763612127"},{"product_id":"bob-james-and-earl-klugh-one-on-one-1979-japanese-cbs-sony-gatefold-vinyl-lp","title":"Bob James And Earl Klugh - One On One (1979 Japanese CBS\/Sony Gatefold Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eBob James And Earl Klugh - \u003cem\u003eOne On One\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1979 Japanese CBS\/Sony Master Sound 76 Gatefold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe collaboration between keyboardist\/producer Bob James and acoustic guitarist Earl Klugh resulted in this polished fusion album combining James' sophisticated arranging and Klugh's lyrical guitar work. Released in 1979 and pressed in Japan by CBS\/Sony as part of their Master Sound 76 series, this gatefold edition features James' lush orchestrations (including full string and horn sections), Harvey Mason's impeccable drumming, and Klugh's classical-influenced acoustic guitar on six compositions ranging from the opening \"Kari\" through the closing \"Winding River\". The result exemplifies late 1970s smooth jazz\/fusion at its most technically accomplished and commercially accessible.\u003c\/p\u003e\n\u003cp\u003eJames' production and arrangements showcase his gifts for creating sophisticated yet accessible instrumental music, his Fender Rhodes electric piano and acoustic piano work providing harmonic foundation while string arrangements add cinematic sweep. Klugh's nylon-string acoustic guitar, influenced by both jazz and classical traditions, creates melodic lines that feel both improvised and carefully composed. The rhythm section of Harvey Mason on drums, Ralph MacDonald on percussion, and Eric Gale adding electric guitar on selected tracks provides both groove and sophistication, while the string section (including multiple violins, violas, and cellos) adds lushness without overwhelming the core trio sound.\u003c\/p\u003e\n\u003cp\u003eThis Japanese Master Sound 76 series pressing by CBS\/Sony represents premium manufacturing for the Japanese market, the gatefold format providing expanded presentation. The combination of James and Klugh proved commercially successful, leading to a Grammy win and establishing a template for smooth jazz that would dominate the 1980s.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43136455802939,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5755.jpg?v=1768607612"},{"product_id":"mahavishnu-orchestra-the-inner-mounting-flame-japanese-cbs-sony-sx68-sound-lp","title":"Mahavishnu Orchestra - The Inner Mounting Flame (Japanese CBS\/Sony SX68 Sound LP)","description":"\u003cp\u003e\u003cstrong\u003eThe Mahavishnu Orchestra With John McLaughlin - \u003cem\u003eThe Inner Mounting Flame\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - Japanese CBS\/Sony SX68 Sound Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJohn McLaughlin's Mahavishnu Orchestra redefined jazz-rock fusion with their debut album, \u003cem\u003eThe Inner Mounting Flame\u003c\/em\u003e. Featuring McLaughlin's blazing guitar alongside Jan Hammer's synthesizers and piano, Jerry Goodman's electric violin, Rick Laird's bass, and Billy Cobham's explosive drumming, the quintet created music of unprecedented technical virtuosity and spiritual intensity. Recorded in 1971 and released on this Japanese CBS\/Sony pressing as part of their SX68 Sound series, the album's eight McLaughlin compositions range from the opening assault of \"Meeting Of The Spirit\" through the meditative \"A Lotus On Irish Streams\" to the concluding \"Awakening\", demonstrating that fusion could achieve both technical sophistication and emotional depth.\u003c\/p\u003e\n\u003cp\u003eThe album's revolutionary impact stemmed from the musicians' extraordinary abilities and McLaughlin's compositional vision. His compositions featured complex time signatures, rapid tempo changes, and harmonic sophistication that required virtuoso technique to execute, yet the music never felt merely technical. McLaughlin's guitar playing, influenced by both Coltrane's modal jazz and Indian classical music, combined with Hammer's pioneering Moog synthesizer work to create textures unprecedented in jazz or rock. Cobham's drumming, combining jazz technique with rock power, provided both precision and explosive energy, while Goodman's amplified violin added another voice to the frontline alongside McLaughlin and Hammer.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43158109913147,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5794.jpg?v=1769135990"},{"product_id":"herbie-hancock-head-hunters-1973-japanese-cbs-sony-vinyl-lp","title":"Herbie Hancock - Head Hunters (1973 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHerbie Hancock - \u003cem\u003eHead Hunters\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1973 Japanese CBS\/Sony Release\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHerbie Hancock's commercial and artistic breakthrough, \u003cem\u003eHead Hunters\u003c\/em\u003e became the best-selling jazz album of all time upon its 1973 release, proving that sophisticated musicianship and funk grooves could coexist without compromise. Recorded at San Francisco's Wally Heider Studios and Different Fur Trading Co., the album features Hancock's quartet—saxophonist Bennie Maupin, bassist Paul Jackson, drummer Harvey Mason, and percussionist Bill Summers, creating four extended compositions that blend African rhythms, funk basslines, synthesizer textures, and jazz improvisation into something unprecedented.\u003c\/p\u003e\n\u003cp\u003eReleased in Japan by CBS\/Sony in 1973, this pressing captures the album that redefined jazz's possibilities and influenced funk, hip-hop, and electronic music for decades to come.\u003c\/p\u003e\n\u003cp\u003eThe 15-minute \"Chameleon\" opens with one of funk's most recognisable basslines, Jackson's electric bass groove anchoring Hancock's synthesiser work, Mason's precise drumming, and Maupin's saxophone explorations. Hancock's reimagining of his own \"Watermelon Man\" (originally recorded in 1962) transforms the hard bop standard into Afro-funk through Summers' beer bottle percussion and the group's collective groove. \"Sly\" pays homage to Sly and the Family Stone's funk innovations, while \"Vein Melter\" closes the album with atmospheric textures built from Hancock's synthesizers and electric piano, Maupin's bass clarinet and alto flute creating meditative soundscapes.\u003c\/p\u003e\n\u003cp\u003eHancock's use of synthesisers (ARP Odyssey and Soloist), electric piano, and clavinet alongside acoustic instruments created sonic textures that sounded simultaneously futuristic and rooted in African-American musical traditions. Summers' percussion arsenal, including African instruments like balafon, agogô, and gankoqui alongside beer bottle and hindewho whistle, added rhythmic complexity and timbral variety.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43166495342651,"sku":null,"price":180.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6903.jpg?v=1778469723"},{"product_id":"mahavishnu-orchestra-birds-of-fire-1973-japanese-cbs-sony-sx68-mark-ii-lp","title":"Mahavishnu Orchestra - Birds Of Fire (1973 Japanese CBS\/Sony SX68 Mark II LP)","description":"\u003cp\u003e\u003cstrong\u003eMahavishnu Orchestra - \u003cem\u003eBirds Of Fire\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1973 Japanese CBS\/Sony SX68 Mark II Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Mahavishnu Orchestra's second album intensifies the fusion vision established on their debut, John McLaughlin's compositions pushing the quintet's virtuosity to new extremes. Recorded between September and October 1972 at Trident Studios in London and CBS Studios in New York, the ten tracks demonstrate the group's evolution toward greater compositional complexity and technical demands, McLaughlin's guitar, Jan Hammer's keyboards and Moog synthesizer, Jerry Goodman's violin, Rick Laird's bass, and Billy Cobham's drums creating music of unprecedented power and precision. Released in Japan in 1973 by CBS\/Sony as part of their SX68 Mark II series, this pressing includes Japanese liner notes insert.\u003c\/p\u003e\n\u003cp\u003eThe album's compositions range from the explosive title track and \"Sapphire Bullet Of Pure Love\" through more contemplative pieces like \"Hope\" and \"Sanctuary\", each requiring extraordinary technical command from all five musicians. Complex time signatures, rapid tempo changes, and intricate ensemble passages challenge even virtuoso players, yet the music never feels merely technical. McLaughlin's compositional vision, influenced by both Coltrane's modal jazz and Indian classical music, creates frameworks that balance written precision with improvised exploration. \"Miles Beyond\", dedicated to Miles Davis (who had championed McLaughlin), showcases the group's ability to build intensity through collective interaction.\u003c\/p\u003e\n\u003cp\u003eHammer's pioneering Moog synthesizer work adds textures unprecedented in jazz or rock, his keyboard playing combining classical technique with rock energy. Cobham's drumming, fusing jazz sophistication with rock power, provides both precision and explosive dynamics, while Goodman's amplified violin creates a third melodic voice alongside McLaughlin's guitar and Hammer's keyboards. Manufactured by CBS\/Sony Records Inc. as part of their premium SX68 Mark II series (indicating superior audio specifications) with Japanese liner notes insert (note: copyright date \"2002\" on insert is obvious misprint), this pressing captures the album that confirmed Mahavishnu Orchestra as fusion's most technically accomplished and compositionally ambitious group.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43199528304699,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6080.jpg?v=1770417839"},{"product_id":"charles-mingus-mingus-ah-um-2015-music-on-vinyl-180g-remastered-lp","title":"Charles Mingus - Mingus Ah Um (2015 Music On Vinyl 180g Remastered LP)","description":"\u003cp\u003e\u003cstrong\u003eCharles Mingus - \u003cem\u003eMingus Ah Um\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 2015 Music On Vinyl 180g Remastered Stereo Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCharles Mingus' 1959 masterpiece stands as one of jazz's most celebrated albums, the bassist\/composer leading a nine-piece ensemble through eight compositions that balance hard bop intensity with sophisticated orchestration and social commentary. The album includes some of Mingus' most famous works: the gospel-infused \"Better Git It In Your Soul\", the elegiac \"Goodbye Pork Pie Hat\" (his tribute to Lester Young), and \"Fables Of Faubus\" (protesting Arkansas governor Orval Faubus' opposition to school integration). Featuring an exceptional lineup including saxophonists John Handy, Booker Ervin, and Shafi Hadi, trombonists Jimmy Knepper and Willie Dennis, pianist Horace Parlan, and drummer Dannie Richmond, the session demonstrates Mingus' genius for composing music that demands both technical excellence and emotional commitment. Released in 2015 by Music On Vinyl and distributed by Columbia\/Legacy, this European remastered reissue was pressed at Record Industry on 180g vinyl.\u003c\/p\u003e\n\u003cp\u003eMingus' compositional approach creates frameworks that balance written precision with collective improvisation, his arrangements incorporating elements from gospel, blues, classical music, and jazz traditions. His bass playing anchors the ensemble while functioning as melodic voice, his instrument leading as much as supporting. Dannie Richmond's drumming, developed through years of collaboration with Mingus, provides both propulsive swing and sensitive accompaniment, while the horn arrangements create textures ranging from intimate small group interplay to full ensemble passages.\u003c\/p\u003e\n\u003cp\u003eThe album's emotional range spans the joyous exuberance of \"Better Git It In Your Soul\" through the melancholy beauty of \"Goodbye Pork Pie Hat\" to the political anger of \"Fables Of Faubus\", each composition revealing different facets of Mingus' musical and personal vision. His willingness to address social issues through instrumental jazz was unusual for 1959, the album combining artistic achievement with political consciousness. \u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43212771688507,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/CharlesMingusMingusAhUm.webp?v=1770979166"},{"product_id":"miles-davis-in-a-silent-way-2015-legacy-columbia-eu-reissue-vinyl-lp","title":"Miles Davis - In A Silent Way (2015 Legacy\/Columbia EU Reissue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis -\u003cem\u003e In A Silent Wa\u003c\/em\u003ey | Vinyl LP - 2015 Legacy\/Columbia Reissue \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eMiles Davis's 1969 landmark\u003c\/strong\u003e, recorded in a single session on 18 February 1969 at CBS 30th Street Studio in New York City, produced by Teo Macero; regarded as Davis's first fusion recording and the beginning of his electric period, with eight musicians including Wayne Shorter, John McLaughlin, Herbie Hancock, Chick Corea and Josef Zawinul\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eTwo side-long pieces\u003c\/strong\u003e — \"Shhh\/Peaceful\" and \"In A Silent Way\/It's About That Time\"\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\u003cstrong\u003e2015 Legacy\/Columbia EU reissue\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMiles Davis recorded \u003cem\u003eIn A Silent Way\u003c\/em\u003e in a single session on 18 February 1969 at CBS 30th Street Studio B in New York City. He brought eight musicians: Wayne Shorter on soprano saxophone, John McLaughlin on electric guitar, Herbie Hancock and Chick Corea on electric piano, Josef Zawinul on electric piano and organ, Dave Holland on bass, and Tony Williams on drums. Teo Macero produced. Stan Tonkel engineered. The session ran for approximately three hours and produced around 40 minutes of committed material, the tape machine running continuously as the musicians worked through the pieces with minimal verbal instruction from Davis and no written charts.\u003c\/p\u003e\n\u003cp\u003eWhat was released on 30 July 1969 was not a direct document of that session but a construction assembled by Macero using tape editing techniques he had developed across years of work with Davis, Duke Ellington and Dave Brubeck at Columbia. Macero shaped the recordings in accordance with classical sonata form — each of the two side-long pieces moves through three sections, with the opening material repeated at the close, giving the album a symmetry no single improvised take possessed. \"In A Silent Way\" is a Zawinul composition; \"It's About That Time\" is Davis's. \"Shhh\/Peaceful\" is Davis's. The album was controversial on release — jazz critics were unsettled by the electric instrumentation and the editorial construction; rock critics were divided on whether it was jazz or something else entirely. It has since been consistently placed among the most important recordings in Davis's career, and among the most significant in the history of jazz.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43285279342651,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/190759506516.jpg?v=1773649931"},{"product_id":"weather-report-weather-report-1982-us-columbia-vinyl-lp","title":"Weather Report - Weather Report (1982 US Columbia Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWeather Report - \u003cem\u003eWeather Report\u003c\/em\u003e | Vinyl LP - 1982 Original US Columbia (PC 37616, CBS Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eWeather Report's tenth studio album\u003c\/strong\u003e, recorded in the summer of 1981 at Power Station in New York, The Music Room in Pasadena and Soundcastle in Los Angeles; produced by Joe Zawinul with assistance from Jaco Pastorius and Wayne Shorter; engineered by Brian Risner\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe final studio album featuring Jaco Pastorius\u003c\/strong\u003e on bass and Peter Erskine on drums; both departed after recording — Pastorius for his Word of Mouth project, Erskine for Steps Ahead\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe three-part \"N.Y.C.\" suite\u003c\/strong\u003e is the album's centrepiece: \"41st Parallel,\" \"The Dance\" and \"Crazy About Jazz,\" combining Zawinul's synthesised orchestration with Pastorius's fretless bass and Erskine's drumming\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal 1982 US Columbia pressing\u003c\/strong\u003e (PC 37616) manufactured by CBS Inc.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThis is the second album Weather Report released under their own name — the first was their 1971 debut. By 1981, when these sessions took place across three studios in New York and California, the band had been through several personnel changes since that debut: Jaco Pastorius had joined in 1976, Peter Erskine in 1978, and Robert Thomas Jr. as a second percussionist from 1979. The core remained Joe Zawinul on keyboards and synthesisers and Wayne Shorter on saxophone, as it had been since the band's formation. Zawinul produced; Pastorius and Shorter were assistant producers; Brian Risner engineered.\u003c\/p\u003e\n\u003cp\u003eBy 1981, creative tensions between Zawinul and Pastorius had been building. Zawinul's increasing use of synthesised bass lines and computer-generated drum programming — Erskine used a drum computer on several tracks here — displaced some of the role Pastorius had played on earlier records. The Pastorius who plays on this album is still audible as a major force, particularly on \"Volcano for Hire\" (A1) and through the \"N.Y.C.\" suite, but his writing contribution had reduced to a single group-composed piece. Shorter, similarly, contributed one composition. The vast majority of the material is Zawinul's. It reached No. 5 on the US Jazz Albums chart. After the album was complete, Pastorius left for Word of Mouth commitments and Erskine left for Steps Ahead; Zawinul and Shorter recruited Victor Bailey and Omar Hakim to continue the band. This is the original 1982 US Columbia pressing.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43308937510971,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6442.jpg?v=1774231533"},{"product_id":"miles-davis-sextet-someday-my-prince-will-come-1974-us-columbia-lp-stereo-reissue","title":"Miles Davis Sextet - Someday My Prince Will Come (1974 US Columbia LP, Stereo Reissue)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis Sextet - \u003cem\u003eSomeday My Prince Will Come\u003c\/em\u003e | Vinyl LP - 1974 US Columbia Stereo Reissue (KCS 8456)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMiles Davis's 1961 Columbia album\u003c\/strong\u003e featuring his working quintet — Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, Jimmy Cobb on drums — with John Coltrane returning as a guest on two tracks; the only studio recording to pair Mobley and Coltrane in the same session\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThree original compositions by Davis\u003c\/strong\u003e: \"Pfrancing\" for his wife Frances, \"Teo\" for producer Teo Macero, and \"Drad-Dog\" (Goddard Lieberson's name reversed) for the Columbia Records president; three standards including the waltz title track from Disney's 1937 \u003cem\u003eSnow White\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe last studio encounter between Davis and Coltrane\u003c\/strong\u003e.\u003cstrong\u003e \u003c\/strong\u003eColtrane plays on A1 alongside Mobley and appears again on B2 replacing him entirely\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMiles Davis recorded \u003cem\u003eSomeday My Prince Will Come\u003c\/em\u003e over three days at Columbia's 30th Street Studio in Manhattan in March 1961. By this point, both Cannonball Adderley and John Coltrane had left the group to lead their own bands. Hank Mobley had joined in December 1960 as the new tenor saxophonist, stabilising a line-up that also included Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Teo Macero produced.\u003c\/p\u003e\n\u003cp\u003eDavis brought Coltrane back for two tracks. On the title piece — a waltz drawn from the 1937 Disney film \u003cem\u003eSnow White and the Seven Dwarfs\u003c\/em\u003e — both Mobley and Coltrane solo on the same changes back to back, Mobley's playing measured and lyrical against Coltrane's more intense and harmonically searching approach. The nine-minute track is the only recorded instance of the two tenors on the same session. On \"Teo\" (B2), Coltrane replaces Mobley entirely. The remaining four tracks are quintet recordings. The album's three Davis originals are encoded with specific dedications: \"Pfrancing\" — also known as \"No Blues\" — for his wife Frances, whose image is on the cover; \"Teo\" for Macero; and \"Drad-Dog\" — \"Goddard\" reversed — for Goddard Lieberson, then president of Columbia Records. The three standards are \"Someday My Prince Will Come,\" \"Old Folks\" and Jimmy Van Heusen's \"I Thought About You.\" This is a 1974 US Columbia stereo reissue of the original 1961 release (Columbia CS 8456).\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43308994035771,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6447.jpg?v=1774232829"},{"product_id":"carmen-mcrae-sings-lover-man-and-other-billie-holiday-classics-1979-japanese-cbs-sony-vinyl-lp","title":"Carmen McRae - Sings Lover Man and Other Billie Holiday Classics (1979 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eCarmen McRae - \u003cem\u003eSings Lover Man and Other Billie Holiday Classics \u003c\/em\u003e| Vinyl LP - 1979 Japanese CBS\/Sony (20AP 1420, CBS Favorite Jazz 100, CBS\/Sony Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCarmen McRae was born on 8 April 1920; Billie Holiday on 7 April 1922. They knew each other from childhood in New York. When Holiday died on 17 July 1959, McRae was the obvious person to make a tribute record — not because she sounded like Holiday, but because she understood her. Teo Macero produced the sessions at Columbia Studio A in June and July 1961. Norman Simmons arranged and played piano. Mundell Lowe on guitar, Bob Cranshaw on bass and Walter Perkins on drums were the core group, with Nat Adderley on cornet and Eddie \"Lockjaw\" Davis on tenor saxophone adding front line on most tracks.\u003c\/p\u003e\n\u003cp\u003e\"Strange Fruit\" is the most exposed moment on the record: McRae sings it with Lowe's guitar as the only accompaniment. It was one of the few songs Holiday owned outright, having fought to perform it in defiance of club owners who refused it. McRae doesn't sentimentalise it. \"Trav'lin Light\" is also stripped back — neither Adderley nor Davis plays on it. \"Lover Man,\" the Johnny Mercer and Jimmie Davis standard that Holiday recorded in 1945 while in the grip of heroin withdrawal, is the album's emotional centre. \"God Bless the Child\" — which Holiday wrote with Arthur Herzog Jr. — closes the record. Ralph J. Gleason wrote the original liner notes. This 1979 Japanese pressing is part of the CBS Favorite Jazz 100 series, manufactured by CBS\/Sony Inc., and comes with its cap obi and insert.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43411111739451,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6626.jpg?v=1775958147"},{"product_id":"billy-harper-capra-black-1983-japanese-nippon-columbia-stereo-lp","title":"Billy Harper - Capra Black (1983 Japanese Nippon Columbia Stereo LP)","description":"\u003cp\u003e\u003cstrong\u003eBilly Harper - \u003cem\u003eCapra Black\u003c\/em\u003e | Vinyl LP - 1983 Japanese Nippon Columbia Stereo Reissue with OBI and Insert (YS-7132-AX)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStrata-East was the artist-owned label Charles Tolliver and Stanley Cowell founded in 1971 to release the music the majors wouldn't touch, with musicians retaining ownership of their masters. The catalogue that emerged across the early-to-mid seventies has since become one of the most heavily collected bodies of work in post-war jazz: Tolliver's \u003cem\u003eMusic Inc\u003c\/em\u003e, Cowell's \u003cem\u003eMusa: Ancestral Streams\u003c\/em\u003e, Clifford Jordan's \u003cem\u003eGlass Bead Games\u003c\/em\u003e, Pharoah Sanders' \u003cem\u003eIzipho Zam\u003c\/em\u003e, and this. Billy Harper had spent the late 1960s and early 1970s as one of the most in-demand tenor players in New York. By 1973 he had a book of his own compositions and a clear sense of what he wanted to do with them. The title track stretches past eleven minutes of declamatory, preaching-mode tenor over a rhythm section built for sustained intensity. \"Sir Galahad\" lifts the modal post-Coltrane vocabulary into something distinctly Harper's own. Side two opens with \"Soulfully, I Love You \/ Black Spiritual of Love\", where the five-voice choir (Gene McDaniels among them, the same Gene McDaniels who wrote \"Compared to What\" and recorded \u003cem\u003eHeadless Heroes of the Apocalypse\u003c\/em\u003e two years earlier) wraps around Harper's tenor in the gospel-leaning mode Donald Byrd had been exploring on the Blue Note records of the previous decade.\u003c\/p\u003e\n\u003cp\u003eStrata-East originals are notoriously hard to find in clean condition because the label's small initial pressings have been hunted for forty years. Japanese pressings filled the gap from early on. Trio licensed the album in 1974, Denon followed in 1978, and Nippon Columbia did this third Japanese edition in 1983, by which point the title was already established as a foundational document of seventies spiritual jazz. The mastering and pressing standards across all three Japanese editions are uniformly high, and this 1983 copy comes complete with the original Nippon Columbia obi strip and insert.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43540858077243,"sku":null,"price":130.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7077.jpg?v=1779514458"},{"product_id":"weather-report-black-market-1976-japanese-cbs-sony-stereo-lp","title":"Weather Report - Black Market (1976 Japanese CBS\/Sony Stereo LP)","description":"\u003cp\u003e\u003cstrong\u003eWeather Report - \u003cem\u003eBlack Market\u003c\/em\u003e | Vinyl LP - 1976 Japanese CBS\/Sony (25AP 57, CBS\/Sony Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWeather Report had released five albums before this one. Their lineup shifted constantly around the fixed core of Joe Zawinul and Wayne Shorter. \u003cem\u003eBlack Market\u003c\/em\u003e was the last album with Alphonso Johnson on bass before Pastorius became the permanent member - here the two bassists split the record between them, Johnson on five tracks and Pastorius on two.\u003c\/p\u003e\n\u003cp\u003eZawinul had played with Cannonball Adderley from 1961 to 1971, contributing \"Mercy, Mercy, Mercy\" to Adderley's biggest commercial success. When Adderley died in August 1973, Zawinul responded with \"Cannon Ball\" - a four-and-a-half-minute piece that sounds like a celebration rather than a solemn dirge, Shorter's soprano moving over Narada Michael Walden's drums and Pastorius's bass in a way that recalls what Adderley's own music had felt like at its most open. It was the first piece Pastorius recorded with the band.\u003c\/p\u003e\n\u003cp\u003e\"Gibraltar\" introduces the lyricon, an early wind synthesizer manufactured by Computone. Shorter plays it here with a tone somewhere between saxophone and theremin, layered over Zawinul's Arp 2600 and Oberheim synthesizers. Chester Thompson on drums and Alex Acuña on congas play against each other throughout most of Side A. Side B gives Shorter two originals, \"Elegant People\" and \"Three Clowns\", before handing the writing credits to the rhythm section. \"Barbary Coast\" is Pastorius's composition, funky and playful, the bass in front. \"Herandnu\" closes the album with Alphonso Johnson's contribution, the more harmonically ambitious of the two bass-player originals.\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese CBS\/Sony pressing (25AP 57), manufactured by CBS\/Sony Inc.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43555860119611,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7150.jpg?v=1780095669"},{"product_id":"weather-report-i-sing-the-body-electric-1972-japanese-cbs-sony-original-lp","title":"Weather Report - I Sing the Body Electric (1972 Japanese CBS\/Sony Original LP)","description":"\u003cp\u003e\u003cstrong\u003eWeather Report - \u003cem\u003eI Sing the Body Electric\u003c\/em\u003e | Vinyl LP - 1972 Japanese CBS\/Sony Original (SOPL 37, CBS\/Sony Records Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWeather Report's first album had been an entirely studio affair. For the second, Zawinul and Shorter split the record in half: one side recorded in the studio in New York across two sessions in late 1971 and early 1972, the other side captured live in Tokyo on January 13, 1972 at Shibuya Kokaido Hall before a standing-room crowd.\u003c\/p\u003e\n\u003cp\u003e\"Unknown Soldier\" opens the studio side as the most orchestrally complex piece Weather Report had attempted: Hubert Laws on flute, Andrew White on English horn, Wilmer Wise on piccolo and D trumpet, three vocalists, the full rhythm section of Zawinul, Shorter, Vitous, Gravatt and Romão. \"The Moors\" follows with Ralph Towner's 12-string guitar in its sole appearance on the record, Shorter's composition built around Towner's acoustic tone against Vitous's bowed bass. \"Crystal\" is Vitous's piece, the bassist making his instrument sound close to a horn at points. \"Second Sunday in August\" closes the studio side with a Shorter ballad.\u003c\/p\u003e\n\u003cp\u003eThe live side opens with the medley of Zawinul's \"Vertical Invader,\" Vitous's \"T.H.\" and Zawinul's \"Dr. Honoris Causa\" - ten continuous minutes that run from concentrated improvisation into rhythmic lockstep and back again. \"Surucucú\" is Shorter's, the band loose and free. \"Directions\" closes the record - originally written by Zawinul for Miles Davis, recorded by Davis in 1968, here taken at roughly twice the original tempo.\u003c\/p\u003e\n\u003cp\u003eThis is the 1972 Japanese CBS\/Sony original pressing (SOPL 37), manufactured by CBS\/Sony Records Inc. in Tokyo.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43556240195643,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7505.jpg?v=1782467686"},{"product_id":"weather-report-weather-report-1971-japanese-cbs-sony-original-lp","title":"Weather Report - Weather Report (1971 Japanese CBS\/Sony Original LP)","description":"\u003cp\u003e\u003cstrong\u003eWeather Report - \u003cem\u003eWeather Report\u003c\/em\u003e | Vinyl LP - 1971 Japanese CBS\/Sony Original (SOPC 57132, SX68Sound)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eZawinul and Shorter left Miles Davis's band within months of each other in 1970. They had been the primary composers of Davis's electric period and they took its central idea with them: that improvisation and composition could be the same thing, that the distinction between soloist and accompanist was artificial, and that texture was as important as melody.\u003c\/p\u003e\n\u003cp\u003eThey recruited Miroslav Vitous on bass. Vitous was Czech, had studied at Berklee and had been part of the same New York scene, playing with Herbie Mann, Chick Corea and others. Alphonze Mouzon, twenty-two years old, played drums. Airto Moreira, who had also just finished recording with Miles, played percussion alongside Barbara Burton.\u003c\/p\u003e\n\u003cp\u003eThe sessions ran from February 16 to March 17, 1971 at Columbia Studios. Nothing on the record sounds like conventional jazz-rock fusion. \"Milky Way\" opens with Shorter's soprano saxophone overtones drifting across Zawinul's sustained piano resonance for two and a half minutes. \"Orange Lady,\" at eight minutes and forty seconds the longest track, uses a structure Zawinul had developed during the Bitches Brew dates and Miles had passed on. \"Waterfall\" builds slowly from Zawinul's electric piano into the album's fullest collective statement. \"Tears\" has Mouzon singing wordlessly over Shorter's melody. \"Eurydice\" closes the record at a faster pace than anything that precedes it, the bass and drums pushing harder than anywhere else on the album.\u003c\/p\u003e\n\u003cp\u003eThis is the 1971 Japanese CBS\/Sony original pressing (SOPC 57132), SX68Sound series.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43572745142331,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7195.jpg?v=1780625648"},{"product_id":"miles-davis-round-about-midnight-1983-japanese-cbs-sony-mono-lp","title":"Miles Davis - 'Round About Midnight (1983 Japanese CBS\/Sony Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003e'Round About Midnight\u003c\/em\u003e | Vinyl LP - 1983 Japanese CBS\/Sony Mono Reissue (23AP 2552, Miles Greatest Collection 25 No. 2, CBS\/Sony Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGeorge Avakian heard Davis play \"'Round Midnight\" at the Newport Jazz Festival in 1955 with Thelonious Monk, Connie Kay, Percy Heath, Zoot Sims and Gerry Mulligan. What he heard that night convinced him to sign Davis to Columbia. The problem was that Davis was still under contract to Prestige. The solution was to record for Columbia while simultaneously fulfilling the Prestige obligation with the marathon sessions that eventually produced \u003cem\u003eRelaxin'\u003c\/em\u003e, \u003cem\u003eWorkin'\u003c\/em\u003e, \u003cem\u003eSteamin'\u003c\/em\u003e and \u003cem\u003eCookin'\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe first Columbia session took place in October 1955 at Studio D. Only \"Ah-Leu-Cha,\" Charlie Parker's contrapuntal blues, survived from that date. The quintet returned in June 1956 to Columbia's 30th Street Studio for \"Bye Bye Blackbird,\" \"Tadd's Delight\" and \"Dear Old Stockholm.\" The final session in September 1956 produced the title track and Cole Porter's \"All of You.\" Frank Laico engineered all three dates, and the sound is markedly different from the Rudy Van Gelder Prestige sessions: warmer, more spacious, the instruments given room that the Hackensack studio did not allow.\u003c\/p\u003e\n\u003cp\u003eColtrane's playing across these sessions is still developing. He had not yet arrived at the extended modal approach of 1960 and 1961. His solo on \"Bye Bye Blackbird\" became one of the most studied in his early catalogue. Davis plays with the muted tone and measured phrasing that defined his 1950s work. The album was released in March 1957.\u003c\/p\u003e\n\u003cp\u003eThis is the 1983 Japanese CBS\/Sony mono reissue (23AP 2552), Miles Greatest Collection 25 No. 2, manufactured by CBS\/Sony Inc.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43576988041275,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/FullSizeRender_38a8d82c-ad63-43cb-baf0-7296ff4363cc.jpg?v=1780793883"},{"product_id":"miles-davis-miles-davis-at-plugged-nickel-chicago-vol-2-1981-japanese-cbs-sony-stereo-lp","title":"Miles Davis - Miles Davis at Plugged Nickel, Chicago Vol. 2 (1981 Japanese CBS\/Sony Stereo LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eMiles Davis at Plugged Nickel, Chicago Vol. 2\u003c\/em\u003e | Vinyl LP - 1981 Japanese CBS\/Sony Stereo Reissue (18AP 2068, Miles 25 No. 18, CBS\/Sony Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Plugged Nickel was a small nightclub on North Wells Street in Chicago. Over two nights in December 1965 the Davis Quintet played seven sets, all of which were recorded. CBS\/Sony released selections from the material as two separate Japanese LPs in 1976; Vol. 1 drew from December 22, Vol. 2 from December 23. Columbia issued a worldwide double LP combining both volumes in 1982. The complete seven-set recording followed in 1992 (Japan) and 1995 (US).\u003c\/p\u003e\n\u003cp\u003eVol. 2 contains four pieces. \"'Round Midnight\" opens at under nine minutes. The Monk standard that had been the centrepiece of Davis's Columbia debut nearly a decade earlier is played here as if the melody is something to move through rather than arrive at. \"Stella by Starlight\" runs thirteen minutes, Shorter's solo in particular stretching the harmony far past Victor Young's original chord structure. \"All Blues,\" Davis's own composition from Kind of Blue (1959), is played at a different tempo from the studio version and treated with the same freedom as the standards.\u003c\/p\u003e\n\u003cp\u003e\"Yesterdays\/The Theme\" fills all of Side B at twenty minutes. Jerome Kern and Otto Harbach's 1933 ballad opens it; the quintet improvises outward from there, moving through tempo changes and dynamic shifts before closing with Davis's \"The Theme,\" the signal that the set is over. Williams, who was twenty years old, drives the performance throughout.\u003c\/p\u003e\n\u003cp\u003eThis is the 1981 Japanese CBS\/Sony stereo reissue (18AP 2068), Miles 25 series No. 18, manufactured by CBS\/Sony Inc.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43582879629371,"sku":null,"price":105.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7259_d6ee0596-42d2-4d2f-8ffa-badfe3234cd1.jpg?v=1781009036"},{"product_id":"miles-davis-a-tribute-to-jack-johnson-2020-columbia-legacy-vinyl-lp","title":"Miles Davis - A Tribute to Jack Johnson (2020 Columbia\/Legacy Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eA Tribute to Jack Johnson\u003c\/em\u003e | Vinyl LP - 2020 Columbia\/Legacy European Reissue (19075950871, Record Industry)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMiles Davis made a promise during this period that he could put together \"the greatest rock band you ever heard.\" This album is the evidence.\u003c\/p\u003e\n\u003cp\u003e\"Right Off\" runs nearly 27 minutes. Henderson's bass opens alone with Cobham, a groove so locked that McLaughlin's entry over the top sounds like an explosion. The story, repeated by McLaughlin in multiple interviews, is that Davis was in the control room when McLaughlin started playing and ran into the studio to answer him. What follows is the most aggressive, rhythmically intense music Davis ever released. McLaughlin plays as if he is competing with the trumpet rather than accompanying it. Grossman's soprano saxophone enters later. At roughly 18 minutes, McLaughlin hammers a riff directly from Sly Stone's \"Sing a Simple Song,\" the citation deliberate and unashamed.\u003c\/p\u003e\n\u003cp\u003e\"Yesternow\" fills the entire second side and occupies different territory: slower, more spaced out, closer to the ambient drift of \u003cem\u003eIn a Silent Way\u003c\/em\u003e. At one point Macero splices in a passage from \"Shhh\/Peaceful,\" Davis literally sampling his own earlier work.\u003c\/p\u003e\n\u003cp\u003eThe credited personnel tells only part of the story. Macero built both tracks from multiple session tapes, incorporating material from musicians not listed on the LP: Sonny Sharrock, Chick Corea, Dave Holland, Jack DeJohnette and Bennie Maupin all contributed to the raw sessions.\u003c\/p\u003e\n\u003cp\u003eThis is the 2020 EU Columbia\/Legacy reissue, pressed at Record Industry in the Netherlands.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43653814353979,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/190759508718.jpg?v=1781390288"},{"product_id":"herbie-hancock-monster-1980-japanese-cbs-sony-vinyl-lp","title":"Herbie Hancock - Monster (1980 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHerbie Hancock - \u003cem\u003eMonster\u003c\/em\u003e | Vinyl LP - 1980 Japanese CBS\/Sony (25AP 1854, CBS\/Sony Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHerbie Hancock had been making funk records since \u003cem\u003eHead Hunters\u003c\/em\u003e in 1973, but by 1980 the technology had overtaken the genre. \u003cem\u003eMonster\u003c\/em\u003e was recorded across three studios in Los Angeles and San Francisco with an arsenal of synthesizers, drum machines and early computer instruments that reads like a museum inventory. The modified Apple II Plus microcomputer that Hancock used was among the first applications of personal computing to commercial music production. The Roland CR-78 drum machine appears throughout. The Clavitar, a keyboard worn like a guitar, let Hancock move around the studio floor while playing.\u003c\/p\u003e\n\u003cp\u003e\"Saturday Night\" opens the album with Carlos Santana's guitar over Washington's bass and Mouzon's drums, Hancock layering keyboards across the stereo field. It was Santana and Hancock's first studio collaboration; they went on to record \u003cem\u003eThe Swing of Delight\u003c\/em\u003e together the same year. \"Stars in Your Eyes\" was co-written with Ray Parker Jr. and released as an extended 12-inch single that crossed from the dance charts to pop radio. Gavin Christopher and Greg Walker handle lead vocals across the album's six tracks.\u003c\/p\u003e\n\u003cp\u003e\"Go for It\" is the hardest-driving piece, Mouzon playing both drums and synth. \"Don't Hold It In\" runs eight minutes with a descending bass figure that Washington holds throughout. \"Making Love,\" co-written by Mouzon and Hancock's wife Jean, is the album's most restrained moment. \"It All Comes Round\" closes the record with the full synthesizer palette deployed over a four-on-the-floor groove that belongs firmly in 1980.\u003c\/p\u003e\n\u003cp\u003eThis is the 1980 Japanese CBS\/Sony pressing (25AP 1854), manufactured by CBS\/Sony Inc.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43655694155835,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7301.jpg?v=1781494002"},{"product_id":"keith-jarrett-expectations-1972-japanese-cbs-sony-vinyl-2lp","title":"Keith Jarrett - Expectations (1972 Japanese CBS\/Sony Vinyl 2LP)","description":"\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eExpectations\u003c\/em\u003e | Vinyl 2LP - 1972 Japanese CBS\/Sony (SOPW-75 76)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eExpectations\u003c\/em\u003e was Keith Jarrett's attempt to put everything he had on the table at once. Recorded across three sessions in April 1972 at Columbia Studio E in New York, the album shifts between configurations constantly. \"Vision\" opens with 46 seconds of solo piano against a string section, then \"Common Mama\" drops into a driving, percussion-heavy groove with Jarrett doubling on soprano saxophone and Airto Moreira pushing the rhythm alongside Paul Motian. Sam Brown's electric guitar runs through tracks like \"Sundance\" and \"The Magician In You\" with a raw, overdriven tone that sits closer to rock than anything in Jarrett's catalogue before or after. \"Nomads\" fills the entire third side with Jarrett on organ, Redman blowing hard on tenor, and the rhythm section building a long, slow arc that only resolves on its own terms. The range is the point. Jarrett was 26, fresh out of Miles Davis's band, and writing like someone trying to document every musical impulse he had before the opportunity disappeared.\u003c\/p\u003e\n\u003cp\u003eThe opportunity did disappear. George Avakian, Jarrett's manager and producer since the Charles Lloyd days (and the same man who signed Miles Davis to Columbia a generation earlier), had secured the deal, but Columbia dropped Jarrett shortly after release, reportedly in favour of Herbie Hancock. It remains his only album for the label. The core personnel here (Jarrett, Redman, Haden, Motian) went on to record together as the American Quartet on Impulse! from 1973, producing \u003cem\u003eFort Yawuh\u003c\/em\u003e, \u003cem\u003eTreasure Island\u003c\/em\u003e and \u003cem\u003eDeath and the Flower\u003c\/em\u003e. But \u003cem\u003eExpectations\u003c\/em\u003e is where that group first recorded as a unit in the studio, and it catches them at their most expansive. This is the original 1972 Japanese pressing on CBS\/Sony, catalogue number SOPW-75 76.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43656368259131,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7317.jpg?v=1781524055"},{"product_id":"duke-ellington-his-orchestra-feat-mahalia-jackson-black-brown-and-beige-1973-japanese-cbs-sony-vinyl-lp","title":"Duke Ellington \u0026 His Orchestra feat. Mahalia Jackson - Black, Brown And Beige (1973 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eDuke Ellington \u0026amp; His Orchestra feat. Mahalia Jackson - \u003cem\u003eBlack, Brown And Beige\u003c\/em\u003e | Vinyl LP - 1973 Japanese CBS\/Sony Reissue (SOPZ 17)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEllington premiered \u003cem\u003eBlack, Brown and Beige\u003c\/em\u003e at his first Carnegie Hall concert on January 23, 1943, billing it as \"a tone parallel to the history of the Negro in America.\" It ran 45 minutes and received mixed reviews. He never recorded the full suite in the studio. Fifteen years later, with Mahalia Jackson newly signed to Columbia Records, he returned to the material and revised it, stripping the suite down to six shorter sections built around \"Come Sunday,\" the hymn-like melody from the original \"Black\" movement. The result is closer to a sacred work than a jazz suite. Part II opens with Ray Nance's violin playing the theme unaccompanied before the orchestra enters underneath. Part III brings the full band into the \"Work Song\" melody with the horns building to a climax that rivals anything in Ellington's catalogue. Then Jackson enters on Part IV, singing \"Come Sunday\" with a directness and weight that turns the piece into something between a concert performance and a church service. Her voice against Nance's violin is one of the most striking textures Ellington ever put on record. Part VI, the \"23rd Psalm,\" closes the album with Jackson singing over the full orchestra.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDown Beat\u003c\/em\u003e gave it five stars, with Dom Cerulli writing that Ellington and Jackson had created \"a gentle, reverent, powerful prayer\" and calling it \"an Ellington milestone.\" The orchestra on the sessions (recorded in February 1958 in Los Angeles) includes Clark Terry and Cat Anderson on trumpet, Britt Woodman and Quentin Jackson on trombone, Paul Gonsalves on tenor and Harry Carney on baritone. Ellington told an interviewer that Strayhorn, who was in Florida during the sessions, sent the arrangement for \"Come Sunday\" after being told the key. All six parts are Ellington compositions. This is the 1973 Japanese reissue on CBS\/Sony SOPZ 17, from the CBS Sony Jazz 1100 series.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43691282464827,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7438.jpg?v=1782088272"},{"product_id":"miles-davis-milestones-1977-japanese-cbs-sony-vinyl-lp-mono","title":"Miles Davis - Milestones (1977 Japanese CBS\/Sony Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eMilestones\u003c\/em\u003e | Vinyl LP Mono - 1977 Japanese CBS\/Sony Reissue (25AP 753)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe sextet that recorded \u003cem\u003eMilestones\u003c\/em\u003e was Davis's working band at its peak. Coltrane had just come out of detox. Adderley had been added to the quintet on alto, giving Davis two contrasting saxophone voices: Coltrane's sheets of sound against Adderley's blues-rooted lyricism. The rhythm section (Garland, Chambers, Philly Joe) had been together for three years and understood each other completely. On \"Dr. Jekyll\" (Jackie McLean's tune), \"Two Bass Hit\" (Gillespie\/Lewis) and Monk's \"Straight, No Chaser,\" the group plays hard bop at its most concentrated. Coltrane's solo on \"Two Bass Hit\" is a tight, rapid burst that shows how far his technique had developed. Adderley's blues phrasing on \"Dr. Jekyll\" sounds effortless in a way that belies its complexity. Then the title track arrives. \"Milestones\" (mislabelled \"Miles\" on this pressing's side B label) strips the harmony down to two scales. No chord changes to follow, just modal colours that open space for the soloists to think in longer, more melodic lines. It's a modest revolution in under six minutes, and the three horn solos (Adderley first, then Davis, then Coltrane) are marvels of economy. Davis was already working out the approach he would use for \u003cem\u003eKind of Blue\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\"Sid's Ahead\" runs past 13 minutes and contains one of the album's most telling stories. Red Garland, tired of Davis's demands, walked out of the studio mid-session. Davis sat down at the piano himself and played the accompaniment for the rest of the take. \"Billy Boy\" is a Garland trio feature: Davis, Coltrane and Adderley sit out entirely, and it's Garland, Chambers and Philly Joe swinging through a folk tune at a brisk pace. Five days after the March 4 session, Davis and Adderley went into Rudy Van Gelder's Hackensack studio to record \u003cem\u003eSomethin' Else\u003c\/em\u003e for Blue Note. A year later, Davis replaced Garland with Bill Evans and Philly Joe with Jimmy Cobb, kept the rest, and recorded \u003cem\u003eKind of Blue\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThis is the 1977 Japanese mono reissue on CBS\/Sony 25AP 753. Note the two misprints: the back cover spells Adderley's first name as \"Jnliau\" (for \"Julian\"), and the side B label titles the track \"Miles\" instead of \"Milestones.\"\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43708869181499,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7494.jpg?v=1782445216"},{"product_id":"herbie-hancock-sextant-1973-japanese-cbs-sony-vinyl-lp","title":"Herbie Hancock - Sextant (1973 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHerbie Hancock - \u003cem\u003eSextant\u003c\/em\u003e | Vinyl LP - 1973 Japanese CBS\/Sony (SOPL-190, SX-74 Sound Series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Mwandishi band was earning $160 a week, travelling by van between gigs, setting up their own PA and tearing it down after every show. The music they were making had almost no commercial audience in the US, but it sounded like nothing else anyone was recording. \"Rain Dance\" opens with Dr. Patrick Gleeson's ARP 2600 synthesiser sending pulses across the stereo field while Hancock's clavinet (run through a Fender Fuzz-Wah and Echoplex) builds a repeating rhythmic figure underneath. Buck Clarke's congas enter. Billy Hart's drums lock in. Then Henderson's trumpet and Priester's trombones (he plays alto, tenor and bass trombone across the album) add melodic fragments that drift in and out of the texture. Buster Williams plays Fender bass with wah-wah and fuzz, the signal so heavily processed it sounds closer to a synthesiser than a bass guitar. Maupin switches between soprano saxophone, bass clarinet, piccolo flute and, on one track, a kazoo. \"Hidden Shadows\" is the most rhythmically direct piece, the closest thing to a groove on the album. \"Hornets\" takes the entire second side and refuses to resolve. It builds in layers, the density increasing until the instruments merge into a single churning mass, then pulls apart and starts building again.\u003c\/p\u003e\n\u003cp\u003eThis was the third album in the Mwandishi trilogy, following \u003cem\u003eMwandishi\u003c\/em\u003e (1971) and \u003cem\u003eCrossings\u003c\/em\u003e (1972) on Warner Bros. It was Hancock's first release for Columbia. Within months, Hancock disbanded the sextet, kept only Benny Maupin, and recorded \u003cem\u003eHead Hunters\u003c\/em\u003e with an entirely new rhythm section. \u003cem\u003eHead Hunters\u003c\/em\u003e reached number 13 on the Billboard 200 and became the first jazz album to go platinum. Hancock later said he had spent too long \"exploring the upper atmosphere of music\" and needed to reconnect with the earth. The Mwandishi band's dissolution remains one of the sharpest stylistic pivots in jazz history.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese pressing on CBS\/Sony SOPL-190, from the SX-74 Sound series, released the same year as the US original.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43712063930427,"sku":null,"price":85.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7553.jpg?v=1782605462"},{"product_id":"herbie-hancock-man-child-1975-japanese-cbs-sony-vinyl-lp","title":"Herbie Hancock - Man-Child (1975 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHerbie Hancock - \u003cem\u003eMan-Child\u003c\/em\u003e | Vinyl LP - 1975 Japanese CBS\/Sony (SOPO 109)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHancock described his approach to this period as searching for \"funk musicians with a feeling for jazz\" rather than the other way around. The personnel list reflects that. Three bassists (Paul Jackson from the Headhunters, Louis Johnson of the Brothers Johnson, Henry Davis) and three drummers (Mike Clark from the Headhunters, Harvey Mason, James Gadson) rotate across the six tracks, with different rhythm sections providing different grooves depending on what each piece needs. David T. Walker plays guitar alongside DeWayne \"Blackbyrd\" McKnight (who later joined Parliament-Funkadelic), and the uncredited but audible presence of Wah Wah Watson on guitar, voice bag and Maestro synthesiser shaped the album's sound in ways the pressing's credits don't fully reflect. Watson co-wrote four of the six tracks. \"Hang Up Your Hang Ups\" opens the album with one of the heaviest grooves Hancock ever recorded, the clavinet and bass locked into a repeating figure that runs for over seven minutes. \"Sun Touch\" and \"Bubbles\" are slower and more textured, with Wayne Shorter's soprano saxophone contributing an understated solo on the latter. \"Steppin' In It\" is where Stevie Wonder appears, his harmonica solo sitting inside a full-band arrangement that owes more to Earth, Wind \u0026amp; Fire than to anything in the Blue Note catalogue. \"Heartbeat\" closes with a driving, synthesiser-heavy piece that comes closest to the electronic fusion Hancock had explored on \u003cem\u003eSextant\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe brass section (Bud Brisbois and Jay DaVersa on trumpets, Garnett Brown on trombone, Dick \"Slyde\" Hyde on tuba and bass trombone) adds weight on several tracks without ever dominating. Bennie Maupin, the sole remaining member from the Mwandishi band, plays soprano and tenor saxophone, saxello, bass clarinet, bass flute and alto flute, his multi-instrumental credits connecting this album back to the electronic experiments of \u003cem\u003eSextant\u003c\/em\u003e even as the music moves in a more commercially accessible direction. The album reached number one on the Billboard jazz chart, number six on R\u0026amp;B and number 21 on the pop chart.\u003c\/p\u003e\n\u003cp\u003eThis is the 1975 Japanese pressing on CBS\/Sony SOPO 109, released the same year as the US Columbia original.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43745208565819,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7617.jpg?v=1783207905"},{"product_id":"miles-davis-e-s-p-1981-japanese-cbs-sony-vinyl-lp","title":"Miles Davis - E.S.P. (1981 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eE.S.P.\u003c\/em\u003e | Vinyl LP - 1981 Japanese CBS\/Sony Reissue (18AP 2066, Miles 25 Series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eShorter had joined the band four months before these sessions. He replaced George Coleman, a strong and conventional tenor saxophonist, and the change transformed the group. Coleman played the changes. Shorter played around them, through them, sometimes against them, and the rest of the band adjusted accordingly. The title track (co-written by Davis and Shorter) opens the album with a theme so rhythmically fragmented it barely holds together as a melody, the five musicians slipping in and out of unison in a way that sounds both rehearsed and spontaneous. \"Eighty-One\" (Davis and Carter) settles into a groove, but even here Williams's drumming keeps shifting accents and textures underneath. Hancock's \"Little One\" is a ballad with a harmonic sophistication that gives Davis and Shorter space to play melodically without falling into conventional ballad phrasing. Carter contributes three pieces: \"R.J.\" is the shortest and most direct, \"Mood\" closes the album with nearly nine minutes of open, searching interplay, and his co-written \"Eighty-One\" provides the album's most grounded rhythmic foundation.\u003c\/p\u003e\n\u003cp\u003eSide B opens with \"Agitation,\" Davis's most aggressive composition here, Williams pushing the tempo and density until the music threatens to come apart before pulling back. \"Iris\" is Shorter's other composition and one of the most beautiful pieces in the quintet's catalogue, the melody unfolding slowly with Hancock's chords creating an ambiguity between consonance and dissonance that defines the album's harmonic language. Williams was 19 when these sessions were recorded. His drumming already sounded like nobody else's: polyrhythmic, reactive, capable of shifting the entire feel of a piece within a single bar.\u003c\/p\u003e\n\u003cp\u003eThis is the 1981 Japanese reissue on CBS\/Sony 18AP 2066, number 16 in the Miles 25 series, manufactured by CBS\/Sony Inc.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43745209450555,"sku":null,"price":110.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7622.jpg?v=1783208931"},{"product_id":"j-j-johnson-first-place-1973-japanese-cbs-sony-vinyl-lp-mono","title":"J.J. Johnson - First Place (1973 Japanese CBS\/Sony Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eJ.J. Johnson - \u003cem\u003eFirst Place\u003c\/em\u003e | Vinyl LP Mono - 1973 Japanese CBS\/Sony Reissue (SOPZ 26)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe trombone had fallen out of favour among bebop musicians. The consensus was that valve and key instruments (trumpet, saxophone) suited bebop's rapid tempos better than the slide trombone, which seemed too cumbersome for the music's demands. Dizzy Gillespie thought otherwise. In 1946 he told the young Johnson: \"I've always known that the trombone could be played different, that somebody'd catch on one of these days. Man, you're elected.\" Johnson caught on. He developed a technique so fluid and fast that listeners sometimes assumed he was playing a valve trombone. By 1957, after the commercial success of his two-trombone Jay and Kai Quintet with Kai Winding, Johnson began leading his own small groups, and \u003cem\u003eFirst Place\u003c\/em\u003e was his first album recorded entirely as a quartet. The rhythm section is exceptional. Tommy Flanagan, one of the great bebop pianists, comps with elegance and takes economical, melodic solos. Paul Chambers anchors the bottom. Max Roach (appearing courtesy of EmArcy Records) drives the session with the crisp, melodic drumming that made him one of bebop's founding figures. \"It's Only a Paper Moon\" opens the album at a bright tempo. \"Paul's Pal,\" Sonny Rollins's composition, is patient and bluesy. \"For Heaven's Sake\" is a ballad built on Flanagan's pristine touch.\u003c\/p\u003e\n\u003cp\u003eJohnson's own compositions show his range. \"Commutation\" has a hefty Flanagan lead-out, \"Harvey's House\" swings hard, and \"Nickels and Dimes\" is prime bebop trombone. The version of \"Cry Me a River\" is infused with a light tango foundation before settling into a straight-ahead feel. The sessions went so well, and produced so much strong material, that a second album, \u003cem\u003eBlue Trombone\u003c\/em\u003e, was assembled from the same recordings. Johnson recorded standards and originals with equal command, and his flawless lines across this album are as clear an example of bebop trombone as exists on record.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese mono reissue on CBS\/Sony SOPZ 26, from the CBS Sony Jazz 1300 series, manufactured by CBS\/Sony Inc.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43783624196155,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7705.jpg?v=1783947204"},{"product_id":"erroll-garner-concert-by-the-sea-1979-japanese-cbs-sony-vinyl-lp-mono","title":"Erroll Garner - Concert By The Sea (1979 Japanese CBS\/Sony Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eErroll Garner - \u003cem\u003eConcert By The Sea\u003c\/em\u003e | Vinyl LP Mono - 1979 Japanese CBS\/Sony Reissue (20AP 1470)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGarner couldn't read music. He learned piano by ear at the age of three in Pittsburgh, replicating everything his teacher played, and he never lost that reliance on his ear and his memory. What emerged was one of the most instantly recognisable styles in jazz: the left hand strumming chords like a rhythm guitar while the right hand played melodies that lagged behind the beat, creating a rolling, swinging tension that was entirely his own. He was 5'4\" (Art Tatum called him \"The Little Man\") and he played with a joy that communicated immediately to audiences. By September 1955 he had recorded his signature composition \"Misty\" and signed with Columbia. The Carmel concert was, on paper, just another gig, an off-night from a San Francisco nightclub engagement, paying $650. His bassist borrowed an instrument from a local military post rather than hauling his own. Nobody from Columbia bothered to travel down for the show. But the performance the trio gave that evening, refreshed by the drive down the Pacific Coast Highway and lifted by a receptive audience, turned out to be one for the ages.\u003c\/p\u003e\n\u003cp\u003e\"I'll Remember April\" opens the album at a bright, rolling tempo that shows Garner's rhythmic approach immediately. \"Autumn Leaves\" is the most famous track, Garner taking the standard through one of his characteristic out-of-tempo introductions before the trio locks into a swinging groove. \"It's All Right With Me\" and \"They Can't Take That Away From Me\" demonstrate his command of the Great American Songbook. \"Where Or When\" and \"April in Paris\" are the ballads. Throughout, Calhoun and Best provide unobtrusive support, keeping the rhythm steady while Garner does what he does. The album sold over 225,000 copies in its first year and reportedly brought Columbia a million dollars by 1958, extraordinary figures for a jazz record and among the best-selling in the music's history. It became the album that introduced countless listeners to jazz piano.\u003c\/p\u003e\n\u003cp\u003eThis is the 1979 Japanese mono reissue on CBS\/Sony 20AP 1470, from the CBS Favorite Jazz 100 series, manufactured by CBS\/Sony Inc., with cap obi and insert and a red CBS\/Sony label.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43785200894011,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7718.jpg?v=1784007896"},{"product_id":"miles-davis-on-the-corner-1972-us-columbia-vinyl-lp-gatefold-first-pressing","title":"Miles Davis - On The Corner (1972 US Columbia Vinyl LP Gatefold, First Pressing)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eOn The Corner\u003c\/em\u003e | Vinyl LP Gatefold - 1972 US Columbia First Pressing (KC 31906)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDavis was explicit about what he wanted. The young Black audience had moved to rock and funk, and he wanted them back. What he made to get them was not a funk record in any conventional sense. Paul Buckmaster, the British cellist and arranger who had scored records for Elton John, David Bowie and the Rolling Stones, had introduced Davis to Karlheinz Stockhausen the same year, and Davis took to it immediately, reportedly keeping a cassette of Stockhausen's \u003cem\u003eHymnen\u003c\/em\u003e in his Lamborghini. What appealed to him was the treatment of music as a process of addition and elimination rather than a sequence of themes and solos. Buckmaster described his own contribution as an attempt to combine strange space music with street music, and he supplied sketches that Davis largely discarded, using them as starting points and nothing more. The result is two sides built on locked, circumscribed grooves. On the opening twenty-minute sequence the bass plays the same handful of notes throughout while tabla, sitar, congas, wah-wah guitar and electric keyboards move in and out of the mix. There are no solos in the traditional sense, no heads, no beginnings or endings. Teo Macero assembled the finished pieces from tape.\u003c\/p\u003e\n\u003cp\u003eThe critical response in 1972 was brutal. Reviewers called it repetitious and an insult to the intellect, and it became one of Davis's worst-selling albums. Even some of the participants were unconvinced: Dave Liebman said he did not think much of it, and Buckmaster later described it as probably his least favourite Davis record. Davis deliberately left the musician credits off the sleeve so that listeners would come to it without preconceptions, which meant that for years nobody outside the sessions knew with any certainty who was playing. The reappraisal took decades, and it arrived through musicians rather than critics. The rhythmic construction, the density, the treatment of the studio as an instrument and the refusal to resolve anything all became foundational for later electronic and hip-hop production, and Columbia eventually issued the six-disc \u003cem\u003eComplete On the Corner Sessions\u003c\/em\u003e in 2007.\u003c\/p\u003e\n\u003cp\u003eRecorded at Columbia's New York studio on 1 June, 6 June and 7 July 1972. This is the 1972 US first pressing on Columbia KC 31906 in gatefold sleeve.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43813147639867,"sku":null,"price":125.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_78202.jpg?v=1784447908"},{"product_id":"sarah-vaughan-after-hours-with-sarah-vaughan-1979-japanese-cbs-sony-vinyl-lp-mono","title":"Sarah Vaughan - After Hours With Sarah Vaughan (1979 Japanese CBS\/Sony Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eSarah Vaughan - \u003cem\u003eAfter Hours With Sarah Vaughan\u003c\/em\u003e | Vinyl LP Mono - 1979 Japanese CBS\/Sony Reissue (20AP 1487, CBS Favorite Jazz 100)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVaughan signed to Columbia in 1949, three years after leaving Billy Eckstine's orchestra, where she had sung alongside Charlie Parker and Dizzy Gillespie and absorbed the harmonic thinking of the first bebop generation at close range. The four years she spent at the label produced a large body of recordings and a persistent argument, still running, about whether Columbia knew what to do with her. The commercial pressure was towards ballads and popular material, and there is a case that the jazz singer got buried under the pop singer. What this album demonstrates is that the distinction was always less clean than it sounds. \"Summertime,\" recorded in December 1949, is sung with a control of pitch and vibrato that no popular singer of the period could approach. \"Perdido,\" the Juan Tizol tune from the Ellington book, is taken as a vocal and swings. \"Just Friends\" and \"I Cried For You\" are handled with the phrasing of someone who had spent years standing next to Parker.\u003c\/p\u003e\n\u003cp\u003eThe slow material is where the album gets its title and its character. \"Black Coffee,\" the earliest recording here from January 1949, is a torch song done without any of the theatrics the genre invites. \"My Reverie,\" which Larry Clinton adapted from Debussy and published as a popular song in 1938, is one of two titles from a June 1951 session. \"Deep Purple\" comes from April 1951 and \"Street of Dreams\" from March 1952, the latest recording on the record. Vaughan was 24 when the first of these was cut and 28 by the last, and across those three years you can hear the instrument settling into what it would remain for the following four decades. Columbia issued the compilation in 1955, by which time she had moved to Mercury and made the album with Clifford Brown that she would name as her own favourite. No personnel or arranger credits appear on this pressing, and none appeared on the American original either.\u003c\/p\u003e\n\u003cp\u003eThis is the October 1979 Japanese mono reissue on CBS\/Sony 20AP 1487, from the CBS Favorite Jazz 100 series.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43855920070715,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7875.jpg?v=1784855914"},{"product_id":"herbie-hancock-secrets-1976-japanese-cbs-sony-vinyl-lp","title":"Herbie Hancock - Secrets (1976 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHerbie Hancock - \u003cem\u003eSecrets\u003c\/em\u003e | Vinyl LP - 1976 Japanese CBS\/Sony (25AP 244)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1976 Herbie Hancock had taken the sound of \u003cem\u003eHead Hunters\u003c\/em\u003e about as far towards the dancefloor as it would go. \u003cem\u003eSecrets\u003c\/em\u003e is the funkiest and most openly commercial record of his mid-seventies run, and the last built around the core of that band. Bennie Maupin stayed on reeds and Paul Jackson on bass, but Mike Clark and Bill Summers were gone, replaced by James Levi and Kenneth Nash, and the big change is the guitar. Wah Wah Watson, a Motown session guitarist, and a young Ray Parker Jr push electric guitar to the front of nearly every track. \"Doin' It\" is the clearest sign of where Hancock's head was, a straight funk single with Watson singing the hook through a talkbox over a disco bassline. \"Cantelope Island\" takes his 1964 Blue Note classic and slows it into a rolling Caribbean groove. Underneath all of it sits a bank of Rhodes, clavinet and analogue synthesisers that Hancock layers into thick, unhurried pads.\u003c\/p\u003e\n\u003cp\u003eThe record marks a turning point. Hancock spent 1976 pulling in two directions at once, reviving his acoustic past with the V.S.O.P. quintet while steering his electric band closer to disco, and \u003cem\u003eSecrets\u003c\/em\u003e is the electric side of that split. What came after, \u003cem\u003eSunlight\u003c\/em\u003e and the vocoder records, went further into pop than a lot of jazz listeners wanted to follow, which has left this album slightly underrated, caught between the fame of the Head Hunters records and the commercial turn that followed. It rewards a second look, particularly for Paul Jackson's basslines and the strangeness Hancock draws out of his synth rig across the second side.\u003c\/p\u003e\n\u003cp\u003eThis is the original 1976 Japanese pressing on CBS\/Sony, catalogue number 25AP 244.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43864036638779,"sku":null,"price":120.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7970.jpg?v=1785020625"},{"product_id":"j-j-johnson-blue-trombone-1974-japanese-cbs-sony-mono-vinyl-lp","title":"J.J. Johnson - Blue Trombone (1974 Japanese CBS\/Sony Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eJ.J. Johnson - \u003cem\u003eBlue Trombone\u003c\/em\u003e | Vinyl LP - 1974 Japanese CBS\/Sony Mono Reissue (SOPM 151, Best Jazz Collection series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJ.J. Johnson did for the trombone what Charlie Parker did for the alto, which is to say he made it keep up. Before him the instrument was thought too slow and unwieldy for bebop; Johnson played it with the speed and clean articulation of a saxophone and settled the argument. \u003cem\u003eBlue Trombone\u003c\/em\u003e catches him in 1957 in the quartet setting that suited him best, with Tommy Flanagan's elegant piano, Paul Chambers on bass and Max Roach on drums, about as good a rhythm section as the era offered. The programme moves between standards and originals. \"Hello, Young Lovers\" and \"What's New\" get the ballad treatment, \"Kev\" and \"100 Proof\" stretch out past eight minutes with room to blow, and the title piece is a slow blues in two parts, split across the sides at Chambers' bass solo. Throughout, Johnson's tone stays warm and his lines stay precise, never showy, always swinging.\u003c\/p\u003e\n\u003cp\u003eThe sessions went so well that Johnson came away with enough for two albums, the companion being \u003cem\u003eFirst Place\u003c\/em\u003e, cut with the same quartet. By this point he was a perennial winner of the Down Beat critics poll and the reference point for every trombonist who followed, from Curtis Fuller to Slide Hampton. What the record shows, more than any single solo, is how completely he had normalised the idea of the trombone as a front-line bebop voice.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1974 Japanese mono reissue on CBS\/Sony, part of the Best Jazz Collection series, catalogue number SOPM 151, with Japanese liner notes.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43866109575227,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7950.jpg?v=1785110792"},{"product_id":"miles-davis-miles-davis-at-plugged-nickel-chicago-1981-japanese-cbs-sony-vinyl-lp","title":"Miles Davis - Miles Davis At Plugged Nickel, Chicago (1981 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eMiles Davis at Plugged Nickel, Chicago\u003c\/em\u003e | Vinyl LP - 1981 Japanese CBS\/Sony Reissue (18AP 2067, Miles 25 series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn December 1965 Miles Davis brought his second great quintet into the Plugged Nickel in Chicago, and what they recorded across two nights is the only complete live document of the band that made \u003cem\u003eE.S.P.\u003c\/em\u003e and \u003cem\u003eMiles Smiles\u003c\/em\u003e. Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams were by this point so far inside each other's playing that they decided to test it. The band made a private pact to work against expectation, to answer anything predictable with its opposite, and the result is the sound of five musicians dismantling their own repertoire while it plays. This volume gathers four long performances from the second night: \"Walkin'\" and \"On Green Dolphin Street\" run past eleven minutes, \"So What\" past thirteen, and none of them stays where it starts. Tempos lurch, forms dissolve and reassemble, and Shorter and Hancock keep pushing to the edge of free playing without ever quite letting the song go. It is one of the most fearless things any Miles group put on tape.\u003c\/p\u003e\n\u003cp\u003eThe Plugged Nickel recordings sat mostly unreleased for a decade. CBS\/Sony in Japan issued them first, in 1976, across two volumes, before the complete run finally appeared as an eight-disc box in 1995. What the concerts capture is the quintet at a hinge point, months before it moved fully into the abstraction of the studio records that followed, still working through standards but treating them as raw material rather than songs to be honoured.\u003c\/p\u003e\n\u003cp\u003eThis is Volume One. This copy is the 1981 Japanese reissue on CBS\/Sony, part of the Miles 25 series, catalogue number 18AP 2067, with Japanese liner notes by Kiyoshi Koyama.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43866636386363,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7981.jpg?v=1785120254"},{"product_id":"weather-report-mysterious-traveller-1974-us-columbia-cbs-export-vinyl-lp","title":"Weather Report - Mysterious Traveller (1974 US Columbia CBS Export Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWeather Report - \u003cem\u003eMysterious Traveller\u003c\/em\u003e | Vinyl LP - 1974 US Columbia (PC 32494, CBS export sticker over label, Artisan Sound Recorders cut)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMysterious Traveller\u003c\/em\u003e is where Weather Report found the groove. The band's first three albums had been abstract and open, closer to the free end of jazz, but this 1974 record, their fourth, brought in a new bassist, Alphonso Johnson, whose electric playing pulled the music towards funk and firmer rhythm without losing any of its strangeness. Josef Zawinul and Wayne Shorter co-produced, and the range is enormous. \"Nubian Sundance\" opens the album with ten minutes of layered keyboards, massed voices and a roaring crowd, a piece of controlled chaos that still sounds like nothing else. \"Cucumber Slumber\" is a deep, slinking funk built on Johnson's bassline, \"Mysterious Traveller\" is Shorter's atmospheric title tune, and \"Blackthorn Rose\" strips everything back to Shorter's soprano and Zawinul's piano alone. Dom Um Romão's percussion runs through the record, and the closing \"Jungle Book\" pulls in ocarinas, tabla and kalimba. It won DownBeat's album of the year, and it remains one of the band's finest.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eThe album marks a turning point. Alphonso Johnson's arrival began the move towards the funk-inflected sound that would carry Weather Report to its commercial peak with \u003cem\u003eHeavy Weather\u003c\/em\u003e and Jaco Pastorius three years later, and \u003cem\u003eMysterious Traveller\u003c\/em\u003e is where that shift starts. This particular copy has a story of its own. It is a US Columbia pressing, with lacquers cut at Artisan Sound Recorders in Hollywood, but the label carries a CBS sticker applied over the Columbia original. Columbia held the Columbia name only in the US and Canada, so stock sent abroad went out under the CBS banner, and this copy was dressed for export before ending up in Japan, where it was found. The jacket is the standard US Columbia sleeve. This is the 1974 US pressing, catalogue number PC 32494, in export dress.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43896553832507,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8101.jpg?v=1785568608"},{"product_id":"denny-zeitlin-cathexis-1964-us-columbia-stereo-vinyl-lp","title":"Denny Zeitlin - Cathexis (1964 US Columbia Stereo Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eDenny Zeitlin - \u003cem\u003eCathexis\u003c\/em\u003e | Vinyl LP - 1964 US Columbia (CS 8982, stereo)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDenny Zeitlin has led one of the most unusual double lives in jazz. For sixty years he has been both a working pianist and a practicing psychiatrist, and \u003cem\u003eCathexis\u003c\/em\u003e, his 1964 debut, arrived when he was still in his twenties and already doing both. Even the title is a psychoanalytic term, for the investment of emotional energy in an idea or a person. John Hammond, the Columbia producer who discovered talent from Billie Holiday to Bob Dylan, signed him and made this record, and it announces a serious, cerebral musician. Zeitlin's writing is harmonically restless and formally curious, and the trio, with the superb Cecil McBee on bass and Freddie Waits on drums, follows him wherever he goes. The originals dominate, from the knotty \"I-Thou\", named for the philosopher Martin Buber, to the sprawling fifteen-minute \"Blue Phoenix\", but he also reshapes Monk's \"'Round Midnight\" and Gigi Gryce's \"Nica's Tempo\" in his own image. It is modal post-bop with a thinking mind behind every phrase, adventurous without ever losing its swing.\u003c\/p\u003e\n\u003cp\u003eZeitlin made a run of admired albums for Columbia in the mid-sixties, then largely stepped back to concentrate on medicine, which only added to his cult standing among pianists and collectors. He never stopped playing, though, and he went on to explore electronics and even wrote the score for the 1978 remake of \u003cem\u003eInvasion of the Body Snatchers\u003c\/em\u003e. \u003cem\u003eCathexis\u003c\/em\u003e is where it started, and it holds up as one of the most intelligent piano-trio debuts of its era.\u003c\/p\u003e\n\u003cp\u003eThis is the 1964 US stereo original on Columbia, catalogue number CS 8982.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43936905101371,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8232.jpg?v=1786185995"},{"product_id":"return-to-forever-romantic-warrior-1976-japanese-cbs-sony-vinyl-lp","title":"Return To Forever - Romantic Warrior (1976 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eReturn To Forever - \u003cem\u003eRomantic Warrior\u003c\/em\u003e | Vinyl LP - 1976 Japanese CBS\/Sony (25AP 55)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRomantic Warrior\u003c\/em\u003e is the record where jazz-fusion reached its peak, then quietly ended. By 1976 Return to Forever had settled into its greatest line-up, Chick Corea surrounded by banks of synthesizers, Stanley Clarke on bass, the young Al Di Meola on guitar and Lenny White on drums, and this album is the sound of four virtuosos at the absolute top of their game. It is fusion at its most ambitious and least apologetic, six long compositions built on a loose medieval and fantasy theme, full of hairpin unison lines, sudden shifts of metre and solos that go from the delicate to the ferocious. Corea wrote half of it, including the storming \"Medieval Overture\" and the eleven-minute \"Duel of the Jester and the Tyrant\", while Clarke, Di Meola and White each contributed a piece of their own. The playing is dazzling, but the writing keeps it from ever becoming mere display. It went on to be the band's best-selling record, and it remains the album most people mean when they talk about the golden age of fusion.\u003c\/p\u003e\n\u003cp\u003eIt was also the end of the road. \u003cem\u003eRomantic Warrior\u003c\/em\u003e was Return to Forever's last studio album with this line-up, the four of them going their separate ways to hugely successful careers soon after, and the record has come to stand as the high-water mark of the whole electric-fusion movement.\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese CBS\/Sony pressing, catalogue number 25AP 55, with the colour-inverted foldout insert made specially for this edition.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43944079556667,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8236.jpg?v=1786226227"},{"product_id":"gerry-mulligan-quartet-what-is-there-to-say-1973-japanese-cbs-sony-vinyl-lp","title":"Gerry Mulligan Quartet - What Is There To Say? (1973 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eGerry Mulligan Quartet - \u003cem\u003eWhat Is There to Say?\u003c\/em\u003e | Vinyl LP - 1973 Japanese CBS\/Sony (SOPZ 19, CBS Sony Jazz 1100 series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGerry Mulligan spent the 1950s proving that a jazz quartet did not need a piano. Starting with his famous group with Chet Baker in 1952, he built a light, conversational sound in which the two horns had to carry the harmony between them, and \u003cem\u003eWhat Is There to Say?\u003c\/em\u003e is the last and one of the very best of those pianoless records. By 1959 the trumpet chair belonged to Art Farmer, whose warm, singing tone was a perfect foil for Mulligan's agile baritone, and the two of them trade and intertwine throughout, sometimes stating a melody in loose counterpoint, sometimes simply getting out of each other's way. Bill Crow on bass and Dave Bailey on drums keep it swinging without ever cluttering the space. The programme mixes Mulligan's own tunes, \"Festive Minor\", \"As Catch Can\" and \"Utter Chaos\", with a handful of standards, and the reading of \"My Funny Valentine\" is as lovely as any he recorded. It is West Coast cool jazz at its most refined, all air and conversation.\u003c\/p\u003e\n\u003cp\u003eThe Mulligan and Farmer partnership did not last long. Within a year Mulligan had launched his Concert Jazz Band and Farmer had left to co-found the Jazztet with Benny Golson, so this album stands as the main studio document of a short, happy collaboration. It has been a favourite of cool-jazz listeners ever since, and Teo Macero, the producer who would go on to shape Miles Davis's electric records, was behind the board.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1973 Japanese pressing on CBS\/Sony, part of the Jazz 1100 series, catalogue number SOPZ 19, with a Japanese lyric sheet.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43949749698619,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8241.jpg?v=1786274072"}],"url":"https:\/\/lushliferecords.com.au\/collections\/cbs.oembed?page=3","provider":"Lush Life Records","version":"1.0","type":"link"}