{"title":"Impulse!","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eKnown as \u003cem data-start=\"206\" data-end=\"234\"\u003eThe House That Trane Built\u003c\/em\u003e, Impulse! Records defined the sound of modern jazz in the 1960s and beyond. With its iconic orange-and-black spine design, the label released groundbreaking albums from John Coltrane, Pharoah Sanders, Archie Shepp and more. Explore our curated selection of Impulse! vinyl — from spiritual jazz landmarks to avant-garde classics — an essential addition to any serious jazz collection.\u003c\/p\u003e","products":[{"product_id":"john-coltrane-a-love-supreme","title":"John Coltrane - A Love Supreme (2022 Impulse! Reissue LP Vinyl)","description":"\u003cp data-start=\"185\" data-end=\"405\"\u003eRecorded in December 1964 and released the following year on Impulse!, \u003cem data-start=\"256\" data-end=\"272\"\u003eA Love Supreme\u003c\/em\u003e is \u003cstrong data-start=\"276\" data-end=\"295\"\u003eJohn Coltrane’s\u003c\/strong\u003e spiritual masterpiece — a four-part suite that has become one of the most important albums in jazz history.\u003c\/p\u003e\n\u003cp data-start=\"407\" data-end=\"812\"\u003eJoined by his classic quartet — \u003cstrong data-start=\"439\" data-end=\"454\"\u003eMcCoy Tyner\u003c\/strong\u003e (piano), \u003cstrong data-start=\"464\" data-end=\"482\"\u003eJimmy Garrison\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"495\" data-end=\"510\"\u003eElvin Jones\u003c\/strong\u003e (drums) — Coltrane channels devotion, searching, and transcendence into music of rare intensity and beauty. From the fervent opening fanfare of \u003cem data-start=\"655\" data-end=\"672\"\u003eAcknowledgement\u003c\/em\u003e to the cascading rhythms of \u003cem data-start=\"701\" data-end=\"713\"\u003eResolution\u003c\/em\u003e and the meditative close of \u003cem data-start=\"742\" data-end=\"749\"\u003ePsalm\u003c\/em\u003e, the album is both deeply personal and universally resonant.\u003cstrong data-start=\"814\" data-end=\"835\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"898\" data-end=\"1037\"\u003e\u003cem data-start=\"898\" data-end=\"914\"\u003eA Love Supreme\u003c\/em\u003e is not just an album but a spiritual statement — timeless, essential, and one of the greatest jazz recordings ever made.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":42461610180667,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/A_Love_Supreme_7e99366a_thumbnail_4096.webp?v=1757902856"},{"product_id":"alice-coltrane-the-carnegie-hall-concert","title":"Alice Coltrane – The Carnegie Hall Concert (2024 Impulse! 2LP Vinyl)","description":"\u003cp data-start=\"211\" data-end=\"419\"\u003eRecorded live at Carnegie Hall in New York on February 21, 1971, and released for the first time in 2024, \u003cem data-start=\"317\" data-end=\"344\"\u003eThe Carnegie Hall Concert\u003c\/em\u003e captures \u003cstrong data-start=\"354\" data-end=\"372\"\u003eAlice Coltrane\u003c\/strong\u003e at the height of her spiritual jazz journey.\u003c\/p\u003e\n\u003cp data-start=\"421\" data-end=\"795\"\u003eJoined by a stellar lineup — including \u003cstrong data-start=\"460\" data-end=\"479\"\u003ePharoah Sanders\u003c\/strong\u003e, \u003cstrong data-start=\"481\" data-end=\"497\"\u003eArchie Shepp\u003c\/strong\u003e, \u003cstrong data-start=\"499\" data-end=\"517\"\u003eJimmy Garrison\u003c\/strong\u003e, \u003cstrong data-start=\"519\" data-end=\"534\"\u003eCecil McBee\u003c\/strong\u003e, \u003cstrong data-start=\"536\" data-end=\"552\"\u003eEd Blackwell\u003c\/strong\u003e, and \u003cstrong data-start=\"558\" data-end=\"577\"\u003eClifford Jarvis\u003c\/strong\u003e — Coltrane leads a transcendental performance that moves from meditative to ecstatic. With harp, piano, and organ, she creates sweeping soundscapes that blend Eastern influence, modal jazz, and cosmic improvisation.\u003cstrong data-start=\"797\" data-end=\"818\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"885\" data-end=\"1107\"\u003ePresented as a deluxe 2×LP on Impulse! with gatefold packaging and booklet, \u003cem data-start=\"961\" data-end=\"988\"\u003eThe Carnegie Hall Concert\u003c\/em\u003e is both a historic document and an essential listening experience for fans of Coltrane, Sanders, and spiritual jazz.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":42474026336315,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602458828696.jpg?v=1758361414"},{"product_id":"shabaka-perceive-its-beauty-acknowledge-its-grace","title":"Shabaka - Perceive Its Beauty Acknowledge Its Grace (2024 Impulse! 2LP Vinyl)","description":"\u003cp data-start=\"229\" data-end=\"467\"\u003eReleased in 2024 on Impulse!, \u003cem data-start=\"259\" data-end=\"303\"\u003ePerceive Its Beauty, Acknowledge Its Grace\u003c\/em\u003e is the solo debut from saxophonist and composer \u003cstrong data-start=\"352\" data-end=\"373\"\u003eShabaka Hutchings\u003c\/strong\u003e, known for his work with Sons of Kemet, The Comet Is Coming, and Shabaka and the Ancestors.\u003c\/p\u003e\n\u003cp data-start=\"469\" data-end=\"898\"\u003eUnlike his fiery ensemble projects, this record reveals a more introspective and meditative side of Shabaka. Featuring flutes, clarinets, and other woodwinds instead of his usual saxophone, the music blends elements of spiritual jazz, ambient textures, and global influences. Special guests include \u003cstrong data-start=\"768\" data-end=\"790\"\u003eEsperanza Spalding\u003c\/strong\u003e, \u003cstrong data-start=\"792\" data-end=\"807\"\u003eJason Moran\u003c\/strong\u003e, and \u003cstrong data-start=\"813\" data-end=\"835\"\u003eNduduzo Makhathini\u003c\/strong\u003e, adding depth and resonance to the album’s reflective sound.\u003cstrong data-start=\"900\" data-end=\"923\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1098\" data-end=\"1257\"\u003eGentle, spacious, and deeply moving, \u003cem data-start=\"1135\" data-end=\"1179\"\u003ePerceive Its Beauty, Acknowledge Its Grace\u003c\/em\u003e is a powerful evolution for one of the leading voices in contemporary jazz.\u003c\/p\u003e\n\u003cp data-start=\"1098\" data-end=\"1257\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eLimited to 1000 copies, the VMP exclusive version is pressed on 180g Black vinyl at Furnace Record Pressing. The 2LPs will arrive in double gatefold, tip-on, foil-stamped and numbered jacket. It was mastered for vinyl by Ryan Smith at Sterling Sound.\u003c\/span\u003e\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":42477404258363,"sku":null,"price":110.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/Perceive_its_Beauty_Acknowledge_its_Grace_50128e12_thumbnail_4096.webp?v=1758461167"},{"product_id":"the-comet-is-coming-hyper-dimensional-expansion-beam","title":"The Comet Is Coming – Hyper-Dimensional Expansion Beam (2022 Impulse! Vinyl LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eThe Comet Is Coming – \u003cem data-start=\"145\" data-end=\"179\"\u003eHyper-Dimensional Expansion Beam\u003c\/em\u003e (2022 Impulse! LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"233\" data-end=\"453\"\u003eReleased in 2022 on Impulse!, \u003cem data-start=\"263\" data-end=\"297\"\u003eHyper-Dimensional Expansion Beam\u003c\/em\u003e is the third album from UK cosmic-jazz trio \u003cstrong data-start=\"342\" data-end=\"365\"\u003eThe Comet Is Coming\u003c\/strong\u003e — \u003cstrong data-start=\"368\" data-end=\"389\"\u003eShabaka Hutchings\u003c\/strong\u003e (saxophone), \u003cstrong data-start=\"403\" data-end=\"416\"\u003eDanalogue\u003c\/strong\u003e (synths), and \u003cstrong data-start=\"431\" data-end=\"442\"\u003eBetamax\u003c\/strong\u003e (drums).\u003c\/p\u003e\n\u003cp data-start=\"455\" data-end=\"744\"\u003eRecorded in Peter Gabriel’s Real World Studios, the album explodes with energy, blending spiritual jazz, electronica, funk, and psychedelic grooves. From pulsing, high-energy tracks to spacious cosmic passages, the record captures the band’s signature mix of intensity and transcendence.\u003c\/p\u003e\n\u003cp data-start=\"455\" data-end=\"744\"\u003e\u003cmeta charset=\"utf-8\"\u003eDriving, cosmic, and fiercely modern, \u003cem data-start=\"1010\" data-end=\"1044\"\u003eHyper-Dimensional Expansion Beam\u003c\/em\u003e is a journey through sound and space — essential for fans of spiritual and experimental jazz.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":42477485654075,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/khsdbfhkbdkhhbksd__20618.jpg?v=1758462160"},{"product_id":"albert-ayler-love-cry-japanese-impulse-vinyl-lp-gatefold","title":"Albert Ayler - Love Cry (Japanese Impulse! Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eAlbert Ayler - Love Cry Vinyl LP - Japanese Impulse! Gatefold Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most emotionally direct and spiritually charged albums in the free jazz canon, \u003cem\u003eLove Cry\u003c\/em\u003e presents Albert Ayler at a crucial juncture in his brief but incandescent career. Recorded across two sessions in August 1967 and February 1968, and reissued in Japan in 1972 by Toshiba Musical Industries in a handsome gatefold edition, this album captures Ayler's vision of jazz as sacred music, folk expression, and ecstatic celebration all at once.\u003c\/p\u003e\n\u003cp\u003eAyler's approach to the tenor saxophone was unlike anyone else's. His huge, vocal tone, wide vibrato, and willingness to venture into extreme registers made his sound instantly recognisable and often divisive. But what separated Ayler from mere iconoclasm was the profound emotion and spiritual searching in his music. These aren't merely abstract sound experiments but deeply felt expressions of joy, yearning, and transcendence.\u003c\/p\u003e\n\u003cp\u003eThe eight compositions move between tender folk-like melodies and collective free improvisations. \"Love Cry\" and \"Love Flower\" showcase Ayler's gift for simple, almost childlike themes that carry surprising emotional weight. \"Ghosts\", one of his most frequently performed pieces, builds from a haunting march-like melody into passionate collective improvisation. \"Universal Indians\" points toward Ayler's growing interest in incorporating rock and R\u0026amp;B elements, a direction that would become more pronounced on his final albums.\u003c\/p\u003e\n\u003cp\u003eThe ensemble here is exceptional. Donald Ayler's trumpet complements his brother's saxophone with a similarly raw, vocalized approach. Milford Graves' drumming abandons conventional timekeeping for a more ritualistic, pulse-oriented approach that perfectly suits Albert's conception. Alan Silva's bass provides both grounding and freedom, while Call Cobbs' harpsichord adds an unexpected timbral colour, particularly striking on tracks where its baroque associations clash productively with the music's avant-garde intensity.\u003c\/p\u003e\n\u003cp\u003eAyler's vocals appear on some tracks, his untrained voice adding another layer of raw expressiveness to the proceedings. For some listeners, this is too much, but for those attuned to Ayler's vision, it represents complete artistic honesty and vulnerability.\u003c\/p\u003e\n\u003cp\u003eThis Japanese gatefold pressing offers excellent stereo sound that captures both the intimacy of the smaller group performances and the power of Ayler's full-throated saxophone cry. Just three years after these recordings, Ayler would be found dead in New York's East River under mysterious circumstances, making albums like \u003cem\u003eLove Cry\u003c\/em\u003e precious documents of a visionary artist who burned brightly and briefly.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43011620929595,"sku":null,"price":95.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5149.jpg?v=1763261579"},{"product_id":"charlie-haden-liberation-music-orchestra-liberation-music-orchestra-1970-japanese-impulse-gatefold-lp","title":"Charlie Haden Liberation Music Orchestra - Liberation Music Orchestra (1970 Japanese Impulse! Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eCharlie Haden Liberation Music Orchestra, Arrangements By Carla Bley - Liberation Music Orchestra Vinyl LP - Original US Pressing Exported for Japanese Market, Gatefold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most politically engaged and musically ambitious recordings in jazz history, \u003cem\u003eLiberation Music Orchestra\u003c\/em\u003e represents bassist Charlie Haden's passionate response to the social and political upheavals of the late 1960s. Featuring arrangements by the visionary composer and pianist Carla Bley and an extraordinary ensemble of avant-garde jazz musicians, this album combines Spanish Civil War songs, revolutionary anthems, and free jazz expression into a powerful statement about liberation, resistance, and human dignity. This rare 1970 Japanese market copy represents an original US pressing with black and red rim Impulse! labels bearing the \"NY 10019\" address, exported for Japan and including an LP-sized insert.\u003c\/p\u003e\n\u003cp\u003eThe album opens with \"The Introduction \/ Song Of The United Front\", immediately establishing the recording's political commitment through text from Bertolt Brecht and Hanns Eisler's workers' anthem. The extended second track weaves together three Spanish Civil War songs, moving seamlessly between \"El Quinto Regimento\", \"Los Cuatro Generales\", and \"Viva La Quince Brigada\". Bley's arrangements are remarkable for their ability to honour the original melodies' folk simplicity while incorporating the harmonic sophistication and improvisational freedom of free jazz.\u003c\/p\u003e\n\u003cp\u003eThe ensemble Haden assembled reads like a who's who of late 1960s avant-garde jazz. Don Cherry's cornet and exotic flutes add colour and emotional depth, particularly on the gorgeous \"Song For Chè\", a tribute to Che Guevara. Gato Barbieri's passionate tenor saxophone brings Latin American fire, while Dewey Redman's equally intense playing represents the Ornette Coleman school of free jazz. Roswell Rudd's trombone, Perry Robinson's clarinet, and Michael Mantler's trumpet create a rich and varied horn section. The rhythm section features Paul Motian's sensitive drumming and Sam Brown's guitar textures, with Haden's bass providing both harmonic foundation and melodic voice.\u003c\/p\u003e\n\u003cp\u003e\"War Orphans\" is devastating in its portrayal of civilian suffering, while \"The Interlude (Drinking Music)\" provides a moment of dark humour before the explosive \"Circus '68 '69\" responds to the violence at the 1968 Democratic Convention in Chicago. The album closes with \"We Shall Overcome\", the civil rights anthem transformed into a collective prayer for liberation worldwide.\u003c\/p\u003e\n\u003cp\u003eCarla Bley's arrangements are the album's structural genius, balancing composition and improvisation, written melodies and free blowing, political message and musical adventure. Her piano playing throughout adds both harmonic sophistication and percussive energy. Produced by Bob Thiele for Flying Dutchman Productions and engineered by Dave Greene with remix engineering by Bob Arnold, the recording captures both the intimacy of individual voices and the power of collective expression.\u003c\/p\u003e\n\u003cp\u003eThis gatefold edition includes Charlie Haden's cover design featuring the ensemble with Carla Bley's banner, Charles Stewart's cover and liner photos, and the LP-sized insert with additional information. The original US pressing quality with Japanese market export makes this a particularly desirable edition for collectors.\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/7rqdziyEA9441OtWILhVwt?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43030287614011,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5195.jpg?v=1763705085"},{"product_id":"john-coltrane-expression-1968-us-impulse-rainbow-label-vinyl-lp-gatefold","title":"John Coltrane - Expression (1968 US Impulse! Rainbow Label Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane - \u003cem\u003eExpression\u003c\/em\u003e Vinyl LP - Early US Impulse! Rainbow Label Repress, Gatefold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJohn Coltrane's final studio album, recorded in the months before his death from liver cancer on 17 July 1967, \u003cem\u003eExpression\u003c\/em\u003e stands as both a farewell and a testament to his restless spiritual and musical searching. This early 1968 US pressing on Impulse!'s first rainbow label configuration captures Coltrane's quartet featuring his wife Alice Coltrane on piano, Jimmy Garrison on bass, and Rashied Ali on drums performing four compositions that venture far beyond conventional jazz into realms of pure expression and transcendence. Remarkably, this copy includes a Japanese insert, indicating it was a US pressing distributed to the Japanese market.\u003c\/p\u003e\n\u003cp\u003eThe album opens with \"Ogunde\", recorded on 7 March 1967, Coltrane's very last recording session. The piece demonstrates the territory Coltrane had reached: collective improvisation where traditional roles dissolve, intense emotional expression taking precedence over harmonic structure, and a spiritual searching that transcends musical conventions. Alice Coltrane's piano playing throughout adds a distinctively cosmic, floating quality quite different from McCoy Tyner's muscular approach in the classic quartet.\u003c\/p\u003e\n\u003cp\u003e\"To Be\", recorded on 15 February 1967, and \"Offering\", from the same session, showcase the quartet working as a single, unified voice rather than as soloist plus accompaniment. Rashied Ali's drumming abandons traditional timekeeping for a more textural, conversational approach, responding moment by moment to Coltrane's increasingly intense saxophone cries. Garrison's bass provides grounding while remaining free to explore melodically.\u003c\/p\u003e\n\u003cp\u003eThe title track \"Expression\", recorded during spring 1967, closes the album with Coltrane's tenor saxophone pushing into the extreme registers and tonal distortions that characterised his final period. For listeners unfamiliar with late Coltrane, this music can be challenging - it's not \"pretty\" or conventionally melodic, but it's deeply felt and spiritually committed. Coltrane was exploring the outer limits of what his instrument could express, using extended techniques, multiphonics, and sheer emotional intensity to convey states beyond words.\u003c\/p\u003e\n\u003cp\u003eThis early rainbow label pressing, identifiable by its black and red ring labels with Impulse! and ABC logos together in one continuous rainbow box, represents the first post-1968 label configuration after the orange and black labels. The pressing details are fascinating: side B retains Van Gelder's handwritten matrix number and stamp matching the first pressing, while side A has a stamped rather than etched matrix, indicating this is an early repress rather than a true first pressing.\u003c\/p\u003e\n\u003cp\u003eThe thick, laminated gatefold sleeve (unlaminated inside) and the inner sleeve advertising releases only through 1966 with the ABC-Paramount address help date this pressing to 1968. The inclusion of a Japanese insert with a US pressing creates an unusual hybrid of American manufacturing and Japanese market distribution, making this a particularly interesting copy for collectors.\u003c\/p\u003e\n\u003cp\u003eRecorded at Van Gelder Studio with Rudy Van Gelder's engineering and mastered at Longwear Plating, this pressing maintains the sonic quality essential to appreciating Coltrane's final explorations. Co-produced by Bob Thiele and Coltrane himself, Expression represents Coltrane's ultimate artistic vision, uncompromised and unfiltered.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43066166542395,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5378.jpg?v=1765197633"},{"product_id":"pharoah-sanders-thembi-2024-verve-by-request-180g-vinyl-lp-gatefold","title":"Pharoah Sanders - Thembi (2024 Verve By Request 180g Vinyl LP Gatefold)","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eRecorded across two sessions in late 1970 and early 1971, \u003cem\u003eThembi\u003c\/em\u003e captures Pharoah Sanders transitioning from his most intense free jazz explorations toward a more spiritual, accessible sound that would define his 1970s masterpieces. This 9 August 2024 reissue, part of Universal Music's Verve By Request series and pressed by Third Man Pressing on 180-gram vinyl in a gatefold sleeve, offers this landmark Impulse! recording in premium contemporary presentation.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe album's first side, recorded on 25 November 1970 at The Record Plant in Los Angeles, features Sanders leading a sextet through three extended explorations. \"Astral Traveling\" opens with the hypnotic, trance-inducing quality that would become Sanders' signature, layering his tenor saxophone over Lonnie Liston Smith's Fender Rhodes, Cecil McBee's bass, Clifford Jarvis' percussion-heavy drumming, and Michael White's violin. Sanders adds bells and percussion himself, creating dense rhythmic textures that support his increasingly ecstatic saxophone flights.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\"Red, Black \u0026amp; Green\" addresses Pan-African consciousness through its title (referencing the Black liberation flag colours) and music, Sanders' tenor alternating between screaming intensity and tender melodicism. \"Thembi\", the title track dedicated to Sanders' wife at the time, closes the first side with a performance that balances spiritual searching with accessible beauty, pointing toward the approach Sanders would perfect on albums like Karma and Journey to the Source.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eSide two, recorded on 12 January 1971 at The Record Plant in New York City, presents a different trio configuration featuring Sanders on saxophone, Lonnie Liston Smith on acoustic piano, and Cecil McBee on bass. The absence of drums creates a more spacious, contemplative atmosphere. \"Love\" is a brief meditation, while \"Morning Prayer\" and \"Bailophone Dance\" showcase Sanders' ability to create spiritual music that honours African traditions while remaining distinctly jazz-based.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eSanders' tenor saxophone playing throughout moves between extraordinary technical control and ecstatic abandon. His tone, enormous and sometimes harsh, conveys spiritual yearning and transcendent joy. The extended technique he employs, including overtones, multiphonics, and extreme register explorations, serves emotional and spiritual expression rather than mere display.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLonnie Liston Smith's presence is crucial, his modal piano and electric piano work providing harmonic foundation while allowing space for collective improvisation. Smith would continue working with Sanders before forming his own successful Cosmic Echoes group. Cecil McBee's bass anchors both sessions with melodic invention and rhythmic solidity, while Clifford Jarvis' drumming on the first side adds propulsive energy and African-influenced polyrhythms. Michael White's violin adds another voice to the collective, his playing influenced by both jazz and Indian classical music. \u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43076407394363,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/PharoahSanders-Thembi_1LP_Cvr.webp?v=1765762735"},{"product_id":"shabaka-afrikan-culture-2023-us-impulse-vinyl-12-mini-album","title":"Shabaka - Afrikan Culture (2023 US Impulse! Vinyl 12\" Mini-Album)","description":"\u003cp\u003eA bold artistic statement from one of contemporary jazz's most visionary voices, \u003cem\u003eAfrikan Culture\u003c\/em\u003e marks Shabaka Hutchings' first release under his given name alone, stepping away from his celebrated groups Sons of Kemet, The Comet Is Coming, and Shabaka and the Ancestors. Released March 2023 on the legendary Impulse! label, this mini-album presents eight compositions that blend spiritual searching, political consciousness, and sonic innovation into a deeply personal meditation on Black culture, identity, and liberation.\u003c\/p\u003e\n\u003cp\u003eRecorded across multiple London studios including Snap Studios, The Neve Church Studios, and mixed at The Crush by Dilip Harris (who also co-produced and recorded portions), \u003cem\u003eAfrikan Culture\u003c\/em\u003e showcases Hutchings' evolving musical vision. While best known as a saxophonist, clarinetist, and bass clarinetist, Hutchings arranged and composed all eight pieces here, creating sonic landscapes that range from meditative minimalism to explosive collective improvisation.\u003c\/p\u003e\n\u003cp\u003eThe album opens with \"Black Meditation\", immediately establishing the album's spiritual and political dimensions. Hutchings' concern with consciousness, interiority, and liberation through meditation aligns with a long tradition in Black music from Alice Coltrane to Sun Ra. \"Call It A European Paradox\" addresses the contradictions of European culture claiming universalism while perpetuating colonialism and racism, its title alone a provocative challenge.\u003c\/p\u003e\n\u003cp\u003e\"Ital Is Vital\" references Rastafarian concepts of natural living and rejection of Babylon's systems, continuing the album's engagement with African diasporic spirituality and resistance. \"Memories Don't Live Like People Do\" takes its title from a Prince lyric, exploring how memory, history, and cultural transmission function differently than individual lives, carrying collective experience across generations.\u003c\/p\u003e\n\u003cp\u003eSide two opens with \"Ritual Awakening\", suggesting music as ceremonial practice rather than mere performance. \"Explore Inner Space\" turns attention inward, the title evoking both meditation and the cosmic explorations of spiritual jazz pioneers. \"The Dimension Of Subtle Awareness\" continues this contemplative trajectory before the album closes with \"Rebirth\", offering hope and renewal after the journey through consciousness, critique, and searching.\u003c\/p\u003e\n\u003cp\u003eThroughout, Hutchings demonstrates his gifts as arranger and conceptualist, not merely saxophonist. The personnel and specific instrumentation aren't detailed in the standard credits, but the album's sound suggests varied ensemble configurations and potentially overdubbed layers, with Hutchings' arranging vision tying disparate elements into coherent wholes.\u003c\/p\u003e\n\u003cp\u003eThis US pressing, manufactured by UMG Commercial Services and distributed through UMG, features lacquer cutting by JN-H at the renowned Sterling Sound facility. The standard black vinyl edition includes a 12-inch square insert with a portrait photograph by Gareth Jarvis on one side and full credits on the reverse. Ana Pryor's creative direction and design present the album with the visual sophistication befitting Impulse!'s legacy and Hutchings' artistic ambitions.\u003c\/p\u003e\n\u003cp\u003eThe release on Impulse!, the label of John Coltrane, Alice Coltrane, Pharoah Sanders, and other spiritual jazz giants, carries symbolic weight. 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This Record Store Day 2020 12-inch single, released on Impulse! and pressed by GZ Media, presents \"Imminent\" on the A-side with a Noss DJ remix of \"Super Zodiac\" on the flip.\u003c\/p\u003e\n\u003cp\u003e\"Imminent\" captures The Comet Is Coming's distinctive sound: Hutchings' urgent, sometimes screaming saxophone over Danalogue's swirling synthesizers and Betamax's propulsive drumming. The track title suggests something approaching, building tension and anticipation, the music's intensity evoking both cosmic spectacle and earthly urgency. Recorded at London's legendary Total Refreshment Centre, a crucial hub for the UK jazz explosion of the 2010s, the track captures the energy and experimentalism of that scene.\u003c\/p\u003e\n\u003cp\u003eThe B-side presents Noss DJ's remix of \"Super Zodiac\", transforming The Comet Is Coming's cosmic jazz into dancefloor-oriented electronic music. Noss DJ, known for experimental electronic productions, deconstructs the original track and rebuilds it with club sensibilities while maintaining the source material's otherworldly character. This remix demonstrates the permeability of boundaries between jazz, electronic music, and club culture that defines much contemporary experimental music.\u003c\/p\u003e\n\u003cp\u003eThe Comet Is Coming's music draws as much from Afrofuturism, Sun Ra's cosmic philosophy, and electronic music as from conventional jazz. Hutchings, the most recognisable member through his work in multiple acclaimed groups, brings spiritual intensity and technical mastery. Danalogue's synthesizers create dense, psychedelic textures that function as both harmonic foundation and sonic assault. Betamax's drumming combines jazz technique with electronic music's rhythmic insistence, bridging acoustic and electronic approaches.\u003c\/p\u003e\n\u003cp\u003eMixed and produced by Betamax and Danalogue, mastered by Daddy Kev (known for his work with Flying Lotus and the Brainfeeder roster), and lacquer cut by Ian Sefchick, this 12-inch represents professional production befitting the group's vision. The Impulse! label release connects The Comet Is Coming to that legendary label's spiritual jazz legacy while acknowledging their electronic and experimental elements.\u003c\/p\u003e\n\u003cp\u003eAs a Record Store Day 2020 release, this 12-inch had limited pressing and was available only through participating independent record shops on the designated day (though RSD 2020 was postponed and spread across multiple dates due to COVID-19 pandemic). This limited availability and event-specific release creates inherent scarcity and collector interest.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43083051728955,"sku":null,"price":30.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/the-comet-is-coming-imminent-1607532097.webp?v=1766102360"},{"product_id":"quincy-jones-and-his-orchestra-the-quintessence-1973-japanese-impulse-gatefold-lp","title":"Quincy Jones And His Orchestra - The Quintessence (1973 Japanese Impulse! 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Highlights include the title track, Thelonious Monk's \"Straight, No Chaser\" given big band treatment, and \"Invitation\" featuring the orchestra's full power.\u003c\/p\u003e\n\u003cp\u003eThe album demonstrates Jones' evolution as arranger from his 1950s work toward the soul-jazz and film scoring that would dominate his 1960s-70s output. His arrangements honour big band tradition while incorporating bebop's harmonic complexity and contemporary orchestration techniques. The presence of four French horns and tuba adds unusual timbral depth, while harpist Gloria Agostini on selected tracks creates textures rarely heard in hard bop contexts. The soloists—particularly Hubbard's fiery trumpet and Nelson's authoritative saxophone—shine within Jones' carefully structured frameworks.\u003c\/p\u003e\n\u003cp\u003eDifferent personnel across tracks reflects the multiple sessions required for the album, with rotating drummers (Bill English and James Johnson) and varying horn configurations. This allows Jones to tailor arrangements to specific instrumental combinations while maintaining overall coherence.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43180722683963,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5888.jpg?v=1769744509"},{"product_id":"elvin-jones-and-richard-davis-heavy-sounds-1976-japanese-impulse-gatefold-lp","title":"Elvin Jones And Richard Davis - Heavy Sounds (1976 Japanese Impulse! Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eElvin Jones And Richard Davis - \u003cem\u003eHeavy Sounds\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1976 Japanese ABC Impulse! Stereo Gatefold Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDrummer Elvin Jones and bassist Richard Davis co-lead this 1967 session exploring the boundary between soul-jazz and post-bop, their rhythmic partnership driving six tracks recorded over two days (19 and 20 June) in New York. Tenor saxophonist Frank Foster and pianist Billy Greene appear on four tracks, while Jones and Davis perform two duets including an extended reading of \"Summertime\". Originally released in 1967 as A-9160, this session captures Jones between his legendary work with the John Coltrane Quartet (which had recently dissolved) and his own long-running group. Released in Japan in 1976 as part of Impulse's Best Collection series and manufactured by Nippon Columbia, this gatefold stereo pressing showcases the rhythmic mastery of two of jazz's most powerful rhythm section players.\u003c\/p\u003e\n\u003cp\u003eThe quartet tracks feature Foster's robust tenor saxophone and Greene's bluesy piano over the formidable foundation of Jones and Davis, whose interaction demonstrates telepathic rhythmic understanding. Jones' drumming, famous for its polyrhythmic complexity and explosive power in the Coltrane context, here shows equal mastery of soul-jazz grooves and swinging post-bop. Davis' bass work provides both harmonic grounding and melodic invention, his instrument functioning as equal voice rather than mere timekeeper. The Count Basie classic \"Shiny Stockings\" receives modern treatment, while originals like \"Raunchy Rita\" and \"M.E.\" showcase the group's ability to balance groove with sophisticated improvisation.\u003c\/p\u003e\n\u003cp\u003eThe two duets reveal the core Jones-Davis partnership stripped to essentials. \"Summertime\" becomes a vehicle for extended exploration, the familiar Gershwin theme serving as launching point for bass-drums dialogue that demonstrates how rhythm section players can sustain interest without harmonic instruments. \"Elvin's Guitar Blues\" (despite the title, no guitar appears) further showcases their rhythmic rapport. Manufactured by Nippon Columbia in gatefold format as part of the Impulse Best Collection series, this pressing captures Jones and Davis at a transitional moment, bridging Coltrane-era intensity with soul-jazz accessibility.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43200634585147,"sku":null,"price":110.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6065.jpg?v=1770508074"},{"product_id":"archie-shepp-four-for-trane-1965-japanese-impulse-stereo-lp","title":"Archie Shepp - Four For Trane (1965 Japanese Impulse! Stereo LP)","description":"\u003cp\u003e\u003cstrong\u003eArchie Shepp - Four For Trane\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1965 Japanese Impulse! Stereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eJohn Coltrane as co-producer\u003c\/strong\u003e - Trane personally oversaw this tribute featuring his compositions\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal 1965 Japanese pressing\u003c\/strong\u003e - King Records, same year as US release with flip-back cover.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eNew Thing meets hard bop\u003c\/strong\u003e - Shepp's avant-garde sextet reimagines Coltrane classics\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eTenor saxophonist Archie Shepp's tribute to John Coltrane features four Coltrane compositions plus one Shepp original, recorded on 10 August 1964 at Van Gelder Studio with co-production by Coltrane himself alongside Bob Thiele. The sextet—Shepp on tenor, John Tchicai on alto, Roswell Rudd on trombone, Alan Shorter on flugelhorn, Reggie Workman on bass, and Charles Moffett on drums—transforms Coltrane pieces like \"Syeeda's Song Flute\", \"Cousin Mary\", and \"Naima\" through the lens of the New Thing movement, Shepp's more avant-garde approach revealing new dimensions in familiar material. Released in Japan in 1965 by King Records, this original pressing captures the moment when free jazz and hard bop traditions intersected, Coltrane's endorsement through co-production signalling his support for the younger generation pushing jazz's boundaries.\u003c\/p\u003e\n\u003cp\u003eThe album balances reverence for Coltrane's compositions with Shepp's distinctive voice, the arrangements honouring the source material's structures while allowing freer improvisation than Coltrane's own versions. Tchicai's alto and Rudd's trombone add textural colours absent from Coltrane's quartet, while Workman (who had played with Coltrane) and Moffett provide rhythm section foundation that bridges hard bop tradition and free jazz exploration. Shepp's tenor work demonstrates both his debt to Coltrane and his own emerging voice, his tone rougher and more emotionally raw. Van Gelder's engineering and King Records' Japanese pressing quality preserve this historic session where New Thing met spiritual jazz under Coltrane's blessing.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43232565493819,"sku":null,"price":105.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6174.jpg?v=1771802922"},{"product_id":"john-coltrane-quartet-crescent-1976-japanese-abc-impulse-gatefold-lp","title":"John Coltrane Quartet - Crescent (1976 Japanese ABC Impulse! 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Best Collection Gatefold Stereo Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eFive Coltrane originals\u003c\/strong\u003e recorded six months before \u003cem\u003eA Love Supreme\u003c\/em\u003e, the classic quartet at the height of their collective power and intimacy\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVan Gelder engineering\u003c\/strong\u003e at Englewood Cliffs\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1976 Japanese ABC Impulse! gatefold pressing\u003c\/strong\u003e, released 25 December 1976, manufactured by Nippon Columbia Co., Ltd., with obi and Japanese liner notes\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eCrescent \u003c\/em\u003ewas recorded at Van Gelder Studio in Englewood Cliffs across two sessions in 1964, the quartet entering on April 27 and recording what became \"Wise One\", \"Lonnie's Lament\" and \"The Drum Thing\", returning on June 1 to record the title track and \"Bessie's Blues\". Released on Impulse! in July 1964 as AS-66, the album sits squarely between Coltrane's extended modal period and the full flowering of the spiritual direction that \u003cem\u003eA Love Supreme\u003c\/em\u003e, recorded six months later in December, would announce to the world. The five compositions are all Coltrane originals, and the album has a quality of unhurried assurance, the classic quartet of McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums operating as a single organic unit beneath Coltrane's tenor. Side A gives Coltrane the foreground across three pieces: the contemplative title track, the modal richness of \"Wise One\" where Tyner's piano is particularly prominent, and \"Bessie's Blues\", a blues vehicle that provides some release from the album's prevailing introspection. Side B belongs to the rhythm section. \"Lonnie's Lament\", which runs to nearly twelve minutes, features no Coltrane solo at all; it is Garrison's bass that carries the long central statement. \"The Drum Thing\" is an improvisational feature for Jones, with only spare melodic accompaniment from Coltrane and Garrison at its opening and close. The decision to give over an entire LP side in this way, to step back and let the musicians who supported him take the weight, says something significant about how Coltrane understood ensemble music by 1964. Liner notes are by Nat Hentoff and photography by Charles Stewart, whose inner gatefold portrait of Coltrane was also used on the cover of A Love Supreme.\u003c\/p\u003e\n\u003cp\u003eReleased in Japan on 25 December 1976 on ABC Impulse! (YP-8576-AI) as part of the Impulse Best Collection series, the same series and the same manufacturer as the Ellington and Coltrane coupling (YP-8573-AI) released the same day, this gatefold pressing is made by Nippon Columbia Co., Ltd. and includes obi and Japanese liner notes. Bob Thiele produced and Rudy Van Gelder engineered, as on all the great Impulse! sessions of this period, Van Gelder's recording capturing the quartet with the warmth and spatial clarity that makes his Englewood Cliffs work so consistently rewarding on a quality pressing.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43246606057531,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6249.jpg?v=1772312692"},{"product_id":"charles-mingus-mingus-mingus-mingus-mingus-mingus-1973-japanese-impulse-gatefold-lp","title":"Charles Mingus - Mingus Mingus Mingus Mingus Mingus (1973 Japanese Impulse! Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eCharles Mingus - \u003cem\u003eMingus Mingus Mingus Mingus Mingus\u003c\/em\u003e | Vinyl LP - 1973 Japanese Impulse! Gatefold Stereo Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeven compositions drawn from across Mingus's catalogue\u003c\/strong\u003e, rewritten, recharged and rerecorded with two separate eleven-piece ensembles across sessions from 1963\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eA rare earlier Japanese pressing\u003c\/strong\u003e on IMP-88112, manufactured by Toshiba Musical Industries Ltd., predating the better-known 1976 ABC Impulse! Best Collection series by three years\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003ePresented in gatefold sleeve with obi,\u003c\/strong\u003e one of three Mingus albums for Impulse! recorded during his most sustained and celebrated creative period\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eBy January 1963, when the first of the two sessions that make up this album was recorded, Charles Mingus had been signed to Impulse! for less than two years and had already delivered \u003cem\u003eThe Black Saint and the Sinner Lady\u003c\/em\u003e, one of the most ambitious recordings in the label's history. For this album, recorded across January 20 and September 20, 1963, Mingus turned instead toward his own back catalogue, working with arranger and orchestrator Bob Hammer to revoice seven compositions for large ensemble, most of them renamed in the process. \"II B.S.\" is \"Haitian Fight Song\" reconstructed, \"Theme For Lester Young\" is \"Goodbye Pork Pie Hat\" from \u003cem\u003eMingus Ah Um\u003c\/em\u003e (1959), \"I X Love\" is a reworking of \"Duke's Choice\", \"Hora Decubitus\" reworks \"E's Flat, Ah's Flat Too\" from \u003cem\u003eBlues \u0026amp; Roots\u003c\/em\u003e, and \"Better Get Hit In Yo' Soul\" is the third time Mingus committed that gospel-charged 6\/8 theme to tape. The one composition that belongs to someone else is \"Mood Indigo\", credited to Duke Ellington, Barney Bigard and Irving Mills, which Mingus treats with an extended bass solo before the ensemble enters. \"Celia\", written for Mingus's second wife and dating back to \u003cem\u003eEast Coasting\u003c\/em\u003e (1957), completes the programme. The result is less a retrospective than an act of reclamation: Mingus demonstrating that the compositions were living things capable of bearing the weight of new arrangements and new personnel.\u003c\/p\u003e\n\u003cp\u003eThe two sessions used different ensembles. January 20 produced \"I X Love\", \"Celia\" and \"Better Get Hit In Yo' Soul\", with Charlie Mariano on alto saxophone, Dannie Richmond on drums, Jay Berliner on guitar, Quentin Jackson on trombone, and Rolf Ericson on trumpet. September 20 produced \"II B.S.\", \"Mood Indigo\", \"Theme For Lester Young\" and \"Hora Decubitus\", with Eric Dolphy on alto saxophone and flute, Booker Ervin on tenor saxophone, Walter Perkins on drums and Britt Woodman on trombone. Richard Williams on trumpet and Jerome Richardson on soprano saxophone, baritone saxophone and flute, along with Jaki Byard on piano, tuba player Don Butterfield and Dick Hafer on tenor saxophone, clarinet and flute, appear across both sessions. Released on Impulse! in January 1964 as A-54, the album sat alongside \u003cem\u003eThe Black Saint and the Sinner Lady\u003c\/em\u003e and \u003cem\u003eMingus Plays Piano\u003c\/em\u003e as the third of Mingus's three Impulse! albums from a concentrated period of creative activity that ended abruptly with Eric Dolphy's death in June 1964, after which Mingus did not record again for six years.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing on IMP-88112, released in 1973 and manufactured by Toshiba Musical Industries Ltd., predates the better-known 1976 ABC Impulse! Best Collection series and is one of the earlier Japanese reissues of the album. Presented in gatefold sleeve with obi.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43246787231803,"sku":null,"price":120.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6261.jpg?v=1772316465"},{"product_id":"keith-jarrett-treasure-island-1974-original-us-abc-impulse-quadraphonic-lp-as-9274-gatefold","title":"Keith Jarrett - Treasure Island (1974 Original US ABC Impulse! Quadraphonic LP, AS-9274, Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eTreasure Island\u003c\/em\u003e | Vinyl LP - 1974 Original US ABC Impulse! Gatefold (AS-9274, Kendun\/Terre Haute)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eKeith Jarrett's American Quartet\u003c\/strong\u003e — Dewey Redman on tenor saxophone, Charlie Haden on bass, Paul Motian on drums — recorded at Generation Sound Studio, New York City, on 27 and 28 February 1974; the quartet's first studio album for Impulse!, produced by Ed Michel\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeven originals across two sides\u003c\/strong\u003e, from the slow country-gospel of \"The Rich (And The Poor)\" to the Latin-tinged title track and Jarrett's soprano saxophone outing on \"Angles (Without Edges)\"; two tracks feature guitarist Sam Brown\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal 1974 US pressing\u003c\/strong\u003e, gatefold; lacquer cut at Kendun Recorders, pressed at Columbia Records Pressing Plant, Terre Haute; Compatible Stereo\/Quadraphonic format\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eKeith Jarrett had been working with Charlie Haden and Paul Motian since the late 1960s; Dewey Redman joined them around 1971 when Jarrett signed with Impulse! after Columbia dropped him. The four musicians became known as the American Quartet and recorded four studio albums for the label between 1974 and 1976. \u003cem\u003eTreasure Island\u003c\/em\u003e, recorded at Generation Sound Studio in New York City over two days in late February 1974, was the first of the studio recordings. Producer Ed Michel had been a key figure at Impulse! through the label's Coltrane years and oversaw much of the quartet's output. Engineer Tony May mixed the sessions at The Village Recorder in Los Angeles.\u003c\/p\u003e\n\u003cp\u003eThe seven tracks on \u003cem\u003eTreasure Island\u003c\/em\u003e move between idioms without forcing cohesion. \"The Rich (And The Poor)\" is a slow gospel piece, Motian playing without cymbals, Haden loud in the mix, Jarrett's piano building over a bass drum and snare pulse. The title track brings in guitarist Sam Brown and introduces a more airy, Latin-tinged texture. Jarrett plays soprano saxophone on \"Angles (Without Edges).\" \"Introduction\/Yaqui Indian Folk Song\" incorporates a melody from the Yaqui people of the Sonoran Desert. Brown also appears on the closing \"Sister Fortune.\" Jarrett plays additional instruments across the session — osi drum, wood flute — that extend the record's rhythmic and textural range beyond the standard piano quartet. Two months after these sessions, Jarrett would enter a studio in Norway to record \u003cem\u003eBelonging\u003c\/em\u003e with Jan Garbarek, Palle Danielsson and Jon Christensen. This original US pressing is gatefold, lacquer cut at Kendun Recorders and pressed at Columbia's Terre Haute plant, in Compatible Stereo\/Quadraphonic format.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43283568590907,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6400.jpg?v=1773532087"},{"product_id":"alice-coltrane-ptah-the-el-daoud-2022-impulse-gatefold-lp-third-man-pressing","title":"Alice Coltrane - Ptah, The El Daoud (2022 Impulse! Gatefold LP, Third Man Pressing)","description":"\u003cp\u003e\u003cstrong\u003eAlice Coltrane - \u003cem\u003ePtah, The El Daoud\u003c\/em\u003e | Vinyl LP - 2022 Impulse! Verve By Request 180g Gatefold (B0036051-01, Sterling Sound mastering, Third Man Pressing)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eRecorded January 26, 1970\u003c\/strong\u003e in the basement studio of the Coltrane home in Dix Hills, New York; Alice Coltrane's third solo album and her first to feature horns throughout; all four compositions are her own; produced by Ed Michel\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003ePharoah Sanders\u003c\/strong\u003e on tenor and alto flute (right channel); \u003cstrong\u003eJoe Henderson\u003c\/strong\u003e on tenor and alto flute (left channel); Ron Carter on bass; Ben Riley on drums; Alice Coltrane plays piano on three tracks and switches to harp on \"Blue Nile\"; Henderson appears by courtesy of Milestone Records\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eA foundational record of spiritual jazz\u003c\/strong\u003e; Coltrane noted that \"Joe Henderson is more on the intellectual side, while Pharoah is more abstract, more transcendental\" — the contrast between the two tenors is the album's defining sound\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eVerve By Request series\u003c\/strong\u003e, 2022 reissue; 180g; gatefold; mastered at Sterling Sound; pressed at Third Man Pressing, Detroit\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eAlice Coltrane recorded this in the basement of her home on Long Island on January 26, 1970 — three years after John Coltrane's death, while raising four children and continuing to perform. She had converted the space into a working studio, with acoustic baffling and professional equipment. W.L. Barneke engineered. Ed Michel produced. The session assembled Ron Carter on bass, Ben Riley on drums, and two tenor saxophonists whose approaches could hardly have been more different: Pharoah Sanders on the right channel, Joe Henderson on the left.\u003c\/p\u003e\n\u003cp\u003eAll four compositions are Coltrane's. The title track is named for Ptah, the Egyptian god of creators — \"El Daoud\" meaning \"the beloved\" in Arabic. \"Turiya and Ramakrishna\" takes both of Coltrane's spiritual references: \"Turiya\" was her own Sanskrit name, also meaning a state beyond ordinary consciousness; Ramakrishna was the 19th century Bengali mystic. \"Blue Nile\" is the track on which Coltrane moves from piano to harp and both Sanders and Henderson switch from tenor to alto flute. \"Mantra\" closes the album with horns working in unison over Coltrane's rolling piano.\u003c\/p\u003e\n\u003cp\u003eThe album was released September 1970 and reached No. 13 on the Billboard jazz charts by February 1971. This 2022 Verve By Request reissue was mastered at Sterling Sound and pressed at Third Man Pressing in Detroit.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43431129841723,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/71gHdNrd4_L._UF894_1000_QL80.jpg?v=1776478909"},{"product_id":"ahmad-jamal-trio-the-awakening-2023-impulse-gatefold-lp-third-man-pressing","title":"Ahmad Jamal Trio - The Awakening (2023 Impulse! Gatefold LP, Third Man Pressing)","description":"\u003cp\u003e\u003cstrong\u003eAhmad Jamal Trio - \u003cem\u003eThe Awakening\u003c\/em\u003e | Vinyl LP - 2023 Verve By Request 180g Gatefold (B0036678-01, East Iris Studios mastering, Third Man Pressing)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAhmad Jamal had been recording since the early 1950s, but by 1970 his approach had shifted — denser, more rhythmically varied, still centred on space and contrast but now more willing to push into harder territory. \u003cem\u003eThe Awakening\u003c\/em\u003e was his first album for Impulse! and the record that brought him to a new generation of listeners, particularly through the title track's percussive vamp, which has been one of the most sampled pieces in jazz. Ed Michel produced; George Sawtelle engineered. Jamil Nasser on bass and Frank Gant on drums had been Jamal's working partners for years, and the ease between them is the record's foundation.\u003c\/p\u003e\n\u003cp\u003eSeven tracks, recorded across two sessions. Two are Jamal originals — \"The Awakening\" and \"Patterns.\" \"I Love Music\" comes from Emil Boyd and Hale Smith. Side B covers four compositions: Herbie Hancock's \"Dolphin Dance\" from \u003cem\u003eMaiden Voyage\u003c\/em\u003e (1965), the 1931 Harry Warren standard \"You're My Everything,\" Oliver Nelson's \"Stolen Moments\" from \u003cem\u003eBlues and the Abstract Truth\u003c\/em\u003e (1961), and Jobim's \"Wave\" (1967). Leonard Feather wrote the liner notes; Chuck Stewart photographed the cover.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eConsidered essential in both jazz and hip-hop collector circles — the title track and other tracks have been sampled extensively, \u003cmeta charset=\"utf-8\"\u003ethis is the first proper reissue of the album in over twenty-five years. Mastered at East Iris Studios in Nashville, pressed on 180g vinyl at Third Man Pressing in Detroit, and packaged in a gatefold. It was released on April 14, 2023. Jamal died on April 16, 2023.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43431390707771,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602448476111.jpg?v=1776492785"},{"product_id":"john-coltrane-and-johnny-hartman-1976-japanese-abc-impulse-ys-8505-ai-gatefold-lp","title":"John Coltrane and Johnny Hartman (1976 Japanese ABC Impulse! YS-8505-AI Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane and Johnny Hartman | Vinyl LP - 1976 Japanese ABC Impulse! Gatefold (YS-8505-AI, Nippon Columbia Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eColtrane had approached Hartman about recording together. Hartman was initially reluctant, not thinking of himself as a jazz vocalist, but heard Coltrane at Birdland and agreed. They recorded on March 7, 1963. Bob Thiele arranged the session. Six songs, with Rudy Van Gelder engineering. Jimmy Garrison on bass, McCoy Tyner on piano, Elvin Jones on drums playing brushes throughout.\u003c\/p\u003e\n\u003cp\u003eSix ballads, all standards. Irving Berlin's \"They Say It's Wonderful,\" from \u003cem\u003eAnnie Get Your Gun\u003c\/em\u003e (1946). Sammy Cahn, Saul Chaplin and Hy Zaret's \"Dedicated to You.\" Robert Mellin and Guy Wood's \"My One and Only Love.\" Billy Strayhorn's \"Lush Life.\" Richard Rodgers and Lorenz Hart's \"You Are Too Beautiful.\" Peter DeRose and Sammy Gallop's \"Autumn Serenade.\" Hartman's deep baritone settles into each song without decoration. Coltrane solos between and around the vocal lines, then pulls back. On three tracks, \"My One and Only Love,\" \"Lush Life\" and \"You Are Too Beautiful\", Coltrane later overdubbed additional saxophone phrases behind Hartman's voice; a new master incorporating these overdubs, with additional echo added by Van Gelder, became the standard version. Most pressings from 1964 onward use this later master.\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese ABC Impulse! pressing (YS-8505-AI), manufactured by Nippon Columbia Co. Ltd., issued in a gatefold sleeve with Japanese liner notes.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43432395702331,"sku":null,"price":130.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6641.jpg?v=1776599193"},{"product_id":"archie-shepp-three-for-a-quarter-one-for-a-dime-1969-us-impulse-as-9162-gatefold-lp-japanese-distribution","title":"Archie Shepp - Three For A Quarter, One For A Dime (1969 US Impulse! AS-9162 Gatefold LP, Japanese distribution)","description":"\u003cp\u003e\u003cstrong\u003eArchie Shepp - \u003cem\u003eThree For A Quarter\u003c\/em\u003e, One For A Dime | Vinyl LP - 1969 US Impulse! Gatefold (AS-9162, King Record Co. Ltd. Japan distribution)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is not a separately manufactured Japanese pressing — it is the original US Impulse! pressing, distributed in Japan by King Record Co. Ltd. with Japanese liner notes added to the gatefold. Bob Thiele produced; Wally Heider engineered; Nat Hentoff wrote the original liner notes; Henry Epstein and Byron Goto designed the cover.\u003c\/p\u003e\n\u003cp\u003eThe recording was made on the same night as \u003cem\u003eLive in San Francisco\u003c\/em\u003e — February 19, 1966 at the Both\/And Club — but held back and not issued until 1969. The quintet is the group Shepp was working with throughout 1966: Roswell Rudd on trombone, Beaver Harris on drums, Donald Garrett and Lewis Worrell on bass. What separates this material from \u003cem\u003eLive in San Francisco\u003c\/em\u003e is the mode of performance: rather than a set of composed or standard pieces, this is a single extended improvisation lasting thirty-three minutes, divided by the physical constraints of the LP format into Side A (approximately 17.5 minutes) and Side B (approximately 15.5 minutes).\u003c\/p\u003e\n\u003cp\u003eShepp and Rudd open together on a theme that starts boppish and moves quickly outward. Shepp takes the floor and stays there for most of Side A, his tenor large-toned and relentless. Beaver Harris plays at full intensity throughout. On Side B, Shepp moves to acoustic piano and Rudd takes a long trombone solo, the only sustained moment where Shepp steps aside. He picks up his saxophone to close the performance.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43473432510523,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6783.jpg?v=1777590916"},{"product_id":"john-coltrane-a-love-supreme-1974-us-abc-impulse-reissue-a-77-as-77-vinyl-lp","title":"John Coltrane - A Love Supreme (1974 US ABC Impulse! Reissue A-77\/AS-77 Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane - \u003cem\u003eA Love Supreme\u003c\/em\u003e | Vinyl LP - 1974 US ABC Impulse! Reissue (A-77\/AS-77)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eOne of the greatest recordings in jazz history\u003c\/strong\u003e, a four-part suite of devotion that set a standard no album before or since has quite matched.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRecorded in a single session on 9 December 1964\u003c\/strong\u003e at Van Gelder Studio with Tyner, Garrison, and Jones.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1974 US ABC Impulse! pressing\u003c\/strong\u003e with dual catalogue numbering (A-77 sleeve, AS-77 labels), pressed at Columbia Terre Haute with the original matte gatefold.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eA Love Supreme\u003c\/em\u003e is a four-part suite completed in one session. Coltrane arrived at Van Gelder Studio with something close to a finished vision: a sustained act of devotion, moving through acknowledgement, resolution, pursuance, and prayer. The quartet had reached a level of collective understanding that is audible in every bar. Tyner's chords lock and release with percussive weight, Garrison's bass holds the centre while orbiting it, and Jones plays with a density that sounds like three drummers sharing a single kit. \"Acknowledgement\" builds from the four-note motif now known to every jazz listener, chanted by Coltrane at the close in shifting keys until it dissolves into the ensemble. \"Pursuance\" reaches hardest and furthest, the tenor burning at its upper register before \"Psalm\" brings everything back to stillness: a wordless recitation of the poem Coltrane printed in the original liner notes.\u003c\/p\u003e\n\u003cp\u003eThe original 1965 Impulse! pressings are among the most searched-for records in jazz collecting. This 1974 ABC Impulse! reissue is the most affordable entry point to the album on original-era vinyl: the dual catalogue numbering (A-77 sleeve, AS-77 labels) reflects the transitional years between mono and stereo on the Impulse! catalogue, and the pressing carries the matte gatefold sleeve that collectors associate with the early editions. Rudy Van Gelder engineered the sessions and the recording has been carefully maintained: wide dynamic range, Coltrane's tenor placed front and centre with space around every instrument.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43475910000699,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6811.jpg?v=1777685479"},{"product_id":"john-coltrane-ballads-1980-japanese-impulse-gatefold-lp","title":"John Coltrane - Ballads (1980 Japanese Impulse! Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane Quartet - \u003cem\u003eBallads\u003c\/em\u003e | Vinyl LP - 1980 Japanese Impulse! Stereo Gatefold (VIM-4606, Victor Musical Industries, Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBob Thiele had an idea. Coltrane was known for his intensity, for his long, searching improvisations. What would he sound like on ballads? The answer, as Gene Lees described it in the original liner notes, was that the quartet arrived with music-store sheet music and worked out the changes before each take. Eight standards, nearly all in a single session on November 13, 1962, with the quartet at its most settled: McCoy Tyner on piano, Jimmy Garrison on bass (Reggie Workman substitutes on \"It's Easy to Remember,\" from the December 1961 session), Elvin Jones on drums. Coltrane's tenor plays without urgency. \"You Don't Know What Love Is,\" \"Too Young to Go Steady,\" \"I Wish I Knew,\" \"What's New\" — each is taken slowly, the melody stated fully, the phrasing unhurried. Jones plays brushes throughout. Tyner supports rather than solos. The effect is of a different Coltrane from any other record of the period, without being a lesser one.\u003c\/p\u003e\n\u003cp\u003eThe album was released in January 1963 and immediately attracted comment. Some listeners who had followed Coltrane from the Atlantic recordings found it too placid; others heard it as proof that his range was wider than his most challenging work suggested. Rudy Van Gelder's engineering on the 1962 Englewood Cliffs sessions is close and warm. This 1980 Japanese MCA Impulse! pressing (VIM-4606) was manufactured by Victor Musical Industries, Inc. in Tokyo with a gatefold sleeve, obi strip and Japanese liner notes.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43493225889851,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7627.jpg?v=1783209983"},{"product_id":"archie-shepp-the-magic-of-ju-ju-1976-japanese-impulse-gatefold-lp","title":"Archie Shepp - The Magic of Ju-Ju (1976 Japanese Impulse! Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eArchie Shepp - \u003cem\u003eThe Magic of Ju-Ju\u003c\/em\u003e | Vinyl LP - 1976 Japanese ABC Impulse! Stereo Gatefold Reissue (YP-8526-AI, Nippon Columbia Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBob Thiele recorded Archie Shepp at the Van Gelder Studio, Englewood Cliffs, on April 26, 1967. Bob Simpson engineered. The ensemble for the title piece was assembled with percussion as its structural core — five players on drums, rhythm logs, talking drums and hand percussion, with Reggie Workman on bass providing the only sustained pitch beneath Shepp's tenor. Martin Banks on trumpet and Michael Zwerin on trombone sit out the first fifteen minutes.\u003c\/p\u003e\n\u003cp\u003eShepp's emotional and fiery tenor takes off immediately, gradually morphing with the five percussionists who perform on instruments including rhythm logs and talking drums. Shepp never loses the initial energy, moving forward like a man possessed as the drumming simultaneously builds into a fury. Upon the final three minutes, the trumpets of Martin Banks and Michael Zwerin make an abrupt brief appearance, apparently to ground the piece to a halt. Ed Blackwell, best known as Ornette Coleman's drummer, plays rhythm logs here, a different function from his usual kit role, his contribution embedded within the percussion collective rather than driving it.\u003c\/p\u003e\n\u003cp\u003eSide B changes the terms. \"You're What This Day Is All About\" is a waltz, under two minutes, Zwerin's trombone given more space than he has on the title track. \"Shazam\" is the most explicitly bop-grounded piece on the record. \"Sorry 'Bout That\" runs ten minutes and is the second piece on the album where Shepp develops at length. The album title references both Vietnam-era G.I. slang and jùjú, the percussive music of the Yoruba people of Lagos, the African percussion and the political context were both deliberate. Ralph J. Gleason wrote the original liner notes.\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese ABC Impulse! stereo gatefold reissue (YP-8526-AI), manufactured by Nippon Columbia Co. Ltd.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43493894160443,"sku":null,"price":175.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6872.jpg?v=1778224932"},{"product_id":"john-coltrane-live-at-the-village-vanguard-1976-japanese-impulse-gatefold-lp","title":"John Coltrane - Live at the Village Vanguard (1976 Japanese Impulse! Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane - \u003cem\u003eLive at the Village Vanguard\u003c\/em\u003e | Vinyl LP - 1976 Japanese ABC Impulse! Stereo Gatefold Reissue (YP-8521-AI, Nippon Columbia Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is where the argument started. Recorded at the Village Vanguard in November 1961 and released in 1962, the album drew ire from critics at the time, with one calling it \"musical nonsense.\" In hindsight it looks like criticism scrambling to catch up with music that had already moved on.\u003c\/p\u003e\n\u003cp\u003eThree pieces, two nights. \"Spiritual\" opens on November 3, Dolphy's bass clarinet winding around Coltrane's tenor in counterpoint before Coltrane switches to soprano halfway through. Tyner solos. The piece ends with both horns on the theme together. \"Softly as in a Morning Sunrise\" follows, the Romberg and Hammerstein standard, Coltrane on soprano, the rhythm section opening the piece in a familiar way before he takes it somewhere else entirely.\u003c\/p\u003e\n\u003cp\u003eSide B is \"Chasin' the Trane\" alone. Tyner sat out. What remains is Coltrane, Reggie Workman and Elvin Jones, sixteen minutes, a blues structure used as a launching point and then largely abandoned. This is what the critics couldn't handle: a soloist with no harmonic net, pushing the saxophone past its expected range and tone. Jones plays like a man possessed. Workman holds the centre. Coltrane just keeps going.\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese ABC Impulse! stereo gatefold reissue (YP-8521-AI), manufactured by Nippon Columbia Co. Ltd.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43517843046459,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6958.jpg?v=1778905415"},{"product_id":"oliver-nelson-the-blues-and-the-abstract-truth-1976-japanese-abc-impulse-stereo-gatefold-lp","title":"Oliver Nelson - The Blues and the Abstract Truth (1976 Japanese ABC Impulse! Stereo Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eOliver Nelson - \u003cem\u003eThe Blues and the Abstract Truth\u003c\/em\u003e | Vinyl LP - 1976 Japanese ABC Impulse! Stereo Gatefold Reissue (YP-8501-AI, Nippon Columbia Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOliver Nelson had recorded six albums as a leader for Prestige before Creed Taylor signed him to Impulse! for this, the label's second release. Nelson composed all six pieces and wrote all the arrangements. He also wrote the liner notes, in which he discussed the structure of each composition and praised his sidemen individually - closing by tipping his cap to George Barrow, \"who played only a supporting role\" on baritone saxophone throughout the ensemble passages.\u003c\/p\u003e\n\u003cp\u003e\"Stolen Moments\" opens the album. It is a 16-bar theme over a minor blues, the horn voicing moving through a sequence of chromatic shifts that gives the melody its particular character. The solos are taken over a standard minor blues. Every musician in the room solos. Nelson had developed the composition while playing tenor in Quincy Jones's big band, and the writing shows that orchestral thinking applied to a small group.\u003c\/p\u003e\n\u003cp\u003e\"Hoe-Down\" is the album's oddest piece. Hubbard described it as \"kind of out of context\" and noted that Nelson had built the bridge around a Coltrane lick that Hubbard himself had been using. \"Cascades\" began as a saxophone exercise Nelson had written in school. \"Yearnin'\" is the most lyrical track, Evans's comping behind Hubbard's trumpet noted by reviewers as some of the finest accompaniment on the record. \"Butch and Butch\" is the fastest piece. \"Teenie's Blues\" closes the record with a smaller ensemble - Hubbard and Barrow absent, the remaining four plus Nelson and Dolphy playing a blues that is the most direct piece on the album.\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese ABC Impulse! stereo gatefold reissue (YP-8501-AI), manufactured by Nippon Columbia Co. Ltd.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43573192622139,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7205.jpg?v=1780650922"},{"product_id":"john-coltrane-ascension-1966-japanese-impulse-stereo-original-lp","title":"John Coltrane - Ascension (1966 Japanese Impulse! Stereo Original LP)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane - \u003cem\u003eAscension\u003c\/em\u003e | Vinyl LP - 1966 Japanese Impulse! Stereo Original (SH-3076, King Record Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is a recording that divided jazz when it arrived and has not stopped dividing listeners since. Eleven musicians walk into Van Gelder Studio on June 28, 1965 and play one continuous piece. No arrangements beyond a set of ensemble interludes Coltrane sketched beforehand. No written solos. The horn players were given the order of their solos in advance and nothing else.\u003c\/p\u003e\n\u003cp\u003eThe full ensemble opens. Coltrane takes the first solo. After each soloist, the ensemble returns at full volume before the next player steps forward. Dewey Johnson follows Coltrane. Johnson plays a solo that has been described as one of the most disturbing and exposed passages in jazz recording. He never made another professional recording, suffered from mental illness and disappeared from the music world in the 1980s. Pharoah Sanders, Freddie Hubbard, John Tchicai, Archie Shepp and Marion Brown each take their turns. Tyner solos. Art Davis and Jimmy Garrison play a bass duet. The concluding ensemble closes the piece.\u003c\/p\u003e\n\u003cp\u003eThis 1966 Japanese pressing (SH-3076) was manufactured by King Record Co. Ltd. This is the first Japanese pressing of the album.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43576986075195,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/FullSizeRender_5f8d0d9c-7a1e-4cc5-88ca-8063ae7f2029.jpg?v=1780792741"},{"product_id":"alice-coltrane-featuring-pharoah-sanders-journey-in-satchidananda-2024-impulse-stereo-gatefold-lp","title":"Alice Coltrane featuring Pharoah Sanders - Journey in Satchidananda (2024 Impulse! Stereo Gatefold LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eAlice Coltrane featuring Pharoah Sanders - \u003cem\u003eJourney in Satchidananda\u003c\/em\u003e | Vinyl LP - 2024 Impulse!\/Verve Stereo Gatefold Reissue (B0036675-01\/AS-9203)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlice Coltrane had been a disciple of Swami Satchidananda since the late 1960s. The swami had been a presence in the Coltrane household during John Coltrane's final years, and Alice's spiritual practice deepened after John's death in 1967. By November 1970, when she recorded the four studio tracks that fill most of this album, her music had moved into territory where jazz improvisation and devotional practice were no longer separable.\u003c\/p\u003e\n\u003cp\u003eThe studio ensemble included Pharoah Sanders on soprano saxophone and percussion, Cecil McBee on bass, Rashied Ali on drums, Tulsi on tambura and Majid Shabazz on bells and tambourine. Tulsi's tambura drone is the thread that connects every studio track. It appears underneath the opening bass vamp of the title piece and remains audible throughout, giving the harmonic movement a fixed point to return to. The title track builds slowly from McBee's repeating figure through Sanders's soprano and Coltrane's harp and piano, the melody suspended rather than resolved. \"Shiva-Loka\" follows a similar approach. \"Stopover Bombay\" is the shortest piece at under three minutes, Coltrane on piano. \"Something About John Coltrane\" is the most emotionally direct track, Coltrane playing piano in a register closer to gospel than to Indian classical music, the composition acknowledging her late husband without attempting to imitate his sound.\u003c\/p\u003e\n\u003cp\u003e\"Isis and Osiris\" closes the album. It was recorded four months before the studio tracks, live at the Village Gate on July 4, 1970, with a different ensemble: Charlie Haden replaces McBee on bass, Vishnu Wood plays oud, and Coltrane plays harp only. Sanders's soprano and Ali's brushwork float above the harp and oud for eleven and a half minutes.\u003c\/p\u003e\n\u003cp\u003eThis is a c.2024 Impulse!\/Verve gatefold reissue.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43639645274171,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/91GKBxyhYNL._UF894_1000_QL80_98c52b44-2a97-4d59-a9fb-5575f270fd26.jpg?v=1781319083"},{"product_id":"john-coltrane-impressions-1964-japanese-impulse-vinyl-lp","title":"John Coltrane - Impressions (1964 Japanese Impulse! Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane - \u003cem\u003eImpressions\u003c\/em\u003e | Vinyl LP - 1964 Japanese Impulse! (SH 3020, King Record Co. Ltd)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFour tracks, three sessions, and a different band configuration on nearly every piece. \"India\" opens with Coltrane on soprano saxophone over a drone from two bassists, Reggie Workman and Jimmy Garrison, playing simultaneously while Eric Dolphy's bass clarinet weaves around the melody. It runs to nearly 14 minutes and draws on the raga-influenced material Coltrane had been exploring since \u003cem\u003eMy Favorite Things\u003c\/em\u003e. The title track, from the same night at the Village Vanguard, is a different proposition: Coltrane on tenor, Dolphy switching to alto, and Elvin Jones driving the rhythm through a structure built on the same chord sequence as \"So What.\" It's one of Coltrane's longest and most concentrated improvisations on record, the kind of performance that split audiences and critics in 1961 and has since become a standard. Between these two live tracks sits \"Up 'Gainst The Wall,\" a compact studio piece from September 1962 at Van Gelder that clocks in at just over three minutes. And closing the album, \"After The Rain\" stands apart from everything else here. Recorded on April 29, 1963, with Roy Haynes on drums in place of Elvin Jones, it's a slow, contemplative ballad where Tyner and Coltrane trade space rather than intensity. The quartet barely raises its voice.\u003c\/p\u003e\n\u003cp\u003eThe personnel shifts tell a story of their own. The Vanguard tracks catch Coltrane's expanded quintet with Dolphy, a lineup that drew hostile reviews from some quarters (John Tynan's notorious \"anti-jazz\" dismissal in \u003cem\u003eDown Beat\u003c\/em\u003e landed during this period). By the time of the September 1962 studio session, the group had settled into the classic quartet without Dolphy. And by April 1963, Haynes was filling in for Jones, who was out of action. Haynes's lighter, more conversational drumming suits \"After The Rain\" perfectly, and it's hard to imagine Jones playing the piece with the same restraint. Bob Thiele produced all four sessions for Impulse!, with Van Gelder behind the console. This is the 1964 Japanese pressing on Impulse! SH 3020, manufactured by King Record Co. Ltd, with the original Japanese-language insert.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43682658254907,"sku":null,"price":85.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7353.jpg?v=1781850676"},{"product_id":"duke-ellington-john-coltrane-duke-ellington-john-coltrane-1976-japanese-impulse-vinyl-lp-gatefold","title":"Duke Ellington \u0026 John Coltrane - Duke Ellington \u0026 John Coltrane (1976 Japanese Impulse! Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eDuke Ellington \u0026amp; John Coltrane - \u003cem\u003eDuke Ellington \u0026amp; John Coltrane\u003c\/em\u003e | Vinyl LP Gatefold - 1976 Japanese Impulse! Reissue (YS-8503-AI, Nippon Columbia)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThere were no charts on the date. Bassist John Lamb, who was present at the session, recalled that Ellington and Coltrane sat together at the piano bench without talking. Ellington would hum something, Coltrane would listen, and after a few minutes they'd get up, walk to their positions, and start playing. The rhythm section had to figure out the key for themselves. What came out of six to eight hours at Van Gelder was seven tracks that sit closer to a Coltrane-plays-Ellington concept than a true collaboration. Ellington feeds chords, stays economical, and gives Coltrane room. \"In A Sentimental Mood,\" the 1935 standard, opens the album and remains its most celebrated moment. Coltrane plays the melody on tenor with a tenderness that's hard to reconcile with the ferocity of his Village Vanguard recordings from the year before. \"Take The Coltrane\" (Ellington's pun, Ellington's blues) shifts gears into uptempo hard bop with Garrison and Elvin Jones driving underneath. \"Big Nick,\" Coltrane's only composition here, is a tribute to tenor saxophonist Big Nick Nicholas, played on soprano with a playful, whimsical quality that catches Ellington in an unusually laid-back mode.\u003c\/p\u003e\n\u003cp\u003eSide B opens with Billy Strayhorn's \"My Little Brown Book,\" the piece several critics have called the album's true peak, with Coltrane playing the ballad over Bell and Woodyard's lighter swing feel. \"Angelica\" moves back to Garrison and Jones for another Ellington original, and \"The Feeling Of Jazz\" closes with the Ellington rhythm section in a relaxed, walking groove. The alternation between rhythm sections gives the album two distinct textures without disrupting its flow.\u003c\/p\u003e\n\u003cp\u003eThis is the January 1976 Japanese reissue on YS-8503-AI, made by Nippon Columbia Co., Ltd. as a limited edition of 20,000 copies in a gatefold sleeve. Note the label misprint on side one: \"Duke Kllington.\"\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43686159319099,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7383_dfd8fb47-ed07-4913-bcee-c59347fe411e.jpg?v=1781918011"},{"product_id":"mccoy-tyner-trio-inception-1973-japanese-impulse-vinyl-lp","title":"McCoy Tyner Trio - Inception (1973 Japanese Impulse! Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMcCoy Tyner Trio - \u003cem\u003eInception\u003c\/em\u003e | Vinyl LP - 1973 Japanese Impulse! Reissue (IMP-88059, Toshiba)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy January 1962, Tyner had been in Coltrane's quartet for less than a year, but Impulse! producer Bob Thiele already saw his potential as a leader. The trio Tyner assembled drew directly from the Coltrane circle. Art Davis had recorded with Coltrane (including the two-bass sessions) and was a formidably skilled musician equally at home in classical and jazz settings. Elvin Jones was, of course, Coltrane's drummer and Tyner's bandmate. That familiarity gives the session its focused clarity. \"Inception,\" the title track, is an extended minor blues that grabs attention from its opening melody, building through a dynamic Tyner solo into whole-tone figures traded with Jones. \"There Is No Greater Love,\" a long-time Tyner favourite, gets a jaunty, relaxed treatment. \"Blues for Gwen\" is named for Tyner's sister. \"Sunset,\" a reflective ballad, was titled by Tyner's wife Aisha, who felt the piece brought to mind an impression of nature.\u003c\/p\u003e\n\u003cp\u003eSide B opens with \"Sunset\" before \"Effendi,\" the album's most enduring original, which became something of a modern jazz standard. \"Speak Low,\" the Kurt Weill\/Ogden Nash standard, closes the album with some Latin figures lending an air of intrigue, and highlights the symbiosis between Tyner and Jones. What you hear across the record is a young pianist already thinking carefully about arrangement and pacing rather than just running a blowing session, though the quartal harmonies and open-fifth drones that would define his mature style are only beginning to emerge. Tyner would follow this trio formula through his next several Impulse! releases (\u003cem\u003eReaching Fourth\u003c\/em\u003e, \u003cem\u003eNights of Ballads and Blues\u003c\/em\u003e, \u003cem\u003ePlays Ellington\u003c\/em\u003e), all regarded as among the finest examples of the piano trio format. Asked to describe Tyner's playing, Coltrane chose one word: beauty.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese pressing on Impulse! IMP-88059 (originally AS-18), manufactured by Toshiba.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43792135847995,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7745.jpg?v=1784118183"},{"product_id":"albert-ayler-in-greenwich-village-1973-japanese-impulse-vinyl-lp-gatefold","title":"Albert Ayler - In Greenwich Village (1973 Japanese Impulse! Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eAlbert Ayler - \u003cem\u003eIn Greenwich Village\u003c\/em\u003e | Vinyl LP Gatefold - 1973 Japanese Impulse! Reissue (IMP-88064, Toshiba EMI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eColtrane was Ayler's most important advocate. When Coltrane joined Impulse! and gained influence at the label, he pushed for them to sign the younger saxophonist, and he specifically suggested that Ayler's first Impulse! recordings be made live, where his music made the most sense. The result is this album, drawn from two Greenwich Village engagements. Side A comes from the Village Theatre on the Lower East Side (February 26, 1967) and opens with \"For John Coltrane,\" a flowing, elegiac tribute to Ayler's mentor, who was gravely ill and would die just months later, in July 1967. Ayler plays alto saxophone here rather than his usual tenor, and the performance is one of his most beautiful and restrained: mournful, hymn-like, drawing on the sanctified church music of his Cleveland childhood. Joel Friedman's cello and the two basses (Alan Silva and Bill Folwell) create a dark, rich harmonic bed. \"Change Has Come,\" from the same set, is more violent and turbulent. Side B comes from the Village Vanguard (December 18, 1966), where Coltrane himself was in the audience. \"Truth Is Marching In\" brings in Donald Ayler on trumpet, playing the bugle-like fanfares that made him the ideal foil for his brother, alongside Michel Sampson's violin and Henry Grimes's bass. The piece celebrates and then deconstructs the New Orleans brass-band and marching traditions that ran through all of Ayler's work.\u003c\/p\u003e\n\u003cp\u003e\"Our Prayer,\" a Donald Ayler composition, closes the album. Both sets use the two-bass configuration that became a hallmark of Ayler's mid-1960s ensembles, allowing the group to move in different harmonic directions while maintaining an organic unity. Beaver Harris plays drums on both sessions. This is the music that crested Ayler's career: fiery collective improvisation built on melodic themes that simultaneously recalled and dismantled children's nursery rhymes and funeral marches. Ayler summed up his place in the movement with a line that became famous: \"Trane was the father, Pharoah was the son, and I am the Holy Ghost.\"\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese pressing on Impulse! IMP-88064, manufactured by Toshiba EMI, in a gatefold sleeve.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43800229150779,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7753.jpg?v=1784291366"},{"product_id":"the-john-coltrane-quartet-africa-brass-1973-japanese-impulse-vinyl-lp-gatefold","title":"The John Coltrane Quartet - Africa\/Brass (1973 Japanese Impulse! Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eThe John Coltrane Quartet - \u003cem\u003eAfrica\/Brass\u003c\/em\u003e | Vinyl LP Gatefold - 1973 Japanese Impulse! Reissue (IMP-88090, Toshiba EMI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1961 Coltrane had come into his own. He had recorded \u003cem\u003eGiant Steps\u003c\/em\u003e and \u003cem\u003eMy Favorite Things\u003c\/em\u003e, left Atlantic, and signed with the newly formed Impulse! label, which had the backing of ABC Records and offered him the scope to try something ambitious. \u003cem\u003eAfrica\/Brass\u003c\/em\u003e is what he did with that freedom, and it's unlike anything else in his catalogue. He initially approached Gil Evans to arrange the large ensemble, but nothing came of it, so he turned to Eric Dolphy and McCoy Tyner. The instrumentation was Coltrane's idea. He wanted brass, baritone horns, that mellow, powerful low-end sound, and Dolphy and Tyner orchestrated his and Tyner's ideas for a 21-piece band. The title track fills side A: 16 minutes built on a two-chord modal vamp, the massed horns creating a droning, hypnotic foundation over which Coltrane plays with an intensity that points directly toward the spiritual explorations of \u003cem\u003eA Love Supreme\u003c\/em\u003e three years later. Reggie Workman and Art Davis both play bass on the title track, thickening the bottom. Elvin Jones drives the whole ensemble. The piece was recorded during a period when many African nations were gaining independence, and African music and art were entering American awareness, a context that gives the title its weight.\u003c\/p\u003e\n\u003cp\u003eSide B opens with \"Greensleeves,\" the English folk ballad that Tyner arranged, played in the same keening, major\/minor modal style Coltrane had used to turn \"My Favorite Things\" into a hit the year before. \"Blues Minor\" closes the album, the most straightforward piece, Coltrane and Dolphy adapting Tyner's voicings for the orchestra. Dolphy's presence throughout is central: he was appearing with the quartet live during this period, and the two men were pushing each other to expand what was possible. The album's unusual instrumentation (French horns played by Julius Watkins and others, euphonium from Julian Priester and Charles Greenlee, tuba from Bill Barber) baffled critics at the time, who gave it poor reviews based on expectations set by Coltrane's work with Monk and Miles Davis. Later commentators recognised it as a key work for understanding where Coltrane's music was heading.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese pressing on Impulse! IMP-88090, manufactured by Toshiba EMI, in a gatefold sleeve with Japanese liner notes.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43806153048123,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7787.jpg?v=1784330376"},{"product_id":"roy-haynes-quartet-out-of-the-afternoon-1973-japanese-impulse-vinyl-lp-gatefold","title":"Roy Haynes Quartet - Out Of The Afternoon (1973 Japanese Impulse! Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eRoy Haynes Quartet - \u003cem\u003eOut Of The Afternoon\u003c\/em\u003e | Vinyl LP Gatefold - 1973 Japanese Impulse! Reissue (IMP-88086, Toshiba)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe album came out of a residency rather than a plan. Haynes was working the Five Spot regularly in early 1962, Kirk had recently arrived in New York with his own group on the same bill, and the two bands started sitting in with each other between sets. Grimes and Flanagan were already Haynes's regular associates. Everyone got excited enough about what was happening on the bandstand that Haynes took the idea to Bob Thiele at Impulse!, and the quartet went into Van Gelder's studio in Englewood Cliffs on 16 and 23 May 1962. It was a one-off. Haynes recorded for New Jazz before and after, and never made another Impulse! date as a leader. What makes it work is the restraint. Kirk is the only horn and could easily have dominated, but he plays with more control than almost anywhere else in his discography, and the space that leaves lets Haynes stay audible throughout without ever pushing to the front. Flanagan's touch is light and precise, which is exactly what this instrumentation needs, and Grimes was 26 and coming off work with Mingus, Monk and Sonny Rollins.\u003c\/p\u003e\n\u003cp\u003e\"Moon Ray\" and \"Fly Me to the Moon\" get taken apart and rebuilt, the standards material handled with enough looseness that the melodies keep slipping sideways. \"Raoul\" is the fastest thing here, Kirk stating the theme on tenor and manzello at once before soloing on manzello, Flanagan running through it, and Grimes delivering the bowed solo that reviewers have singled out ever since. \"Snap Crackle\" is the drum feature, built on short call and response figures in sixteenth notes against offbeat eighth-note patterns, with Kirk's flute weaving through it. \"If I Should Lose You\" and \"Some Other Spring\" slow things down, the latter an Arthur Herzog Jr. and Irene Kitchings song most closely associated with Billie Holiday. \"Long Wharf\" is the third Haynes original. Van Gelder's engineering is a substantial part of why the record has the reputation it does, particularly on the drums.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese pressing on Impulse! IMP-88086, manufactured by Toshiba in a gatefold sleeve.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43810932228155,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7780.jpg?v=1784416385"},{"product_id":"gil-evans-out-of-the-cool-1979-japanese-impulse-stereo-vinyl-lp","title":"Gil Evans - Out Of The Cool (1979 Japanese Impulse! Stereo Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eThe Gil Evans Orchestra - \u003cem\u003eOut of the Cool\u003c\/em\u003e | Vinyl LP - 1979 Japanese Impulse! Stereo Reissue (VIM-5547, Modern Jazz Selection series, Victor Musical Industries)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eOut of the Cool\u003c\/em\u003e is the album where Gil Evans steps out of Miles Davis's shadow. Everyone knew him as the arranger behind \u003cem\u003eMiles Ahead\u003c\/em\u003e and \u003cem\u003eSketches of Spain\u003c\/em\u003e, but this 1960 date, one of the first records Impulse! put out, is his own masterpiece. Evans wrote for an orchestra the way no one else did, using tuba, bassoon and low brass to build dark, shifting colours, and leaving wide spaces for soloists to move through. The centrepiece is \"La Nevada\", fifteen minutes built from almost nothing, a simple repeated figure that the band slowly fills in while Johnny Coles, Budd Johnson and guitarist Ray Crawford solo across the top. It never rushes and it never sags. \"Bilbao Song\" reworks a Kurt Weill tune, \"Stratusphunk\" borrows from George Russell, and \"Where Flamingos Fly\" is pure atmosphere. Elvin Jones and Charlie Persip lay down the pulse, Ron Carter is on bass, and the whole record has the patient, painterly quality that made Evans one of the great orchestral minds in jazz.\u003c\/p\u003e\n\u003cp\u003eEvans made relatively few records under his own name, and this is the one people return to. It caught him at a peak, with a working band and a producer, Creed Taylor, who gave him room, just before Taylor left to shape Verve and then to found CTI. What Evans does here, holding a large ensemble in a state of calm, unhurried motion, fed everything from film scoring to the ambient end of jazz, and \"La Nevada\" in particular has been studied and covered for decades.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1979 Japanese stereo reissue on Impulse!, part of the Modern Jazz Selection series, manufactured by Victor Musical Industries, catalogue number VIM-5547.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43895366451259,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8092.jpg?v=1785554373"},{"product_id":"marion-brown-three-for-shepp-1967-us-impulse-stereo-first-pressing-gatefold-vinyl-lp","title":"Marion Brown - Three For Shepp (1967 US Impulse! 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Grachan Moncur III's trombone runs through the whole record, Sirone holds down the bass, and the piano and drum chairs change between sides, Dave Burrell and Bobby Kapp for Brown's tunes, Stanley Cowell and Beaver Harris for Shepp's. The Shepp side is the stronger, its looser structures giving the group room to move, and \"The Shadow Knows\" on Brown's side is the moment where everything ignites. It is free jazz played with real control, more conversation than chaos.\u003c\/p\u003e\n\u003cp\u003eBrown's path ran through the most interesting corners of the music. He had come up around Ornette Coleman and Sun Ra, he would go on to make the pastoral \u003cem\u003eAfternoon of a Georgia Faun\u003c\/em\u003e for ECM, and the players around him here fanned out into the era's key movements: Stanley Cowell would co-found Strata-East, Dave Burrell would record for BYG-Actuel, Sirone would join the Revolutionary Ensemble. Frank Kofsky, the critic who did most to frame this music as a political act, wrote the original notes.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1967 US first pressing on Impulse!, catalogue number AS-9139, with the original black-ring labels and gatefold sleeve, and it carries a Japanese insert, marking it as a US copy that was exported to Japan.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43898867515451,"sku":null,"price":160.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8085.jpg?v=1785622700"}],"url":"https:\/\/lushliferecords.com.au\/collections\/impulse.oembed?page=3","provider":"Lush Life Records","version":"1.0","type":"link"}