{"title":"Jazz Essentials","description":"\u003cp data-start=\"252\" data-end=\"788\"\u003eOur Jazz Essentials collection brings together the must-have albums every listener should own — all available here on brand-new vinyl. From timeless classics on Blue Note, Impulse! and Verve to defining works by Miles Davis, John Coltrane, Thelonious Monk, Ella Fitzgerald and more, these records represent the foundation of modern jazz. Whether you’re starting a new collection or upgrading to fresh pressings, Jazz Essentials delivers the iconic titles that shaped the genre — influential, enduring and endlessly rewarding on vinyl.\u003c\/p\u003e","products":[{"product_id":"alice-coltrane-a-monastic-trio","title":"Alice Coltrane – A Monastic Trio (2024 Verve Reissue LP Vinyl)","description":"\u003cp data-start=\"789\" data-end=\"1160\"\u003eThis stunning reissue brings back to life \u003cem data-start=\"831\" data-end=\"848\"\u003eA Monastic Trio\u003c\/em\u003e, Alice Coltrane’s debut solo album originally recorded in 1968. Pressed on heavy 180-gram vinyl and issued as part of the \u003cem data-start=\"971\" data-end=\"989\"\u003eVerve by Request\u003c\/em\u003e series, this gatefold LP captures the spiritual intensity and musical exploration that mark Coltrane’s early post-John Coltrane era.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":42458803208251,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602458948134.jpg?v=1757725043"},{"product_id":"cannonball-adderley-somethin-else","title":"Cannonball Adderley - Somethin' Else (2019 Jazz Images Reissue LP Vinyl)","description":"\u003cp data-start=\"250\" data-end=\"546\"\u003eFew records embody the magic of hard bop like \u003cem data-start=\"296\" data-end=\"312\"\u003eSomethin’ Else\u003c\/em\u003e. Released in 1958 on Blue Note, this is alto saxophonist Cannonball Adderley’s finest hour — joined by an all-star lineup: Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass, and Art Blakey on drums.\u003c\/p\u003e\n\u003cp data-start=\"548\" data-end=\"844\"\u003eThe interplay between Adderley and Davis is electric, from the shimmering opening of \u003cem data-start=\"633\" data-end=\"648\"\u003eAutumn Leaves\u003c\/em\u003e to the soulful swing of \u003cem data-start=\"673\" data-end=\"690\"\u003eOne for Daddy-O\u003c\/em\u003e. Each track blends lyricism, groove, and improvisational fire, with Adderley’s blues-inflected tone perfectly complemented by Davis’s understated cool.\u003c\/p\u003e\n\u003cp data-start=\"548\" data-end=\"844\"\u003eIncludes bonus track not included on original release - A3 Fran-Dance.\u003c\/p\u003e","brand":"Jazz Images","offers":[{"title":"Default Title","offer_id":42460308373563,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/qqujgbwcc1xmpy11cfnj.jpg?v=1757829312"},{"product_id":"miles-davis-kind-of-blue","title":"Miles Davis - Kind Of Blue (2015 Columbia Reissue LP Vinyl)","description":"\u003cp data-start=\"255\" data-end=\"583\"\u003e\u003cem data-start=\"255\" data-end=\"269\"\u003eKind of Blue\u003c\/em\u003e isn’t just Miles Davis’s most famous album — it’s the most celebrated jazz record of all time. Recorded in 1959 with a dream lineup — \u003cstrong data-start=\"404\" data-end=\"421\"\u003eJohn Coltrane\u003c\/strong\u003e, \u003cstrong data-start=\"423\" data-end=\"446\"\u003eCannonball Adderley\u003c\/strong\u003e, \u003cstrong data-start=\"448\" data-end=\"462\"\u003eBill Evans\u003c\/strong\u003e, \u003cstrong data-start=\"464\" data-end=\"481\"\u003ePaul Chambers\u003c\/strong\u003e, and \u003cstrong data-start=\"487\" data-end=\"501\"\u003eJimmy Cobb\u003c\/strong\u003e — it redefined modern jazz with its modal approach and spacious, lyrical sound.\u003c\/p\u003e\n\u003cp data-start=\"585\" data-end=\"865\"\u003eFrom the cool sway of \u003cem data-start=\"607\" data-end=\"616\"\u003eSo What\u003c\/em\u003e to the haunting beauty of \u003cem data-start=\"643\" data-end=\"658\"\u003eBlue in Green\u003c\/em\u003e and the graceful flow of \u003cem data-start=\"684\" data-end=\"695\"\u003eAll Blues\u003c\/em\u003e, every note feels timeless. The interplay between Davis, Coltrane, and Evans remains unmatched, making this an album that rewards both casual listening and deep study.\u003cstrong data-start=\"867\" data-end=\"888\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"981\" data-end=\"1093\"\u003eUniversally regarded as a masterpiece, \u003cem data-start=\"1020\" data-end=\"1034\"\u003eKind of Blue\u003c\/em\u003e belongs in every collection — the definitive jazz album.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":42460431614011,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/888751119215.jpg?v=1757853398"},{"product_id":"dexter-gordon-go-blue-note-classic-vinyl-series","title":"Dexter Gordon - Go! 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Backed by an all-star trio of \u003cstrong data-start=\"331\" data-end=\"346\"\u003eSonny Clark\u003c\/strong\u003e (piano), \u003cstrong data-start=\"356\" data-end=\"372\"\u003eButch Warren\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"385\" data-end=\"402\"\u003eBilly Higgins\u003c\/strong\u003e (drums), Gordon stretches out with his trademark blend of big tone, lyrical phrasing, and bebop fire.\u003c\/p\u003e\n\u003cp data-start=\"508\" data-end=\"768\"\u003eFrom the breezy opener \u003cem data-start=\"531\" data-end=\"544\"\u003eCheese Cake\u003c\/em\u003e to tender ballads like \u003cem data-start=\"568\" data-end=\"607\"\u003eI Guess I’ll Hang My Tears Out to Dry\u003c\/em\u003e, every track captures Gordon’s effortless command and charm. It’s a record that’s both inviting for new listeners and deeply rewarding for longtime jazz fans.\u003cstrong data-start=\"770\" data-end=\"791\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"946\" data-end=\"1039\"\u003e\u003cem data-start=\"946\" data-end=\"950\"\u003eGo\u003c\/em\u003e remains a quintessential Blue Note album — smooth, swinging, and endlessly replayable.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461405970491,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/f41b0ed94dc5689a4c9401b6ef8d1352_570x570_41b434c3-0f3b-4b06-8391-341076e2b7a1.webp?v=1757895016"},{"product_id":"eric-dolphy-out-to-lunch","title":"Eric Dolphy - Out To Lunch! (2021 Blue Note Reissue LP Vinyl)","description":"\u003cp data-end=\"519\" data-start=\"180\"\u003eReleased in 1964 on Blue Note, \u003cem data-end=\"226\" data-start=\"211\"\u003eOut to Lunch!\u003c\/em\u003e is the definitive statement from avant-garde innovator \u003cstrong data-end=\"297\" data-start=\"282\"\u003eEric Dolphy\u003c\/strong\u003e. Featuring \u003cstrong data-end=\"328\" data-start=\"309\"\u003eFreddie Hubbard\u003c\/strong\u003e (trumpet), \u003cstrong data-end=\"360\" data-start=\"340\"\u003eBobby Hutcherson\u003c\/strong\u003e (vibraphone), \u003cstrong data-end=\"392\" data-start=\"375\"\u003eRichard Davis\u003c\/strong\u003e (bass), and \u003cstrong data-end=\"422\" data-start=\"405\"\u003eTony Williams\u003c\/strong\u003e (drums — at just 18 years old), the album balances free-form exploration with swinging energy.\u003c\/p\u003e\n\u003cp data-end=\"848\" data-start=\"521\"\u003eDolphy’s compositions are daring yet accessible: the playful chaos of \u003cem data-end=\"606\" data-start=\"591\"\u003eHat and Beard\u003c\/em\u003e (a nod to Thelonious Monk), the off-kilter grooves of \u003cem data-end=\"696\" data-start=\"661\"\u003eSomething Sweet, Something Tender\u003c\/em\u003e, and the angular drive of the title track. Hutcherson’s vibes and Williams’s restless drumming create a soundscape that still feels fresh and modern.\u003c\/p\u003e\n\u003cp data-end=\"848\" data-start=\"521\"\u003e\u003cmeta charset=\"utf-8\"\u003eA true landmark in avant-garde jazz, \u003cem data-end=\"1040\" data-start=\"1025\"\u003eOut to Lunch!\u003c\/em\u003e is both adventurous and essential — the record that cemented Dolphy’s genius. \u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461513089083,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/2unilp87502__87259.jpg?v=1757899336"},{"product_id":"grant-green-idle-moments","title":"Grant Green - Idle Moments (2021 Blue Note Reissue LP Vinyl)","description":"\u003cp data-start=\"178\" data-end=\"518\"\u003e\u003cem data-start=\"178\" data-end=\"192\"\u003eIdle Moments\u003c\/em\u003e is guitarist \u003cstrong data-start=\"206\" data-end=\"223\"\u003eGrant Green’s\u003c\/strong\u003e masterpiece, recorded in 1963 and released on Blue Note in 1965. Known for its relaxed, soulful atmosphere, the album features an all-star lineup: \u003cstrong data-start=\"371\" data-end=\"388\"\u003eJoe Henderson\u003c\/strong\u003e (tenor sax), \u003cstrong data-start=\"402\" data-end=\"422\"\u003eBobby Hutcherson\u003c\/strong\u003e (vibraphone), \u003cstrong data-start=\"437\" data-end=\"453\"\u003eDuke Pearson\u003c\/strong\u003e (piano), \u003cstrong data-start=\"463\" data-end=\"479\"\u003eBob Cranshaw\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"492\" data-end=\"507\"\u003eAl Harewood\u003c\/strong\u003e (drums).\u003c\/p\u003e\n\u003cp data-start=\"520\" data-end=\"903\"\u003eThe title track is a 15-minute odyssey of understated beauty — one of the most celebrated performances in the Blue Note catalogue. Henderson’s lyrical tenor, Hutcherson’s shimmering vibes, and Pearson’s tasteful comping perfectly complement Green’s warm, fluid guitar tone. Shorter pieces like \u003cem data-start=\"814\" data-end=\"829\"\u003eJean de Fleur\u003c\/em\u003e and \u003cem data-start=\"834\" data-end=\"841\"\u003eNomad\u003c\/em\u003e add swing and drive, balancing the album’s meditative mood.\u003c\/p\u003e\n\u003cp data-start=\"986\" data-end=\"1147\"\u003eElegant, atmospheric, and endlessly replayable, \u003cem data-start=\"1034\" data-end=\"1048\"\u003eIdle Moments\u003c\/em\u003e is the perfect introduction to Grant Green and one of the finest Blue Note albums ever recorded.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461521575995,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602435799100.jpg?v=1757901058"},{"product_id":"herbie-hancock-maiden-voyage-2021-blue-note-classic-vinyl-180g-lp","title":"Herbie Hancock - Maiden Voyage (2021 Blue Note Classic Vinyl 180g LP)","description":"\u003cp\u003e\u003cstrong\u003eHerbie Hancock - \u003cem\u003eMaiden Voyage\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 2021 Blue Note Classic Vinyl Series 180g Audiophile Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHerbie Hancock's 1965 masterpiece stands as one of Blue Note's most celebrated albums, the pianist\/composer leading an all-star quintet featuring trumpeter Freddie Hubbard, tenor saxophonist George Coleman, bassist Ron Carter, and drummer Tony Williams through five Hancock compositions exploring modal jazz with nautical themes. The title track has become a jazz standard, its evocative melody and sophisticated harmonic movement capturing the feeling of oceanic voyage, while tracks like \"Dolphin Dance\" and \"The Eye Of The Hurricane\" demonstrate Hancock's gift for memorable themes and adventurous improvisation. Released on 24 September 2021 as part of Blue Note's Classic Vinyl Series, this worldwide audiophile reissue was mastered by Kevin Gray at Cohearent Audio from the original analog tapes and manufactured at Germany's Optimal plant on 180g vinyl.\u003c\/p\u003e\n\u003cp\u003eThe quintet represents mid-1960s jazz at its peak: Hubbard's powerful, lyrical trumpet, Coleman's robust tenor saxophone, and the rhythm section of Carter and Williams (both from Miles Davis' second great quintet alongside Hancock) create ideal conditions for exploring Hancock's modal compositions. His piano work balances harmonic sophistication with rhythmic invention, comping creating textures as interesting as his solo statements. The modal approach allows freer improvisation than bebop's rapid chord changes while maintaining more structure than complete free jazz, Hancock's compositions providing memorable melodies and rich harmonic colours.\u003c\/p\u003e\n\u003cp\u003eBeyond the famous title track, \"Dolphin Dance\" showcases Hancock's gift for writing complex yet singable melodies, while \"Survival Of The Fittest\" and \"Little One\" explore different facets of modal jazz. \"The Eye Of The Hurricane\" creates atmospheric calm before returning to intensity, demonstrating the nautical theme's conceptual coherence. Mastered by renowned engineer Kevin Gray at Cohearent Audio directly from the original analog tapes and pressed at Optimal on 180g vinyl, this Blue Note Classic Vinyl Series edition offers this essential hard bop\/modal landmark in optimal sound quality.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461523673147,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/71AOkbmj4HL._AC_SL1400.jpg?v=1757901856"},{"product_id":"john-coltrane-a-love-supreme","title":"John Coltrane - A Love Supreme (2022 Impulse! 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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":65.0,"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":"john-coltrane-blue-train","title":"John Coltrane - Blue train (2022 Blue Note Tone Poet Reissue LP Vinyl)","description":"\u003cp data-start=\"178\" data-end=\"545\"\u003e\u003cem data-start=\"178\" data-end=\"190\"\u003eBlue Train\u003c\/em\u003e (1957) is \u003cstrong data-start=\"201\" data-end=\"220\"\u003eJohn Coltrane’s\u003c\/strong\u003e only session as a leader for Blue Note — and one of the greatest hard bop albums ever recorded. With an all-star lineup featuring \u003cstrong data-start=\"351\" data-end=\"365\"\u003eLee Morgan\u003c\/strong\u003e (trumpet), \u003cstrong data-start=\"377\" data-end=\"394\"\u003eCurtis Fuller\u003c\/strong\u003e (trombone), \u003cstrong data-start=\"407\" data-end=\"421\"\u003eKenny Drew\u003c\/strong\u003e (piano), \u003cstrong data-start=\"431\" data-end=\"448\"\u003ePaul Chambers\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"461\" data-end=\"481\"\u003ePhilly Joe Jones\u003c\/strong\u003e (drums), the album captures Coltrane in full creative flight.\u003c\/p\u003e\n\u003cp data-start=\"547\" data-end=\"839\"\u003eFrom the moody, unforgettable title track to the blistering swing of \u003cem data-start=\"616\" data-end=\"628\"\u003eLocomotion\u003c\/em\u003e and the lyrical ballad \u003cem data-start=\"652\" data-end=\"671\"\u003eI’m Old Fashioned\u003c\/em\u003e, every tune is a showcase of Coltrane’s evolving mastery. The blend of bold solos and tight ensemble work makes \u003cem data-start=\"784\" data-end=\"796\"\u003eBlue Train\u003c\/em\u003e both accessible and endlessly rewarding.\u003cstrong data-start=\"841\" data-end=\"862\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"952\" data-end=\"1061\"\u003eA cornerstone of any jazz collection, \u003cem data-start=\"990\" data-end=\"1002\"\u003eBlue Train\u003c\/em\u003e is Coltrane at his most powerful, lyrical, and inspired.\u003c\/p\u003e\n\u003cp data-start=\"952\" data-end=\"1061\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eTone Poet Vinyl Edition was produced by \u003c\/span\u003e\u003cstrong\u003eJoe Harley,\u003c\/strong\u003e\u003cspan\u003e mastered by \u003c\/span\u003e\u003cstrong\u003eKevin Gray\u003c\/strong\u003e\u003cspan\u003e from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.\u003c\/span\u003e\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42461681614907,"sku":null,"price":120.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/1.JC_BLUETRAIN_MONO_COVER_1000X1000_f15a93f7-357f-4d3e-8630-dad238d24104.webp?v=1757905949"},{"product_id":"miles-davis-round-about-midnight-180g-vinyl-lp","title":"Miles Davis - 'Round About Midnight (2025 Number One Reissue LP Vinyl)","description":"\u003cp data-start=\"195\" data-end=\"545\"\u003eReleased in 1957, \u003cem data-start=\"213\" data-end=\"236\"\u003e’Round About Midnight\u003c\/em\u003e was \u003cstrong data-start=\"241\" data-end=\"258\"\u003eMiles Davis’s\u003c\/strong\u003e first album for Columbia Records and a pivotal moment in his career. 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Released as part of the Back To Black reissue series on 180g vinyl with original Philips artwork, this European pressing offers this essential Simone album in quality format.\u003c\/p\u003e","brand":"Philips","offers":[{"title":"Default Title","offer_id":42461864198203,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/R-21758989-1719078150-6433.jpg?v=1770951851"},{"product_id":"sun-ra_the-magic-city-180g-vinyl-lp-reissue","title":"Sun Ra - The Magic City (2024 Jazz Wax Reissue LP Vinyl)","description":"\u003cp data-start=\"176\" data-end=\"513\"\u003eRecorded in 1965 and released on his own Saturn label the following year, \u003cem data-start=\"250\" data-end=\"266\"\u003eThe Magic City\u003c\/em\u003e is one of \u003cstrong data-start=\"277\" data-end=\"289\"\u003eSun Ra’s\u003c\/strong\u003e boldest and most exploratory works. 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Pianist \u003cstrong data-start=\"645\" data-end=\"661\"\u003eDave Brubeck\u003c\/strong\u003e and alto saxophonist \u003cstrong data-start=\"683\" data-end=\"699\"\u003ePaul Desmond\u003c\/strong\u003e pushed the limits of rhythm, bringing odd time signatures into mainstream jazz and making them feel as natural as a blues walk.\u003c\/p\u003e\n\u003cp data-start=\"831\" data-end=\"1424\"\u003eThe opener \u003cem data-start=\"842\" data-end=\"864\"\u003eBlue Rondo à la Turk\u003c\/em\u003e sets the tone, shifting effortlessly between Eastern-inspired patterns and cool West Coast swing. \u003cem data-start=\"963\" data-end=\"984\"\u003eStrange Meadow Lark\u003c\/em\u003e follows with a long, impressionistic piano introduction before giving way to Desmond’s light-as-air tone. And of course \u003cem data-start=\"1105\" data-end=\"1116\"\u003eTake Five\u003c\/em\u003e sits at the centre of it all, a 5\/4 masterpiece that became jazz’s first true crossover hit. 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The \u003cstrong data-start=\"1422\" data-end=\"1458\"\u003eStoughton tip-on gatefold sleeve\u003c\/strong\u003e and session photos complete a reissue worthy of the label’s legacy.\u003c\/p\u003e\n\u003cp data-start=\"1530\" data-end=\"1775\"\u003eFor collectors and newcomers alike, \u003cem data-start=\"1566\" data-end=\"1578\"\u003eThe Cooker\u003c\/em\u003e is one of those records that justifies the fuss around the \u003cstrong data-start=\"1638\" data-end=\"1668\"\u003eBlue Note Tone Poet Series\u003c\/strong\u003e — immaculate presentation, timeless sound, and Morgan burning bright before his twenties had even begun.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42554714423355,"sku":null,"price":85.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/the_cooker_art.webp?v=1761372366"},{"product_id":"stanley-turrentine-comin-your-way-2020-blue-note-tone-poet-vinyl-lp","title":"Stanley Turrentine – Comin’ Your Way (2020 Blue Note Tone Poet Vinyl LP)","description":"\u003cp data-start=\"346\" data-end=\"758\"\u003eRecorded on \u003cstrong data-start=\"358\" data-end=\"378\"\u003eJanuary 20, 1961\u003c\/strong\u003e at \u003cstrong data-start=\"382\" data-end=\"403\"\u003eVan Gelder Studio\u003c\/strong\u003e in Englewood Cliffs, New Jersey, \u003cem data-start=\"437\" data-end=\"454\"\u003eComin’ Your Way\u003c\/em\u003e captures \u003cstrong data-start=\"464\" data-end=\"486\"\u003eStanley Turrentine\u003c\/strong\u003e at his most soulful and confident. 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This 65th Anniversary Edition, released on 9 August 2024 as a limited edition pink vinyl pressing remastered by the legendary Kevin Gray, honours this landmark recording with audiophile quality and striking presentation befitting its classic status.\u003c\/p\u003e\n\u003cp\u003eRecorded for Bethlehem Records in 1957, \u003cem\u003eLittle Girl Blue\u003c\/em\u003e introduced a completely original voice to jazz. Simone's classical piano training is evident in her sophisticated touch and harmonic choices, yet she approaches standards and blues with a deeply personal emotional directness that transcends stylistic categories. Her contralto voice, rich and slightly husky, could convey both vulnerability and strength, sometimes within the same phrase.\u003c\/p\u003e\n\u003cp\u003eThe album opens with Duke Ellington's \"Mood Indigo\", and immediately Simone's distinctive approach is clear: sophisticated yet accessible, respecting the tradition while making it entirely her own. \"Don't Smoke In Bed\" showcases her gift for intimate ballad interpretation, while \"He Needs Me\" (from the film Pal Joey) becomes a meditation on emotional dependency that feels both tender and clear-eyed.\u003c\/p\u003e\n\u003cp\u003eThe title track \"Little Girl Blue\", a Rodgers and Hart standard, receives a definitive reading. Simone's piano introduction sets a melancholic mood before her voice enters with the vulnerability suggested by the title, yet with an underlying dignity that prevents sentimentality. 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The album's emotional centrepiece, \"I Loves You Porgy\" from Gershwin's Porgy and Bess, receives a reading of such tenderness and longing that it became Simone's first chart success. The album closes with \"Central Park Blues\", an original composition that demonstrates Simone's gifts extended to writing as well as interpretation.\u003c\/p\u003e\n\u003cp\u003eThis 65th Anniversary Edition has been remastered by Kevin Gray, one of the most respected mastering engineers in the world, known for his meticulous work on audiophile reissues. Gray's remastering brings new clarity to Simone's voice and piano while honouring the intimacy of the original 1957 recording. The limited edition pink vinyl pressing adds visual appeal while maintaining sonic integrity.\u003c\/p\u003e\n\u003cp\u003eThe package includes liner notes by Daphne A. Brooks and Joe Muranyi, providing historical context about Simone's early career and this album's significance. 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Recorded in New York on 12 and 16 April 1957 at Reeves Sound Studios, this album strips away any accompaniment to reveal Monk's pianistic essence in its purest form. This 2025 Craft Recordings reissue, part of the Original Jazz Classics and Riverside Contemporary Series, offers audiophile quality through Kevin Gray's all-analogue mastering, Record Technology Incorporated's 180-gram pressing, and premium packaging including an obi strip.\u003c\/p\u003e\n\u003cp\u003eThe album opens with \"April In Paris\", and immediately Monk's utterly distinctive approach is evident. His angular phrasing, unexpected harmonic substitutions, and deliberate use of space transform this standard into something simultaneously familiar and strange. Monk's touch, often described as percussive, creates a distinctive tone and attack that's instantly recognisable. His time feel, seemingly hesitant yet perfectly intentional, creates tension and release unlike any other pianist.\u003c\/p\u003e\n\u003cp\u003e\"Ghost Of A Chance\" receives a tender reading that reveals Monk's gift for melodic interpretation beneath his reputation for harmonic complexity. \"Functional\", a Monk original, demonstrates his compositional approach: deceptively simple melodies that contain sophisticated harmonic implications. \"I'm Getting Sentimental Over You\" swings with Monk's characteristic rhythmic displacement, his left hand creating unexpected accents and spaces.\u003c\/p\u003e\n\u003cp\u003eSide two opens with \"I Should Care\", another standard transformed through Monk's harmonic reimagining and rhythmic approach. The album's centerpiece, \"'Round Midnight\", is Monk's most famous composition, and hearing him perform it solo reveals details often obscured in ensemble versions. His rubato approach, the way he lingers on certain notes while rushing through others, creates a performance that feels both studied and spontaneous.\u003c\/p\u003e\n\u003cp\u003e\"All Alone\" showcases Monk's ability to find the blues in unlikely material, while the album closes with \"Monk's Mood\", an original that perfectly captures his melancholic yet hopeful spirit. Throughout these solo performances, what becomes clear is Monk's complete originality - his approach to the piano, to harmony, to rhythm, to melody, is entirely his own, fully formed and uncompromising.\u003c\/p\u003e\n\u003cp\u003eThis Craft Recordings reissue represents the current state of the art in audiophile vinyl production. Kevin Gray, working at Cohearent Audio, has remastered and cut the lacquers using an all-analogue chain (AAA designation on the obi) from the original tapes. Record Technology Incorporated in Camarillo, California, universally regarded as America's finest pressing plant, has pressed this on 180-gram virgin vinyl. Stoughton Printing Co. has produced the packaging, maintaining the original Paul Bacon cover design and Paul Weller photography while adding contemporary quality standards.\u003c\/p\u003e\n\u003cp\u003eThe package includes the original liner notes by producer Orrin Keepnews and, remarkably, liner notes by John Coltrane. Coltrane and Monk had a profound musical relationship, with Coltrane learning from Monk during their 1957 collaboration. 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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. 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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. 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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":70.0,"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":"bobby-hutcherson-san-francisco-2023-blue-note-classic-vinyl-180g-lp","title":"Bobby Hutcherson - San Francisco (2023 Blue Note Classic Vinyl 180g LP)","description":"\u003cp\u003eA landmark recording in Bobby Hutcherson's distinguished Blue Note discography, \u003cem\u003eSan Francisco\u003c\/em\u003e captures the vibraphonist at a transitional moment in jazz history, bridging adventurous post-bop with the emerging jazz-funk aesthetic of the early 1970s. Recorded on 15 July 1970 at UA Studios in Los Angeles with tenor saxophonist Harold Land, pianist Joe Sample (of The Crusaders), bassist John Williams, and drummer Mickey Roker, this album demonstrates how sophisticated musicians navigated the stylistic shifts toward electric instruments and funk grooves without compromising harmonic depth or improvisational integrity. Producer Duke Pearson's guidance ensures the six compositions balance accessibility with artistic substance, from the opening \"Goin' Down South\" through the evocative closer \"A Night In Barcelona\".\u003c\/p\u003e\n\u003cp\u003eJoe Sample's presence is crucial, his electric piano work adding contemporary texture while his acoustic piano maintains connection to hard bop tradition. Harold Land's tenor saxophone, warm and melodically inventive, provides perfect frontline partnership with Hutcherson's shimmering vibraphone, marimba, and percussion. John Williams' use of both acoustic and electric bass reflects the era's instrumental evolution, while Mickey Roker's drumming moves effortlessly between swing and funk as each composition requires. Land's rare use of oboe on \"Procession\" adds distinctive colour rarely heard in jazz-funk contexts.\u003c\/p\u003e\n\u003cp\u003eThis 20 January 2023 reissue represents state-of-the-art contemporary vinyl production. Kevin Gray, working at Cohearent Audio, has remastered and cut lacquers from the original tapes, while Optimal Media in Germany has pressed this on 180-gram vinyl. This combination of Gray's audiophile expertise and Optimal's pressing quality (consistently ranked among the world's finest plants) ensures this is likely the best-sounding edition of \u003cem\u003eSan Francisco\u003c\/em\u003e ever available, superior to the original 1970 pressing in clarity and dynamics while maintaining tonal accuracy. Part of Blue Note's Classic Vinyl Series, this reissue offers collectors and audiophiles a premium presentation of an essential jazz-funk recording.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43083371610171,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/BobbyHutcherson-SanFrancisco_LP-Cvr_1024x_c8074a54-0443-40c2-b052-aec15a70cda5.jpg?v=1766111733"},{"product_id":"freddie-hubbard-ready-for-freddie-2021-blue-note-classic-vinyl-180g-lp","title":"Freddie Hubbard - Ready For Freddie (2021 Blue Note Classic Vinyl 180g LP)","description":"\u003cp\u003eRecorded on 21 August 1961 at Rudy Van Gelder's legendary Englewood Cliffs studio, \u003cem\u003eReady For Freddie\u003c\/em\u003e captures the 23-year-old trumpeter leading an all-star sextet through one of Blue Note's most distinctive hard bop sessions. The album features the remarkable frontline of Hubbard, tenor saxophonist Wayne Shorter, and euphonium player Bernard McKinney, creating unusual timbral combinations rarely heard in jazz. Backed by the rhythm section that would soon become John Coltrane's classic quartet (pianist McCoy Tyner, bassist Art Davis, and drummer Elvin Jones), Hubbard delivers five compositions ranging from the modal opener \"Arietis\" through the ballad \"Weaver Of Dreams\" to the explosive closer \"Crisis\", showcasing both his formidable technical command and his gift for memorable melodic writing.\u003c\/p\u003e\n\u003cp\u003eThe euphonium's inclusion is the session's distinctive feature, McKinney's mellow, tuba-like voice adding unusual harmonic depth to the frontline while creating textural contrasts with Hubbard's brilliant trumpet and Shorter's probing tenor. Shorter, just beginning his rise to prominence, contributes sophisticated solos that hint at the harmonic and rhythmic innovations he would soon explore with Miles Davis. The rhythm section, already working together in various contexts before officially joining Coltrane, demonstrates the telepathic interaction and propulsive energy that would define 1960s modern jazz. Tyner's block chords and modal voicings, Jones' polyrhythmic drumming, and Davis' melodic bass work provide both grounding and inspiration for the frontline's explorations.\u003c\/p\u003e\n\u003cp\u003eThis 22 October 2021 reissue represents premium contemporary vinyl production. Kevin Gray's remastering at Cohearent Audio draws from the original Van Gelder tapes, while Optimal Media in Germany has pressed this on 180-gram vinyl. Gray's all-analogue mastering combined with Optimal's quality pressing ensures this ranks among the finest-sounding editions of Ready For Freddie available, capturing Van Gelder's pristine 1961 recording with modern clarity and dynamics. Part of Blue Note's Classic Vinyl Series, this reissue offers collectors an audiophile presentation of an essential hard bop recording at the peak of Blue Note's creative and commercial success.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43085647249467,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/9145GtmJG_L._AC_SL1500.jpg?v=1766230064"},{"product_id":"chet-baker-chet-baker-sings-2023-blue-note-tone-poet-180g-mono-lp","title":"Chet Baker - Chet Baker Sings (2023 Blue Note Tone Poet 180g Mono LP)","description":"\u003cp\u003eOne of the most beloved vocal jazz albums ever recorded, \u003cem\u003eChet Baker Sings\u003c\/em\u003e captures the trumpeter's intimate, almost fragile voice interpreting classic standards with heartbreaking vulnerability. Originally released in 1956 on Pacific Jazz and reissued in this 2023 Blue Note Tone Poet Series repress, the album features Baker's tender readings of songs like \"My Funny Valentine\", \"I Fall In Love Too Easily\", and \"Look For The Silver Lining\", accompanied by pianist Russ Freeman and rotating rhythm sections. Mastered by Kevin Gray at Cohearent Audio and pressed by Record Technology Incorporated on 180-gram mono vinyl in a gatefold sleeve, this represents the finest available contemporary presentation of Baker's landmark vocal debut.\u003c\/p\u003e\n\u003cp\u003eBaker's voice, criticized by some for limited range and technique, possesses an emotional directness that transcends conventional vocal virtuosity. His half-spoken, half-sung delivery conveys loneliness, yearning, and a kind of bruised romanticism that made him an icon of 1950s cool jazz aesthetics. Freeman's sensitive piano accompaniment and the various rhythm sections (featuring Carson Smith and Jimmy Bond on bass, Bob Neel and others on drums) provide subtle support that never overwhelms Baker's delicate voice and trumpet. The 14 standards receive readings that have become definitive for many listeners, particularly \"My Funny Valentine\", which Baker essentially claimed as his signature song through this performance.\u003c\/p\u003e\n\u003cp\u003eThis 2023 repress of the 2020 Tone Poet release differs slightly from the original pressing in RTI plating identifiers and hype sticker wording (now \"cut directly from the original analog tapes\" rather than \"mastered from\"). The Tone Poet Series represents Blue Note's commitment to audiophile-quality reissues using all-analog mastering by Kevin Gray, RTI's premium pressing, and Stoughton tip-on gatefold packaging. Note the spine printing error stating \"Stereo\" when this is a mono pressing, carried over from the 2020 edition.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43086464188475,"sku":null,"price":105.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602508358913.jpg?v=1766271205"},{"product_id":"mankunku-quartet-yakhal-inkomo-2021-mr-bongo-half-speed-master-lp-with-obi","title":"Mankunku Quartet - Yakhal' Inkomo (2021 Mr Bongo Half-Speed Master LP with Obi)","description":"\u003cp\u003e\u003cstrong\u003eMankunku Quartet - \u003cem\u003eYakhal' Inkomo\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 2021 Mr Bongo Half-Speed Master Reissue with Tip-On Sleeve and Obi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of South African jazz's most revered recordings, \u003cem\u003eYakhal' Inkomo\u003c\/em\u003e captures tenor saxophonist Winston \"Mankunku\" Ngozi leading a quartet through two originals and two covers that together represent South African hard bop and modal jazz at its finest. Recorded on 23 July 1968 at Manley van Niekerk Studios in Johannesburg during apartheid, the session's very existence was an act of resistance, featuring a mixed-race group (pianist Lionel Pillay was of Indian descent) in defiance of apartheid restrictions. The title track \"Yakhal' Inkomo\" (meaning \"the bellow of the bull\") served as coded protest that Black audiences understood while escaping government censors. This 22 October 2021 Mr Bongo reissue, licensed from Gallo Record Company and half-speed mastered at Abbey Road Studios by Miles Showell, presents this landmark album in premium audiophile format with tip-on sleeve and obi strip.\u003c\/p\u003e\n\u003cp\u003eMankunku's playing draws directly from John Coltrane and Wayne Shorter (explicitly acknowledged in \"Dedication (To Daddy Trane and Brother Shorter)\"), yet the quartet creates a distinctively South African sound through their rhythmic approach and emotional directness. The 12-minute title track builds from meditative beginnings through increasingly intense collective improvisation, Mankunku's tenor crying out with both spiritual yearning and political anger. His original compositions not only hold their own alongside the Horace Silver (\"Doodlin'\") and John Coltrane (\"Bessie's Blues\") covers but arguably surpass them, testament to Mankunku's compositional gifts and the quartet's telepathic interaction.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43151090417723,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/7119691281315.jpg?v=1768966754"},{"product_id":"charles-mingus-mingus-ah-um-2015-music-on-vinyl-180g-remastered-lp","title":"Charles Mingus - Mingus Ah Um (2015 Music On Vinyl 180g Remastered LP)","description":"\u003cp\u003e\u003cstrong\u003eCharles Mingus - \u003cem\u003eMingus Ah Um\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 2015 Music On Vinyl 180g Remastered Stereo Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCharles Mingus' 1959 masterpiece stands as one of jazz's most celebrated albums, the bassist\/composer leading a nine-piece ensemble through eight compositions that balance hard bop intensity with sophisticated orchestration and social commentary. The album includes some of Mingus' most famous works: the gospel-infused \"Better Git It In Your Soul\", the elegiac \"Goodbye Pork Pie Hat\" (his tribute to Lester Young), and \"Fables Of Faubus\" (protesting Arkansas governor Orval Faubus' opposition to school integration). Featuring an exceptional lineup including saxophonists John Handy, Booker Ervin, and Shafi Hadi, trombonists Jimmy Knepper and Willie Dennis, pianist Horace Parlan, and drummer Dannie Richmond, the session demonstrates Mingus' genius for composing music that demands both technical excellence and emotional commitment. Released in 2015 by Music On Vinyl and distributed by Columbia\/Legacy, this European remastered reissue was pressed at Record Industry on 180g vinyl.\u003c\/p\u003e\n\u003cp\u003eMingus' compositional approach creates frameworks that balance written precision with collective improvisation, his arrangements incorporating elements from gospel, blues, classical music, and jazz traditions. His bass playing anchors the ensemble while functioning as melodic voice, his instrument leading as much as supporting. Dannie Richmond's drumming, developed through years of collaboration with Mingus, provides both propulsive swing and sensitive accompaniment, while the horn arrangements create textures ranging from intimate small group interplay to full ensemble passages.\u003c\/p\u003e\n\u003cp\u003eThe album's emotional range spans the joyous exuberance of \"Better Git It In Your Soul\" through the melancholy beauty of \"Goodbye Pork Pie Hat\" to the political anger of \"Fables Of Faubus\", each composition revealing different facets of Mingus' musical and personal vision. His willingness to address social issues through instrumental jazz was unusual for 1959, the album combining artistic achievement with political consciousness. \u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43212771688507,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/CharlesMingusMingusAhUm.webp?v=1770979166"},{"product_id":"hank-mobley-soul-station-2024-blue-note-85-anniversary-blue-vinyl-lp","title":"Hank Mobley - Soul Station (2024 Blue Note 85 Anniversary Blue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHank Mobley - \u003cem\u003eSoul Station\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 2024 Blue Note 85th Anniversary Limited Edition Blue Vinyl with Obi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eOne of hard bop's most perfect recordings\u003c\/strong\u003e - regularly cited among Blue Note's greatest albums\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLimited edition blue vinyl\u003c\/strong\u003e - Blue Note 85th Anniversary pressing with obi strip\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAll-star quartet\u003c\/strong\u003e - Miles Davis' rhythm section at their absolute peak\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eTenor saxophonist Hank Mobley's 1960 Blue Note session stands as one of hard bop's most perfect recordings, the quartet featuring pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey performing six tracks that balance blues feeling with sophisticated harmonic invention. Mobley's \"round sound\" tenor approach—less aggressive than Coltrane, warmer than Rollins—finds ideal setting in this quartet, his playing demonstrating melodic clarity and rhythmic subtlety often overlooked in favour of more explosive contemporaries. The rhythm section, all from Miles Davis' groups of the period, swings effortlessly throughout, Kelly's bluesy piano work, Chambers' melodic bass lines, and Blakey's driving yet supportive drums creating perfect foundation for Mobley's explorations. Released on 11 October 2024 as part of Blue Note's 85th Anniversary Collection and pressed at Germany's Optimal Media on limited edition blue vinyl with obi strip, this worldwide reissue honours one of hard bop's essential albums.\u003c\/p\u003e\n\u003cp\u003eThe six tracks showcase Mobley's compositional gifts alongside his interpretive skills. His originals \"This I Dig Of You\", \"Dig Dis\", and the title track \"Soul Station\" demonstrate his ability to write memorable themes that swing naturally while providing harmonic interest, while his readings of standards \"Remember\", \"Split Feelin's\", and \"If I Should Lose You\" reveal how he could make familiar material sound fresh through his distinctive phrasing and tone. Mobley's playing never overwhelms; instead, he draws listeners in through subtle melodic development and perfect time feel.\u003c\/p\u003e\n\u003cp\u003eThe rhythm section's chemistry reflects their shared experience in Davis' groups, each musician understanding when to push and when to lay back. Kelly's comping creates harmonic bed that supports without constraining, Chambers' bass work functions as both foundation and melodic voice, and Blakey demonstrates that his explosive power could be channeled into sensitive accompaniment when context demanded.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43214808776763,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/HankMobley_SoulStation.jpg?v=1771025868"},{"product_id":"horace-tapscott-quintet-the-quintet-2022-mr-bongo-vinyl-lp","title":"Horace Tapscott Quintet - The Quintet (2022 Mr Bongo Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHorace Tapscott Quintet - \u003cem\u003eThe Quintet\u003c\/em\u003e | Vinyl LP - 2022 Mr Bongo Reissue (MRBLP256)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eA previously unreleased 1969 session\u003c\/strong\u003e by one of Los Angeles' most important and unjustly overlooked jazz musicians, recovered from master tapes in the Flying Dutchman archives and released for the first time in 2022 by Mr Bongo\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eThe exact same quintet as \u003cem\u003eThe Giant Is Awakened\u003c\/em\u003e\u003c\/strong\u003e: Horace Tapscott on piano, Arthur Blythe on alto saxophone, Everett Brown Jr. on drums, and the unusual dual-bass configuration of David Bryant and Walter Savage Jr.\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eProduced by Bob Thiele\u003c\/strong\u003e, who had just departed Impulse! Records to found Flying Dutchman in 1969 and brought the same conviction to these sessions that produced the best work of the Impulse! era\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eHorace Tapscott spent most of the 1960s in South Central Los Angeles, leading the Pan Afrikan Peoples Arkestra and building the Underground Musicians Association (UGMA, later renamed the Union of God's Musicians and Artists Ascension), a community organisation that functioned as rehearsal space, arts incubator and social anchor through the years surrounding the 1965 Watts uprising. The Arkestra performed on flatbed trucks through the neighbourhood as the fires burned. The musicians Tapscott nurtured in those years included Arthur Blythe, David Murray, Butch Morris and Stanley Crouch. He declined opportunities to tour nationally or relocate to New York, choosing instead to stay and build something in his own community, which meant that despite being regarded by his peers as one of the most significant pianists in the country, his recording career did not begin until 1969. That debut, \u003cem\u003eThe Giant Is Awakened\u003c\/em\u003e, was produced by Bob Thiele for his newly founded Flying Dutchman imprint, Thiele having just left Impulse! Records where he had produced the definitive John Coltrane catalogue. The session that became \u003cem\u003eThe Giant Is Awakened\u003c\/em\u003e produced enough material for a second album, which Thiele also intended to release. It was not released. The master tapes sat in the Flying Dutchman archives for over fifty years.\u003c\/p\u003e\n\u003cp\u003eWhat Mr Bongo have recovered and pressed here is three pieces from that same 1969 session, with the same quintet: Tapscott on piano, Arthur Blythe on alto saxophone, Everett Brown Jr. on drums, and the distinctive dual-bass configuration of David Bryant and Walter Savage Jr. that gives the rhythm section its particular weight and density. The lineup contains no trumpet, no trombone and no second horn: just piano, alto saxophone and two basses over drums, a configuration that concentrates the harmonic and rhythmic conversation between Tapscott and his rhythm section in a way that the fuller ensemble of some contemporary free jazz recordings does not. The three tracks are titled \"World Peace\", \"Your Child\" and \"For Fats\", the last almost certainly an elegy for a significant jazz figure whose identity is worth confirming from your sleeve before discussing in any marketing context. Following the release of \u003cem\u003eThe Giant Is Awakened\u003c\/em\u003e, Tapscott did not record again as a leader until the late 1970s through the small Los Angeles labels Interplay and Nimbus. He died in February 1999 at the age of 64. The music on this record was made at his only commercially produced recording session and would not be heard by anyone outside the Flying Dutchman archives for five decades.\u003c\/p\u003e\n\u003cp\u003ePressed at Optimal Media GmbH, licensed from Flying Dutchman, released 2 September 2022 on Mr Bongo (MRBLP256). Comes in an oversized jacket with plain black poly-lined inner sleeve and obi strip.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43258630438971,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a3247336009_10.jpg?v=1772766376"},{"product_id":"horace-tapscott-with-the-pan-afrikan-peoples-arkestra-live-at-lacma-1998-2020-dark-tree-vinyl-lp","title":"Horace Tapscott with The Pan Afrikan Peoples Arkestra - Live at LACMA 1998 (2020 Dark Tree Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHorace Tapscott with The Pan Afrikan Peoples Arkestra and The Great Voice of UGMAA - \u003cem\u003eLive at LACMA, 1998 \u003c\/em\u003e| Vinyl LP - 2020 Dark Tree Roots Series (DT(RS)11LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eTapscott's last public performance\u003c\/strong\u003e, recorded live at the Los Angeles County Museum of Art on 24 July 1998, seven months before his death in February 1999, with the Pan Afrikan Peoples Arkestra and the twelve-voice Great Voice of UGMAA choir reconstituted for this occasion\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eTwo extended pieces, each over fourteen minutes\u003c\/strong\u003e: \"Fela Fela\", a tribute to Fela Kuti composed by Tapscott and conguero Najite Agindotan, and \"Why Don't You Listen?\", co-written with Linda Hill, whose lyrics call the roll of jazz's ancestors\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003eRecorded and mixed by Wayne Peet, mastered by François Lê Xuân, pressed at Pallas on 180-gram vinyl, released on Dark Tree's Roots Series in 2020 with liner notes by Steven L. Isoardi and a photo insert by Warren Berman\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eOn 24 July 1998 Horace Tapscott led the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA choir in a public concert at the Los Angeles County Museum of Art. He was already ill with the cancer that would kill him on 27 February 1999. He was sixty-four years old. This LP, released by the Paris-based Dark Tree label in June 2020 as part of their Roots Series documenting previously unreleased recordings from the Los Angeles avant-garde scene, presents two pieces from that night, each running past fourteen minutes. \"Fela Fela\" is a tribute to Fela Kuti composed by Tapscott and Arkestra conguero Najite Agindotan, written following Kuti's death in August 1997 and performed here for what was likely one of the first times: its groove draws on the African percussion rhythms in Kuti's own music, with three basses providing a dense low foundation under the choir's Yoruba-inflected singing, Michael Session's soprano saxophone and Phil Ranelin's trombone. \"Why Don't You Listen?\", co-written with Linda Hill, is a vocal invocation of the jazz tradition, its lyrics addressing the listener directly in a roll call of names: Charlie Parker, John Coltrane, Billie Holiday, Max Roach, James Moody, Dizzy Gillespie. Dwight Trible sings lead and directs the Great Voice of UGMAA, which includes vocalist and percussionist Ndugu \"Jingles\" Chandler among its twelve members.\u003c\/p\u003e\n\u003cp\u003eThe personnel assembled here are a concentrated version of what Tapscott had been building for nearly four decades. Phil Ranelin, who had co-founded the Detroit Tribe label in the early 1970s before relocating to Los Angeles, plays trombone. The rhythm section comprises three bassists (Alan Hines, Trevor Ware and Louis Large), Donald Dean on drums, Agindotan on congas and Bill Madison on percussion. The total ensemble, with choir, is twenty people. The Great Voice of UGMAA had originally operated from the late 1960s until the mid-1970s before Tapscott dissolved it; it was reconstituted here. Licensed under exclusive arrangement from the Horace Tapscott family, recorded and mixed by Wayne Peet, the full five-track concert was first released on CD and digital in 2019 as \"Why Don't You Listen? - Live at LACMA, 1998\"; this LP presents two of those five pieces, \"Fela Fela\" and \"Why Don't You Listen?\", in a 180-gram pressing from Pallas in Germany, cut at Pallas, with liner notes by Steven L. Isoardi, author of the definitive Tapscott study \"The Dark Tree: Jazz and the Community Arts in Los Angeles\", and photographs from the concert by Warren Berman.\u003c\/p\u003e","brand":"Dark Tree","offers":[{"title":"Default Title","offer_id":43258649772091,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/71QqtzsebSL._AC_SX679.jpg?v=1772768200"},{"product_id":"tenorio-jr-embalo-2017-mr-bongo-reissue-lp","title":"Tenório Jr. - Embalo (2017 Mr Bongo Reissue LP)","description":"\u003cp\u003e\u003cstrong\u003eTenório Jr. - \u003cem\u003eEmbalo\u003c\/em\u003e | Vinyl LP - 2017 Mr Bongo Reissue (MRBLP144 \/ RGE XRLP-5.234)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFrancisco Tenório Júnior's only album as a leader\u003c\/strong\u003e, originally released on RGE in 1964: eleven tracks of samba-jazz and bossa nova with a cast of eleven musicians including Paulo Moura on alto saxophone and Milton Banana on drums, recorded in Rio de Janeiro when Tenório Jr. was in his early twenties\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\"Nebulosa\" has circulated widely through DJ culture \u003c\/strong\u003eand compilation albums for decades; regularly played by Gilles Peterson and Floating Points, remixed by Nu:Tone, and listed as one of the standout tracks of early 1960s Brazilian jazz\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eMastered from the original RGE tapes\u003c\/strong\u003e; replica original artwork; a proper reissue of a record that was genuinely hard to obtain before Mr Bongo brought it back in 2017\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eFrancisco Tenório Júnior was born in Rio de Janeiro and grew up in the Laranjeiras neighbourhood, where he developed as a pianist while simultaneously studying medicine at the National School of Medicine. By the early 1960s he was a central figure in the bossa nova scene at Beco das Garrafas in Copacabana, the cramped alleyway of clubs where bossa nova crystallised as a genre, and was sought after as both a pianist and an arranger. \u003cem\u003eEmbalo\u003c\/em\u003e was recorded in 1964, when he was in his early twenties, and features eleven musicians alongside him: Paulo Moura on alto saxophone, J.T. Meirelles and Hector Costita on tenor saxophone, Pedro Paulo and Maurilio on trumpets, Edson Maciel and Raulzinho on trombones, Celso Brando and Neco on guitars, Rubens Bassini on atabaque, and the rhythm section of Sergio Barroso Netto and José Antonio Alves on bass with Milton Banana on drums. It was the first and only album he recorded as a leader.\u003c\/p\u003e\n\u003cp\u003eIn March 1976 Tenório Jr. was in Buenos Aires as part of a tour accompanying the poet and lyricist Vinicius de Moraes and guitarist Toquinho. One night he left his hotel and did not return. Argentina was in the first weeks of a military dictatorship that would last until 1983, during which an estimated 30,000 people were killed or disappeared. A decade after Tenório Jr. vanished, a former Argentine Navy corporal testified that he had been arrested, taken to the ESMA (Navy Mechanics School), a detention and torture centre implicated in thousands of killings, and executed nine days after his arrest, with Brazilian military agents present. CONADEP, Argentina's National Commission on the Disappearance of Persons, confirmed his death in March 1976 in its 1984 report \u003cem\u003eNunca Más\u003c\/em\u003e. The Argentine state admitted responsibility in 1997. A Brazilian court ruled for compensation to his family in 2006. He left behind his wife Carmen, four children, and a fifth child born one month after he disappeared. Elis Regina dedicated her 1979 album \u003cem\u003eEssa Mulher\u003c\/em\u003e to his absence. The Brazilian filmmaker Rogerio Lima made a short film, \u003cem\u003eBalada para Tenório\u003c\/em\u003e, in the aftermath of his disappearance, with interviews from family and friends. \u003cem\u003eEmbalo\u003c\/em\u003e remains the only document of what he was as a bandleader, and it is a remarkable one.\u003c\/p\u003e\n\u003cp\u003eThis Mr Bongo reissue, pressed in the UK in 2017 with replica original artwork and mastered from the original RGE tapes, is the definitive way to own it.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43263176966203,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a3412631022_10.jpg?v=1772863681"},{"product_id":"teaspoon-and-the-waves-teaspoon-and-the-waves-2021-mr-bongo-reissue-vinyl-lp","title":"Teaspoon and The Waves - Teaspoon and The Waves (2021 Mr Bongo Reissue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eTeaspoon and The Waves - \u003cem\u003eTeaspoon and The Waves\u003c\/em\u003e | Vinyl LP - 2021 Mr Bongo Reissue (MRBLP225)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFive tracks of South African jazz-funk from 1977\u003c\/strong\u003e, produced by West Nkosi on Soul Jazz Pop (a Mavuthela Music Company \/ Gallo subsidiary); all compositions by saxophonist Teaspoon Ndelu, recorded in Johannesburg\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\"Oh Yeh Soweto\"\u003c\/strong\u003e adapts Lamont Dozier's \"Going Back to My Roots\" four years before the Odyssey version made the song internationally famous, and has become a staple of DJ sets from Gilles Peterson to Floating Points\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eTeaspoon Ndelu went on to play saxophone on Paul Simon's \"Gumboots\"\u003c\/strong\u003e from \u003cem\u003eGraceland\u003c\/em\u003e (1986); he also collaborated with Stimela and Sipho Gumede and wrote for other South African artists throughout a long career\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eOfficial replica reissue\u003c\/strong\u003e, licensed from Gallo, mastered at Finyl Tweek and pressed at Optimal Media GmbH; released by Mr Bongo on 26 February 2021\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eTeaspoon Ndelu was a South African saxophonist and studio veteran who recorded under various configurations — Teaspoon and His 'T' Boys, Teaspoon and The Waves — and collaborated extensively with fellow saxophonist and producer West Nkosi, including on the \"Mabone\" singles of the early 1970s. This self-titled album was recorded in 1977 for Soul Jazz Pop, a subsidiary of Mavuthela Music Company under the Gallo umbrella, engineered by Nino Rivera and produced by West Nkosi. All five tracks are Ndelu originals.\u003c\/p\u003e\n\u003cp\u003eThe album is built around jazz-funk grooves with a palette that pulls in Afro-synths, reggae-inflected guitar and disco rhythm, all of it anchored by Ndelu's saxophone. \"Oh Yeh Soweto\" adapts the harmonic and melodic framework of Lamont Dozier's \"Going Back to My Roots\" — a song Dozier had recorded with Richie Havens in 1971 but which most listeners outside South Africa would not encounter until the Odyssey hit version of 1981. Ndelu got there first. The track circulated through DJ culture for years and is now a legitimate dancefloor classic. The remaining four tracks are not filler. \"Friday Night\" opens with a reggae-tinged tropical groove; \"Wind and Fire\" runs on spacey synths and loose, rhythmic guitar; \"Saturday Express\" is a straight-up disco stomper; \"Got Me Tight\" closes the record with a playful, funk-led workout. Ndelu later brought his saxophone to Paul Simon's \u003cem\u003eGraceland\u003c\/em\u003e sessions, appearing on \"Gumboots\" (1986). This Mr Bongo reissue, licensed from Gallo, is pressed at Optimal Media GmbH with replica original artwork.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43264072679483,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a1779475805_10.jpg?v=1772917594"},{"product_id":"asha-puthli-asha-puthli-2020-mr-bongo-rsd-blue-vinyl-reissue-vinyl-lp","title":"Asha Puthli - Asha Puthli (2020 Mr Bongo RSD Blue Vinyl Reissue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eAsha Puthli - \u003cem\u003eAsha Puthli\u003c\/em\u003e | Vinyl LP - 2020 Mr Bongo RSD Reissue, Blue Vinyl (MRBLP221)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eAsha Puthli's 1973 CBS debut\u003c\/strong\u003e, produced by Del Newman (Elton John collaborator), signed by John Hammond at Columbia after her vocal appearances on Ornette Coleman's \u003cem\u003eScience Fiction\u003c\/em\u003e (1972) won her the DownBeat Critics' Poll for Best Female Jazz Vocalist\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eNine tracks crossing jazz, soul, funk and proto-disco\u003c\/strong\u003e, including cover versions of George Harrison's \"I Dig Love,\" Gladys Knight's \"Neither One Of Us,\" and Neil Sedaka's \"I Am A Song\"; cover shot by Mick Rock with makeup by Pierre LaRoche\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\"Let Me In Your Life\"\u003c\/strong\u003e was sampled by Action Bronson for \"Terry\" (2015) and by Chris Brown for \"Loyal\" (2014)\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eAsha Puthli was born in Bombay in 1945, trained in Indian classical music and opera, arrived in New York on a Martha Graham dance scholarship in 1969, and was signed to CBS Records by John Hammond — the Columbia A\u0026amp;R director who had discovered Billie Holiday, Bob Dylan and Bruce Springsteen — after he read about her singing in Ved Mehta's \u003cem\u003ePortrait of India\u003c\/em\u003e. Hammond sent her to record with Ornette Coleman, and her performances on \u003cem\u003eScience Fiction\u003c\/em\u003e (1972) won her the DownBeat Critics' Poll award for Best Female Jazz Vocalist. When the commercial climate for avant-garde jazz contracted, she moved to London and recorded this debut with Del Newman, best known as Elton John's arranger and producer, for CBS in 1973.\u003c\/p\u003e\n\u003cp\u003eThe album moves across jazz, soul, blues and early disco with a voice that is genuinely unusual: supple, improvisational, capable of intimacy and abandon in the same phrase. Del Newman's production sits it squarely in the early 1970s glam-funk world without losing Puthli's jazz instincts. The track selection ranges from originals to covers: George Harrison's \"I Dig Love\" — which Puthli has described as stripping the Beatles' spiritual reading and bringing out its sexuality — sits alongside Jim Weatherly's \"Neither One Of Us (Wants to Be the First to Say Goodbye)\" (the Gladys Knight and the Pips hit), Bill Withers and Isaac Hayes's \"Let Me In Your Life,\" and Neil Sedaka's \"I Am A Song.\" The cover was shot by Mick Rock with makeup by Pierre LaRoche, who also worked with Bowie and Mercury. This pressing is the Mr Bongo Record Store Day 2020 reissue on blue vinyl, licensed from Puthli directly.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43264097353787,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a1627263207_10.jpg?v=1772921710"},{"product_id":"ian-carr-belladonna-2021-mr-bongo-half-speed-master-reissue-lp-gatefold","title":"Ian Carr - Belladonna (2021 Mr Bongo Half-Speed Master Reissue LP, Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eIan Carr - \u003cem\u003eBelladonna\u003c\/em\u003e | Vinyl LP - 2021 Mr Bongo Half-Speed Master Reissue (MRBLP229)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eIan Carr's 1972 jazz-rock fusion landmark\u003c\/strong\u003e, recorded in July 1972 at Phonogram Studios in West London with eight musicians from the core of the British jazz-rock scene including Allan Holdsworth on guitar, Gordon Beck on Hohner electric piano, Roy Babbington on bass and Brian Smith on reeds and flutes; produced by Jon Hiseman\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\u003cem\u003eBelladonna\u003c\/em\u003e opens with a 13-minute title track\u003c\/strong\u003e and integrates jazz, rock and atmospheric electronics\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eHalf-speed mastered by Miles Showell at Abbey Road Studios\u003c\/strong\u003e, pressed at Optimal Media GmbH; gatefold sleeve with replica Vertigo swirl label\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eAmong the earliest recorded appearances of Allan Holdsworth\u003c\/strong\u003e; his solos on \"Remadione\" and the closing \"Hector's House\" mark this as a document of one of the most significant guitarists in the history of jazz-rock before he became widely known\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eBy the time Ian Carr recorded \u003cem\u003eBelladonna\u003c\/em\u003e in July 1972, Nucleus as a working band had come apart. Founding members Karl Jenkins and drummer John Marshall had left for Soft Machine; bassist Jeff Clyne had moved to Isotope; guitarist Chris Spedding had gone into session work. Of the original lineup, only saxophonist and flautist Brian Smith remained. Carr assembled a new group of musicians from the British jazz-rock circuit — bassist Roy Babbington, drummer Clive Thacker, Fender Rhodes player Dave MacRae, and a young Bradford guitarist named Allan Holdsworth — and brought in Gordon Beck and Trevor Tomkins as guests. The sessions were produced by Jon Hiseman of Colosseum, engineered by Roger Wake at Phonogram Studios in West London, and mixed and mastered by Peter Gallen at Lansdowne.\u003c\/p\u003e\n\u003cp\u003eThe six tracks run from the 13-minute title piece, which opens on atonal improvisation before settling into a long, locked-in funk-jazz groove and closes on solo trumpet, through to \"Hector's House\" where Holdsworth cuts loose over a snapping bass line in a solo that established him as a player to watch. His tone and legato phrasing were still forming in 1972 but the approach was already entirely his own. Beck and MacRae playing Hohner and Fender Rhodes simultaneously creates the layered keyboard texture that defines much of the record's atmosphere.\u003c\/p\u003e\n\u003cp\u003eThis Mr Bongo reissue is half-speed mastered by Miles Showell at Abbey Road, gatefold, with the replica Vertigo swirl label, licensed from Universal Music Operations.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43264102858811,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a0297944318_10.jpg?v=1772923631"},{"product_id":"lonnie-smith-afro-desia-2024-mr-bongo-groove-merchant-reissue-lp-gatefold","title":"Lonnie Smith - Afro-Desia (2024 Mr Bongo Groove Merchant Reissue LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eLonnie Smith - \u003cem\u003eAfro-Desia\u003c\/em\u003e | Vinyl LP - 2024 Mr Bongo Gatefold Reissue (MRBLP297)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eLonnie Smith's 1975 Hammond B3 jazz-funk landmark\u003c\/strong\u003e for Groove Merchant, produced by label owner Sonny Lester, with an uncredited George Benson on guitar, Joe Lovano on saxophone and Ron Carter on bass\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFive tracks\u003c\/strong\u003e ranging from the 15-minute free-wheeling \"Spirits Free\" to the Latin-inflected \"Straight to the Point,\" covering Smith's full range from cosmic organ exploration to locked-in soul-jazz groove\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eAmong the earliest recordings of Joe Lovano\u003c\/strong\u003e, who went on to become one of the most important tenor saxophonists of the following four decades\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eGatefold reissue\u003c\/strong\u003e pressed at Optimal Media GmbH; the second release in Mr Bongo's Groove Merchant catalogue series\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eLonnie Smith had been a central figure in soul-jazz and hard bop since the late 1960s, recording for Blue Note alongside Lee Morgan, George Benson and others, and building a reputation as one of the most inventive Hammond B3 players in jazz. By 1975, recording for Sonny Lester's Groove Merchant label, he assembled a lineup of Ron Carter on bass, Ben Riley on drums, a young Joe Lovano on tenor and soprano saxophone, and a mysterious guitarist who does not appear on the sleeve under his own name. \"Compliments of a Friend\" is widely understood to be George Benson, who had worked closely with Smith in the 1960s and could not be credited for contractual reasons. His guitar is present on the title track, \"Favors\" and \"The Awakening.\"\u003c\/p\u003e\n\u003cp\u003eThe five tracks span the full range of Smith's idiom. \"Afrodesia\" opens the record with a nine-minute piece that moves from electric funk to open improvisation, Hopkins and Lovano trading on trumpet and saxophone over Armstrong's bass and a layered rhythm section. \"Spirits Free\" runs to fifteen minutes, rising and falling across free sections, spacey organ passages and funky grooves. Side B brings a sharper, more direct feel: \"Straight to the Point\" kicks off with a carnival pulse, and \"Favors\" — a reworking of Coltrane's \"Impressions,\" though uncredited on the original sleeve — extends into a ten-minute trio improvisation with Benson and Lovano. \"The Awakening\" closes the record in the same territory. Smith had not yet adopted the \"Dr.\" prefix in 1975; that came later in his career. \u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43264173408315,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a0099247125_10.jpg?v=1772928691"},{"product_id":"arthur-verocai-arthur-verocai-2024-mr-bongo-reissue-vinyl-lp-gatefold","title":"Arthur Verocai - Arthur Verocai (2024 Mr Bongo Reissue Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eArthur Verocai - \u003cem\u003eArthur Verocai\u003c\/em\u003e | Vinyl LP - 2024 Mr Bongo Reissue (MRBLP133PN)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eArthur Verocai's 1972 debut on Continental Records\u003c\/strong\u003e, recorded at Studio Somil in Rio de Janeiro, produced and arranged entirely by Verocai himself; a 29-minute orchestral fusion of samba, bossa nova, jazz, soul and funk that sold almost nothing on release and now commands around $2,000 for an original copy\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eSampled by MF Doom, Ludacris, Action Bronson, Little Brother and others\u003c\/strong\u003e; 9th Wonder's production for Ludacris drew from \"Na Boca Do Sol\" — one of several tracks that seeded the album's rediscovery through hip-hop in the early 2000s\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eReissued from the original Continental master tapes\u003c\/strong\u003e, transferred under Arthur Verocai's supervision; replica gatefold artwork\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eWhen Arthur Verocai released his debut album on Continental Records in 1972, it sold almost nothing. The label withdrew it quickly, and Verocai spent the following decades arranging jingles and writing for television rather than recording as a leader. By the time the album was rediscovered — first through hip-hop producers in the early 2000s and then through a CD reissue on Luv N' Haight in 2003 — the original vinyl had become one of the most sought-after Brazilian records of the era. \u003cmeta charset=\"utf-8\"\u003eMadlib is quoted as saying: \"I could listen to the album everyday for the rest of my life.\"\u003c\/p\u003e\n\u003cp\u003eVerocai had arranged for Jorge Ben, Gal Costa, Ivan Lins, Elis Regina and others before making this album; the self-titled record is where that accumulated skill turned entirely inward. He produced, arranged, conducted and played guitar across all ten tracks, drawing on a large cast of Rio session musicians including Oberdan Magalhães on saxophone and flute, Paulo Moura on soprano saxophone, Pedro dos Santos on percussion, and a string and brass section that gives the record much of its orchestral weight. Vocalists include Célia on \"Seriado\" and a young Toninho Horta, then early in a career that would make him one of Brazil's most important guitarist-composers.\u003c\/p\u003e\n\u003cp\u003e\"Caboclo\" opens with a breakbeat groove and strings simultaneously; \"Pelas Sombras\" is denser and more cinematic, with Oberdan's flute over a deep low end; \"Seriado\" and \"Na Boca Do Sol\" carry the rhythm-section weight that made the record a target for sample-based producers. \"Dedicada A Ela\" (A5) is the sole track with an external lyric credit, written by Paulinho Tapajós.\u003c\/p\u003e\n\u003cp\u003eThis 2024 pressing (MRBLP133PN) is taken from the original Continental master tapes, transferred under Verocai's supervision, in a replica gatefold sleeve.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43264217645115,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a2363968462_10.jpg?v=1772930813"},{"product_id":"miles-davis-in-a-silent-way-2015-legacy-columbia-eu-reissue-vinyl-lp","title":"Miles Davis - In A Silent Way (2015 Legacy\/Columbia EU Reissue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis -\u003cem\u003e In A Silent Wa\u003c\/em\u003ey | Vinyl LP - 2015 Legacy\/Columbia Reissue \u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eMiles Davis's 1969 landmark\u003c\/strong\u003e, recorded in a single session on 18 February 1969 at CBS 30th Street Studio in New York City, produced by Teo Macero; regarded as Davis's first fusion recording and the beginning of his electric period, with eight musicians including Wayne Shorter, John McLaughlin, Herbie Hancock, Chick Corea and Josef Zawinul\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eTwo side-long pieces\u003c\/strong\u003e — \"Shhh\/Peaceful\" and \"In A Silent Way\/It's About That Time\"\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\u003cstrong\u003e2015 Legacy\/Columbia EU reissue\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMiles Davis recorded \u003cem\u003eIn A Silent Way\u003c\/em\u003e in a single session on 18 February 1969 at CBS 30th Street Studio B in New York City. He brought eight musicians: Wayne Shorter on soprano saxophone, John McLaughlin on electric guitar, Herbie Hancock and Chick Corea on electric piano, Josef Zawinul on electric piano and organ, Dave Holland on bass, and Tony Williams on drums. Teo Macero produced. Stan Tonkel engineered. The session ran for approximately three hours and produced around 40 minutes of committed material, the tape machine running continuously as the musicians worked through the pieces with minimal verbal instruction from Davis and no written charts.\u003c\/p\u003e\n\u003cp\u003eWhat was released on 30 July 1969 was not a direct document of that session but a construction assembled by Macero using tape editing techniques he had developed across years of work with Davis, Duke Ellington and Dave Brubeck at Columbia. Macero shaped the recordings in accordance with classical sonata form — each of the two side-long pieces moves through three sections, with the opening material repeated at the close, giving the album a symmetry no single improvised take possessed. \"In A Silent Way\" is a Zawinul composition; \"It's About That Time\" is Davis's. \"Shhh\/Peaceful\" is Davis's. The album was controversial on release — jazz critics were unsettled by the electric instrumentation and the editorial construction; rock critics were divided on whether it was jazz or something else entirely. It has since been consistently placed among the most important recordings in Davis's career, and among the most significant in the history of jazz.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43285279342651,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/190759506516.jpg?v=1773649931"},{"product_id":"horace-silver-quintet-song-for-my-father-2021-blue-note-classic-vinyl-series-lp","title":"Horace Silver Quintet - Song For My Father (2021 Blue Note Classic Vinyl Series LP)","description":"\u003cp\u003e\u003cstrong\u003eHorace Silver Quintet - \u003cem\u003eSong For My Father\u003c\/em\u003e | Vinyl LP - 2021 Blue Note Classic Vinyl Series (180g, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eHorace Silver's most celebrated album\u003c\/strong\u003e, drawn from two separate Blue Note sessions: October 1963 and January and October 1964 at Van Gelder Studio, Englewood Cliffs\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eThe bossa nova rhythm and Cape Verdean melodic line of \"Song for My Father\"\u003c\/strong\u003e — written as a tribute to Silver's father — became one of the most-sampled piano vamps in jazz; Steely Dan's \"Rikki Don't Lose That Number\" (1974) draws directly from its bass ostinato\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\"The Kicker\" is the sole non-Silver original on the album\u003c\/strong\u003e, written by Joe Henderson; \"Lonely Woman\" (B3) is a Silver composition unrelated to Ornette Coleman's piece of the same name\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2021 Blue Note Classic Vinyl Series\u003c\/strong\u003e, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio, pressed at Optimal Media GmbH on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eSong for My Father\u003c\/em\u003e was assembled from two Blue Note sessions recorded a year apart, using two different quintet lineups. The three tracks that open and close the LP sides — \"Calcutta Cutie\" and \"Lonely Woman\" — come from the October 1963 session with Junior Cook on tenor, Blue Mitchell on trumpet, Gene Taylor on bass and Roy Brooks on drums. The remaining four tracks, including the title piece, were recorded in January and October 1964 with a completely rebuilt quintet: Joe Henderson on tenor, Carmell Jones on trumpet, Teddy Smith on bass and Roger Humphries on drums. Alfred Lion produced both sessions; Rudy Van Gelder engineered at his Englewood Cliffs studio.\u003c\/p\u003e\n\u003cp\u003eThe title track opens the record. Silver wrote it after a visit to Brazil introduced him to bossa nova rhythms, and he drew the melodic line from his father's Cape Verdean heritage — John Tavares Silva came from the island of Maio. The subtitle \"Cantiga Para Meu Pai\" means \"Song for My Father\" in Portuguese. The bass ostinato in F minor became one of the most sampled bass lines in jazz: Steely Dan used it as the foundation for \"Rikki Don't Lose That Number\" on \u003cem\u003ePretzel Logic\u003c\/em\u003e (1974). Henderson's tenor across the 1964 tracks plays with a clarity and phrasing that distinguishes him immediately from his predecessor — \"The Kicker\" (B2), the one track on the album not written by Silver, is Henderson's own composition. This 2021 pressing is part of the Blue Note Classic Vinyl Series, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio and pressed on 180g vinyl at Optimal Media GmbH.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43285368307771,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/71dYvkobHCL._UF894_1000_QL80.jpg?v=1773660093"},{"product_id":"hank-mobley-no-room-for-squares-2023-blue-note-classic-vinyl-series-vinyl-lp","title":"Hank Mobley - No Room For Squares (2023 Blue Note Classic Vinyl Series Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHank Mobley - \u003cem\u003eNo Room For Squares\u003c\/em\u003e | Vinyl LP - 2023 Blue Note Classic Vinyl Series (180g, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eHank Mobley's 1963 Blue Note recording\u003c\/strong\u003e drawn from two sessions with two completely different quintets: the March session brings Donald Byrd on trumpet, Herbie Hancock on piano and Butch Warren on bass; the October session substitutes Lee Morgan, Andrew Hill and John Ore — Philly Joe Jones on drums throughout both\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eSix originals by Mobley and Lee Morgan\u003c\/strong\u003e, including Morgan's tender ballad \"Carolyn\" and the hard-driving \"Me 'N You\"; Andrew Hill's angular piano comping and Hancock's more open harmonic approach give the two sessions a noticeably different character across the same LP\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eOne of Reid Miles's most celebrated Blue Note cover designs\u003c\/strong\u003e, applied to one of Mobley's most consistently strong recordings as a bandleader and composer\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2023 Blue Note Classic Vinyl Series\u003c\/strong\u003e, mastered by Kevin Gray at Cohearent Audio, pressed at Optimal Media GmbH on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eHank Mobley recorded \u003cem\u003eNo Room For Squares\u003c\/em\u003e across two Blue Note sessions in 1963, six months apart at Van Gelder Studio in Englewood Cliffs. The two dates used entirely different personnel beyond Mobley himself and drummer Philly Joe Jones. On 7 March, Mobley brought Donald Byrd on trumpet, Herbie Hancock on piano and Butch Warren on bass; the two tracks from this session — \"Up A Step\" and \"Old World, New Imports\" — appear as A3 and B3. On 2 October, the quintet was rebuilt with Lee Morgan on trumpet, Andrew Hill on piano and John Ore on bass, producing the four tracks that bracket them. Alfred Lion produced both sessions; Rudy Van Gelder engineered.\u003c\/p\u003e\n\u003cp\u003eThe split generates a useful contrast. Hancock's piano provides harmonic clarity and a looser, post-bop flow; Hill's comping is more angular and modal. Morgan and Byrd are similarly distinct — Morgan brings a more lyrical directness, Byrd a cooler precision. Mobley's tenor is a consistent presence across both, rolling and unhurried. Of the six compositions, four are Mobley originals (\"Three Way Split,\" \"Up A Step,\" \"No Room For Squares,\" \"Old World, New Imports\") and two are Morgan's: the ballad \"Carolyn,\" one of the more touching things Morgan wrote, and the funky, driving \"Me 'N You.\" Alfred Lion had the cover designed by Reid Miles — one of the most widely reproduced of the Blue Note cover designs. The album was originally released in May 1964. This 2023 Classic Vinyl Series pressing is mastered by Kevin Gray at Cohearent Audio and pressed at Optimal Media GmbH on 180g vinyl.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43285371748411,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/61Mz6agCB5L._UF1000_1000_QL80.jpg?v=1773661100"},{"product_id":"herbie-hancock-empyrean-isles-2023-blue-note-classic-vinyl-series-vinyl-lp","title":"Herbie Hancock - Empyrean Isles (2023 Blue Note Classic Vinyl Series Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHerbie Hancock - \u003cem\u003eEmpyrean Isles\u003c\/em\u003e | Vinyl LP - 2023 Blue Note Classic Vinyl Series (180g, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eHerbie Hancock's fourth Blue Note album\u003c\/strong\u003e, recorded on 17 June 1964 at Van Gelder Studio, Englewood Cliffs; a quartet with Freddie Hubbard on cornet, Ron Carter on bass and Tony Williams on drums — three of the four members of the Miles Davis Second Great Quintet's rhythm section, with Hubbard as the single horn\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFour Hancock originals including \"Cantaloupe Island,\"\u003c\/strong\u003e sampled by UK jazz-rap group Us3 for \"Cantaloop (Flip Fantasia)\" in 1993, and \"The Egg,\" a 14-minute free improvisation that closes the album on entirely different terms\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2023 Blue Note Classic Vinyl Series\u003c\/strong\u003e, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio, pressed at Optimal Media GmbH on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eWhen Herbie Hancock went into Van Gelder Studio on 17 June 1964, he brought three musicians from the Miles Davis rhythm section: Ron Carter on bass and Tony Williams on drums. The third Davis band member present was not Miles but Freddie Hubbard — and Hubbard, who played trumpet on virtually every other session of this period, played cornet on this one. The reason for the switch has not been fully documented, but the cornet's warmer, slightly brighter tone is audible across all four tracks. Alfred Lion produced; Rudy Van Gelder engineered.\u003c\/p\u003e\n\u003cp\u003eHancock had composed all four pieces over the preceding two years, building a set that moves from the controlled energy of \"One Finger Snap\" through the lush ballad \"Oliloqui Valley\" to \"Cantaloupe Island\" on Side B — a funky 16-bar groove built on a piano vamp that alternates between three minor chords — and finally to \"The Egg,\" which runs to 14 minutes and functions as a free improvisation built on a repeated ostinato figure. \"Cantaloupe Island\" was sampled by the British jazz-rap group Us3 for \"Cantaloop (Flip Fantasia)\" from \u003cem\u003eHand on the Torch\u003c\/em\u003e (Blue Note, 1993), which reached the Top 10 in the US and became the most widely heard iteration of Hancock's composition outside the jazz world. Hancock has said he preferred the original 1964 arrangement to his later funk-era versions. The album was his fourth for Blue Note; \u003cem\u003eMaiden Voyage\u003c\/em\u003e would follow the next year. This 2023 pressing is mastered from the original analogue tapes by Kevin Gray at Cohearent Audio and pressed on 180g vinyl at Optimal Media GmbH.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43288414388283,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/910fYQ52a-L._AC_SL1500.jpg?v=1773746589"},{"product_id":"joe-henderson-our-thing-2026-blue-note-classic-vinyl-series","title":"Joe Henderson - Our Thing (2026 Blue Note Classic Vinyl Series)","description":"\u003cp\u003e\u003cstrong\u003eJoe Henderson - \u003cem\u003eOur Thing\u003c\/em\u003e | Vinyl LP - 2026 Blue Note Classic Vinyl Series (180g, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eJoe Henderson's second Blue Note album\u003c\/strong\u003e, recorded on 9 September 1963 at Van Gelder Studio, Englewood Cliffs — three months after his debut \u003cem\u003ePage One\u003c\/em\u003e with the same frontline partnership of Henderson and Kenny Dorham\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFive originals written collectively by Henderson and Dorham\u003c\/strong\u003e: Henderson contributed \"Teeter Totter\" and the title track; Dorham wrote \"Pedro's Time,\" \"Back Road\" and the closing \"Escapade\"\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2026 Blue Note Classic Vinyl Series\u003c\/strong\u003e, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio, pressed at Optimal Media GmbH on 180g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eJoe Henderson recorded his debut \u003cem\u003ePage One\u003c\/em\u003e for Blue Note in June 1963, then returned to Van Gelder Studio in Englewood Cliffs on 9 September 1963 for this follow-up. The core relationship was the same — Henderson's tenor alongside Kenny Dorham's trumpet, Pete La Roca on drums — but Andrew Hill came in on piano where McCoy Tyner had played on \u003cem\u003ePage One\u003c\/em\u003e, and Eddie Khan on bass replaced Butch Warren. The substitution of Hill for Tyner is the record's defining character shift. Tyner's playing provides a rhythmic anchor; Hill's is more elliptical, his voicings deliberately off-centre in a way that keeps the harmonic ground unstable. \u003c\/p\u003e\n\u003cp\u003eThe five tracks were composed entirely by the two frontline players. Henderson wrote the opening \"Teeter Totter\" and the title track; Dorham wrote the remaining three. \"Pedro's Time\" has a Latin feel and a 10-minute runtime that gives both players extended solo space. \"Escapade\" closes the album as a lyrical Dorham ballad, measured and cinematic. Dorham, whose career as a bandleader had produced \u003cem\u003eUna Mas\u003c\/em\u003e for Blue Note the same year, is given unusual room here to demonstrate his composing voice alongside Henderson's. \u003cmeta charset=\"utf-8\"\u003eThe Henderson-Dorham partnership produced some of the most consistent hard bop-to-post-bop music of the early 1960s; Dorham also contributed to \u003cem\u003eSong For My Father\u003c\/em\u003e (Horace Silver) and \u003cem\u003eIdle Moments\u003c\/em\u003e (Grant Green) in the same year. When the album was released in 1964 it received a measured reception, but it has since become an essential post-bop recording of the era. This 2026 pressing is the latest in the Classic Vinyl Series, mastered from the original analogue tapes by Kevin Gray at Cohearent Audio and pressed on 180g vinyl at Optimal Media GmbH.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43290619445307,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/JoeHenderson-OurThing_1LP-Cvr_RGB.webp?v=1773872304"},{"product_id":"ryo-kawasaki-juice-2022-mr-bongo-first-european-reissue-lp-mrblp252-replica-obi","title":"Ryo Kawasaki - Juice (2022 Mr Bongo First European Reissue LP, MRBLP252, Replica Obi)","description":"\u003cp\u003e\u003cstrong\u003eRyo Kawasaki - \u003cem\u003eJuice\u003c\/em\u003e | Vinyl LP - 2022 Mr Bongo First European Reissue (MRBLP252, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eRyo Kawasaki's 1976 jazz-funk fusion debut for RCA\u003c\/strong\u003e, recorded at RCA Studios in New York on 5–7 May 1976; Kawasaki's first album on an American major label, featuring Tom Coster (Santana) on keyboards, Sam Morrison (Miles Davis) on tenor saxophone and flute, Hugh McCracken on rhythm guitar, Stu Woods on bass and Jimmie Young on drums\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e\"Bamboo Child\"\u003c\/strong\u003e (B3) has been sampled by Diamond D, Puff Daddy and Kool G Rap; the album has become a sought-after crate-digging record in the jazz-funk and hip-hop communities on both sides of the Atlantic\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003e2022 Mr Bongo reissue \u003c\/strong\u003eis the first European pressing of the album, previously available only as a Japanese RCA original and through import copies. Replica sleeve, obi and labels\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRyo Kawasaki moved from Tokyo to New York in 1973 and spent the next few years working with Gil Evans, Elvin Jones and Chico Hamilton before signing to RCA — one of the first Japanese artists to sign with an American major, following Sadao Watanabe and Terumasa Hino. \u003cem\u003eJuice\u003c\/em\u003e was recorded at RCA Studios over three days in May 1976, produced by Mike Lipskin and engineered by Bob Simpson. Kawasaki wrote six of the seven tracks; the one exception is \"The Breeze and I\" (A3), the Ernesto Lecuona standard best known from his suite \"Andalucía,\" given an English lyric by Al Stillman and here performed as an instrumental. For the session, Kawasaki recruited Tom Coster from Santana on keyboards, Sam Morrison from the Miles Davis band on tenor saxophone, soprano saxophone and alto flute, Hugh McCracken — a ubiquitous session guitarist of the period — on rhythm guitar, and Stu Woods and Jimmie Young as the rhythm section.\u003c\/p\u003e\n\u003cp\u003eThe record moves between jazz-funk grooves, fusion shred and the emerging electric jazz of the mid-1970s New York studio scene. \"Bamboo Child\" (B3), a slower spiritual funk piece built on a deep repeating groove, became the album's most lasting track in the crate-digging and hip-hop communities — sampled by Diamond D, Puff Daddy and Kool G Rap. The Bandcamp Daily placed \"El Toro\" in the tradition of the Loft party circuit and described it as the kind of track that would have cleared the floor at David Mancuso's New York Loft. Original copies of the RCA Japan pressing have remained difficult and expensive to find outside Japan. This 2022 Mr Bongo reissue is the first European pressing, with replica sleeve, obi and labels, pressed at Optimal Media GmbH and licensed from Sony Music Entertainment.\u003c\/p\u003e","brand":"Mr Bongo","offers":[{"title":"Default Title","offer_id":43296185548859,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a2631642814_10.jpg?v=1774135223"},{"product_id":"wayne-shorter-schizophrenia-2023-blue-note-tone-poet-series-lp-gatefold","title":"Wayne Shorter - Schizophrenia (2023 Blue Note Tone Poet Series LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eWayne Shorter - \u003cem\u003eSchizophrenia\u003c\/em\u003e | Vinyl LP - 2023 Blue Note Tone Poet Series (B0036692-01, 180g, Kevin Gray\/Cohearent Audio, RTI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWayne Shorter recorded \u003cem\u003eSchizophrenia\u003c\/em\u003e on March 10, 1967, two years into his tenure with the Miles Davis Second Great Quintet and twelve months after \u003cem\u003eAdam's Apple\u003c\/em\u003e. The session used the same rhythm section as \u003cem\u003eThe All Seeing Eye\u003c\/em\u003e — Herbie Hancock on piano, Ron Carter on bass, Joe Chambers on drums — and added Curtis Fuller on trombone and James Spaulding on alto saxophone and flute to extend the front line into a sextet. Rudy Van Gelder recorded; Francis Wolff produced.\u003c\/p\u003e\n\u003cp\u003eFive of the six tracks are Shorter originals. \"Tom Thumb\" opens Side A brash and angular; \"Go\" and the title track push toward harder freedom; \"Miyako,\" named for Shorter's daughter, moves slower and more openly. \"Playground\" closes the album with controlled urgency. The sixth piece, \"Kryptonite,\" is Spaulding's. The recording was done but not released until May 1969, held back as Blue Note went through its Liberty Records transition. By then Shorter had already recorded \u003cem\u003eSuper Nova\u003c\/em\u003e with a completely different ensemble and a different conception of what jazz could do. \u003cem\u003eSchizophrenia\u003c\/em\u003e arrived after the fact, documenting a moment that had already moved on. This Tone Poet reissue was produced by Joe Harley, mastered by Kevin Gray at Cohearent Audio from the original analog master tapes, pressed on 180g vinyl at Record Technology Incorporated and packaged in a gatefold tip-on jacket.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43414323200059,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/WLF13734.jpg?v=1776063476"},{"product_id":"freddie-hubbard-here-to-stay-2025-blue-note-classic-vinyl-series-lp","title":"Freddie Hubbard - Here to Stay (2025 Blue Note Classic Vinyl Series LP)","description":"\u003cp\u003e\u003cstrong\u003eFreddie Hubbard - \u003cem\u003eHere to Stay\u003c\/em\u003e | Vinyl LP - 2025 Blue Note Classic Vinyl Series 180g (6514965, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFreddie Hubbard recorded six albums for Blue Note between 1960 and 1962. Alfred Lion shelved this one. The session took place December 27, 1962 — Hubbard was twenty-four. Wayne Shorter was on tenor, Cedar Walton on piano, Reggie Workman on bass and Philly Joe Jones on drums. Hubbard, Shorter, Walton and Workman were all in Art Blakey's Jazz Messengers at the time; only Jones was outside that organisation. The chemistry that implies is audible throughout.\u003c\/p\u003e\n\u003cp\u003eTwo of the six tracks are Hubbard originals: \"Philly Mignon,\" named for Jones, opens Side A fast; \"Nostrand and Fulton,\" a Brooklyn cross-street intersection, is slower and more fluid on Side B. Two tracks come from Cal Massey, the Philadelphia-born composer and trumpeter who wrote prolifically for other Blue Note artists — \"Father and Son\" and \"Assunta.\" \"Body and Soul\" is the Green\/Heyman\/Sour standard, given long and searching treatment. \"Full Moon and Empty Arms\" takes the melody of the third movement of Rachmaninoff's Piano Concerto No. 2, which Buddy Kaye and Ted Mossman had fitted with words in 1946. Hubbard's quintet plays it as an instrumental, dropping the pop register entirely.\u003c\/p\u003e\n\u003cp\u003eReid Miles designed a cover for the planned 1963 release, BST 84135, which appeared on Blue Note inner sleeves advertising forthcoming titles but never materialised. The recording sat until 1976, released as half of a double album alongside \u003cem\u003eHub Cap\u003c\/em\u003e (1961). This 2025 Classic Vinyl Series pressing is the first time the full album appears in its original planned form with the Miles cover, mastered by Kevin Gray at Cohearent Audio from the original analog master tapes and pressed on 180g vinyl at Optimal Media GmbH.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43414512959547,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/81rT1YVXiKL._UF894_1000_QL80.jpg?v=1776066264"},{"product_id":"joe-henderson-tetragon-2026-milestone-jazz-dispensary-vinyl-lp","title":"Joe Henderson - Tetragon (2026 Milestone\/Jazz Dispensary Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eJoe Henderson Quartets - \u003cem\u003eTetragon\u003c\/em\u003e | Vinyl LP - 2026 Jazz Dispensary Top Shelf Series 180g (CR00968, Kevin Gray\/Cohearent Audio)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOrrin Keepnews signed Joe Henderson to Milestone after Henderson's Blue Note years ended, and \u003cem\u003eTetragon\u003c\/em\u003e was the second album from that relationship. The unusual structure — two separate but sonically related quartets recorded six months apart at the same studio — was Keepnews' idea. He asked Henderson in the liner notes whether the different rhythm sections had changed his playing. Henderson's answer was that Friedman had a more romantic approach, Barron something harder-driving, but that the presence of Ron Carter throughout held both sessions together.\u003c\/p\u003e\n\u003cp\u003eRon Carter plays on all seven tracks and contributed two compositions. \"R.J.\" was named for his son; \"First Trip\" is similarly personal. Henderson wrote \"The Bead Game\" (eight minutes, free, no apparent melody) and the angular title track. \"Invitation\" — by Bronisław Kaper, the Polish-born film composer whose jazz standards have been recorded repeatedly — opens Side A. \"I've Got You Under My Skin\" closes the record. \"Waltz for Zweetie\" (B2) has a credit history: the original pressing attributed it to Walter Bishop Jr. and misspelled the title as \"Sweetie.\" Keepnews later corrected both — the composer is Bishop's father, Walter Bishop Sr., and the dedication is to someone called Zweetie, not Sweetie.\u003c\/p\u003e\n\u003cp\u003eThis is Henderson's first studio recording with Jack DeJohnette — they had performed together but never taped. DeJohnette was twenty-two. The original Milestone MSP 9017 has been out of print on vinyl for more than fifty years. Kevin Gray mastered this edition \u003cmeta charset=\"utf-8\"\u003efrom the original master tapes for the Jazz Dispensary and Craft Recordings' Top Shelf Series; pressing is 180g.\u003c\/p\u003e","brand":"Milestone","offers":[{"title":"Default Title","offer_id":43414519316539,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a1846080134_10.jpg?v=1776067405"},{"product_id":"wayne-shorter-speak-no-evil-2024-blue-note-85th-anniversary-limited-edition-blue-vinyl-lp","title":"Wayne Shorter - Speak No Evil (2024 Blue Note 85th Anniversary Limited Edition Blue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWayne Shorter - \u003cem\u003eSpeak No Evil\u003c\/em\u003e | Vinyl LP - 2024 Blue Note 85th Anniversary Limited Edition Blue Vinyl (5879067, 3000 copies worldwide)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWayne Shorter recorded \u003cem\u003eSpeak No Evil\u003c\/em\u003e on Christmas Eve, 1964. He had joined the Miles Davis Quintet four months earlier. Alfred Lion produced. For the session, Shorter brought Freddie Hubbard on trumpet — Hubbard had been in Art Blakey's Jazz Messengers with Shorter, and the easy fluency between them is all over the record — alongside Herbie Hancock and Ron Carter, both from Miles's band, and Elvin Jones, who had been inside the Coltrane quartet since 1960. Rudy Van Gelder engineered.\u003c\/p\u003e\n\u003cp\u003eAll six tracks are Shorter originals. \"Witch Hunt\" opens Side A with a blues-inflected theme stated in trumpet and saxophone unison. \"Fee-Fi-Fo-Fum\" moves harder; \"Dance Cadaverous\" is the most oblique piece on the side. \"Speak No Evil,\" which opens Side B, carries the melody in the same unison horn voicing as the opener, Horn and piano split around Shorter's solo. \"Infant Eyes\" is a ballad for Shorter's daughter Miyako — essentially a long saxophone statement with a brief Hancock coda, nine bars in ABA form, the tonal centre shifting through several modes. \"Wild Flower\" closes the record open and fast, Hubbard and Hancock forward. The album was recorded in 1964 and released June 1966.\u003c\/p\u003e\n\u003cp\u003eThis is the 2024 Blue Note 85th Anniversary limited edition on blue vinyl, limited to 3000 copies worldwide. Mastered by Kevin Gray at Cohearent Audio. Pressed in Germany. Comes with obi.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43414655238203,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/61FA1lPP1kS._UF894_1000_QL80.jpg?v=1776075542"},{"product_id":"wayne-shorter-juju-2024-blue-note-classic-vinyl-series-vinyl-lp","title":"Wayne Shorter - Juju (2024 Blue Note Classic Vinyl Series Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWayne Shorter - \u003cem\u003eJuju\u003c\/em\u003e | Vinyl LP - 2024 Blue Note Classic Vinyl Series 180g (5880786, Kevin Gray\/Cohearent Audio, Optimal Media GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWayne Shorter recorded \u003cem\u003eJuju\u003c\/em\u003e on August 3, 1964 — three months after \u003cem\u003eNight Dreamer\u003c\/em\u003e and one month before he joined the Miles Davis Quintet. Alfred Lion produced; Rudy Van Gelder engineered. The session assembled three musicians with deep ties to the John Coltrane quartet: McCoy Tyner on piano, Reginald Workman on bass and Elvin Jones on drums. The combination was deliberate. Shorter and Coltrane were operating in the same moment, and the rhythm section placed his music directly in that harmonic territory — not as imitation but as a parallel investigation.\u003c\/p\u003e\n\u003cp\u003eAll six tracks are Shorter originals. The title track opens on a B augmented chord and stays there, letting the whole-tone scale carry the harmonic weight. \"Deluge\" pushes harder. \"House of Jade\" moves to long held tones, Shorter sustaining a single pitch across the bar while the rhythm section plays underneath. \"Mahjong,\" \"Yes or No\" and \"Twelve More Bars to Go\" each find a different angle. The album was released in July 1965. Shorter died on March 2, 2023. This Classic Vinyl Series edition was mastered by Kevin Gray at Cohearent Audio from the original analog master tapes and pressed on 180g vinyl at Optimal Media GmbH in Germany.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43418904395835,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/51-2sPcPdGL._UF894_1000_QL80.jpg?v=1776172029"}],"url":"https:\/\/lushliferecords.com.au\/collections\/jazz-essentials.oembed?page=5","provider":"Lush Life Records","version":"1.0","type":"link"}