{"title":"Prestige","description":"\u003cp\u003ePrestige Records was one of the great jazz labels of the 1950s and ’60s, documenting the rise of hard bop and soul jazz with an unmatched catalogue. From early recordings by Miles Davis, John Coltrane and Sonny Rollins to landmark sessions with Eric Dolphy, Gene Ammons and Red Garland, Prestige captured the raw, spontaneous energy of the era. Its albums are prized for their historic importance and collector appeal, offering a window into jazz at its most vital. Explore our curated selection of Prestige vinyl including rare originals, classic reissues and timeless recordings that helped shaped the sound of jazz.\u003c\/p\u003e","products":[{"product_id":"sonny-rollins-worktime","title":"Sonny Rollins – Worktime (1974 Prestige Japan Reissue LP Vinyl)","description":"\u003cp\u003eRecorded in December 1955 and originally released on Prestige in 1956, \u003cem\u003eWorktime\u003c\/em\u003e captures \u003cstrong\u003eSonny Rollins\u003c\/strong\u003e at just 25 years old, already in full command of his tenor saxophone voice. Backed by an exceptional rhythm section — \u003cstrong\u003eRay Bryant\u003c\/strong\u003e (piano), \u003cstrong\u003eGeorge Morrow\u003c\/strong\u003e (bass), and \u003cstrong\u003eMax Roach\u003c\/strong\u003e (drums) — Rollins delivers a set that’s both fiery and sophisticated.\u003c\/p\u003e\n\u003cp\u003eFrom the swinging opener \u003cem\u003eThere’s No Business Like Show Business\u003c\/em\u003e to the lyrical ballad \u003cem\u003eIt’s All Right With Me\u003c\/em\u003e and the driving \u003cem\u003eParadox\u003c\/em\u003e, the album shows Rollins’s range as both a melodic interpreter and a daring improviser. Roach’s dynamic drumming keeps the energy high throughout, making this session a gem of his early catalogue.\u003c\/p\u003e\n\u003cp\u003eFresh, inventive, and brimming with youthful energy, \u003cem\u003eWorktime\u003c\/em\u003e stands as one of Rollins’s most exciting early statements.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":42475340857403,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4121.jpg?v=1758414043"},{"product_id":"kenny-dorham-quiet-kenny","title":"Kenny Dorham – Quiet Kenny (1976 Prestige Japan Reissue LP Vinyl)","description":"\u003cp\u003eReissued in \u003cstrong\u003e1976\u003c\/strong\u003e as part of the \u003cem\u003ePrestige Jazz Masterpiece Series\u003c\/em\u003e by \u003cstrong\u003ePrestige Japan\u003c\/strong\u003e (catalogue no. SMJ-6513 \/ New Jazz 8225), \u003cem\u003eQuiet Kenny\u003c\/em\u003e stands among the most graceful and lyrical trumpet albums of the post-bop era. Recorded by \u003cstrong\u003eRudy Van Gelder\u003c\/strong\u003e, it pairs \u003cstrong\u003eKenny Dorham’s\u003c\/strong\u003e warm, introspective tone with an impeccable rhythm section featuring \u003cstrong\u003eTommy Flanagan\u003c\/strong\u003e on piano, \u003cstrong\u003ePaul Chambers\u003c\/strong\u003e on bass, and \u003cstrong\u003eArt Taylor\u003c\/strong\u003e on drums.\u003c\/p\u003e\n\u003cp\u003eDorham plays with an almost conversational phrasing — thoughtful, unhurried, and melodic — turning each tune into a study in restraint and beauty. Standards like \u003cem\u003eAlone Together\u003c\/em\u003e and \u003cem\u003eMy Ideal\u003c\/em\u003e glow with quiet intensity, while originals such as \u003cem\u003eBlue Friday\u003c\/em\u003e and \u003cem\u003eBlue Spring Shuffle\u003c\/em\u003e reveal his gift for subtle swing and inventive harmony.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":42509996818491,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4425.jpg?v=1759751112"},{"product_id":"sonny-stitt-bud-powell-j-j-johnson-1976-japanese-prestige-jazz-masterpiece-series-lp","title":"Sonny Stitt \/ Bud Powell \/ J.J. Johnson (1976 Japanese Prestige Jazz Masterpiece Series LP)","description":"\u003cp\u003e\u003cstrong\u003eSonny Stitt \/ Bud Powell \/ J.J. Johnson Vinyl LP - 1976 Japanese Prestige Jazz Masterpiece Series Mono Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eStitt's first recordings on tenor saxophone\u003c\/strong\u003e, three New York bop sessions from October 1949 through January 1950 compiled onto a single LP\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTwo entirely different bands\u003c\/strong\u003e: Bud Powell, Curly Russell and Max Roach on Side A; J.J. Johnson, John Lewis, Nelson Boyd and Max Roach on Side B\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1976 Japanese Prestige Jazz Masterpiece Series mono pressing\u003c\/strong\u003e, No. 8 in the series, manufactured by Victor Musical Industries, Inc.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThis album compiles three separate New York bop sessions recorded between October 1949 and January 1950 and originally issued by Prestige across several 10\" releases before being compiled onto a 12\" LP as PRLP 7024 in 1956. The two sides represent entirely different bands. Side A draws from the December 11, 1949 and January 26, 1950 dates, with Stitt on tenor, Bud Powell on piano, Curly Russell on bass and Max Roach on drums, a quartet working through standards and Stitt originals at the breakneck tempos and harmonically sophisticated vocabulary of the nascent bebop style. Side B draws from the slightly earlier October 17, 1949 session, where Stitt and Roach are joined by J.J. Johnson on trombone, John Lewis on piano and Nelson Boyd on bass, the quintet working through four compositions including two takes each of \"Blue Mode\" and Johnson's \"Teapot\", as well as Lewis's own \"Afternoon in Paris\". Significantly, these were Stitt's earliest recordings on tenor saxophone. He had established himself as an alto player of exceptional ability but the persistent comparisons to Charlie Parker, whose harmonic language and phrasing he closely shared, led him to take up the larger horn as a means of carving his own identity, and these sessions document that transition at the very start.\u003c\/p\u003e\n\u003cp\u003eThe musicians gathered across both sessions were among the defining figures of bebop at precisely the moment the style was consolidating. Powell at the piano is at the peak of his powers, his left hand providing sparse but perfectly placed comping while his right builds lines of ferocious velocity and harmonic precision. Johnson, whose work on these dates helped establish the trombone as a viable bebop instrument after years of the horn being considered ill-suited to the style's demands, brings his characteristically clean articulation to the quintet tracks. Roach underpins both sessions, his drumming already demonstrating the melodic intelligence and rhythmic sophistication that would make him one of jazz's most important percussionists. Released in Japan in 1976 on Prestige (SMJ-6508M) as No. 8 in the Prestige Jazz Masterpiece Series and manufactured by Victor Musical Industries, Inc.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43242772987963,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6278.jpg?v=1772146326"},{"product_id":"sonny-rollins-saxophone-colossus-1975-japanese-prestige-mono-lp","title":"Sonny Rollins - Saxophone Colossus (1975 Japanese Prestige Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eSonny Rollins - \u003cem\u003eSaxophone Colossus\u003c\/em\u003e | Vinyl LP - 1975 Japanese Prestige Mono Reissue (SMJ-6501(M), Prestige Jazz Masterpiece Series No. 1, Victor Musical Industries, Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSonny Rollins recorded \u003cem\u003eSaxophone Colossus\u003c\/em\u003e in a single afternoon on June 22, 1956 at Rudy Van Gelder's studio in Hackensack. Tommy Flanagan, Douglas Watkins and Max Roach made up the rhythm section. The album was released by Prestige in September 1956 and has not been out of print since.\u003c\/p\u003e\n\u003cp\u003eThree of the five tracks are Rollins originals. \"St. Thomas\" draws on a West Indian folk song, \"Hold Him Joe,\" that Rollins had heard from his mother, who was born in the Virgin Islands — he had played a version of it in his early career and returned to it for this session, giving it the calypso lilt and long stop-time saxophone exposition that made the recorded version famous. \"Strode Rode\" is an uptempo blues named for his friend and fellow musician Leroy Strode. \"Blue Seven\" is a slow twelve-bar blues in B-flat — Rollins improvises around the head's motif throughout, developing rather than departing from it.\u003c\/p\u003e\n\u003cp\u003eThe two standards are \"You Don't Know What Love Is,\" the Don Raye and Gene DePaul ballad from 1941, taken at an unhurried pace that sits between the energy of the two fast pieces on Side A, and \"Moritat\" — the original German title for the Kurt Weill and Bertolt Brecht \"Mack the Knife\" from \u003cem\u003eThe Threepenny Opera\u003c\/em\u003e (1928), which Rollins plays hard and rhythmically before Bobby Darin had made the song familiar to pop audiences.\u003c\/p\u003e\n\u003cp\u003eThis 1975 Japanese mono pressing is Prestige Jazz Masterpiece Series No. 1, manufactured by Victor Musical Industries from the original Prestige master. It carries the Swing Journal Seal of Approval.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43451932278843,"sku":null,"price":105.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6700.jpg?v=1777025055"},{"product_id":"the-modern-jazz-quartet-django-1984-japanese-prestige-mono-lp","title":"The Modern Jazz Quartet – Django (1984 Japanese Prestige Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eMJQ - \u003cem\u003eDjango\u003c\/em\u003e | Vinyl LP - 1984 Japanese Prestige Mono Reissue (VIJ-207, Prestige Jazz Golden 50 No. 7, Victor Musical Industries, Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe Modern Jazz Quartet had started as the rhythm section behind Dizzy Gillespie in 1946. By 1952 they were working as an independent group, Percy Heath on bass, Kenny Clarke on drums, Milt Jackson on vibraphone and John Lewis on piano. Their Prestige recordings from 1953 to 1955 were first issued on two 10-inch LPs; when Prestige moved to 12-inch records in 1956, they combined the best of the two volumes onto this LP under the title \u003cem\u003eDjango\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eLewis wrote in memory of Django Reinhardt for the December 1954 title track. The composition opens in a slow dirge, moves through improvised sections built on the opening theme's material, and returns to the dirge to close, a structure Lewis described as having \"perfect pyramid-like symmetry.\" \"One Bass Hit\" is Dizzy Gillespie's, a feature for Percy Heath, who takes the intricate melody with Heath's bass runs at the centre. \"Milano\" is a Lewis ballad from the same session, Milt Jackson's vibraphone given the lead.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eLa Ronde Suite\u003c\/em\u003e, recorded in January 1955, divides into four movements, each giving one member of the quartet extended solo space while the others provide support. The suite grew out of \"Two Bass Hit,\" a Lewis theme written for Gillespie. It was Clarke's final session with the group.\u003c\/p\u003e\n\u003cp\u003eThe four June 1953 tracks, \"The Queen's Fancy,\" \"Delaunay's Dilemma,\" \"Autumn in New York\" and \"But Not for Me\", come from the quartet's earliest work as a co-operative unit. \"Autumn in New York\" is Vernon Duke's 1934 standard; \"But Not for Me\" is Gershwin and Gershwin from \u003cem\u003eGirl Crazy\u003c\/em\u003e (1930), both given the chamber-jazz quality the MJQ was already developing.\u003c\/p\u003e\n\u003cp\u003eThis is the 1984 Japanese Prestige mono reissue (VIJ-207), Prestige Jazz Golden 50 No. 7, manufactured by Victor Musical Industries, Inc.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43512862244923,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6919.jpg?v=1778736702"},{"product_id":"john-coltrane-lush-life-1975-japanese-prestige-mono-lp","title":"John Coltrane - Lush Life (1975 Japanese Prestige Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane - \u003cem\u003eLush Life\u003c\/em\u003e | Vinyl LP - 1975 Japanese Prestige Mono Reissue (SMJ-6505(M), Prestige Jazz Masterpiece Series No. 5, Victor Musical Industries, Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBob Weinstock booked Coltrane into Van Gelder's Hackensack studio on August 16, 1957. No pianist appeared. Whether this was planned, or whether someone failed to show, is not documented; what exists is a Coltrane trio with Earl May on bass and Arthur Taylor on drums, recording three pieces in a row. Without a piano, every harmonic implication in the solos is Coltrane's to create and sustain. \"Like Someone in Love,\" the Van Heusen and Burke standard from 1944, opens the side and sets the format. \"I Love You,\" Cole Porter's composition from the 1943 musical Mexican Hayride, follows. \"Trane's Slow Blues\" is Coltrane's own, the only original on the record, a long and patient blues that finishes Side A.\u003c\/p\u003e\n\u003cp\u003eThe two Side B tracks come from different sessions with different personnel. \"I Hear a Rhapsody\", the 1940 Fragos, Baker and Gasparre standard, was the first of the three sessions chronologically, recorded May 24, 1957 with Red Garland on piano, Paul Chambers on bass and Al Heath on drums. The title track came last: January 10, 1958, Coltrane in a quintet with Donald Byrd on trumpet, Garland, Chambers and Louis Hayes. Billy Strayhorn wrote \"Lush Life\" sometime in the late 1930s; it is one of the most harmonically sophisticated of all jazz standards and one of the most demanding for any soloist. Coltrane plays it at a slow ballad pace, Byrd's trumpet adding a second voice over the Garland trio.\u003c\/p\u003e\n\u003cp\u003eThis is the 1975 Japanese Prestige mono reissue (SMJ-6505(M)), Prestige Jazz Masterpiece Series No. 5, manufactured by Victor Musical Industries, Inc.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43514633945147,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6936.jpg?v=1778805441"},{"product_id":"lee-konitz-subconscious-lee-1976-japanese-prestige-mono-lp","title":"Lee Konitz - Subconscious-Lee (1976 Japanese Prestige Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eLee Konitz - \u003cem\u003eSubconscious-Lee\u003c\/em\u003e | Vinyl LP - 1976 Japanese Prestige Mono Reissue (SMJ-6522(M), Prestige Jazz Masterpiece Series No. 22, Victor Musical Industries, Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLennie Tristano's school operated on a set of principles that ran against the grain of what bebop was doing in the late 1940s. Where Charlie Parker and Dizzy Gillespie built on vertical harmony, playing through chords, Tristano's students were trained to think in horizontal lines: melodies that moved in counterpoint with each other, rhythms that floated across the bar line rather than landing on it, tone that was cool and even rather than hot and inflected.\u003c\/p\u003e\n\u003cp\u003eLee Konitz was the most visible product of that school. These twelve tracks, recorded between January 1949 and April 1950, are the core recordings of the movement. The first four tracks feature Tristano himself at the piano. \"Subconscious-Lee\" takes the chord changes of \"What Is This Thing Called Love?\" and writes a new melody over them, the contrafact approach that Tristano's circle used constantly. \"Retrospection\" and \"Judy\" are Tristano originals. \"Progression\" is Konitz's.\u003c\/p\u003e\n\u003cp\u003eBy the June 1949 session, Warne Marsh had joined on tenor saxophone. \"Marshmallow\" and \"Fishin' Around\" are both his compositions. \"Tautology\" and \"Sound-Lee\" come from the September session. The final session, April 1950, brought Sal Mosca in place of Tristano at the piano and produced \"Ice Cream Konitz,\" \"You Go to My Head\" (the one standard on the album), \"Palo Alto\" and \"Rebecca.\"\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese Prestige mono reissue (SMJ-6522(M)), Prestige Jazz Masterpiece Series No. 22, manufactured by Victor Musical Industries, Inc.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43589768904763,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7281.jpg?v=1781054496"},{"product_id":"sonny-rollins-quartet-tenor-madness-1976-japanese-prestige-vinyl-lp-mono","title":"Sonny Rollins Quartet - Tenor Madness (1976 Japanese Prestige Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eSonny Rollins Quartet - \u003cem\u003eTenor Madness\u003c\/em\u003e | Vinyl LP Mono - 1976 Japanese Prestige Reissue (SMJ-6521, Victor Musical Industries)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eColtrane was in Van Gelder's Hackensack studio on the same day, and Rollins invited him to sit in on a blues. That's the origin story of the title track, and it produced the only studio recording of the two tenor saxophonists who would define the instrument for the next decade. The contrast in approach over 12 minutes is immediate. Rollins builds from short, blues-rooted phrases, leaving space between ideas and developing them with a patience that makes his solos sound like composed pieces. Coltrane runs harder, stacking rapid chromatic lines on top of each other in the style that Ira Gitler would soon call \"sheets of sound.\" They trade fours towards the end, and neither player gives ground. The rhythm section holds steady underneath: Garland comping with that precise, block-chord touch, Chambers walking with authority, and Philly Joe keeping the tempo honest without pushing. These were the musicians Rollins had borrowed from Miles Davis for the session. At the time, Rollins was playing in the Max Roach\/Clifford Brown Quintet, while Coltrane held the tenor chair in Davis's group. Both were at the start of the run that would produce \u003cem\u003eSaxophone Colossus\u003c\/em\u003e, \u003cem\u003eA Love Supreme\u003c\/em\u003e, and everything between.\u003c\/p\u003e\n\u003cp\u003eThe four remaining tracks are Rollins without Coltrane, and they're among his strongest quartet recordings of the period. \"Paul's Pal\" (named for Chambers) is a relaxed Rollins original that swings without forcing the point. \"When Your Lover Has Gone\" is a ballad reading that lets Garland stretch out. \"My Reverie,\" adapted from Debussy, sits in a middle ground between ballad and mid-tempo. \"The Most Beautiful Girl in the World\" starts as Rodgers and Hart's 3\/4 waltz before Rollins pulls it into 4\/4, modernising a 1935 show tune without losing its melody. Van Gelder recorded the session and Bob Weinstock supervised for Prestige. This is the 1976 Japanese mono reissue on SMJ-6521, number 21 in the Prestige Jazz Masterpiece Series, made by Victor Musical Industries with the lacquer cut at Victor Company of Japan.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43686015270971,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7373.jpg?v=1781909478"},{"product_id":"john-coltrane-soultrane-1977-japanese-prestige-vinyl-lp-mono","title":"John Coltrane - Soultrane (1977 Japanese Prestige Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane - \u003cem\u003eSoultrane\u003c\/em\u003e | Vinyl LP Mono - 1977 Japanese Prestige Reissue (SMJ-6559, Victor Musical Industries)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFive standards, no Coltrane originals, and a rhythm section that knew his playing from the inside. Garland, Chambers and Taylor had been sitting behind Coltrane in Miles Davis's quintet for three years, and three days before this session they had been in Columbia's 30th Street studio recording \u003cem\u003eMilestones\u003c\/em\u003e. Here, without Davis, the dynamic shifts. Coltrane is the only horn and has to carry everything. \"Good Bait\" opens at a medium tempo with Coltrane playing through Tadd Dameron's changes in long, flowing lines while Garland comps with that light, blocky touch. \"I Want to Talk About You,\" the Billy Eckstine ballad, gets its first recorded Coltrane reading here, the beginning of a relationship with the tune that would last the rest of his career. His 1963 live version (with an unaccompanied cadenza that rewrites the entire piece) is better known, but this studio version is where the connection starts: warm, direct, the melody stated almost straight before the solo pushes gently outward. \"Theme for Ernie,\" Fred Lacey's memorial to alto saxophonist Ernie Henry (who died in 1957 at 31), is the quietest piece on the album, Coltrane playing the melody throughout without departing from it.\u003c\/p\u003e\n\u003cp\u003eThen \"Russian Lullaby\" closes side B at a tempo that makes everything else on the album sound like a ballad. Irving Berlin's tune becomes the vehicle for Coltrane's most concentrated display of the approach Gitler named in his liner notes: streams of notes pouring through the changes so fast they merge into something closer to texture than melody. Garland, Chambers and Taylor hold the rhythm steady while Coltrane pushes the harmonic vocabulary as far as the hard bop framework allows. This was Coltrane's last authorised release on Prestige. He had already recorded \u003cem\u003eBlue Train\u003c\/em\u003e for Blue Note and was moving into the period that would produce \u003cem\u003eGiant Steps\u003c\/em\u003e and everything that followed.\u003c\/p\u003e\n\u003cp\u003eThis is the 1977 Japanese mono reissue on Prestige SMJ-6559(M), from the Jazztime Now!! series, manufactured by Victor Musical Industries.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43711973785659,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7537.jpg?v=1782601720"},{"product_id":"the-miles-davis-quintet-relaxin-with-the-miles-davis-quintet-1973-japanese-prestige-vinyl-lp-mono","title":"The Miles Davis Quintet - Relaxin' With The Miles Davis Quintet (1973 Japanese Prestige Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eThe Miles Davis Quintet - \u003cem\u003eRelaxin' With The Miles Davis Quintet\u003c\/em\u003e | Vinyl LP Mono - 1973 Japanese Prestige Reissue (LPR-88001, Toshiba EMI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDavis wanted out of Prestige. Columbia had offered him a contract, but Weinstock still had him under obligation for more recordings. The solution was to bring the quintet into Van Gelder's studio, play the live book, and record everything in two sessions with minimal takes. The result was enough material for four albums: \u003cem\u003eCookin'\u003c\/em\u003e, \u003cem\u003eRelaxin'\u003c\/em\u003e, \u003cem\u003eWorkin'\u003c\/em\u003e and \u003cem\u003eSteamin'\u003c\/em\u003e, released piecemeal between 1957 and 1961. \u003cem\u003eRelaxin'\u003c\/em\u003e draws almost entirely from the Great American Songbook. \"If I Were A Bell\" (from \u003cem\u003eGuys and Dolls\u003c\/em\u003e) and \"I Could Write A Book\" (from \u003cem\u003ePal Joey\u003c\/em\u003e) get the muted trumpet treatment Davis was perfecting, the Harmon mute close to the microphone, the tone thin and dry and intimate. \"You're My Everything\" is a ballad where Garland's block chords carry the middle of the arrangement and Coltrane's solo pushes into the harmonically searching territory he was developing away from the bandstand. \"It Could Happen To You\" stretches past six minutes with some of the most relaxed playing on any of the marathon session albums.\u003c\/p\u003e\n\u003cp\u003e\"Oleo,\" the Sonny Rollins contrafact on \"I Got Rhythm\" changes, is the only jazz original on the album and the one track that pushes the tempo. Philly Joe's drumming on it is sharp and insistent, and Coltrane's solo builds through rapid runs that would, within two years, become the \"sheets of sound\" Ira Gitler described. \"Woody'n You,\" Gillespie's bebop standard, closes the album at a brisk clip. What makes these marathon sessions exceptional is how little effort the quintet appears to be making. The group had been playing these pieces live for months, and the studio performances sound like a particularly good club set captured by accident.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese mono reissue on Prestige LPR-88001, from the Jazz Right Now series, manufactured by Toshiba EMI.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43712213385275,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7558.jpg?v=1782616847"},{"product_id":"mal-waldron-with-eric-dolphy-and-booker-ervin-the-quest-1966-japanese-prestige-vinyl-lp","title":"Mal Waldron With Eric Dolphy And Booker Ervin - The Quest (1966 Japanese Prestige Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMal Waldron With Eric Dolphy And Booker Ervin - \u003cem\u003eThe Quest\u003c\/em\u003e | Vinyl LP Stereo - Japanese Prestige Reissue (SMJ-7077)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWaldron was Prestige's house pianist through the late 1950s, the man who supplied the written material that kept the label's fast-moving sessions from collapsing into loose jam dates, and who wrote \"Soul Eyes\" for John Coltrane. He had also spent two years as Billie Holiday's regular accompanist, from April 1957 until her death in July 1959. By June 1961 he was recording under his own name with the pick of New York's players, and \u003cem\u003eThe Quest\u003c\/em\u003e is the most ambitious of those dates. The compositions are all his, and they are built to test the band. \"Warp and Woof\" is a blues in 5\/4. \"Fire Waltz\" is in 3\/4. The harmonic language sits somewhere between hard bop and the avant-garde without committing to either, which is exactly where Dolphy and Ervin do their best work. Dolphy plays alto on six of the seven pieces, spiky and unpredictable, launching into \"Status Seeking\" with real force. Ervin sticks closer to the preaching blues vocabulary he had developed in Mingus's band, and the contrast between the two horns is the album's engine. Waldron himself stays largely out of the way, laying down the melodic foundation and leaving the spotlight to the soloists.\u003c\/p\u003e\n\u003cp\u003eThe instrumentation is the other reason this record stands apart. Ron Carter plays cello throughout, not bass, and Joe Benjamin handles the bass chair. Carter's arco and pizzicato lines give the ensemble a chamber quality that becomes explicit on \"Warm Canto,\" where Dolphy switches to clarinet and the whole piece drops into something closer to written concert music than to a Prestige blowing date. Three weeks after this session, Dolphy took \"Fire Waltz\" into the Five Spot with Booker Little for the recordings that became \u003cem\u003eAt the Five Spot\u003c\/em\u003e, with Waldron again at the piano. The album has had an odd afterlife: because Dolphy's reputation grew faster than Waldron's, later editions were sometimes reissued under Dolphy's name, occasionally retitled \u003cem\u003eFire Waltz\u003c\/em\u003e. \u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43809677901883,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7806.jpg?v=1784372897"},{"product_id":"stan-getz-stan-getz-quartets-1979-japanese-prestige-mono-vinyl-lp","title":"Stan Getz - Stan Getz Quartets (1979 Japanese Prestige Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eStan Getz - \u003cem\u003eStan Getz Quartets\u003c\/em\u003e | Vinyl LP - 1979 Japanese Prestige Mono Reissue (SMJ-6600, Prestige Jazz Masterpiece Series, Victor Musical Industries)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBefore the bossa nova, before \u003cem\u003eGetz\/Gilberto\u003c\/em\u003e and the fame that came with it, Stan Getz was a young cool-tenor prodigy who had just made his name. His feathery solo on Woody Herman's \"Early Autumn\" in 1948 announced a new sound, light and airy and floating high above the beat, and these Prestige quartet sessions, cut in 1949 and 1950 when Getz was still only twenty-two or twenty-three, are where he first stretched out as a leader. The music is cool jazz at its most graceful. Getz glides through standards like \"I've Got You Under My Skin\" and \"What's New?\" and a handful of his own tunes with a tone so smooth it can disguise how much is going on underneath. The bebop pianist Al Haig, his regular partner in this period, is on most of the record, and the supporting cast is a roll call of the era, a young Roy Haynes on drums for one session, Percy Heath, soon of the Modern Jazz Quartet, on bass for another. It is the sound of a major voice arriving fully formed.\u003c\/p\u003e\n\u003cp\u003eGetz would go on to become one of the most beloved saxophonists in jazz, cutting classic albums in every decade and reaching a huge audience with the bossa nova records of the sixties, but he never sounded more purely himself than he does here, at the very start. Records like this one were assembled by Prestige to gather his scattered early sessions in one place, and they remain the best way to hear where it all began.\u003c\/p\u003e\n\u003cp\u003eThis is the 1979 Japanese mono reissue on Prestige, part of the Jazz Masterpiece Series, manufactured by Victor Musical Industries, catalogue number SMJ-6600, of the compilation originally issued as Prestige LP 7002.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43910709772347,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8142.jpg?v=1785809845"},{"product_id":"eric-dolphy-at-the-five-spot-volume-1-1978-japanese-prestige-stereo-vinyl-lp","title":"Eric Dolphy - At The Five Spot, Volume 1 (1978 Japanese Prestige Stereo Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eEric Dolphy - \u003cem\u003eAt The Five Spot, Volume 1\u003c\/em\u003e | Vinyl LP - 1978 Japanese Prestige Stereo (SMJ-6572, Victor Musical Industries)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn the summer of 1961 Eric Dolphy and the trumpeter Booker Little co-led a quintet at the Five Spot Café in New York, and on 16 July Rudy Van Gelder brought his equipment down to tape them live. The band was Dolphy on alto and bass clarinet, Little on trumpet, Mal Waldron on piano, Richard Davis on bass and Ed Blackwell on drums. This first volume holds three long performances: Waldron's \"Fire Waltz\", Little's \"Bee Vamp\" and Dolphy's \"The Prophet\", the last running for more than twenty minutes on its own. The music sits right on the edge of hard bop with free improvisation coming up behind it. Dolphy's alto lunges at odd intervals and his bass clarinet talks in a low croak, Little answers with a bright, slightly bruised tone, and Blackwell keeps the whole thing swinging even at its most searching.\u003c\/p\u003e\n\u003cp\u003eThe band did not last. Booker Little died that October, barely three months after this was taped, only twenty-three years old, and Dolphy was gone by 1964 at thirty-six. That gives the Five Spot recordings the weight of a document, a great short-lived group caught at full stretch just as jazz was tipping toward freedom. It has stayed a cornerstone of Dolphy's catalogue and of the music of that moment.\u003c\/p\u003e\n\u003cp\u003eThis is the 1978 Japanese pressing on Prestige, manufactured by Victor Musical Industries from the New Jazz stereo master, with the cream obi, the SJ seal and a two-sided insert carrying Masahiko Yuh's Japanese notes alongside Joe Goldberg's original liner essay.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":44062923554875,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8352.jpg?v=1787897877"},{"product_id":"miles-davis-bags-groove-1974-japanese-prestige-mono-vinyl-lp","title":"Miles Davis - Bags' Groove (1974 Japanese Prestige Mono Vinyl LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eBags' Groove\u003c\/em\u003e | Vinyl LP - 1974 Japanese Prestige Mono Reissue (LPR-8865, Toshiba-EMI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eBags' Groove pulls together two 1954 sessions Miles Davis cut for Prestige, both recorded by Rudy Van Gelder at his studio in Hackensack. The first, from June, has him leading a young Sonny Rollins on tenor, Horace Silver on piano, Percy Heath on bass and Kenny Clarke on drums, and it is where three Rollins tunes that became standards first appeared: \"Airegin\", \"Oleo\" and \"Doxy\". The second, cut on Christmas Eve, swaps in Milt Jackson's vibraphone and Thelonious Monk's piano for two long, unhurried takes of Jackson's blues \"Bags' Groove\". That date is famous for its friction: Miles, it is said, asked Monk to lay out behind his solos, and you can hear the two circling each other. Whatever passed between them, the music is superb, Miles spare and lyrical over one of the great rhythm sections.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe record catches Miles in the middle of the 1950s, a couple of years before he formed his first great quintet, already playing with the economy that would define him. Prestige gathered the sessions onto a single LP in 1957 and named it after the Milt Jackson blues, and it has been a staple of his catalogue ever since, as much for the Rollins tunes as for Miles himself.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThis is the 1974 Japanese pressing on Prestige, manufactured by Toshiba-EMI in mono, with a Japanese insert carrying Ira Gitler's original notes alongside new ones by Masamichi Okazaki.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":44071905853499,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8384.jpg?v=1788008560"},{"product_id":"miles-davis-quintet-workin-with-the-miles-davis-quintet-1975-japanese-prestige-mono-lp","title":"Miles Davis Quintet - Workin' with the Miles Davis Quintet (1975 Japanese Prestige Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis Quintet - \u003cem\u003eWorkin' with the Miles Davis Quintet\u003c\/em\u003e | Vinyl LP - 1975 Japanese Prestige Reissue (SMJ-6503, Victor Musical Industries, Mono)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1956 Miles Davis had already signed with Columbia but was contractually obligated to fulfil his Prestige commitment before releasing anything new. Bob Weinstock, knowing Davis was about to leave, called in the debt: two marathon sessions at Hackensack on May 11 and October 26 produced enough material for four complete albums. Davis brought the working quintet he had been developing since late 1955: Coltrane on tenor, Red Garland on piano, Paul Chambers on bass, Philly Joe Jones on drums. These were not studio musicians assembled for a date, they were a touring band who had played this material night after night, and the recordings sound like it, loose, confident, attentive to each other in the way that only road-tested groups are.\u003c\/p\u003e\n\u003cp\u003e\"Workin'\" opens with \"It Never Entered My Mind,\" a Rodgers and Hart ballad that Davis plays with a muted trumpet in his most withdrawn, interior mode. \"In Your Own Sweet Way\" is a Dave Brubeck composition that Davis had recorded before and returns to here with more space than Brubeck's original ever allowed. \"Trane's Blues\" is exactly what it sounds like, a Coltrane blowing session, his tenor the dominant voice with Garland comping lightly behind him. \"Ahmad's Blues\" is Garland's tribute to his primary influence, and the resemblance is close enough that you could briefly mistake who is playing. The two takes of \"The Theme,\" the Davis signoff piece, bookend the album.\u003c\/p\u003e\n\u003cp\u003eRudy Van Gelder recorded these sessions in mono in his Hackensack home studio, and the mono configuration of this pressing is correct and original rather than a compression of a stereo master. This is the 1975 Victor Musical Industries pressing, manufactured under licence from Prestige Records as part of the Prestige Jazz Masterpiece Series.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":44174873821243,"sku":null,"price":85.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8502.jpg?v=1789165903"},{"product_id":"miles-davis-quintet-steamin-1976-japanese-prestige-mono-vinyl-lp","title":"Miles Davis Quintet - Steamin' (1976 Japanese Prestige Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eThe Miles Davis Quintet - \u003cem\u003eSteamin' With The Miles Davis Quintet\u003c\/em\u003e | Vinyl LP - 1976 Prestige Japanese Pressing (SMJ-6533, mono, Victor Musical Industries)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMiles Davis signed with Columbia Records in 1955, but his contract with Prestige still had material to deliver. Rather than stretch the obligation across months of sessions, he brought his quintet to Rudy Van Gelder's studio in Hackensack, New Jersey on May 11 and October 26, 1956 and recorded enough music to fill four albums. The band ran through standards and show tunes at tempo, often in a single take, with minimal discussion between tracks. Bob Weinstock supervised for Prestige and let the tape roll. The result was \u003cem\u003eCookin'\u003c\/em\u003e, \u003cem\u003eRelaxin'\u003c\/em\u003e, \u003cem\u003eWorkin'\u003c\/em\u003e and \u003cem\u003eSteamin'\u003c\/em\u003e, released one per year from 1957 to 1961 as Prestige spread the material across its release schedule. \u003cem\u003eSteamin'\u003c\/em\u003e was the last to appear.\u003c\/p\u003e\n\u003cp\u003eThe repertoire is all covers. \"Surrey With The Fringe On Top\" opens with a nine-minute reading of the Rodgers and Hammerstein song that turns a Broadway show tune into a vehicle for extended improvisation. \"Salt Peanuts\" takes Dizzy Gillespie's bebop anthem at a blazing tempo. \"Well You Needn't\" is Thelonious Monk's, played with the angular phrasing Monk wrote into the melody. The three remaining tracks are ballads: \"Something I Dreamed Last Night,\" \"Diane\" and \"When I Fall In Love,\" each one taken at a pace that lets Coltrane's tenor and Davis's muted trumpet fill the space without competing. Red Garland's piano comps throughout with the block-chord style that defined this quintet's sound.\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese pressing (SMJ-6533), manufactured by Victor Musical Industries from Prestige's master tapes, part of the Prestige Jazz Masterpiece Series. It includes an obi and a two-sided insert.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":44175284830267,"sku":null,"price":110.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8516.jpg?v=1789172954"},{"product_id":"miles-davis-all-stars-walkin-1976-japanese-prestige-mono-vinyl-lp","title":"Miles Davis All Stars - Walkin' (1976 Japanese Prestige Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis All Stars - \u003cem\u003eWalkin'\u003c\/em\u003e | Vinyl LP - 1976 Prestige Japanese Pressing (SMJ-6528, mono, Victor Musical Industries)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMiles Davis's \u003cem\u003eWalkin'\u003c\/em\u003e predates the first quintet by two years. There is no Coltrane, no Garland, no Chambers, no Philly Joe Jones. Instead, the sextet on side A draws from the musicians who built jazz between the end of bebop and the start of hard bop: J.J. Johnson, the trombonist who proved the instrument could keep up with bebop's tempos. Lucky Thompson, a tenor saxophonist whose career ran from Count Basie through Charlie Parker without ever gaining the recognition his playing warranted. Horace Silver, who would co-found the Jazz Messengers with Art Blakey within a year and launch a solo career that defined soul-jazz on Blue Note. Percy Heath, the Modern Jazz Quartet's bassist. And Kenny Clarke, who had essentially invented bebop drumming at Minton's Playhouse in the early 1940s and would leave for Paris permanently in 1956.\u003c\/p\u003e\n\u003cp\u003eThe title track runs to thirteen minutes and opens with a blues riff that cuts through the harmonic complexity of cool jazz and announces something simpler, harder and more direct. Davis's trumpet carries the melody, and the solos that follow, Johnson's trombone first, then Thompson's tenor, then Silver's piano, build on the blues with an earthy directness that the critics and historians would later name hard bop. \"Blue N' Boogie,\" from the same April 29 session, extends the approach. Side B comes from an earlier session on April 3 with a quintet: Davis, Silver, Heath, Clarke and the altoist Davey Schildkraut replacing the trombone and tenor. \"Solar\" is a Davis original that became a standard, \"You Don't Know What Love Is\" is a ballad, and \"Love Me Or Leave Me\" swings hard. Bob Weinstock supervised and Rudy Van Gelder recorded both sessions at his Hackensack studio. Ira Gitler wrote the liner notes.\u003c\/p\u003e\n\u003cp\u003eThis is the 1976 Japanese pressing (SMJ-6528), manufactured by Victor Musical Industries from Prestige's master tapes.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":44210990907451,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8613_1ef415c8-832e-4c2e-a06a-431cb87352a8.jpg?v=1789616811"},{"product_id":"miles-davis-quintet-cookin-1973-japanese-prestige-mono-vinyl-lp","title":"Miles Davis Quintet - Cookin' (1973 Japanese Prestige Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eThe Miles Davis Quintet - \u003cem\u003eCookin' With The Miles Davis Quintet\u003c\/em\u003e | Vinyl LP - 1973 Prestige Japanese Pressing (LPR-88004, mono, Toshiba EMI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCookin'\u003c\/em\u003e was the first of the four marathon session albums to be released, appearing on Prestige in 1957 while Miles Davis was already recording for Columbia. The music comes from the same two dates, May 11 and October 26, 1956, that produced \u003cem\u003eSteamin'\u003c\/em\u003e, \u003cem\u003eRelaxin'\u003c\/em\u003e and \u003cem\u003eWorkin'\u003c\/em\u003e, and the quintet on all four is identical: Davis on trumpet, John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums. The distinction between the four albums is repertoire, not personnel or approach. \u003cem\u003eCookin'\u003c\/em\u003e opens with \"My Funny Valentine,\" the Rodgers and Hart ballad that Davis played throughout his career. His muted trumpet states the melody with a directness that strips the song of its Broadway origins and turns it into something personal, and Coltrane's solo runs deeper into the harmony than most tenors would attempt on a ballad at this tempo. \"Blues By Five\" is a ten-minute blues blowout. Side B opens with Sonny Rollins's \"Airegin\" (Nigeria spelled backwards) and closes with a thirteen-minute medley of \"Tune Up\" and \"When Lights Are Low\" that shows the quintet at its most relaxed.\u003c\/p\u003e\n\u003cp\u003eThis is the 1973 Japanese pressing (LPR-88004), manufactured by Toshiba EMI as part of the Jazz Right Now series.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":44211525484603,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8618.jpg?v=1789619399"}],"url":"https:\/\/lushliferecords.com.au\/collections\/prestige.oembed?page=2","provider":"Lush Life Records","version":"1.0","type":"link"}