{"title":"Spiritual Jazz","description":"\u003cp\u003eSpiritual jazz starts with John Coltrane, whose music had turned openly devotional by the time of \u003cem\u003eA Love Supreme\u003c\/em\u003e (1965, Impulse!). After his death in 1967, the musicians closest to him carried that search on. Pharoah Sanders made \u003cem\u003eKarma\u003c\/em\u003e (1969, Impulse!) with vocalist Leon Thomas, and Alice Coltrane, with Sanders beside her, made \u003cem\u003eJourney in Satchidananda\u003c\/em\u003e (1971, Impulse!). The sound is easy to recognise once you know it: long modal vamps, hand percussion and bells, chanted melodies, with solos that can settle into calm or break into free playing within a single piece. Impulse! was its first home, but by the early 1970s musicians were releasing it themselves, through Strata-East, founded in New York in 1971 by Charles Tolliver and Stanley Cowell, and the Tribe collective in Detroit. The revival has been just as strong, carried by Jazzman’s long-running Spiritual Jazz compilations and by Kamasi Washington’s \u003cem\u003eThe Epic\u003c\/em\u003e (2015, Brainfeeder). This collection gathers the Impulse! records, the musician-run labels and the new releases keeping the music moving. For the full story, read \u003ca href=\"\/blogs\/lush-life-blog\/the-return-of-spiritual-jazz-a-history-of-the-genre-and-its-contemporary-revival\"\u003eThe Return of Spiritual Jazz\u003c\/a\u003e on the Lush Life blog.\u003c\/p\u003e","products":[{"product_id":"alice-coltrane-the-carnegie-hall-concert","title":"Alice Coltrane – The Carnegie Hall Concert (2024 Impulse! 2LP Vinyl)","description":"\u003cp data-start=\"211\" data-end=\"419\"\u003eRecorded live at Carnegie Hall in New York on February 21, 1971, and released for the first time in 2024, \u003cem data-start=\"317\" data-end=\"344\"\u003eThe Carnegie Hall Concert\u003c\/em\u003e captures \u003cstrong data-start=\"354\" data-end=\"372\"\u003eAlice Coltrane\u003c\/strong\u003e at the height of her spiritual jazz journey.\u003c\/p\u003e\n\u003cp data-start=\"421\" data-end=\"795\"\u003eJoined by a stellar lineup — including \u003cstrong data-start=\"460\" data-end=\"479\"\u003ePharoah Sanders\u003c\/strong\u003e, \u003cstrong data-start=\"481\" data-end=\"497\"\u003eArchie Shepp\u003c\/strong\u003e, \u003cstrong data-start=\"499\" data-end=\"517\"\u003eJimmy Garrison\u003c\/strong\u003e, \u003cstrong data-start=\"519\" data-end=\"534\"\u003eCecil McBee\u003c\/strong\u003e, \u003cstrong data-start=\"536\" data-end=\"552\"\u003eEd Blackwell\u003c\/strong\u003e, and \u003cstrong data-start=\"558\" data-end=\"577\"\u003eClifford Jarvis\u003c\/strong\u003e — Coltrane leads a transcendental performance that moves from meditative to ecstatic. With harp, piano, and organ, she creates sweeping soundscapes that blend Eastern influence, modal jazz, and cosmic improvisation.\u003cstrong data-start=\"797\" data-end=\"818\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"885\" data-end=\"1107\"\u003ePresented as a deluxe 2×LP on Impulse! with gatefold packaging and booklet, \u003cem data-start=\"961\" data-end=\"988\"\u003eThe Carnegie Hall Concert\u003c\/em\u003e is both a historic document and an essential listening experience for fans of Coltrane, Sanders, and spiritual jazz.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":42474026336315,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/602458828696.jpg?v=1758361414"},{"product_id":"pharoah-sanders-pharoah-2023-luaka-bop-deluxe-edition-2lp-box-set","title":"Pharoah Sanders – Pharoah (2023 Luaka Bop Deluxe Edition 2LP Box Set)","description":"\u003cp data-start=\"435\" data-end=\"874\"\u003eOriginally recorded in \u003cstrong data-start=\"458\" data-end=\"466\"\u003e1976\u003c\/strong\u003e and released on \u003cstrong data-start=\"483\" data-end=\"503\"\u003eIndia Navigation\u003c\/strong\u003e, \u003cem data-start=\"505\" data-end=\"514\"\u003ePharoah\u003c\/em\u003e has long stood as one of \u003cstrong data-start=\"540\" data-end=\"560\"\u003ePharoah Sanders’\u003c\/strong\u003e most elusive works — intimate, spiritual, and unlike anything else in his catalogue. In \u003cstrong data-start=\"649\" data-end=\"657\"\u003e2023\u003c\/strong\u003e, \u003cstrong data-start=\"659\" data-end=\"672\"\u003eLuaka Bop\u003c\/strong\u003e restored and reissued the album in a \u003cstrong data-start=\"710\" data-end=\"728\"\u003edeluxe box set\u003c\/strong\u003e, pairing the original studio sessions with two previously unreleased live recordings from 1977 and wrapping it all in stunning archival design.\u003c\/p\u003e\n\u003cp data-start=\"876\" data-end=\"1364\"\u003eThe album’s centrepiece, \u003cem data-start=\"901\" data-end=\"915\"\u003eHarvest Time\u003c\/em\u003e, is a deep, meditative groove — Sanders on \u003cstrong data-start=\"959\" data-end=\"978\"\u003etenor saxophone\u003c\/strong\u003e, bells, and voice, joined by \u003cstrong data-start=\"1008\" data-end=\"1026\"\u003eBedria Sanders\u003c\/strong\u003e on harmonium, \u003cstrong data-start=\"1041\" data-end=\"1058\"\u003eTisziji Muñoz\u003c\/strong\u003e on guitar, \u003cstrong data-start=\"1070\" data-end=\"1084\"\u003eSteve Neil\u003c\/strong\u003e on bass, and \u003cstrong data-start=\"1098\" data-end=\"1112\"\u003eGreg Bandy\u003c\/strong\u003e on drums. The sound is stripped back, devotional and hypnotic, a world away from his Impulse-era fire. \u003cem data-start=\"1216\" data-end=\"1238\"\u003eLove Will Find a Way\u003c\/em\u003e and \u003cem data-start=\"1243\" data-end=\"1270\"\u003eMemories of Edith Johnson\u003c\/em\u003e unfold with the same warmth and openness, each instrument breathing in the same sacred air.\u003c\/p\u003e\n\u003cp data-start=\"1366\" data-end=\"1723\"\u003eThe second LP, \u003cem data-start=\"1381\" data-end=\"1405\"\u003eHarvest Time Live 1977\u003c\/em\u003e, captures the piece reborn on stage in \u003cstrong data-start=\"1445\" data-end=\"1459\"\u003eMiddelheim\u003c\/strong\u003e and \u003cstrong data-start=\"1464\" data-end=\"1476\"\u003eWillisau\u003c\/strong\u003e, recorded by \u003cstrong data-start=\"1490\" data-end=\"1497\"\u003eVRT\u003c\/strong\u003e and \u003cstrong data-start=\"1502\" data-end=\"1520\"\u003eWalter Troxler\u003c\/strong\u003e. The expanded ensemble — with \u003cstrong data-start=\"1551\" data-end=\"1568\"\u003eHayes Burnett\u003c\/strong\u003e, \u003cstrong data-start=\"1570\" data-end=\"1589\"\u003eClifford Jarvis\u003c\/strong\u003e, and \u003cstrong data-start=\"1595\" data-end=\"1610\"\u003eKhalid Moss\u003c\/strong\u003e — takes the composition into freer, more ecstatic terrain, the music shimmering between control and surrender.\u003c\/p\u003e\n\u003cp data-start=\"1725\" data-end=\"2067\"\u003eRemastered by \u003cstrong data-start=\"1739\" data-end=\"1756\"\u003eChris Bellman\u003c\/strong\u003e at \u003cstrong data-start=\"1760\" data-end=\"1789\"\u003eBernie Grundman Mastering\u003c\/strong\u003e and produced under the guidance of the \u003cstrong data-start=\"1829\" data-end=\"1855\"\u003ePharoah Sanders estate\u003c\/strong\u003e, the set comes with extraordinary attention to detail: a \u003cstrong data-start=\"1913\" data-end=\"1932\"\u003e24-page booklet\u003c\/strong\u003e, \u003cstrong data-start=\"1934\" data-end=\"1962\"\u003ereplica tour memorabilia\u003c\/strong\u003e, and both matte and glossy \u003cstrong data-start=\"1990\" data-end=\"2010\"\u003egatefold sleeves\u003c\/strong\u003e housed inside an embossed \u003cstrong data-start=\"2037\" data-end=\"2064\"\u003ebox with foil detailing\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"2069\" data-end=\"2289\"\u003eFor listeners of \u003cstrong data-start=\"2086\" data-end=\"2095\"\u003emodal\u003c\/strong\u003e and \u003cstrong data-start=\"2100\" data-end=\"2113\"\u003esoul-jazz\u003c\/strong\u003e, this is the definitive edition of \u003cem data-start=\"2149\" data-end=\"2158\"\u003ePharoah\u003c\/em\u003e — a document of transcendence rediscovered, made physical again by one of the most meticulous reissue projects in recent memory.\u003c\/p\u003e","brand":"Luaka Bop","offers":[{"title":"Default Title","offer_id":42554749255739,"sku":null,"price":135.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a3254889911_16.jpg?v=1761383862"},{"product_id":"pharoah-sanders-thembi-2024-verve-by-request-180g-vinyl-lp-gatefold","title":"Pharoah Sanders - Thembi (2024 Verve By Request 180g Vinyl LP Gatefold)","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eRecorded across two sessions in late 1970 and early 1971, \u003cem\u003eThembi\u003c\/em\u003e captures Pharoah Sanders transitioning from his most intense free jazz explorations toward a more spiritual, accessible sound that would define his 1970s masterpieces. This 9 August 2024 reissue, part of Universal Music's Verve By Request series and pressed by Third Man Pressing on 180-gram vinyl in a gatefold sleeve, offers this landmark Impulse! recording in premium contemporary presentation.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe album's first side, recorded on 25 November 1970 at The Record Plant in Los Angeles, features Sanders leading a sextet through three extended explorations. \"Astral Traveling\" opens with the hypnotic, trance-inducing quality that would become Sanders' signature, layering his tenor saxophone over Lonnie Liston Smith's Fender Rhodes, Cecil McBee's bass, Clifford Jarvis' percussion-heavy drumming, and Michael White's violin. Sanders adds bells and percussion himself, creating dense rhythmic textures that support his increasingly ecstatic saxophone flights.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003e\"Red, Black \u0026amp; Green\" addresses Pan-African consciousness through its title (referencing the Black liberation flag colours) and music, Sanders' tenor alternating between screaming intensity and tender melodicism. \"Thembi\", the title track dedicated to Sanders' wife at the time, closes the first side with a performance that balances spiritual searching with accessible beauty, pointing toward the approach Sanders would perfect on albums like Karma and Journey to the Source.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eSide two, recorded on 12 January 1971 at The Record Plant in New York City, presents a different trio configuration featuring Sanders on saxophone, Lonnie Liston Smith on acoustic piano, and Cecil McBee on bass. The absence of drums creates a more spacious, contemplative atmosphere. \"Love\" is a brief meditation, while \"Morning Prayer\" and \"Bailophone Dance\" showcase Sanders' ability to create spiritual music that honours African traditions while remaining distinctly jazz-based.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eSanders' tenor saxophone playing throughout moves between extraordinary technical control and ecstatic abandon. His tone, enormous and sometimes harsh, conveys spiritual yearning and transcendent joy. The extended technique he employs, including overtones, multiphonics, and extreme register explorations, serves emotional and spiritual expression rather than mere display.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLonnie Liston Smith's presence is crucial, his modal piano and electric piano work providing harmonic foundation while allowing space for collective improvisation. Smith would continue working with Sanders before forming his own successful Cosmic Echoes group. Cecil McBee's bass anchors both sessions with melodic invention and rhythmic solidity, while Clifford Jarvis' drumming on the first side adds propulsive energy and African-influenced polyrhythms. Michael White's violin adds another voice to the collective, his playing influenced by both jazz and Indian classical music. \u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43076407394363,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/PharoahSanders-Thembi_1LP_Cvr.webp?v=1765762735"},{"product_id":"alice-coltrane-ptah-the-el-daoud-2022-impulse-gatefold-lp-third-man-pressing","title":"Alice Coltrane - Ptah, The El Daoud (2022 Impulse! Gatefold LP, Third Man Pressing)","description":"\u003cp\u003e\u003cstrong\u003eAlice Coltrane - \u003cem\u003ePtah, The El Daoud\u003c\/em\u003e | Vinyl LP - 2022 Impulse! Verve By Request 180g Gatefold (B0036051-01, Sterling Sound mastering, Third Man Pressing)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eRecorded January 26, 1970\u003c\/strong\u003e in the basement studio of the Coltrane home in Dix Hills, New York; Alice Coltrane's third solo album and her first to feature horns throughout; all four compositions are her own; produced by Ed Michel\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003ePharoah Sanders\u003c\/strong\u003e on tenor and alto flute (right channel); \u003cstrong\u003eJoe Henderson\u003c\/strong\u003e on tenor and alto flute (left channel); Ron Carter on bass; Ben Riley on drums; Alice Coltrane plays piano on three tracks and switches to harp on \"Blue Nile\"; Henderson appears by courtesy of Milestone Records\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eA foundational record of spiritual jazz\u003c\/strong\u003e; Coltrane noted that \"Joe Henderson is more on the intellectual side, while Pharoah is more abstract, more transcendental\" — the contrast between the two tenors is the album's defining sound\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eVerve By Request series\u003c\/strong\u003e, 2022 reissue; 180g; gatefold; mastered at Sterling Sound; pressed at Third Man Pressing, Detroit\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eAlice Coltrane recorded this in the basement of her home on Long Island on January 26, 1970 — three years after John Coltrane's death, while raising four children and continuing to perform. She had converted the space into a working studio, with acoustic baffling and professional equipment. W.L. Barneke engineered. Ed Michel produced. The session assembled Ron Carter on bass, Ben Riley on drums, and two tenor saxophonists whose approaches could hardly have been more different: Pharoah Sanders on the right channel, Joe Henderson on the left.\u003c\/p\u003e\n\u003cp\u003eAll four compositions are Coltrane's. The title track is named for Ptah, the Egyptian god of creators — \"El Daoud\" meaning \"the beloved\" in Arabic. \"Turiya and Ramakrishna\" takes both of Coltrane's spiritual references: \"Turiya\" was her own Sanskrit name, also meaning a state beyond ordinary consciousness; Ramakrishna was the 19th century Bengali mystic. \"Blue Nile\" is the track on which Coltrane moves from piano to harp and both Sanders and Henderson switch from tenor to alto flute. \"Mantra\" closes the album with horns working in unison over Coltrane's rolling piano.\u003c\/p\u003e\n\u003cp\u003eThe album was released September 1970 and reached No. 13 on the Billboard jazz charts by February 1971. This 2022 Verve By Request reissue was mastered at Sterling Sound and pressed at Third Man Pressing in Detroit.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43431129841723,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/71gHdNrd4_L._UF894_1000_QL80.jpg?v=1776478909"},{"product_id":"pharoah-sanders-izipho-zam-my-gifts-2025-strata-east-lp-reissue-gatefold","title":"Pharoah Sanders - Izipho Zam (My Gifts) (2025 Strata-East LP Reissue, Gatefold)","description":"\u003cp\u003e\u003cstrong\u003ePharoah Sanders - \u003cem\u003eIzipho Zam (My Gifts)\u003c\/em\u003e | Vinyl LP - 2025 Strata-East\/Mack Avenue Reissue, 180g Gatefold (SES-19733-25LP, Kevin Gray\/Cohearent Audio, RTI)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eRecorded January 14, 1969\u003c\/strong\u003e at TownSound Studios, Englewood NJ — one month before \u003cem\u003eKarma\u003c\/em\u003e — with a 13-piece ensemble including Leon Thomas, Lonnie Liston Smith, Sonny Sharrock, Sonny Fortune, Howard Johnson, Cecil McBee and Billy Hart; not released until 1973 on Strata-East; described by The New York Times as one of \"15 Essential Black Liberation Jazz Tracks\"\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eThree Sanders originals across two sides\u003c\/strong\u003e: \"Prince of Peace\" and \"Balance\" on Side A; the 28-minute title track on Side B — West African percussion, yodel-scatting vocals from Leon Thomas, free improvisation and meditative chant; Wikipedia's entry calls it \"a transitional album, between the unrelenting ferocity of Sanders's work with John Coltrane and the more blissed-out albums he would go on to make\"\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eFirst time the original 1969 session has been officially available on vinyl since the original 1973 Strata-East pressing\u003c\/strong\u003e; mastered by Kevin Gray at Cohearent Audio directly from the original analog tapes; pressed on 180g vinyl at RTI; gatefold with new liner notes by Harmony Holiday\u003c\/li\u003e\n\u003cli class=\"whitespace-normal break-words pl-2\"\u003e\n\u003cstrong\u003eStrata-East\/Mack Avenue SES-19733-25LP\u003c\/strong\u003e; released October 2025\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003ePharoah Sanders recorded \u003cem\u003eIzipho Zam\u003c\/em\u003e on January 14, 1969 — two years after John Coltrane's death, while still processing what that loss meant for his own music. The session assembled thirteen musicians at TownSound Studios in Englewood, New Jersey: Sonny Fortune on alto saxophone and flute, Howard Johnson on tuba, Lonnie Liston Smith on piano, Sonny Sharrock on guitar, Cecil McBee and Sirone (Norris Jones) on bass, Billy Hart and Majeed Shabazz on drums, Chief Bey on African drums, Nat Bettis and Tony Wylie on percussion, Leon Thomas on vocals and percussion, and Sanders himself on tenor, flute, percussion and voice. Orville O'Brien engineered; Clifford Jordan Jr. produced.\u003c\/p\u003e\n\u003cp\u003e\"Izipho Zam\" is a Zulu phrase meaning \"my gifts.\" The title track fills all of Side B — twenty-eight minutes of West African percussion, Thomas's distinctive yodel-scat vocal technique, Sanders's tenor pushing outward, the ensemble pulling between restraint and total release. Side A holds two shorter pieces: \"Prince of Peace,\" which opens the record with Thomas's voice high in the mix, and \"Balance.\" All three compositions are Sanders originals published by Pharoah Sanders Music Company.\u003c\/p\u003e\n\u003cp\u003eThe session was recorded in January 1969 but sat unreleased until 1973, when Charles Tolliver and Stanley Cowell's Strata-East label issued it. This reissue is the first time the recording has been officially available on vinyl since that original pressing. Kevin Gray mastered at Cohearent Audio directly from the original analog tapes; RTI pressed it on 180g vinyl. The gatefold includes new liner notes by Harmony Holiday. Sanders died on September 24, 2022.\u003c\/p\u003e","brand":"Strata-East","offers":[{"title":"Default Title","offer_id":43431231848507,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a1393816483_10.jpg?v=1776480524"},{"product_id":"lonnie-liston-smith-and-the-cosmic-echoes-expansions-2025-bgp-flying-dutchman-aaa-reissue-gatefold-lp","title":"Lonnie Liston Smith and the Cosmic Echoes - Expansions (2025 BGP\/Flying Dutchman AAA Reissue Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eLonnie Liston Smith and the Cosmic Echoes - \u003cem\u003eExpansions\u003c\/em\u003e | Vinyl LP - 2025 BGP\/Flying Dutchman AAA Reissue (XXQLP 145, 180g Gatefold, Frank Merritt\/The Carvery)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLonnie Liston Smith spent the late 1960s and early 1970s as a sideman in some of the most intense bands in jazz. He played with Art Blakey. He played with Rahsaan Roland Kirk. He was Pharoah Sanders's pianist on \u003cem\u003eKarma\u003c\/em\u003e and \u003cem\u003eIzipho Zam\u003c\/em\u003e. He worked with Gato Barbieri and with Miles Davis. When he formed the Cosmic Echoes in 1973 with his brother Donald on vocals and flute, Cecil McBee on bass and a rotating cast of percussionists, the band drew on everything those years had given him.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eExpansions\u003c\/em\u003e, recorded across two days in November 1974, was their third album and the one that reached the widest audience. The title track builds from a bass vamp and Fender Rhodes figure into a slow, rolling groove that Donald Smith's tenor voice carries without urgency. It went to No. 2 on the Billboard jazz chart and has since been sampled by so many hip-hop producers that listing them is its own genre exercise.\u003c\/p\u003e\n\u003cp\u003eThe rest of the album operates on a different level from the title track's fame. \"Desert Nights\" and \"Voodoo Woman\" are the most openly jazz-rooted pieces, Smith improvising modally over Carvin's drumming with Hubbard's soprano weaving through the texture. \"Summer Days\" shifts to a Latin feel, Franco's percussion driving a lighter groove. \"Peace\" and \"My Love\" are softer, closer to the spiritual jazz that Sanders had been recording throughout the same period. \"Shadows\" features Hubbard's soprano saxophone and oboe against Smith's sustained Rhodes chords, creating an atmosphere that the Ace Records liner notes identify as the album's most overlooked moment.\u003c\/p\u003e\n\u003cp\u003eThis is the 2025 BGP Records\/Ace all-analogue reissue (XXQLP 145), cut by Frank Merritt at the Carvery from the original master tapes, 180g, gatefold.\u003c\/p\u003e","brand":"Flying Dutchman","offers":[{"title":"Default Title","offer_id":43609988235323,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/9782b630-744d-4525-8df4-fea0f56c0390.webp?v=1781170857"},{"product_id":"alice-coltrane-featuring-pharoah-sanders-journey-in-satchidananda-2024-impulse-stereo-gatefold-lp","title":"Alice Coltrane featuring Pharoah Sanders - Journey in Satchidananda (2024 Impulse! Stereo Gatefold LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eAlice Coltrane featuring Pharoah Sanders - \u003cem\u003eJourney in Satchidananda\u003c\/em\u003e | Vinyl LP - 2024 Impulse!\/Verve Stereo Gatefold Reissue (B0036675-01\/AS-9203)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlice Coltrane had been a disciple of Swami Satchidananda since the late 1960s. The swami had been a presence in the Coltrane household during John Coltrane's final years, and Alice's spiritual practice deepened after John's death in 1967. By November 1970, when she recorded the four studio tracks that fill most of this album, her music had moved into territory where jazz improvisation and devotional practice were no longer separable.\u003c\/p\u003e\n\u003cp\u003eThe studio ensemble included Pharoah Sanders on soprano saxophone and percussion, Cecil McBee on bass, Rashied Ali on drums, Tulsi on tambura and Majid Shabazz on bells and tambourine. Tulsi's tambura drone is the thread that connects every studio track. It appears underneath the opening bass vamp of the title piece and remains audible throughout, giving the harmonic movement a fixed point to return to. The title track builds slowly from McBee's repeating figure through Sanders's soprano and Coltrane's harp and piano, the melody suspended rather than resolved. \"Shiva-Loka\" follows a similar approach. \"Stopover Bombay\" is the shortest piece at under three minutes, Coltrane on piano. \"Something About John Coltrane\" is the most emotionally direct track, Coltrane playing piano in a register closer to gospel than to Indian classical music, the composition acknowledging her late husband without attempting to imitate his sound.\u003c\/p\u003e\n\u003cp\u003e\"Isis and Osiris\" closes the album. It was recorded four months before the studio tracks, live at the Village Gate on July 4, 1970, with a different ensemble: Charlie Haden replaces McBee on bass, Vishnu Wood plays oud, and Coltrane plays harp only. 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It's nearly 19 minutes of the quartet at its most relentless, building in waves that keep cresting without breaking.\u003c\/p\u003e\n\u003cp\u003eThis was Tyner's working band in 1973, and they sound like a unit that had been playing these pieces night after night. Lawrence was still in his early twenties, but he holds his ground in a setting where the sheer force of Tyner's piano could swallow a less committed saxophonist. Mouzon brings the power from the drum stool without losing finesse, and Booth anchors the bottom end with a fat, resonant tone that cuts through even when Tyner is at his loudest. Orrin Keepnews produced the album for Milestone and oversaw the remix at Fantasy Studios in Berkeley with Jim Stern and Tyner. All compositions are Tyner's own. This is the 1973 US original pressing on M-55001 in a gatefold sleeve. Note that it is auto-coupled: sides A and D are on disc one, sides B and C are on disc two, designed for record changers. Check the labels before dropping the needle.\u003c\/p\u003e","brand":"Milestone","offers":[{"title":"Default Title","offer_id":43680853426235,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_73464.jpg?v=1781852384"},{"product_id":"billy-harper-quintet-love-on-the-sudan-1977-japanese-denon-vinyl-lp","title":"Billy Harper Quintet - Love On The Sudan (1977 Japanese Denon Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eBilly Harper Quintet - \u003cem\u003eLove On The Sudan\u003c\/em\u003e | Vinyl LP - 1977 Japanese Denon Jazz Original (YX-7568-ND, Nippon Columbia)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1977, the American market for this kind of jazz had narrowed almost to nothing. Fusion dominated sales charts, and players working in the modal, spiritual tradition that came out of late-period Coltrane and Pharoah Sanders were finding more receptive audiences in Europe and Japan than at home. Japanese labels stepped into the gap. Denon, East Wind and others funded sessions in New York studios with American musicians, released the albums exclusively in Japan, and kept an entire school of playing alive on record. \u003cem\u003eLove On The Sudan\u003c\/em\u003e is one of the finest examples. Harper's tenor sound is huge, raw and gospel-rooted. \"Awakening\" opens the album at a controlled burn, with Hollins's trumpet doubling the melody before Harper takes a solo that builds steadily across nearly seven minutes. \"Priestess\" stretches past eleven minutes and is the most structured piece here, opening with a bold harmonic sequence that locks Tucker's piano and Hollins's trumpet into a repeating figure before Harper enters and pulls the music apart. The title track fills side B. Seventeen minutes, no break, with Maker and Pinson building a rhythmic undertow that rolls forward in waves while Harper plays with the kind of sustained, high-register intensity that leaves no room for anything half-committed.\u003c\/p\u003e\n\u003cp\u003eHarper had been building towards this. He recorded \u003cem\u003eCapra Black\u003c\/em\u003e for Strata-East in 1973, then \u003cem\u003eBlack Saint\u003c\/em\u003e for the Italian Black Saint label in 1975. When the Modern Jazz League of Tokyo named \u003cem\u003eBlack Saint\u003c\/em\u003e their jazz record of the year, it confirmed what the Japanese audience already recognised: Harper was playing at a level that his commercial circumstances in the US didn't reflect. Yoshio Ozawa produced the Denon sessions with Jim McCurdy engineering at A\u0026amp;R Studios (Phil Ramone's facility on 48th Street). All three compositions are Harper's own. This is the original 1977 first pressing on Denon Jazz YX-7568-ND, manufactured by Nippon Columbia Co., Ltd. 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His earlier group, Be Present Art Group, grew from drum gatherings he ran in Washington DC in the spirit of Alice Coltrane's teachings, and its 2023 album came out on Mississippi Records. For \u003cem\u003eAll Is Sound\u003c\/em\u003e he pared everything down to a trio, joining the cellist and multi-instrumentalist Harlan Silverman and the pianist Kennedy Verrett, who also handles flutes and didgeridoo. The name tips its hat to Sun Ra, and the music sits in the lineage of Alice Coltrane, Pharoah Sanders and Laraaji: healing music made from saxophone, cello, piano, flutes, small percussion and the odd wisp of analogue synth. For all the instruments listed, it is an exercise in restraint. \"Peace Prayer\" turns on a single lyrical piano line, and \"Black Rest\" leans into the East-meets-West modality Sanders loved.\u003c\/p\u003e\n\u003cp\u003eIt found an audience well beyond its small pressing. \u003cem\u003eAll Is Sound\u003c\/em\u003e turned up on plenty of 2024 best-of lists and has become one of the underground spiritual jazz records people keep passing to each other, admired for it's sincerity. The trio followed it with a self-titled second album in 2025. \u003c\/p\u003e\n\u003cp\u003eThis is the 2024 United States pressing on Pyramid Records, a Mississippi Records label, catalogue MOR-09.\u003c\/p\u003e","brand":"Pyramid Records","offers":[{"title":"Default Title","offer_id":44038365708347,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a3689333792_10.jpg?v=1787611891"},{"product_id":"wendell-harrison-phil-ranelin-a-message-from-the-tribe-2022-now-again-vinyl-lp","title":"Wendell Harrison \u0026 Phil Ranelin - A Message From The Tribe (2022 Now-Again Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWendell Harrison \u0026amp; Phil Ranelin - \u003cem\u003eA Message From The Tribe\u003c\/em\u003e | Vinyl LP - 2022 Now-Again reissue (NA 5209, Tribe PRSD 2226)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTribe was a Black-owned, artist-run collective that grew up in Detroit in the early 1970s, founded by the trombonist Phil Ranelin and the saxophonist Wendell Harrison. Like Strata-East in New York, it was built on self-determination: the musicians ran their own label, put out a magazine and promoted their own concerts, keeping control of the work and the message. \u003cem\u003eA Message from the Tribe\u003c\/em\u003e was the record that announced them. It moves between spiritual jazz and hard jazz-funk, electric piano and horns underpinning Ranelin's trombone and Harrison's tenor, with the Detroit trumpet elder Marcus Belgrave in the section and Jeamel Lee singing. The politics are right there in the titles: \"Angela's Dilemma\" for the imprisoned Angela Davis, \"How Do We End All Of This Madness\". It is music of its moment, urgent and searching, and it has aged into one of the most sought-after documents of the whole artist-run jazz movement.\u003c\/p\u003e\n\u003cp\u003eOriginal Tribe pressings are among the great rarities in jazz collecting, changing hands for four figures when they surface at all, which for years put this music out of most people's reach. 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Its signature artist was the keyboardist Doug Carn, and \u003cem\u003eSpirit of the New Land\u003c\/em\u003e, from 1972, is one of his finest for the label. Carn's idea was to put words to jazz. He wrote his own spiritual, Afrocentric lyrics and set them to instrumental pieces, and his wife Jean Carn sang them in a clear, soaring voice that lifts the whole record. Here she sings Carn's words to Miles Davis's \"Blue In Green\" and Lee Morgan's \"Search For The New Land\" alongside originals like \"Arise And Shine\" and \"My Spirit\". The band is strong: Charles Tolliver, who co-founded Strata-East, on flugelhorn, Garnett Brown on trombone, George Harper on reeds and Alphonse Mouzon on drums.\u003c\/p\u003e\n\u003cp\u003eCarn's run of Black Jazz albums became touchstones of vocal spiritual jazz, records that later got dug back up by rare-groove collectors and sampled by hip-hop producers, while Jean Carn went on to a career as a soul star at Philadelphia International. 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Ozzy Moysey writes and arranges everything, plays double bass and donso n'goni, and leads a rotating ensemble that runs to sixteen musicians on this record plus a thirteen-voice community choir. The instrumentation covers ground that most spiritual jazz groups don't reach. Alice Roberts's harp sits alongside Oliver Dover's kaval, a Turkish end-blown flute, and his G clarinet and baritone saxophone. Khemi Shabazz plays oboe, still rare enough in jazz that it changes the texture of every passage it enters. Evan Rhodri Davies switches between violin and mandolin. Joel Stedman covers bass clarinet, flute, congas and percussion. Two double basses (Moysey and Elliot Roffe), two trumpets (Will Blackstone and Sam Ehret-Pickett, who also plays flugelhorn and baritone horn), two tenors (Will Howard and Matt Cliffe, who doubles on alto flute), an alto saxophone from Jake Rider, viola from Aby Vulliamy and Megan Jowett, cello from Michael Bardon, piano from Hugh Vincent, drums from John Arnesen and additional percussion from Jed Cutler and Toma Sapir round out the ensemble. Everyone sings.\u003c\/p\u003e\n\u003cp\u003eThe debut, \u003cem\u003eRiver of Light\u003c\/em\u003e, came out on Gondwana in November 2023 and placed the group firmly in the label's spiritual jazz lineage alongside Matthew Halsall's own records and Jasmine Myra's releases. This follow-up was recorded over four days at The Nave Studio in April 2024, produced by Halsall alongside Moysey and engineer Tom Orrell, with Daniel Halsall handling the artwork. 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He invented the Frankiphone and spent decades teaching long-tone technique and what he called tone science to Chicago musicians, including the harpist Josefe-Marie Verna, who appears on this recording.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAfrican Skies\u003c\/em\u003e was his first recording since a 1969 Malcolm X memorial album. It was recorded live with the group called Legacy, which here means his son Malik Cohran on bass and guitar, Oscar \"Bobo\" Brown III on piccolo string bass and flute, Aquilla Sadalla on bass clarinet, flute, guitar and vocals, and Verna on harp and trombone. The music moves between African geographic subjects, \"White Nile,\" \"The Dogon,\" \"Sahara,\" \"Kalahari,\" \"Kilimanjaro,\" and a compositional logic that owes more to space and duration than to conventional jazz structure. 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By \u003cem\u003eMotherland\u003c\/em\u003e, the final album, the group had settled on a quintet with Joe Bonner on piano, John Lee on bass and Victor Lewis on drums, and the music had tightened into something that balances modal structure against open improvisation without losing shape.\u003c\/p\u003e\n\u003cp\u003eFive of the seven tracks are Grubbs originals. \"Kimball\" opens with a march-like theme, \"Fables Of Africa\" starts as a duet before expanding into individual statements, and the title track pulls back into a still, piano-led passage with Earl's soprano floating over it. The two standards are \"Body \u0026amp; Soul\" and Billy Eckstine's \"I Want To Talk About You,\" both taken as direct line-trading between the brothers over the form. Michael Cuscuna produced the sessions at Blue Rock Studios in New York in October 1975, before he became the central figure in jazz archival work through Mosaic Records and his Blue Note reissue programme. J.C. 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For \u003cem\u003eDaughter of a Temple\u003c\/em\u003e she invited over 30 artists to a ritual gathering at the Moores Opera House in Houston in 2022, not a recording session in the conventional sense but a week-long communal event that included dancers, filmmakers, a ritualist, a stage director, textile makers and the former US Poet Laureate Joy Harjo alongside the musicians. Ryan Renteria recorded it. Nils Frahm edited and mixed it at his Leiter studio in Berlin in 2024, and it was released on Leiter, Frahm's own label.\u003c\/p\u003e\n\u003cp\u003eThe personnel list reads like a map of contemporary jazz. Esperanza Spalding plays double bass and contributed additional production and mixing. Vijay Iyer plays piano and Immanuel Wilkins plays saxophone on \"Om Supreme,\" Alice Coltrane's composition, which builds to a ten-minute invocation. Shabaka Hutchings plays wind instruments on \"Prema Muditha.\" Shanta Nurullah plays sitar, Ranjani Swaminathan plays mrudangam and kanjira, and Rasika Shekar plays flute, grounding the ensemble in South Indian classical tradition. Wayne Shorter and his wife Carolina play beads and bells on \"Elders Wayne and Carolina,\" reciting the Buddhist chant \"Nam Myoho Renge Kyo.\" Shorter died on March 2, 2023, making this one of his final recordings. Ganavya sings, plays double bass and kalimba, and produced the album. The second half reimagines John Coltrane's \u003cem\u003eA Love Supreme\u003c\/em\u003e across four movements, each named for a different figure: the trumpeter and AACM member Wadada Leo Smith, the theatre director Peter Sellars (who speaks on his movement), Alice Coltrane, and the author Ione. 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Made in Japan.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eSinsuke Fujieda leads a sextet from Tokyo that sounds like a group that has been playing together for decades rather than one that formed in 2009. Fujieda, from Mito in Ibaraki Prefecture, plays tenor and soprano saxophone and composed all five tracks. Fumiko Takeshita plays violin, and the combination of her strings with Fujieda's saxophone gives the ensemble a texture that distinguishes it from every other contemporary spiritual jazz group: the violin doesn't ornament or fill, it leads alongside the horn, intertwining with it on the opening title track in a way that draws as much from Japanese folk melody as from the Coltrane tradition. Shinichi Tsukamoto plays piano, Shigeru Kato plays bass, Kensaku Ohsumi plays drums and Daisuke Alkhaly plays percussion.\u003c\/p\u003e\n\u003cp\u003eThe five compositions were recorded in a single session on 16 May 2023 at Groove Studio in Matsudo, a city in Chiba Prefecture near Tokyo. Keiichi Sato recorded, mixed and mastered. The title track and \"Float In Oriental Spring\" fill side A with modal jazz that builds patiently from folk-tinged themes into extended improvisation. \"Silent Night\" opens side B with a darker, more searching quality. \"Nobody Knows\" pairs soprano saxophone and violin in what one reviewer called gorgeous, bal-musette-inflected counterpoint. \"Perspective\" closes the album. Superfly Records, the French label known for reissuing rare Afro-Latin, Caribbean and Japanese jazz, released the first pressing in April 2025, and it sold out quickly enough to reach number one on both the Juno Records Jazz Chart and the Discogs Best-Selling New Releases Chart. A second pressing followed and also sold through. This is the third pressing (SRLP039), released August 2026 with a black obi. 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He dropped out to play jazz full-time, and \u003cem\u003eToki\u003c\/em\u003e, recorded on May 17, 1975, is the album that established his voice. The quartet has no piano. Kazumi Watanabe’s guitar fills the harmonic role, and the absence of a keyboard gives the music an openness that suits Toki’s playing. His tone is raspy and warm, gentle on the surface but with a spiritual depth that one Discogs reviewer placed squarely in the lineage of Coltrane. “Lullabye for the Girl” opens at over eleven minutes, the longest track, with Toki on alto building his solo slowly over Ino’s bass and Jackson’s brushes. Watanabe comps with restraint before taking a solo that shows why Three Blind Mice kept calling him back, his clean, precise lines a counterweight to Toki’s breathier phrasing. “Darkness” follows at ten minutes, the title earning itself: Toki switches between alto and soprano, and the mood darkens without ever becoming aggressive. The whole first side is about patience and letting the music arrive.\u003c\/p\u003e\n\u003cp\u003eSide B opens with Ornette Coleman’s “Blues”, eight minutes where the Coleman influence is less about the free playing and more about the logic of the melody, Toki treating the piece as a composition to be explored rather than a vehicle for extended blowing. “When Sunny Gets Blue”, the Marvin Fisher and Jack Segal standard, is played as a ballad with Toki on soprano, and “Old Song Blues” closes the record with a return to the relaxed intensity of Side A. The rhythm section of Ino and Jackson holds the centre throughout, Ino’s bass particularly effective on the longer pieces where his walking lines give the soloists a steady frame to work against. 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Dorothy Ashby was there first. She was a Detroit musician who spent the late 1950s and 1960s recording albums that insisted the harp belonged in jazz, a proposition the jazz world was slow to accept. By the time of \u003cem\u003eThe Rubaiyat\u003c\/em\u003e, her ninth album, she had moved beyond proving the instrument’s legitimacy and was using it alongside the Japanese koto, her own voice, and an ensemble arranged by Richard Evans that draws from soul, spiritual jazz, and world music without settling into any single category. The album is inspired by the \u003cem\u003eRubaiyat of Omar Khayyam\u003c\/em\u003e, the 12th-century Persian poetry collection in Edward FitzGerald’s English translation, and all ten compositions are Ashby’s own. The track titles (“Myself When Young”, “Wax and Wane”, “Drink”, “Wine”, “Dust”, “The Moving Finger”) are drawn from the Rubaiyat’s themes of mortality, pleasure, and the passage of time.\u003c\/p\u003e\n\u003cp\u003eEvans’s arrangements use flute, oboe, piccolo, vibraphone, kalimba, guitar and violin around Ashby’s harp and koto, creating textures that have no real precedent in the jazz catalogue. Lenard Druss plays woodwinds. Stu Katz plays vibraphone and kalimba. Cash McCall plays guitar. The album has been widely sampled by hip-hop producers and has gained a significant reputation among vinyl collectors since its original Cadet pressing went out of print. Original copies command high prices. This 2023 Verve By Request reissue is mastered by Ryan Smith at Sterling Sound and pressed on 180g vinyl at Third Man Pressing in Detroit. Catalogue number Cadet LPS-841.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":44814981070907,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/DorothyAshby-RubaiyatOf_1LP-Cvr_27fc8e00_thumbnail_4096.webp?v=1793347918"},{"product_id":"henry-franklin-tribal-dance-2023-real-gone-music-reissue-vinyl-lp","title":"Henry Franklin - Tribal Dance (2023 Real Gone Music Reissue Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eHenry Franklin - \u003cem\u003eTribal Dance\u003c\/em\u003e | Vinyl LP - 2023 Real Gone Music Reissue (RGM-1535, gatefold, pressed at Gotta Groove Records)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eFirst ever vinyl reissue of Franklin’s rare 1977 Catalyst Records album\u003c\/strong\u003e, his third as a leader after the two cult Black Jazz releases, featuring many of the same LA players in a more spiritually-inclined setting.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRecorded at Sage \u0026amp; Sound Studios in Hollywood, January 1977\u003c\/strong\u003e, with Sonship Theus on drums and percussion, Charles Owens on saxophones and flute, Dwight Dickerson on piano, and a front line of Jerry Rush and Al Hall Jr.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal gatefold artwork reproduced\u003c\/strong\u003e, pressed at Gotta Groove Records, the same plant that pressed Real Gone’s Black Jazz reissues.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eHenry Franklin’s two Black Jazz albums, \u003cem\u003eThe Skipper\u003c\/em\u003e and \u003cem\u003eThe Skipper at Home\u003c\/em\u003e, are the records collectors know. They trade for real money and they’ve both been reissued. \u003cem\u003eTribal Dance\u003c\/em\u003e is the one that comes next in the discography and the one almost nobody has heard. It was released in 1977 on Catalyst, a small label that also put out records by Frank Strazzeri and Irene Kral, and more or less disappeared on arrival. Originals are scarce. The music sits closer to the spiritual jazz coming out of Strata-East than to the funk of the Black Jazz sessions. Franklin’s bass is at the centre of everything, and the band around him is drawn from the same West Coast circle he’d been working with for years. Charles Owens, a Berklee graduate who started out with Buddy Rich and became one of LA’s busiest reed players, handles soprano and tenor saxophone, English horn and flute. Dwight Dickerson, a pianist influenced by Horace Silver and McCoy Tyner, provides the harmonic foundation. Jerry Rush plays trumpet and flugelhorn. Al Hall Jr. covers trombone, baritone horn and additional percussion.\u003c\/p\u003e\n\u003cp\u003eThe drummer is Sonship Theus, who named himself after Coltrane’s \u003cem\u003eSun Ship\u003c\/em\u003e at sixteen and played with that kind of intensity for the rest of his life. His credits include long stints with Charles Lloyd, McCoy Tyner, Woody Shaw, Freddie Hubbard and Pharoah Sanders. On \u003cem\u003eTribal Dance\u003c\/em\u003e he plays drums, congas, gong and bells, and the title track gives a fair idea of what he brings: six minutes of driving rhythm that never drops below a simmer. “Eric’s Tune” stretches out over eight minutes. “Cosmos Dwellers” is the longest piece at nearly eleven and the most open, with Owens and Franklin trading space in a way that feels genuinely improvised rather than arranged. “For Penny” and “Spring Song” are gentler. “Prime Mover” closes Side B with something more uptempo. 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Eleven tracks across two LPs, compiled by Gerald Short.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eBig names and deep cuts side by side\u003c\/strong\u003e: Cannonball Adderley’s “Primitivo”, McCoy Tyner’s “Valley of Life” and a thirteen-minute Joe Henderson track featuring Alice Coltrane sit alongside harder-to-find material from James Clay, Frank Strozier, Sonny Red and the Werner-Rosengren Swedish Jazz Quartet.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e2024 UK pressing\u003c\/strong\u003e, mastered by Colin Young at See Why Audio, manufactured by Grand Vinyl Ltd. Liner notes by Kevin Le Gendre.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eGerald Short has been compiling the Spiritual Jazz series since 2008, and the approach has stayed consistent: find the tracks that connect hard bop, modal jazz, soul-jazz and free playing through a shared sense of reach and purpose, then sequence them like a DJ set rather than a history lesson. Each volume has a focus. Volume fifteen was a Coltrane tribute. Volume sixteen turns to Riverside and its sister labels, which means the source catalogue runs from the mid-1950s (when Keepnews and Grauer were recording Monk and Bill Evans) through to the 1970s Milestone sessions that produced some of the most exploratory jazz-funk of the era. The compilation opens with James Clay’s “New Delhi”, a six-and-a-half-minute modal piece that sets the tone. The Werner-Rosengren Swedish Jazz Quartet and Sal Nistico follow, both lesser-known names that reward the listener who follows up. Side B brings in bigger currency: Frank Strozier, Cannonball Adderley’s “Primitivo” at over nine minutes, and Blue Mitchell’s “Turquoise”.\u003c\/p\u003e\n\u003cp\u003eThe second disc goes deeper. Sonny Red’s “The Mode” takes nearly nine minutes on Side C, alongside Clifford Jordan and a compact Lee Konitz track. 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Acoustic Sounds Series 180g Gatefold Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003ePharoah Sanders - \u003cem\u003eKarma\u003c\/em\u003e | Vinyl LP - 2022 Impulse! Acoustic Sounds Series Reissue (B0035572-01, mastered by Ryan K. Smith at Sterling Sound, pressed at QRP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSanders’ most celebrated album\u003c\/strong\u003e, recorded at RCA in New York in February 1969 and produced by Bob Thiele for Impulse!, built around the 32-minute “The Creator Has a Master Plan”, co-written with vocalist Leon Thomas.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eLeon Thomas, Julius Watkins, James Spaulding and Lonnie Liston Smith\u003c\/strong\u003e, with Reggie Workman and Richard Davis both on bass and Billy Hart on drums. Ron Carter and Freddie Waits take over for “Colors”.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVerve Acoustic Sounds Series, all-analogue\u003c\/strong\u003e: mastered from the original tapes by Ryan K. Smith at Sterling Sound, 180g vinyl pressed at Quality Record Pressings, Stoughton old-style tip-on gatefold.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003ePharoah Sanders spent the last two years of John Coltrane’s life in his band, and \u003cem\u003eKarma\u003c\/em\u003e is where he answered with something of his own. Recorded at RCA in New York over two days in February 1969, it is essentially one piece: “The Creator Has a Master Plan”, co-written with Leon Thomas and running about 32 minutes across both sides. Sanders opens with a prelude over a backdrop that has no fixed pulse, a nod to the start of \u003cem\u003eA Love Supreme\u003c\/em\u003e. Then the bass figure arrives, with Reggie Workman and Richard Davis working the same groove, and Thomas brings in the chant: a simple, mantra-like melody over a loping pulse, threaded with his trademark yodel. Julius Watkins’ French horn and James Spaulding’s flute add colours you rarely hear in a band this loose. The third section is where it breaks open. Sanders overblows, splits the reed and stacks up multiphonics until the tenor screeches. “Colors”, with Ron Carter and Freddie Waits, is the epilogue: under six minutes of Thomas singing over a band in no hurry at all.\u003c\/p\u003e\n\u003cp\u003eFor a record with a 32-minute centrepiece and a long stretch of overblown tenor, \u003cem\u003eKarma\u003c\/em\u003e travelled a surprisingly long way. It picked up FM radio play, and the groove has since been sampled and covered across acid jazz and hip hop. The Gun Club released a version of the title track in 1984. It is still the album most people mean when they say Pharoah Sanders. Lonnie Liston Smith, credited here as Lonnie L. Smith Jr., would still be at the piano on \u003cem\u003eThembi\u003c\/em\u003e before leading the Cosmic Echoes. This Verve Acoustic Sounds Series edition arrived in December 2022, three months after Sanders died. Ryan K. Smith mastered it at Sterling Sound from the original analogue tapes, Quality Record Pressings pressed it on 180g vinyl, and Stoughton Printing made the old-style tip-on gatefold. This is the 2022 Impulse! Acoustic Sounds Series reissue, catalogue number B0035572-01.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":44942821294139,"sku":null,"price":77.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_9585.jpg?v=1794440561"}],"url":"https:\/\/lushliferecords.com.au\/collections\/spiritual-jazz.oembed","provider":"Lush Life Records","version":"1.0","type":"link"}