{"title":"Vintage European\/North American Pressings","description":"\u003cp data-start=\"226\" data-end=\"794\"\u003eOur Vintage European and North American Pressings collection brings together classic vinyl sourced from the world’s major music markets. From UK and US originals to sought-after European issues, these records capture the sound and packaging of their era — often with unique mixes, artwork or pressing qualities prized by collectors. Spanning jazz, rock, soul and beyond, each piece has been carefully selected for condition and authenticity. Explore rare finds, classic albums and collectible editions that showcase the heritage of European and North American vinyl.\u003c\/p\u003e","products":[{"product_id":"herbie-hancock-thrust","title":"Herbie Hancock - Thrust (1974 Columbia Reissue LP Vinyl)","description":"\u003cp\u003eA defining work from Herbie Hancock's jazz-funk era, Thrust delivers a seamless blend of improvisational flair and deep funk grooves. This sought-after US Pitman pressing (PC 32965) from 1974 captures the raw energy of one of Hancock's most electrifying studio albums.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":42447490973755,"sku":null,"price":30.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4238.jpg?v=1759018737"},{"product_id":"humphrey-lyttelton-gigs","title":"Humphrey Lyttelton - Gigs (1987 Calligraph LP Vinyl)","description":"\u003cp\u003eDelivering a vibrant snapshot of British jazz in its electrifying prime, Gigs spotlights trumpeter and bandleader Humphrey Lyttelton with a dynamic ensemble, delivering playful arrangements and rich improvisations across a varied set of tunes. Produced by Lyttelton himself and issued on the esteemed Calligraph label, this studio recording encapsulates the warmth and finesse of his group's live energy.\u003c\/p\u003e","brand":"Calligraph Records","offers":[{"title":"Default Title","offer_id":42447520399419,"sku":null,"price":20.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4232.jpg?v=1759020239"},{"product_id":"lester-young-the-lester-young-story-volume-1","title":"The Lester Young Story Volume 1 (Double-LP)","description":"\u003cp\u003eCelebrate the early brilliance of Lester \"Pres\" Young with this enthralling 1976 UK Columbia (CBS) release. Spanning rare and historically rich recordings from 1936 to 1938, this double-album compilation delivers a compelling look into Young’s formative years alongside legends like Teddy Wilson, Billie Holiday, and Count Basie. The mono, gatefold presentation makes it a standout collector’s piece.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42447560179771,"sku":null,"price":20.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4236.jpg?v=1759019442"},{"product_id":"keith-jarrett-in-the-light","title":"Keith Jarrett – In the Light (1974 ECM 2LP Vinyl)","description":"\u003cp\u003eReleased in 1974 on ECM, \u003cem\u003eIn the Light\u003c\/em\u003e is an ambitious triple album that showcases \u003cstrong\u003eKeith Jarrett’s\u003c\/strong\u003e wide-ranging talents as pianist, composer, and multi-instrumentalist. Far more than a standard jazz record, it blurs the boundaries between jazz, classical, and contemporary composition.\u003c\/p\u003e\n\u003cp\u003eThe set includes everything from solo piano and string quartet pieces to chamber works, percussion explorations, and organ improvisations. It’s a rare glimpse into Jarrett’s restless creativity in the early 1970s, highlighting his ability to move seamlessly between genres while retaining his unique musical voice.\u003c\/p\u003e\n\u003cp\u003eExpansive, adventurous, and uncompromising, \u003cem\u003eIn the Light\u003c\/em\u003e is a landmark in Jarrett’s catalogue and a fascinating deep dive for listeners who want to explore the full scope of his artistry.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":42496139001915,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4298.jpg?v=1759147280"},{"product_id":"charles-lloyd-forest-flower","title":"Charles Lloyd – Forest Flower (1967 Atlantic LP Vinyl)","description":"\u003cp\u003eReleased in \u003cstrong\u003e1967\u003c\/strong\u003e on \u003cstrong\u003eAtlantic Records (SD 1473)\u003c\/strong\u003e, \u003cem\u003eForest Flower\u003c\/em\u003e captures \u003cstrong\u003eCharles Lloyd\u003c\/strong\u003e live at the \u003cstrong\u003eMonterey Jazz Festival\u003c\/strong\u003e in 1966 — a luminous, free-flowing performance that became both a critical and commercial triumph. With a quartet featuring \u003cstrong\u003eKeith Jarrett\u003c\/strong\u003e on piano, \u003cstrong\u003eCecil McBee\u003c\/strong\u003e on bass, and \u003cstrong\u003eJack DeJohnette\u003c\/strong\u003e on drums, Lloyd blends post-bop sophistication with a spirit of openness and adventure that mirrors the cultural mood of the late 1960s.\u003c\/p\u003e\n\u003cp\u003eThe two-part suite \u003cem\u003eForest Flower – Sunrise\u003c\/em\u003e and \u003cem\u003eSunset\u003c\/em\u003e is the album’s centrepiece — lyrical, hypnotic, and endlessly expansive, it moves from quiet introspection to joyous release. On side B, the quartet stretches out across \u003cem\u003eSorcery\u003c\/em\u003e, \u003cem\u003eSong of Her\u003c\/em\u003e, and \u003cem\u003eEast of the Sun\u003c\/em\u003e, with Jarrett’s luminous touch and DeJohnette’s dynamic drumming providing the perfect foil for Lloyd’s airy tenor and flute.\u003c\/p\u003e\n\u003cp\u003eThe result is music that feels spontaneous yet serene, deeply rooted yet boundary-breaking — one of the defining live recordings of the post-bop era. Pressed in stereo and presented in a striking \u003cstrong\u003egatefold sleeve\u003c\/strong\u003e, the original Atlantic issue remains a landmark document of 1960s jazz at its most spiritual and exploratory.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42511247310907,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4423.jpg?v=1759836441"},{"product_id":"the-johnnie-pate-trio-subtle-sounds","title":"The Johnnie Pate Trio – Subtle Sounds (1985 Fresh Sound Spain Reissue Vinyl LP)","description":"\u003cp\u003eOriginally released on the small Chicago label \u003cstrong\u003eGIG Records\u003c\/strong\u003e in the late 1950s and reissued in \u003cstrong\u003e1985\u003c\/strong\u003e by \u003cstrong\u003eFresh Sound Records (Spain)\u003c\/strong\u003e, \u003cem\u003eSubtle Sounds\u003c\/em\u003e is an overlooked gem from bassist, arranger, and bandleader \u003cstrong\u003eJohnnie Pate\u003c\/strong\u003e. Best known later for his work with the Impressions and in orchestral soul-jazz, Pate here leads a tight, elegant trio featuring \u003cstrong\u003eRonnell Bright\u003c\/strong\u003e on piano and \u003cstrong\u003eCharles Walton\u003c\/strong\u003e on drums, with occasional vocals from \u003cstrong\u003eGwen Stevens\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe mood throughout is light, lyrical, and beautifully balanced — a portrait of late-’50s jazz at its most intimate. Bright’s piano lines are crisp and inventive, Walton’s drumming quietly propulsive, and Pate’s bass work both melodic and grounding. From graceful readings of \u003cem\u003eWill You Still Be Mine\u003c\/em\u003e and \u003cem\u003eI’ve Got a Crush on You\u003c\/em\u003e to the relaxed swing of \u003cem\u003eMood for Milt\u003c\/em\u003e and \u003cem\u003eThou Swell\u003c\/em\u003e, the album lives up to its title — music that’s understated yet full of charm.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003e1985 Spanish mono pressing (FSR-744)\u003c\/strong\u003e offers warm, detailed sound and faithfully reproduces the original GIG artwork. For collectors of small-group bop and rare American jazz, \u003cem\u003eSubtle Sounds\u003c\/em\u003e remains a quietly dazzling rediscovery.\u003c\/p\u003e","brand":"GIG Records","offers":[{"title":"Default Title","offer_id":42529963638843,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4520.jpg?v=1760585505"},{"product_id":"ray-charles-the-genius-of-ray-charles","title":"Ray Charles – The Genius of Ray Charles (1970s Atlantic US Vinyl LP)","description":"\u003cp\u003eOriginally released in 1959 and reissued in stereo on \u003cstrong\u003eAtlantic Records (SD-1312)\u003c\/strong\u003e during the 1970s, \u003cem\u003eThe Genius of Ray Charles\u003c\/em\u003e captures \u003cstrong\u003eRay Charles\u003c\/strong\u003e at the height of his creative powers, expanding his sound from rhythm and blues roots into lush big band swing and sweeping orchestral balladry.\u003c\/p\u003e\n\u003cp\u003eSide A finds Charles fronting a powerhouse jazz ensemble drawn from Count Basie’s band, including \u003cstrong\u003eClark Terry\u003c\/strong\u003e, \u003cstrong\u003eJoe Newman\u003c\/strong\u003e, \u003cstrong\u003eFrank Wess\u003c\/strong\u003e, \u003cstrong\u003eFreddie Green\u003c\/strong\u003e, and \u003cstrong\u003eQuentin Jackson\u003c\/strong\u003e, with arrangements that swing hard and sparkle with energy. The band roars through \u003cem\u003eLet the Good Times Roll\u003c\/em\u003e, \u003cem\u003eAlexander’s Ragtime Band\u003c\/em\u003e, and \u003cem\u003eDeed I Do\u003c\/em\u003e — joyous, full-bodied performances driven by Charles’s unmistakable piano touch and soulful phrasing.\u003c\/p\u003e\n\u003cp\u003eSide B shifts tone, with \u003cstrong\u003eHarry Lookofsky\u003c\/strong\u003e conducting strings and horns in rich, cinematic settings. Here, Charles transforms standards like \u003cem\u003eCome Rain or Come Shine\u003c\/em\u003e and \u003cem\u003eJust for a Thrill\u003c\/em\u003e into deeply felt torch songs — performances that prefigured his later orchestral masterpieces on ABC-Paramount.\u003c\/p\u003e\n\u003cp\u003eThis \u003cstrong\u003eSpecialty Records pressing\u003c\/strong\u003e, identifiable by its red-and-green Atlantic label, delivers warm, dynamic stereo sound and the full majesty of these sessions. \u003cem\u003eThe Genius of Ray Charles\u003c\/em\u003e remains a cornerstone in both jazz and soul history — where gospel fire meets big band sophistication.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42534962528315,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4576.jpg?v=1760831524"},{"product_id":"bobby-hutcherson-san-francisco","title":"Bobby Hutcherson – San Francisco (1994 Blue Note US Reissue Vinyl LP)","description":"\u003cp\u003eOriginally released in 1971 by \u003cstrong\u003eBlue Note Records\u003c\/strong\u003e, \u003cem\u003eSan Francisco\u003c\/em\u003e captures vibraphonist \u003cstrong\u003eBobby Hutcherson\u003c\/strong\u003e and tenor saxophonist \u003cstrong\u003eHarold Land\u003c\/strong\u003e exploring the crossroads of hard bop, modal jazz, and emerging electric fusion. Originally recorded in 1970 and produced by \u003cstrong\u003eDuke Pearson\u003c\/strong\u003e, the album marks one of Blue Note’s most soulful and forward-thinking sessions of the era.\u003c\/p\u003e\n\u003cp\u003eWith \u003cstrong\u003eJoe Sample\u003c\/strong\u003e on piano and Fender Rhodes, \u003cstrong\u003eJohn Williams\u003c\/strong\u003e on acoustic and electric bass, and \u003cstrong\u003eMickey Roker\u003c\/strong\u003e on drums, the ensemble blends acoustic warmth with electric textures, yielding a sound both modern and deeply grooving. Tracks like \u003cem\u003eGoin’ Down South\u003c\/em\u003e and \u003cem\u003eUmmh\u003c\/em\u003e simmer with funky propulsion, while \u003cem\u003eJazz\u003c\/em\u003e and \u003cem\u003eProcession\u003c\/em\u003e showcase Hutcherson’s signature sense of harmony and space. The closing track, \u003cem\u003eA Night in Barcelona\u003c\/em\u003e, drifts into lyrical reflection — the perfect coda to an album of rhythmic sophistication and melodic beauty.\u003c\/p\u003e\n\u003cp\u003eThis \u003cstrong\u003e1994 reissue\u003c\/strong\u003e faithfully preserves the clarity and depth of the original recording, pressed on high-quality vinyl with the crisp, wide stereo imaging that defines Blue Note’s golden era. \u003cem\u003eSan Francisco\u003c\/em\u003e remains a standout in Hutcherson’s discography — vibrant, soulful, and endlessly listenable.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42535437991995,"sku":null,"price":115.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4578.jpg?v=1760854461"},{"product_id":"keith-jarrett-book-of-ways-2lp-vinyl-gatefold","title":"Keith Jarrett - Book Of Ways (2LP Vinyl Gatefold)","description":"\u003cp\u003eA singular achievement in Keith Jarrett's vast discography, \u003cem\u003eBook Of Ways\u003c\/em\u003e presents the legendary pianist exploring the intimate, centuries-old sound of the clavichord through 19 spontaneous improvisations. Released in 1987 on ECM Records and subtitled \"The Feeling Of Strings\", this double album captures Jarrett in his most contemplative and delicate mode, creating music of remarkable beauty and subtlety.\u003c\/p\u003e\n\u003cp\u003eUnlike the piano, the clavichord allows the player to control vibrato and dynamics through touch alone, and Jarrett exploits these possibilities throughout. The 19 pieces, simply numbered rather than titled, flow as a continuous meditation, each improvisation revealing different facets of the instrument's character. Some pieces are brief and introspective, others more developed and complex, but all share an intimacy that feels almost conversational, as if Jarrett is thinking aloud through the strings.\u003c\/p\u003e\n\u003cp\u003eThis is music that rewards close, attentive listening. The clavichord's quiet voice and expressive range create an atmosphere that's both ancient and timeless, drawing on baroque traditions while remaining unmistakably contemporary in its improvisational freedom. Jarrett's melodic gift and harmonic sophistication shine through, even within the instrument's constraints.\u003c\/p\u003e\n\u003cp\u003ePresented in ECM's signature gatefold sleeve with Manfred Eicher's impeccable production, this US pressing captures the clavichord's delicate timbres with stunning clarity. For Jarrett devotees and those interested in the outer reaches of solo improvisation, \u003cem\u003eBook Of Ways\u003c\/em\u003e remains an essential and deeply rewarding listen.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":42586046464059,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4580.jpg?v=1761866566"},{"product_id":"elvin-jones-poly-currents-us-blue-note-vinyl-lp-stereo","title":"Elvin Jones - Poly-Currents (US Blue Note Vinyl LP Stereo)","description":"\u003cp\u003eOne of the most powerful and innovative drummers in jazz history steps into the leader's chair for \u003cem\u003ePoly-Currents\u003c\/em\u003e, a commanding post-bop session that showcases Elvin Jones' polyrhythmic mastery and his ability to inspire extraordinary playing from his band. Recorded on 26 September 1969 at Van Gelder Studio and released in 1970, this original US Blue Note pressing was distributed by Toshiba Musical Industries Ltd. for the Japanese market, complete with Japanese liner notes, making it a fascinating hybrid of American manufacturing and Japanese distribution.\u003c\/p\u003e\n\u003cp\u003eFresh from his transformative years with the John Coltrane Quartet, Jones brings that experience to bear on \u003cem\u003ePoly-Currents\u003c\/em\u003e, creating a swirling, multi-layered rhythmic foundation that propels the music forward while allowing space for individual expression. The frontline features three exceptional horn players: the muscular tenor of George Coleman, the versatile multi-instrumentalist Joe Farrell on tenor saxophone, bass flute and English horn, and the robust baritone of Pepper Adams. Bassist Wilbur Little and conga master Candido Camero complete the rhythm section, adding depth and colour to Jones' propulsive drumming.\u003c\/p\u003e\n\u003cp\u003eThe five tracks demonstrate the band's range and Jones' compositional vision. The opening \"Agenda\" establishes the album's energetic tone, while \"Agappe Love\" (Jones' spelling of agape, the Greek word for unconditional love) offers a more contemplative mood. \"Mr. Jones\" serves as a showcase for the leader's rhythmic innovations, with the horns navigating complex time signatures over his polyrhythmic foundation. \"Yes\" features Fred Tompkins on flute alongside the core band, and the album closes with \"Whew\", a title that perfectly captures the exhilaration and intensity of the music.\u003c\/p\u003e\n\u003cp\u003eThis pressing represents the best of both worlds for collectors: the superior Van Gelder mastering and pressing quality of the original US release, combined with the Japanese market's attention to presentation through the addition of liner notes. The blue and white Liberty-era Blue Note label represents the final years of the label's golden age, while the Van Gelder stamp in the dead wax confirms authenticity.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42591195529275,"sku":null,"price":125.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4900_5b191fee-fe23-4a97-9e7a-23546064a98d.jpg?v=1762171130"},{"product_id":"coleman-hawkins-the-hawk-swings-vol-1-spanish-fresh-sound-vinyl-lp","title":"Coleman Hawkins - The Hawk Swings Vol. 1 (Spanish Fresh Sound Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eColeman Hawkins - The Hawk Swings Vol. 1 Vinyl LP - Spanish Fresh Sound Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe father of the tenor saxophone in fine swinging form, \u003cem\u003eThe Hawk Swings Vol. 1\u003c\/em\u003e captures Coleman Hawkins leading a stellar sextet through 1960 New York City sessions originally issued on the Crown label. This 1989 Spanish reissue on Fresh Sound Records presents five tracks that showcase Hawkins' enduring power and sophistication alongside an exceptional cast including trumpeter Thad Jones, the versatile Eddie Costa on piano and vibraphone, pianist Nat Pierce, bassist George Duvivier, and drummer Osie Johnson.\u003c\/p\u003e\n\u003cp\u003eBy 1960, Hawkins had been a dominant force in jazz for over three decades, yet his playing remained vital and forward-thinking. His huge tone, harmonic intelligence, and rhythmic drive are fully evident throughout these sessions. The frontline pairing of Hawkins' tenor with Thad Jones' trumpet creates a classic hard-bop sound, with Jones' crisp, modern trumpet style providing an ideal counterpoint to Hawkins' robust saxophone approach.\u003c\/p\u003e\n\u003cp\u003eThe five compositions showcase the band's versatility within the swing idiom. \"Cross Town\", \"Shadows\", and \"Cloudy\" demonstrate the group's ability to navigate different moods and tempos, while \"Stake Out\" and \"Almost Dow\" round out a programme that balances head-bobbing swing with more contemplative moments. Eddie Costa's contributions are particularly noteworthy, alternating between piano and vibraphone with equal facility, adding both harmonic depth and melodic colour.\u003c\/p\u003e\n\u003cp\u003eWhat distinguishes these sessions is the loose, blowing session atmosphere. This isn't overly arranged or produced, rather it's straight-ahead jazz performed by master musicians who understand swing from the inside out. The rhythm section of Duvivier and Johnson provides rock-solid support, allowing Hawkins and Jones to stretch out comfortably.\u003c\/p\u003e\n\u003cp\u003eThis Spanish Fresh Sound pressing makes these somewhat obscure Crown label recordings accessible to collectors. Fresh Sound Records has a strong reputation for rescuing and reissuing worthy jazz sessions that might otherwise remain difficult to find.\u003c\/p\u003e","brand":"Fresh Sound","offers":[{"title":"Default Title","offer_id":42621753393211,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5065.jpg?v=1762843637"},{"product_id":"ornette-coleman-trio-at-the-golden-circle-stockholm-vol-2-us-blue-note-with-japanese-obi","title":"Ornette Coleman Trio - At The Golden Circle Stockholm Vol. 2 (US Blue Note with Japanese Obi)","description":"\u003cp\u003e\u003cstrong\u003eThe Ornette Coleman Trio - At The Golden Circle Stockholm Volume Two Vinyl LP - US Blue Note Pressing with Japanese Obi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most important documents of free jazz, \u003cem\u003eAt The Golden Circle Stockholm Volume Two\u003c\/em\u003e captures Ornette Coleman's revolutionary trio in concert at Stockholm's Golden Circle club in December 1965. This remarkable copy represents a fascinating hybrid: an original US Blue Note pressing (circa 1973) distributed by Toshiba Musical Industries for the Japanese market, complete with Japanese obi strip marked \"direct import\" and remarkably still in its original shrink wrap with the obi outside the wrap.\u003c\/p\u003e\n\u003cp\u003eBy 1965, Coleman had already fundamentally altered the course of jazz with his concept of \"harmolodics\" and his abandonment of predetermined chord changes in favour of collective improvisation guided by melody and emotion. This trio, featuring the sympathetic and adventurous bassist David Izenzon and drummer Charles Moffett, represented Coleman's working group during this period, and their musical telepathy is evident throughout these live performances.\u003c\/p\u003e\n\u003cp\u003eThe four tracks showcase Coleman's multi-instrumental approach and compositional range. \"Snowflakes And Sunshine\" opens with Coleman on violin and trumpet, demonstrating his commitment to approaching all instruments with fresh ears, unencumbered by traditional technique. \"Morning Song\", \"The Riddle\", and \"Antiques\" feature his alto saxophone, the instrument on which his voice is most fully developed. His playing here is both lyrical and explosive, tender and confrontational, always singing a deeply personal blues inflected with harmonic freedom that was still shocking to many listeners in 1965.\u003c\/p\u003e\n\u003cp\u003eIzenzon's bass playing deserves special mention. 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This rare 1970 Japanese market copy represents an original US pressing with black and red rim Impulse! labels bearing the \"NY 10019\" address, exported for Japan and including an LP-sized insert.\u003c\/p\u003e\n\u003cp\u003eThe album opens with \"The Introduction \/ Song Of The United Front\", immediately establishing the recording's political commitment through text from Bertolt Brecht and Hanns Eisler's workers' anthem. The extended second track weaves together three Spanish Civil War songs, moving seamlessly between \"El Quinto Regimento\", \"Los Cuatro Generales\", and \"Viva La Quince Brigada\". Bley's arrangements are remarkable for their ability to honour the original melodies' folk simplicity while incorporating the harmonic sophistication and improvisational freedom of free jazz.\u003c\/p\u003e\n\u003cp\u003eThe ensemble Haden assembled reads like a who's who of late 1960s avant-garde jazz. Don Cherry's cornet and exotic flutes add colour and emotional depth, particularly on the gorgeous \"Song For Chè\", a tribute to Che Guevara. Gato Barbieri's passionate tenor saxophone brings Latin American fire, while Dewey Redman's equally intense playing represents the Ornette Coleman school of free jazz. Roswell Rudd's trombone, Perry Robinson's clarinet, and Michael Mantler's trumpet create a rich and varied horn section. The rhythm section features Paul Motian's sensitive drumming and Sam Brown's guitar textures, with Haden's bass providing both harmonic foundation and melodic voice.\u003c\/p\u003e\n\u003cp\u003e\"War Orphans\" is devastating in its portrayal of civilian suffering, while \"The Interlude (Drinking Music)\" provides a moment of dark humour before the explosive \"Circus '68 '69\" responds to the violence at the 1968 Democratic Convention in Chicago. The album closes with \"We Shall Overcome\", the civil rights anthem transformed into a collective prayer for liberation worldwide.\u003c\/p\u003e\n\u003cp\u003eCarla Bley's arrangements are the album's structural genius, balancing composition and improvisation, written melodies and free blowing, political message and musical adventure. Her piano playing throughout adds both harmonic sophistication and percussive energy. Produced by Bob Thiele for Flying Dutchman Productions and engineered by Dave Greene with remix engineering by Bob Arnold, the recording captures both the intimacy of individual voices and the power of collective expression.\u003c\/p\u003e\n\u003cp\u003eThis gatefold edition includes Charlie Haden's cover design featuring the ensemble with Carla Bley's banner, Charles Stewart's cover and liner photos, and the LP-sized insert with additional information. The original US pressing quality with Japanese market export makes this a particularly desirable edition for collectors.\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/7rqdziyEA9441OtWILhVwt?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43030287614011,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5195.jpg?v=1763705085"},{"product_id":"john-coltrane-giant-steps-1968-us-atlantic-vinyl-lp-stereo-reissue","title":"John Coltrane - Giant Steps (1968 US Atlantic Vinyl LP Stereo Reissue)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane - Giant Steps Vinyl LP - 1968 US Atlantic Stereo Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most important albums in jazz history, \u003cem\u003eGiant Steps\u003c\/em\u003e represents John Coltrane's first recording as a leader after leaving Miles Davis' group and his definitive statement on harmonic complexity and technical virtuosity. Recorded in 1959 and released in 1960, this album introduced Coltrane's revolutionary approach to chord changes and harmonic movement that would forever alter jazz improvisation. This 1968 US Atlantic pressing, identifiable by its red and green labels with the 1841 Broadway address and gold embossed \"Stereo\" on the cover, captures this landmark recording with excellent sonic quality, mastered at Longwear Plating and pressed by Presswell.\u003c\/p\u003e\n\u003cp\u003eThe title track \"Giant Steps\" is one of the most famous and demanding compositions in jazz. Coltrane's chord progression moves through major thirds in a constantly modulating pattern that creates immense challenges for improvisers. His own solo navigates these \"Coltrane changes\" with breathtaking speed and precision, establishing a technical and harmonic benchmark that saxophonists still measure themselves against decades later. Tommy Flanagan's piano solo on this track famously struggles with the changes, a testament to how revolutionary and difficult Coltrane's concept was even for one of the era's finest pianists.\u003c\/p\u003e\n\u003cp\u003e\"Cousin Mary\" provides a more straightforward blues-based respite, though even here Coltrane's harmonic sophistication elevates the material. \"Countdown\" takes the chord progression of Miles Davis' \"Tune Up\" and completely reimagines it with Coltrane's harmonic substitutions, demonstrating how his approach could transform existing material. \"Spiral\" and \"Syeeda's Song Flute\" (named for his daughter) showcase different facets of his compositional thinking.\u003c\/p\u003e\n\u003cp\u003eThe album's ballad centrepiece, \"Naima\", named for Coltrane's first wife, stands as one of the most beautiful compositions in jazz. With Wynton Kelly replacing Flanagan on piano and Jimmy Cobb on drums for this track, Coltrane's tender, searching melody and his reverential approach to the composition reveal the spiritual dimension that would increasingly define his work. \"Mr. P.C.\", dedicated to bassist Paul Chambers, closes the album with an uptempo blues that allows all the musicians to stretch out.\u003c\/p\u003e\n\u003cp\u003eThe rhythm section work throughout is exemplary. Paul Chambers' bass playing provides both harmonic foundation and melodic counterpoint, his tone warm and his time impeccable. Art Taylor's drumming on most tracks is crisp and supportive, while Jimmy Cobb's sensitive accompaniment on \"Naima\" perfectly suits that composition's contemplative mood. Tommy Flanagan, despite being challenged by \"Giant Steps\", demonstrates his usual elegance and harmonic sophistication throughout, while Wynton Kelly brings his characteristic bluesy touch to \"Naima\".\u003c\/p\u003e\n\u003cp\u003eThis 1968 pressing represents Atlantic's continued recognition of the album's importance eight years after its initial release. Mastered at Longwear Plating, the same facility that mastered many Atlantic jazz classics, and pressed by Presswell, this edition maintains the sonic clarity essential to appreciating Coltrane's rapid, complex lines and the quartet's interplay.\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/7cZ6oBx0SEUPDAoxJtxNDh?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43033380618299,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5203_c69f3329-8fc5-48c2-a00a-df7d426404f7.jpg?v=1763855509"},{"product_id":"red-garland-ron-carter-philly-joe-jones-crossings-us-galaxy-vinyl-lp","title":"Red Garland, Ron Carter, Philly Joe Jones - Crossings (US Galaxy Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eRed Garland, Ron Carter, Philly Joe Jones - Crossings Vinyl LP - US Galaxy Records Santa Maria Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA meeting of three masters from different eras of jazz, \u003cem\u003eCrossings\u003c\/em\u003e brings together pianist Red Garland, bassist Ron Carter, and drummer Philly Joe Jones for a swinging, blues-drenched piano trio session. Recorded in December 1977 at Fantasy Studios in Berkeley and released in July 1978 on Galaxy Records, this album represents a beautiful crossing of generations and styles: Garland and Jones, both veterans of Miles Davis' legendary first quintet of the 1950s, reuniting with Carter, who came to prominence with Davis' revolutionary second quintet of the 1960s.\u003c\/p\u003e\n\u003cp\u003eRed Garland's piano playing defined the sound of hard bop piano in the 1950s. His block chord style, bluesy touch, and gift for creating groove made him Miles Davis' first-choice pianist during the classic quintet period. By 1977, Garland had experienced career ups and downs, including a period away from music, but his playing here demonstrates that his touch and timing remained impeccable.\u003c\/p\u003e\n\u003cp\u003eThe album opens with Miles Davis' composition \"Solar\", a piece both Garland and Jones would have known intimately from their Davis days. The familiarity shows in their relaxed, authoritative interpretation. \"Railroad Crossing\" likely references the intersection of these three musicians' careers, while the standard \"Never Let Me Go\" receives a tender ballad treatment that showcases Garland's gift for melodic embellishment. Sonny Rollins' \"Oleo\" closes the first side with an uptempo romp through bebop changes.\u003c\/p\u003e\n\u003cp\u003eSide two presents \"But Not For Me\" and Cole Porter's \"Love For Sale\", both standards given fresh life through the trio's interaction. Ron Carter's bass playing throughout is a marvel of melodic invention and rhythmic solidity. His tone, always impeccable, and his harmonic sophistication represent the more modern approach he developed with the Miles Davis Second Quintet, creating an interesting contrast with Garland's more traditional hard bop vocabulary.\u003c\/p\u003e\n\u003cp\u003ePhilly Joe Jones, despite health issues that would contribute to his death just seven years later, plays with characteristic fire and swing. His brush work is delicate, his cymbal playing shimmers, and his ability to propel the music forward while remaining utterly musical makes it clear why he was Davis' favourite drummer. The chemistry between Jones and Garland, forged in the 1950s, remains intact, while Carter adapts brilliantly to their aesthetic.\u003c\/p\u003e\n\u003cp\u003eRecorded and mixed by Bruce Walford at Fantasy Studios and mastered by David Turner, also at Fantasy, this Galaxy Records release benefits from excellent engineering that captures the intimacy of the piano trio format. The Santa Maria pressing plant was Fantasy's own facility, known for generally good quality control. Distributed by Fantasy Records, this album represents the tail end of the 1970s acoustic jazz revival that saw veteran players like Garland recording prolifically again.\u003c\/p\u003e\n\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius:12px\" src=\"https:\/\/open.spotify.com\/embed\/album\/3WlH60Hn5ulThgMA2QqFZu?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e","brand":"Galaxy","offers":[{"title":"Default Title","offer_id":43033536266299,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5227.jpg?v=1763875582"},{"product_id":"john-coltrane-expression-1968-us-impulse-rainbow-label-vinyl-lp-gatefold","title":"John Coltrane - Expression (1968 US Impulse! Rainbow Label Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eJohn Coltrane - \u003cem\u003eExpression\u003c\/em\u003e Vinyl LP - Early US Impulse! Rainbow Label Repress, Gatefold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJohn Coltrane's final studio album, recorded in the months before his death from liver cancer on 17 July 1967, \u003cem\u003eExpression\u003c\/em\u003e stands as both a farewell and a testament to his restless spiritual and musical searching. This early 1968 US pressing on Impulse!'s first rainbow label configuration captures Coltrane's quartet featuring his wife Alice Coltrane on piano, Jimmy Garrison on bass, and Rashied Ali on drums performing four compositions that venture far beyond conventional jazz into realms of pure expression and transcendence. Remarkably, this copy includes a Japanese insert, indicating it was a US pressing distributed to the Japanese market.\u003c\/p\u003e\n\u003cp\u003eThe album opens with \"Ogunde\", recorded on 7 March 1967, Coltrane's very last recording session. The piece demonstrates the territory Coltrane had reached: collective improvisation where traditional roles dissolve, intense emotional expression taking precedence over harmonic structure, and a spiritual searching that transcends musical conventions. Alice Coltrane's piano playing throughout adds a distinctively cosmic, floating quality quite different from McCoy Tyner's muscular approach in the classic quartet.\u003c\/p\u003e\n\u003cp\u003e\"To Be\", recorded on 15 February 1967, and \"Offering\", from the same session, showcase the quartet working as a single, unified voice rather than as soloist plus accompaniment. Rashied Ali's drumming abandons traditional timekeeping for a more textural, conversational approach, responding moment by moment to Coltrane's increasingly intense saxophone cries. Garrison's bass provides grounding while remaining free to explore melodically.\u003c\/p\u003e\n\u003cp\u003eThe title track \"Expression\", recorded during spring 1967, closes the album with Coltrane's tenor saxophone pushing into the extreme registers and tonal distortions that characterised his final period. For listeners unfamiliar with late Coltrane, this music can be challenging - it's not \"pretty\" or conventionally melodic, but it's deeply felt and spiritually committed. Coltrane was exploring the outer limits of what his instrument could express, using extended techniques, multiphonics, and sheer emotional intensity to convey states beyond words.\u003c\/p\u003e\n\u003cp\u003eThis early rainbow label pressing, identifiable by its black and red ring labels with Impulse! and ABC logos together in one continuous rainbow box, represents the first post-1968 label configuration after the orange and black labels. The pressing details are fascinating: side B retains Van Gelder's handwritten matrix number and stamp matching the first pressing, while side A has a stamped rather than etched matrix, indicating this is an early repress rather than a true first pressing.\u003c\/p\u003e\n\u003cp\u003eThe thick, laminated gatefold sleeve (unlaminated inside) and the inner sleeve advertising releases only through 1966 with the ABC-Paramount address help date this pressing to 1968. The inclusion of a Japanese insert with a US pressing creates an unusual hybrid of American manufacturing and Japanese market distribution, making this a particularly interesting copy for collectors.\u003c\/p\u003e\n\u003cp\u003eRecorded at Van Gelder Studio with Rudy Van Gelder's engineering and mastered at Longwear Plating, this pressing maintains the sonic quality essential to appreciating Coltrane's final explorations. Co-produced by Bob Thiele and Coltrane himself, Expression represents Coltrane's ultimate artistic vision, uncompromised and unfiltered.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43066166542395,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5378.jpg?v=1765197633"},{"product_id":"albert-ayler-nuits-de-la-fondation-maeght-volume-2-1970-french-shandar-gatefold-lp","title":"Albert Ayler - Nuits De La Fondation Maeght Volume 2 (1970 French Shandar Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eAlbert Ayler - \u003cem\u003eNuits De La Fondation Maeght Volume 2\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1970 French Shandar Stereo\/Mono Gatefold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlbert Ayler's final documented performance, recorded live on 24 July 1970 at the Fondation Maeght in Saint-Paul de Vence, France, captures the saxophonist's late-period approach emphasising spiritual themes and vocal elements. Performed with his partner Mary Maria on vocals and soprano saxophone, pianist Call Cobbs, bassist Steve Tintweiss, and drummer Allen Blairman, the four extended compositions represent Ayler's evolving vision incorporating R\u0026amp;B influences, vocal chanting, and gospel-inspired melodies alongside his characteristic free jazz explorations. Released in 1970 on the French Shandar label (distributed by RCA) in glossy gatefold sleeve, this recording documents Ayler just months before his tragic death in November 1970.\u003c\/p\u003e\n\u003cp\u003eThe programme includes Ayler's late-period compositions that divided audiences and critics: \"Truth Is Marching In\" opens with march-like themes before dissolving into collective improvisation, while \"Music Is The Healing Force Of The Universe\" (which would become the title of his final studio album) demonstrates his increasing focus on music's spiritual and healing properties. Mary Maria's vocals and soprano saxophone add a dimension absent from Ayler's earlier work, her chanting and singing reflecting Ayler's belief that music should communicate directly and emotionally rather than through purely instrumental abstraction.\u003c\/p\u003e\n\u003cp\u003eThis live recording captures both the power and the controversy of Ayler's final direction. His incorporation of R\u0026amp;B elements, simpler melodies, and vocal features alienated some free jazz purists who preferred his earlier ESP-Disk recordings, yet these late works represent Ayler's sincere exploration of music's spiritual and communal functions. The Saint-Paul de Vence performance preserves his vision in its final form. Released on Shandar in glossy gatefold sleeve with stereo\/mono compatibility and distributed by RCA, this French pressing documents a historic final performance.\u003c\/p\u003e","brand":"Shandar","offers":[{"title":"Default Title","offer_id":43202393112635,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6044.jpg?v=1770592221"},{"product_id":"chico-freeman-quartet-no-time-left-1979-italian-black-saint-vinyl-lp","title":"Chico Freeman Quartet - No Time Left (1979 Italian Black Saint Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eChico Freeman Quartet - \u003cem\u003eNo Time Left\u003c\/em\u003e Vinyl LP - 1979 Italian Black Saint with Japanese Insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eTenor and soprano saxophonist Chico Freeman's Black Saint debut captures the Chicago musician leading a quartet through three extended modal compositions recorded on 8 and 9 June 1979 at Fontana Studios in Milan. Featuring vibraphonist Jay Hoggard, bassist Rick Rozie, and drummer Famoudou Don Moye (of the Art Ensemble of Chicago), the session demonstrates Freeman's ability to bridge Chicago's AACM avant-garde tradition with more accessible post-Coltrane modal jazz. The title track occupies the entire first side, while two shorter pieces fill side two. Released in 1979 on Italy's Black Saint label (distributed by IREC Milano), this pressing was imported to Japan and includes Japanese insert.\u003c\/p\u003e\n\u003cp\u003eFreeman's playing draws from Coltrane's modal explorations while incorporating the timbral experimentation and rhythmic freedom of Chicago's avant-garde scene. His multi-instrumental approach (tenor and soprano saxophones, clarinet) creates textural variety across the programme, while his compositions provide frameworks that balance written material with extended improvisation. Hoggard's vibraphone adds distinctive colour, the instrument's shimmering sustain creating harmonic beds for Freeman's explorations. Don Moye's percussion work, honed through years with the Art Ensemble, provides both structure and freedom, his approach treating rhythm as collective conversation rather than mere timekeeping.\u003c\/p\u003e\n\u003cp\u003eThe extended title track allows the quartet space to develop ideas organically, building intensity through collective interaction rather than predetermined structures. The shorter pieces on side two demonstrate Freeman's compositional range within the modal framework. Recorded at Fontana Studios in Milan and published by Nisha-Ayl Publishing Company, this Black Saint session captures Freeman at the beginning of a prolific recording career. Made in Italy and imported to Japan with Japanese insert, this pressing documents the post-AACM generation finding individual voices.\u003c\/p\u003e","brand":"Black Saint","offers":[{"title":"Default Title","offer_id":43202406023227,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6039.jpg?v=1770593371"},{"product_id":"paul-bley-open-to-love-1973-original-german-ecm-lp-ecm-1023-pallas","title":"Paul Bley - Open, To Love (1973 Original German ECM LP, ECM 1023, Pallas)","description":"\u003cp\u003e\u003cstrong\u003ePaul Bley - \u003cem\u003eOpen, To Love\u003c\/em\u003e | Vinyl LP - 1973 Original German ECM First Pressing (ECM 1023 ST, Pallas)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003ePaul Bley's solo piano masterwork for ECM\u003c\/strong\u003e, recorded 1972 and produced by Manfred Eicher; the third solo piano album in ECM's catalogue, after Chick Corea's \u003cem\u003ePiano Improvisations\u003c\/em\u003e and Keith Jarrett's \u003cem\u003eFacing You\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOne of the most influential solo piano recordings in jazz history\u003c\/strong\u003e, and certainly one that defined the sound of the German label ECM\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal first German pressing\u003c\/strong\u003e, lacquer cut and pressed at Schallplattenfabrik Pallas GmbH; ECM 1023 ST\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003ePaul Bley recorded \u003cem\u003eOpen, To Love\u003c\/em\u003e on 11 September 1972 at Arne Bendiksen Studio in Oslo, under Manfred Eicher's production. He was 39 and had been a significant figure in jazz since the mid-1950s — he had run the Hillcrest Club in Los Angeles where Ornette Coleman first performed with a piano rhythm section, led early recordings for EmArcy and Savoy, and worked with Charles Mingus. By 1972 he had arrived at a point of maximum economy: minimal notes, extended silence, the sustain pedal used to let overtones breathe and decay. Seven tracks are the whole album. Five of them were written by Carla Bley and Annette Peacock — the two composers who had also been his partners. Carla's \"Ida Lupino,\" named for the British-born Hollywood actress and film director, is the album's centrepiece: seven and a half minutes of lyrical improvisation that remains among the most beautiful performances in Bley's discography. Her \"Closer\" opens the record and \"Seven\" closes Side B. Peacock's title track and \"Nothing Ever Was, Anyway\" flank the two Bley originals on the second side.\u003c\/p\u003e\n\u003cp\u003eBley's own \"Started\" and \"Harlem\" are contrafacts — compositions that work from and against earlier jazz material, dismantling familiar harmonic structures until they become something new. \"Started\" draws on the chord sequence of \"I Can't Get Started\"; both pieces are described by ECM as \"unspooling and reconfiguring jazz standards.\" This is the third solo piano album ECM released, after Chick Corea's \u003cem\u003ePiano Improvisations\u003c\/em\u003e and Keith Jarrett's \u003cem\u003eFacing You\u003c\/em\u003e. All three were produced by Eicher, all three recorded in the same period, and the three together constitute a founding document of ECM's aesthetic approach to solo piano. This is the original first German pressing, lacquer cut and pressed at Schallplattenfabrik Pallas GmbH.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43283564560443,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6396.jpg?v=1773530427"},{"product_id":"keith-jarrett-treasure-island-1974-original-us-abc-impulse-quadraphonic-lp-as-9274-gatefold","title":"Keith Jarrett - Treasure Island (1974 Original US ABC Impulse! Quadraphonic LP, AS-9274, Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eTreasure Island\u003c\/em\u003e | Vinyl LP - 1974 Original US ABC Impulse! Gatefold (AS-9274, Kendun\/Terre Haute)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eKeith Jarrett's American Quartet\u003c\/strong\u003e — Dewey Redman on tenor saxophone, Charlie Haden on bass, Paul Motian on drums — recorded at Generation Sound Studio, New York City, on 27 and 28 February 1974; the quartet's first studio album for Impulse!, produced by Ed Michel\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSeven originals across two sides\u003c\/strong\u003e, from the slow country-gospel of \"The Rich (And The Poor)\" to the Latin-tinged title track and Jarrett's soprano saxophone outing on \"Angles (Without Edges)\"; two tracks feature guitarist Sam Brown\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal 1974 US pressing\u003c\/strong\u003e, gatefold; lacquer cut at Kendun Recorders, pressed at Columbia Records Pressing Plant, Terre Haute; Compatible Stereo\/Quadraphonic format\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eKeith Jarrett had been working with Charlie Haden and Paul Motian since the late 1960s; Dewey Redman joined them around 1971 when Jarrett signed with Impulse! after Columbia dropped him. The four musicians became known as the American Quartet and recorded four studio albums for the label between 1974 and 1976. \u003cem\u003eTreasure Island\u003c\/em\u003e, recorded at Generation Sound Studio in New York City over two days in late February 1974, was the first of the studio recordings. Producer Ed Michel had been a key figure at Impulse! through the label's Coltrane years and oversaw much of the quartet's output. Engineer Tony May mixed the sessions at The Village Recorder in Los Angeles.\u003c\/p\u003e\n\u003cp\u003eThe seven tracks on \u003cem\u003eTreasure Island\u003c\/em\u003e move between idioms without forcing cohesion. \"The Rich (And The Poor)\" is a slow gospel piece, Motian playing without cymbals, Haden loud in the mix, Jarrett's piano building over a bass drum and snare pulse. The title track brings in guitarist Sam Brown and introduces a more airy, Latin-tinged texture. Jarrett plays soprano saxophone on \"Angles (Without Edges).\" \"Introduction\/Yaqui Indian Folk Song\" incorporates a melody from the Yaqui people of the Sonoran Desert. Brown also appears on the closing \"Sister Fortune.\" Jarrett plays additional instruments across the session — osi drum, wood flute — that extend the record's rhythmic and textural range beyond the standard piano quartet. Two months after these sessions, Jarrett would enter a studio in Norway to record \u003cem\u003eBelonging\u003c\/em\u003e with Jan Garbarek, Palle Danielsson and Jon Christensen. This original US pressing is gatefold, lacquer cut at Kendun Recorders and pressed at Columbia's Terre Haute plant, in Compatible Stereo\/Quadraphonic format.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43283568590907,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6400.jpg?v=1773532087"},{"product_id":"weather-report-weather-report-1982-us-columbia-vinyl-lp","title":"Weather Report - Weather Report (1982 US Columbia Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWeather Report - \u003cem\u003eWeather Report\u003c\/em\u003e | Vinyl LP - 1982 Original US Columbia (PC 37616, CBS Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eWeather Report's tenth studio album\u003c\/strong\u003e, recorded in the summer of 1981 at Power Station in New York, The Music Room in Pasadena and Soundcastle in Los Angeles; produced by Joe Zawinul with assistance from Jaco Pastorius and Wayne Shorter; engineered by Brian Risner\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe final studio album featuring Jaco Pastorius\u003c\/strong\u003e on bass and Peter Erskine on drums; both departed after recording — Pastorius for his Word of Mouth project, Erskine for Steps Ahead\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe three-part \"N.Y.C.\" suite\u003c\/strong\u003e is the album's centrepiece: \"41st Parallel,\" \"The Dance\" and \"Crazy About Jazz,\" combining Zawinul's synthesised orchestration with Pastorius's fretless bass and Erskine's drumming\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal 1982 US Columbia pressing\u003c\/strong\u003e (PC 37616) manufactured by CBS Inc.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThis is the second album Weather Report released under their own name — the first was their 1971 debut. By 1981, when these sessions took place across three studios in New York and California, the band had been through several personnel changes since that debut: Jaco Pastorius had joined in 1976, Peter Erskine in 1978, and Robert Thomas Jr. as a second percussionist from 1979. The core remained Joe Zawinul on keyboards and synthesisers and Wayne Shorter on saxophone, as it had been since the band's formation. Zawinul produced; Pastorius and Shorter were assistant producers; Brian Risner engineered.\u003c\/p\u003e\n\u003cp\u003eBy 1981, creative tensions between Zawinul and Pastorius had been building. Zawinul's increasing use of synthesised bass lines and computer-generated drum programming — Erskine used a drum computer on several tracks here — displaced some of the role Pastorius had played on earlier records. The Pastorius who plays on this album is still audible as a major force, particularly on \"Volcano for Hire\" (A1) and through the \"N.Y.C.\" suite, but his writing contribution had reduced to a single group-composed piece. Shorter, similarly, contributed one composition. The vast majority of the material is Zawinul's. It reached No. 5 on the US Jazz Albums chart. After the album was complete, Pastorius left for Word of Mouth commitments and Erskine left for Steps Ahead; Zawinul and Shorter recruited Victor Bailey and Omar Hakim to continue the band. This is the original 1982 US Columbia pressing.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43308937510971,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6442.jpg?v=1774231533"},{"product_id":"miles-davis-sextet-someday-my-prince-will-come-1974-us-columbia-lp-stereo-reissue","title":"Miles Davis Sextet - Someday My Prince Will Come (1974 US Columbia LP, Stereo Reissue)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis Sextet - \u003cem\u003eSomeday My Prince Will Come\u003c\/em\u003e | Vinyl LP - 1974 US Columbia Stereo Reissue (KCS 8456)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eMiles Davis's 1961 Columbia album\u003c\/strong\u003e featuring his working quintet — Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, Jimmy Cobb on drums — with John Coltrane returning as a guest on two tracks; the only studio recording to pair Mobley and Coltrane in the same session\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThree original compositions by Davis\u003c\/strong\u003e: \"Pfrancing\" for his wife Frances, \"Teo\" for producer Teo Macero, and \"Drad-Dog\" (Goddard Lieberson's name reversed) for the Columbia Records president; three standards including the waltz title track from Disney's 1937 \u003cem\u003eSnow White\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe last studio encounter between Davis and Coltrane\u003c\/strong\u003e.\u003cstrong\u003e \u003c\/strong\u003eColtrane plays on A1 alongside Mobley and appears again on B2 replacing him entirely\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMiles Davis recorded \u003cem\u003eSomeday My Prince Will Come\u003c\/em\u003e over three days at Columbia's 30th Street Studio in Manhattan in March 1961. By this point, both Cannonball Adderley and John Coltrane had left the group to lead their own bands. Hank Mobley had joined in December 1960 as the new tenor saxophonist, stabilising a line-up that also included Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Teo Macero produced.\u003c\/p\u003e\n\u003cp\u003eDavis brought Coltrane back for two tracks. On the title piece — a waltz drawn from the 1937 Disney film \u003cem\u003eSnow White and the Seven Dwarfs\u003c\/em\u003e — both Mobley and Coltrane solo on the same changes back to back, Mobley's playing measured and lyrical against Coltrane's more intense and harmonically searching approach. The nine-minute track is the only recorded instance of the two tenors on the same session. On \"Teo\" (B2), Coltrane replaces Mobley entirely. The remaining four tracks are quintet recordings. The album's three Davis originals are encoded with specific dedications: \"Pfrancing\" — also known as \"No Blues\" — for his wife Frances, whose image is on the cover; \"Teo\" for Macero; and \"Drad-Dog\" — \"Goddard\" reversed — for Goddard Lieberson, then president of Columbia Records. The three standards are \"Someday My Prince Will Come,\" \"Old Folks\" and Jimmy Van Heusen's \"I Thought About You.\" This is a 1974 US Columbia stereo reissue of the original 1961 release (Columbia CS 8456).\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43308994035771,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6447.jpg?v=1774232829"},{"product_id":"wayne-shorter-the-all-seeing-eye-1967-japanese-distributed-us-blue-note-bst-84219-lp","title":"Wayne Shorter - The All Seeing Eye (1967 Japanese-distributed US Blue Note BST 84219 LP)","description":"\u003cp\u003e\u003cstrong\u003eWayne Shorter - \u003cem\u003eThe All Seeing Eye\u003c\/em\u003e | Vinyl LP - 1967 US Blue Note (BST 84219, Liberty Records label, Japanese distribution via Toshiba Musical Industries Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is the original US Liberty-era pressing of \u003cem\u003eThe All Seeing Eye\u003c\/em\u003e, distributed in Japan through Toshiba Musical Industries with a Japanese obi and insert. The blue\/white label carries the \"A Division of Liberty Records, Inc.\" identifier, dating it to the period after Liberty acquired Blue Note in 1966. Alfred Lion produced the original October 1965 session; Rudy Van Gelder engineered; Reid Miles designed the cover; Francis Wolff photographed it. Nat Hentoff wrote the liner notes from an extended interview with Shorter.\u003c\/p\u003e\n\u003cp\u003eThe album is five pieces and was planned as a suite rather than a collection of separate tracks. Shorter told Hentoff what each piece meant: \"The All Seeing Eye\" is about creation and God's role in it; \"Genesis\" starts in free tempo and moves into 4\/4 as the world settles; \"Chaos\" is war and human misunderstanding; \"Face of the Deep\" is a minor-key ballad meant to be hopeful, God looking at what has been made; \"Mephistopheles\" — written by Alan Shorter, who plays flugelhorn on it — closes the suite with the demonic counterweight. The ensemble Shorter assembled was a septet: Freddie Hubbard on trumpet, Grachan Moncur III on trombone, James Spaulding on alto saxophone, Herbie Hancock on piano, Ron Carter on bass and Joe Chambers on drums. Shorter was a year into the Miles Davis Quintet when this was recorded, and the space that quintet opened up is audible in every bar.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43410987286587,"sku":null,"price":160.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6594.jpg?v=1775944738"},{"product_id":"david-axelrod-messiah-2000-us-rca-lsp-4636-reissue-lp","title":"David Axelrod - Messiah (2000 US RCA LSP-4636 Reissue LP)","description":"\u003cp\u003e\u003cstrong\u003eDavid Axelrod - \u003cem\u003eMessiah\u003c\/em\u003e | Vinyl LP - 2000 RCA Reissue (LSP-4636, Rainbo Records pressing)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDavid Axelrod spent the 1960s producing Cannonball Adderley and Lou Rawls for Capitol Records, building a reputation for orchestrated arrangements that refused to stay inside any single category. In 1968, Capitol gave him his own album projects, and he produced a run of records that took literary, religious and classical texts and ran them through a mixture of jazz, soul, psychedelic rock and orchestral writing. By 1971, working with producer Ronald Budnik at RCA, he turned to Handel.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMessiah\u003c\/em\u003e — the full title is \u003cem\u003eDavid Axelrod's Rock Interpretation of Handel's Messiah\u003c\/em\u003e — draws nine movements from Handel's 1741 oratorio and rearranges them for a 38-piece orchestra. Electric instruments fill the role that organ and harpsichord play in Handel's original. Carol Kaye plays bass; Mike Deasy plays guitar. Vocal group The Dillons handle the choral parts. Cannonball Adderley, who had been conducting orchestral sessions with Axelrod for years, led the orchestra and appears briefly on the closing track \"Worthy Is the Lamb.\" Adderley at the same time was recording \u003cem\u003eBlack Messiah\u003c\/em\u003e, his own large-ensemble album, with Axelrod producing.\u003c\/p\u003e\n\u003cp\u003eThe sessions were recorded at RCA's Music Center of the World in Hollywood. This is the 2000 US reissue, mastered at Better Quality Sound and pressed at Rainbo Records.\u003c\/p\u003e","brand":"RCA","offers":[{"title":"Default Title","offer_id":43432441184315,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6647.jpg?v=1776600454"},{"product_id":"archie-shepp-three-for-a-quarter-one-for-a-dime-1969-us-impulse-as-9162-gatefold-lp-japanese-distribution","title":"Archie Shepp - Three For A Quarter, One For A Dime (1969 US Impulse! AS-9162 Gatefold LP, Japanese distribution)","description":"\u003cp\u003e\u003cstrong\u003eArchie Shepp - \u003cem\u003eThree For A Quarter\u003c\/em\u003e, One For A Dime | Vinyl LP - 1969 US Impulse! Gatefold (AS-9162, King Record Co. Ltd. Japan distribution)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis is not a separately manufactured Japanese pressing — it is the original US Impulse! pressing, distributed in Japan by King Record Co. Ltd. with Japanese liner notes added to the gatefold. Bob Thiele produced; Wally Heider engineered; Nat Hentoff wrote the original liner notes; Henry Epstein and Byron Goto designed the cover.\u003c\/p\u003e\n\u003cp\u003eThe recording was made on the same night as \u003cem\u003eLive in San Francisco\u003c\/em\u003e — February 19, 1966 at the Both\/And Club — but held back and not issued until 1969. The quintet is the group Shepp was working with throughout 1966: Roswell Rudd on trombone, Beaver Harris on drums, Donald Garrett and Lewis Worrell on bass. What separates this material from \u003cem\u003eLive in San Francisco\u003c\/em\u003e is the mode of performance: rather than a set of composed or standard pieces, this is a single extended improvisation lasting thirty-three minutes, divided by the physical constraints of the LP format into Side A (approximately 17.5 minutes) and Side B (approximately 15.5 minutes).\u003c\/p\u003e\n\u003cp\u003eShepp and Rudd open together on a theme that starts boppish and moves quickly outward. Shepp takes the floor and stays there for most of Side A, his tenor large-toned and relentless. Beaver Harris plays at full intensity throughout. On Side B, Shepp moves to acoustic piano and Rudd takes a long trombone solo, the only sustained moment where Shepp steps aside. He picks up his saxophone to close the performance.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43473432510523,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6783.jpg?v=1777590916"},{"product_id":"albert-ayler-my-name-is-albert-ayler-c-1973-us-fantasy-vinyl-lp","title":"Albert Ayler - My Name Is Albert Ayler (c.1973 US Fantasy Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eAlbert Ayler - \u003cem\u003eMy Name Is Albert Ayler\u003c\/em\u003e | Vinyl LP - c.1973 Fantasy Records (86016, Debut Series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlbert Ayler moved to Sweden in 1962. He had been playing rhythm and blues in army bands and had just begun developing the tenor approach that would make him one of the most singular voices in jazz. By January 1963 he had spent time in Stockholm and Copenhagen, played with Cecil Taylor's group — he described meeting Taylor as the first time he had found musicians who understood what he was trying to do — and been booked for a session at the Danish National Radio Studios. The rhythm section was local: Niels Brønsted on piano, Niels-Henning Ørsted Pedersen on bass, Ronnie Gardiner on drums. NHOP was sixteen.\u003c\/p\u003e\n\u003cp\u003eThe album opens with a spoken introduction by Ayler himself — brief, direct, describing where he came from and where he thought he was going. He then plays four standards and one original. \"Bye Bye Blackbird\" is the only track on which he uses soprano saxophone. \"Billie's Bounce\" is the Charlie Parker blues from 1945. \"Summertime\" is the Gershwin piece from \u003cem\u003ePorgy and Bess\u003c\/em\u003e — Ayler takes it at a ballad tempo and does not ornament it so much as pass through it, each phrase extended into something that functions less as melody than as sustained expression. \"On Green Dolphin Street\" is the 1947 Bronisław Kaper standard. \"C.T.,\" which closes the album, is the sole Ayler original, named for and dedicated to Cecil Taylor. Brønsted does not play on it — the track is Ayler, NHOP and Gardiner, and it is the piece where the band sounds most like it inhabits the same space as the soloist.\u003c\/p\u003e\n\u003cp\u003eThe album was first released by Debut Records in Denmark in 1964. This c.1973 Fantasy Records pressing is the US Debut Series reissue.\u003c\/p\u003e","brand":"Fantasy","offers":[{"title":"Default Title","offer_id":43473504763963,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6803.jpg?v=1777594172"},{"product_id":"jackie-mclean-jackies-bag-1971-us-blue-note-bst-84051-stereo-lp","title":"Jackie McLean - Jackie's Bag (1971 US Blue Note BST 84051 Stereo LP)","description":"\u003cp\u003e\u003cstrong\u003eJackie McLean - \u003cem\u003eJackie's Bag\u003c\/em\u003e | Vinyl LP - 1971 US Blue Note Stereo Reissue (BST 84051, United Artists Records)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAlfred Lion recorded Jackie McLean at Van Gelder's Hackensack studio on January 18, 1959 with Donald Byrd, Sonny Clark, Paul Chambers and Philly Joe Jones. The three tracks from that date open the album. \"Quadrangle\" is built on the \u003cem\u003eI Got Rhythm\u003c\/em\u003e chord changes with enough open phrasing to suggest McLean was already listening past the hard bop he was nominally playing. \"Blues Inn\" is the shortest piece on Side A, direct and hard-swinging. \"Fidel\" was named for Fidel Castro, who had assumed power in Cuba ten days earlier; its inclusion on the album when it was released in 1961 was a politically pointed act.\u003c\/p\u003e\n\u003cp\u003eThe three tracks on Side B came from a separate session on September 1, 1960, recorded at Van Gelder's new Englewood Cliffs studio. The personnel changed entirely except for Paul Chambers — Blue Mitchell replaced Byrd on trumpet, Tina Brooks joined on tenor, Kenny Drew replaced Sonny Clark and Art Taylor replaced Philly Joe Jones. Brooks had been recording for Blue Note as a sideman since 1958 and had made one session under his own name, but he never achieved the recognition his playing deserved. He plays on all three Side B tracks, and the sustained intensity of his tenor work on \"Appointment in Ghana\" — the album's longest and most demanding piece — has led many collectors to describe these as the finest recordings he left.\u003c\/p\u003e\n\u003cp\u003e\"Isle of Java\" (B3) is the one non-McLean original, written by Brooks himself. All other five compositions are McLean's. This is the 1971 United Artists reissue on the standard blue and white UA-era Blue Note label.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43473940021307,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6779.jpg?v=1777609066"},{"product_id":"chico-freeman-the-outside-within-1981-us-india-navigation-vinyl-lp","title":"Chico Freeman - The Outside Within (1981 US India Navigation Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eChico Freeman - \u003cem\u003eThe Outside Within\u003c\/em\u003e | Vinyl LP - 1981 India Navigation (IN 1042)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eChico Freeman was twenty-seven when this was recorded. Son of tenor saxophonist Von Freeman, Freeman grew up in Chicago, and had been recording for India Navigation since 1975. Influenced by the scales of the Far East, but with the warmth and extroverted emotions of the blues, the album is a key title from India Navigation's late 1970s run. \u003cem\u003eThe Outside Within\u003c\/em\u003e was recorded in 1978 but not released until 1981.\u003c\/p\u003e\n\u003cp\u003eThe recording session assembled a quartet that would have been difficult to improve: Cecil McBee on bass, Jack DeJohnette on drums and John Hicks on piano. McBee had played with Charles Lloyd, Alice Coltrane and Pharoah Sanders and was the most in-demand bassist in the post-Coltrane tradition. DeJohnette had been inside Miles Davis's \u003cem\u003eBitches Brew\u003c\/em\u003e band and was Sam Rivers's drummer, among many others. Hicks, a Bostonian who had worked with Art Blakey, brought warmth and swing to material that could have tipped further into abstraction.\u003c\/p\u003e\n\u003cp\u003eSide A is one piece, \"Undercurrent,\" at approximately twenty minutes. Freeman plays tenor and bass clarinet, the bass clarinet most prominent in the quieter passages where McBee's low bass lines create a slow, searching harmonic floor. The three pieces on Side B move between different registers: \"The Search\" is the most open and expansive, \"Luna\" works with odd time signatures over a McBee bass and is superb, and \"Ascent\" closes the set with more direct hard bop energy. All four compositions are Freeman's.\u003c\/p\u003e\n\u003cp\u003eThis is the original US pressing on India Navigation (IN 1042) released in 1981.\u003c\/p\u003e","brand":"India Navigation","offers":[{"title":"Default Title","offer_id":43474256822331,"sku":null,"price":110.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6795.jpg?v=1777618400"},{"product_id":"archie-shepp-a-sea-of-faces-1975-italian-black-saint-bsr-0002-original-gatefold-lp-first-pressing","title":"Archie Shepp - A Sea of Faces (1975 Italian Black Saint BSR 0002 Original Gatefold LP, First Pressing)","description":"\u003cp\u003e\u003cstrong\u003eArchie Shepp - \u003cem\u003eA Sea of Faces\u003c\/em\u003e | Vinyl LP - 1975 Black Saint Original First Pressing, Gatefold (BSR 0002)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGiacomo Pellicciotti founded Black Saint Records in Milan in 1975; this album was the label's second release and was recorded the same year at Phonogram Studios. The ensemble brought together Dave Burrell on piano, Cameron Brown on bass, Beaver Harris on drums, trombonist and vocalist Charles Greenlee, vocalists Bunny Foy and Rafi Taha.\u003c\/p\u003e\n\u003cp\u003eShepp plays tenor saxophone, soprano saxophone, piano and voice across the four tracks, though he did not write most of the material. \"Hipnosis,\" which fills the entire Side A, is Grachan Moncur III's, an obsessive, repeated bass figure that rarely shifts key; the theme appears only fifteen minutes in, and the tension is maintained almost entirely through Shepp's improvising and Burrell's percussive comping alongside Greenlee's trombone. \"Song for Mozambique\" was written by Semenya McCord with a poem by Shepp. Foy sings in the foreground while Shepp recites over Cameron Brown's bass. \"I Know 'Bout the Life,\" by Aishah Rahman and Shepp, is the Soul-Jazz ballad of the set, Foy again on vocals and Shepp at the piano. \"Lookin' for Someone to Love\" is by Cal Massey, the Philadelphia composer who wrote \"Father and Son\" and \"Assunta\" for Freddie Hubbard's \u003cem\u003eHub Cap\u003c\/em\u003e session in 1961.\u003c\/p\u003e\n\u003cp\u003eThis is the original first pressing on black and white Black Saint labels, with a gatefold sleeve.\u003c\/p\u003e","brand":"Black Saint","offers":[{"title":"Default Title","offer_id":43474617139259,"sku":null,"price":115.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6790.jpg?v=1777637032"},{"product_id":"john-coltrane-a-love-supreme-1974-us-abc-impulse-reissue-a-77-as-77-vinyl-lp","title":"John Coltrane - A Love Supreme (1974 US ABC Impulse! 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Coltrane arrived at Van Gelder Studio with something close to a finished vision: a sustained act of devotion, moving through acknowledgement, resolution, pursuance, and prayer. The quartet had reached a level of collective understanding that is audible in every bar. Tyner's chords lock and release with percussive weight, Garrison's bass holds the centre while orbiting it, and Jones plays with a density that sounds like three drummers sharing a single kit. \"Acknowledgement\" builds from the four-note motif now known to every jazz listener, chanted by Coltrane at the close in shifting keys until it dissolves into the ensemble. \"Pursuance\" reaches hardest and furthest, the tenor burning at its upper register before \"Psalm\" brings everything back to stillness: a wordless recitation of the poem Coltrane printed in the original liner notes.\u003c\/p\u003e\n\u003cp\u003eThe original 1965 Impulse! pressings are among the most searched-for records in jazz collecting. This 1974 ABC Impulse! reissue is the most affordable entry point to the album on original-era vinyl: the dual catalogue numbering (A-77 sleeve, AS-77 labels) reflects the transitional years between mono and stereo on the Impulse! catalogue, and the pressing carries the matte gatefold sleeve that collectors associate with the early editions. Rudy Van Gelder engineered the sessions and the recording has been carefully maintained: wide dynamic range, Coltrane's tenor placed front and centre with space around every instrument.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43475910000699,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6811.jpg?v=1777685479"},{"product_id":"keith-jarrett-facing-you-1972-german-ecm-original-lp","title":"Keith Jarrett - Facing You (1972 German ECM Original LP)","description":"\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eFacing You\u003c\/em\u003e | Vinyl LP - 1972 German ECM Original (ECM 1017 ST, Schallplattenfabrik Pallas GmbH)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKeith Jarrett had recorded for Atlantic and Columbia before Manfred Eicher signed him to ECM in 1971. The label was barely two years old. Eicher booked the Arne Bendiksen Studio in Oslo and placed Jarrett at a piano alone with Jan Erik Kongshaug engineering. The result was eight pieces, no overdubs, no editing, no interruption. Everything on the record is the first and only take.\u003c\/p\u003e\n\u003cp\u003eThe title refers to the confrontation between performer and instrument in the absence of an ensemble. No rhythm section to lean on, no other voice to respond to, only the piano and what Jarrett could bring to it. The pieces move through different registers without announcing the transitions. \"In Front\" opens with a melodic figure and develops it through harmonic variations that never quite return to where they started. \"Ritooria\" is slower, Jarrett holding individual notes longer and letting the sustain define the space. \"Lalene\" is the most openly bluesy piece on Side A. Side B opens with \"My Lady; My Child,\" written for his wife and son, more lyrical and less exploratory than the other pieces and melody dominant. \"Landscape for Future Earth,\" \"Starbright\" and \"Vapallia\" move progressively outward. \"Semblence\" closes the record quietly.\u003c\/p\u003e\n\u003cp\u003eEicher and Kongshaug captured the piano's full acoustic range, close and immediate. The ECM sound at this early stage in the label's history was still being defined, and this album was part of that definition. Original German pressing, pressed at Pallas, in a laminated sleeve.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43518541791291,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7005.jpg?v=1778982958"},{"product_id":"jimmy-smith-and-wes-montgomery-dynamic-duo-1967-us-verve-gatefold-lp","title":"Jimmy Smith and Wes Montgomery - Dynamic Duo (1967 US Verve Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eJimmy Smith and Wes Montgomery - \u003cem\u003eJimmy and Wes: The Dynamic Duo\u003c\/em\u003e | Vinyl LP - 1967 US Verve Stereo Gatefold (V6-8678) with Japanese insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBoth Smith and Montgomery were at their commercial peak in 1966. Creed Taylor had been pushing the pair toward arrangements that would let their playing reach pop radio audiences. Oliver Nelson, who had been writing scores for television and films, was a natural choice to write for a large ensemble that could showcase both soloists simultaneously without crowding either.\u003c\/p\u003e\n\u003cp\u003eThe results are livelier than the commercial strategy suggests. \"Down by the Riverside\" opens at full swing, the big band setting the temperature before Smith and Montgomery trade. \"Night Train\" runs just over eight minutes, Jimmy Forrest's 1951 blues given a patient, building arrangement that keeps returning to Wes's guitar. \"James and Wes\" on Side B is Smith's composition, a blues in the soul-jazz mode that becomes more open as it develops. \"13 (Death March)\" is Nelson's. A minor-key, slightly ominous piece that was singled out in several contemporary reviews as the most interesting arrangement on the record.\u003c\/p\u003e\n\u003cp\u003eWes Montgomery died on June 15, 1968. The three days they spent at Van Gelder's studio in September 1966 were their only studio collaboration.\u003cbr\u003e\u003cbr\u003eUS pressing but comes with a Japanese insert, so likely a US import for the Japanese market.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":43533817905211,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7032.jpg?v=1779367181"},{"product_id":"various-artists-wildflowers-1-the-new-york-loft-jazz-sessions-1977-us-douglas-casablanca-vinyl-lp","title":"Various Artists - Wildflowers 1: The New York Loft Jazz Sessions (1977 US Douglas \/ Casablanca Vinyl LP)","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: VG+\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: VG (corner cut-out)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003eBy the mid-1970s the established New York jazz club circuit had collapsed and the music had moved into the lofts. Musicians ran the rooms, set the door prices, played long, and answered to no one. Sam Rivers' Studio Rivbea was the centre of that world. Over ten days in May 1976 he and Alan Douglas set up a remote recording rig and captured almost a hundred players moving through the space. Volume one opens with Kalaparusha Maurice McIntyre, the AACM founding member, on \"Jays\". Ken McIntyre follows with \"New Times\". Sunny Murray brings the Untouchable Factor to a startling reading of \"Over the Rainbow\". The B-side gives Sam Rivers a ten-minute \"Rainbows\" of his own and closes with Air's \"Uso Dance\", which is as good an introduction to Henry Threadgill, Fred Hopkins and Steve McCall as the recorded catalogue offers.\u003c\/p\u003e\n\u003cp\u003eThe Wildflowers series was distributed by Casablanca, the disco and rock label run by Neil Bogart that was simultaneously putting out Donna Summer and Kiss records, which gives some sense of how out of step this music was with the mid-1970s industry. Five LPs covering close to ninety musicians, mostly without commercial expectation, kept in print on Douglas only briefly before going out of circulation for decades. \u003c\/p\u003e","brand":"Douglas","offers":[{"title":"Default Title","offer_id":43537186127931,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7009.jpg?v=1779450571"},{"product_id":"charlie-parker-live-performances-volume-i-1982-italian-base-record-vinyl-lp","title":"Charlie Parker - Live Performances Volume I - (1982 Italian Base Record Vinyl LP)","description":"\u003cp data-start=\"1061\" data-end=\"1214\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e\u003cspan\u003e: VG+\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e\u003cspan\u003e: VG+\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eNone\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eCharlie Parker - \u003cem\u003eLive Performances Volume I\u003c\/em\u003e | Vinyl LP - Italian Base Record Pressing (ESP-Bird-1, c. 1982 licensed from ESP-Disk's 1972 original)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe radio broadcasts that document Charlie Parker's late-1940s working life have always been the most contested part of his legacy: never authorised, never commercially released in his lifetime, and traded among collectors for decades before any label tried to issue them properly. The 20 September 1947 Mutual broadcast that opens Side A is one of the strangest. The network had been running a series of pitched battles between the trad-jazz old guard and the bebop modernists, and once the boppers had won their week they came back to do a closing medley as the \"Barry Ulanov All-Star Metronome Jazzmen\". The lineup pulled together Parker and Gillespie from one school, Lennie Tristano and his clarinettist John La Porta and guitarist Billy Bauer from another, and Ray Brown and Max Roach in the rhythm section. The two camps barely overlapped on record before or after. The Royal Roost material that fills the rest of the LP comes from Symphony Sid Torin's WMCA broadcasts, picking up the Parker Quintet on two consecutive Saturdays in December 1948: 11 December with Miles Davis still in the band, then 25 December with Kenny Dorham newly arrived to replace him.\u003c\/p\u003e\n\u003cp\u003eBernard Stollman's ESP-Disk label assembled the \u003cem\u003eComprehensive Charlie Parker\u003c\/em\u003e series in 1972 as the first sustained attempt to organise the broadcast catalogue. ESP-BIRD-1 was the opening volume. The Italian Base Record pressing followed roughly a decade later under the same catalogue number, drawing on the same sources and the same sequencing. Material of this kind has always existed in jazz's grey-area collector market, and the Base Record pressings are part of that lineage, issued, distributed and shelved alongside the official Parker reissues without ever being officially licensed from the original broadcasters or the artists' estates. Sound quality is what radio aircheck recordings of 1947 and 1948 sound like: documentary rather than audiophile. This is the Italian Base Record pressing, ESP-Bird-1, almost certainly from 1982.\u003c\/p\u003e","brand":"Base Record","offers":[{"title":"Default Title","offer_id":43545433014331,"sku":null,"price":30.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7110.jpg?v=1779700018"},{"product_id":"jamiroquai-emergency-on-planet-earth-1993-uk-sony-soho-square-original-2lp","title":"Jamiroquai - Emergency on Planet Earth (1993 UK Sony Soho Square Original 2LP)","description":"\u003cp\u003e\u003cstrong\u003eJamiroquai - \u003cem\u003eEmergency on Planet Earth\u003c\/em\u003e | 2 x Vinyl LP - 1993 UK Original (Sony Soho Square 474069 1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJay Kay signed to Sony before he had a band. \"When You Gonna Learn\" had come out on Acid Jazz Records in late 1992, written and sung by Kay alone, Andrew Levy from the Brand New Heavies playing bass, and it worked well enough that Sony offered a major-label deal on the strength of that single. Kay assembled the lineup quickly: Toby Smith on keyboards, Stuart Zender on bass, Nick Van Gelder on drums, Wallis Buchanan on didgeridoo, with a wider circle of guitarists, percussionists and horn players filling out the sessions.\u003c\/p\u003e\n\u003cp\u003eThe album sounds like a band that has been playing together for years, which they had not. The rhythm section of Zender and Van Gelder locks hard from \"Too Young to Die\" onward, Zender's Warwick Streamer and Music Man Stingray giving the low end the weight and responsiveness the songs depend on. \"Hooked Up\" and \"If I Like It, I Do It\" run on his basslines as much as on Kay's vocals. The Reggae Philharmonic Strings appear on two tracks, adding orchestral layers without overwhelming the funk underneath. Gary Barnacle on saxophone and flute, John Thirkell on trumpet and Richard Edwards on trombone complete the horn section.\u003c\/p\u003e\n\u003cp\u003eThe material is politically charged. \"Emergency on Planet Earth\" addresses environmental destruction. \"Revolution 1993\" runs ten minutes and builds through several phases. \"Music of the Mind\" and \"Blow Your Mind\" deal with consciousness. \"Didgin' Out\" is Buchanan's solo feature, the yidaki unaccompanied. The album draws openly on Stevie Wonder, Sly Stone and the entire early 1970s soul-funk vocabulary, but the combination of Buchanan's didgeridoo, DJ D-Zire's turntable scratching and the acid jazz rhythms of the early 1990s London scene gives it a specific period character that belongs entirely to this moment.\u003c\/p\u003e\n\u003cp\u003eOriginal 1993 UK 2LP pressing on Sony Soho Square, pressed at Sony\/CBS Haarlem. Gatefold with lyric inner sleeves.\u003c\/p\u003e","brand":"Sony Soho Square","offers":[{"title":"Default Title","offer_id":43558941818939,"sku":null,"price":180.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7211.jpg?v=1780288528"},{"product_id":"mccoy-tyner-enlightenment-1973-us-milestone-vinyl-2lp-gatefold","title":"McCoy Tyner - Enlightenment (1973 US Milestone Vinyl 2LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eMcCoy Tyner - \u003cem\u003eEnlightenment\u003c\/em\u003e | Vinyl 2LP Gatefold - 1973 US Milestone Original (M-55001)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe set opens with Pierre Lattès introducing the quartet, and from the first bars of \"Genesis\" the energy level is already higher than most studio dates reach at their peak. Tyner's left hand drives the rhythm in those rolling, block-chord patterns that defined his post-Coltrane period, while his right hand works the upper register in long, cascading runs. \u003cem\u003eThe Enlightenment Suite\u003c\/em\u003e covers three sections across the first two sides: \"Genesis\" and \"Inner Glimpse\" are full-band workouts where Mouzon's drumming pushes hard against Booth's bass, and \"The Offering\" sits between them as a solo piano passage that gives the audience (and the other musicians) a moment to breathe. After the suite, \"Presence\" and \"Nebula\" keep the pressure up, with Lawrence's soprano and tenor carrying the melody lines while Tyner comps underneath in dense, modal clusters. Then \"Walk Spirit, Talk Spirit\" takes the entire fourth side and doesn't let go. 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":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_73464.jpg?v=1781852384"},{"product_id":"keith-jarrett-the-survivors-suite-1977-us-ecm-vinyl-lp","title":"Keith Jarrett - The Survivors' Suite (1977 US ECM Vinyl LP)","description":"\u003cp\u003e\u003cb\u003eVinyl\u003c\/b\u003e:\u003cspan\u003e \u003c\/span\u003eVG+\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e:\u003cspan\u003e \u003c\/span\u003eVG+\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOur grading system explained \u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/a\u003e.\u003cbr\u003ePhoto is of the actual item.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eThe Survivors' Suite\u003c\/em\u003e | Vinyl LP - 1977 US ECM Records Original (ECM 1-1085, Wakefield Pressing)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJarrett revealed in a 2009 interview that the suite was written for a specific room. The quartet had a concert booked at Avery Fisher Hall in New York, opposite Monk as part of the festival, and Jarrett knew from playing there repeatedly that the sound onstage blurred at fast tempos. He composed the music for that acoustic, writing for the space itself, and the piece became something the group played and refined from that first performance onward. By the time they recorded it in Ludwigsburg, the suite had been absorbed into the quartet's language. \"Beginning\" fills side A with 27 minutes that open on a tentative, almost hesitant piano passage before Redman's tenor enters and the group builds into the first of several collective improvisations. Jarrett switches between piano, soprano saxophone, bass recorder and celeste across the side, and each instrument change shifts the texture of the ensemble. Haden and Motian adjust underneath without signalling. The transitions between written sections and free passages are seamless enough that it's not always clear where composition ends and improvisation begins.\u003c\/p\u003e\n\u003cp\u003e\"Conclusion\" on side B runs 21 minutes and brings the suite to its most intense passage. The group had been together since 1971, growing from Jarrett's earlier trio with Haden and Motian (which predated the quartet by four years, and which had first recorded as a studio unit with Redman on \u003cem\u003eExpectations\u003c\/em\u003e in 1972). The quartet dissolved in late 1976 after this recording.\u003c\/p\u003e\n\u003cp\u003eThis is the 1977 US original pressing on ECM 1-1085, plated and pressed at Wakefield Manufacturing.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43697751228475,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7477.jpg?v=1782187038"},{"product_id":"various-wildflowers-3-the-new-york-loft-jazz-sessions-1977-us-douglas-vinyl-lp","title":"Various - Wildflowers 3: The New York Loft Jazz Sessions (1977 US Douglas Vinyl LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eVarious - \u003cem\u003eWildflowers 3: The New York Loft Jazz Sessions\u003c\/em\u003e | Vinyl LP - 1977 US Douglas\/Casablanca (NBLP 7047, Terre Haute Pressing)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe loft scene happened because the economics of New York in the mid-1970s made it possible. Real estate was cheap, the city was near bankruptcy, and the established jazz clubs wouldn't book free and avant-garde players. So the musicians made their own spaces. Sam Rivers and his wife Beatrice ran Studio Rivbea out of their loft on Bond Street, and in May 1976 producer Alan Douglas recorded ten days of performances there, releasing the results across five LPs. This is the third volume. Randy Weston opens side A with \"Portrait of Frank Edward Weston,\" a solo piano tribute to his father played with the deep African rhythmic sensibility that defined Weston's work. Michael Gregory Jackson (a guitarist from New Haven, then in his early twenties) follows with \"Clarity,\" an example of the younger generation drawn to Rivbea. Dave Burrell closes side A with \"Black Robert,\" his piano rooted in the free tradition but never abandoning structure. Side B belongs to Ahmed Abdullah's \"Blue Phase\" and Andrew Cyrille's Maono ensemble on \"Short Short.\" Cyrille had been Cecil Taylor's drummer for over a decade, and Maono (Swahili for \"feelings\") was his own vehicle for exploring the space between composition and free playing.\u003c\/p\u003e\n\u003cp\u003eRobert Palmer, writing in the New York Times in 1976, called the Wildflowers albums \"the most remarkable documents to emerge from the lofts so far.\" The scene they capture was short-lived. Rising rents and the SoHo real estate boom pushed the lofts out by the end of the decade, and the neoclassical revival led by Wynton Marsalis and the Young Lions shifted the jazz mainstream back toward acoustic bebop, sidelining the experimental aesthetic. But the loft era modelled a path for artist-run initiatives that runs directly to the Knitting Factory in the 1980s and to independent creative-music collectives today. Very little footage or photography of the scene survives, which makes the Wildflowers recordings all the more valuable.\u003c\/p\u003e\n\u003cp\u003eThis is the 1977 US pressing on Douglas NBLP 7047, produced by Alan Douglas through Casablanca Record \u0026amp; Filmworks, pressed at the Columbia Records plant in Terre Haute, Indiana.\u003c\/p\u003e","brand":"Douglas","offers":[{"title":"Default Title","offer_id":43780825481275,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7687.jpg?v=1783896822"},{"product_id":"miles-davis-on-the-corner-1972-us-columbia-vinyl-lp-gatefold-first-pressing","title":"Miles Davis - On The Corner (1972 US Columbia Vinyl LP Gatefold, First Pressing)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003eOn The Corner\u003c\/em\u003e | Vinyl LP Gatefold - 1972 US Columbia First Pressing (KC 31906)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDavis was explicit about what he wanted. The young Black audience had moved to rock and funk, and he wanted them back. What he made to get them was not a funk record in any conventional sense. Paul Buckmaster, the British cellist and arranger who had scored records for Elton John, David Bowie and the Rolling Stones, had introduced Davis to Karlheinz Stockhausen the same year, and Davis took to it immediately, reportedly keeping a cassette of Stockhausen's \u003cem\u003eHymnen\u003c\/em\u003e in his Lamborghini. What appealed to him was the treatment of music as a process of addition and elimination rather than a sequence of themes and solos. Buckmaster described his own contribution as an attempt to combine strange space music with street music, and he supplied sketches that Davis largely discarded, using them as starting points and nothing more. The result is two sides built on locked, circumscribed grooves. On the opening twenty-minute sequence the bass plays the same handful of notes throughout while tabla, sitar, congas, wah-wah guitar and electric keyboards move in and out of the mix. There are no solos in the traditional sense, no heads, no beginnings or endings. Teo Macero assembled the finished pieces from tape.\u003c\/p\u003e\n\u003cp\u003eThe critical response in 1972 was brutal. Reviewers called it repetitious and an insult to the intellect, and it became one of Davis's worst-selling albums. Even some of the participants were unconvinced: Dave Liebman said he did not think much of it, and Buckmaster later described it as probably his least favourite Davis record. Davis deliberately left the musician credits off the sleeve so that listeners would come to it without preconceptions, which meant that for years nobody outside the sessions knew with any certainty who was playing. The reappraisal took decades, and it arrived through musicians rather than critics. The rhythmic construction, the density, the treatment of the studio as an instrument and the refusal to resolve anything all became foundational for later electronic and hip-hop production, and Columbia eventually issued the six-disc \u003cem\u003eComplete On the Corner Sessions\u003c\/em\u003e in 2007.\u003c\/p\u003e\n\u003cp\u003eRecorded at Columbia's New York studio on 1 June, 6 June and 7 July 1972. This is the 1972 US first pressing on Columbia KC 31906 in gatefold sleeve.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43813147639867,"sku":null,"price":125.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_78202.jpg?v=1784447908"},{"product_id":"frank-lowe-the-flam-1976-italian-black-saint-bsr-0005-vinyl-lp","title":"Frank Lowe - The Flam (1976 Italian Black Saint BSR 0005 Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eFrank Lowe - \u003cem\u003eThe Flam\u003c\/em\u003e | Vinyl LP - Italian Black Saint (BSR 0005, Harmony S.R.L. distribution)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLowe had an unusual entry into the music. He grew up in Memphis singing in church and hearing blues on Beale Street, picked up the tenor at twelve, and moved to San Francisco, where a chance meeting with Ornette Coleman led to Coleman suggesting he try New York. There was no long apprenticeship. He went from amateur to playing with Sun Ra, and by 1971 he was recording with Alice Coltrane on \u003cem\u003eWorld Galaxy\u003c\/em\u003e, working alongside the surviving members of John Coltrane's rhythm section. His leader debut \u003cem\u003eBlack Beings\u003c\/em\u003e came out on ESP-Disk' in 1973 with Joseph Jarman of the Art Ensemble of Chicago in the front line and William Parker making his recording debut on bass. By 1975 Val Wilmer was describing him as impossible to avoid on the New York scene, turning up at every session, rehearsal and sit-in across the city. He had also just spent time as a sideman with Don Cherry. \u003cem\u003eThe Flam\u003c\/em\u003e catches him at exactly that point.\u003c\/p\u003e\n\u003cp\u003eThe band is drawn from two of the most important Black musicians' collectives of the era. Bowie and Shaw were both founding-generation members of the Black Artists Group in St. Louis, and Leo Smith came out of the AACM in Chicago. That gives the session its character: three horns operating as equals rather than as a leader plus support, with Blake moving between abstract bowed lines and slapped electric funk and Shaw keeping the whole thing upright without ever pulling focus. \"Sun Voyage,\" Bowie's piece, opens the record. \"Flam\" is Lowe's and the longest thing here at fourteen minutes. \"Be-Bo-Bo-Be\" is Shaw's. \"Third St. Stomp\" is credited to all five. \"U.B.P.,\" Smith's contribution, is under a minute and closes the album. Scott Yanow's assessment for AllMusic was that the performances are better heard than described, which is a reasonable thing to say about a record this physical.\u003c\/p\u003e\n\u003cp\u003eThis is the Italian pressing on Black Saint BSR 0005, distributed by Harmony S.R.L., with lacquers cut at Phonoster.\u003c\/p\u003e","brand":"Black Saint","offers":[{"title":"Default Title","offer_id":43819995496507,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7826.jpg?v=1784505184"},{"product_id":"sun-ra-and-his-intergalactic-research-arkestra-its-after-the-end-of-the-world-1972-us-mps-basf-vinyl-lp-gatefold","title":"Sun Ra And His Intergalactic Research Arkestra - It's After The End Of The World (1972 US MPS\/BASF Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eSun Ra And His Intergalactic Research Arkestra - \u003cem\u003eIt's After The End Of The World\u003c\/em\u003e | Vinyl LP Gatefold - 1972 US MPS \/ BASF (20748)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDonaueschingen is not a jazz festival. The Musiktage has run since 1921 and exists to premiere new concert music, which makes the decision to book Sun Ra's Arkestra in October 1970 one of the more remarkable programming choices of the period. The man responsible was Joachim-Ernst Berendt, Germany's most influential jazz writer and the author of \u003cem\u003eThe Jazz Book\u003c\/em\u003e, who heard in Sun Ra's music a lineage running through blues and gospel, African highlife, Egyptian marches, minstrel shows and ritual, and argued the case for taking it seriously as composition. Plenty of critics at the time thought Sun Ra was a charlatan. Berendt did not, and he produced this album from the recordings of both concerts. What the Donaueschingen audience got was a band in costume with dancers and a fire-eater, playing music that could shift within a single piece from Fletcher Henderson-era swing voicings to collective free improvisation to electronic keyboard washes. Sun Ra, born Herman Poole Blount, had actually worked as a pianist and arranger for Henderson in the 1940s, and that history is audible in the writing even at the Arkestra's most abstract.\u003c\/p\u003e\n\u003cp\u003eThe band assembled for these dates is unusually deep even by Arkestra standards. John Gilmore, whose tenor playing John Coltrane studied closely, is here alongside Marshall Allen on alto, flute, oboe and piccolo and Pat Patrick covering most of the saxophone family. Alan Silva plays violin, viola, cello and bass. Alex Blake, credited on the sleeve under his full name Alejandro Blake Fearon, plays bass. June Tyson sings. Hazoume is credited as fire-eater and dancer alongside Ife Tayo and Math Samba. The album presents selected passages from the two concerts rather than either performance complete, which is worth knowing: the full Donaueschingen and Berlin sets eventually appeared in 1998 as the double CD \u003cem\u003eBlack Myth \/ Out in Space\u003c\/em\u003e, adding more than seventy-five minutes of unissued material. All compositions are Sun Ra's.\u003c\/p\u003e\n\u003cp\u003eThis is the 1972 US pressing on MPS \/ BASF 20748 in a uni-pak gatefold sleeve made by Shorewood Packaging, from the German original of 1970.\u003c\/p\u003e","brand":"MPS","offers":[{"title":"Default Title","offer_id":43820972441659,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7830.jpg?v=1784538777"},{"product_id":"thelonious-monk-thelonious-monk-plays-duke-ellington-1982-us-riverside-vinyl-lp-mono","title":"Thelonious Monk - Thelonious Monk Plays Duke Ellington (1982 US Riverside Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eThelonious Monk - \u003cem\u003eThelonious Monk Plays Duke Ellington\u003c\/em\u003e | Vinyl LP Mono - 1982 US Original Jazz Classics Reissue (OJC-024, originally Riverside RLP 12-201\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKeepnews had been one of the first writers to take Monk's Blue Note sides seriously, and by 1955 he was running Riverside with Bill Grauer and had a pianist on his books whom critics admired and nobody bought. Monk's Prestige albums had sold badly. The word attached to him was 'difficult'. So Keepnews proposed an album of Ellington tunes, and by his own account in the original liner notes Monk went away with a pile of Ellington sheet music and came back when he was ready. What that account leaves out is how strange the result is. Monk does not soften anything. His touch here is lighter than on most of his own records and Clarke plays brushes through much of it, but the harmonic thinking is entirely his: the cubist introduction to \"Sophisticated Lady,\" the spare big band punctuations he uses to attack \"Caravan,\" the way \"I Let A Song Go Out Of My Heart\" is taken apart and reassembled as a dancing set of variations. The lineage between the two men is real and Monk makes it audible. Ellington's rhythmic displacement, his harmonic surprises and his stride left hand are all in Monk's playing, and playing Ellington's own material is the clearest way to demonstrate it.\u003c\/p\u003e\n\u003cp\u003ePettiford and Clarke are not accompanists. Pettiford takes a solo on \"It Don't Mean A Thing\" that is among the best things on the record, and Clarke's Afro-Cuban accents on \"Caravan\" set the whole performance up. The three of them had come out of the same 52nd Street world in the 1940s and the interplay reflects it. The plan did not work commercially. Monk's next Riverside album was another set of standards, and it took until \u003cem\u003eBrilliant Corners\u003c\/em\u003e in 1957 before Riverside let him record his own compositions again. But \u003cem\u003ePlays Duke Ellington\u003c\/em\u003e has outlasted the reasoning behind it, and it now reads less as a compromise than as one pianist making an argument about where he came from.\u003c\/p\u003e\n\u003cp\u003eThis is the 1982 Original Jazz Classics reissue on OJC-024, distributed by Fantasy, presenting the album in its original mono.\u003c\/p\u003e","brand":"Riverside","offers":[{"title":"Default Title","offer_id":43843739222075,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7840.jpg?v=1784793685"},{"product_id":"don-pullen-new-beginnings-1989-us-blue-note-vinyl-lp","title":"Don Pullen - New Beginnings (1989 US Blue Note Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eDon Pullen - \u003cem\u003eNew Beginnings\u003c\/em\u003e | Vinyl LP - 1989 US Blue Note (B1-91785)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePullen had one of the most identifiable techniques in jazz piano. He played clusters with the backs of his hands and his knuckles, rolling them across the keys in a way that turned the instrument into something closer to percussion. What separated him from most players working in that territory was that he never abandoned the other side of his playing. He had come up studying with Muhal Richard Abrams in Chicago's Experimental Band, made his recording debut with Giuseppi Logan in 1964, cut free duets with Milford Graves, and then spent years playing organ behind Big Maybelle and Ruth Brown in R\u0026amp;B bands. He worked with Nina Simone at the start of the 1970s, joined Charles Mingus's group, and co-led a quartet with George Adams for most of the 1980s. All of that is audible here.\u003c\/p\u003e\n\u003cp\u003e\"Jana's Delight\" opens with a groove that would not frighten anyone, and then Pullen starts pulling at it. \"Once Upon a Time\" is the ballad. \"Warriors\" closes side A at the album's most intense. The title track on side B is the most immediately melodic thing here. \"At the Café Centrale\" follows, and then \"Reap the Whirlwind\" ends the record with the avant-garde flourishes fully unleashed. Peacock and Williams are perfectly cast for this. Neither is a timekeeper, both spent careers responding rather than accompanying, and Williams in particular pushes at Pullen throughout in a way that a more deferential drummer would not. Pullen went on to record \u003cem\u003eRandom Thoughts\u003c\/em\u003e in 1990 and then formed the African-Brazilian Connection, and his final project before his death in 1995 attempted to fuse jazz with traditional Native American music.\u003c\/p\u003e\n\u003cp\u003eThis is the 1989 US pressing on Blue Note B1-91785.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43857450663995,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7861.jpg?v=1784864385"},{"product_id":"anthony-williams-spring-1971-us-blue-note-bst-84216-vinyl-lp","title":"Anthony Williams - Spring (1971 US Blue Note BST-84216 Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eAnthony Williams - \u003cem\u003eSpring\u003c\/em\u003e | Vinyl LP - 1971 US Blue Note Reissue (BST-84216, United Artists era)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWilliams had been playing professionally since he was thirteen and had joined Miles Davis's quintet at seventeen. By August 1965 he had already appeared on Eric Dolphy's \u003cem\u003eOut to Lunch!\u003c\/em\u003e, Andrew Hill's \u003cem\u003ePoint of Departure\u003c\/em\u003e, Jackie McLean's \u003cem\u003eOne Step Beyond\u003c\/em\u003e and Herbie Hancock's \u003cem\u003eEmpyrean Isles\u003c\/em\u003e, made his own debut with \u003cem\u003eLife Time\u003c\/em\u003e in 1964, and cut \u003cem\u003eE.S.P.\u003c\/em\u003e with Davis in January. Fourteen Blue Note sessions in two and a half years, and this was the last of them. What makes the record hold up is that it is not a drummer's showcase. Williams wrote all five pieces and then built them so that everyone has somewhere to go. The traditional roles come apart: Peacock's bass roams rather than walks, Hancock comps percussively and pushes into the upper register, the two tenors weave around each other rather than trading in the usual sense, and Williams keeps the propulsion going without holding a time signature down. It sounds like 1965 in the best way, with the structures loosening and nobody quite sure yet what the music was becoming.\u003c\/p\u003e\n\u003cp\u003eSam Rivers is the reason to hear it as much as Williams. He was 42, considerably older than everyone else in the room, and had spent the previous year playing with Davis before Shorter took the chair. His playing here is free and hard and completely unlike Shorter's more oblique approach, and the contrast between the two tenors is what gives the album its charge. \"Extras\" opens with both horns and runs past eight minutes. \"Echo\" follows as a solo drum performance, five minutes of Williams alone working a tiny theme into what amounts to an improvised composition. \"From Before\" brings Hancock in. \"Love Song\" is the piece most often singled out, an eight-minute performance in shifting meters that sounds fluid rather than mathematical. \"Tee\" closes the album at over ten minutes with everyone playing.\u003c\/p\u003e\n\u003cp\u003eThis is the 1971 US pressing on Blue Note BST-84216, from the United Artists era, with the blue and white divisional label.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":43860964933691,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7887.jpg?v=1784884814"},{"product_id":"mccoy-tyner-supertrios-1977-us-milestone-2xlp-gatefold","title":"McCoy Tyner - Supertrios (1977 US Milestone 2xLP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eMcCoy Tyner - \u003cem\u003eSupertrios\u003c\/em\u003e | 2xLP - 1977 US Milestone Stereo (M-55003, Fantasy Studios\/Columbia Pitman pressing)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1977, McCoy Tyner had spent a decade consolidating the legacy of his Impulse! and Blue Note years into an unbroken run of Milestone records under Orrin Keepnews. \"Supertrios\" is the most structurally ambitious of them: four sides recorded across four days in Berkeley, each side pairing Tyner with a different rhythm section drawn from the first rank of the previous decade. Carter and Williams had been the heartbeat of Davis's Second Great Quintet; DeJohnette had moved through Davis's electric period and was by this point a central figure at ECM; Gómez had spent eleven years alongside Bill Evans. The album's premise is simple enough to misread as a gimmick, but what it actually documents is how much a pianist's character changes when the ground under him shifts. Tyner plays harder and more percussively against Carter and Williams; against Gómez and DeJohnette he opens up, the lines longer and more spacious. Same pianist. Two different instruments. The Coltrane connection runs through both halves: \"Moment's Notice\" appears on Side B, and Tyner plays it with the authority of someone who helped write the language it is spoken in.\u003c\/p\u003e\n\u003cp\u003eThe Strayhorn standard \"Lush Life\" closes Side D, one of seven tracks across the second half attributed to the Gómez and DeJohnette trio. It is a measured, unhurried reading, Tyner stating the melody plainly before Gómez's bass takes it somewhere more exploratory, DeJohnette keeping the pulse without ever sitting on it.\u003c\/p\u003e\n\u003cp\u003eThis is the original 1977 US Milestone pressing on orange labels with a 70mm pressing ring, manufactured at Columbia's Pitman, New Jersey plant.\u003c\/p\u003e","brand":"Milestone","offers":[{"title":"Default Title","offer_id":43861069627451,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7896.jpg?v=1784895118"},{"product_id":"lee-konitz-duets-1970s-us-milestone-gatefold-vinyl-lp","title":"Lee Konitz - Duets (1970s US Milestone Gatefold Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eLee Konitz - \u003cem\u003eDuets\u003c\/em\u003e | Vinyl LP - 1970s US Milestone Reissue (MSP-9013, orange label, distributed by Fantasy)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne session, one day, a different partner on nearly every track. On 25 September 1967 Lee Konitz walked into Plaza Sound Studios and worked through the list: Marshall Brown's valve trombone on \"Struttin' With Some Barbecue\", Joe Henderson's tenor on \"You Don't Know What Love Is\", Dick Katz's piano on \"Checkerboard\", Jim Hall's guitar on \"Erb\". He switches to tenor to meet Richie Kamuca on \"Tickle Toe\", a Lester Young line that drops him straight back among his own roots, then goes close to fully free with Ray Nance, Ellington's violinist, on \"Duplexity\". The five \"Variations On Alone Together\" are the clever piece of sequencing. Konitz starts alone on amplified alto and adds one musician at a time, until the final variation is a quartet with Karl Berger, Eddie Gomez and Elvin Jones. \"Alphanumeric\" then brings everyone back at once. The range covered in a single afternoon runs from something close to Dixieland through to free improvisation, and Konitz sounds untroubled at either end.\u003c\/p\u003e\n\u003cp\u003eHe had come close to walking away from all of it. Konitz spent much of the early sixties barely working, one of the architects of cool jazz left stranded by a decade that had moved on to Coltrane and Ornette Coleman, and he was near enough to retiring from music altogether. Duets is the record that put him back in the room, and it handed him something he kept for the rest of his life. The duo setting became his favourite format, and he returned to it for decades with Sal Mosca, Martial Solal, Jimmy Giuffre, Steve Lacy, Michel Petrucciani, Red Mitchell and Karl Berger again. The Elvin Jones meeting was not new either. The two had recorded together on \"Motion\" in 1961, and their reunion across the \"Alone Together\" variations is one of the best stretches on the record.\u003c\/p\u003e\n\u003cp\u003eThis is the 1970s US Milestone reissue in gatefold sleeve, catalogue number MSP-9013.\u003c\/p\u003e","brand":"Milestone","offers":[{"title":"Default Title","offer_id":43862970892347,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7923.jpg?v=1784979645"},{"product_id":"david-friesen-star-dance-1976-us-inner-city-vinyl-lp","title":"David Friesen - Star Dance (1976 US Inner City Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eDavid Friesen - \u003cem\u003eStar Dance\u003c\/em\u003e | Vinyl LP - 1976 US Inner City (IC 1019, purple labels)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eStar Dance\u003c\/em\u003e is a bass player's record that never once feels like a bass showcase. David Friesen wrote all ten pieces and holds the centre of every one, but the album belongs just as much to the sound of Paul McCandless's oboe and English horn, instruments you almost never hear carrying a jazz lead, drifting over John Stowell's guitar and Friesen's enormous acoustic tone. The whole thing was cut in one day, 8 November 1976 at Downtown Sound in New York. Steve Gadd is the surprise. A year on from the session work that made him the most in-demand drummer in the city, he plays here with real restraint, colouring \"Winter's Fall\" and \"Duet And Dialogue\" rather than driving them, and sitting out entirely where the music wants only bass and reeds. Titles like \"Dolphin In The Sky\", \"Fields Of Joy\" and \"Children Of The Kingdom\" point at the openly spiritual streak that runs through Friesen's writing, closer in spirit to the pastoral end of ECM than to anything hard-bop. It is quiet, unhurried music.\u003c\/p\u003e\n\u003cp\u003eFriesen came to it late and from the margins. He was a Pacific Northwest player with one solo-bass album behind him, \u003cem\u003eColor Pool\u003c\/em\u003e on Muse in 1975, and \u003cem\u003eStar Dance\u003c\/em\u003e was the record that got him noticed, warmly reviewed and enough of a success to set the shape of what followed. The partnership with John Stowell was the real find. The two had met by chance in a Village piano bar the winter before the session, and they went on to tour Europe and Australia together and record as a duo across the next eight years. McCandless and Stowell both came back for the follow-up, \u003cem\u003eWaterfall Rainbow\u003c\/em\u003e, in 1977, this time with Ralph Towner in the guitar chair alongside Stowell, which makes the two Inner City albums a natural pair. Gadd, characteristically, moved on.\u003c\/p\u003e\n\u003cp\u003eThis is the original 1976 US pressing on Inner City with the purple labels, catalogue number IC 1019.\u003c\/p\u003e","brand":"Inner City","offers":[{"title":"Default Title","offer_id":43863029088315,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7928.jpg?v=1784981156"},{"product_id":"eric-dolphy-berlin-concerts-1977-german-enja-2lp-enja-vinyl","title":"Eric Dolphy - Berlin Concerts (1977 German Enja 2LP enja Vinyl)","description":"\u003cp\u003e\u003cstrong\u003eEric Dolphy - \u003cem\u003eBerlin Concerts\u003c\/em\u003e | Vinyl 2LP - 1977 German Enja (enja 3007+9)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBerlin Concerts\u003c\/em\u003e documents one night, 30 August 1961, when Eric Dolphy played two Berlin sessions for German radio during his second European tour. It is Dolphy at his most approachable, which is not a word often attached to him. He works through standards here, \"Hot House\", \"Hi-Fly\", \"When Lights Are Low\" and \"I'll Remember April\", rather than the open forms of his studio records, and the settings shift from full quintet with trumpeter Benny Bailey to piano-less trio. Across the two discs he moves between all three of his horns: the darting alto, the flute lines critics kept comparing to birdsong, and the bass clarinet he had almost single-handedly turned into a solo jazz instrument. The high point is \"God Bless The Child\", played entirely alone on bass clarinet, a performance radical for 1961 and one of the pieces he is still remembered for. Even on familiar tunes his phrasing goes places no one else's did, wide interval leaps and a vocal, speaking quality that sounds like an argument being won.\u003c\/p\u003e\n\u003cp\u003eBerlin would take on a darker meaning for Dolphy. Three years after these concerts, in June 1964, he collapsed in the city from undiagnosed diabetes and died at thirty-six. He left an enormous gap. He had played with Mingus, Coltrane and Ornette Coleman and was only starting to be understood on his own terms, and this cheerful, standards-based date now reads as the document of a musician with far more still to give.\u003c\/p\u003e\n\u003cp\u003eThis is the original 1977 German pressing on Enja, a two-LP set drawn from the 1961 radio tapes, catalogue number enja 3007+9.\u003c\/p\u003e","brand":"Enja","offers":[{"title":"Default Title","offer_id":43878348521531,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7994.jpg?v=1785301981"},{"product_id":"charles-mingus-pre-bird-1973-us-mercury-emarcy-series-mono-vinyl-lp","title":"Charles Mingus - Pre-Bird (1973 US Mercury EmArcy Series Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eCharles Mingus - \u003cem\u003ePre-Bird\u003c\/em\u003e | Vinyl LP - 1973 US Mercury Mono Reissue (MG 20627, EmArcy Series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe title says it plainly. This is music composed before Mingus heard Charlie Parker, or at least written in the spirit of the era Parker upended. The Ellington tributes on side A anchor the concept. \"Take the 'A' Train\" runs Billy Strayhorn's melody in the left channel against \"Exactly Like You\" in the right, the two lines pulling apart and snapping back together while Booker Ervin, Yusef Lateef and Joe Farrell tear through the gaps. \"Do Nothin' Till You Hear From Me\" gets the same treatment with \"I Let A Song Go Out Of My Heart.\" Mingus takes Ellington's polyphony and pushes the tension further, keeping the swing but adding an urgency the originals never carried. Between the Ellington pieces sit Mingus originals: \"Prayer for Passive Resistance\" is a hard, direct blues; \"Eclipse\" and \"Weird Nightmare\" slow things down with Lorraine Cusson's vocals floating over dissonant, atmospheric arrangements; and \"Mingus Fingus No. 2\" brings the full orchestra in for the first time, four trumpets deep.\u003c\/p\u003e\n\u003cp\u003eThe larger ensemble tracks (recorded the day before the smaller group sessions, May 24, 1960, at Plaza Sound Studios) use a 22-piece orchestra that producer Leonard Feather described as a shock when he walked into the studio. Schuller conducts \"Half-Mast Inhibition\" on side B, a through-composed work that operates somewhere between jazz and classical without settling comfortably in either camp. Dolphy's alto is at the centre of the larger arrangements, and the brass section (Clark Terry, Marcus Belgrave, Richard Williams, Hobart Dotson on trumpets; Slide Hampton, Eddie Bert, Charles Greenlee and Jimmy Knepper on trombones; Don Butterfield on tuba) gives the orchestral tracks a weight the smaller group sessions don't attempt.\u003c\/p\u003e\n\u003cp\u003eOriginally released on Mercury in September 1961 as\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePre-Bird\u003c\/em\u003e, later reissued on Limelight as\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMingus Revisited\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein 1965, this copy is the 1973 US mono reissue on Mercury, part of the EmArcy Series, mastered at Masterdisk, catalogue number MG 20627.\u003c\/p\u003e","brand":"Mercury","offers":[{"title":"Default Title","offer_id":43888119644219,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8059.jpg?v=1785492390"},{"product_id":"weather-report-mysterious-traveller-1974-us-columbia-cbs-export-vinyl-lp","title":"Weather Report - Mysterious Traveller (1974 US Columbia CBS Export Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWeather Report - \u003cem\u003eMysterious Traveller\u003c\/em\u003e | Vinyl LP - 1974 US Columbia (PC 32494, CBS export sticker over label, Artisan Sound Recorders cut)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMysterious Traveller\u003c\/em\u003e is where Weather Report found the groove. The band's first three albums had been abstract and open, closer to the free end of jazz, but this 1974 record, their fourth, brought in a new bassist, Alphonso Johnson, whose electric playing pulled the music towards funk and firmer rhythm without losing any of its strangeness. Josef Zawinul and Wayne Shorter co-produced, and the range is enormous. \"Nubian Sundance\" opens the album with ten minutes of layered keyboards, massed voices and a roaring crowd, a piece of controlled chaos that still sounds like nothing else. \"Cucumber Slumber\" is a deep, slinking funk built on Johnson's bassline, \"Mysterious Traveller\" is Shorter's atmospheric title tune, and \"Blackthorn Rose\" strips everything back to Shorter's soprano and Zawinul's piano alone. Dom Um Romão's percussion runs through the record, and the closing \"Jungle Book\" pulls in ocarinas, tabla and kalimba. It won DownBeat's album of the year, and it remains one of the band's finest.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eThe album marks a turning point. Alphonso Johnson's arrival began the move towards the funk-inflected sound that would carry Weather Report to its commercial peak with \u003cem\u003eHeavy Weather\u003c\/em\u003e and Jaco Pastorius three years later, and \u003cem\u003eMysterious Traveller\u003c\/em\u003e is where that shift starts. This particular copy has a story of its own. It is a US Columbia pressing, with lacquers cut at Artisan Sound Recorders in Hollywood, but the label carries a CBS sticker applied over the Columbia original. Columbia held the Columbia name only in the US and Canada, so stock sent abroad went out under the CBS banner, and this copy was dressed for export before ending up in Japan, where it was found. The jacket is the standard US Columbia sleeve. This is the 1974 US pressing, catalogue number PC 32494, in export dress.\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":43896553832507,"sku":null,"price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8101.jpg?v=1785568608"}],"url":"https:\/\/lushliferecords.com.au\/collections\/vintage-european-north-american-pressings.oembed?page=4","provider":"Lush Life Records","version":"1.0","type":"link"}