{"title":"Vintage Finds","description":"\u003cp data-start=\"224\" data-end=\"692\"\u003eOur Vintage Finds collection is where the past comes alive. From rare pressings and out-of-print editions to classic albums with timeless appeal, these second-hand records are carefully selected for quality and character. Each piece carries its own history, making every discovery a unique addition to your collection. Whether you’re chasing jazz rarities, rock staples or soul treasures, explore our Vintage Finds and uncover the records you didn’t know you needed.\u003c\/p\u003e","products":[{"product_id":"the-modern-jazz-quartet-the-modern-jazz-quartet-1960s-japanese-atlantic-mono-vinyl-lp","title":"The Modern Jazz Quartet - The Modern Jazz Quartet (1960s Japanese Atlantic Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eThe Modern Jazz Quartet - \u003cem\u003eThe Modern Jazz Quartet\u003c\/em\u003e | Vinyl LP - 1960s Japanese Atlantic Mono (ATL-5003, Victor Record Company)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1957 the Modern Jazz Quartet had settled into the group that would last for decades: John Lewis composing and directing from the piano, Milt Jackson's vibraphone as the singing voice up front, and Percy Heath and Connie Kay holding a rhythm section of unusual delicacy. This self-titled Atlantic album catches them recreating the set they were playing on the road, and it moves between two sides of the band. There is the elegant, chamber-like side, a five-song medley of ballads that drifts from \"They Say It's Wonderful\" to \"Body And Soul\", and there is the swinging side, a brisk \"A Night In Tunisia\" and the first version of Milt Jackson's blues \"Bags' Groove\" the quartet cut for Atlantic. \"La Ronde: Drums\" hands the spotlight to Connie Kay, whose light, precise playing rarely got a feature like this. The whole record has the poise the MJQ was known for, jazz played with the manners of a string quartet but the blues never far away.\u003c\/p\u003e\n\u003cp\u003eThe Modern Jazz Quartet held to this format, and this personnel, for the better part of forty years, which is almost unheard of in jazz. Records like this one built the reputation: serious, understated, and quietly radical in the way they folded European form into a swinging quartet. It is not their most famous album, \u003cem\u003eFontessa\u003c\/em\u003e and the \u003cem\u003eDjango\u003c\/em\u003e material tend to get named first, but it is a fine, representative document of the group in its early Atlantic years.\u003c\/p\u003e\n\u003cp\u003eThis copy is a Japanese pressing on Atlantic, manufactured by Victor Record Company in a fully laminated flip-back sleeve, catalogue number ATL-5003.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42472995848251,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8080.jpg?v=1785555402"},{"product_id":"sonny-stitt-sonny-stitt-plays-1978-japanese-roost-mono-vinyl-lp","title":"Sonny Stitt - Sonny Stitt Plays (1978 Japanese Roost Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eSonny Stitt - \u003cem\u003eSonny Stitt Plays\u003c\/em\u003e | Vinyl LP - 1978 Japanese Royal Roost Mono Reissue (YW-7805-RO, originally Roost RLP 2208)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSonny Stitt spent his career answering one question: was he anything more than a Charlie Parker copy? On alto saxophone the resemblance was uncanny, close enough that Stitt eventually leaned on the tenor to carve out his own identity. This 1955 Roost date, though, is Stitt on alto and unbothered by the comparison, playing a warm set of standards and blues with nothing to prove. He is joined by a rhythm section any leader would want: Hank Jones, whose piano is as elegant here as anywhere, the great Count Basie guitarist Freddie Green, Wendell Marshall on bass and Shadow Wilson on drums. The material is mostly standards, \"There'll Never Be Another You\", \"The Nearness Of You\", \"Yesterdays\" and \"My Melancholy Baby\", taken at a relaxed, singing pace, with a few Stitt originals for contrast. It is a blowing session in the best sense, built to show off the leader's fluency and tone, and it makes the case that whatever he owed to Parker, Stitt was a master in his own right.\u003c\/p\u003e\n\u003cp\u003eStitt was one of the most recorded saxophonists in jazz, a working musician who cut hundreds of sessions across four decades and rarely turned in a bad one. Records like this show why he lasted: a huge sound, an endless flow of ideas, and a swing that never faltered. The Parker question followed him to the end, but sets like this answer it on their own terms.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1978 Japanese mono reissue on Royal Roost, catalogue number YW-7805-RO, of the album usually listed as Sonny Stitt Plays, originally Roost RLP 2208.\u003c\/p\u003e","brand":"Royal Roost","offers":[{"title":"Default Title","offer_id":42473237512251,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8075.jpg?v=1785563346"},{"product_id":"miles-davis-1958-miles-1979-japanese-cbs-sony-mono-vinyl-lp","title":"Miles Davis - 1958 Miles (1979 Japanese CBS\/Sony Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMiles Davis - \u003cem\u003e1958 Miles\u003c\/em\u003e | Vinyl LP - 1979 Japanese CBS\/Sony Mono (20AP 1401, CBS Favorite Jazz series)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1958 Miles\u003c\/em\u003e gathers one of the most beautiful sessions Miles Davis ever recorded. By the spring of 1958 his sextet had reached an extraordinary line-up, John Coltrane and Cannonball Adderley sharing the front line, Paul Chambers and Jimmy Cobb in the rhythm section, and a young Bill Evans newly installed at the piano in place of Red Garland. Evans changed everything. His impressionistic, classically shaded harmony pulled Miles's music towards the spare, modal, floating sound that would become \u003cem\u003eKind of Blue\u003c\/em\u003e a year later, and you can hear the shift happening in real time here. The May 1958 date is the heart of the record: a definitive \"On Green Dolphin Street\", a \"Stella By Starlight\" of almost unbearable tenderness with Miles on muted trumpet, and a long, easy \"Love For Sale\". The set opens out with \"Fran-Dance\", Miles's reworking of an old folk tune, and closes with \"Little Melonae\", a Jackie McLean line from an earlier 1958 date with Red Garland and Philly Joe Jones still aboard. It is Miles at a hinge point, and it is gorgeous.\u003c\/p\u003e\n\u003cp\u003eThis material has been scattered across various American releases over the years, but Japanese collectors have long treasured \u003cem\u003e1958 Miles\u003c\/em\u003e as the album that gathers the best of it in one place, and this CBS\/Sony pressing is one of the reasons. Japanese buyers took the presentation seriously: the cover carries a print by Masuo Ikeda, one of the country's most celebrated postwar artists, and the pressing itself is prized for its quiet, well-defined sound.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1979 Japanese mono edition on CBS\/Sony, part of the CBS Favorite Jazz series, catalogue number 20AP 1401.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42473674768443,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8205.jpg?v=1786072538"},{"product_id":"count-basie-basie-the-atomic-mr-basie-1982-japanese-roulette-vinyl-lp","title":"Count Basie - Basie \/ The Atomic Mr. Basie (1982 Japanese Roulette Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eCount Basie And His Orchestra \/ Neal Hefti - \u003cem\u003eBasie\u003c\/em\u003e (The Atomic Mr. Basie) | Vinyl LP - 1982 Japanese Roulette (YS-7111-RO)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEveryone knows this record by its nickname. Released in 1958 as simply \u003cem\u003eBasie\u003c\/em\u003e, it came in a sleeve dominated by an atomic mushroom cloud and has been called \u003cem\u003eThe Atomic Mr. Basie\u003c\/em\u003e ever since. It is one of the greatest big-band albums ever made, thanks to a perfect meeting of band and writer. The Count Basie orchestra of the late fifties, the so-called New Testament band, was a precision machine, and in Neal Hefti it found an arranger who wrote every note here to its exact strengths. The results run from the roaring to the sublime. \"The Kid From Red Bank\" is a barnstorming feature for Basie's own piano, \"Whirly-Bird\" and \"Fantail\" swing at full throttle, and then there is \"Li'l Darlin'\", one of the most beloved charts in all of jazz, a ballad taken so slowly it seems to hang in the air. The band is stacked with soloists, Thad Jones and Joe Newman on trumpets, Frank Foster and Eddie \"Lockjaw\" Davis on tenors, with Freddie Green's rhythm guitar and Basie's own famous economy holding it together.\u003c\/p\u003e\n\u003cp\u003eNeal Hefti went on to write music the whole world knows, the themes to \u003cem\u003eBatman\u003c\/em\u003e and \u003cem\u003eThe Odd Couple\u003c\/em\u003e among them, but this is the record that made his name in jazz, and it remains the high point of his partnership with Basie. The album has never been out of favour, and \"Li'l Darlin'\" in particular has been covered and studied endlessly since.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1982 Japanese reissue on Roulette, part of the label's Count Basie Collection, catalogue number YS-7111-RO.\u003c\/p\u003e","brand":"Roulette","offers":[{"title":"Default Title","offer_id":42473698295867,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8165.jpg?v=1786097408"},{"product_id":"the-quintet-jazz-at-massey-hall-1976-japanese-debut-fantasy-mono-vinyl-lp","title":"The Quintet - Jazz At Massey Hall (1976 Japanese Debut\/Fantasy Mono Vinyl LP)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe Quintet (Parker, Gillespie, Powell, Mingus, Roach) - \u003cem\u003eJazz at Massey Hall\u003c\/em\u003e | Vinyl LP - 1976 Japanese Debut Mono Reissue (VIJ-5001M, Victor Musical Industries)\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003e\u003cem\u003eJazz at Massey Hall\u003c\/em\u003e is the record people mean when they talk about the greatest jazz concert ever held. On 15 May 1953 the five most important figures in bebop shared a stage in Toronto: Charlie Parker on alto, Dizzy Gillespie on trumpet, Bud Powell at the piano, Charles Mingus on bass and Max Roach on drums. It should have been a coronation. In fact the hall was half empty, its audience drawn away by a Rocky Marciano title fight televised the same night, and the musicians had been at odds for years. None of that reaches the music. What was captured is bebop at its highest pitch, five masters pushing each other through \"Salt Peanuts\", \"Hot House\" and a blazing \"A Night In Tunisia\", with Parker and Gillespie trading phrases like the old sparring partners they were. It was the last time the two of them were recorded together. Mingus taped the show and put it out on Debut, the label he and Roach ran, later overdubbing his own bass because the original had barely registered.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eThere is a footnote that became famous. Parker was under contract to Norman Granz, so on the original Debut sleeve he could not be named, and appears instead as \"Charlie Chan\", a wink that fooled no one. The recording survived because Mingus had the presence of mind to capture it and the label to release it, and it has been in print somewhere ever since, one of the essential documents of the music.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eThis is the 1976 Japanese mono reissue on Debut, licensed from Fantasy and manufactured by Victor Musical Industries, catalogue number VIJ-5001M.\u003c\/p\u003e","brand":"Debut Records","offers":[{"title":"Default Title","offer_id":42475237343291,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8070.jpg?v=1785556517"},{"product_id":"sonny-rollins-worktime","title":"Sonny Rollins – Worktime (1974 Prestige Japan Reissue LP Vinyl)","description":"\u003cp\u003eRecorded in December 1955 and originally released on Prestige in 1956, \u003cem\u003eWorktime\u003c\/em\u003e captures \u003cstrong\u003eSonny Rollins\u003c\/strong\u003e at just 25 years old, already in full command of his tenor saxophone voice. Backed by an exceptional rhythm section — \u003cstrong\u003eRay Bryant\u003c\/strong\u003e (piano), \u003cstrong\u003eGeorge Morrow\u003c\/strong\u003e (bass), and \u003cstrong\u003eMax Roach\u003c\/strong\u003e (drums) — Rollins delivers a set that’s both fiery and sophisticated.\u003c\/p\u003e\n\u003cp\u003eFrom the swinging opener \u003cem\u003eThere’s No Business Like Show Business\u003c\/em\u003e to the lyrical ballad \u003cem\u003eIt’s All Right With Me\u003c\/em\u003e and the driving \u003cem\u003eParadox\u003c\/em\u003e, the album shows Rollins’s range as both a melodic interpreter and a daring improviser. Roach’s dynamic drumming keeps the energy high throughout, making this session a gem of his early catalogue.\u003c\/p\u003e\n\u003cp\u003eFresh, inventive, and brimming with youthful energy, \u003cem\u003eWorktime\u003c\/em\u003e stands as one of Rollins’s most exciting early statements.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":42475340857403,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4121.jpg?v=1758414043"},{"product_id":"chick-corea-gary-burton-in-concert-z-rich-october-28-1979","title":"Chick Corea and Gary Burton – In Concert, Zürich, October 28, 1979 (1980 ECM 2LP Vinyl)","description":"\u003cp\u003eReleased in 1980 on ECM, \u003cem\u003eIn Concert, Zürich, October 28, 1979\u003c\/em\u003e captures pianist \u003cstrong\u003eChick Corea\u003c\/strong\u003e and vibraphonist \u003cstrong\u003eGary Burton\u003c\/strong\u003e in a dazzling live performance. Building on the chemistry of their earlier collaborations (\u003cem\u003eCrystal Silence\u003c\/em\u003e, \u003cem\u003eDuet\u003c\/em\u003e), this double LP showcases their telepathic interplay and expansive improvisations.\u003c\/p\u003e\n\u003cp\u003eThe concert features extended interpretations of Corea’s and Burton’s compositions alongside jazz standards, moving effortlessly between lyrical ballads, intricate counterpoint, and fiery rhythmic exchanges. Spacious and crystalline in true ECM fashion, the recording highlights the unique textures of piano and vibraphone in perfect balance.\u003c\/p\u003e\n\u003cp\u003eA captivating live document, \u003cem\u003eIn Concert\u003c\/em\u003e is both intimate and virtuosic — essential listening for fans of modern jazz duos and ECM’s signature sound.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":42489243697211,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4182.jpg?v=1758759320"},{"product_id":"mal-waldron-left-alone-mal-waldron-live-1","title":"Mal Waldron – Left Alone: Mal Waldron Live 1 (1974 Fontana Japan LP Vinyl)","description":"\u003cp\u003eReleased in 1971 on Victor (Japan), \u003cem\u003eLeft Alone: Mal Waldron Live 1\u003c\/em\u003e captures pianist \u003cstrong\u003eMal Waldron\u003c\/strong\u003e in a deeply expressive live performance. Known for his distinctive, percussive touch and brooding lyricism, Waldron delivers a program that blends intensity with introspection, balancing driving rhythms with reflective ballad passages.\u003c\/p\u003e\n\u003cp\u003eThe centerpiece is \u003cem\u003eLeft Alone\u003c\/em\u003e, co-written with \u003cstrong\u003eBillie Holiday\u003c\/strong\u003e and one of Waldron’s signature works. In this live setting, it unfolds with emotional depth and haunting beauty, reminding listeners of his long association with Holiday and his unique voice as both accompanist and leader.\u003c\/p\u003e\n\u003cp\u003eAtmospheric and uncompromising, \u003cem\u003eLeft Alone: Mal Waldron Live 1\u003c\/em\u003e is an essential document of a pianist whose influence stretched from post-bop into the avant-garde.\u003c\/p\u003e","brand":"Fontana","offers":[{"title":"Default Title","offer_id":42489571180603,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4211_601cca1e-5a83-4a47-be0b-4f84a3dd07fb.jpg?v=1758779463"},{"product_id":"billie-holiday-billie-holiday-at-storyville-1976-storyville-japan-lp-vinyl","title":"Billie Holiday – Billie Holiday at Storyville (1976 Storyville Japan LP Vinyl)","description":"\u003cp\u003e\u003cstrong\u003eBillie Holiday - \u003cem\u003eBillie Holiday at Storyville\u003c\/em\u003e | Vinyl LP - 1976 Japanese Storyville Mono (PA-3113(M), Trio Electronics, Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGeorge Wein opened Storyville at the Copley Square Hotel in Boston in 1950 and recorded Holiday there on multiple occasions through the decade. These two broadcasts, captured from club radio feeds rather than commercial sessions, give the record its particular character. The 1951 session on Side B is the sharper of the two sonically, the room close and the rhythm section immediate; Buster Harding's Trio anchors the set, and Stan Getz drifts in on three numbers. \"He's Funny That Way\" opens Side B with the Harding group, Holiday working at a mid tempo without hurry. \"Billie's Blues,\" her own composition, is the bluntest statement on the record. \"Miss Brown to You,\" \"Lover Come Back to Me,\" \"Ain't Nobody's Business If I Do\" and the closing \"You're Driving Me Crazy\" complete the side.\u003c\/p\u003e\n\u003cp\u003eSide A moves to October 1953, now with the Carl Drinkard Trio. The sound is marginally softer on the original tapes, and reviewers of multiple pressings have noted this difference exists in the source material rather than any manufacturing variation. Holiday's voice shows more wear than two years earlier but none less intensity. \"I Cover the Waterfront,\" \"I Love You Porgy,\" \"Willow Weep for Me\" and \"You Go to My Head\" are the strongest performances here, each given space to settle and develop. Both sessions were announced on broadcast by jazz critics of the period; the atmosphere of the club is audible in the room tone. This is the 1976 Japanese Storyville Series mono pressing, manufactured by Trio Electronics, Inc.\u003c\/p\u003e","brand":"Storyville","offers":[{"title":"Default Title","offer_id":42489686622267,"sku":null,"price":75.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6826.jpg?v=1777760728"},{"product_id":"art-blakey-a-night-in-tunisia","title":"Art Blakey’s Jazz Messengers – A Night in Tunisia (1973 RCA Japan Reissue Vinyl LP)","description":"\u003cp\u003eCut in New York in \u003cstrong\u003e1957\u003c\/strong\u003e, this blistering \u003cstrong\u003eRCA\u003c\/strong\u003e session captures Art Blakey’s Jazz Messengers with a hard-hitting frontline: \u003cstrong\u003eBill Hardman\u003c\/strong\u003e (trumpet), \u003cstrong\u003eJackie McLean\u003c\/strong\u003e (alto sax), \u003cstrong\u003eJohnny Griffin\u003c\/strong\u003e (tenor sax), \u003cstrong\u003eSam Dockery\u003c\/strong\u003e (piano) and \u003cstrong\u003eJimmy “Spanky” De Brest\u003c\/strong\u003e (bass). It’s a rare snapshot of \u003cstrong\u003eMcLean and Griffin together on record\u003c\/strong\u003e, and the band comes out swinging from the downbeat.\u003c\/p\u003e\n\u003cp\u003eFierce horns, volcanic Blakey press-rolls, and surging hard-bop energy make this an essential Jazz Messengers date from the RCA era.\u003c\/p\u003e","brand":"RCA","offers":[{"title":"Default Title","offer_id":42489923797051,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4202.jpg?v=1758799252"},{"product_id":"wes-montgomery-the-incredible-jazz-guitar-of-wes-montgomery-1974-japanese-riverside-stereo-vinyl-lp","title":"Wes Montgomery - The Incredible Jazz Guitar Of Wes Montgomery (1974 Japanese Riverside Stereo Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWes Montgomery - \u003cem\u003eThe Incredible Jazz Guitar Of Wes Montgomery\u003c\/em\u003e | Vinyl LP - 1974 Japanese Riverside\/Milestone Stereo (SMJ-6046, Victor Musical Industries)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWes Montgomery taught himself the guitar in Indianapolis, working days as a welder and playing clubs at night, and he played it like nobody else. He used no pick, plucking the strings with the side of his thumb for a warm, round tone, and he soloed in parallel octaves, two notes moving as one. By 1960 the word was out, and Riverside's Orrin Keepnews brought him to New York and set him in front of a tough rhythm section: Tommy Flanagan on piano, Percy Heath of the Modern Jazz Quartet on bass and his brother Albert Heath on drums. This is the album that made Wes's name. He runs through four of his own tunes, among them \"Four On Six\" and \"West Coast Blues\", both of which became standards, alongside Sonny Rollins's \"Airegin\", Dave Brubeck's \"In Your Own Sweet Way\" and a couple of ballads. The playing is fast and fluid but never cold, with the blues under everything.\u003c\/p\u003e\n\u003cp\u003eIt did exactly what Keepnews hoped. The record established Montgomery as the most important guitarist in jazz since Charlie Christian and set the template that George Benson, Pat Metheny and countless others would follow, and in 2017 the American Library of Congress added it to the National Recording Registry. Most fans still rate it the high point of his studio work, before the lush pop crossovers of his final years. \u003c\/p\u003e\n\u003cp\u003eThis is the 1974 Japanese pressing on Riverside and Milestone, manufactured by Victor Musical Industries.\u003c\/p\u003e","brand":"Riverside","offers":[{"title":"Default Title","offer_id":42495069290555,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8370.jpg?v=1787987791"},{"product_id":"art-blakey-au-th-tre-des-champs-lys-es","title":"Art Blakey and The Jazz Messengers – Au Théâtre des Champs-Élysées (1976 RCA Japan Mono Reissue Vinyl)","description":"\u003cp\u003eRecorded live in Paris in 1959 and released on RCA France, \u003cem\u003eAu Théâtre des Champs-Élysées\u003c\/em\u003e captures \u003cstrong\u003eArt Blakey and the Jazz Messengers\u003c\/strong\u003e in a transitional but electrifying lineup. Featuring \u003cstrong\u003eLee Morgan\u003c\/strong\u003e (trumpet), \u003cstrong\u003eWayne Shorter\u003c\/strong\u003e (tenor saxophone), \u003cstrong\u003eWalter Davis Jr.\u003c\/strong\u003e (piano), \u003cstrong\u003eJymie Merritt\u003c\/strong\u003e (bass), and Blakey on drums, this edition documents some of the earliest recordings of Shorter with the band.\u003c\/p\u003e\n\u003cp\u003eThe set is compact but powerful, highlighting the Messengers’ blend of fiery hard bop, soulful melodies, and Blakey’s volcanic drive. Morgan’s brilliance is on full display, Shorter hints at the compositional voice he would soon be known for, and Blakey pushes the group with relentless swing.\u003c\/p\u003e","brand":"RCA","offers":[{"title":"Default Title","offer_id":42495097995323,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4266.jpg?v=1759060649"},{"product_id":"mccoy-tyner-echoes-of-a-friend-1972-japanese-jvc-vinyl-lp","title":"McCoy Tyner - Echoes of a Friend (1972 Japanese JVC Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eMcCoy Tyner - \u003cem\u003eEchoes of a Friend\u003c\/em\u003e | Vinyl LP - 1972 Japanese JVC (SMJ-6009, Victor Musical Industries, Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eColtrane and Tyner had known each other since 1955, when Tyner was seventeen. Coltrane told him then that if he ever formed a band of his own, Tyner would be the pianist. 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It was his fifth Blue Note session as a leader in seven months. He was 26 years old and had already made \u003cem\u003eDial \"S\" for Sonny\u003c\/em\u003e, \u003cem\u003eSonny's Crib\u003c\/em\u003e and the \u003cem\u003eSonny Clark Trio\u003c\/em\u003e album for the label, each one with different personnel. For this session Alfred Lion assembled a quintet from the top of the roster. Paul Chambers and Philly Joe Jones were Miles Davis's rhythm section, available for Blue Note dates between Davis engagements. Art Farmer had played on \u003cem\u003eDial \"S\" for Sonny\u003c\/em\u003e the previous July. Jackie McLean, the same age as Clark, played alto saxophone with the slightly tart edge that set him apart from every other Bird-influenced altoist of his generation. Clark wrote the title track and \"Blue Minor,\" two slow-to-medium pieces built on blues harmony that became standard jam session material. Miles Davis's \"Sippin' At Bells\" and Henderson and Vallee's \"Deep Night\" round out the four tracks. All four run between eight and ten minutes, long enough for everyone to solo at length, and the rhythm section holds a groove under each one that justifies the album's title.\u003c\/p\u003e\n\u003cp\u003eClark died on January 13, 1963 at the age of 31. He left behind eleven sessions as a leader for Blue Note and appeared as a sideman on dozens more. Reid Miles's cover design, built around Francis Wolff's photograph of Ruth Lion's legs walking down a city street, became one of the defining images of jazz, reproduced on posters, T-shirts and tote bags for decades. This is the 1978 Japanese pressing (GXK 8043 \/ BST 81588), manufactured by King Record Co. Ltd as part of the Blue Note Masterpiece Selection 150 series. It includes the original obi strip and a Japanese liner note insert by the critic Shoichi Yui. The original American liner notes are by Nat Hentoff.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42552934694971,"sku":null,"price":90.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8435.jpg?v=1788756301"},{"product_id":"weather-report-heavy-weather-1977-japanese-cbs-sony-vinyl-lp","title":"Weather Report - Heavy Weather (1977 Japanese CBS\/Sony Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWeather Report - \u003cem\u003eHeavy Weather\u003c\/em\u003e | Vinyl LP - 1977 Japanese CBS\/Sony (25AP 357)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy the time of \u003cem\u003eHeavy Weather\u003c\/em\u003e, Jaco Pastorius had fully arrived. He had joined for the previous album, \u003cem\u003eBlack Market\u003c\/em\u003e (1976), replacing Alphonso Johnson on a couple of tracks, but here he plays bass on everything except the percussion feature, and his contribution goes well beyond the bass chair. He co-produced the album, wrote two of its most celebrated pieces (\"Teen Town,\" where he plays both bass and drums, and \"Havona\"), and shaped the sound of the record through his knowledge of the studio. His fretless bass functions as a third melodic voice, dancing above the range where a bass is supposed to sit. \"Birdland\" is the track everyone knows, Zawinul's tribute to the New York club where he had heard Basie, Ellington, Armstrong and Davis, and where he met his wife. The Oberheim synthesiser creates the illusion of a horn section, Jaco plays the melody in harmonics at the introduction, and the whole thing builds through section after section without a wasted bar. It reached the pop charts, which almost no instrumental jazz recording did in 1977. \"A Remark You Made\" follows, a slow, wordless ballad with Shorter's soprano saxophone floating over Zawinul's Rhodes and Jaco's bass, the most purely beautiful thing on the album.\u003c\/p\u003e\n\u003cp\u003eThe rest of the record moves between moods and textures. \"Teen Town\" is Jaco's showcase, fast and manic, with his bass carrying the melody. \"Harlequin\" is a Shorter ballad. \"Rumba Mamá\" (recorded live at the 1976 Montreux Jazz Festival) is a percussion duet between Acuña and Badrena, all timbales and voices. \"Palladium\" is a Shorter piece with a driving Latin feel. \"The Juggler\" brings in Zawinul on guitar and tabla. \"Havona\" closes the album with Jaco's most harmonically ambitious composition, a fast, complex piece that gives everyone room to stretch. Zawinul had become the band's de facto director in the studio by this point, his synthesisers dictating the textures and his arrangements carefully planned, with less of the free improvisation of the group's early years. But the interplay between Zawinul, Shorter and Pastorius is what makes the album endure. One of the most celebrated albums in jazz fusion history, Weather Report's \u003cem\u003eHeavy Weather\u003c\/em\u003e stands as a landmark recording that defined the genre's golden era. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThis is the 1977 Japanese pressing on CBS\/Sony 25AP 357. Comes with yellow obi and Japanese insert.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42586027524155,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7691.jpg?v=1783898032"},{"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":"sonny-clark-blues-in-the-night-limited-edition-japanese-blue-note-vinyl-lp","title":"Sonny Clark - Blues In The Night (Limited Edition Japanese Blue Note Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eSonny Clark - Blues In The Night Vinyl LP - Limited Edition Japanese Blue Note Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA showcase for one of hard bop's most distinctive pianists, \u003cem\u003eBlues In The Night\u003c\/em\u003e captures Sonny Clark leading a tight trio through a session that highlights his elegant touch, blues-soaked sensibility and impeccable sense of swing. This 1979 Japanese limited edition pressing, manufactured by King Record Co. and released on Blue Note's GXF series, presents Clark's artistry with the sonic excellence Japanese audiophile editions are prized for.\u003c\/p\u003e\n\u003cp\u003eRecorded at Rudy Van Gelder's legendary Hackensack studio under the guidance of Blue Note founder Alfred Lion, the album features Clark primarily supported by bassist Paul Chambers and drummer Wes Landers, with Jymie Merritt taking over bass duties on the final track. The trio format allows Clark's piano playing to take centre stage, and he responds with performances that balance sophistication and soul, technical facility and emotional directness.\u003c\/p\u003e\n\u003cp\u003eClark's approach to the piano was marked by a crystalline touch and a harmonic vocabulary that drew from bebop while looking forward to the modal explorations that would define the early 1960s. Whether navigating blues changes, interpreting standards, or working through original compositions, Clark maintained a distinctive voice that was both cerebral and deeply swinging. His tragic early death in 1963 cut short a career that was still developing, making sessions like this all the more valuable.\u003c\/p\u003e\n\u003cp\u003eThis limited edition Japanese pressing includes the original insert and represents the session with exceptional clarity and warmth. For collectors of Blue Note's catalogue and admirers of piano trio jazz, this is an essential document of an under-appreciated master.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42589106372667,"sku":null,"price":100.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4909_51f5be07-a30e-490f-a4c3-64ed511f74bd.jpg?v=1762039129"},{"product_id":"sonny-clark-trio-sonny-clark-trio-1978-japanese-blue-note-stereo-lp","title":"Sonny Clark Trio - Sonny Clark Trio (1978 Japanese Blue Note Stereo LP)","description":"\u003cp\u003e\u003cstrong\u003eSonny Clark Trio - \u003cem\u003eSonny Clark Trio\u003c\/em\u003e | Vinyl LP - 1978 Japanese Blue Note Stereo (GXK 8051, Blue Note Masterpiece Selection 150, King Record Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSonny Clark recorded three albums for Blue Note in a three-month burst in 1957. The first two, \u003cem\u003eDial 'S' for Sonny\u003c\/em\u003e and \u003cem\u003eSonny's Crib\u003c\/em\u003e, used larger groups with horns. This one put him in front with only Paul Chambers and Philly Joe Jones.\u003c\/p\u003e\n\u003cp\u003eThe album opens with \"Be-Bop,\" Gillespie's bebop theme, and Clark plays it for nearly ten minutes. It is not the most harmonically complex piece in the bebop repertoire, but that is partly the point — the trio uses its relative simplicity to stretch and improvise rather than navigate. Chambers's bass lines are prominent throughout; Jones plays with the loose authority he brought to everything in this period. \"I Didn't Know What Time It Was,\" the Rodgers and Hart standard from Too Many Girls (1939), follows at medium tempo. \"Two Bass Hit,\" by Gillespie and John Lewis, closes Side A.\u003c\/p\u003e\n\u003cp\u003eSide B opens with Tadd Dameron's \"Tadd's Delight,\" another bebop head given a long, open treatment. \"Softly as in a Morning Sunrise\", Sigmund Romberg and Oscar Hammerstein II's piece from \u003cem\u003eThe New Moon\u003c\/em\u003e (1928), runs six and a half minutes, Clark's phrasing more searching than his Side A playing. \"I'll Remember April,\" the Gene de Paul, Don Raye and Patricia Johnston standard from 1941, closes the record.\u003c\/p\u003e\n\u003cp\u003eThis is the 1978 Japanese Blue Note stereo pressing (GXK 8051), Blue Note Masterpiece Selection 150, manufactured by King Record Co. Ltd.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42589436510267,"sku":null,"price":60.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6930.jpg?v=1778648494"},{"product_id":"clifford-brown-and-max-roach-at-basin-street-japanese-emarcy-vinyl-lp","title":"Clifford Brown \u0026 Max Roach - At Basin Street (1974 Japanese EmArcy Mono Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eClifford Brown \u0026amp; Max Roach - \u003cem\u003eAt Basin Street\u003c\/em\u003e | Vinyl LP - 1974 Japanese EmArcy Mono Reissue (BT-1326, Immortal Clifford Brown Collection, Nippon Phonogram)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAt Basin Street\u003c\/em\u003e is the last studio record the Clifford Brown and Max Roach Quintet made, and it caught the band with a new voice up front. Harold Land had gone home to California to care for his wife, and in his place stood Sonny Rollins, twenty-five and about to become one of the most important saxophonists alive. The two horns could hardly be more different, Brown warm and flowing, Rollins hard and muscular, and the contrast lifts the whole record. The three standards that open it, \"What Is This Thing Called Love?\", \"Love Is A Many Splendored Thing\" and \"I'll Remember April\", are taken at pace and dressed in Richie Powell's crafty arrangements, full of sudden intros and shifts of rhythm. Powell, Bud's younger brother, also contributes three originals, the springing \"Gertrude's Bounce\" among them, and Tadd Dameron's \"The Scene Is Clean\" rounds it out. It is one of the essential hard bop records, and it never lets up.\u003c\/p\u003e\n\u003cp\u003eRead now, the record is impossible to separate from what came next. Four months after the February sessions, Clifford Brown and Richie Powell were both killed in the same car crash on the Pennsylvania Turnpike, and the quintet was gone. This is the last studio album it made under the Brown and Roach name, and one of the last things either man recorded. Sonny Rollins recorded \u003cem\u003eSaxophone Colossus\u003c\/em\u003e that same June, days before the crash, and went on to a career that ran another sixty years, which only sharpens the sense of how much ended here.\u003c\/p\u003e\n\u003cp\u003eThis copy is the 1974 Japanese mono reissue on EmArcy, part of the Immortal Clifford Brown Collection series, manufactured by Nippon Phonogram, catalogue number BT-1326.\u003c\/p\u003e","brand":"EmArcy","offers":[{"title":"Default Title","offer_id":42590605967419,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7990.jpg?v=1785137784"},{"product_id":"carmen-mcrae-the-sound-of-silence-japanese-atlantic-vinyl-lp-gatefold","title":"Carmen McRae - The Sound Of Silence (Japanese Atlantic Vinyl LP Gatefold)","description":"\u003cp\u003eOne of jazz's most sophisticated and emotionally astute vocalists, Carmen McRae delivers a masterclass in interpretive singing on \u003cem\u003eThe Sound Of Silence\u003c\/em\u003e, an album that finds her tackling a diverse repertoire ranging from Duke Ellington standards to contemporary pop material. This 1969 Japanese pressing, the first Japanese release officially licensed by Atlantic Records and manufactured by Nippon Grammophon on their green and light blue label, captures McRae's artistry in a beautifully presented gatefold edition.\u003c\/p\u003e\n\u003cp\u003eThe album's title track, Simon \u0026amp; Garfunkel's \"The Sound Of Silence\", demonstrates McRae's remarkable ability to take popular songs and transform them into jazz vehicles without losing their essential character. Similarly, her interpretation of Jimmy Webb's sprawling \"MacArthur Park\" is audacious and successful, proof that McRae could inhabit virtually any material and make it her own. These contemporary choices sit comfortably alongside timeless standards like Ellington's \"I Got It Bad And That Ain't Good\", Hoagy Carmichael's \"Stardust\", and the Hungarian suicide song \"Gloomy Sunday\", which McRae performs with haunting restraint.\u003c\/p\u003e\n\u003cp\u003eWhat sets McRae apart from many of her contemporaries is her musician's approach to singing. Her pitch is impeccable, her time feel sophisticated, and her phrasing constantly interesting without calling attention to itself. She never over-sings or relies on vocal acrobatics, instead using her rich, slightly husky tone and innate musicality to serve each song's emotional truth. Whether delivering the melancholy of \"Poor Butterfly\" or the wistfulness of \"The Folks Who Live On The Hill\", McRae's artistry is consistently compelling.\u003c\/p\u003e\n\u003cp\u003eThis Japanese gatefold pressing represents an important moment when Atlantic Records was expanding McRae's reach internationally. The Nippon Grammophon manufacturing ensures excellent sound quality that does justice to McRae's voice and the arrangements.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":42590716330043,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4923.jpg?v=1762137667"},{"product_id":"charlie-christian-edmond-hall-memorable-sessions-japanese-blue-note-vinyl-lp","title":"Charlie Christian \/ Edmond Hall - Memorable Sessions (Japanese Blue Note Vinyl LP)","description":"\u003cp\u003eA treasured document of pre-bebop jazz at its finest, Memorable Sessions brings together historic recordings featuring two masters of their respective instruments: the revolutionary guitarist Charlie Christian and the magnificent clarinetist Edmond Hall. Released in Japan on Blue Note in 1969, this album preserves eight performances originally recorded in the 1940s, capturing a pivotal moment when swing was evolving toward modern jazz.\u003c\/p\u003e\n\u003cp\u003eThe album is split between two distinct lineups, each offering its own delights. Side A features the Edmond Hall Celeste Quartet, a unique ensemble built around boogie-woogie pianist Meade \"Lux\" Lewis playing celesta (the same ethereal keyboard instrument heard in \"Dance of the Sugar Plum Fairy\"). Joining Hall's warm clarinet are the legendary guitarist Charlie Christian, whose single-note solo lines and electric amplification revolutionised jazz guitar, and bassist Israel Crosby. The four tracks, including two versions of \"Profoundly Blue\" (the original and an alternate master), showcase a chamber jazz aesthetic that's both intimate and swinging.\u003c\/p\u003e\n\u003cp\u003eSide B presents Edmond Hall's All Star Quintet, a different configuration featuring pianist Teddy Wilson, vibraphonist Red Norvo, guitarist Carl Kress, and bassist Johnny Williams. Wilson and Norvo, both giants of the swing era, bring elegance and sophistication to tracks like \"Blue Interval\" and \"Smooth Sailing\". The interplay between Hall's fluid clarinet, Norvo's shimmering vibes, and Wilson's refined piano creates a sound that's both relaxed and deeply musical.\u003c\/p\u003e\n\u003cp\u003eFor guitar enthusiasts, hearing Charlie Christian on the four tracks is invaluable. Christian died tragically young in 1942 at just 25, making every surviving recording precious. His linear, horn-like approach to the guitar influenced generations of players and helped establish the instrument as a lead voice in jazz. This Japanese pressing offers collectors a chance to own these historic performances with the quality Blue Note releases are known for.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42591179046971,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_4920_e99b9201-c606-4773-a66c-27ab083aefd6.jpg?v=1762168359"},{"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":"charles-mingus-presents-charles-mingus-1977-japanese-candid-vinyl-lp","title":"Charles Mingus - Presents Charles Mingus (1977 Japanese Candid Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eCharles Mingus - \u003cem\u003ePresents Charles Mingus\u003c\/em\u003e | Vinyl LP - 1977 Japanese Candid Records Reissue (SMJ-6178, Victor Musical Industries)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Original Faubus Fables\" is the track that defines what this album is about. Mingus had recorded a version of the piece on \u003cem\u003eMingus Ah Um\u003c\/em\u003e the year before, but Columbia wouldn't release the lyrics, which mocked Arkansas Governor Orval Faubus for deploying the National Guard to block nine Black students from entering a white high school in Little Rock. Nat Hentoff, running the short-lived Candid label with a policy of complete artistic freedom, let Mingus record it the way he wanted. Mingus and Richmond sing the satirical text together (naming names, making the politics personal) while Dolphy's alto shadows the vocal line before breaking into a solo that turns the satire into something more abstract and unsettling. The other three pieces are just as concentrated. \"Folk Forms No. 1\" opens with Mingus's bass alone before Dolphy and Curson enter, the melody building through a New Orleans-flavoured march that unfolds for 12 minutes. \"What Love,\" the longest track at over 15 minutes, weaves together fragments of \"You Don't Know What Love Is\" and \"What Is This Thing Called Love?\" into an extended dialogue between Dolphy and Mingus that Hentoff's liner notes describe as reflecting the impending departure of both Dolphy and Curson from the band. \"All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother\" reworks \"All The Things You Are\" at speed, with a title that is pure Mingus.\u003c\/p\u003e\n\u003cp\u003eThe decision to work without a piano is central to the album's sound. Mingus's bass functions as both rhythm section and harmonic foundation, and without chords filling the middle register the space between Dolphy and Curson is wide open. The quartet had been playing this material at The Showplace in New York for weeks, and the studio session catches the kind of telepathic interaction that only comes from a band that knows the material deeply enough to pull it apart and reassemble it in real time. This is the 1977 Japanese stereo reissue on Candid SMJ-6178, part of the Jazztime Now!! series, made by Victor Musical Industries.\u003c\/p\u003e","brand":"Candid","offers":[{"title":"Default Title","offer_id":42605905903675,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8007.jpg?v=1785136593"},{"product_id":"coleman-hawkins-hawkins-alive-at-the-village-gate-japanese-verve-vinyl-lp","title":"Coleman Hawkins - Hawkins! Alive At The Village Gate (Japanese Verve Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eColeman Hawkins - Hawkins! Alive At The Village Gate Vinyl LP - Japanese Verve Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe father of the tenor saxophone captured live in one of New York's most beloved jazz venues, \u003cem\u003eHawkins! Alive At The Village Gate\u003c\/em\u003e presents Coleman Hawkins in prime form during two nights in August 1962. This 1985 Japanese reissue on Verve, manufactured by Polydor K.K., preserves four extended performances that showcase why Hawkins remained a commanding presence decades after revolutionising his instrument in the 1920s and 1930s.\u003c\/p\u003e\n\u003cp\u003eBacked by the impeccable rhythm section of pianist Tommy Flanagan, bassist Major Holley, and drummer Ed Locke, Hawkins demonstrates the robust tone, harmonic sophistication, and rhythmic authority that made him a bridge between swing and modern jazz. His approach to the tenor saxophone, with its huge sound and vertical harmonic thinking, influenced virtually every saxophonist who followed, from Lester Young to John Coltrane.\u003c\/p\u003e\n\u003cp\u003eThe four tracks balance standards and unexpected repertoire choices. \"All The Things You Are\" receives a masterful reading that highlights Hawkins' ability to wring new meaning from well-worn material. \"Josh Fit The Battle Of Jericho\", the spiritual reimagined as a swinging jazz vehicle, showcases Hawkins' playful side and his ability to honour tradition while making it contemporary. \"Mack The Knife\", already a jazz standard by 1962, gets the full Hawkins treatment with his characteristic gruff eloquence, while \"Talk Of The Town\" closes the album with romantic balladry that demonstrates the tenderness within Hawkins' powerful sound.\u003c\/p\u003e\n\u003cp\u003eTommy Flanagan, one of the most tasteful and supportive pianists in jazz, provides elegant accompaniment throughout, while Holley and Locke maintain a buoyant, swinging foundation. The live setting captures the interaction and spontaneity that studio recordings sometimes miss, with the Village Gate audience responding to particularly inspired moments.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing offers excellent sound quality that captures both the intimacy of the club setting and the power of Hawkins' playing. For fans of classic tenor saxophone and those interested in the continuum of jazz history, this is essential listening.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":42605908328507,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5050.jpg?v=1762649285"},{"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":"wilbur-harden-with-john-coltrane-mainstream-1958-japanese-savoy-vinyl-lp","title":"Wilbur Harden With John Coltrane - Mainstream 1958 (Japanese Savoy Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eWilbur Harden, John Coltrane, Tommy Flanagan, Doug Watkins, Louis Hayes - Mainstream 1958: The East Coast Jazz Scene Vinyl LP - Japanese CBS\/Sony Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA remarkable document from a pivotal moment in John Coltrane's development, \u003cem\u003eMainstream 1958\u003c\/em\u003e captures the tenor saxophonist during his transitional period between his years with Miles Davis and the formation of his own revolutionary quartet. Recorded on 13 March 1958 at Rudy Van Gelder's Hackensack studio, this session finds Coltrane alongside flugelhorn player Wilbur Harden, whose warm, mellow horn tone provides an intriguing contrast to Coltrane's increasingly intense explorations. This 1975 Japanese reissue on CBS\/Sony, part of their Original Savoy Recording series, preserves these historically significant performances with the mono fidelity that captures the music's essence.\u003c\/p\u003e\n\u003cp\u003eWilbur Harden remains one of hard bop's under-appreciated figures, a flugelhorn specialist whose melodic approach and compositional skills deserved wider recognition. All five compositions here are Harden originals, showcasing his writing ability across a range of moods and tempos. What makes this session special is hearing Coltrane within Harden's musical context rather than as the dominant voice. While Coltrane's solos reveal the \"sheets of sound\" approach and harmonic restlessness that would soon revolutionise jazz, he's working within Harden's frameworks and sharing space with the leader's lyrical flugelhorn.\u003c\/p\u003e\n\u003cp\u003eThe rhythm section is impeccable: Tommy Flanagan on piano, one of the era's most tasteful and harmonically sophisticated accompanists; Doug Watkins on bass, providing solid yet melodic support; and the young Louis Hayes on drums, already demonstrating the crisp attack and musical intelligence that would make him one of hard bop's most in-demand drummers. Together, they create the perfect foundation for the frontline's explorations.\u003c\/p\u003e\n\u003cp\u003eTracks like \"Wells Fargo\" and \"West 42nd Street\" demonstrate the quintet's ability to swing hard while maintaining compositional interest, while \"E.F.F.P.H.\", \"Snuffy\", and \"Rhodomagnetics\" showcase Harden's diverse compositional palette. Throughout, Coltrane's tenor playing is fascinating to hear in this context, showing both where he'd been and where he was heading.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing includes an LP-sized insert and represents Van Gelder's original mono recording with excellent fidelity. For Coltrane completists and those interested in hard bop's development, this session offers crucial insights into a transformative period.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":42703397781563,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5095.jpg?v=1763004374"},{"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. Rather than simply walking time or providing roots, he engages in genuine three-way conversation, sometimes mirroring Coleman's melodic ideas, sometimes providing rhythmic propulsion, and sometimes venturing into entirely independent territory. Moffett's drumming is equally liberated, responding to the moment rather than maintaining rigid timekeeping, yet always propelling the music forward with energy and purpose.\u003c\/p\u003e\n\u003cp\u003eThis US pressing with Japanese distribution represents an unusual collecting opportunity: the sonic quality of an original US Blue Note pressing combined with the presentation elements that make Japanese jazz releases so appealing to collectors.\u003c\/p\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42705839816763,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5099.jpg?v=1763006231"},{"product_id":"albert-ayler-love-cry-japanese-impulse-vinyl-lp-gatefold","title":"Albert Ayler - Love Cry (Japanese Impulse! Vinyl LP Gatefold)","description":"\u003cp\u003e\u003cstrong\u003eAlbert Ayler - Love Cry Vinyl LP - Japanese Impulse! Gatefold Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most emotionally direct and spiritually charged albums in the free jazz canon, \u003cem\u003eLove Cry\u003c\/em\u003e presents Albert Ayler at a crucial juncture in his brief but incandescent career. Recorded across two sessions in August 1967 and February 1968, and reissued in Japan in 1972 by Toshiba Musical Industries in a handsome gatefold edition, this album captures Ayler's vision of jazz as sacred music, folk expression, and ecstatic celebration all at once.\u003c\/p\u003e\n\u003cp\u003eAyler's approach to the tenor saxophone was unlike anyone else's. His huge, vocal tone, wide vibrato, and willingness to venture into extreme registers made his sound instantly recognisable and often divisive. But what separated Ayler from mere iconoclasm was the profound emotion and spiritual searching in his music. These aren't merely abstract sound experiments but deeply felt expressions of joy, yearning, and transcendence.\u003c\/p\u003e\n\u003cp\u003eThe eight compositions move between tender folk-like melodies and collective free improvisations. \"Love Cry\" and \"Love Flower\" showcase Ayler's gift for simple, almost childlike themes that carry surprising emotional weight. \"Ghosts\", one of his most frequently performed pieces, builds from a haunting march-like melody into passionate collective improvisation. \"Universal Indians\" points toward Ayler's growing interest in incorporating rock and R\u0026amp;B elements, a direction that would become more pronounced on his final albums.\u003c\/p\u003e\n\u003cp\u003eThe ensemble here is exceptional. Donald Ayler's trumpet complements his brother's saxophone with a similarly raw, vocalized approach. Milford Graves' drumming abandons conventional timekeeping for a more ritualistic, pulse-oriented approach that perfectly suits Albert's conception. Alan Silva's bass provides both grounding and freedom, while Call Cobbs' harpsichord adds an unexpected timbral colour, particularly striking on tracks where its baroque associations clash productively with the music's avant-garde intensity.\u003c\/p\u003e\n\u003cp\u003eAyler's vocals appear on some tracks, his untrained voice adding another layer of raw expressiveness to the proceedings. For some listeners, this is too much, but for those attuned to Ayler's vision, it represents complete artistic honesty and vulnerability.\u003c\/p\u003e\n\u003cp\u003eThis Japanese gatefold pressing offers excellent stereo sound that captures both the intimacy of the smaller group performances and the power of Ayler's full-throated saxophone cry. Just three years after these recordings, Ayler would be found dead in New York's East River under mysterious circumstances, making albums like \u003cem\u003eLove Cry\u003c\/em\u003e precious documents of a visionary artist who burned brightly and briefly.\u003c\/p\u003e","brand":"Impulse!","offers":[{"title":"Default Title","offer_id":43011620929595,"sku":null,"price":95.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5149.jpg?v=1763261579"},{"product_id":"oscar-peterson-trio-night-train-1973-japanese-verve-vinyl-lp","title":"Oscar Peterson Trio - Night Train (1973 Japanese Verve Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eThe Oscar Peterson Trio - \u003cem\u003eNight Train\u003c\/em\u003e | Vinyl LP - 1973 Japanese Verve Stereo Reissue (MV 2063, Modern Jazz Verve Best series, Polydor K.K.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most beloved albums in Oscar Peterson's vast discography, \u003cem\u003eNight Train\u003c\/em\u003e showcases the legendary pianist leading his superb trio through a swinging, blues-drenched programme of jazz standards and originals. Recorded across two days in December 1962 in Los Angeles with bassist Ray Brown and drummer Ed Thigpen, and reissued in Japan in October 1973 as part of Verve's Modern Jazz Verve Best series, this album captures the Peterson trio at their effortless, virtuosic best.\u003c\/p\u003e\n\u003cp\u003ePeterson's approach to the piano combined dazzling technical facility with deep blues feeling and impeccable swing. His right-hand single-note lines could match the speed and fluidity of any bebop horn player, while his left hand provided rich harmonic support and powerful rhythmic drive. But what made Peterson special wasn't just the technique, it was his ability to make even the fastest passages sing with melodic clarity and emotional warmth.\u003c\/p\u003e\n\u003cp\u003eThe eleven tracks here represent a carefully curated journey through jazz repertoire. The opening title track sets the tone with its chugging blues groove, evoking the sound and feeling of a train rolling through the night. Duke Ellington's \"C Jam Blues\" receives the full Peterson treatment, balancing respect for the tradition with fresh improvisational ideas. Hoagy Carmichael's \"Georgia On My Mind\" demonstrates Peterson's gift for ballad playing, his touch tender yet never sentimental.\u003c\/p\u003e\n\u003cp\u003eMilt Jackson's \"Bags' Groove\" and the Bennie Moten classic \"Moten Swing\" showcase the trio's ability to swing relentlessly while maintaining musical sophistication. Peterson's own composition \"Hymn To Freedom\" closes the album on a soulful, gospel-influenced note that points toward his social consciousness and his support for the civil rights movement.\u003c\/p\u003e\n\u003cp\u003eThroughout, the interplay between Peterson, Brown, and Thigpen is extraordinary. Brown's bass lines are melodic and propulsive, perfectly complementing Peterson's piano while maintaining independence. Thigpen's brushwork and cymbal playing exemplify the art of supportive, musical drumming, always serving the music rather than dominating it. This trio worked together for years, and their musical communication is virtually telepathic.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing, manufactured by Polydor K.K., offers excellent stereo sound that captures the intimacy of the trio format and the warmth of Peterson's piano tone. \u003cem\u003eNight Train\u003c\/em\u003e remains one of the most accessible and enjoyable entries in Peterson's catalogue, appealing to both jazz veterans and newcomers alike.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":43011662872635,"sku":null,"price":80.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8063.jpg?v=1785458969"}],"url":"https:\/\/lushliferecords.com.au\/collections\/vintage-finds.oembed?page=25","provider":"Lush Life Records","version":"1.0","type":"link"}