{"title":"Vinyl under $50","description":"\u003cp\u003eGreat jazz vinyl doesn't have to break the bank. This collection proves that building a serious record collection is within reach, whether you're just starting out or filling gaps in your catalogue. Every album here sits under $50, carefully selected for both musical significance and value.\u003c\/p\u003e\n\u003cp\u003eYou'll find Blue Note reissues of essential albums, contemporary releases from exciting new artists, and quality pressings that punch well above their price point. These aren't afterthoughts or clearance items. They're thoughtfully chosen records that represent genuine entry points into different eras and styles of jazz, from bebop classics to the UK jazz renaissance.\u003c\/p\u003e","products":[{"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":"cannonball-adderley-somethin-else","title":"Cannonball Adderley - Somethin' Else (2019 Jazz Images Reissue LP Vinyl)","description":"\u003cp data-start=\"250\" data-end=\"546\"\u003eFew records embody the magic of hard bop like \u003cem data-start=\"296\" data-end=\"312\"\u003eSomethin’ Else\u003c\/em\u003e. Released in 1958 on Blue Note, this is alto saxophonist Cannonball Adderley’s finest hour — joined by an all-star lineup: Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass, and Art Blakey on drums.\u003c\/p\u003e\n\u003cp data-start=\"548\" data-end=\"844\"\u003eThe interplay between Adderley and Davis is electric, from the shimmering opening of \u003cem data-start=\"633\" data-end=\"648\"\u003eAutumn Leaves\u003c\/em\u003e to the soulful swing of \u003cem data-start=\"673\" data-end=\"690\"\u003eOne for Daddy-O\u003c\/em\u003e. Each track blends lyricism, groove, and improvisational fire, with Adderley’s blues-inflected tone perfectly complemented by Davis’s understated cool.\u003c\/p\u003e\n\u003cp data-start=\"548\" data-end=\"844\"\u003eIncludes bonus track not included on original release - A3 Fran-Dance.\u003c\/p\u003e","brand":"Jazz Images","offers":[{"title":"Default Title","offer_id":42460308373563,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/qqujgbwcc1xmpy11cfnj.jpg?v=1757829312"},{"product_id":"miles-davis-round-about-midnight-180g-vinyl-lp","title":"Miles Davis - 'Round About Midnight (2025 Number One Reissue LP Vinyl)","description":"\u003cp data-start=\"195\" data-end=\"545\"\u003eReleased in 1957, \u003cem data-start=\"213\" data-end=\"236\"\u003e’Round About Midnight\u003c\/em\u003e was \u003cstrong data-start=\"241\" data-end=\"258\"\u003eMiles Davis’s\u003c\/strong\u003e first album for Columbia Records and a pivotal moment in his career. Backed by the “first great quintet” — \u003cstrong data-start=\"366\" data-end=\"383\"\u003eJohn Coltrane\u003c\/strong\u003e (tenor sax), \u003cstrong data-start=\"397\" data-end=\"412\"\u003eRed Garland\u003c\/strong\u003e (piano), \u003cstrong data-start=\"422\" data-end=\"439\"\u003ePaul Chambers\u003c\/strong\u003e (bass), and \u003cstrong data-start=\"452\" data-end=\"472\"\u003ePhilly Joe Jones\u003c\/strong\u003e (drums) — the record balances lyrical ballads with hard-driving swing.\u003c\/p\u003e\n\u003cp data-start=\"547\" data-end=\"859\"\u003eFrom the haunting title track, Davis’s signature interpretation of Thelonious Monk’s classic, to the fiery \u003cem data-start=\"654\" data-end=\"666\"\u003eAh-Leu-Cha\u003c\/em\u003e and soulful \u003cem data-start=\"679\" data-end=\"698\"\u003eBye Bye Blackbird\u003c\/em\u003e, this album showcases the telepathic interplay that made the quintet legendary. It’s a perfect entry point for new listeners and a cornerstone for collectors.\u003cstrong data-start=\"861\" data-end=\"882\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"977\" data-end=\"1085\"\u003eElegant, emotive, and essential, \u003cem data-start=\"1010\" data-end=\"1033\"\u003e’Round About Midnight\u003c\/em\u003e remains one of Miles Davis’s defining statements.\u003c\/p\u003e","brand":"Number One Essentials","offers":[{"title":"Default Title","offer_id":42461738565691,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/test_031d5011_thumbnail_4096.webp?v=1757912586"},{"product_id":"sun-ra_the-magic-city-180g-vinyl-lp-reissue","title":"Sun Ra - The Magic City (2024 Jazz Wax Reissue LP Vinyl)","description":"\u003cp data-start=\"176\" data-end=\"513\"\u003eRecorded in 1965 and released on his own Saturn label the following year, \u003cem data-start=\"250\" data-end=\"266\"\u003eThe Magic City\u003c\/em\u003e is one of \u003cstrong data-start=\"277\" data-end=\"289\"\u003eSun Ra’s\u003c\/strong\u003e boldest and most exploratory works. Named after his hometown of Birmingham, Alabama, the album captures the Arkestra in full experimental flight — blurring the lines between free jazz, avant-garde, and cosmic soundscapes.\u003c\/p\u003e\n\u003cp data-start=\"515\" data-end=\"810\"\u003eThe sprawling 27-minute title track is a suite of shifting textures, percussive storms, and ensemble improvisation, while shorter pieces like \u003cem data-start=\"657\" data-end=\"675\"\u003eThe Shadow World\u003c\/em\u003e and \u003cem data-start=\"680\" data-end=\"694\"\u003eAbstract Eye\u003c\/em\u003e showcase Ra’s adventurous use of rhythm and space. This is not background music — it’s a portal to another world.\u003cstrong data-start=\"812\" data-end=\"833\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"911\" data-end=\"1056\"\u003eDense, challenging, and visionary, \u003cem data-start=\"946\" data-end=\"962\"\u003eThe Magic City\u003c\/em\u003e is a landmark in free jazz and a must-own for collectors of avant-garde and spiritual jazz.\u003c\/p\u003e","brand":"Jazz Wax Records","offers":[{"title":"Default Title","offer_id":42461892739131,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/CS1041446-01A-BIG_2048x_e6bf4c54-b335-4517-9079-27f2283ea545.webp?v=1757918745"},{"product_id":"thelonious-monk-brilliant-corners","title":"Thelonious Monk - Brilliant Corners (2025 Ermitage Reissue LP Coloured Vinyl)","description":"\u003cp data-start=\"196\" data-end=\"641\"\u003eReleased in 1957 on Riverside, \u003cem data-start=\"227\" data-end=\"246\"\u003eBrilliant Corners\u003c\/em\u003e is one of \u003cstrong data-start=\"257\" data-end=\"278\"\u003eThelonious Monk’s\u003c\/strong\u003e most important albums — a daring, inventive session that pushed the boundaries of modern jazz composition. With a stellar lineup featuring \u003cstrong data-start=\"418\" data-end=\"435\"\u003eSonny Rollins\u003c\/strong\u003e (tenor sax), \u003cstrong data-start=\"449\" data-end=\"464\"\u003eErnie Henry\u003c\/strong\u003e (alto sax), \u003cstrong data-start=\"477\" data-end=\"496\"\u003eOscar Pettiford\u003c\/strong\u003e (bass), \u003cstrong data-start=\"505\" data-end=\"518\"\u003eMax Roach\u003c\/strong\u003e (drums), and guest appearances from \u003cstrong data-start=\"555\" data-end=\"572\"\u003ePaul Chambers\u003c\/strong\u003e and \u003cstrong data-start=\"577\" data-end=\"592\"\u003eClark Terry\u003c\/strong\u003e, the album captures Monk at his most creative.\u003c\/p\u003e\n\u003cp data-start=\"643\" data-end=\"908\"\u003eThe title track’s jagged rhythms and unusual structure set the tone, while pieces like \u003cem data-start=\"730\" data-end=\"741\"\u003ePannonica\u003c\/em\u003e and \u003cem data-start=\"746\" data-end=\"760\"\u003eBemsha Swing\u003c\/em\u003e reveal Monk’s lyrical side. Max Roach’s timpani on \u003cem data-start=\"812\" data-end=\"826\"\u003eBemsha Swing\u003c\/em\u003e and Rollins’s bold improvisations make the record a true collaborative triumph.\u003cstrong data-start=\"910\" data-end=\"931\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1041\" data-end=\"1188\"\u003eInnovative, challenging, and deeply rewarding, \u003cem data-start=\"1088\" data-end=\"1107\"\u003eBrilliant Corners\u003c\/em\u003e is a landmark in jazz history and an essential part of any serious collection.\u003c\/p\u003e","brand":"Ermitage","offers":[{"title":"Default Title","offer_id":42461972135995,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/test_8ad30ff0_thumbnail_4096.webp?v=1757934032"},{"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":"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":"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. 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Five years later that happened, and Tyner played in the Quartet through its most celebrated recordings until 1965. By the time Tyner recorded this album, Coltrane had been dead for five years.\u003c\/p\u003e\n\u003cp\u003eThe setting is simple. Solo piano, a studio in Tokyo, one afternoon. 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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. 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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. 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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. 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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. 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Recorded in September 1976 and released the same year as part of Trio Records' Jazz Mania series in Japan, this double album captures Jarrett venturing far beyond conventional jazz into the realm of sacred music, free improvisation, and sonic exploration.\u003c\/p\u003e\n\u003cp\u003eThe Karl Joseph Riepp organ at Ottobeuren is one of the finest Baroque organs in Europe, with nearly 5,000 pipes creating a vast palette of timbres and textures. Jarrett, known primarily as a jazz pianist, approached this monumental instrument with both reverence and adventurous spirit, improvising entirely in the moment without predetermined structures. The result is music that draws from Baroque tradition, modern classical music, jazz sensibility, and Jarrett's own spiritual searching.\u003c\/p\u003e\n\u003cp\u003eThe album is divided into two sections. \"Hymn Of Remembrance\" opens the first disc with a contemplative meditation that establishes the sacred atmosphere. The \"Spheres\" movements, numbered first through ninth, form an extended suite that explores the organ's sonic possibilities across three more LP sides. Jarrett moves between dense, complex passages and moments of austere simplicity, from thundering bass pedal tones to delicate flute stop melodies. The music is alternately majestic and intimate, cosmic and earthbound.\u003c\/p\u003e\n\u003cp\u003e\"Hymn Of Release\" closes the album with a sense of resolution and transcendence, bringing the listener full circle from the opening hymn. Throughout, Jarrett's improvisational gifts translate remarkably to this very different instrument. 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The gatefold packaging includes two double-sided inserts: an ECM catalogue insert and a catalogue and liner notes insert with notes by Japanese critic Hisami Noguchi.\u003c\/p\u003e\n\u003cp\u003eThis is an audiophile recording of the highest order.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43028434976827,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5221.jpg?v=1763610595"},{"product_id":"lennie-tristano-lennie-tristano-1976-japanese-atlantic-vinyl-lp-mono","title":"Lennie Tristano - Lennie Tristano (1976 Japanese Atlantic Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eLennie Tristano - Lennie Tristano Vinyl LP - Japanese Atlantic Mono Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the most intellectually rigorous and harmonically advanced pianists in jazz history, Lennie Tristano receives deserved documentation on this self-titled album combining 1955 studio recordings and live performances. Released in Japan in December 1976 on Atlantic through Warner-Pioneer Corporation, this mono pressing preserves two distinct facets of Tristano's artistry: his unaccompanied explorations and his work with the brilliant alto saxophonist Lee Konitz, his most famous student and closest musical collaborator.\u003c\/p\u003e\n\u003cp\u003eThe album opens with four solo piano performances recorded in New York City in 1955. These tracks showcase Tristano's revolutionary approach to the instrument, characterised by linear independence between his hands, sophisticated harmonic reharmonisation, and an almost contrapuntal approach to improvisation. \"Line Up\", \"Requiem\", \"Turkish Mambo\", and \"East Thirty-Second\" demonstrate his ability to create complex, multi-layered music entirely on his own, each hand functioning as an independent voice in intricate conversation.\u003c\/p\u003e\n\u003cp\u003eThe second half of the album presents live recordings from the Sing Sing Room at the Confucius Restaurant in New York City during summer 1955, featuring Lee Konitz on alto saxophone, Gene Ramey on bass, and Art Taylor on drums. These standards - \"These Foolish Things\", \"You Go To My Head\", \"If I Had You\", \"Ghost Of A Chance\", and \"All The Things You Are\" - reveal the telepathic musical relationship between Tristano and Konitz. Both musicians shared an aesthetic of cool detachment, sophisticated harmonic thinking, and melodic lines that seemed to float above the rhythm section's pulse.\u003c\/p\u003e\n\u003cp\u003eTristano's playing on these live tracks is remarkable for its precision and harmonic density even at rapid tempos. His touch is light yet perfectly articulated, his lines seemingly inevitable yet constantly surprising. Konitz's alto weaves through similar harmonic territory with his distinctively cool tone and long, sinuous phrases. The rhythm section of Ramey and Taylor provides steady, unobtrusive support, allowing the frontline to explore freely.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing includes an LP-sized insert with track information and Japanese liner notes, providing valuable context about Tristano's place in jazz history. Made by Warner-Pioneer Corporation, this mono pressing captures the intimacy of both the solo recordings and the small club atmosphere of the live performances.\u003c\/p\u003e\n\u003cp\u003eTristano remains a somewhat obscure figure despite his immense influence on cool jazz and the development of advanced improvisation techniques. For collectors interested in the intellectual and harmonic evolution of jazz piano, this album is essential listening.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43028783759419,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5217.jpg?v=1763636822"},{"product_id":"buddy-rich-the-wailing-buddy-rich-1989-japanese-verve-vinyl-lp-mono-lush-life-records","title":"Buddy Rich - The Wailing Buddy Rich (1989 Japanese Verve Vinyl LP Mono)","description":"\u003cp\u003e\u003cstrong\u003eBuddy Rich - The Wailing Buddy Rich Vinyl LP - Japanese Verve\/Norgran Mono Compilation\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA showcase for one of the most technically dazzling and explosive drummers in jazz history, \u003cem\u003eThe Wailing Buddy Rich\u003c\/em\u003e presents Buddy Rich leading two different small group sessions recorded in 1955. Released in Japan in December 1989 as a mono compilation on Verve\/Norgran through Polydor K.K., this album captures Rich at age 38, already a veteran of big band swing with Tommy Dorsey and Artie Shaw, now fully engaged with the bebop revolution and demonstrating that his phenomenal technique could serve modern jazz as powerfully as it had swing.\u003c\/p\u003e\n\u003cp\u003eThe album draws from two sessions three months apart. The first, recorded on 16 May 1955, features an exceptional sextet with Oscar Peterson on piano, tenor saxophonists Ben Webster and Frank Wess, trumpeters Joe Newman and Thad Jones, bassist John Simmons, and Rich on drums. \"The Monster\" and \"Sunday\" showcase this group's ability to swing hard while navigating bebop-influenced arrangements. Peterson's presence guarantees virtuosity and swing, while Webster's warm, breathy tenor provides a link to the swing era that Rich himself embodied.\u003c\/p\u003e\n\u003cp\u003eThe second session, from 26 August 1955, presents a different configuration with pianist Jimmy Rowles replacing Peterson, alto saxophonist Sonny Criss joining, and trumpeter Harry \"Sweets\" Edison replacing Newman and Jones. Criss was one of the finest Charlie Parker-influenced alto players, and his inclusion points toward the bebop aesthetic. Edison, a Count Basie Orchestra veteran, brings swing era elegance and economy to his solos. Freddie Greene, Basie's legendary rhythm guitarist, appears on several tracks, his four-to-the-bar comping a masterclass in timekeeping and harmonic support.\u003c\/p\u003e\n\u003cp\u003eThroughout all six tracks, Rich's drumming commands attention without overwhelming the music. His technical facility was extraordinary - speed, power, precision, and independence all deployed in service of swing and musical excitement. Rich could play impossibly fast single-stroke rolls, execute complex patterns between bass drum, snare, and cymbals simultaneously, and maintain relentless drive, yet he also knew when to lay back and support the soloists. His trading of fours and eights with horn players reveals his melodic thinking and his understanding of the drummer's role in musical conversation.\u003c\/p\u003e\n\u003cp\u003e\"Sonny And Sweets\" features Criss and Edison in dialogue, while \"Smooth One\" lives up to its title with a more relaxed groove. \"Broadway\" swings hard through the standard, and \"The Two Mothers\" closes the album with Rich demonstrating why he was considered the most technically accomplished drummer of his generation. This Japanese mono pressing preserves the punch and immediacy of the original 1955 recordings.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":43028826619963,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5212.jpg?v=1763639843"},{"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":"dizzy-gillespie-the-giant-1978-japanese-america-records-limited-edition-lp","title":"Dizzy Gillespie - The Giant (1978 Japanese America Records Limited Edition LP)","description":"\u003cp\u003e\u003cstrong\u003eDizzy Gillespie - \u003cem\u003eThe Giant\u003c\/em\u003e Vinyl LP - 1978 Japanese America Records Limited Edition Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBebop pioneer Dizzy Gillespie leads a quartet through five performances that showcase his enduring brilliance as both trumpeter and bandleader. Featuring pianist Kenny Drew, drummer Kenny Clarke (Gillespie's partner from the bebop revolution), tenor saxophonist Johnny Griffin (appearing on \"Fiesta\"), and percussionist Umberto Canto, this session captures Gillespie demonstrating that his technical command, harmonic sophistication, and trademark wit remained intact decades after he helped create modern jazz. This 1978 Japanese limited edition reissue on America Records, manufactured by Nippon Columbia Co. Ltd., presents this essential Gillespie session in a quality pressing for the Japanese market.\u003c\/p\u003e\n\u003cp\u003eThe album balances standards and originals, from the romantic ballad \"Stella By Starlight\" through the Afro-Cuban influenced \"Fiesta\" featuring Griffin's muscular tenor. Kenny Clarke's presence is particularly significant, the drummer having been Gillespie's collaborator since the 1940s Minton's Playhouse days when they pioneered bebop alongside Charlie Parker and Thelonious Monk. Their decades-long musical partnership is evident in their intuitive interaction. Kenny Drew's piano provides sophisticated harmonic support and melodic invention, while Canto's percussion adds Latin colours to the session.\u003c\/p\u003e\n\u003cp\u003eThis Japanese pressing offers collectors a quality edition of an important Gillespie recording, Nippon Columbia's manufacturing ensuring the sound quality expected from Japanese jazz reissues. As a limited edition release, this represents a carefully selected addition to America Records' catalogue, making this essential bebop session available to the Japanese market's discerning jazz collectors.\u003c\/p\u003e","brand":"America Records","offers":[{"title":"Default Title","offer_id":43133851271227,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5724.jpg?v=1768525605"},{"product_id":"betty-carter-the-modern-sound-of-betty-carter-1977-japanese-abc-paramount-mono-lp","title":"Betty Carter - The Modern Sound Of Betty Carter (1977 Japanese ABC-Paramount Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eBetty Carter - \u003cem\u003eThe Modern Sound Of Betty Carter\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1977 Japanese ABC-Paramount Mono Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBetty Carter's distinctive approach to jazz singing, emphasising rhythmic complexity, harmonic sophistication, and fearless improvisation, is showcased across 12 standards on this album. Originally released in the early 1960s and reissued in Japan in 1977 by ABC-Paramount through Nippon Columbia, this mono pressing captures Carter transforming songs like \"What A Little Moonlight Can Do\", \"Stormy Weather\", and the self-penned \"Jazz (Ain't Nothin' But Soul)\" into vehicles for her unique vocal artistry. Arranged and conducted by Richard Wess with production by Sid Feller, the album demonstrates why Carter became known as \"the musicians' singer\", her ability to bend and phrase melodies with bebop fluency earning respect from instrumentalists and vocalists alike.\u003c\/p\u003e\n\u003cp\u003eCarter's approach differs dramatically from conventional vocal jazz. Rather than simply singing melodies prettily, she treats songs as frameworks for improvisation, stretching time, delaying phrasing, and reharmonising melodies with the freedom of a horn player. This makes her recordings challenging but rewarding, requiring the same active listening as instrumental jazz. On tracks like \"Mean To Me\" and \"Remember\", Carter's rhythmic displacement and harmonic substitutions demonstrate why she influenced generations of jazz singers from Cassandra Wilson to Esperanza Spalding.\u003c\/p\u003e\n\u003cp\u003eThis Japanese mono pressing offers collectors a quality edition of Carter's early work, before she founded her own Bet-Car label and achieved greater recognition in the 1970s-80s. Nippon Columbia's manufacturing ensures sound quality befitting Carter's sophisticated vocal approach, capturing both her powerful delivery and subtle nuances.\u003c\/p\u003e","brand":"ABC-Paramount","offers":[{"title":"Default Title","offer_id":43134059675707,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5728.jpg?v=1768532355"},{"product_id":"louis-armstrong-the-best-of-louis-armstrong-1970-japanese-verve-compilation-lp","title":"Louis Armstrong - The Best Of Louis Armstrong (1970 Japanese Verve Compilation LP)","description":"\u003cp\u003e\u003cstrong\u003eLouis Armstrong - \u003cem\u003eThe Best Of Louis Armstrong\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1970 Japanese Verve Compilation\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis Japanese-only compilation, part of Verve's Jazz Vocal Masterpieces Series, features selections from Louis Armstrong's Verve recordings including collaborations with the Oscar Peterson Trio (Oscar Peterson on piano, Ray Brown on bass, Ed Thigpen on drums). Released in 1970 by Nippon Grammophon Co. Ltd., this stereo compilation offers Japanese collectors a curated overview of Armstrong's Verve period, showcasing both his trumpet mastery and his gravelly, deeply expressive vocals on classic swing-era material.\u003c\/p\u003e\n\u003cp\u003eArmstrong's recordings with the Oscar Peterson Trio represent a meeting of jazz giants from different generations, Peterson's elegant piano work and the trio's sophisticated swing providing perfect accompaniment for Armstrong's iconic trumpet and vocals. The combination of Armstrong's rough-hewn emotional directness and Peterson's technical sophistication creates performances that honour tradition while maintaining musical freshness. This compilation format allows listeners to experience highlights from Armstrong's Verve catalogue without requiring the full albums.\u003c\/p\u003e\n\u003cp\u003eManufactured by Nippon Grammophon as part of their Jazz Vocal Masterpieces Series, this pressing represents Japanese labels' commitment to making important American jazz vocals available to their market through carefully curated compilations. The stereo format and Nippon Grammophon manufacturing suggest quality presentation befitting Armstrong's legendary status.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":43136447381563,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5749.jpg?v=1768606170"},{"product_id":"bob-james-and-earl-klugh-one-on-one-1979-japanese-cbs-sony-gatefold-vinyl-lp","title":"Bob James And Earl Klugh - One On One (1979 Japanese CBS\/Sony Gatefold Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eBob James And Earl Klugh - \u003cem\u003eOne On One\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1979 Japanese CBS\/Sony Master Sound 76 Gatefold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe collaboration between keyboardist\/producer Bob James and acoustic guitarist Earl Klugh resulted in this polished fusion album combining James' sophisticated arranging and Klugh's lyrical guitar work. Released in 1979 and pressed in Japan by CBS\/Sony as part of their Master Sound 76 series, this gatefold edition features James' lush orchestrations (including full string and horn sections), Harvey Mason's impeccable drumming, and Klugh's classical-influenced acoustic guitar on six compositions ranging from the opening \"Kari\" through the closing \"Winding River\". The result exemplifies late 1970s smooth jazz\/fusion at its most technically accomplished and commercially accessible.\u003c\/p\u003e\n\u003cp\u003eJames' production and arrangements showcase his gifts for creating sophisticated yet accessible instrumental music, his Fender Rhodes electric piano and acoustic piano work providing harmonic foundation while string arrangements add cinematic sweep. Klugh's nylon-string acoustic guitar, influenced by both jazz and classical traditions, creates melodic lines that feel both improvised and carefully composed. The rhythm section of Harvey Mason on drums, Ralph MacDonald on percussion, and Eric Gale adding electric guitar on selected tracks provides both groove and sophistication, while the string section (including multiple violins, violas, and cellos) adds lushness without overwhelming the core trio sound.\u003c\/p\u003e\n\u003cp\u003eThis Japanese Master Sound 76 series pressing by CBS\/Sony represents premium manufacturing for the Japanese market, the gatefold format providing expanded presentation. The combination of James and Klugh proved commercially successful, leading to a Grammy win and establishing a template for smooth jazz that would dominate the 1980s.\u003c\/p\u003e","brand":"CBS","offers":[{"title":"Default Title","offer_id":43136455802939,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5755.jpg?v=1768607612"},{"product_id":"ella-fitzgerald-mack-the-knife-ella-in-berlin-1973-japanese-verve-lp","title":"Ella Fitzgerald - Mack The Knife: Ella In Berlin (1973 Japanese Verve LP)","description":"\u003cp\u003e\u003cstrong\u003eElla Fitzgerald - \u003cem\u003eMack The Knife: Ella In Berlin\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1973 Japanese Verve Modern Jazz Verve Best Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the greatest live vocal jazz recordings ever made, \u003cem\u003eElla In Berlin\u003c\/em\u003e captures Fitzgerald at peak form during her legendary 1960 performance at West Berlin's Deutschlandhalle. The album is best known for her improvised version of \"Mack The Knife\" where, forgetting the lyrics, she transforms the mishap into a triumph of spontaneous creativity, scatting and making up humorous new lyrics that earned her two Grammy Awards. Backed by a sympathetic quartet featuring guitarist Jim Hall, pianist Paul Smith, bassist Wilfred Middlebrooks, and drummer Gus Johnson, Fitzgerald navigates nine standards with technical perfection, emotional depth, and spontaneous joy. This 1973 Japanese reissue, part of Verve's Modern Jazz Verve Best series was manufactured by Polydor K.K.\u003c\/p\u003e\n\u003cp\u003eBeyond the famous \"Mack The Knife\", the album showcases Fitzgerald's complete artistry across diverse material. Her reading of \"Summertime\" demonstrates how she could transform a familiar song through subtle phrasing and tonal colour, while \"How High The Moon\" features extended scat singing that displays her technical command and harmonic sophistication. Jim Hall's guitar work provides elegant accompaniment and brief solos that complement rather than compete with Fitzgerald's vocals, while the rhythm section swings with precision and taste throughout.\u003c\/p\u003e\n\u003cp\u003eThe live setting captures Fitzgerald's rapport with the Berlin audience, her warmth and humour audible between songs and during the famous \"Mack The Knife\" improvisation.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":43140520837179,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5762.jpg?v=1768801026"},{"product_id":"duke-ellington-and-johnny-hodges-side-by-side-1971-japanese-verve-gatefold-lp","title":"Duke Ellington And Johnny Hodges - Side By Side (1971 Japanese Verve Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eDuke Ellington And Johnny Hodges - \u003cem\u003eSide By Side\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1971 Japanese Verve Gatefold Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe reunion of Duke Ellington with his longtime alto saxophonist Johnny Hodges resulted in this intimate session showcasing both musicians' enduring artistry. Originally recorded for Verve and reissued in Japan in 1971 by Polydor K.K. in gatefold format, \u003cem\u003eSide By Side\u003c\/em\u003e features nine tracks blending Ellington originals with standards, the duo's decades-long musical partnership evident in their intuitive interaction. Hodges' warm, singing alto saxophone tone—one of the most distinctive and influential sounds in jazz history—finds perfect complement in Ellington's elegant piano work, their collaboration demonstrating that even masters can achieve new insights through familiar partnership.\u003c\/p\u003e\n\u003cp\u003eHodges spent most of his career in Ellington's orchestra (1928-1970, with a five-year absence 1951-1955), his alto saxophone becoming an essential voice in the Ellington sound. This smaller group setting allows both musicians' individual voices to shine while maintaining the rapport built over decades of collaboration. Tracks like \"Stompy Jones\" showcase swinging, uptempo material, while ballads like \"Just A Memory\" and \"Let's Fall In Love\" demonstrate Hodges' legendary ability to make his horn sing with human expressiveness. Ellington's piano work provides both rhythmic support and melodic counterpoint, his harmonic sophistication evident throughout.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":43173802770491,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7663.jpg?v=1783684555"},{"product_id":"ella-fitzgerald-ella-fitzgerald-at-the-opera-house-1985-japanese-verve-mono-lp","title":"Ella Fitzgerald - Ella Fitzgerald At The Opera House (1985 Japanese Verve Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eElla Fitzgerald - \u003cem\u003eElla Fitzgerald At The Opera House\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1985 Japanese Verve Best 50 Series Mono Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis live concert recording captures Ella Fitzgerald performing with two distinct configurations: the Oscar Peterson Trio (with Herb Ellis on guitar, Ray Brown on bass, and Jo Jones on drums) on side A, and an all-star big band featuring tenor saxophonists Coleman Hawkins, Stan Getz, Lester Young, Illinois Jacquet, and Flip Phillips, plus Roy Eldridge on trumpet, J.J. Johnson on trombone, and Sonny Stitt on alto saxophone on side B. Released in Japan in 1985 as part of Verve's Best 50 series and manufactured by Polydor K.K., this mono pressing showcases Fitzgerald's vocal mastery across both intimate trio settings and full big band arrangements.\u003c\/p\u003e\n\u003cp\u003eSide A features seven standards with the Peterson Trio providing sophisticated yet unobtrusive support, Fitzgerald's voice navigating Cole Porter's \"It's All Right With Me\", the torch ballad \"Bewitched, Bothered And Bewildered\", and six other classics with her characteristic blend of technical perfection and emotional warmth. The trio format allows maximum space for Fitzgerald's phrasing and Peterson's elegant piano work, Ellis' guitar and Brown's bass adding subtle colours. Side B's two extended tracks with the all-star ensemble feature Fitzgerald trading phrases with some of jazz's greatest horn players, \"Stompin' At The Savoy\" and \"Oh, Lady Be Good\" showcasing both her scat singing abilities and her rapport with instrumental giants.\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":43173868535867,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5891.jpg?v=1769579573"},{"product_id":"quincy-jones-this-is-how-i-feel-about-jazz-1976-japanese-abc-mono-lp","title":"Quincy Jones - This Is How I Feel About Jazz (1976 Japanese ABC Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eQuincy Jones - \u003cem\u003eThis Is How I Feel About Jazz\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1976 Japanese ABC Jazz Library Mono Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eQuincy Jones' 1956 big band debut showcases his arranging genius across six tracks recorded over three September sessions in New York. Produced by Creed Taylor and featuring rotating personnel including Charles Mingus and Paul Chambers on bass, Milt Jackson on vibraphone, Phil Woods and Lucky Thompson on saxophones, Art Farmer on trumpet, and Hank Jones and Billy Taylor on piano, the album demonstrates Jones' ability to craft sophisticated arrangements that balance ensemble precision with individual expression. Released in Japan in 1976 as part of ABC's Jazz Library series and manufactured by Nippon Columbia, this mono pressing captures Jones at age 23, already displaying the arranging skills that would make him one of music's most successful producers and arrangers.\u003c\/p\u003e\n\u003cp\u003eThe album's six tracks showcase Jones' versatility as arranger. \"Walkin'\" transforms the Miles Davis standard into a big band showcase, while \"A Sleepin' Bee\" demonstrates his gift for ballad arrangement. \"Sermonette\" and \"Stockholm Sweetnin'\" feature Milt Jackson's vibraphone adding distinctive colour to the ensemble, while the closing two tracks highlight Herbie Mann's flute alongside Billy Taylor's piano. The personnel across the three sessions reads like a who's who of 1950s jazz: Mingus' bass work adds rhythmic complexity, Woods and Thompson provide contrasting tenor saxophone approaches, and the trumpet section featuring Farmer, Royal, and Wilder delivers both power and finesse.\u003c\/p\u003e\n\u003cp\u003eJones' arrangements honour the big band tradition while incorporating bebop's harmonic sophistication and contemporary arranging techniques. Each track balances written sections with improvised solos, the arrangements providing frameworks that enhance rather than constrain individual expression.\u003c\/p\u003e","brand":"ABC Records","offers":[{"title":"Default Title","offer_id":43176860352571,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5882.jpg?v=1769638853"},{"product_id":"chick-corea-return-to-forever-1978-japanese-polydor-vinyl-lp","title":"Chick Corea - Return To Forever (1978 Japanese Polydor Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eChick Corea - \u003cem\u003eReturn To Forever\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1978 Japanese Polydor Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eChick Corea's 1972 ECM album captures the pianist at a creative crossroads, merging Latin rhythms, jazz improvisation, and electric instrumentation into music that would inspire both his future \u003cem\u003eReturn To Forever\u003c\/em\u003e band and the fusion movement broadly. Recorded on 2 and 3 February 1972 at A\u0026amp;R Studios in New York with saxophonist\/flutist Joe Farrell, bassist Stanley Clarke, drummer\/percussionist Airto Moreira, and vocalist\/percussionist Flora Purim, the album's four extended compositions balance written material with collective improvisation, Corea's electric piano and acoustic piano work bridging ECM's European chamber jazz aesthetic with Brazilian rhythmic traditions. Released in Japan in February 1978 by Polydor K.K. under license from Hara Music, this pressing captures the session that launched one of fusion's most influential groups.\u003c\/p\u003e\n\u003cp\u003eThe title track \"Return To Forever\" sets the album's tone with Flora Purim's wordless vocals floating over Latin-influenced rhythms, Corea's electric piano providing harmonic colour while Farrell's soprano saxophone adds melodic invention. \"Crystal Silence\" showcases Corea's gift for memorable composition, its gentle theme developing through collective exploration. \"What Game Shall We Play Today\" features Purim's vocals on Neville Potter's lyrics, the track demonstrating the group's ability to balance accessibility with sophisticated musicianship. The album's centrepiece, \"Sometime Ago - La Fiesta\", occupies the entire second side, building from meditative beginnings through increasingly intense Latin-jazz fusion.\u003c\/p\u003e\n\u003cp\u003eThe personnel represents fusion's finest: Clarke's bass work (acoustic and electric) provides both melodic invention and rhythmic foundation, Farrell's flutes and soprano saxophone add textural variety, while the Brazilian rhythm section of Airto Moreira and Flora Purim creates polyrhythmic complexity and vocal colours that distinguish this project from fusion's more rock-oriented directions.\u003c\/p\u003e","brand":"Polydor","offers":[{"title":"Default Title","offer_id":43197439639611,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6024.jpg?v=1770348419"},{"product_id":"wes-montgomery-a-day-in-the-life-1976-japanese-a-m-cti-limited-edition-lp","title":"Wes Montgomery - A Day In The Life (1976 Japanese A\u0026M-CTI Limited Edition LP)","description":"\u003cp\u003e\u003cstrong\u003eWes Montgomery - \u003cem\u003eA Day In The Life\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1976 Japanese A\u0026amp;M-CTI Jazz Series Limited Edition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWes Montgomery's 1967 crossover album pairs the guitarist's warm, octave-playing style with Don Sebesky's lush orchestral arrangements, creating accessible yet sophisticated instrumental pop-jazz. Recorded at Van Gelder Studio in Englewood Cliffs and produced by Creed Taylor, the album features contemporary pop hits including two Beatles compositions (\"A Day In The Life\", \"Eleanor Rigby\"), Percy Sledge's \"When A Man Loves A Woman\", and The Association's \"Windy\" alongside jazz standards. Supported by Herbie Hancock on piano, Ron Carter on bass, Grady Tate on drums, Ray Barretto on percussion, and Sebesky's full orchestra including strings, woodwinds, French horn, and harp, Montgomery's guitar remains the focal point despite the elaborate production. Released in Japan in 1976 as part of the A\u0026amp;M-CTI Jazz Series and distributed by King Record Co. Ltd., this limited edition captures Montgomery's final period before his untimely death in 1968.\u003c\/p\u003e\n\u003cp\u003eMontgomery's approach to these contemporary pop songs demonstrates his gift for melody and his ability to make any material swing through his distinctive thumb-picking technique and use of octaves. While some jazz purists criticised these late-period commercial recordings, the albums achieved popular success and introduced Montgomery's artistry to broader audiences. Sebesky's arrangements, while lush, provide space for Montgomery's guitar to sing, the orchestration enhancing rather than overwhelming his distinctive voice. Hancock's piano work adds harmonic sophistication, while the rhythm section of Carter and Tate maintains jazz credentials beneath the pop-oriented production.\u003c\/p\u003e\n\u003cp\u003eEngineered by Rudy Van Gelder and produced by Creed Taylor, the album captures Montgomery's warm tone with clarity while balancing the orchestral elements. The material ranges from the psychedelic-era Beatles through soul ballads to jazz standards like \"Willow Weep For Me\", each receiving treatment that honours the melody while showcasing Montgomery's improvisational gifts. Distributed by King Record Co. Ltd. as part of the A\u0026amp;M-CTI Jazz Series, this Japanese limited edition offers Montgomery's commercial peak in quality pressing.\u003c\/p\u003e","brand":"A\u0026M","offers":[{"title":"Default Title","offer_id":43198045814843,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8170.jpg?v=1786075128"},{"product_id":"kamasi-washington-harmony-of-difference-2017-young-turks-12-ep","title":"Kamasi Washington - Harmony Of Difference (2017 Young Turks 12\" EP)","description":"\u003cp\u003e\u003cstrong\u003eKamasi Washington - \u003cem\u003eHarmony Of Difference\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl 12\" EP - 2017 Young Turks with Booklet and Download\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKamasi Washington's conceptual EP presents six movements exploring unity through diversity, the suite originally commissioned for the 2017 Whitney Biennial art exhibition. Recorded at Electro-Vox Recording Studios and structured in two sections, the first side features five shorter pieces (\"Desire\", \"Humility\", \"Knowledge\", \"Perspective\", \"Integrity\") representing individual perspectives, while the B-side's 13-minute \"Truth\" unifies all five themes into a single composition demonstrating how disparate elements can create harmonious whole. Released on 29 September 2017 by Young Turks and pressed at Germany's Optimal Media, this 12\" EP includes booklet containing paintings and photographs from the project alongside release credits and digital download code.\u003c\/p\u003e\n\u003cp\u003eThe EP's compositional approach reflects Washington's interest in music as metaphor for social unity, each of the five initial movements exploring different emotional or philosophical territory before the closing \"Truth\" weaves all themes together. This structural concept mirrors the project's core message: individual voices maintaining distinct identities while contributing to collective harmony. Washington's tenor saxophone leads the ensemble through arrangements that balance written precision with improvised exploration, his playing demonstrating the emotional directness and spiritual searching that characterised \u003cem\u003eThe Epic\u003c\/em\u003e.\u003c\/p\u003e","brand":"Young Turks","offers":[{"title":"Default Title","offer_id":43212960235579,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/a3907160379_10.jpg?v=1770983461"},{"product_id":"gerry-mulligan-quartet-pacific-jazz-1974-japanese-liberty-vinyl-lp-with-obi","title":"Gerry Mulligan Quartet - Pacific Jazz (1974 Japanese Liberty Vinyl LP with Obi)","description":"\u003cp\u003e\u003cstrong\u003eGerry Mulligan Quartet - Pacific Jazz\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1974 Japanese Liberty with Obi and Insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe legendary pianoless quartet\u003c\/strong\u003e - Mulligan and Chet Baker's revolutionary West Coast jazz sound\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1974 Japanese pressing with obi and insert\u003c\/strong\u003e - Toshiba EMI quality on this compilation of classic recordings\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eEssential cool jazz\u003c\/strong\u003e - the quartet that defined the West Coast sound of the early 1950s\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eBaritone saxophonist Gerry Mulligan's pianoless quartet with trumpeter Chet Baker revolutionised West Coast jazz in the early 1950s, the absence of piano creating space for contrapuntal interplay between Mulligan's baritone and Baker's trumpet. This Japanese compilation presents twelve tracks from the quartet's Pacific Jazz recordings across two rhythm section configurations: Bob Whitlock on bass and Chico Hamilton on drums (tracks A1-A3, B2), and Carson Smith on bass with Larry Bunker on drums (remaining tracks). Released in Japan in 1974 by Liberty and manufactured by Toshiba EMI with obi and insert, this pressing captures the quartet's distinctive cool jazz sound, Mulligan's arrangements creating sophisticated chamber jazz that swung effortlessly despite unconventional instrumentation.\u003c\/p\u003e\n\u003cp\u003eThe pianoless format, initially born from practical necessity (no piano available at Los Angeles' Haig club), became the quartet's defining characteristic. Without piano providing harmonic foundation, Mulligan and Baker engaged in conversational counterpoint, trading melodic lines and creating harmonies through their interaction. Mulligan's baritone saxophone, unusually agile for the large horn, functioned as both lead voice and bass line, while Baker's trumpet playing—cool-toned, lyrical, economical—provided perfect complement. The rhythm section's role shifted from conventional timekeeping to more interactive participation, the bass and drums responding to the horns' dialogue.\u003c\/p\u003e\n\u003cp\u003eThe twelve tracks span standards like \"The Nearness Of You\", \"Tea For Two\", and \"Makin' Whoopee\" alongside Mulligan originals including \"Jeru\" (written for Miles Davis' Birth Of The Cool nonet), each arrangement demonstrating Mulligan's gift for creating sophisticated textures with minimal instrumentation. Baker's playing, recorded before his vocal career overshadowed his trumpet work, reveals the melodic clarity and tonal beauty that made him one of West Coast jazz's most distinctive voices.\u003c\/p\u003e","brand":"Liberty","offers":[{"title":"Default Title","offer_id":43230616387643,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6163.jpg?v=1771646532"},{"product_id":"ron-carter-spanish-blue-1975-japanese-cti-gatefold-lp","title":"Ron Carter - Spanish Blue (1975 Japanese CTI Gatefold LP)","description":"\u003cp\u003e\u003cstrong\u003eRon Carter - \u003cem\u003eSpanish Blue\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1975 Japanese CTI Records Gatefold\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eCTI's lush fusion aesthetic\u003c\/strong\u003e - Creed Taylor's signature production with Van Gelder engineering\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAll-star lineup\u003c\/strong\u003e - Hubert Laws, Billy Cobham, Roland Hanna, Jay Berliner support Carter's vision\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOriginal 1975 Japanese gatefold\u003c\/strong\u003e - King Records pressing with superior sound quality\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eBassist Ron Carter's 1974 CTI album showcases the label's signature fusion approach: sophisticated jazz musicianship meeting lush production values and Latin-influenced grooves. Recorded in November 1974 at Rudy Van Gelder's Englewood Cliffs studio with an all-star ensemble featuring flutist Hubert Laws, guitarist Jay Berliner, pianists Roland Hanna and Leon Pendarvis, drummer Billy Cobham, and percussionist Ralph MacDonald, the four extended compositions blend Latin rhythms with jazz improvisation and contemporary production aesthetics. Producer Creed Taylor's vision for accessible yet sophisticated fusion finds ideal expression in Carter's compositions, the bassist's melodic sensibility and impeccable time making him perfect vehicle for CTI's crossover ambitions. Released in Japan in 1975 by King Record Co. Ltd. in gatefold format, this pressing captures CTI Records at their creative and commercial peak.\u003c\/p\u003e\n\u003cp\u003eCarter's bass work, both acoustic double bass and electric, anchors the sessions while his compositions provide frameworks that balance written material with improvisation. The title track \"El Noche Sol\" and \"Sabado Sombrero\" incorporate Latin rhythmic elements through Berliner's nylon-string guitar and MacDonald's percussion, while Carter's reimagining of Miles Davis' \"So What\" transforms the modal jazz classic into fusion context. Laws' flute adds melodic colour throughout, his playing combining jazz phrasing with the smooth tone CTI recordings favoured. Cobham's drumming, capable of explosive power yet tastefully restrained here, demonstrates his versatility beyond the fusion-rock settings he pioneered with Mahavishnu Orchestra.\u003c\/p\u003e\n\u003cp\u003eVan Gelder's engineering and the CTI production aesthetic create the label's characteristic sound: close-miked instruments, lush reverb, careful dynamic control, and emphasis on sonic beauty alongside musical content. The approach occasionally drew criticism from jazz purists yet produced commercially successful and musically sophisticated recordings that introduced fusion to broader audiences. Hanna and Pendarvis' piano and electric piano work adds harmonic depth, while Berliner's guitar provides both rhythmic support and melodic statements.\u003c\/p\u003e","brand":"CTI","offers":[{"title":"Default Title","offer_id":43232557006907,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6168.jpg?v=1771801103"},{"product_id":"grover-washington-jr-come-morning-1981-japanese-elektra-lp","title":"Grover Washington Jr. - Come Morning (1981 Japanese Elektra LP)","description":"\u003cp\u003e\u003cstrong\u003eGrover Washington Jr. - \u003cem\u003eCome Morning\u003c\/em\u003e Vinyl LP - 1981 Japanese Elektra Stereo Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cem\u003eWashington's follow-up to Winelight\u003c\/em\u003e \u003c\/strong\u003ewith the same core band, self-produced at Rosebud Recording in 1981\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMarcus Miller on bass, Steve Gadd on drums\u003c\/strong\u003e, Richard Tee on Rhodes, Eric Gale on guitar and Ralph MacDonald on percussion\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1981 Japanese Elektra pressing\u003c\/strong\u003e manufactured by Warner-Pioneer Corporation\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRecorded between June and September 1981, \u003cem\u003eCome Morning\u003c\/em\u003e was Washington's self-produced follow-up to \u003cem\u003eWinelight\u003c\/em\u003e, with the same band largely intact. Marcus Miller plays bass, Steve Gadd drums, Richard Tee Rhodes piano, Eric Gale guitar, and Ralph MacDonald congas and percussion, with Paul Griffin on synthesiser and a backing vocal section appearing on several tracks. Washington produced and mixed the record himself, and plays soprano, alto, tenor and baritone saxophone across the eight tracks. The title track and \"East River Drive\" demonstrate his melodic directness, while \"Little Black Samba\" and \"Jamming\" push toward a groovier, more rhythmically driven feel. Released in Japan in 1981 on Elektra (P-11082E) and manufactured by Warner-Pioneer Corporation, the WEA joint venture responsible for Elektra releases in Japan throughout this period.\u003c\/p\u003e\n\u003cp\u003eThe session's rhythm section is its foundation. Gadd's drumming is precise and responsive without overplaying, Tee's Rhodes comping creates harmonic warmth beneath Washington's lines, and Miller's bass, still early in his career before his pivotal work with Miles Davis later in the decade, provides melodic bottom throughout. Gale's guitar fills the spaces between without cluttering arrangements Washington kept deliberately open. Background vocalists including Ullanda McCullough and Frank Floyd add texture on \"Be Mine (Tonight)\", \"Jamming\" and \"Little Black Samba\". Warner-Pioneer pressings from the early 1980s are consistently valued by collectors for their low noise floors and quality control, making this a clean way to own a record that belongs in any serious contemporary jazz collection.\u003c\/p\u003e","brand":"Elektra","offers":[{"title":"Default Title","offer_id":43239157956667,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6223.jpg?v=1772006582"},{"product_id":"sonny-stitt-bud-powell-j-j-johnson-1976-japanese-prestige-jazz-masterpiece-series-lp","title":"Sonny Stitt \/ Bud Powell \/ J.J. Johnson (1976 Japanese Prestige Jazz Masterpiece Series LP)","description":"\u003cp\u003e\u003cstrong\u003eSonny Stitt \/ Bud Powell \/ J.J. Johnson Vinyl LP - 1976 Japanese Prestige Jazz Masterpiece Series Mono Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eStitt's first recordings on tenor saxophone\u003c\/strong\u003e, three New York bop sessions from October 1949 through January 1950 compiled onto a single LP\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eTwo entirely different bands\u003c\/strong\u003e: Bud Powell, Curly Russell and Max Roach on Side A; J.J. Johnson, John Lewis, Nelson Boyd and Max Roach on Side B\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1976 Japanese Prestige Jazz Masterpiece Series mono pressing\u003c\/strong\u003e, No. 8 in the series, manufactured by Victor Musical Industries, Inc.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eThis album compiles three separate New York bop sessions recorded between October 1949 and January 1950 and originally issued by Prestige across several 10\" releases before being compiled onto a 12\" LP as PRLP 7024 in 1956. The two sides represent entirely different bands. Side A draws from the December 11, 1949 and January 26, 1950 dates, with Stitt on tenor, Bud Powell on piano, Curly Russell on bass and Max Roach on drums, a quartet working through standards and Stitt originals at the breakneck tempos and harmonically sophisticated vocabulary of the nascent bebop style. Side B draws from the slightly earlier October 17, 1949 session, where Stitt and Roach are joined by J.J. Johnson on trombone, John Lewis on piano and Nelson Boyd on bass, the quintet working through four compositions including two takes each of \"Blue Mode\" and Johnson's \"Teapot\", as well as Lewis's own \"Afternoon in Paris\". Significantly, these were Stitt's earliest recordings on tenor saxophone. He had established himself as an alto player of exceptional ability but the persistent comparisons to Charlie Parker, whose harmonic language and phrasing he closely shared, led him to take up the larger horn as a means of carving his own identity, and these sessions document that transition at the very start.\u003c\/p\u003e\n\u003cp\u003eThe musicians gathered across both sessions were among the defining figures of bebop at precisely the moment the style was consolidating. Powell at the piano is at the peak of his powers, his left hand providing sparse but perfectly placed comping while his right builds lines of ferocious velocity and harmonic precision. Johnson, whose work on these dates helped establish the trombone as a viable bebop instrument after years of the horn being considered ill-suited to the style's demands, brings his characteristically clean articulation to the quintet tracks. Roach underpins both sessions, his drumming already demonstrating the melodic intelligence and rhythmic sophistication that would make him one of jazz's most important percussionists. Released in Japan in 1976 on Prestige (SMJ-6508M) as No. 8 in the Prestige Jazz Masterpiece Series and manufactured by Victor Musical Industries, Inc.\u003c\/p\u003e","brand":"Prestige","offers":[{"title":"Default Title","offer_id":43242772987963,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6278.jpg?v=1772146326"},{"product_id":"keith-jarrett-my-song-1984-japanese-ecm-lp","title":"Keith Jarrett - My Song (1984 Japanese ECM LP)","description":"\u003cp\u003e\u003cstrong\u003eKeith Jarrett - \u003cem\u003eMy Song\u003c\/em\u003e Vinyl LP - 1984 Japanese ECM Pressing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe second and most celebrated studio album by Jarrett's European Quartet\u003c\/strong\u003e, six Jarrett originals recorded at Talent Studio, Oslo in November 1977\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eJan Garbarek's tenor and soprano saxophone\u003c\/strong\u003e as melodic counterpoint to Jarrett's piano, Palle Danielsson on bass and Jon Christensen on drums completing one of ECM's most sympathetic rhythm sections\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e1984 Japanese ECM pressing\u003c\/strong\u003e on Polydor K.K.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRecorded at Talent Studio in Oslo on October 31 and November 1, 1977 and released on ECM in June 1978, \u003cem\u003eMy Song\u003c\/em\u003e is the second studio album by Jarrett's European Quartet, the ensemble he had first convened for \u003cem\u003eBelonging\u003c\/em\u003e in 1974. The four musicians, Jarrett on piano, Jan Garbarek on tenor and soprano saxophone, Palle Danielsson on bass and Jon Christensen on drums, had developed a working relationship and a shared musical language in the three years between the two records, and the settled trust between them is audible throughout the six Jarrett originals that make up the album. Where the music on \u003cem\u003eBelonging\u003c\/em\u003e had a quality of discovery, \u003cem\u003eMy Song\u003c\/em\u003e is more assured, the compositions more fully realised and the interplay more fluent. Garbarek's saxophone, here drawing on both the folk-inflected lyricism of his Norwegian background and the post-bop vocabulary he had developed through his own recordings, provides melodic counterpoint to Jarrett's piano rather than competing with it, the two instruments moving in and out of the foreground across tracks that range from the opening \"Questar\" through to the closing \"The Journey Home\", which passes through several distinct moods in its ten minutes. Jarrett occasionally plucks the strings inside the piano for added percussion, and Danielsson is given room for extended bass solos that hold their own as compositional statements. Engineered by Jan Erik Kongshaug, who was responsible for the sonic character of ECM's studio recordings throughout this period, and produced by Manfred Eicher, the album reached No. 17 on the Billboard jazz chart on its original release.\u003c\/p\u003e\n\u003cp\u003eReleased in Japan in January 1984 on ECM Records (25MJ 3304) and manufactured by Polydor K.K., this pressing presents the album in the label's characteristic spare design. The combination of Kongshaug's engineering and ECM's insistence on acoustic, unprocessed sound makes this one of the more demanding tests for a well-set-up system, the piano, saxophone, bass and drums spread across the stereo field with a clarity and separation that rewards careful listening. For collectors building an ECM section, \u003cem\u003eMy Song\u003c\/em\u003e sits alongside \u003cem\u003eBelonging\u003c\/em\u003e as the essential document of Jarrett's European Quartet.\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":43245874970683,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6256.jpg?v=1772273638"},{"product_id":"the-charles-lloyd-quartet-dream-weaver-1976-japanese-atlantic-vinyl-lp","title":"The Charles Lloyd Quartet - Dream Weaver (1976 Japanese Atlantic Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eThe Charles Lloyd Quartet - \u003cem\u003eDream Weaver\u003c\/em\u003e | Vinyl LP - 1976 Japanese Atlantic Jazz Forever 1500 Reissue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded at Atlantic Studio in New York in March 1966 and released that July as Atlantic SD 1459, \u003cem\u003eDream Weaver \u003c\/em\u003eis the first studio date of the Charles Lloyd Quartet in the configuration that would go on to define the group's reputation. Lloyd on tenor saxophone and flute, Keith Jarrett on piano, Cecil McBee on bass and Jack DeJohnette on drums were still a new band when this was made; \u003cem\u003eForest Flower\u003c\/em\u003e, the live Monterey Jazz Festival recording that would become Lloyd's commercial breakthrough and reach a rock audience previously unreached by jazz, was recorded later the same year. \u003cem\u003eDream Weaver \u003c\/em\u003eprecedes that success and shows the quartet before it became a phenomenon, the four musicians already playing with the collective confidence that \u003cem\u003eForest Flower\u003c\/em\u003e would bring to a much wider audience. Side A is structured around two suites. \"Autumn Sequence\" opens the record with Lloyd on flute: his \"Autumn Prelude\" leads directly into the standard \"Autumn Leaves\" (music by Joseph Kosma, lyrics by Jacques Prévert and Johnny Mercer), with Lloyd remaining on flute throughout before \"Autumn Echo\" closes the sequence. The \"Dream Weaver\" suite that follows moves in two parts: \"Meditation\", which carries something of Coltrane's brooding quality, and the hypnotic \"Dervish Dance\", which draws on Arabic and Indian modes. Side B opens with the modal \"Bird Flight\", followed by the ballad \"Love Ship\", and closes with \"Sombrero Sam\", a Latin ensemble piece that became a regular feature of the group's live set and was released as a single. All compositions except \"Autumn Leaves\" are Lloyd originals.\u003c\/p\u003e\n\u003cp\u003eThe record was produced by George Avakian and Arif Mardin. Liner notes on the original US pressing were written by Avakian. This 1976 Japanese reissue on Atlantic's Jazz Forever 1500 series (P-4539A) was released on 25 May 1976 and manufactured by Warner-Pioneer Corporation, Atlantic's Japanese licensee in this period. It is a reissue of the stereo SD 1459 pressing.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43259265843259,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7417.jpg?v=1781958380"},{"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":"paul-bley-footloose-1993-japanese-savoy-vinyl-lp","title":"Paul Bley - Footloose (1993 Japanese Savoy Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003ePaul Bley - \u003cem\u003eFootloose\u003c\/em\u003e | Vinyl LP - 1993 Japanese Savoy Reissue (COJY-9050, Supreme Collection of Savoy Part II No. 9, Nippon Columbia Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePaul Bley was born in Montreal in 1932 and had worked with Charles Mingus, Jimmy Giuffre and Sonny Rollins before these sessions. The most important experience shaping his approach on \u003cem\u003eFootloose\u003c\/em\u003e was a lengthy engagement at the Hillcrest Club in Los Angeles in 1957–58 alongside Ornette Coleman, Don Cherry, Billy Higgins and Charlie Haden, where Bley found himself playing free of conventional harmonic structures for the first time. By 1962, when the first of these two Savoy sessions took place at Medallion Studios in Newark, Bley had a clear sense of where he was heading. He chose Steve Swallow on acoustic bass and Pete LaRoca on drums, a trio that met only in the recording studio but played together as though the relationship were much older.\u003c\/p\u003e\n\u003cp\u003eThe eight tracks across the LP draw from three composers. \"When Will the Blues Leave\" is an Ornette Coleman original, the only track here not composed by a member of the trio. Paul Bley wrote two pieces: \"Turns\" (A3) and \"Cousins\" (B2). The remaining five — \"Floater,\" \"Around Again,\" \"Syndrome,\" \"King Korn\" and \"Vashkar\" — are by Carla Bley, then Paul's wife and at the time essentially uncredited in the jazz world as a composer. The sessions took place in two blocks: three tracks on 17 August 1962, five on 12 September 1963. This is a 1993 Japanese Savoy reissue in the Supreme Collection of Savoy Part II series, manufactured by Nippon Columbia Co. Ltd.\u003c\/p\u003e","brand":"Savoy Records","offers":[{"title":"Default Title","offer_id":43375731343419,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6523.jpg?v=1775128583"},{"product_id":"don-friedman-trio-circle-waltz-1975-japanese-riverside-vinyl-lp","title":"Don Friedman Trio - Circle Waltz (1975 Japanese Riverside Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eDon Friedman Trio - \u003cem\u003eCircle Waltz\u003c\/em\u003e | Vinyl LP - 1975 Japanese Riverside Reissue (SMJ-6082, Riverside Original Recording Series No. 37, Victor Musical Industries, Inc.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDon Friedman was born in San Francisco in 1935 and moved to New York in the late 1950s, where he worked with Ornette Coleman and recorded his first Riverside album, \u003cem\u003eA Day in the City\u003c\/em\u003e, in 1961. \u003cem\u003eCircle Waltz\u003c\/em\u003e followed a year later. Orrin Keepnews produced; Ray Fowler engineered. The trio brought together Chuck Israels — who had become Bill Evans's regular bassist after Scott LaFaro's death in July 1961 — and Pete LaRoca, who had recorded \u003cem\u003eBasra\u003c\/em\u003e for Blue Note and was among the most original drummers of the post-bop generation. The resemblance of this trio's language to Evans's Riverside work is audible and has been noted from the album's first reviews; what distinguishes Friedman's approach is its greater angularity and the modal orientation of his own compositions.\u003c\/p\u003e\n\u003cp\u003eFour of the seven tracks are Friedman originals: the title waltz, \"Sea's Breeze,\" \"Loves Parting\" and the closing \"Modes Pivoting.\" Dave Brubeck's \"In Your Own Sweet Way\" — the standard Evans had made closely associated with his own trio — and the 1941 pop standard \"I Hear a Rhapsody\" fill out the programme. Cole Porter's \"So in Love\" is performed as an unaccompanied piano solo, with Israels and LaRoca absent for the track. This is the 1975 Japanese Riverside reissue, No. 37 in the Riverside Original Recording Series, manufactured by Victor Musical Industries, Inc.\u003c\/p\u003e","brand":"Riverside","offers":[{"title":"Default Title","offer_id":43388518334523,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6519.jpg?v=1775466632"},{"product_id":"art-farmer-the-summer-knows-1977-japanese-east-wind-vinyl-lp","title":"Art Farmer - The Summer Knows (1977 Japanese East Wind Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eArt Farmer - \u003cem\u003eThe Summer Knows\u003c\/em\u003e | Vinyl LP - 1977 Japanese East Wind (EW-8047, Nippon Phonogram Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eArt Farmer had been based in Vienna since 1968, playing flugelhorn almost exclusively and moving steadily toward a lyrical approach that had less and less in common with hard bop. \u003cem\u003eThe Summer Knows\u003c\/em\u003e was recorded in New York in May 1976, when Farmer came back for sessions on his own terms — a quartet date at Vanguard Studios with Cedar Walton, Sam Jones and Billy Higgins. Kiyoshi Itoh and Yasohachi Itoh produced for the Japanese East Wind label; David Baker and Yoshihiro Suzuki engineered.\u003c\/p\u003e\n\u003cp\u003eSix tracks across two sides, five of them drawn from film, standards or the Great American Songbook. The title track is Michel Legrand and the Bergmans' theme from \u003cem\u003eThe Summer of '42\u003c\/em\u003e (1971) — a film melody that suits the flugelhorn's soft register and long sustain. \"Manhã de Carnaval,\" Luiz Bonfá and Antônio Maria's song from \u003cem\u003eBlack Orpheus\u003c\/em\u003e (1959), opens the bossa nova vocabulary that runs through the record. Burt Bacharach and Hal David's \"Alfie\" and Victor Young and Edward Heyman's \"When I Fall in Love\" extend the ballad character of Side A into Side B. Sammy Cahn, Paul Weston and Axel Stordahl's \"I Should Care\" closes the record with the same deliberate warmth that opens it. \"Ditty,\" the one non-standard, is a Cedar Walton original.\u003c\/p\u003e","brand":"East Wind","offers":[{"title":"Default Title","offer_id":43453788225595,"sku":null,"price":45.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6710.jpg?v=1777073198"},{"product_id":"archie-shepp-tray-of-silver-1979-japanese-denon-vinyl-lp","title":"Archie Shepp - Tray of Silver (1979 Japanese Denon Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eArchie Shepp - \u003cem\u003eTray of Silver\u003c\/em\u003e | Vinyl LP - 1979 Japanese Denon (YX-7806-ND, Nippon Columbia Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1979, Archie Shepp had moved a considerable distance from the scorched-earth free jazz of his Impulse! years. The Japanese market had provided a new audience and a string of dates for Denon and other labels, and the music he was making there drew on the hard bop tradition he had grown up with before Ornette Coleman and John Coltrane changed everything. \u003cem\u003eTray of Silver\u003c\/em\u003e is one of those dates — a quintet session devoted mostly to Horace Silver.\u003c\/p\u003e\n\u003cp\u003eThree of the four tracks are Silver's: \"No Smokin',\" his 1952 bebop blues; \"Nica's Dream,\" the 1956 Blue Note staple dedicated to the Baroness Pannonica de Koenigswarter; and \"Cookin' at the Continental,\" recorded for Silver's \u003cem\u003eThe Stylings of Silver\u003c\/em\u003e in 1957. The fourth track, \"If You Could See Me Now,\" is Tadd Dameron's 1945 ballad. The quintet plays all four long and open, each piece given space to develop past its head statement. Roy Brooks, Silver's drummer between 1959 and 1964, anchors the rhythm section with Takashi \"Gon\" Mizuhashi on bass. Mickey Tucker plays piano. Howard Johnson switches instruments across the two sides: baritone saxophone throughout the A side, tuba throughout the B.\u003c\/p\u003e\n\u003cp\u003eThe session was recorded using Denon's 14-bit\/47.25 kHz PCM digital system — one of the earliest all-digital jazz recordings made commercially. Yoshio Ozawa produced; Kaoru Iida engineered.\u003c\/p\u003e","brand":"Denon","offers":[{"title":"Default Title","offer_id":43454397612091,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_6715.jpg?v=1777085744"},{"product_id":"coleman-hawkins-and-lester-young-classic-tenors-1972-japanese-flying-dutchman-mono-lp","title":"Coleman Hawkins and Lester Young - Classic Tenors (1972 Japanese Flying Dutchman Mono LP)","description":"\u003cp\u003e\u003cstrong\u003eColeman Hawkins and Lester Young - \u003cem\u003eClassic Tenors\u003c\/em\u003e | Vinyl LP - 1972 Japanese Flying Dutchman Mono Gatefold (SR(M)-3137, Contact Jazz Series Vol. 1, King Record Co. Ltd.)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBob Thiele supervised three separate sessions at WOR Studios in New York across three weeks in December 1943, all originally released on his Signature Records label. They are collected here in their entirety: twelve tracks, two tenor saxophonists, three different ensembles.\u003c\/p\u003e\n\u003cp\u003eOn December 23, Coleman Hawkins recorded four titles in a quartet with pianist Eddie Heywood, bassist Oscar Pettiford and drummer Shelly Manne — \"The Man I Love,\" \"Sweet Lorraine,\" \"Get Happy\" and \"Crazy Rhythm.\" All four are standards. Pettiford and Heywood open \"The Man I Love\" in duet before Hawkins enters; it is one of the finest small-group swing recordings of the war years. Fifteen days earlier, on December 8, Hawkins had led a larger group: Bill Coleman on trumpet, Andy Fitzgerald on clarinet, Ellis Larkins on piano, Al Casey on guitar, Oscar Pettiford on bass and Shelly Manne on drums. That session produced \"How Deep Is the Ocean,\" \"Voodte,\" \"Hawkins' Barrel House\" and \"Stumpy\" — the latter three Hawkins originals. On December 21, Lester Young took four tracks with a different group entirely: Bill Coleman on trumpet, Dickie Wells on trombone, Ellis Larkins on piano, Freddie Greene on guitar, Al Hall on bass and Jo Jones on drums. \"Hello Babe\" and \"I'm Fer It Too\" are Wells compositions; \"Linger Awhile\" and \"I Got Rhythm\" are standards. The high-note trombone work on \"I'm Fer It Too\" was specifically cited by Scott Yanow.\u003c\/p\u003e\n\u003cp\u003eHawkins died on May 19, 1969; Young on March 15, 1959. This 1972 Japanese Flying Dutchman mono pressing is the Contact Jazz Series Vol. 1, manufactured by King Record Co. 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