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Charmaine Burnette / Session In Session

Am I The Same Girl / Direct Response

Reggaefied version of the Barbara Acklin classic! It was 1968 when The Maytals brought out ‘Do the Reggay’, and that same year Barbara Acklin gave us the sound of soul with ‘Am I the Same Girl’. Fast forward 13 years, and legendary UK producer Dennis Forbes had the genius to combine the pretty melody of Acklin’s hit with the pulsating new reggae sound of Lovers Rock.

In 1981 Charmaine Burnette was pretty much unknown and untested as a singer, but Forbes heard potential in her voice and gave her a chance. Summoned to London’s Chinatown where Dean Fraser and an all-Jamaican band were gathered in a basement studio, Burnette recorded her first single ‘Am I the Same Girl’, recorded in the same session as Sugar Minott’s ‘Got a Good Thing Going’. Both records were released - the former song bombed and went nowehere, the latter was picked up by RCA and went on to reach #4 in the UK charts, assuring Minott’s place in UK reggae history. The same cannot be said of Burnette, who has since faded into obscurity.

Perhaps Forbes was right in thinking that the heavy bass drum and sweet vocal combination wasn’t right, but in fact it was way ahead of its time, just right for today’s fat subwoofers and deep bass bins – crank it up and feel the sound of super heavy reggaefied soul!

Our latest examination of Esoteric, Modal & Progressive Jazz of the 20th Century has taken us to Japan. The liberating force of jazz has been created and felt all around the world, but few nations on earth embraced the jazz message with the passion and intensity of Japan. From the dawn of the jazz age to the present day, Japanese audiences have been renowned tastemakers, enthusiasts and champions of the music – in the 1980s, Japan was the biggest per capita market in the world for jazz records, and it has even been said that Japanese jazz fans kept the jazz record industry alive through the lean years of the 1970s, when the music fell from commercial favour in the land of its birth.

But while the jazz aficionados of Japan are celebrated as sophisticated fans and consumers of the music, comparatively little is known outside Japan of the remarkable and abundant music produced by generations of Japanese jazz musicians. Numerous Japanese jazzers have found enormous success on the international stage – Toshiko Akiyoshi, Sadao Watanabe, Teramasu Hino, and many others are household names among jazz listeners all over the world, and with good reason. But if such global figures are put aside, the stunning heritage of Japanese jazz remains poorly understood outside Japan. As a result, the work of many celebrated Japanese jazumen has remained largely unknown to international audiences, and the extraordinary scope and depth of Japanese jazz has not been widely recognised.

Compiled for the Spiritual Jazz series in collaboration with the celebrated collector and DJ Yusuke Ogawa (Deep Jazz Reality, Tokyo), this 2CD/twin set of double LPs aims to correct that omission by uncovering the uniquely deep sound of esoteric, modal and progressive jazz from Japan – music of the heart, soul and Japanese spirit!

Each 2LP set comes complete with OBI strip and thick, textured sleeve. Our extensive liner notes extend onto printed inners, and are in both Japanese and English.





Our latest examination of Esoteric, Modal & Progressive Jazz of the 20th Century has taken us to Japan. The liberating force of jazz has been created and felt all around the world, but few nations on earth embraced the jazz message with the passion and intensity of Japan. From the dawn of the jazz age to the present day, Japanese audiences have been renowned tastemakers, enthusiasts and champions of the music – in the 1980s, Japan was the biggest per capita market in the world for jazz records, and it has even been said that Japanese jazz fans kept the jazz record industry alive through the lean years of the 1970s, when the music fell from commercial favour in the land of its birth.

But while the jazz aficionados of Japan are celebrated as sophisticated fans and consumers of the music, comparatively little is known outside Japan of the remarkable and abundant music produced by generations of Japanese jazz musicians. Numerous Japanese jazzers have found enormous success on the international stage – Toshiko Akiyoshi, Sadao Watanabe, Teramasu Hino, and many others are household names among jazz listeners all over the world, and with good reason. But if such global figures are put aside, the stunning heritage of Japanese jazz remains poorly understood outside Japan. As a result, the work of many celebrated Japanese jazumen has remained largely unknown to international audiences, and the extraordinary scope and depth of Japanese jazz has not been widely recognised.

Compiled for the Spiritual Jazz series in collaboration with the celebrated collector and DJ Yusuke Ogawa (Deep Jazz Reality, Tokyo), this 2CD/twin set of double LPs aims to correct that omission by uncovering the uniquely deep sound of esoteric, modal and progressive jazz from Japan – music of the heart, soul and Japanese spirit!

Each 2LP set comes complete with OBI strip and thick, textured sleeve. Our extensive liner notes extend onto printed inners, and are in both Japanese and English.





Nat Birchall

Cosmic Language

Nat Birchall charts new paths toward spiritual communion, connecting jazz with classical Indian influences guided by the wistful flow of the harmonium.

Cosmic Language sees the UK-based saxophonist, composer and arranger return to Jazzman Records with a cross-cultural approach: an exploration of the parallel musical paths of jazz and Indian ragas. Here he takes influence from spiritual jazz forebears such as Alice Coltrane and Yusef Lateef and introduces the Indian harmonium to his band, where it takes the place of the piano. Making new connections to realise his transcendental ambitions, it's a logical next step in making music as spiritual cleanser.

The idea for the album was spawned from a one-off performance at a meditation centre, the Maharishi Golden Dome in West Lancashire. Seeking to bring a band set-up that was fitting to the quiet-minded setting, Birchall brought the harmonium with him. A small pump organ, it's an instrument he'd been in possession of for many years but hadn't previously used in his music. Building on the spiritual context of that show, and the associations of that instrument, it led naturally to the musical approach undertaken on the album.

Both the album and the show which preceded it were recorded with the same tight-knit group of players which have featured on Birchall's previous albums. All members of the group are part of the same like minded circle of Manchester-oriented jazz musicians, sharing stages and acquaintances with the likes of Matthew Halsall (a longtime collaborator with Birchall) and GoGo Penguin.

Birchall has always channeled wide-ranging ideas into music that's simple to understand, and this album is no exception. Album opener 'Man From Varanasi' is an ode to Bismillah Khan, one of Birchall's heroes of Indian music who hailed from the northern Indian city named in the title. It also sees him taking cues from the Indian raga tradition which, as with most other traditional Indian music, is a foundation which underpinned Khan's music.

Crucially, the ragas tap into the idea of of music as a means of spiritual release. As Birchall explains, "The whole act of making music is a spiritual experience. It's during performance and when playing music that I look for a kind of truth. It's with music where I find myself feel closest to attaining that 'enlightened' kind of feeling." "On rare occasions I've actually felt as though I was listening to the music being played rather than being involved in making it, almost like an out-of-body experience."

This natural feeling comes from Birchall's attitude toward jazz music. He sees it as an essential part of day-to-day life: instead of brightly-lit, occasional entertainment in lugubrious concert halls, he considers it an everyday, vital source of inspiration. At a moment where jazz-influenced music is undergoing creative renewal and wider appreciation, it's an important perspective that's found resonance elsewhere. His experiences and the world around him are filtered through his music, and he looks to have his music – be it live or on record – absorbed in the same quotidian way. "To me, it's an integral part of society, an everyday thing," he says. "You should hear the music every day."





Our latest examination of Esoteric, Modal & Progressive Jazz of the 20th Century has taken us to Japan. The liberating force of jazz has been created and felt all around the world, but few nations on earth embraced the jazz message with the passion and intensity of Japan. From the dawn of the jazz age to the present day, Japanese audiences have been renowned tastemakers, enthusiasts and champions of the music – in the 1980s, Japan was the biggest per capita market in the world for jazz records, and it has even been said that Japanese jazz fans kept the jazz record industry alive through the lean years of the 1970s, when the music fell from commercial favour in the land of its birth.

But while the jazz aficionados of Japan are celebrated as sophisticated fans and consumers of the music, comparatively little is known outside Japan of the remarkable and abundant music produced by generations of Japanese jazz musicians. Numerous Japanese jazzers have found enormous success on the international stage – Toshiko Akiyoshi, Sadao Watanabe, Teramasu Hino, and many others are household names among jazz listeners all over the world, and with good reason. But if such global figures are put aside, the stunning heritage of Japanese jazz remains poorly understood outside Japan. As a result, the work of many celebrated Japanese jazumen has remained largely unknown to international audiences, and the extraordinary scope and depth of Japanese jazz has not been widely recognised.

Compiled for the Spiritual Jazz series in collaboration with the celebrated collector and DJ Yusuke Ogawa (Deep Jazz Reality, Tokyo), this 2CD/twin set of double LPs aims to correct that omission by uncovering the uniquely deep sound of esoteric, modal and progressive jazz from Japan – music of the heart, soul and Japanese spirit!







Known in the record collecting world as an incredibly rare album with just a handful of known copies, Jazzman present, for the first time, the full length album reissue of the 'Two Sisters From Bagdad' album as performed by La Vice & Co.
Originally intended to be sold alongside performances of LaVice Hendrick's ambitious but ill-fated musical theatre production, the album's scarcity was swiftly ensured as 'Two Sisters From Bagdad' ran for just 2 weeks at Detroit's Bethel A.M.E. church amid poor attendances due to scant promotion. With only a handful of copies sold in that brief window, many of the remaining copies were subsequently destroyed in a basement flood, meaning that until now few people have ever heard the album in its entirety.
A varied set of jazz and gospel infused funky soul, 'Two Sisters From Bagdad' was composed and orchestrated by two precocious young talents, E.J. Garrison and Rhodia McAdoo. It's an album full of surprises, and is notorious for the heavy funk workout 'Though's Were The Days' [sic]. Not only have Jazzman unearthed and faithfully reissued this true obscurity as the 26th part of their ongoing 'Holy Grail' series, but through interviews with Garrison and McAdoo themselves they have also uncovered the beguiling back story to the music, the play and the life and times of its original creator, the late LaVice Hendricks. 






Saxophonist Winston 'Mankunku' Ngozi's 1968 masterpiece Yakhal'inkomo stands in the front rank of global jazz recordings. A certified jazz classic in South Africa, it has sold hundreds of thousands of copies and has never been out of print. But like so many other crucial South African jazz LPs, it was never released outside the country, and went unheard at the time by the wider world. This reissue is the first time that this truly essential jazz recording has been properly available outside South Africa.
Mankunku's masterwork is one of those rare recordings whose audience saw at once that it embodied the spirit of the age. The title, 'Yakhal'inkomo', refers to the bellow made by a bull just before it is sacrificed, and the mourning cries of its fellow cattle as they see it struck down. For South African listeners, the reference was understood as a cry against the violence and brutality of the times, and an act of mourning for all those who were suffering under the barbarity of apartheid. Mankunku's horn spoke eloquently and profoundly for and to an oppressed people, and like Coltrane's A Love Supreme, the album became the musical touchstone for a generation. From today's historical vantage point, Yakhal'inkomo appears as not just an indispensable lost element of the international jazz canon, but as one of the towering cultural documents of its time.
Fully licensed, and packaged with a new sleeve note by Francis Gooding and prevoiusly unpublished photographs from the Basil Breakey archive, this trail-blazing release on Jazzman allows Mankunku's classic work to gain its deserved place on the international stage.

Jazzman Records releases the third volume of its Jukebox Mambo compilation series, selected by DJ Liam Large.
The twenty-four track compilation comes complete with in-depth track notes and photographs, as well as a deluxe double vinyl edition with gatefold sleeve, and a super limited edition vintage style 6 x 10" book set - with unique artwork and four exclusive bonus tracks
Since the release of their first Jukebox Mambo compilation album in 2012, Jazzman Records, with the curatorial expertise of DJ Liam Large, have been opening ears and minds to the delights of Latin-tinged Rhythm & Blues. This, the third release in the series, sticks squarely to the tried and tested formula of its predecessors; combining a crate-digger's passion for the obscure with an ear for instant dancefloor crowd pleasers.
In a congested field of R&B comps, Jukebox Mambo stands out uniquely in shedding light on the era of Latin American and Caribbean influence, a sensual rhythmic shift which continues to be felt in modern music today.
Lovingly compiled, artfully arranged and expertly annotated, Jukebox Mambo Volume 3 is another immersive gaze into an era of musical history that still carries a unique influence today. This one is for the crate diggers and music lovers alike!



FORMAT INFORMATION

6x10" Info: The compilation comes with in-depth track notes and photographs, is available as a deluxe double vinyl tip on gatefold as well as a super limited edition vintage style 6 x 10" book set - with unique artwork and four exclusive bonus tracks.

FREE SHIPPING This item has FREE UK shipping!

The seventh volume of the much acclaimed and close to our hearts, Spiritual Jazz series examines the influence and impact of Islam on four decades of jazz innovation.

Through Malcolm X and Muhammad Ali, the civil rights era in America saw African American liberation politics famously associated with Islamic belief. This was not the first time that radical developments in African American cultural life had been widely and famously associated with Islam - that distinction belongs not to political or sporting giants, but to the progressive jazz musicians of the bebop generation. Kenny Clarke, Art Blakey, Sahib Shihab, Gigi Gryce, Idrees Sulieman, Ahmad Jamal, Yusef Lateef; all these legendary jazz pioneers - and countless more - were early converts to the spiritually charged Ahmadiyya school of Islam.

Their faith profoundly influenced the music that they made, and the presence of prominent and innovative Muslim musicians at the heart of jazz culture in America has been recognised ever since. The tracks on this collection follow the story of Islam and jazz from the 1950s to the 1980s. Recorded by Muslim jazz musicians, they often draw specifically on Middle Eastern or Islamic music, dreams of an esoteric or spiritual Afro-East, or invoke the landscape and sound worlds of Islamic Africa. 

Inspired by faith, powered through creation, this is another must have compilation that won't leave the shop stereo for months.



STAFF COMMENTS

Patrick says: Possibly the deepest edition yet, this sublime set of Islamic jazz cuts is as mesmeric and hypnotic as the geometric design on the sleeve. Intoxicating drum melodies keep you swaying while the horns, reeds and violin take the lead.

FORMAT INFORMATION

CD Info: 2LP gatefold
Extensive liner notes
CD with 24 page colour booklet
Many tracks never before reissued

Originally released in small numbers as a custom pressing in 1973, the compelling 'Dini Safarrar' by Senegalese drummer Mor Thiam has gained cult status around the world amongst enthusiasts of jazz, funk, hip hop & African music, and grail status among LP collectors. Here is the first official reproduction of this album, faithful to the original and made with the blessing and cooperation of Mor Thiam himself, as well as his son Aliaume Thiam, otherwise known as hip hop and R&B superstar Akon.

Mor Dogo Thiam (pronounced 'Chahm') is a cultural historian, dedicated philanthropist and genius on the djembe. He began his career as a drummer while a young boy in his native Senegal, before moving to St. Louis, Missouri in the early 1970s, where his unique musical skills earned him the respect of the local jazz community. A fusion of the traditions of his Senegalese upbringing and the funk & jazz sounds of his new environs, 'Dini Safarrar' was entirely self-funded and was also conceived as a benefit album, with all the proceeds donated to famine relief in Africa.

The subtitle and translation of Dini Safarrar is 'Drums of Fire', though it may be more aptly described as 'Drums of Krakatoa', such is the explosive intensity captured within the grooves. The multitude of pulsating percussive elements throughout each track creates an intense rhythmic dissonance, the musical equivalent of an erupting volcano. It can be no co-incidence that the energy & passion of Akon's music was duly ignited by his father's very same Drums of Fire. May the legacy continue.

The Greg Foat Group

Landscapes

    THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

    Greg Foat's music evokes a spirit of time and place. The 1960s (and early 70s) was a time when British modern jazz was breaking free from its trad jazz and mainstream fetters and discovering a whole new world of home-grown original music. London was positively buzzing with the leading protagonists of the day; Mike Westbrook, Ian Carr, Michael Garrick, Gordon Beck to name but a few. Foat rightly reveres

    this music and it's echoed in his own compositions. Not a copyist by any means, his works are vibrant and alive with the zeitgeist of the 21st Century. But there's undoubtedly recognition of a musical heritage that cannot and should not be forgotten. It changed the face of jazz forever and has since heralded the way for even more radical departures.

    Greg Foat's music is redolent of a special era when jazz was approachable and possessed a rhythmic imperative. There was also another kind of irresistible jazz, that bordered on the pop and rock music of the time propagated by the

    likes of Roy (Get Carter) Budd, Harry (The Sweeney) South, Brian Auger's Trinity and Soft Machine. But the origins of this soulful, funky and electrifying jazz also hark back to those 1960s innovators in soul jazz; Herbie Hancock, Horace Silver, Lou Donaldson and others.

    The Greg Foat Group has been releasing albums for several years now, all spectacular affairs, from 'Dark Is the Sun' (2011) to 'The Dancers At The Edge Of Time' (2015) and all on the enlightened Jazzman label. So this latest twin release of two ten inchers, Cityscapes and Landscapes offers a rare treat because for the first time, the listener is given a fascinating insight into the development of the Greg Foat Group. The recordings presented on these two

    EPs represent a journey from urban to rural environments in musical form. Foat actually wrote these around 2002 at the age of 23 when he was living in Stockholm, Sweden. But crucially, they sound like they were written today.

    Landscapes

    Greg Foat wrote the four pieces for 'Cityscapes' whilst he was a session pianist and nightclub DJ in Sweden's capital city for almost a year. Following a move back to his native Isle of Wight, he then wrote 'Landscapes' in recognition of his contrasting life and times. A lone arco bass lugubriously opens 'Dawn' with wave-like piano and a hovering seagull cry from flute and occasional splashing cymbals. Thus the scene is set for this record's predominantly bucolic theme.

    The flute on 'Paper Kites' is reminiscent of the doyen of that instrument, the late, great Harold McNair, replete with some 'wild flute'. Indeed the underlying swing of this fast-paced number possesses all the panache that was the trademark of that often overlooked hero of British modern jazz. 'Landscapes' begins as a slow, pastoral track with the melody gently evinced by the group's stalwart trumpeter, Trevor Walker. Half-way through the number the tempo and volume pick up, transforming the piece into a real toe-tapper and there's more deft soloing from trumpet and flute, all underpinned by solid piano, bass and drums. The final number, 'Dusk' is something of a brief reprise of the opener, certainly in feel, with once more an underlying arco bass and mellifluous piano closing this perfectly balanced set.

    James Tatum

    Contemporary Jazz Mass

    Two gems of independent Detroit jazz, reissued for the first time on Jazzman Records.

    James Tatum's stunning, spiritual 'Contemporary Jazz Mass' is one of the only true jazz masses ever released. Inspired by Duke Ellington's 'Sacred Concerts', Tatum's masterwork was recorded on its first ever performance at St Cecilia Church in Detroit, and released on his own private label in 1974. Professional music educator and jazz composer Tatum had been working as a teacher in Detroit, and in the long aftermath of the 1967 riots he had started to instruct local children music in St Cecilia's. The church commissioned the mass in 1972, and Tatum put together an ensemble of singers from within the church, backed by his own trio and local jazz musicians.

    Looking toward the great sacred works of Ellington, but with lyrics drawn straight from liturgy, the 'Contemporary Jazz Mass' is a unique work of sanctified vocal jazz - nourishment for the spirit and soul, brought back to you by Jazzman Records!

    The CD version of this release also includes Tatum's independent second release Live at the Orchestra Hall & Paradise Theater. Another breathtaking long-form vocal jazz composition, Tatum intended Live...; to take the listener on a trip through the deep history of African-American music, expressing the spirit and sound of the past through the medium of jazz music and song.

    · All tracks fully licensed and digitally restored

    · Another super rare gem that's part of our esteemed HOLY GRAIL series

    · Only 1000 vinyl LPs available, all numbered!

    · Comprehensive and detailed liner notes with pictures and information taken from our interviews with Mr James Tatum himself

    · CD set with 8 page colour booklet

    The sixth installment in Jazzman's 'Spiritual Jazz' series showcases jazz vocals in a collection of messages that are united in voice. The majority of the tracks here are as political as they are theological, but they all share an inner sanctity. In fact, as the distinction between the theological and the humanistic is blurred, so is the definition of song - many of the tracks are atypical in that they do not possess lyrics with a beginning, middle, and end. Likewise the voices that convey them often can't be said to be singing in the usual sense of the word; we hear solemn chanting, intense wailing, earnest poetry, and ardent recitation in between bouts of singing, the quality of which is often nothing short of exquisite. The styles of performance encompass modern jazz, the avant-garde, and jazz fusion, and include elements of styles from the long and winding path of the African diaspora, including Cuban, Brazilian, Caribbean, and other Pan-American rhythms.

    'Spiritual Jazz 6: Vocals' examines some of the rarest and most extraordinary vocal jazz recordings. The selection includes some well-known songs as well as some of the most obscure. There are tracks recorded for major labels and some that were issued privately. But all of them speak or sing of a better place or a better world, and the world can only be a better place when they are played. This is esoteric jazz, modal jazz, spiritual jazz - as performed with the human voice. Includes tracks by Max Roach, Charles Mingus, Sadaka, Norman Riley, E W Wainright, Clifford Jordan, Pharoah Sanders, Linda Theus, Dr Haki R. Madhubuti, Eddie Gale, Gary Bartz, Byron Morris, and Vibration Society.

    All tracks fully licensed and digitally restored from the original master tapes. Features comprehensive liner notes with notes for each track and original stories direct from the musicians involved. CD edition includes 24-page color booklet with in-depth liner notes, album cover scans, and previously unpublished photographs. Double LP edition presented in glossy gatefold sleeve.

    When Tumi Mogorosi composed this suite for jazz musicians and opera vocalists he had never heard the previous successful attempts by Donald Byrd, Max Roach or Mary Lou Williams to combine these seemingly disparate aesthetics. Tumi, born in 1987 and already an accomplished drummer on the Jo'Burg scene, was at the time studying music at the Tshwane University of Pretoria where he became close friends with opera singers working on the same campus.

    Surprisingly, Tumi's suite wasn't influenced by these great elders' masterpieces, but anyone who listens to this album will agree that the suite encaptures the soaring spirituality that made these experiments of the '60s the beloved classics that they are today. Tumi does not belong to any religious group. This album is neither a jazz mass like Mary Lou William's 'Black Christ of the Andes', nor a compilation of devotional pieces like Donald Byrd's 'Christo Redentor'. 'Project Elo' stands for Project Elohim, the angelic entities of the spiritual scriptures which are in the drummer's philosophy, a symbol for accomplished human beings. The spirituality the album conveys is attuned to a 21st century syncretic, non dogmatic vision infused with esotericism. Recorded live with no overdubs in two days by a group of friends, this album captures a moment of Eternity and will defy any idea you may have of what South African jazz is. Tumi's music transcends labels and styles. When composing or playing he is only concerned with being true to the primodial source of life, which cannot be confined to any genre.

    The Topics

    Wanted Live! By A Million Girls

    This LP is the perfect combination of disco-tinted crossover and modern soul filled with strong black male group harmonies and funky instrumentation, a recording to savor the palette of soul and funk collectors across the board. This release isn’t just about the vocalists but also the variety of talented musicians and unique instrumentation involved in creating this timeless testament to West Coast African-American consciousness of the late 70s and early 80s.

    For this reissue Jazzman have invested all their fine tuned resources into making this LP even better than the original. All 8 tracks have been digitally remastered while all of the original LP cover art has been reproduced as an exact replica of the original LP issued in the early 1980s. You may try your hand at obtaining an off condition copy in the £1000 price range or file this limited edition reissue with bonus extensive liner notes insert in your collection for only a fraction of the price.

    One of our key initiatives at Jazzman Records is setting the facts straight, righting the wrongs of mistaken identities and often giving previously unknown artists credit where credit is well overdue. As group harmony and soul groups go, in many cases, there are some very popular group names, popular to the point of redundancy. Often the same name was used by different, multiple groups all around the country, round about the same time, coincidentally unbeknownst to one another. While the artists didn’t intend to be any less unique than others sharing the same name, this duplicity has caused quite a bit of debate and confusion for record collectors over the years. The mystery of this rather ambiguously designed modern soul LP has haunted collectors for decades. Now for the first time ever, we can finally confirm that this specific West Coast group is (from Fresno, CA and) only recorded on the Token and NCS labels and is not to be confused with any other groups of the same name who recorded on the Heavy-Duty, Dream, TSG, Noodle, Carnival, Chadwick, Mercury, Castle and Brother III labels.

    Since his death in 2012, Jazzman have surveyed the substantial personal archive of Jef Gilson’s acetates, test pressings and reel to reel tapes with the kind permission of his widow, Geneviève. The task has not been easy, it’s taken numerous trips to France and the generous assistance of a small army of translators, advisors, musicologists, amateur enthusiasts and record collectors, as well as the surviving members of Gilson’s musical entourage, for the label to gather together the information required to make this album. In it you will find music they‘ve chosen from having listened to literally hundreds of hours of alternate takes, rehearsals, live recordings, unissued sessions and personal recordings made from the 50s to the 70s; none of which has been officially released before. Despite the limitations afforded by mastering some of these recordings from anonymous reels of twisted, buckled tape and scratched, dusty old acetate discs, we hope that the music contained herein affords a fascinating and otherwise impenetrable insight into the workings of one of the great unsung creative forces of European jazz.

    Early experiments in Oriental and ethnic jazz with Lloyd Miller. Unissued alternate takes of Gilson’s classic repertoire. Long-lost live performances from 1960s European jazz festivals. Rehearsals and jam sessions that developed into a lifelong creative obsession.

    · All tracks previously unissued, fully licensed and digitally restored from their original source

    · Comprehensive and detailed liner notes with information on each track and original stories direct from our interviews with the musicians involved

    · Liner notes in English et en français

    · CD with 24 page colour booklet with in-depth liner notes and previously unpublished photographs

    · Deluxe double vinyl LP pressing with thick, glossy gatefold sleeve

    In the 70s radio stations were a powerful force across the whole of the US, and anyone with a transistor radio had access all kinds of music. Live music was another matter altogether, and unless you found yourself in a major city your nights out were limited to what the local talent had to offer. This was especially so with soul and funk acts, as mainstream rock and pop was where the money was. So for small time Oklahoma soul bands such as husband and wife Charles and Barbara Burton's groups Messengers Inc - and later Burton Inc - times were tough. However, like many purveyors of soul, tough times were no match for those with determination, persistence and a story to tell. Many artists scraped enough money together to make a 45 or two on their own label; but the Burtons took this to another level - they got themselves organised and released their own full length LPs.

    With these two albums Jazzman tells the story of the Burtons and their contribution to 1970s Midwest funk and soul. Their dreams and desires, struggles and setbacks are all set out in our extensive liner notes, complete with previously unseen photos of the bands. But above all here are two albums chock full of good music - Messengers Inc from 1972 with heavy funk and deep soul, Burton Inc from 1976 with soulful disco and boogie, including the rare title track dancefloor favourite 'LA will Make You Pay'.


    · All tracks fully licensed and digitally restored from the original master tapes
    · Comprehensive liner notes from our interviews direct from the band
    · CD with 16 page booklet with liner notes and previously unpublished photographs
    · Most tracks never before available outside of their super rare expensive originals!
    · 1000 only vinyl LP pressing, individually numbered

    Sublime Christian folk jazz from 1970s Norway (don't runaway!). In the 60s and 70s churches throughout Europe had serious competition for the attention of its younger members. The ecclesiastical establishment was shocked to hear teenagers expressing 'Sympathy for the Devil' rather than sympathy for Christ and his teachings. In Norway at this time the same situation was prevalent as was happening across Europe; teenagers were turning their back on the church and embracing the temptations and pleasures of the flourishing new pop culture. Priest Olaf Hillestad was all to aware of what was going on, and instead of relying on the floundering traditional methods of rounding up his flock, he embraced the musical aspirations of his younger followers. In so doing he founded the Forum Experimentale in Oslo, an organisation that promised in its statutes to "boldly work for a renewal in service life, church music and church art". It was here in the late '60s where That's Why founder members Jan Simonsen and Per Arne Løvold became responsible for the jazz masses at Forum Experimentale's chapel. Together with some top-notch musicians from other Christian music centres around the Oslo district, they recorded two albums in 1970 and 1971 under the moniker That's Why. That's Why blended deep acoustic and electric jazz with elements of Norwegian folklore and Christianity. They also included interpretations of young and old transcendental Norwegian poets such as Sidsel Mørck Krogdahl, Alfred Hauge and Aslaug Vaa, as well as introducing English and Swedish songwriters such as Åke Rosenstrøm and Charles Wesley and even William Blake's "Children of the Future Age" into the mix. This highly original fusion of secular rhythmic music, jazz improvisation and a distinguished selection of transcendental lyrics is one of the standout qualities of That's Why, separating them from more programme-orientated Christian music. The unique mix leads the listener to think they are hearing among the record grooves the tightness of grey, sober Protestantism along with the ecstasy of a lay preacher. This listener, for one, has never heard anything quite like it.

    Lost treasure from 1974: A 24k nugget of previously unreleased psychedelic soul! The original plan was rather more straightforward. Jazzman had intended simply to license the masters for the obscure 1977 Cali funk-soul single "What About The Child", credited to otherwise unknown outfit Gold, for a direct 45rpm reissue. And so began the search for the men behind this lavish, expansive soulful spin, the men who were Gold. Writer and producer Avelino Pitts was taken aback on first contact, but duly set about the not-so-simple task of locating and delivering these 35 year old tapes. "I dug around, I started going all over and asking, and nobody knew where this was" Pitts remembers. "And, no one - the studios, my brother - nobody had a copy of a tape. But my father had a shed in the back. Now this is in Las Vegas - not air conditioned - and this is a shed. And [after] all of these years of 100+ degree weather, he said, 'why don't you take a look in the shed?' So I’m digging through boxes, covered in dust, spiders, and I come across this box of tapes!"

    And from those very tapes comes this long-awaited album! Unheard by human ears since 1974, this is the super sound of psychedelic soul, dancefloor funk and soulful ballads astonishing for their power and beauty. It’s incredible to find out that for one reason or another this album was never released at the time, and in our interviews and liner notes we reveal the fascinating story behind the band and why such good music has been kept in the dark for so long.


    It's always an honour for us to re-release cool & obscure records, but as honours go they surely come no greater than bringing you music from one of the most brilliant and productive jazzmen ever to have lived: French pianist, composer and arranger extraordinaire Jef Gilson.

    With his career spanning the best part of a century, Gilson has made music with a who's who of European and American jazz greats, has written, performed on and recorded innumerable film scores, albums and 45s, ran the Palm Jazz record label.. yet despite all this the 84 year old Frenchman remains criminally under appreciated by so many jazz fans. Look him up on the internet - there isn't even a Wikipedia entry! We address this unfortunate situation by releasing 19 songs spanning decades of his recording career in our forthcoming album JMANCD/LP042 'Jef Gilson'. But for now, here is a sumptuous taster in the form of a LTD EDN 4 track 7" EP featuring two of his finest creations, the awesome 'Chakan' and 'Modalite Pour Mimi'. As a bonus the flipside has two more tracks NOT to be found on the album.

    FORMAT INFORMATION

    7" Info: Limited pressing in screen printed sleeve. One per person!


    The fifth release in Jazzman's illustrious Holy Grail series is a faithful, collector-friendly reissue of Washington DC native George Smallwood’s only LP, one of the most sought-after modern soul long players in existence. George Smallwood had actually turned his back on a dream of a career in music in order to provide for his family by driving trucks for a living when a terrible accident intervened to rob him of his sight forever. Finding gainful employment hard to come by, Smallwood turned once again to music as both a possible vocation and a remedy for his soul. Setting up a home studio outfit, he buried himself in instrumentation and composition in a more deep and concentrated way than ever before. Eventually assembling a band of talented musicians he began to record and release his own 45s. Each record he released was distinguished by truly sophisticated production, a smooth sound and lavish depth which marks Smallwood as a real voice in 70s soul music, but one which few up til now have ever heard. Even without major success, thankfully Smallwood continued to record and issue short-run records through the ‘70s and into the early ‘80s, culminating in the majesty of his full length LP "Just For You".


    FORMAT INFORMATION

    LP Info: Limited to 1000 numbered copies on vinyl.

    Jazzman bring us the opening gambit from their new Holy Grail series of reissues, which is set to include the rarest and most coveted soul, funk and jazz LPs ever released. Never before on eBay and impossible to find, Uncle Funkenstein's "Together Again" is an ultra-rare LP that funk collectors talk about but never find. That'll be because it's one of the ultimate private press funk / jazz LPs, with just a handful of known copies. The original album bears all the hallmarks of the local, private press album - black and white budget cover, home-made 'conceived on a kitchen table' sleeve design, self-produced and on a shoe-string budget. Some of these kind of records are over hyped and have all kinds of amazing things said about them - only for the music itself to disappoint. Not so with Uncle Funkenstein - you'll know that from the moment you hit track one and the awesome bass blows you away.

    Jazzman records continues its quest to uncover the best and rarest funk ever recorded, and after the success of 2006 outing "Florida Funk", the label have moved up the Atlantic coast to look at the vibrant and original scene in the two rural states of North and South Carolina. Bordering the Bible Belt, the Carolinas share the hidebound reputation of neighbouring Tennessee – and without any large urban centres, much of the musical output of the area has been limited to single towns, with bands and their records seldom venturing further than the state line. Funk 45 label boss Jazzman Gerald and resident North Carolina collector Jason Perlmutter have selected 22 of the rarest and most coveted examples of heavy funk from the Atlantic coast to show the world there is more to the Carolinas than tobacco plantations and Venus fly traps! From inspired percussive instrumentals to heartfelt slabs of soul; from rediscovered tapes in the garages of retired musicians to funk 45s so raw that they were blessed by James Brown himself – this is "Carolina Funk"!

    Jazzman Records proudly present "Sister Funk 2". A full five years in the making, the follow up to the hugely popular first volume finally sees the light of day, bearing with it the fruits of compiler Ian Wright's inexhaustible quest to unearth some of the world's toughest, most elusive and undeniably funky female 45s. The spectrum of sounds covered on this album reflects a broad range of styles, from the heavy funk of Keisa Brown's "Dance Man" to the dancefloor jazz of Barbara Trent's "Heartbreak Hotel", from the discofied soul of Florence Trapp to the crossover stylings of Barbara Mason. As ever, the selections range from the ridiculously obscure to the frustratingly impossible to find – which isn't to say this is music to stroke your chin to - if anyone's still sitting down after putting this record on I'll send Big Ella round to sort 'em out!

    One of the rarest and finest independent funk albums ever made, the self-titled LP by Soul Expedition has remained elusive to even the most ardent funk fan and record collector. Nobody knows why the LP is such a rarity, especially when as many as 2000 copies were first pressed up back in 1971. Less than a handful of copies are known to exist today, so until now only a fortunate few have been able to witness what is a very powerful, raw and heavy funk sound, the likes of which is usually only pressed on 45.

    Following the critically acclaimed "Texas Funk" album from 2003, "Midwest Funk" is an additional collection of rare, collectible and previously unreleased funk 45s! This time collectors Malcolm Catto and Dante Carfagna drove 1000s of miles across the endless cornfields of the American Midwest, a vast expanse of farm land that covers the region between the Rockies in the West and the Appalachians in the East, in search of that elusive rare seven. Luckily, not only did they avoid the tornadoes, but they also found some incredibly rare 45s and some amazing unreleased master tapes too! Includes tracks by The Us, Markus Kelly & The Impassions, Harvey & The Phenomenals, Wanda Davis, The New Establishment In Soul, The Chefs, Dayton Sidewinders, Messengers Incorporated, The Personations And Organization and other similarly named outfits!

    Letta Mbulu / Lorez Alexandria

    What's Wrong With Groovin' / Send In The Clowns

    Jazzman pull another one out of the bag with two David Axelrod productions back to back! Both rare as hens teeth (you would have to pay a few hundred quid for both originals) and both utterly sublime. This is one of the best Jazzman's ever!

    FORMAT INFORMATION

    7" Info: Limited repress!


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