Jazzman Records has been in business as a reissue label since 1998, immediately stepping into the niche market of re-releasing rare, obscure and esoteric jazz, soul and funk music on LP, CD and 45. A worldwide network of knowledgeable and enthusiastic collectors, dealers and researchers makes Jazzman well positioned to create lovingly crafted reissues, but it isn't the extensive, original notes nor the exhaustive attention to detail that makes Jazzman popular -- it's a true love of music, a reputation of 'doing things right' and damn good taste that makes Jazzman releases not only highly valued, but regarded as collector's items in their own right.
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JMAN 122CD
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In Jazzman Records' latest chapter of Spiritual Jazz, the label returns to the source -- the Impulse! label, and the monumental influence of its most prominent artist, John Coltrane. Since the first release in the series back in 2008, Jazzman Records has mapped out the growth of the spiritual sound in jazz. Spiritually energized and politically conscious, the spiritual sound in jazz music is one of the most important currents in the music. The label's series has charted the growth of the style from early experiments at Blue Note and Prestige to European excursions, exiled experimentalists, and sounds from across the globe. But whenever you think of spiritual jazz, it's a fair bet that the double exclamation mark and orange-and-black spine of Impulse quickly comes to mind. Home to John and Alice Coltrane, Pharoah Sanders, Yusef Lateef, McCoy Tyner, and countless other musical pioneers, Impulse! was the most important and forward-thinking jazz label of the 1960s. With the music-first attitude of an independent but the clout of a major, producers Creed Taylor and Bob Thiele made Impulse! the defining imprint of a crucial decade. They hand-picked the top players of the moment and gave them freedom to record the music they wanted, setting out their stall with a bold slogan: "The New Wave Of Jazz Is On Impulse!" Here, Jazzman Records dive deep into the Impulse! catalog, bringing celebrated masterpieces from Alice Coltrane and Pharaoh Sanders into the arena, together with lesser known cuts from Phil Woods and John Klemmer as well as straight-up classics such from Yusef Lateef and Elvin Jones. Fifty years on and the new wave of jazz still sounds fresh, vibrant, and as relevant as ever. Also features Max Roach, Freddie Hubbard, Archie Shepp, Michael White, and Marion Brown.
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JMAN 122LP
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Triple LP version. Gatefold sleeve. In Jazzman Records' latest chapter of Spiritual Jazz, the label returns to the source -- the Impulse! label, and the monumental influence of its most prominent artist, John Coltrane. Since the first release in the series back in 2008, Jazzman Records has mapped out the growth of the spiritual sound in jazz. Spiritually energized and politically conscious, the spiritual sound in jazz music is one of the most important currents in the music. The label's series has charted the growth of the style from early experiments at Blue Note and Prestige to European excursions, exiled experimentalists, and sounds from across the globe. But whenever you think of spiritual jazz, it's a fair bet that the double exclamation mark and orange-and-black spine of Impulse quickly comes to mind. Home to John and Alice Coltrane, Pharoah Sanders, Yusef Lateef, McCoy Tyner, and countless other musical pioneers, Impulse! was the most important and forward-thinking jazz label of the 1960s. With the music-first attitude of an independent but the clout of a major, producers Creed Taylor and Bob Thiele made Impulse! the defining imprint of a crucial decade. They hand-picked the top players of the moment and gave them freedom to record the music they wanted, setting out their stall with a bold slogan: "The New Wave Of Jazz Is On Impulse!" Here, Jazzman Records dive deep into the Impulse! catalog, bringing celebrated masterpieces from Alice Coltrane and Pharaoh Sanders into the arena, together with lesser known cuts from Phil Woods and John Klemmer as well as straight-up classics such from Yusef Lateef and Elvin Jones. Fifty years on and the new wave of jazz still sounds fresh, vibrant, and as relevant as ever. Also features Max Roach, Freddie Hubbard, Archie Shepp, Michael White, and Marion Brown.
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JMAN 123CD
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For every celebrated name in jazz, soul and related music, there are probably another 1000 musicians who had all the talent and potential but for whom widespread recognition remained elusive. Roscoe Weathers is one such figure, a jazzman who earned his chops the hard way, a sideman in smoky clubs from Memphis to Seattle, before finally settling in LA. He recorded a significant amount of music through the 1960s, but never found the slightest modicum of commercial acclaim nor the success that comes with it. Overlooked by all but the tiniest of record labels, Weathers's released much of his material himself. Indeed, Jazzman Records can lay claim to be the first outside label to release any of his music since the early 1960s. That's sixty years of being overlooked by the record industry, so Jazzman Records release this first full-length album of his music in a first attempt at righting that historic wrong. A multi-instrumentalist, Weathers mainly led on the flute in his recorded output. The music here spans the course of the 1960s, and moves from laid back beatnik jazz stylings through to percussion heavy Afro-Latin influenced workouts. As usual with Jazzman, the label has not only dug deep to unearth Weathers's music but also his background and biographical details, shining much deserved light on this enigmatic and largely unheralded figure for the first time.
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LP
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JMAN 123LP
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LP version. Tip-on sleeve. For every celebrated name in jazz, soul and related music, there are probably another 1000 musicians who had all the talent and potential but for whom widespread recognition remained elusive. Roscoe Weathers is one such figure, a jazzman who earned his chops the hard way, a sideman in smoky clubs from Memphis to Seattle, before finally settling in LA. He recorded a significant amount of music through the 1960s, but never found the slightest modicum of commercial acclaim nor the success that comes with it. Overlooked by all but the tiniest of record labels, Weathers's released much of his material himself. Indeed, Jazzman Records can lay claim to be the first outside label to release any of his music since the early 1960s. That's sixty years of being overlooked by the record industry, so Jazzman Records release this first full-length album of his music in a first attempt at righting that historic wrong. A multi-instrumentalist, Weathers mainly led on the flute in his recorded output. The music here spans the course of the 1960s, and moves from laid back beatnik jazz stylings through to percussion heavy Afro-Latin influenced workouts. As usual with Jazzman, the label has not only dug deep to unearth Weathers's music but also his background and biographical details, shining much deserved light on this enigmatic and largely unheralded figure for the first time.
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JMAN 121LP
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LP version. Includes download card. Lascelle "Lascelles" Gordon -- the driving force behind Vibration Black Finger -- astonishes yet again with a magnificent second album. Once more his inspiration is drawn from the obscure spiritual jazz collectives of the 1970s where he employs a vast array of like-minded collaborators to create a listening experience infused with an ever-present undercurrent of personal expression and cultural empowerment that's as enriched with ideas as it is progressive in its form. Having earned his chops as founding member of the Brand New Heavies, Campag Velocet, and Heliocentric World, Lascelle's latest album Can You See What I'm Trying to Say bursts with energy and vivid contrasts, flowing effortlessly between beat-laden grooves, oscillating improvisations, soulful recitations, audio verité, and moody atmospherics. The album drops like a post-hip-hop reimagining of foundational genres, with a prayer to the future. "Can You See What I'm Trying to Say" is a quote from Marion Brown, the great alto saxophonist's explains Gordon. "The album was put together over the last three years, not in the conventional way of going into the recording studio with musicians, but starting from ideas I had on various formats (cassettes, mini disc, DATs & reel to reel). I also used field recordings. I did a lot of home recording with long time musical friends Ben Cowen and Diana Gutkind, some of them going back 20 years. The voices of my nieces (heard on 'Law Of The Universe') were recorded 25 years ago. 'Only In A Dream' and 'Empty Streets' are the only songs that were recorded live in the studio. "Empty Streets"opens the album, with vocalist Ebony Rose turning in a thoroughly haunting vocal performance. Following "Empty Streets", some instrumental interludes segue into a dimensional drift of beats, space synths, horns, and electronics; there's a vocal reprise of "Acting For Liberation", sung with gusto by Maggie Nichols, and then there's the album's momentous finale, "Only In A Dream", which takes off as an ominous drone before a delicious bassline from the late Ken Kambayashi transforms it into an intense, soaring epic which finally descends onto another world. In a career spanning several decades, Lascelle Gordon remains an omnivorous musical force, whether as DJ, collaborator, or radio broadcaster. As amply demonstrated on Can You See What I'm Trying to Say, he refuses to rest on his laurels and continues to impress with music that is as rich, vital, and contemporary as anything he's done before.
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JMAN 121CD
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Lascelle "Lascelles" Gordon -- the driving force behind Vibration Black Finger -- astonishes yet again with a magnificent second album. Once more his inspiration is drawn from the obscure spiritual jazz collectives of the 1970s where he employs a vast array of like-minded collaborators to create a listening experience infused with an ever-present undercurrent of personal expression and cultural empowerment that's as enriched with ideas as it is progressive in its form. Having earned his chops as founding member of the Brand New Heavies, Campag Velocet, and Heliocentric World, Lascelle's latest album Can You See What I'm Trying to Say bursts with energy and vivid contrasts, flowing effortlessly between beat-laden grooves, oscillating improvisations, soulful recitations, audio verité, and moody atmospherics. The album drops like a post-hip-hop reimagining of foundational genres, with a prayer to the future. "Can You See What I'm Trying to Say" is a quote from Marion Brown, the great alto saxophonist's explains Gordon. "The album was put together over the last three years, not in the conventional way of going into the recording studio with musicians, but starting from ideas I had on various formats (cassettes, mini disc, DATs & reel to reel). I also used field recordings. I did a lot of home recording with long time musical friends Ben Cowen and Diana Gutkind, some of them going back 20 years. The voices of my nieces (heard on 'Law Of The Universe') were recorded 25 years ago. 'Only In A Dream' and 'Empty Streets' are the only songs that were recorded live in the studio. "Empty Streets"opens the album, with vocalist Ebony Rose turning in a thoroughly haunting vocal performance. Following "Empty Streets", some instrumental interludes segue into a dimensional drift of beats, space synths, horns, and electronics; there's a vocal reprise of "Acting For Liberation", sung with gusto by Maggie Nichols, and then there's the album's momentous finale, "Only In A Dream", which takes off as an ominous drone before a delicious bassline from the late Ken Kambayashi transforms it into an intense, soaring epic which finally descends onto another world. In a career spanning several decades, Lascelle Gordon remains an omnivorous musical force, whether as DJ, collaborator, or radio broadcaster. As amply demonstrated on Can You See What I'm Trying to Say, he refuses to rest on his laurels and continues to impress with music that is as rich, vital, and contemporary as anything he's done before.
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JMAN 119CD
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Born in Paris, raised in Vienna, resident in Ibiza, saxophonist and composer Muriel Grossmann embodies the borderless, pan-continental energies of contemporary European jazz. Her music emerges from the lineage of European jazz that's absorbed the progressive music of Coltrane, Dolphy, and Sanders. Today, she cites players such as Illinois Jacquet and Lester Young in the same breath as the masters of the avant-garde, and her playing marries the directness and eloquence of the older generation with the questing, spiritualized playing epitomized by Coltrane. The roster of musicians she has played with is long, and includes veteran European avant-gardists including Joachim and Rolf Kühn, Wolfgang Reisinger and Thomas Heidepriem, and she works tirelessly with contemporary groups and big bands across the continent. Since her first recordings in the early 2000s, Grossmann has released a dozen albums as leader, featuring sounds ranging from hard-swinging modernist jams to free improvisation, expansive spiritual work to rhythm-focused Afrocentrism. But at the center of her work is a thread of pure and heartfelt spiritual music in the modal tradition defined by Coltrane and close collaborators like Pharoah Sanders and Alice Coltrane. You can't play this music successfully if you don't mean it; like the music of her contemporary Nat Birchall, Grossmann's engagement with the Coltrane tradition is sincere and deep. Her music resonates within the tradition; more than just a style, it adds a new chapter to the story of modal and spiritual jazz in Europe. This Jazzman set draws a selection from her 2016 album Natural Time ("Your Pace", "Peace For All") and from 2017's Momentum ("Elevation", "Chant", and "Rising"). Featuring her regular quartet of Radomir Milojkovic (guitar), Uros Stamenkovic (drums), and Gina Schwarz (bass), the music on Elevation is pure sound, soul and spirit!
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JMAN 119LP
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Born in Paris, raised in Vienna, resident in Ibiza, saxophonist and composer Muriel Grossmann embodies the borderless, pan-continental energies of contemporary European jazz. Her music emerges from the lineage of European jazz that's absorbed the progressive music of Coltrane, Dolphy, and Sanders. Today, she cites players such as Illinois Jacquet and Lester Young in the same breath as the masters of the avant-garde, and her playing marries the directness and eloquence of the older generation with the questing, spiritualized playing epitomized by Coltrane. The roster of musicians she has played with is long, and includes veteran European avant-gardists including Joachim and Rolf Kühn, Wolfgang Reisinger and Thomas Heidepriem, and she works tirelessly with contemporary groups and big bands across the continent. Since her first recordings in the early 2000s, Grossmann has released a dozen albums as leader, featuring sounds ranging from hard-swinging modernist jams to free improvisation, expansive spiritual work to rhythm-focused Afrocentrism. But at the center of her work is a thread of pure and heartfelt spiritual music in the modal tradition defined by Coltrane and close collaborators like Pharoah Sanders and Alice Coltrane. You can't play this music successfully if you don't mean it; like the music of her contemporary Nat Birchall, Grossmann's engagement with the Coltrane tradition is sincere and deep. Her music resonates within the tradition; more than just a style, it adds a new chapter to the story of modal and spiritual jazz in Europe. This Jazzman set draws a selection from her 2016 album Natural Time ("Your Pace", "Peace For All") and from 2017's Momentum ("Elevation", "Chant", and "Rising"). Featuring her regular quartet of Radomir Milojkovic (guitar), Uros Stamenkovic (drums), and Gina Schwarz (bass), the music on Elevation is pure sound, soul and spirit! LP only with thick Tip-On sleeve; includes download card.
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CD
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JMAN 120CD
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Subtitled: Esoteric, modal and progressive jazz from the SteepleChase label, 1974-84. Founded in 1972, SteepleChase Records is one of the most significant and prolific European jazz record labels. With a catalog running to well over 200 titles, the Copenhagen-based imprint has recorded and released music from some of the greatest names in jazz, including Dexter Gordon, Andrew Hill, Jackie McLean, Horace Parlan, Chet Baker, and Stan Getz. Starting out by recording visiting Americans when they performed at the legendary Café Montmartre, founder Nils Winther was encouraged to start the label by none other than the great Jackie McLean, who was the first artist to release a record on the new imprint. From there, Steeplechase rapidly grew into one of the foremost labels to document European jazz with all its distinctive originality and style. With a particular emphasis on recording front rank American artists who had chosen the expatriate life in Europe, Steeplechase was first in line to document the sounds of the greats as they developed in exile. Features extensive liner notes including a history of the label as well as notes on each of the individual tracks. Photos from the recording sessions and cover art from each of the LPs from which Jazzman Records' selection has been taken is also included. With in-demand tracks from the likes of Billy Gault, Johnny Dyani, and Khan Jamal, and the unearthing of deep cuts from greats like Jackie McLean and Mary Lou Williams, Jazzman Records' Spiritual Jazz Vol. 11: Steeplechase pays tribute to one of Europe's most important jazz labels and furthers our exploration into the infinite realms of spiritual jazz. Also features Sam Jones, Rene McLean, Jim McNeely, Michael Carvin, and Ken McIntyre.
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2LP
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JMAN 120LP
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Limited restock; double LP version. Gatefold sleeve; features two vinyl-only tracks from Jackie McLean & The Cosmic Brotherhood and Michael Carvin; includes download card. Subtitled: Esoteric, modal and progressive jazz from the SteepleChase label, 1974-84. Founded in 1972, SteepleChase Records is one of the most significant and prolific European jazz record labels. With a catalog running to well over 200 titles, the Copenhagen-based imprint has recorded and released music from some of the greatest names in jazz, including Dexter Gordon, Andrew Hill, Jackie McLean, Horace Parlan, Chet Baker, and Stan Getz. Starting out by recording visiting Americans when they performed at the legendary Café Montmartre, founder Nils Winther was encouraged to start the label by none other than the great Jackie McLean, who was the first artist to release a record on the new imprint. From there, Steeplechase rapidly grew into one of the foremost labels to document European jazz with all its distinctive originality and style. With a particular emphasis on recording front rank American artists who had chosen the expatriate life in Europe, Steeplechase was first in line to document the sounds of the greats as they developed in exile. Features extensive liner notes including a history of the label as well as notes on each of the individual tracks. Photos from the recording sessions and cover art from each of the LPs from which Jazzman Records' selection has been taken is also included. With in-demand tracks from the likes of Billy Gault, Johnny Dyani, and Khan Jamal, and the unearthing of deep cuts from greats like Jackie McLean and Mary Lou Williams, Jazzman Records' Spiritual Jazz Vol. 11: Steeplechase pays tribute to one of Europe's most important jazz labels and furthers our exploration into the infinite realms of spiritual jazz. Also features Sam Jones, Rene McLean, Jim McNeely, Michael Carvin, and Ken McIntyre.
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JMAN 118LP
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First released on digital formats back in 2016, and here now given a richly deserved full vinyl release, Holy Science, the debut outing from Amirtha Kidambi and her New York based quartet The Elder Ones, is a work of dazzling singularity. Delicately yet unashamedly divulging its complex network of influences at every turn, Holy Science simultaneously disperses of boundary and limitation, emerging as an album steeped in tradition yet located firmly in the futuristic present. Amirtha Kidambi, the Elder Ones' leader, composer and vocalist, was a child of South Indian heritage, and she grew up immersed in the tradition of devotional singing, joining in with free-form, improvised Bhajans on regular Sundays. She began simultaneously accompanying her voice with the harmonium from the age of three. These formative experiences continued to instruct and merge with her ongoing musical explorations as she went on to study classical music, all the while ingesting the punk, R&B and rap that surrounded her. A particularly significant discovery was that of free and avant jazz, and in particular the music of Alice and John Coltrane, in whom Kidambi found clear echoes and parallels with those Bhajans and Ragas of her earliest musical awakenings. All these influences collide on Holy Science, at times as explosive blasts of sky-opening thunder, at others as moments of soothing, meditative bliss. These holy bursts are enacted by Kidambi's assembled musicians and are given permission to explore the science of spiritual alchemy, plundering their individual and collective soul for the sake of musical expression, and all of the unpredictable and profound revelations such an approach might yield. Holy Science is a work underpinned by traditions, be they the Bhajan spirituals, or the jazz and classical avant gardes, that are in their own manner, archetypal. But perhaps most importantly, all of these forms contain an inbuilt capacity for discovery and progression. Amirtha Kidambi's musical pathway has been defined by a studied determination to occupy this specific space, the unbounded realm of improvisation and exploration, summoning the acquired instruments of experience, knowledge, culture, and tradition to unlock secrets of the past, present and future. The most cherished music is often remarked upon as having a timeless quality -- ancient, modern and futuristic, all at once. And so it is with Holy Science. Liner notes by DJ Cherrystones.
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2LP
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JMAN 117LP
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Double LP version. Gatefold sleeve with comprehensive liner notes and pics. Subtitled: Esoteric, Modal and Deep Jazz from Prestige Records, 1961-73. The tenth edition of Jazzman Records Spiritual Jazz series takes a closer look at the music Prestige was recording at the start of the 1960s. This was the period when the modal jazz sound pioneered by Miles and Coltrane was starting to percolate through the jazz underground. In its heyday, Prestige was the only jazz label that could hold a candle to Blue Note. Prestige was always quick off the mark to record new artists, and in the years after Kind of Blue (1959) the label was quick to release some of the most innovative early explorers of the new style. Founded as New Jazz in 1949 by 20-year old jazz fan and entrepreneur Bob Weinstock, Prestige was the only other imprint besides Blue Note to capture the iconic jazz sounds of the 1950s, and like its rival it grew to be an icon itself. If Blue Note documented the sound of hard bop in its most carefully crafted and beautifully presented form, the low-key, jam-session approach that Weinstock preferred meant that the music captured by Prestige has a tough, unfiltered energy that was a lot closer to way it was being played live, night after night, by New York's most prominent jazz musicians. Featuring Afro-Eastern visions from Yusef Lateef and Ahmed Abdul-Malik, deep modal excursions from Mal Waldron and Walt Dickerson, and essential spiritual jazz grooves from Gary Bartz and Idris Muhammed, Spiritual Jazz 10 documents the sound of modal jazz in full flight, unabashed and authentic from the pioneers! Also features Roy Haynes, Latin Jazz Quintet, and Moondog.
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JMAN 116CD
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Linking the ancient and the modern across time and space, the Sokratis Votskos Quartet presents Sketching the Unknown -- a modern jazz journey into the folk and modal music of ancient Greece. Playing rich original compositions, the quartet draw freely on Greek and Balkan folk sources, jazz idioms, and the classical makams of the near East. Returning to ancient Greek modes such as Dorian, Phrygian, and Lydian, a fresh perspective is brought to the modal style that was popularized by Miles Davis, John Coltrane, and Herbie Hancock. Expertly versed in musical theory, the pioneering jazz players that adapted these modes for the new jazz of the late 1950s and 1960s worked in full knowledge of their ancient Greek historical origins. The musical freedom offered by these ancient scales helped them take their music to a higher level as they laid the groundwork for the spiritual moment in jazz. On Sketching the Unknown, the Sokratis Votskos Quartet brings that process full circle, linking today's jazz back to the ancient modes and microtonal folk music of Greece and the Near East. Deep modal jazz sounds from an ancient source.
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2LP
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JMAN 020LP
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Repressed; originally released in 2008. Jazzman Records presents the sound of the unsung musicians who -- in the midst of the Vietnam War and the fallout of the Civil Rights struggle -- created some of the most beautiful spiritual and meditative music of the era. Sometimes funky, sometimes mellow, but always trying to say something about the world in which we live. Existing completely under the critical radar and largely ignored or unknown by music fans and critics alike, most of the musicians featured in this album won't be familiar to even the most seasoned aficionado. Their records, frequently turned down by distributors and record stores, saw little attention when first released -- and have seen even less since. But in this era of musical apathy, where so many music junkies look to the past for their musical fix, Jazzman Records have re-discovered hidden, obscure and esoteric jazz musicians who looked to the four corners of the earth -- and beyond -- for inspiration. Here Jazzman Records evaluates spiritual jazz -- music that is a snapshot of the era after Coltrane, a time which saw the evolution of an underground jazz that spoke about the reform of the soul, the reform of the spirit, and the reform of society: a music which was local and international at once, which was a personal journey and a political statement, and which was religious and secular in one non-contradictory breath. The music on this album reflects the social and historical forces at work during the closedown of the '60s dream; music made by close-knit collectives and individual visionaries, by prisoners and eccentrics, by mystics and political radicals. It includes music by acknowledged masters, and moments of brilliance by unsung figures known to us from just one or two recordings. It is the jazz music of America in the age of civil rights, brutal repression, political assassination and war; a music that would guarantee the survival of the spiritual dimension in a society that was angry and traumatized, but nevertheless had seen hope of better days to come. Soul jazz; Black jazz; Spiritual jazz. Features James Tatum Trio Plus, Lloyd Miller, Morris Wilson Beau Bailey Quintet, Mor Thiam, Ndikho Xaba & The Natives, The Positive Force with Ade Olatunji, Salah Ragab and The Cairo Jazz Band, The Frank Derrick Total Experience, Hastings Street Jazz Experience, Ronnie Boykins, Leon Gardner, and Ohio Penitentiary 511 Jazz Ensemble.
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JMAN 116LP
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LP version. Linking the ancient and the modern across time and space, the Sokratis Votskos Quartet presents Sketching the Unknown -- a modern jazz journey into the folk and modal music of ancient Greece. Playing rich original compositions, the quartet draw freely on Greek and Balkan folk sources, jazz idioms, and the classical makams of the near East. Returning to ancient Greek modes such as Dorian, Phrygian, and Lydian, a fresh perspective is brought to the modal style that was popularized by Miles Davis, John Coltrane, and Herbie Hancock. Expertly versed in musical theory, the pioneering jazz players that adapted these modes for the new jazz of the late 1950s and 1960s worked in full knowledge of their ancient Greek historical origins. The musical freedom offered by these ancient scales helped them take their music to a higher level as they laid the groundwork for the spiritual moment in jazz. On Sketching the Unknown, the Sokratis Votskos Quartet brings that process full circle, linking today's jazz back to the ancient modes and microtonal folk music of Greece and the Near East. Deep modal jazz sounds from an ancient source.
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JMAN 117CD
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Subtitled: Esoteric, Modal and Deep Jazz from Prestige Records, 1961-73. The tenth edition of Jazzman Records Spiritual Jazz series takes a closer look at the music Prestige was recording at the start of the 1960s. This was the period when the modal jazz sound pioneered by Miles and Coltrane was starting to percolate through the jazz underground. In its heyday, Prestige was the only jazz label that could hold a candle to Blue Note. Prestige was always quick off the mark to record new artists, and in the years after Kind of Blue (1959) the label was quick to release some of the most innovative early explorers of the new style. Founded as New Jazz in 1949 by 20-year old jazz fan and entrepreneur Bob Weinstock, Prestige was the only other imprint besides Blue Note to capture the iconic jazz sounds of the 1950s, and like its rival it grew to be an icon itself. If Blue Note documented the sound of hard bop in its most carefully crafted and beautifully presented form, the low-key, jam-session approach that Weinstock preferred meant that the music captured by Prestige has a tough, unfiltered energy that was a lot closer to way it was being played live, night after night, by New York's most prominent jazz musicians. Featuring Afro-Eastern visions from Yusef Lateef and Ahmed Abdul-Malik, deep modal excursions from Mal Waldron and Walt Dickerson, and essential spiritual jazz grooves from Gary Bartz and Idris Muhammed, Spiritual Jazz 10 documents the sound of modal jazz in full flight, unabashed and authentic from the pioneers! Also features Roy Haynes, Latin Jazz Quintet, and Moondog.
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JMAN 115CD
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With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns with his most ambitious project yet: a tribute to the legend that is Yusef Lateef titled, The Storyteller - A Musical Tribute to Yusef Lateef. Double-LP version comes in a gatefold; 180 gram vinyl; Includes download card.
Nat Birchall on the project: "When Jazzman Gerald first mentioned to me the idea of doing an album as a tribute to the jazz giant Dr Yusef A. Lateef, my first thought was 'Where on earth do I start?' Lateef was such a colossus of music, and his scope so broad, that I couldn't hope to begin to cover his musical universe. He was a master of the tenor saxophone, a master of the flute, a master ballad player, a master blues player. Not to mention his skills as a composer and arranger and of course his exploration and use of musical methodology and instruments from all over the world. I've always been a great admirer of Lateef, and the challenge was intriguing, so I decided to give it go. We interpreted some of his own compositions (Brother John, Morning and Ching Miau) as well as some compositions by others that he made his own by careful arrangement and interpretation ('Love Theme from Spartacus', 'Ringo Oiwake'). I also wrote some original songs that, while certainly not written in his style, might be said to fall into his very broad approach to music making. I also wanted to utilize as many different instruments as possible, something I hadn't explored too much until this album. So it was a nice opportunity to finally get around to playing some of the many small instruments I've collected over the years; the Turkish zurna, the mbira from Zimbabwe, the balaphon from Mali and the arghul from Egypt. We have also tried to use varied time signatures in the music, so we have songs in 3/4, 5/4 and 7/4 time, as well as the standard 4/4. Ultimately the best music tells a story to the listener and takes them to places they might not have imagined themselves. Yusef Lateef certainly did that, and as such was a master storyteller."
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JMAN 115LP
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Double LP version. 180 gram vinyl; includes download card. With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns with his most ambitious project yet: a tribute to the legend that is Yusef Lateef titled, The Storyteller - A Musical Tribute to Yusef Lateef.
Nat Birchall on the project: "When Jazzman Gerald first mentioned to me the idea of doing an album as a tribute to the jazz giant Dr Yusef A. Lateef, my first thought was 'Where on earth do I start?' Lateef was such a colossus of music, and his scope so broad, that I couldn't hope to begin to cover his musical universe. He was a master of the tenor saxophone, a master of the flute, a master ballad player, a master blues player. Not to mention his skills as a composer and arranger and of course his exploration and use of musical methodology and instruments from all over the world. I've always been a great admirer of Lateef, and the challenge was intriguing, so I decided to give it go. We interpreted some of his own compositions (Brother John, Morning and Ching Miau) as well as some compositions by others that he made his own by careful arrangement and interpretation ('Love Theme from Spartacus', 'Ringo Oiwake'). I also wrote some original songs that, while certainly not written in his style, might be said to fall into his very broad approach to music making. I also wanted to utilize as many different instruments as possible, something I hadn't explored too much until this album. So it was a nice opportunity to finally get around to playing some of the many small instruments I've collected over the years; the Turkish zurna, the mbira from Zimbabwe, the balaphon from Mali and the arghul from Egypt. We have also tried to use varied time signatures in the music, so we have songs in 3/4, 5/4 and 7/4 time, as well as the standard 4/4. Ultimately the best music tells a story to the listener and takes them to places they might not have imagined themselves. Yusef Lateef certainly did that, and as such was a master storyteller."
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LP
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JMAN 114LP
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LP version. Jazzman Records presents a reissue of Starcrost's Starcrost, originally issued in 1975 and presented here as Number 30 in the Jazzman Holy Grail Series. Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums by Austin bands; with only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all three have gone on to become highly sought-after by collectors and DJs around the world; these have become numbers 28, 29, and 30 in the Jazzman Holy Grail Series. Jazzman met with Michael at its UK offices and over several hours he told the label the highs and lows of running Fable Records, leaving no stone unturned, with success and tragedy in equal measure. Jazzman also spoke with members of all three bands, and they shared interesting stories and cool anecdotes of the wild times in the mid-70s when their records were made. The label acquired informative press cuttings and some awesome posters and flyers, compiling them in a booklet.
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LP
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JMAN 113LP
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LP version. Jazzman Records presents a reissue of Steamheat's Austin Funk, originally issued in 1975, and presented here as Number 29 in the Jazzman Holy Grail Series. Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums by Austin bands; with only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all three have gone on to become highly sought-after by collectors and DJs around the world; these have become numbers 28, 29, and 30 in the Jazzman Holy Grail Series. Jazzman met with Michael at its UK offices and over several hours he told the label the highs and lows of running Fable Records, leaving no stone unturned, with success and tragedy in equal measure. Jazzman also spoke with members of all three bands, and they shared interesting stories and cool anecdotes of the wild times in the mid-70s when their records were made. The label acquired informative press cuttings and some awesome posters and flyers, compiling them in a booklet.
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JMAN 112LP
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LP version. Jazzman Records presents a reissue of 47 Times Its Own Weight's Cumulo Nimbus, originally issued in 1975 and presented here as Number 28 in the Jazzman Holy Grail Series. Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums by Austin bands; with only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all three have gone on to become highly sought-after by collectors and DJs around the world. Jazzman met with Michael at its UK offices and over several hours he told the label the highs and lows of running Fable Records, leaving no stone unturned, with success and tragedy in equal measure. Jazzman also spoke with members of all three bands, and they shared interesting stories and cool anecdotes of the wild times in the mid-70s when their records were made. The label acquired informative press cuttings and some awesome posters and flyers, compiling them in a booklet.
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CD
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JMAN 114CD
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Jazzman Records presents a reissue of Starcrost's Starcrost, originally issued in 1975 and presented here as Number 30 in the Jazzman Holy Grail Series. Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums by Austin bands; with only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all three have gone on to become highly sought-after by collectors and DJs around the world; these have become numbers 28, 29, and 30 in the Jazzman Holy Grail Series. Jazzman met with Michael at its UK offices and over several hours he told the label the highs and lows of running Fable Records, leaving no stone unturned, with success and tragedy in equal measure. Jazzman also spoke with members of all three bands, and they shared interesting stories and cool anecdotes of the wild times in the mid-70s when their records were made. The label acquired informative press cuttings and some awesome posters and flyers, compiling them in a booklet. CD version includes two bonus tracks.
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JMAN 112CD
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Jazzman Records presents a reissue of 47 Times Its Own Weight's Cumulo Nimbus, originally issued in 1975 and presented here as Number 28 in the Jazzman Holy Grail Series. Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums by Austin bands; with only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all three have gone on to become highly sought-after by collectors and DJs around the world. Jazzman met with Michael at its UK offices and over several hours he told the label the highs and lows of running Fable Records, leaving no stone unturned, with success and tragedy in equal measure. Jazzman also spoke with members of all three bands, and they shared interesting stories and cool anecdotes of the wild times in the mid-70s when their records were made. The label acquired informative press cuttings and some awesome posters and flyers, compiling them in a booklet.
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CD
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JMAN 113CD
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Jazzman Records presents a reissue of Steamheat's Austin Funk, originally issued in 1975, and presented here as Number 29 in the Jazzman Holy Grail Series. Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums by Austin bands; with only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all three have gone on to become highly sought-after by collectors and DJs around the world; these have become numbers 28, 29, and 30 in the Jazzman Holy Grail Series. Jazzman met with Michael at its UK offices and over several hours he told the label the highs and lows of running Fable Records, leaving no stone unturned, with success and tragedy in equal measure. Jazzman also spoke with members of all three bands, and they shared interesting stories and cool anecdotes of the wild times in the mid-70s when their records were made. The label acquired informative press cuttings and some awesome posters and flyers, compiling them in a booklet.
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2LP
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JMAN 103LP
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Double LP; Part one of two double-LP versions. Gatefold sleeve. The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants -- Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock, and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note -- "the Cadillac of the jazz lines" -- was outstanding in every way. Volume 9 of Jazzman's ground-breaking Spiritual Jazz series takes a close look at the deeper side of Blue Note -- from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson, and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean, and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualized sounds that would dominate the deepest jazz of the 1970s. As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note -- the finest in jazz since 1939, brought to you by Jazzman.
Part One features: Bobby Hutcherson, Pete Laroca, Wayne Shorter, Elvin Jones, Andrew Hill, Eddie Gale, Duke Pearson, Bobby Hutcherson, Duke Pearson, and Freddie Hubbard.
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