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.
|
|
|
viewing 1 To 25 of 256 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
JMAN 141LP
|
$22.50
PREORDER
RELEASE DATE: 10/13/2023
Where Greasy Mike takes a trip to the Orient -- and returns with 16 slices of sizzling spices in a sleazy Szechuan sauce! Expect all manner of tasty treats to liven up the party, but don't forget to bring the Baijiu! Featuring: The Fugu Five, Billy Nash Rock Band, Marc Mirror, The Pendletons, Jackie Lee, The Windsors, Spike Jones & His City Slickers, Sing A Poor Charlie, Copper Penny, The Manhattans, Yo Yo Hashi, The Dawnbreakers, Chuck Fayne, Walkin Charlie Aldrich, and Earl Craig.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
JMAN 137CD
|
$14.50
PREORDER
RELEASE DATE: 10/6/2023
While the string of legendary independent labels, from Blue Note and Prestige to Steeplechase and Impulse! loom large in the Spiritual Jazz catalog, Jazzman's latest installment concerns the brave and innovative souls who acted "privately," recording and releasing their music without the aid or involvement of a bona fide record company. Making a custom, private press record on your own, without the backing, status and business acumen of an established record company to help out is no mean feat, but it never really was difficult -- it's just a matter of spending money -- but the tricky bit, which remains to this day, is what to do exactly with a pallet load of vinyl that's just been delivered to your door? Sales and distribution never were easy, and getting it right requires imagination, enthusiasm, dedication, hard work and a more than a little luck. Even for the professionals it's proved immensely difficult at times; perhaps that's why so many private press records remain so obscure and elusive to this day. Here, Jazzman examines a variety of tracks from a selection of privately pressed jazz records, released in the US between 1964 and 1987. One of the most interesting things about this album is the variety of reasons behind coming up with a self-released record. No two stories are the same; some were done purely out of altruism to further the musical direction of students, others were simply trying to make it big, albeit on their own terms. But one solid truth remains that binds together each and every selection here -- the artists didn't just make their music for the fun of it, they believed in their art so much that they took whatever steps they had available to them at the time to get their music heard exactly as they wanted it to be heard -- with no spoddy record exec bossing them about! In keeping with the DIY ethos of private pressings, each copy has hand-stamped covers meaning no two copies are exactly alike. And as always with the Spiritual Jazz series of albums, each comes with liner notes and pics, in this case direct from the artists themselves. Featuring Erni Clark, Elysian Spring, Radam Schwartz, Mary Lou Williams, Carmelo Garcia, Black Is ----, Cullen Knight, Don Menza, Belair, Andrew McPherson, Almanac, Owen Marshall, Bobby Jackson, and Compass.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
JMAN 137LP
|
$32.00
PREORDER
RELEASE DATE: 10/6/2023
Double LP version. While the string of legendary independent labels, from Blue Note and Prestige to Steeplechase and Impulse! loom large in the Spiritual Jazz catalog, Jazzman's latest installment concerns the brave and innovative souls who acted "privately," recording and releasing their music without the aid or involvement of a bona fide record company. Making a custom, private press record on your own, without the backing, status and business acumen of an established record company to help out is no mean feat, but it never really was difficult -- it's just a matter of spending money -- but the tricky bit, which remains to this day, is what to do exactly with a pallet load of vinyl that's just been delivered to your door? Sales and distribution never were easy, and getting it right requires imagination, enthusiasm, dedication, hard work and a more than a little luck. Even for the professionals it's proved immensely difficult at times; perhaps that's why so many private press records remain so obscure and elusive to this day. Here, Jazzman examines a variety of tracks from a selection of privately pressed jazz records, released in the US between 1964 and 1987. One of the most interesting things about this album is the variety of reasons behind coming up with a self-released record. No two stories are the same; some were done purely out of altruism to further the musical direction of students, others were simply trying to make it big, albeit on their own terms. But one solid truth remains that binds together each and every selection here -- the artists didn't just make their music for the fun of it, they believed in their art so much that they took whatever steps they had available to them at the time to get their music heard exactly as they wanted it to be heard -- with no spoddy record exec bossing them about! In keeping with the DIY ethos of private pressings, each copy has hand-stamped covers meaning no two copies are exactly alike. And as always with the Spiritual Jazz series of albums, each comes with liner notes and pics, in this case direct from the artists themselves. Featuring Erni Clark, Elysian Spring, Radam Schwartz, Mary Lou Williams, Carmelo Garcia, Black Is ----, Cullen Knight, Don Menza, Belair, Andrew McPherson, Almanac, Owen Marshall, Bobby Jackson, and Compass.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 140LP
|
Greasy Mike is back with LP number four! Another rambunctious array of wigged out mayhem! Don't worry, there aren't any silly jokes on this record. It's all music with a wiggle and a giggle. In fact, it's 14 frantic flippers fraught with frivolous fun-filled frolics. All good clean fun. Featuring: Pat & the Wildcats, Bobby Bunny & the Jackrabbits, Jim Doval & the Gauchos, Johnny Beeman, Diablito, Adolphus Bell & the Up Starts, The Apollos, The Royal Jokers, Lue Renney, The Zanies, Hank Mankin, Sid Ramin, Jim Backus and Friend, and The Fabulous Continentals.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
JMAN 135CD
|
Reissue, originally released in 1967. In a 1990 interview, producer James Bronson described his Touché label as a "floating record label", comparing it to the "floating gambling houses" that Black people in his city had operated to try and avoid attention from the law. The label itself was a private enterprise, run from home, and had scant budget for promotion nor expansion. His slogan "Record companies don't make music, musicians do" spoke volumes as to his respect for the artist. Nevertheless, the Al Tanner LP Happiness Is... Takin' Care of Natural Business... Dig? was the first of just three albums the label was to release over the following 20 years. For an ambitious musician with ideas of fame and fortune, the situation may have appeared far from acceptable, but pianist Al Tanner didn't have such aspirations. He may have recorded an album for Bronson, but his ambition of living his life as a working musician was fulfilled -- he was a professional until the day he died -- and that of being a recording star wasn't a part of it. He was much more inclined to be a gigging jazzman, and was well-known as such in and around the local Bay Area nightspots. He was also heavily involved in musical education, and could be found performing at countless local community events, schools and recreation centers. He rarely travelled outside of the area. With Bronson's limited resources and Tanner's reluctance to put himself through the mill of touring, it was perhaps inevitable that the album would garner little attention nationally, or even within the wider California region. As noted in a 1967 review of Happiness Is... published in Downbeat Magazine, "Apparently, he [Tanner] is accorded a considerable amount of respect in San Francisco, though he has no national reputation. This isn't unusual. Many gifted jazzmen stay on their home base for years, playing well but attracting little attention, while other, sometimes less talented musicians gravitate to New York and make names for themselves." Nevertheless, reasons notwithstanding for a lack of commercial success, Tanner found happiness in the music that he made throughout his career. "I would say it's a spiritual thing. I find a lot of love for the piano, and a love for music. And I try and express myself on the piano as I love it. Jazz is a spirit to me, there's a spiritual side of jazz and there's a side of jazz where you playing a whole lot of notes and you're trying to get so many notes in one bar..." Includes extensive liner notes. CD version includes two additional tracks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 135LP
|
LP version. 180 gram vinyl; includes insert with liner notes and download code. Reissue, originally released in 1967. In a 1990 interview, producer James Bronson described his Touché label as a "floating record label", comparing it to the "floating gambling houses" that Black people in his city had operated to try and avoid attention from the law. The label itself was a private enterprise, run from home, and had scant budget for promotion nor expansion. His slogan "Record companies don't make music, musicians do" spoke volumes as to his respect for the artist. Nevertheless, the Al Tanner LP Happiness Is... Takin' Care of Natural Business... Dig? was the first of just three albums the label was to release over the following 20 years. For an ambitious musician with ideas of fame and fortune, the situation may have appeared far from acceptable, but pianist Al Tanner didn't have such aspirations. He may have recorded an album for Bronson, but his ambition of living his life as a working musician was fulfilled -- he was a professional until the day he died -- and that of being a recording star wasn't a part of it. He was much more inclined to be a gigging jazzman, and was well-known as such in and around the local Bay Area nightspots. He was also heavily involved in musical education, and could be found performing at countless local community events, schools and recreation centers. He rarely travelled outside of the area. With Bronson's limited resources and Tanner's reluctance to put himself through the mill of touring, it was perhaps inevitable that the album would garner little attention nationally, or even within the wider California region. As noted in a 1967 review of Happiness Is... published in Downbeat Magazine, "Apparently, he [Tanner] is accorded a considerable amount of respect in San Francisco, though he has no national reputation. This isn't unusual. Many gifted jazzmen stay on their home base for years, playing well but attracting little attention, while other, sometimes less talented musicians gravitate to New York and make names for themselves." Nevertheless, reasons notwithstanding for a lack of commercial success, Tanner found happiness in the music that he made throughout his career. "I would say it's a spiritual thing. I find a lot of love for the piano, and a love for music. And I try and express myself on the piano as I love it. Jazz is a spirit to me, there's a spiritual side of jazz and there's a side of jazz where you playing a whole lot of notes and you're trying to get so many notes in one bar..." Includes extensive liner notes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
JMAN 134CD
|
Reissue, privately pressed in 1977. "Following my recent phone call with Prof. Benson, I left him to continue his 92nd birthday celebrations with his family. We'd talked about his life, his music, his achievements. Throughout our conversation it struck me what a kind, humble and pleasant man he was. I felt that I was in the presence of greatness -- not the egotistical greatness that emanates so often from high achievers, but that of someone who had simply won at life. 'I was a music teacher. I wasn't trying to make a record to compete, I was trying to make a record so the students would have something to remember the experience that we had... I was doing it for the kids.' It was 1973 that Prof. James Benson had self-funded his private press LP for the benefit of the teenage musicians he tutored at Cal Poly, California. The album was a momentous achievement for him and his young protegees, something they were all proud of, and rightly so. Taking inspiration from their recent trip to Africa and blended with the radical jazz associated with the young minds of early '70s black America, the Gow-Dow Experience is a unique foray into the enthusiastic mindset of up-and-coming jazz musicians, as encouraged by their mentor Prof. Benson . . . Comes with four additional tracks taken from the recording session. Until now these tracks have never been heard since the day they were recorded -- believe me, they're worth the wait!" Insert with liner notes and photos provided courtesy of Prof Benson. CD version includes booklet; includes four bonus tracks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 134LP
|
LP version. 180 gram vinyl; tip-on sleeve with insert; includes download with four bonus tracks. LP version comes on 180 gram vinyl; tip-on sleeve with insert; includes download with four bonus tracks. Reissue, privately pressed in 1977. "Following my recent phone call with Prof. Benson, I left him to continue his 92nd birthday celebrations with his family. We'd talked about his life, his music, his achievements. Throughout our conversation it struck me what a kind, humble and pleasant man he was. I felt that I was in the presence of greatness -- not the egotistical greatness that emanates so often from high achievers, but that of someone who had simply won at life. 'I was a music teacher. I wasn't trying to make a record to compete, I was trying to make a record so the students would have something to remember the experience that we had... I was doing it for the kids.' It was 1973 that Prof. James Benson had self-funded his private press LP for the benefit of the teenage musicians he tutored at Cal Poly, California. The album was a momentous achievement for him and his young protegees, something they were all proud of, and rightly so. Taking inspiration from their recent trip to Africa and blended with the radical jazz associated with the young minds of early '70s black America, the Gow-Dow Experience is a unique foray into the enthusiastic mindset of up-and-coming jazz musicians, as encouraged by their mentor Prof. Benson . . . Comes with four additional tracks taken from the recording session. Until now these tracks have never been heard since the day they were recorded -- believe me, they're worth the wait!" Insert with liner notes and photos provided courtesy of Prof Benson.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
JMAN 136LP
|
Double LP version. Gatefold. Ten years after our initial survey of Afro-Latin accented rhythm & blues from the mid-century, Jazzman Records presents a fourth installment, packed with as many musical surprises as the first. With music plucked from an era spanning the late 1940s into the early '60s, Jukebox Mambo Volume IV highlights yet again the unparalleled musical creativity of the post war era, and shows how the infusion of Afro-Latin rhythms was key to these revolutions. Lovingly and painstakingly researched and curated, the album boasts 23 tracks, many previously uncompiled, touching on jazz, blues, doo wop, calypso, rock n' roll, gospel, and more. Featuring individual track notes for every song along with some never seen before photographs of the artists, Jukebox Mambo Vol IV maintains the same high production values of each previous volume, and indeed the wider Jazzman catalog. Features Marie Knight and Sister Rosetta Tharpe, The Dundees, The Heartbreakers, Helene Polite, Oscar Pettiford, Bixie Crawford, Preston Love, Mamie Ree, Monchito, Betty Mattson, Effie Smith & Johnny Criner, Titus Turner, The Blasts, The Royals, Eunice Davis, Frank Butler, Mr Bo, Otis Smith, The Dukes Of Rhythm, Innocentay, Lawrence Stone, Lawrence Peel and The Filatones, and Kiki Williams.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
JMAN 136CD
|
Ten years after our initial survey of Afro-Latin accented rhythm & blues from the mid-century, Jazzman Records presents a fourth installment, packed with as many musical surprises as the first. With music plucked from an era spanning the late 1940s into the early '60s, Jukebox Mambo Volume IV highlights yet again the unparalleled musical creativity of the post war era, and shows how the infusion of Afro-Latin rhythms was key to these revolutions. Lovingly and painstakingly researched and curated, the album boasts 23 tracks, many previously uncompiled, touching on jazz, blues, doo wop, calypso, rock n' roll, gospel, and more. Featuring individual track notes for every song along with some never seen before photographs of the artists, Jukebox Mambo Vol IV maintains the same high production values of each previous volume, and indeed the wider Jazzman catalog. Features Marie Knight and Sister Rosetta Tharpe, The Dundees, The Heartbreakers, Helene Polite, Oscar Pettiford, Bixie Crawford, Preston Love, Mamie Ree, Monchito, Betty Mattson, Effie Smith & Johnny Criner, Titus Turner, The Blasts, The Royals, Eunice Davis, Frank Butler, Mr Bo, Otis Smith, The Dukes Of Rhythm, Innocentay, Lawrence Stone, Lawrence Peel and The Filatones, and Kiki Williams.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
JMAN 133CD
|
For the past 20 years Nostalgia 77 has become a catch all for the musical life of Benedic Lamdin. His schizophrenic offerings range from songwriting sessions, soundtracks, excursions into soul, and in this case, jazz. The Loneliest Flower in the Village is an album that sees Lamdin reunited with longtime collaborator and arranger Riaan Vosloo and experienced veterans from a host of Nostalgia 77 projects. "It had been a long time since we'd gigged or recorded so the idea was as much a little reunion in the studio as any grand plan to record an album," says Lamdin. "The idea wasn't to do anything new (the material is both a few originals and a few covers), more just hear these players and their easy familiarity with each other after the disruption of Covid." Playing a clutch of originals by Riaan Vosloo and James Allsopp and covers by long-term influences from South Africa such as Chris McGregor and Abdullah Ibrahim, the emphasis is on strong melodies and open reaches for the soloists. The title track draws upon the song written by South African bassist Johnny Dyani and the result is spectacular; British jazz at heart but awash with references to South Africa and its strong jazz heritage. "I'm pleased to say that I think this record is the best account of how the band (playing in this lineup since about 2010) sounds live. Full of energy and ranging from serene to firing on all cylinders." CD version includes three bonus tracks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 133LP
|
LP version. 180 gram vinyl; flip-back sleeve. For the past 20 years Nostalgia 77 has become a catch all for the musical life of Benedic Lamdin. His schizophrenic offerings range from songwriting sessions, soundtracks, excursions into soul, and in this case, jazz. The Loneliest Flower in the Village is an album that sees Lamdin reunited with longtime collaborator and arranger Riaan Vosloo and experienced veterans from a host of Nostalgia 77 projects. "It had been a long time since we'd gigged or recorded so the idea was as much a little reunion in the studio as any grand plan to record an album," says Lamdin. "The idea wasn't to do anything new (the material is both a few originals and a few covers), more just hear these players and their easy familiarity with each other after the disruption of Covid." Playing a clutch of originals by Riaan Vosloo and James Allsopp and covers by long-term influences from South Africa such as Chris McGregor and Abdullah Ibrahim, the emphasis is on strong melodies and open reaches for the soloists. The title track draws upon the song written by South African bassist Johnny Dyani and the result is spectacular; British jazz at heart but awash with references to South Africa and its strong jazz heritage. "I'm pleased to say that I think this record is the best account of how the band (playing in this lineup since about 2010) sounds live. Full of energy and ranging from serene to firing on all cylinders."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
JMAN 132CD
|
Welsh harpist Amanda Whiting returns on Jazzman Records following on from her successful debut album After Dark (JMAN 125CD/LP, 2021). New explorations and global changing events have led Whiting to Lost in Abstraction. The Reynolds/Thorne/Whiting trio is joined again by the mesmerizing lines of flautist Chip Wickham, resuming their conversation reminiscent of Dorothy Ashby and Frank Wess. Lost in Abstraction was written during a period of the unknown when Whiting, like most, explored her own sense of self. The world paused, with no timeframe, and the fragility of life was laid bare. A time when humanity was left searching for purpose. Freedom and the dependable structures of familiarity were dissolved in most aspects of life. But music stayed constant. Creativity kept weaving its thread, connecting music and its makers in an indissoluble bond. The album explores the questions and realizations whilst confined. The spiritual findings, the playful curiousness and the reflective moments of loss. Whiting's writing indulges the listener with the spiritual ethereal washes of sound demanded of the harp, whilst also embracing her influences across many genres. Classically trained, her roots are evident. But with an emotionally charged energy and spiritual questioning, a new soundscape of modernity has emerged. So often associated with Ashby and Coltrane, the harp finds itself in the hands of a new voice which tells the story of a period of time where the world was unified in reflection. So, what is that feeling when you resonate? When your breath steadies and you let go. Lines no longer restrict or choke. Energies envelop, yet set you free. Are you lost or found? Personnel: Amanda Whiting - harp; Chip Wickham - flute; Aidan Thorne - bass; Jon Reynolds - drums; Baldo Verdú - percussion.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 130LP
|
The third in a new series from Jazzman Records featuring selections from Greasy Mike, the notoriously shady Super Spiv from the dark underworld of super rare records. After many years in hiding, Jazzman Records finally persuaded Greasy Mike to open up his vinyl dungeon, and the label were first to raid it. They have left no box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s have made it onto Jazzman's black wax long player vinyl editions. In this adventure, Greasy Mike finds himself lost in the wilderness; hot, thirsty, and alone under the unforgiving desert sun. He's been days without food and water; the heat of the day stifling almost beyond endurance, the cold of night a trial of torment. Survival seems impossible -- or does it? Staggering across the sandy plains, the eerie yet unmistakable sound of a snake charmer's reed curiously winds its way into his ears. Instinctively he turns his head towards the sound -- and lo! An oasis just ahead! Music, laughter -- and belly dancers! Features The Cotillions, The Boys, The Embers, The Checker Board Squares, The Kasuals, Arabian Knights, The Torrents, The Wild Men of Marrakesh, The Versatones, The Sand Steppers, The Vaqueros, The Royce McAfee Combo, Roger King Mozian, Vasilas & his Slaves, Al Castelanos, Griz Green, Jol Coyes Boys, and Ilo Kay & his Trio.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 129LP
|
More in the new series from Jazzman featuring the lowest of the lowball schlock n' roll 45s never known to exist. After many years in hiding, notoriously shady Super Spiv of the record world Greasy Mike has finally opened up his vinyl dungeon, and Jazzman Records were first to raid it! They have left no box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s have made it onto Jazzman's selections. On this occasion Greasy Mike reminisces about the time he was shipwrecked and washed up all alone on a remote island in the South Pacific. But, ever the resourceful, Mike did not despair! Grooving to the beat in the tropical heat, his desert island discs kept him cruising while coconut moonshine kept him boozing. Dig this, swashbucklers! Features Alfredo Martinez, Phyllis Branch, Jack Medell, Harvey Anderson, Maria Elena, Robert Mersey, Ty & Ed, Blue Bells, Coral & the South Seas, Vitin Aviles y Su Orquesta, Dariel Kay, Hank Levine, Hector Cari & the Dancing Strings, Davy Jones & the Dolphins, Jim Solley & the Lubocs, and Rick & Trisha.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 128LP
|
A new series from Jazzman featuring the lowest of the lowball schlock n' roll 45s never known to exist. After many years in hiding, notoriously shady Super Spiv of the record world Greasy Mike has finally opened up his vinyl dungeon, and Jazzman Records were first to raid it! They have left no box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s have made it onto Jazzman's selections. First platter is Halloween horror shock hop. Greasy Mike unearths his all-time all-hallowed Halloween Monsters: "Zombie Walks", "Night Sweats", "The Chiller", "The Prowler," and "Screaming Vampire"! Putrid pieces of raucous rot n' roll records direct from Greasy Mike's manky mitts! Features Ziggy Gee & his Combo, Googie Rene Combo, The Poets, The Nite Caps, Morgus with the Daringers, The Sadists, The Gravestone Four, Rebel Rousers, The Nightmares, Tony & the Monstrosities, George Barnes, The Metropolitans, The Regal-Aires, Ken Meyer, Dick D'Agostin, The Idols, Johnny Cale, and The Crystals.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 132LP
|
LP version. Includes download card. Welsh harpist Amanda Whiting returns on Jazzman Records following on from her successful debut album After Dark (JMAN 125CD/LP, 2021). New explorations and global changing events have led Whiting to Lost in Abstraction. The Reynolds/Thorne/Whiting trio is joined again by the mesmerizing lines of flautist Chip Wickham, resuming their conversation reminiscent of Dorothy Ashby and Frank Wess. Lost in Abstraction was written during a period of the unknown when Whiting, like most, explored her own sense of self. The world paused, with no timeframe, and the fragility of life was laid bare. A time when humanity was left searching for purpose. Freedom and the dependable structures of familiarity were dissolved in most aspects of life. But music stayed constant. Creativity kept weaving its thread, connecting music and its makers in an indissoluble bond. The album explores the questions and realizations whilst confined. The spiritual findings, the playful curiousness and the reflective moments of loss. Whiting's writing indulges the listener with the spiritual ethereal washes of sound demanded of the harp, whilst also embracing her influences across many genres. Classically trained, her roots are evident. But with an emotionally charged energy and spiritual questioning, a new soundscape of modernity has emerged. So often associated with Ashby and Coltrane, the harp finds itself in the hands of a new voice which tells the story of a period of time where the world was unified in reflection. So, what is that feeling when you resonate? When your breath steadies and you let go. Lines no longer restrict or choke. Energies envelop, yet set you free. Are you lost or found? Personnel: Amanda Whiting - harp; Chip Wickham - flute; Aidan Thorne - bass; Jon Reynolds - drums; Baldo Verdú - percussion.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
JMAN 131CD
|
Jazzman have already given legitimate release to albums that fell foul of the notorious '70s "tax scam" practice, namely those by Sounds of the City Experience and Ricardo Marrero. It now gives the label great satisfaction to present Reality's Disco Party album, for the very first time in agreement with the surviving members of the band. Possibly the most obscure of all the obscurities in the TSG catalog, Disco Party isn't actually "disco" at all, moreover it's a fully rounded excursion into mid-70s dancefloor funk and proto-disco-jazz, performed by a group of expert musicians at the height of their powers. Recorded in one long session in NYC, until now, bandleader Dr. Otto Gomez and the rest of his crew had never even heard the recordings they'd made almost 50 years ago. Indeed, none of the band even knew that their album had been released. At Jazzman, the label considers it their mission to shine new light on music that went under-appreciated at the time of its original release. There are many varied circumstances which can cause an otherwise great record to not do so well -- for instance, poor budget, marketing, promo and sometimes just plain old bad luck. Perhaps the most unjust circumstance involves the tax loss releases of the mid-70s -- records made purely to cheat a few dollars out of the tax man. Here, along with restoring the music, the label have dug deep into the backstory of the group, interviewing Gomez and others to find out exactly who this unheralded NYC funk orchestra were and what happened to them before and after the monumental session laid out on this record. Jazzman Records' liner notes tell the story of the TSG label and the "tax loss" phenomenon, and they delve into the history of the band from their humble beginnings as the Smokin' Shades of Black to the present day. Jazzman also find out exactly what it means to record some brilliant music -- only to have it taken away -- and discarded. CD version includes eight-page color booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 131LP
|
LP version. Tip on sleeve; printed inner with liners and pictures; includes download card. Jazzman have already given legitimate release to albums that fell foul of the notorious '70s "tax scam" practice, namely those by Sounds of the City Experience and Ricardo Marrero. It now gives the label great satisfaction to present Reality's Disco Party album, for the very first time in agreement with the surviving members of the band. Possibly the most obscure of all the obscurities in the TSG catalog, Disco Party isn't actually "disco" at all, moreover it's a fully rounded excursion into mid-70s dancefloor funk and proto-disco-jazz, performed by a group of expert musicians at the height of their powers. Recorded in one long session in NYC, until now, bandleader Dr. Otto Gomez and the rest of his crew had never even heard the recordings they'd made almost 50 years ago. Indeed, none of the band even knew that their album had been released. At Jazzman, the label considers it their mission to shine new light on music that went under-appreciated at the time of its original release. There are many varied circumstances which can cause an otherwise great record to not do so well -- for instance, poor budget, marketing, promo and sometimes just plain old bad luck. Perhaps the most unjust circumstance involves the tax loss releases of the mid-70s -- records made purely to cheat a few dollars out of the tax man. Here, along with restoring the music, the label have dug deep into the backstory of the group, interviewing Gomez and others to find out exactly who this unheralded NYC funk orchestra were and what happened to them before and after the monumental session laid out on this record. Jazzman Records' liner notes tell the story of the TSG label and the "tax loss" phenomenon, and they delve into the history of the band from their humble beginnings as the Smokin' Shades of Black to the present day. Jazzman also find out exactly what it means to record some brilliant music -- only to have it taken away -- and discarded.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10"
|
|
JMAN 124LP
|
From Wales, the home of the harp, Amanda Whiting has taken her classical roots and forged them in the path of jazz harpist Dorothy Ashby. She has toured extensively with Matthew Halsall and the Gondwana Orchestra performing at jazz festivals around the world. More recent collaborations have included recording with DJ Yoda and Chip Wickham and touring Wickham's latest album including appearances at Ronnie Scotts and Le Petit Halle, Paris. Whiting's first album was recorded as a trio for CD in 2013, and pays tribute to Coltrane and Ashby with her own take on standards. She's joined by Deej Williams (bass) and Tony Robinson (drums). Here, Jazzman Records have taken a selection of tracks for inclusion on vinyl. Housed in a beautiful bespoke flip-back sleeve; edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 100LP
|
LP version. 180 gram vinyl in tip-on sleeve; includes printed inner sleeve and download code with three previously unreleased bonus tracks. Jazzman Records present a reissue of Ron Everett's Glitter of the City, originally released in 1977. As private pressings go, Ron Everett's Glitter of the City is certainly one of the most obscure, controversial and mysterious of them all. Until now, the name Ron Everett has been practically unheard of outside his native Philadelphia, and only devoted funk and jazz enthusiasts have been aware of his album, originals of which are owned by literally just a handful of collectors scattered across the world. But with the help of noted local music buff Dave "Philly Dave" Louis, Jazzman Records has spent the past few years unearthing an incredible and unlikely story of selflessness, determination and tragedy. With its plain sleeve and homemade ethic, the Glitter of the City wasn't sold in stores upon release, nor did it have any kind of distribution. Yet it comprises of funky jams, sweet jazzy soul and all manner of funk and blues infused jazz -- a shimmering celebration of Philadelphia and its vibrant musical community. Jazzman's efforts have resulted in an official release complete with liner notes and photographs which tell the story of Ron Everett and his life in music. The label's research also yielded the master tape of an as-yet unreleased album, of which we have taken three tracks and added them to the record. Number 30 of the celebrated Jazzman Holy Grail Series.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
JMAN 100CD
|
Jazzman Records present a reissue of Ron Everett's Glitter of the City, originally released in 1977. As private pressings go, Ron Everett's Glitter of the City is certainly one of the most obscure, controversial and mysterious of them all. Until now, the name Ron Everett has been practically unheard of outside his native Philadelphia, and only devoted funk and jazz enthusiasts have been aware of his album, originals of which are owned by literally just a handful of collectors scattered across the world. But with the help of noted local music buff Dave "Philly Dave" Louis, Jazzman Records has spent the past few years unearthing an incredible and unlikely story of selflessness, determination and tragedy. With its plain sleeve and homemade ethic, the Glitter of the City wasn't sold in stores upon release, nor did it have any kind of distribution. Yet it comprises of funky jams, sweet jazzy soul and all manner of funk and blues infused jazz -- a shimmering celebration of Philadelphia and its vibrant musical community. Jazzman's efforts have resulted in an official release complete with liner notes and photographs which tell the story of Ron Everett and his life in music. The label's research also yielded the master tape of an as-yet unreleased album, of which we have taken three tracks and added them to the record. Number 30 of the celebrated Jazzman Holy Grail Series. CD with booklet, includes three previously unreleased bonus tracks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
JMAN 125CD
|
Taking cues from Dorothy Ashby and Alice Coltrane at their most delicate, renowned Welsh harpist Amanda Whiting's mesmerizing Jazzman full-length After Dark arrives as soft as moonlight to gladden the soul and delight the ear -- without forgetting to bring the swing. Summoning the nocturnal mood suggested by the album's title, Whiting's harp flows and cascades, dances and alights, broods and haunts, informed by a deep understanding of both classical and jazz music, ultimately revealing a top-drawer composer with rare melodic gifts at the top of her game. From the melancholy opening track "Time Stands Still" to the more rhythmically unorthodox "Who Knows" to the achingly beautiful title track, the album is underpinned by a supportive band, John Reynolds on drums and Aidan Thorne on bass, who are perfectly suited to engage in an effortless, intimate musical dialogue. Already an inveterate international jazz festival performer with Matthew Halsall's Gondwana Orchestra, Whiting has supported and performed with a diverse range of DJs and jazz and pop artists including Jamie Cullum, DJ Yoda, Rebecca Vasmant, True Jazzchild, Danii Minogue, Jazzanova, and Chip Wickham (who features on three tracks on After Dark, adding a touch of the graceful warmth for which he has been so justly acclaimed). And as jazz harp teacher at the Royal Welsh College of Music and Drama, the Royal Birmingham Conservatoire, and RNCM, Amanda is as warmly received in the lecture hall as the concert hall. Be sure to expect more from Amanda in the not-too distant future.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 125LP
|
LP version. 180 gram vinyl; tip-on sleeve. Taking cues from Dorothy Ashby and Alice Coltrane at their most delicate, renowned Welsh harpist Amanda Whiting's mesmerizing Jazzman full-length After Dark arrives as soft as moonlight to gladden the soul and delight the ear -- without forgetting to bring the swing. Summoning the nocturnal mood suggested by the album's title, Whiting's harp flows and cascades, dances and alights, broods and haunts, informed by a deep understanding of both classical and jazz music, ultimately revealing a top-drawer composer with rare melodic gifts at the top of her game. From the melancholy opening track "Time Stands Still" to the more rhythmically unorthodox "Who Knows" to the achingly beautiful title track, the album is underpinned by a supportive band, John Reynolds on drums and Aidan Thorne on bass, who are perfectly suited to engage in an effortless, intimate musical dialogue. Already an inveterate international jazz festival performer with Matthew Halsall's Gondwana Orchestra, Whiting has supported and performed with a diverse range of DJs and jazz and pop artists including Jamie Cullum, DJ Yoda, Rebecca Vasmant, True Jazzchild, Danii Minogue, Jazzanova, and Chip Wickham (who features on three tracks on After Dark, adding a touch of the graceful warmth for which he has been so justly acclaimed). And as jazz harp teacher at the Royal Welsh College of Music and Drama, the Royal Birmingham Conservatoire, and RNCM, Amanda is as warmly received in the lecture hall as the concert hall. Be sure to expect more from Amanda in the not-too distant future.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 041X-LP
|
Recorded in Sweden, Dark is the Sun is a concept album based on themes and variations by British pianist/composer/arranger Greg Foat, who has created an intriguing blend of non-contemporary jazz sounds with classic scoring techniques. An exotic array of unorthodox instrumentation was utilized, including harpsichord, tubular bells and a 15-piece choir. With musical reference and influence from such luminaries as Bruno Nicolai, Michel Legrand, and Serge Gainsbourg as well as a firm nod towards UK jazzmen Michael Garrick, Keith Mansfield, and Alan Hawkshaw, the result is highly-listenable, enduring and fulfilling for those who like real music played with real instruments. Special 10th anniversary edition comes in tip-on gatefold sleeve with cover art in bronze, including archive pics & new liners. 180 gram vinyl; includes download card.
|
viewing 1 To 25 of 256 items
Next >>
|
|