Back catalogue: All genres

Review: First released back in 1967 on the Touche label and impossible to find on vinyl ever since, Happiness Is Taking Care of Business, Dig was the sole album from the short-lived Al Tanner Quintet. Yet as this much-needed Jazzman reissue proves, it remains an inspired selection of spiritually enriching modal workouts that makes the most of its talented ensemble. While pianist and bandleader Al Tanner naturally makes his presence felt throughout, flautist/trumpeter George Alexander and tenor saxophonist Roy Henderson also deliver inspired solos, while the rhythm section of drummer William 'Smiley' Winters and bassist Edgar Williams are also on fine form throughout.

Review: Originally released in 1973, Prof James Benson's seminal album, The Gow Dow Experience is a project that has an amazing story accompanying it. An entirely self-released project, Prof Benson's intention was to record these sessions so that his students at Cal Poly in California would have a special memento of what they had achieved together. Taking inspiration from their recent trip to Africa and blended with the radical jazz emerging from Black American artist's in the 70s, it was a momentous achievement for him and his young protegees. Jazzman's re-release also includes four tracks from the recording session that, until now, have never been released - they're well worth the wait, we promise!

Review:  Another highly anticipated reissue from the vaults of the legendary 70s label TSG here that has already been put out late last year by P-Vine Japan. But Reality's unknown classic Disco Party is always going to sell out quick so we're certainly happy about another pressing. Almost nothing is known about the band apart from their association with TSG, the label had a divine touch in picking out the best unknown musicians from New York's bustling funk and soul scene. Their music is full of vibrant riffs and funky bass and cannot fail to detonate in the club.

Review: "Sketching The Unknown" is a terrific name for an album, particularly for a deep modal jazz set that aims to draw maximum influence from "the folk and modal music of ancient Greece". We're not knowledgeable enough on Greek musical traditions to say whether or not saxophonist Sokratis Votskos and his quartet have successfully accomplished that aim, but we can confirm that "Sketching The Unknown" is superb. Brilliantly arranged, played and produced with surprises around every corner, it's one of the boldest and inventive jazz sets we've heard for some time. There's no fusion antics, sampled hip-hop beats or modern studio trickery, just five high quality jazz cuts that sound like they will last the test of time.

Review: While previous instalments of Jazzman's essential Spiritual Jazz series have focused on killer cuts and rare gems from the past (specifically material recorded between the 1950s and '80s), the thirteenth volume shines a light on what's happening right now. This second part (of two) successfully showcases the best of the contemporary scene, showcasing cuts from around the world that neatly encapsulate the breadth and diversity of 21st century spiritual jazz. The plentiful highlights include the exotic, Eastern-tinged spiritualism of Wildflower's 'Flute Song', the futurist jazz-funk deepness of Steve Reid's 'For Coltrane', the layered vocals and acoustic instrumentation of Angel Bat Dawid's 'What Should I Tell My Children Who Are Black' and the sparkling, sun-soaked positivity of 'Nova' by Menagerie.

Review: A remarkably sleazy new compilation from the digger's delighter known as Greasy Mike, who has generously opened up his 'vinyl dungeon' for the purpose of letting us in on just a small slice of his wax "harem". Ah yes, the sensual and voluptuous pleasures of Middle-Eastern jazz on wax. Unmatched. The choice cuts on this comp, one of many from Mike, this time catalogue the works of Middle Eastern jazz unknowns, championing their work starting from the genre's inception.

Review: Master compilation maker Greasy Mike is back with a fourth volume of his characterful selections. This one once again is another action packed and full flavour array of wigged out rhythms and psyched out funk sounds. The label calls it "14 Frantic Flippers Fraught with Frivolous Fun-Filled Frolics" and the tunes sure do have big personalities, wild laughter, sleazy low slung grooves and big steamy horns. Names like Adolphus Bell & The Up Starts, The Fabulous Continentals and Bobby Bunny & The Jackrabbits feature amongst many more niche jazz-adjacent sounds from the 50s and 60s.

Review: Here comes a fresh crop of 50s-60s rock n' roll/rhythm & blues by way of a compilation of rare, obscure tracks from their respective golden era(s), the 'Chinese Takeaway' - selected by Greasy Mike, DJ, record collector and Jazzman label owner. The comp flaunts the wild and diverse wildernesses and recesses of rock'n'roll, from surf and garage to doo-wop and soul - but comes with a far-flung twist, prioritizing songs with influences from Chinese music and culture.

Review: A new series from Jazzman featuring selections from Greasy Mike, the notoriously shady selector rising up from his dark netherworld of super rare records. After many years lurking in the underground dungeon beneath, Mike now pops the lid on his cell for an eighteen-track LP full of oddball rock & roll, garage rock and instrumental jazz, the likes of which no mere mortal can stomach at the best of times. From The Big Guys' 'Zombie' to Mysterions' 'Transylvania' to The Bluenotes' 'Rigor Mortis', you're in for a real fright on this eighth volume.

Review: Jazzman Records add to the legacy of saxophonist John Coltrane with this latest tribute compilation. Few artists, in the words of the label, "produce work that is so moving it's considered sacred." But that is exactly what has happened with John Coltrane over the years; while the forces that have exalted him to such an extent remain mysterious, we're now left with just the music, of which many of the original compositions have now become jazz standard form. From Norman Conners to Brother Jack McDuff, each covering artist here - masters in their own respects - curtsies before the prophet.

Review: Jazzman recently served up a big and freaky old collection of Halloween themed jazz sounds from Greasy Mike. Now the venerated digger and collector opens up his archives once more for another deep dive, this time under the heading of 'Shipwrecked On A Tropical Island.' As such these are Afro-tinged jazz sounds with shimmering steel drums and gently breaking waves. There are Afro-Cuban spinners like Phyllis Branch's 'Babalu' and samba shufflers full of soul. An epic and escapist collection that takes you to another world.

Review: Jazzman Records' curatorial moniker Greasy Mike delivers a seventh compilation in his eponymous beatnik jazz series. At The Beatnik Cafe follows up former visits to the Tropical Island, the Chinese Takeaway, and the Halloween haunted house for a trip back in time and place to 1950s New York, netting the sonic essence of the Beat generation. Predominantly comprising swing, bebop and hard bop recorded during and at the turn of the following decade, we're smitten at the likes of Harvey Anderson's 'Monday Night At 8PM', The Seven Arts Beat Society's 'New York Havana', and Cindy Laine's 'Whispering Wind', all of which amount to prototypical, quiet cafe-bound storms, and the perfect complements for free-assocative poetry composition and goatee grooming.

Review: Jazzman have been capitalising on their kinship with revered digger Greasy Mike by offering him a series of compilations which shine a light on some of the wildly rare records contained in his considerable archives. Following prior themes from Middle-Eastern Harem and Shipwrecked On A Tropical Island, Mike turns his attention to "the sublime, seductive sound of the smooth and sultry songstress." You won't find any household names here, but rather a cast of mesmerising, formidable singers set to heartworn jazz ballads. These are no wallflowers and there's more than enough grit to go with their grace, making this a fantastic collection for anyone who savours the sound of 50s and 60s divas with something to say.

Review: Lascelle 'Lascelles' Gordon is the creative powerhouse behind Vibration Black Finger, and once again here he excels on a second album that furthers his magnificent jazz sound. Obscure spiritual sounds of the 70s are the melting pot from which he mostly draws, with plenty of like-minded collaborates all contributing their own skills to the mix. Collective empowerment and personal development all enrich the album and its progressive message, and it was all put together from old ideas on tapes and DATs that he had worked on over the years. Instrumental segues stitch together the thoughtful vocal pieces and moments of real gusto help it stick long in the memory.

Review: Over three decades of musical exploration and innovation have cemented German guitarist and bandleader JJ Whitefield as a stalwart in the realm of authentic, timeless music. As a founding member of the Poets Of Rhythm in the early 90s, Whitefield pioneered a hard-edged take on 70s street funk, setting the stage for the Deep Funk scene to come. His subsequent ventures under various pseudonyms, including Karl Hector, showcased his versatility and eclectic influences, drawing from Ethiopian Jazz, West African funk, Kraut-rock, and ambient sounds. With his latest album, The Infinity Of Nothingness, Whitefield delves into the astral realms of spiritual jazz, paying homage to influences like Sun Ra and Pharoah Sanders while forging his own path. The album's mature, delicate orchestrations evoke a trance-like atmosphere, with subtle accents of hip-hop, library and avant garde seamlessly integrated. Tracks like the sparse opener 'Nothingness' and the expansive 'Infinity Suite' demonstrate Whitefield's ability to create music that not only honors his influences but also stands the test of time. The Infinity Of Nothingness represents a culmination of Whitefield's lifelong musical journey, showcasing his unwavering dedication to authenticity and innovation.

Review: Amanda Whiting released her first music back in 2007, but it's been in recent years the accomplished UK harp player has developed a working relationship with Jazzman. N doubt a response to the rude health of UK jazz, 2020 saw the release of Little Sunflower and last year she delivered After Dark. Now Whiting makes it a hat trick with Lost In Abstraction, a stunning release which shows off her gift as a performer and composer across 10 vignettes. There's a mellow mood to the music on offer here, and if you have a weakness for the lilting sound of the harp in a jazz context, be sure not to miss this exquisite album.