Jazzman Vinyl & CDs

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: Jazzman has excavated another jazz "holy grail" here - one of the few albums ever recorded by San Francisco-based pianist (and local hero) Al Tanner. It was initially released back in 1967 by the obscure, but arguably significant, Touche label, and while popular within Californian jazz circles, garnered little exposure or sales elsewhere. It remains a fantastic album, with Tanner being joined by drummer William 'Smiley' Winters, bassist Edgar Williams, saxophonist Roy Henderson, and flautist/trumpeter George Alexander to attractively dance through a range of pleasingly breezy, musically detailed modal workouts. It's a genuinely impressive album all told, so praise must be given to Jazzman for unearthing and reissuing it.

Review: For one reason or another, this is Emanative's debut for London's Jazzman imprint, with the artist having touched most other like-minded labels thus far. Better late than never, we say! It also marks Nick Woodmansey's fourth studio album to date, having travelled through Space and Time, and now landing firmly on Earth. As you'd expect, mystique and experimentation are very much a core part of this LP, morphing at every turn, shifting unpredictably amid jazz flutes, deep cello bass, and a supremely sporadic drumming aesthetic that perfectly encapsulates the 'free' element of jazz. The electronics play a part too, however, adding a noticeable aura to an already atmospheric selection of sonic patterns. A beauty, from start to finish.

Review: Thanks to a plethora of pleasing releases from the likes of Nat Birchall and Michael Grossman, 2019 has been a vintage year for Jazzman's "Jazz 45" series. The last volume of the year comes courtesy of Jai Ho, an occasional studio "supergroup" who initially met by accident in the late 1990s. In fact, A-side "Short Story From Tabla, Drums & Trumpet" was recorded in a single day in 1996. The descriptive title is accurate, with squally, effects-laden trumpet solos riding a killer backing track of military style drum breaks, exotic tabla motifs and toasty double bass. The group met again for another studio day in 2003 and recorded B-side "Oye Maia", a wonderfully lucid and languid mixture of attractive Kalimba melodies, drifting trumpet and shuffling Indian instrumentation.

Notes: Olive green paper sleeves of superior quality.

Custom made specially for us and to our personal specification!!

The right size - they will fit snugly over your 45s and will also fit double-bagged into our cardboard white sleeves.

Thick, smooth and more robust - probably the best paper inner sleeves money can buy.

50 sleeves per pack!

Notes: Orange paper sleeves of superior quality.

Custom made, especially for you and to your personal specification.

The right size - they will fity snugly over your 45s.

Thick 110gsm non-coated paper, smooth and robust - probably the best paper inner sleeves money can buy. These are the ONLY sleeves worthy of storing your top rares!

50 sleeves per pack!

Notes: Introducing Jazzman's own exclusive range of brand new 7" hard-wearing wooden record cases, in equal measure stylish and functional, solving the age-old problem of storing, transporting & displaying your precious 45s once and for all!

The PRO Large holds 150 x 7" records, and is available in your choice of 2 finishes: Dark Walnut or Graphite Grey.

This new updated design is again custom made to an exact specification in limited numbers. They don't just look the business, they've been built for professional use and will last for many years to come.

Ugly, bulky industrial cheap n' nasty mass-produced flight cases they are not! No flimsy plastic, chipboard, MDF or cheap cardboard either! These cases are hand-crafted from ethically-sourced & hard-wearing wood, the ultimate 7" record cases for all serious record collectors & professional DJs.

Each case has been hand-made in the EU from wood that has been sourced from managed and sustainable forests. They have been custom built to Jazzman's exact specifications before being stained and lacquered for a durable finish:

The lid is fully removable via detachable metal hinges so you have unfettered access to your records
Interior lined with soft & durable black felt to add both extra cushioning and a luxurious feel. Each interior is also embossed once with Jazzman's shiny 45CASE logo
All corners made with extra strong interlocking dovetail joints
Dual metal catches on the front are lockable with padlocks (not included) to keep your records secure from unwanted attention
Strong metal brackets feature on all corners to further protect against knocks & damage
Wood sourced from managed and sustainable forests
The base has 4 sturdy rubber feet to protect the bottom of the case when standing
Each cases has dual compartments, securely holding up to 150 of your prized 7" records. The interior dimensions will also accommodate double-bagged 45s.

Important note: due to the innate variability of wood grain, each box is unique and will differ slightly to the image shown. Records are for illustration purposes only and are not included!

Details:

Exterior size: 420 x 220 x 220mm
Weight when empty: 3.2kg (7lb)
Weight with 150 records: 11kg (24lb)

"I'm really impressed with this box, nobody's made them like this for years, a nice new home for my best stuff" - Mark 'Butch' Dobson (World #1 Northern Soul DJ)

"Jazzman are already known for making great records, well done to them for making the nicest record boxes I've seen in years" - Norman Jay MBE

"Sturdy and with a classic design, this is the best 7" box I have come across" - Eddie Pillar (Acid Jazz)

"Northern, Funk, Rockabilly, Garage - these are the boxes to keep 'em in, f*** marvellous!" - The Legendary Keb Darge

Review: Nostalgia 77 has been a going concern for Benedic Landin for over 20 years now. It has encompassed every musical style and inspiration he's explored and in that time his madcap approach has taken in songwriting sessions, soundtracks and soulful excursions. Here he is in jazz mode with an album on which he reunites with longtime collaborator and arranger Riaan Vosloo. Influences from South Africa abound on top of British jazz foundations. It has a lively and live feel that makes it all the more enjoyable.

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: The Swiss saxophonist delivers a mesmerising journey through modal jazz on his latest album. Drawing deep inspiration from John Coltrane, Torrent blends intricate harmonies with raw, unfiltered improvisation, crafting a collection that is both a tribute and an exploration of new sonic terrain. The album opens with 'Danse Tropical, a reflective and richly textured piece where Torrent's saxophone weaves through intricate scales, searching yet controlled. The steady rhythm section acts as an anchor, allowing the melodies to expand and evolve organically. In contrast, 'Quannassa' injects a restless intensity, shifting through complex harmonic movements while the quartet navigates its dynamic ebb and flow with effortless cohesion. The title track, 'Buleria', is perhaps the album's centerpieceian eight-minute odyssey that fuses modal jazz with flamenco's hypnotic rhythms. Torrent's improvisation feels deeply intuitive, soaring over a meditative backdrop that evokes the vast, open landscapes of Iberia. The interplay between the quartetipiano, bass and drumsiis both fluid and instinctive, fostering an environment where the saxophone can push beyond conventional boundaries. While deeply rooted in Coltrane's legacy, Buleria is far from a mere homage. Torrent and his ensemble use the foundations of modal jazz as a springboard for personal expression, creating a sound that is both reverent and adventurous. Each track unfolds like a conversationisometimes gentle, sometimes incendiary, but always searching for something beyond the ordinary.

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: 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: For the latest volume in their essential Spiritual Jazz compilation series - the eleventh overall - Jazzman has decided to take a trawl through the archives of Danish imprint SteepleChase, focusing specifically on "esoteric modal" and "progressive jazz" originally released between 1974 and '84. It's an impressively bright, breezy and crystal-clear affair - you can hear every cymbal hit, saxophone solo, piano note, snare and rim-shot in glorious clarity - with highlights appearing thick and fast throughout. Our current favourites include the haunting flutes, glistening guitar solos and skipping grooves of Rene McLean's "Aida", the hard-to-pigeonhole inventiveness and cross-cultural fusion of Jim McNeely's "Tipe Tizwe" and the vibraphone-laden up-tempo hustle of Khan Jamal's "Dark Warrior". That said, every track is superb, making this a must-have for spiritual jazz enthusiasts everywhere.

Review: The Iron Curtain stood as one of the defining metaphors of 20th-century division: a shroud drawn between East and West, described by Winston Churchill as obscuring all knowledge of life on the other side. But while the world fixated on ideological rifts and military standoffs, a parallel story unfolded in the Soviet Union and its satellite states: the quiet, defiant blossoming of jazz. This second of a two-part Jazzman compilation mini-series lifts that curtain, tracing the emergence of bold, genre-spanning jazz from the early 60s to the 80s. These recordings reflect the arm-in-arm influences of hard bop, modal, cool and Latin jazz, refracted through the lens of European folk traditions and hard-distilled through filters of restriction, secrecy, and sometimes outright prohibition. Pressure makes diamonds, and jazz, ever adaptable, flourished in spite of it all: the secret spirituals of an easily overlooked era.

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: 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: 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 compilation from Spiritual Jazz shows the genre's predisposition to thrive despite heavy political oppression, with underworld eminents euphonating their radical music despite a hard immuring behind the Iron Curtain, which represented the gash between East and West during the Cold War. Contemporary jazz and European folk collide on the first of a two-parter record here, reflecting muted but reassuring sonic utterances sounding against oppression, a somewhat unspeakable sentiment whipping across the Eastern Bloc of the 50s and 60s. Vagif Mustafa Zade, an Azerbaijani pianist, and the Manfred Ludwig Sextett, from the same era, are only two such featured artists; they helped push the embrace hard bop and modal, and the boundaries of what was permissible under the regime.

Review: The Iron Curtain, a politically charged term of the 20th century, symbolised the divide between East and West. Winston Churchill famously referenced this metaphor, describing how an "Iron Curtain" descended upon Europe, obscuring the actions behind it. This two-parter record from Jazzman does the impossible, lifting the curtain through sound alone, representing jazz's ablation of political and cultural barriers, as it flourished in Soviet states and exposed the contradictory histories of Soviet jazz, from the 1960s to the 80s. Despite Cold War tensions and MADs, the Soviets didn't hold their breath for a second, embracing the jazz modernisms of hard bop, modal, Latin jazz and Eastern folk-jazz. The resilience of jazz artists during an era of geopolitical conflict thus offers a sprightly affirmation of spirituality and formal reinvention, in the face of adversity.

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: Many artists achieve greatness but very few produce work that is so moving it's considered sacred. Whether you choose to call them hymns, psalms or spirituals, their songs are a healing force for troubled times. We feel close to these prophets, in recognition of their uncommon labours. It is as if they have given all of themselves, body and soul, through music. Spiritual Jazz 15 - A Tribute to 'Trane shines a spotlight on the reverence in which the saxophonist is held in so many ways. On one hand our selection displays cover versions of his songs performed by the musicians he inspired; disciples to Coltrane the messiah, who chose to give praise to the one who laid a foundation for them. The listener will also encounter original music written in honour of Coltrane that underlines the endless presence he has had among artists from different backgrounds and eras.

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 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: 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 Records delves into the vaults of the SABA and MPS labels, unearthing a treasure trove of spiritual jazz from the 1960s and 70s. This compilation showcases a diverse array of international talent, from American legends like Elvin Jones and Nathan Davis to European innovators like Pedro Iturralde and Jef Gilson. The music traverses a wide spectrum of styles, reflecting the labels' commitment to releasing exciting and innovative jazz. Expect soulful ballads, fiery modal explorations, and avant-garde excursions, all united by a spirit of exploration and a deep reverence for the jazz tradition. Highlights include Pedro Iturralde Quintet's 'Veleta De Tu Viento', Nathan Davis's 'Evolution', and the adventurous sounds of the Joachim Kuhn Group. With its impeccable curation and insightful liner notes, this compilation is a must-have for any serious jazz aficionado.

Review: The Spiritual Jazz Series has been going strong since 2008 and has always looked to celebrate a rich tradition of African-American songs that takes inspiration from a belief in a higher force, as well as focussing on certain geographical regions. The stylistic diversity across these traditions is vast. Historic labels like Blue Note, Impulse!, Prestige, and Steeplechase are also featured, offering a treasure trove of music relevant to Spiritual Jazz. Spiritual Jazz 16 focuses on Riverside and its associated labels, founded in 1953 by Orrin Keepnews and Bill Grauer. This era marked the emergence of modern jazz, encompassing bebop, hard bop, cool, modal, and Latin jazz.

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: German guitarist and bandleader JJ Whitefield, known for his authentic, timeless sound, delves into 'spiritual jazz' on his latest album, The Infinity Of Nothingness. With a career spanning over three decades, Whitefield's journey began in the early 90s with Poets Of Rhythm, pioneers of the Deep Funk scene. Since then, he has explored various musical styles, including funk with Karl Hector and Ethiopian Jazz, West African highlife, Kraut-rock, and ambient music under his Rodinia moniker. The Infinity Of Nothingness is a set of mature, meditative orchestrations, drawing inspiration from Sun Ra and Pharoah Sanders without becoming mere tributes. The album weaves subtle elements of hip-hop, library music, and avant-garde into its sound, creating a unified, trance-like feel. From the sparse opener 'Nothingness' to the three-part 'Infinity Suite' - 'Time', 'Space' and 'Energy' - the album reflects Whitefield's exceptional ability to craft music that resonates deeply with its influences while standing the test of time. As with his early work, Whitefield's latest project continues to set a high standard in musical exploration.

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.

Review: Born on the French Island of Martinique, Louis Xavier later settled in France where he discovered the freedom of jazz, and an idea to mix his influences into a global melting pot of sound. He formed his band (Synchro Rhythmic Eclectic Language) in Paris in the early '70s, making music that was both spiritual and eclectic for its time. Both tracks are jazz in essence but with instrumental funky rhythms infused with intricate percussion and electric keys.