Jazzman Vinyl & CDs

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: 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: 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: 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: 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: 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: 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: 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.