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: 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: Jazzman's Jukebox Mambo series continues to be an authoritative exploration of mid-Century, Afro-Latin accented rhythm & blues. On this fourth edition the selections range from the late 1940s to the early 1960s, capturing a unique cultural moment in the post-war era when Afro-Latin rhythms were infusing the music and engendering new forms in pop music of the day. From jazz, gospel and doo hop to calypso, blues and rock & roll, there's a veritable feast of styles on offer here, all expertly sequenced and sure to teach even a seasoned listener a thing or two.

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: 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: 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: 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: 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 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: This double LP compilation from Jazzman Records unearths a wealth of spiritual jazz gems from the SABA and MPS labels, spanning the 1960s and 70s. Showcasing a diverse array of international artists, the collection features American heavyweights like Elvin Jones and Nathan Davis alongside European innovators like Pedro Iturralde and Jef Gilson. The music traverses a wide spectrum of styles, from soulful ballads and fiery modal explorations to avant-garde excursions, reflecting the labels' commitment to releasing exciting and innovative jazz. Highlights include the adventurous sounds of the Joachim Kuhn Group, Nathan Davis's soulful 'Evolution', and Pedro Iturralde Quintet's 'Veleta De Tu Viento'.

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.