Jazzman Schallplatten & 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's dusty-fingered diggers recently did a deal to reissue some of the "holy grail" albums released by Austin-based Fable Records in small numbers back in the early 1970s. Forty Seven Times Its Own Weight's "Cumulo Nimbus" is the first of these. It's a pleasingly warm and evocative set of tracks from the one-album combo that offers an enjoyable and cutting edge fusion of hard-wired jazz-funk, post-modal fusion, horizontal slow jams and low-slung goodness that pairs free-jazz style solos and spiritual grooves with just the right amount of funk-fuelled instrumentation (see "Jig"). The set includes both dancefloor-friendly and laid-back fare, with the jaunty title somehow managing to tick both boxes at once.

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.

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: Over the last few weeks, Jazzman's ongoing "Holy Grail" reissue series has focused on obscure but in-demand albums from the Fable Records catalogue. The latest to get the deluxe reissue treatment is Steamheat's "Austin Funk", a 1975 set that's notably harder and funkier than the Texan label's usual jazz-funk fare. Of course, there are still plenty of jazz-funk flourishes to be found amongst the soulful vocals, crunchy clavinet lines, fast-tempo grooves and heady horn lines. Our picks include the low-down deep funk headiness of "Radiator", the fizzing brilliance of "Body Talk", the harmonic jazz guitar, horn and electronic piano solos of "Ghetto Tool" and the eyes-closed, in-the-zone madness of closing cut "Frozen Tundra Lady".

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 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 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: 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: 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.