Jazz CDs

    1. Kansas City
    2. If There Wasn’t Any You
    3. Sweet Lotus Blossom
    4. Roll ‘em Pete
    5. I Gotta Girl (Roll ‘em Pete)
    6. Trouble In Mind
    7. Nobody Knows How I Feel This Morning
    8. New Down Home Blues
    9. Kansas City
    10. Compact Car
    11. Piney Brown's Blues
    12. Big Fine Girl
    13. Send Me Someone To Love
    14. Sweet Lotus Blossom
    15. St Louis Blues
    16. Times Getting Tougher Than Tough
    17. I'll Be So Glad
    18. When Will I Be Called A Man
    19. Sweet And Lovely
    20. In Walked Bud
  • BBC Jazz Club London May 23rd 1964 Memphis Slim p, voc, Pete Blannin b, Eddie Taylor d. I'm Lost Without You I'll Just Keep Singing The Blues El Capitan This Is A Good Time To Write A Song Big Bertha Train Has Gone Going Down Slow All By Myself BR2 Jazz Prisma Brussels February 2nd 1964 Memphis Slim p, voc, Matt "Guitar" Murphy g, Billy Stepney d. The Blues Is Everywhere All By Myself My Gal Keeps Me Crying Matt’s Guitar Boogie I'm Lost Without You Wish Me Well French TV Paris 1964 Memphis Slim p, voc, Unknown d. It's Too Late American Folk Blues Festival Baden Baden Memphis Slim p, voc, Matt "Guitar" Murphy g, Willie Dixon b, Billy Stepney d. I'll Just Keep Singing The Blues American Folk Blues Festival Manchester October 21st 1962 Memphis Slim p, voc, Willie Dixon b, Jump Jackson d. Just A Dream
  • CD1 1. Unknown Title 2. Give Me That Old Time Perversion 3. You Can Be Happy 4. Judy’s Smile 5. Questions And Answers CD2 1. Themeless Improvisation 2. Chant 3. Little Red Head 4. Day of Reckoning 5. Judy’s Smile 6. Unknown Title 7. Bruce’s Departure 8. Peaceful Farewell
  • 1. Storm Warning Harry South Big Band 2. Raga (edit) Harry South Big Band 3. Sound Of Seventeen Harry South Big Band 4. Limited Freedom Harry South Big Band 5. Southern Horizons Joe Harriot Quintet 6. Minor Incident Dick Morrissey Quartet 7. Black Eyed Peas Harry South Big Band 8. The Sweeney Harry South Big Band 9. 4 Dimensions Of Greta Harry South Big Band R&B12
  • SIDE ONE 1. Down Home 2. Love For Sale 3. I Married An Angel (take one) 4. Landslide 5. I Married An Angel (take two) 6. Announcements1. 7. Down Home (take one) 8. Minor Incident 9. Gypsy 10. Bang (take one) 11. Bang (take two) 12. Down Home (take two) 13. Announcements R&B18 SLIMLINE Produced as CD-R (professionally manufactured recordable CD printed for short run) as opposed to CD-P (professionally manufactured pressed CDs made in quantities of 500+). All CDs whether CD-R or CD-P are 100% guaranteed error free. Discs will always be replaced if any problems are encountered.
    1. Blues For Sue (Unknown)
    2. Regrets (Pat Smythe)
    3. Down On The Nile (Unknown)
    4. Silver Serenade (Silver)
    5. Step Lightly (Golson)
    6. Blues For Three (Unknown)
    IT’S JAZZ b/c February 22, 1965, recorded February 4, - Colin Purbrook for Michael Garrick
    1. Blues Row (Howard Riley)
    2. Rendell Introduction 1
    3. Spooks (Rendell/Carr/Green)
    4. Rendell Introduction 2
    5. Hot Rod (Carr/Garrick)
    6. Rendell Introduction 3
    7. Jubal (Rendell)
    8. Rendell Introduction 4
    9. Dusk Fire (Garrick)
    JAZZ CLUB (Jazz Scene) b/c April 3, 1966, recorded March 29, - Jeff Clyne for Dave Green
    1. Birdwalk (Rendell)
    2. Lyttelton Introduction 1
    3. Webster's Mood (Garrick)
    4. Lyttelton Introduction 2
    5. Tootin' and Flutin' (Rendell)
    6. Lyttelton Introduction 3
    7. The Snows Of Yesteryear (Carr)
    8. Torrent (Garrick)
    JAZZ CLUB (Jazz Scene) b/c July 10, 1966 recorded July 4, 1966
    1. Sweet and Lovely
    2. Sweet Lotus Blossom
    3. You Are My Heart’s Delight
    Ronnie Scott (ts); Stan Tracey (p); Rick Laird (b); Ronnie Stephenson (d) BBC Jazz Club, London, February 8th 1965  
    1. Close Your Eyes
    2. Waltz for Debby*
    3. Music That Makes Me Dance/When She Makes Music*
    4. The Night Is Young
    5. I’ll Be Seeing You
    Ronnie Scott (ts); Stan Tracey (p); Freddy Logan (b); Bill Eyden (d); Mark Murphy (vocal*) BBC Jazz Club, London, April 17th 1966  
    1. Close Your Eyes
    2. What’s New?
    3. Avalon
    Ronnie Scott (ts); Stan Tracey (p); Malcolm Cecil (b); Jackie Dougan (d) Free Trade Hall, Manchester, June 6th 1964  
  • 1966-1967. Two years of seismic change in UK history, a time of World Cup wins, of psychedelic 'happenings' and Sgt. Pepper, when London's streets rocked to the sight of mini skirts and Mini Coopers and home-made British pop culture - drawing in everything from satire to sitars - really did look likely to change the world. British jazz was growing too. Having defined itself through the razor-sharp cool of 'modernism', by '66 it was ready to loosen its collar and let its hair down, feeding directly from an anarchic new breed of young musicians able to move between styles as never before, allowing everything from the avant-garde to R&B colour their work. London was now swinging in every direction, like some vast kaleidoscopic merry-go-round. This, then, is the story of those British jazzmen who came along for the ride, some clinging on with white-knuckles and gritted teeth, others enjoying the trip of their lives. Booklet notes by Simon Spillett RANDB062 The set is magnificent… serves as a wonderful bridge spanning the Atlantic, pulling the two jazz cultures together. The Brit-jazz tracks in '66 are sensational. One after the next is rich with energy, power and guile as groups such as the Michael Garrick Sextet, the Stan Tracey Quartet, the Don Rendell/Ian Carr Quintet and Gordon Beck Trio tear neatly into originals. The American tracks from the same year are largely little-known jazz-funk and soul-jazz pieces. The set is smartly curated... All have locked-in grooves and are tasty. The 1967 material is even stronger…And yes, every single track is outrageously excellent. There's no filler here. And the sound is very good. I'll be listening to this set several additional times between now and the end of the weekend. Once again, a superb job by R&B Records. Hats off to the set's producer/editor. Great choices all. Mark Myers Jazz Wax
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    Johnny Burch is probably best-known for songs he wrote in 1963 for Georgie Fame such as “In The Meantime” and “Preach and Teach”. This was at a time when the boundaries between modern jazz, rhythm and blues and beat music were being broken down at such places as the Flamingo and the Marquee. For a few months, Burch was leader of a group that included several musicians who found fame in the blues and rock scene of the late 60s such as Graham Bond, Dick Heckstall-Smith, Jack Bruce and Ginger Baker. This CD features the earliest-known recordings of Bruce and Baker together in a live broadcast for the BBC from March 1963. It also contains five tracks from a session that Burch’s 1965 line-up recorded for BBC’s Band Beat. Burch was never a major figure in the London jazz scene but this collection highlights his group’s unique role which acted as a bridge between modern jazz and the nascent British R&B movement. RANDB055 Overall, an amazing collection of pieces, many obscure, some best described as period pieces but much to enjoy. Peter Vacher Jazzrag When one thinks of bassist Jack Bruce and drummer Ginger Baker, the name of Eric Clapton immediately comes to mind since the three masterful musicians formed Cream. However the first time that Bruce and Baker played together was not in a rock group but back in 1963 as members of the Johnny Burch Octet.     Pianist Johnny Burch (1932-2006) was part of the British jazz scene starting in 1959. After a period as a member of Allan Ganley’s Jazzmakers and with Don Rendell’s group, he evolved to become a leader in modern jazz without achieving much fame. He did get to accompany such visiting American greats as Freddie Hubbard, Red Rodney and Rahsaan Roland Kirk, and wrote a few songs for the popular singer Georgie Fame. Jazzbeat has Burch at the head of two different octets, playing live in 1963 and 1965. These seven selections have so-so recording quality but are full of plenty of excitement with the numbers including “Moanin’,” “Del Sasser,” and Burch’s “Nightwalk.” On both broadcasts, the playing is top-notch and at the level of their American counterparts. The music is very much in the modern mainstream of the mid-1960s, forward-looking while never hinting at the music of Cream. Scott Yanow Los Angeles Jazz Scene
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    THE HARRY SOUTH BIG BAND WITH GEORGIE FAME AND THE DICK MORRISSEY QUARTET When the BBC invited pianist/composer and arranger Harry South to front his own big band for a special edition of its flagship radio programme Jazz Club in 1960, few could have predicted the broadcast’s fall-out. Although the Beeb would offer a similar helping hand to other British jazzmen in the decade ahead – making big band leaders of a range of leading figures from Humphrey Lyttelton to Stan Tracey – none of these other bands evolved quite like South's. Beginning as a showcase for his distinctive, often darkly dramatic, original material, and operating as a 'jobs for the boys' forum for those British modernists he felt closest too (among them Tubby Hayes, Dick Morrissey and Joe Harriott) the sheer clout of South's star-packed aggregation ensured it soon attracted interest from outside the normally closed borders of jazz purism. Indeed, when Yeh Yeh hitmaker Georgie Fame decided to pursue his wider musical ambitions, he chose South and his big band as his collaborators, creating the album Sound Venture, a cross-over classic that has become one of the iconic LPs of the decade. Assembled from South's own tape archive, and featuring a wealth of PREVIOUSLY UNISSUED material, including NINE killer Georgie Fame tracks, Further South is both a prequel and sequel to that landmark achievement, a four-disc document of one of the most vibrant times in British music, a souvenir from the days when Swinging London created its very own sound from a heady amalgam of small band Hard Bop, Big Band Swing, R&B and Soul. Containing no fewer than ten complete radio sessions by South's big band (and two by the Dick Morrissey Quartet) and packaged with rare period photographs and an extensive booklet essay by award-winning saxophonist and author Simon Spillett, this set is a must-have for all fans of British modernism. RANDB051 These Harry South Big Band broadcast recordings contain modern big band jazz of quite extraordinary power and dynamism - rarely, if ever, equalled since. The Band - led by conductor/arranger/composer South- has just about every modern jazz star of the 1960's including such luminaries as Tubby Hayes,Ronnie Scott and Dick Morrissey in the sax sections on offer. The Band rips it up on just about every track and culminates - in CD 4 - with Georgie Fame at the microphone with the band in full swing behind him. All in all, a truly remarkable catalogue of music making. But, a word of warning, these recordings are of BBC broadcasts of "Jazz Club" and (I believe) are taken from tapes made of the various transmissions by Harry South himself and are definitely not "Hi-Fi" or anything approaching it - but they are nevertheless priceless in their rarity and musical excellence. In addition to the Big Band broadcasts there are some wonderful sessions recorded by the Dick Morrissey Quartet with no less than Harry South himself on piano and the titanic drumming of Phil Seaman on offer. All in all a fitting tribute to a marvellous set of musicians playing at the peak of their powers in the 1960's - with the caveat for the audiophiles alongst us as to the far less then perfect sound reproduction! Jonny Dee
  • British record buyers had to wait until 1960 to hear the great American albums of 1959; John Coltrane's debut LP, Charles Mingus's Ah Um and Horace Silver’s Blowin' the Blues Away. On the home front, in December 1959, Tubby Hayes was already absorbing influences from these albums while cutting his latest LP, Tubby's Groove. This 4CD set pits Britain’s finest jazz tracks of 1959-1960 up against the very best music coming out of the States at the same time, showing that British modernists could at last stand tall among jazz music’s giants. Compilation Nick Duckett Sleeve Notes Paul ‘Smiler’ Anderson and Simon Spillett RANDB049 …the British choices are more exciting. They include not only some fabulous rarities, but items culled from BBC broadcasts of the time, whose very existence came as a complete surprise to me: Dizzy Reece guesting with the Jazz Couriers, for instance. Even the most demanding mod would have approved. Dave Gelly The Observer Produced as CD-R (professionally manufactured recordable CD printed for short run) as opposed to CD-P (professionally manufactured pressed CDs made in quantities of 500+). All CDs whether CD-R or CD-P are 100% guaranteed error free. Discs will always be replaced if any problems are encountered.
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    An exemplary tribute to an unjustly neglected figure - Richard Williams A perfect potted history of the period - Dave Gelly, The Observer An overdue recognition of the genius of Harry South and the world class calibre of the musicians he worked with. An important landmark in British Jazz and indispensable to any collection. – Eddie Little Superb tribute to a stalwart jazz pianist,composer and arranger. Excellent booklet notes by saxophonist Simon Spillett. Highly recommended – Amazon Superbly annotated, this is a reissue of exemplary quality – Peter Vacher, Jazz Rag The Songbook is the definitive Harry South release…makes a strong case for South’s musical contributions to jazz…Lovers of modern big band jazz will find much to discover in this well-conceived set.  Scott Yanow - The New York City Jazz Record RANDB040