Soho

  • 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.
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    SIDE ONE 1. Down Home 2. Love For Sale 3. I Married An Angel (take one) 4. I Married An Angel (take two) 5. Landslide 6. Announcements SIDE TWO 1. Down Home (take one) 2. Minor Incident 3. Gypsy 4. Bang (take one) 5. Bang (take two) 6. Down Home (take two) 7. Announcements R&B18
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    Nights In San Francisco Side one 1. C. C. Rider (Traditional) 2. A Love Like Ours (Holland/Dozier/Holland) 3. Shake, Rattle And Roll (Calhoun) 4. Tobacco Road (Loudenmilk) 5. Roadrunner (McDaniels) 6. C. C. Rider (Traditional) Side two 1. Paint It Black (Jagger/Richards) 2. When I Was Young (The Animals) 3. The Same Thing (The Animals) 4. Rockin’ The Blues (The Animals) 5. Connection (Jagger/Richards) 6. San Franciscan Nights (The Animals) 7. Good Times (The Animals) 8. Interview (Eric Burdon) R&B21
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    Side ONE 1. I Get So Excited (The Animals) (5:15) 2. It’s My Life, Baby/Tobacco Road (Loudermilk) (10:02) 3. Yes I´m Experienced (The Animals) (4:43) Side TWO 1. San Franciscan Nights (The Animals) (4:53) 2. Monterey (The Animals) (6:46) 3. Paint It Black (Jagger/Richards) (6:57) R&B35
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    Side One “RHYTHM AND BLUES AT THE RICKY TICK” 1. LET THE SUNSHINE IN (Weinstein) 2. MONKEYING AROUND (Bell) 3. ESO BESO (J & N Sherman) 4. MOODY'S MOOD (Moody) 5. SOUL STOMP (Street/Gordy) 6. IN THE MEANTIME (Burch) 7. MOVE IT ON OVER (Williams) 8. HUMPTY DUMPTY (Morris) 9. LAST NIGHT (Mar-Keys) Side Two “BLUE FLAMES SKA” 1. ORANGE STREET - THE BLUE FLAMES (Blue Flames) 2. J. A. BLUES - THE BLUE FLAMES (Blue Flames) 3. SHAKE SOME TIME - RONNIE GORDON (Gordon) 4. RIK'S TUNE - THE BLUE FLAMES (Eve) 5. STOP RIGHT HERE - THE BLUE FLAMES (Roberts) 6. BABY BABY - PERRY FORD AND THE SAPPHIRES (Gale) 7. LITTLE GLORIA - CLIVE & GLORIA (Clive & Gloria) 8. PRINCE OF FOOLS - PERRY FORD AND THE SAPPHIRES (Gale) R&B1
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    Rhythm and Blues and Jazz Side One 1. Get Away 2. Knock On Wood 3. Because I Love You 4. The Sidewinder 5. Bluesology 6. C‘ést La Vie Side Two 1. Serves Me Right To Suffer 2. Do it The Hard Way 3. A Little Thing From Scotland/Work Song R&B20
  • Side One “RHYTHM AND BLUES AT THE CAMDEN THEATRE” 1. NIGHT TRAIN 2. BRIGHT LIGHTS, BIG CITY 3. WALKING THE DOG 4. DO-RE-MI 5. LET THE SUNSHINE IN 6. YOU'RE BREAKING MY HEART Side Two “JAZZ CLUB” 1. I’M GONE 2. MOODY’S MOOD 3. FOOLS PARADISE 4. WALKING THE DOG 5. YEH YEH R&B3
  • Side One 1. NIGHT TRAIN 2. YEH YEH 3. GREEN BACK 4. LET THE SUNSHINE IN 5. LIL' DARLIN' 6. WALKIN' THE DOG 7. POINT OF NO RETURN 8. IN THE MEANTIME Side Two 1. LET THE SUNSHINE IN 2. GET ON THE RIGHT TRACK BABY 3. IN THE MEAN TIME 4. YEH! YEH! 5. WALKING THE DOG 6. DO RE MI 7. LIKE WE USED TO BE 8. SICK & TIRED 9. ROCKIN' PNEUMONIA R&B11
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    SOUTH VENTURE SIDE ONE 1. Sunny Hebb 2. Dawn Yawn Powell 3. Lovey Dovey Curtis/Ertegun 4. Papa’s Got A Brand New Bag Brown 5. Keep Your Big Mouth Shut Hendricks 6. Three Blind Mice Hendricks SIDE TWO 1. Down For The Count Foster/Hendricks 2. Lil' Darlin' Hefti/Hendricks 3. Little Pony Hefti/Hendricks 4. Call Me Hatch 5. Uptight Cosby/Moy/Wonder 6. You'll Never Leave Him Berns 7. Fame Interview 8. Lulu Interview R&B38
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    SIDE ONE 1. Minor Incident Dick Morrissey Quartet 2. Slidin' Ronnie Ross Quintet 3. Southern Horizons The Downbeat Big Band 4. Liggin' Joe Harriot Quintet 5. Orient Line Tubby Hayes & His Orchestra 6. Jazz At The Paris Harry South Big Band SIDE TWO 1. Storm Warning Harry South Big Band 2. Raga (edit) Harry South Big Band 3. Sound Of Seventeen Harry South Big Band 4. Newtyme Waltz Harry South Big Band 5. The Goblin Harry South Big Band 6. Six To One Bar Harry South Big Band 7. Signing Out Harry South R&B12
  • 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
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    Side ONE 1. Moanin’ Timmons 2. Early In The Morning Trad. arr Baker 3. All Members Heath Side TWO 1. The Champ Gillespie 2. Ritual Burch 3. Oleo Rollins 4. Stolen Moments Nelson 5. Milestones Davis R&B39
  • Side One 1. Beverly Pitts Just Some Soul 2. Sly Buttermilk (Pt. 2) 3. The Packers  Hole In The Wall 4. Lorenzo Holden  The Wig 5. Perry & The Harmonics James Goes To Soulville 6. Ike Turner Kings Of Rhythm The New Breed (Pt. 2) 7. Cobra Kings  Big Limas 8. Leon & The Burners  Crack Up Side Two 1. Dino & The Dell-Tones   Slapstick 2. Johnny Talbot   Never Make Your Baby Cry 3. Hubert Sumlin   Tators And Mators 4. The Blendells   Get Your Baby 5. The Corky Wilkie Band   Something Swinging 6. The Dukeys   Sho-Nuf M.F. 7. Lonnie Brooks  The Train 8. The In Crowd   Cat Dance 9. Junior Parker  These Kind Of Blues (Pt. 2) R&B57
  • Side ONE 1. WILTON'S MOOD Wilton Gaynor 2. MINE STILL Eddie Thompson Trio 3. LONDON LAMENT London Jazz Quartet 4 THE GOLDEN STRIKER Jack Parnell & His Orchestra 5. EMBARGO ON ESCARGOT Tommy Watt Quartet 6. SENOR BLUES Joe Harriott Quintet Side TWO 1. NO HAY PROBLEMA Art Blakley & The Afrocuban Boys 2. AFRICAN DANCE International All Stars 3. BLOWIN' THE BLUES Harold Land All Stars 4. NIGHT CRY Barney Kessel 5. GOLDEN EARRINGS The Mastersounds 6. SISTER SADIE Horace Silver R&B34
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    Side One 1. Southern Horizons Harry South Big Band 2. Samba De Janeiro Tony Crombie Orchestra 3. Threesome Dill Jones Trio 4. One For Picka Ernest Ranglin Trio 5. I'm Gonna Go Fishin' The New Jazzmakers 6. Treasure Drive Johnny Dankworth Orchestra Side Two 1. But I Was Cool Oscar Brown Jr. 2. Husky Larry 'Wild' Wrice 3. West Coast Blues Ernie Andrews 4. Funky Festival Rune Overman Trio 5. Go To Hell Mr. Billy Paul 6. Triste Armando Peraza Trio 7. Me And My Lover Billy Higgins 8. Wailin' Lionel Hampton R&B23
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    This is the latest of a terrific series of classic 1960's British jazz… digging a good deal deeper into the jazz side, and, moreover, offering the considerable bonus of rare as hen's teeth UK jazz 7"/EP and LPs with a second CD of American jazz…Rounding off an excellent overview of the club scene are the terrific black and white photos and these capture the atmosphere to perfection. Extensive liner notes come courtesy of Paul 'Smiler' Anderson. A fascinating insight into the kind of music that was played in the hipper clubs of the era... A good, if expensive, time to be a 1960s jazz devotee. Tim Stenhouse UK Vibe A little difficult to grasp: 1961 - The British Perspective by Simon Spillett Not so long ago, the unlikelihood of the Briton as a jazzman would have been perfectly expressed by thinking of him in a bowler hat. Result: complete incongruity, like Mrs Grundy dancing the can-can. Philip Larkin, The Daily Telegraph, July 15th 1961 It's hard to work out what caused the biggest noise in British jazz circles back in 1961. Was it the one and only UK visit of John Coltrane, the first bona-fide American avant-gardist to play to an English audience, whose London début was dismissed in Jazz Journal as “the low water mark of jazz in this country.” Or was it the installation of a new espresso machine at Ronnie Scott's club, “the most out-of-tune contraption of its kind in all of Britain,” according to Jazz News, issuing “steaming sibilance...guaranteed to blast almost any soloist out of audial existence.” Then again, perhaps it could have been the clamouring wheels of the Trad bandwagon, pushing its way up the mountainous slopes of the popular charts? Actually the big story of the year wasn't one at club or concert level, although both appeared to be doing well. Despite the predictions of nay-sayers and the odd spat with other West End promoters (“From Monday to Thursday, the Flamingo quietly folds its wings and drops dead,” observed Scott in December 1960), Ronnie Scott's had survived for just over a year, its successes coming in fits and starts not unlike the splutterings of its new espresso maker. The coffee machine was a good sign though, as was the long-awaited installation of a bar at the premises in April 1961, an event only made possible by the formation of the club’s own “wine committee”, of which Benny Green made a puzzled secretary. Ronnie's was by no means the only London modern jazz spot doing well. Regardless of Scott's jibe, The Flamingo continued to pull the punters, pressed into what one magazine called its “dark, Turkish-bath, but always swinging, atmosphere.” Further afield there was success too; opened in January 1961, by November of the same year Klooks Kleek in West Hampstead boasted a membership of 1600, no mean feat for a venue promoting solely local attractions. On the touring package front, things also looked to be on the up. A welcome relief from what had already begun to seem like a veritable carousel of mainstream and big band artists, the visits of Art Blakey, Thelonious Monk and Coltrane had shown a distinct shift towards the modern, with their respective bands introducing then largely unknown new stars such as Elvin Jones, Eric Dolphy and Wayne Shorter to local audiences. Each of these visits caused moments both controversial and thought-provoking, some less well-publicised than others, including Elvin Jones' memorably Dadaist sit-in at Scott's, which brought delight to some (Tubby Hayes) and dismay to others (a well-known British trumpeter who was moved to scoff “that man can't count four bars!”). Another US visitor that year – bassist Charles Mingus, in England to appear in the jazz-does-Shakespeare film novelty All Night Long – hung around long enough to get more of a measure of the parochial scene, holding court in a series of interviews which found him unafraid to confront what he saw as the failings of the UK's jazzmen. “The trouble here, so far as I can see, is that everyone's listening to records and taking their cues from these,” he remarked perceptively. “It seems to me if our records weren't issued in Britain, the British cats would have to think for themselves.” Balancing this critique, Mingus had been quick to praise those local players who he did think were onto something of their own, including Ronnie Scott and Joe Harriott (“he's got a good sound”) in whose free-form experiments he recognised the spirit of a fellow maverick . As cutting as Mingus was, his remarks about “our records” had an almost laughable irony to them. The label to which he was then signed – Candid – hadn't yet found a UK distributor. Indeed, local modernists weren't nearly as up-to-date as their album-chasing legend might have us believe, something rammed home early in 1961 by the arrival in the UK of the Blue Note catalogue, arguably the finest on-record representation of modern jazz to date. If the label had long exemplified the height of hip to US jazz listeners, its message had taken an age to find English ears. Hitherto available as super-inflated imports or sailor-smuggled luxuries (Tony Hall recalls paying an astronomical £4 per LP in the late 1950s), a deal struck with Central Record Distributors meant that from February 1961, Blue Notes were now regularly available in the UK for the first time. Regardless of a still-expensive price tag (49/9 each, 12/- more than an average British 12” LP), the demand was ridiculous, with Doug Dobell's famed London record shops' initial stock selling out in less than ten days. Within seven months, Blue Note had sold four times as many albums as they'd budgeted for, good news for record retailers and fans but a further kick in the teeth to those trying to sell local modern jazz on record. The timing couldn't have been more bittersweet. Shortly after Blue Note began to appear in the racks, Tony Hall finally threw in the towel at Tempo, the label that had almost single-handedly documented the harder end of UK modernism for close to five years. Tempo's final modern jazz release – The Jazz Five's The Five Of Us – had received good press, but as a commercial commodity it had been a dead loss. “When you can buy a Miles Davis LP for a couple of bob less, can you really afford to buy, say, Tubby Hayes' latest, however much you dig British jazz?” Hall had asked ruefully in Jazz News. If the question was somewhat academic, there were nevertheless some signs of a welcome change of pace. At the eye of the Trad hurricane, in February 1961, Johnny Dankworth's incessantly catchy African Waltz three-foured its way into the popular charts, selling a staggering 24,000 copies in a month. Barely had this news broken than Tubby Hayes put his moniker to a contract with Fontana, “the first British modernist to be signed to a major label in some years,” reported Melody Maker excitedly. Indeed, the big noise in British modernism that year wasn't in the clubs, at festivals or on the radio - it was on record. And, like all things in British jazz, it was a tale of equal parts triumph and disaster. The latter were all too easy to under-sensationalise: the end of Tempo, Blue Note's dismissal of its one ex-British artist (Alfred Lion: “the public did not really take to our recordings of Dizzy Reece”), the Musicians' Union putting the block on Dizzy Gillespie recording in London. After all, hadn't this been the story for years now? But, for once, the triumphs seemed to be coming in greater numbers; that year the US Riverside subsidiary Jazzland licensed recordings by The Jazz Couriers, The Joe Harriott Quintet and The Vic Ash-Harry Klein Jazz Five for Stateside release (“MUST HAVE!” Jazzland's Bill Grauer had cabled Tony Hall on hearing the Ash/Klein tapes); pianist Dave Lee's album 'A Big New Band From Britain' spent six weeks in the famed US 'Cash Box Top Ten'; and Don Rendell found himself the first British modernist signed exclusively to an American label - also Jazzland - (“Forgotten Jazzman nets big disc deal” Melody Maker), effectively resuscitating his career. Rendell wasn't the only beneficiary. Almost overnight, it was as if the lifeblood had been pumped back into British modernism. Cool, it seemed, was well and truly out. “Filling the void is something which should inject a new life into the whole modern scene,” wrote Melody Maker's Bob Dawbarn that summer, “- excitement”. It was hard not to sense a burgeoning confidence beginning to infuse the music. All of a sudden, local modern LPs began to receive rave reviews, with one – Tubby Hayes' initial salvo for Fontana, Tubbs – named Melody Maker's Jazz LP of the Month in July 1961, succeeding none other than John Coltrane's Blue Train. There was even sign of an end to the closed shop mentality that had for so long kept British bop hemmed in. Hot on the heels of signing Tubby Hayes, Fontana had also bagged twenty year old Dick Morrissey, a saxophonist whose precocious ability came close to that of Hayes himself. “I'm still trying to find a really serious grouse with the whole thing,” wrote Jazz News's Kevin Henriques reviewing Morrissey's debut disc, as if it just wasn't cricket to favour the local lads. Even those not generally sympathetic to contemporary jazz styles had at last begun to yield. In late 1961, Denis Preston – Lansdowne studio’s maven of mainstream and a leading architect in building the Trad Boom – recorded the Emcee Five, a frighteningly accomplished “territory band” from Newcastle upon Tyne, the mere existence of which said everything about how deeply modernism had taken root throughout the UK. Where it should venture next was obvious. Having successfully exported recordings by its leading exponents – Harriott, Scott, Dankworth – to the US, it was now only a matter of time until we exported the real thing, a pipe-dream that became a reality in September 1961, when Tubby Hayes inaugurated a UK/US soloist exchange deal enabling American players to appear at Ronnie Scott's club while their English opposites played New York. Earlier that year, Hayes had complained, “the British scene is very limiting. It is difficult to get beyond working around the Wardour Street-Gerrard Street area.” Now, he was working Hudson and Spring, attracting audiences including Miles Davis and Cannonball Adderley, a sure fire sign that British modernism had finally made the biggest leap of its short-life – one as much cultural as artistic. The story of this transatlantic détente was set out on record for all to hear: Hayes recording in New York with a band including Clark Terry, while Zoot Sims was taped over several nights at Ronnie Scott's club, sounding just as comfortable with his English accompanists as Hayes had with his US ones. It was the ultimate victory. “Even five years ago, [this] would have seemed like wishful thinking,” summed up Benny Green in his sleeve note to Tubbs in N.Y. “Even after hearing [this record] I find it all a little difficult to grasp.” What Hayes and has colleagues had grasped though – in essence the nettle of opportunity – was to prove particularly awkward to hang onto in the year ahead. Indeed, far down among the provincial undergrowth lay a threat few would have thought serious at the time. Yet it was there all the same. Reviewing the club scene in Liverpool at the end of 1961, Jazz News cautioned “you would be quite surprised at the 'jazz section' of the evening paper. Some of the groups that appear are called The Beetles [sic.], Undertakers and the Galvanisers...” The Beetles? The name said it all: this was to be one hard-shelled opponent. RANDB042
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    SIDE ONE 1. Hootin' (Ash) The Jazz Five 2. The One That Got Away (Carr) Emcee Five 3. Blue Denham (Lee) Dave Lee Orchestra 4. Fidel (Keane) Shake Keane Quintet 5. Jeannine (Pearson) Don Rendell 6. Tubbsville (Hayes) Tubby Hayes Quartet SIDE TWO 1. I Only Want Some (Leiber/Stoller) Chris Connor 2. Soul Sister (Corbin) Harold Corbin 3. Preachin' Jazz (Ford) Fred Ford 4. Mr. Kicks (Brown Jr) Eldee Young & Co. 5. Doin' The Sixty-Eight (Kirk) Roland Kirk & Jack McDuff 6. Comin' Home Baby (Tucker) The Dave Bailey Quintet 7. Society Red (Drew) Jimmy Drew R&B15
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    Side One 1. Before Six Larry Frazier Impulse! 45-205 1962 2. Funky Mama (Pt.1) Lou Donaldson Blue Note 1868 May 1962 3. The Wave Lalo Schifrin MGM K13224 Oct 1962 4. Camp Meetin' Don Wilkerson Blue Note 1864 Jun 1962 5. The Shampoo Les McCann Pacific Jazz 350 1962 6. Baby Lou Jimmy Drew Decca 31275 1961 7. Chano Johnny Dankworth Columbia DB 4695 Sep 1961 Side Two 1. Boss Tres Bien The Quartette Trés Bien Norman 541 1962 2. Scootin' Sam Lazar Argo LP 4015 1962 3. Creole Walk Phil Guilbeau & His Creole Stompers Atlantic 5025 Feb 1962 4. Fire Down Below Ted Curson Prestige 241 Dec 1962 5. Lady E Tubby Hayes Fontana TL 5195 Jun 1962 6. After Six Larry Frazier Impulse! 45-205 1962 R&B4
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    Side One 1. A Kettle Of Fish Brother Jack McDuff 2. Days Of Wine & Roses The Quartette Trés Bien 3. Blues for Mister Fink Gene Ludwig Organ Trio 4. What Are You Trying To Do To Me Bobby Powell 5. Here Now! Charles Kynard 6. Cleopatras Needle Ronnie Ross 7. Goose Pimples Butch Cornell's Trio 8. How Tony Kinsey Side Two 1. Hobo Flats Damita Jo 2. Shake A-Plenty Hank Crawford 3. Jack Sax the City Johnny Beecher 4. Hum Drum Blues Elaine Delmar 5. Minerology Chris Columbo Quintet 6. Boeing 707 Johnny Hawksworth Trio 7. For Petie's Sake Jimmy Russell 8. One Way Pendulum Johnny Scott Quartet Recordings first published 1963 R&B6
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    Side One 1. Night Talk Directions In Jazz/Johnny Scott 2. The Killers Of W1 Tubby Hayes Big Band 3. Rustic Gait Directions In Jazz/Ronnie Ross 4. Mark 1 Johnny Dankworth 5. Times Two And A Half Bill Le Sage & The New Directions In Jazz Unit Side Two 1. El Soulo Les McCann 2. Feeling Good Ahmad Jamal 3. Rattlesnake Monty Alexander 4. Blues For Mister Charlie #1 Bobby Sharp 5. Broadway Caravan Clifford Scott 6. Little Suzie Ray Bryant 7. Nightingale Willis Jackson 8. Champin' Eddie Chamblee Recording first published 1964 R&B9
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    SIDE ONE 1. Affectionate Fink Harold McNair 2. Manners Maketh Man Tubby Hayes 3. Last Of The Wine Ronnie Ross & His Band 4. Mcghee Mcghee Roy Budd 5. Morning Train Chris Barber Soul Band 6. Big City Strut Col Richardson Combo 7. Bare Hugg Manfred Mann 8. Sidewinder Ted Heath Orchestra SIDE TWO 1. Next Time You See Me Blue Freddie Roach 2. Feeling Good Lainie Kazan 3. Soul Message Richard Groove Holmes 4. Funky Soul Terrell Prude 5. After This Message Mitchell-Ruff Trio 6. Blues A Go Go Lalo Schifrin 7. Chittlin' Juice Gene Ludwig 8. Let's Get It On Part 1 & 2 Sonny Knight Quartette R&B16
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    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 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.
  • 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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    Side One 1. Six To One Bar Harry South Big Band 2. Treat It Lightly Ronnie Scott 3. Coming Home Baby Harry Stoneham & Johnny Eyden 4. Big P The New Jazz Orchestra 5. Bluesology Alex Welsh 6. Hit and Run Ralph Dollimore 7. Punjab Johnny Scott Side Two 1. Mizrab Gabor Szabo 2. Vampire Jimmy Tillman Quartet 3. One Track Mind Freddie Roach 4. Hi Heel Sneakers Benny Poole 5. Hallelujah Freddie Roach 6. The Wailer Sonny Cox R&B24