CDs

  • 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
  • Out of stock
    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  
  • Out of stock
    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. Big City Strut (Ian Carr)
    2. Trane's Mood (Michael Garrick)
    3. I Could Write A Book (Rodgers/Hart)
    4. Interplay (Bill Evans)
    5. She'll Be Back (Michael Garrick)
    6. Garrison '65 (Don Rendell)
    Relayed live from the Playhouse Theatre, London Jazz Club BBC Light programme, 19th April 1965  
    1. Hot Rod (Carr/Garrick)
    2. Ursula (Michael Garrick)
    3. Tan Samfu (Don Rendell)
    4. Sailin’* (Mike Carr)
    5. October Woman (Michael Garrick)
    6. The Sixth Seal* (Michael Garrick)
    *featuring Mike Carr (vib) Relayed live from the Playhouse Theatre, London Jazz Club BBC Light programme, 25th October 1965
    1. Nimjam (Jeff Headley)
    2. Prayer (Michael Garrick)
    3. Secrets (Michael Garrick)
    4. Ruth (Don Rendell)
    5. Blue Doom (Rendell/Carr)
    Jazz Club BBC Light programme, 9th January 1966
  • The Weekend Starts Here That was the invite we got when we tuned in to the best music show in the UK, nay, in the world every Friday evening from August 9, 1963 to December 23, 1966. The CD you have in your hands contains 13 tracks from the Animals on RSG, 27 tracks taken off US TV, 9 tracks from French radio, and an interview with Eric Burdon. 3 tracks from August ’65 are by The Animals Big Band; the boys supplementing their stage presence with a brass section - no British band had ever before sounded this close to an American black jump blues outfit. While The Complete Live Broadcasts I zeroed in on the songs, this set captures much of the atmosphere of the group’s live performances. The Animals created dozens of superb tracks across their singles, EP’s and albums between 1964 and 1966 but the best way to experience the group was live. This set is the nearest equivalent to actually being there. Dave Stephens RANDB061
  • Pianist Michael Garrick was among the most boldly ambitious British jazz figures of the late-1960s, tirelessly pioneering various new fusions uniting his first love – straight-ahead jazz – with Indian music, liturgy and poetry. Featuring two previously unreleased sessions taped in 1967 and 1969, this album charts the course of his music from post-bop convention towards an indisputably ‘English’ jazz sound. Containing provocative live versions of several well-known Garrick compositions and an all-star cast, it truly captures the era in which UK jazz began to loosen its collar and let down its hair. RANDB076
  • Disc One
    1. Introduction & Interview
    2. Saturday Night Fish Fry
    3. Interview on arrangements
    4. Yeh Yeh (1)
    5. Preach And Teach
    6. Interview on being #1
    7. Yeh Yeh (2)
    8. Tell All The World About You
    9. Let The Sunshine In
    10. Interview on success in USA
    11. In The Meantime (1)
    12. Point Of No Return (1)
    13. Telegram
    14. Yeh Yeh (3)
    15. Interview on Johnny Burch
    16. In The Meantime (2)
    17. Get On The Right Track, Baby
    18. Interview on the follow up
    19. Like We Used To Be (1)
    20. Rockin‘ Pneumonia Boogie Woogie Flu
    21. No No
    22. Move It On Over
    23. Interview on dancing
    24. Like We Used To Be (2)
    25. Monkeying Around
    26. Point Of No Return (2)
    27. Interview on John Mayall
    28. Something
    29. Ride Your Pony
    30. The World Is Round
    31. Interview on jazz
    32. My Girl
    33. Boot-leg
     
    Disc Two
    1. Interview on Sweet Thing
    2. Sweet Thing (1)
    3. Funny How Time Slips Away
    4. See-Saw
    5. Uptight
    6. Interview with Lulu
    7. Call Me
    8. You'll Never Leave Him
    9. Interview on Get Away
    10. Get Away (1)
    11. Last Night
    12. Close The Door
    13. Interview on going to USA
    14. Get Away (2)
    15. Sweet Thing (2)
    16. Sunny (1)
    17. Interview on Sound Venture
    18. Dawn Yawn
    19. Lovey Dovey
    20. Papa’s Got A Brand New Bag
    21. Interview on Harry South
    22. Keep Your Big Mouth Shut
    23. Three Blind Mice
    24. Do The Dog
    25. Interview on end of the Blue Flames
    26. Because I Love You
    27. Point Of No Return (3)
    28. Waiting Time
    29. Interview on New York
    30. El Pussycat
    31. Sunny (2)
     
  • Sale!
    What you have on this 2CD set is a glimpse into Georgie Fame’s world circa 1964/65. It comprises 45 songs recorded for the BBC and others between 1964 and 1965 (mostly in excellent quality sound), including two exciting live audience performances broadcast direct from the legendary Ricky Tick Club in Windsor. Fame was different; he played soul, blues, dance music, ballads, ska/blue beat, vocalese, big band jazz, hillbilly, New Orleans and even World Music, decades before that term was invented. For anyone who wishes to explore this world, the 2CD set you have here offers the very best of guided tours. To quote Georgie from “Night Train”: All aboard children! 16 page booklet with notes by Dave Stephens.
  • Sale!
    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  
    1. Idioms
    2. Thomas
    3. Here's That Rainy Day
    4. Sub Cruise
    5. The Rake
    6. Spiritual Blues
    7. Merlin The Wizard
    8. Nardis
    9. Portrait Of A Young Lady
    10. Polka Dots & Moonbeams
    11. Blue 'n' Boogie
    12. Moanin'
    13. Round About Midnight
    14. Coda
    15. Tempo
    16. Calypso Sketches
    17. Count Twelve
    TRACKS 1 - 6 - Joe Harriott (as), Shake Keane (tp), Pat Smythe (p), Coleridge Goode (b), Bobby Orr (d). November 21st, 1964 TRACKS 7 - 11 - Joe Harriott (as), Ian Carr (tp), Michael Garrick (p), Coleridge Goode (b), Alan Green (d). January 2nd, 1966 TRACKS 12 - 17 - Joe Harriott (as), Les Condon (tp), Pat Smythe (p), Coleridge Goode (b), Phil Seamen (d). January 27th, 1961
  • Virtuoso blues guitarist Bobby Parker inspired John Lennon, Eric Clapton, Carlos Santana, Jimmy Page and many others yet it has taken 66 years since his recording debut for a proper compilation to be issued under his name. The one you all know, Watch your Step was played on stage by the Beatles in their Hamburg days who by their own admission, took its riff to fashion the opening to I Feel Fine. And let’s not forget Led Zeppelin’s Moby Dick, which borrowed that same riff. What a great soulful blues singer Bobby Parker was too. From his 1956 recording of Titanic, to 1969’s It's Hard But It's Fair, we present some unforgettable vocal performances plus guitar instrumentals that showcase his unique way of playing the blues. And there are some unreleased live performances from a radio show broadcast in 1995. Bobby Parker originals are hard to come by – apart from the hit Watch your Step, everything else is a valuable collector’s item. But this compilation brings them all together in one set and we can promise a treat in store for you. An excellent new 2CD compilation…offers the listener a deep dive into the legacy of a historically significant artist, meriting attention from anyone who can appreciate an organic fusion of blues, soul, a bit of doo-wop and prototypical rock…Bobby Parker’s timeless recordings still pulsate with personality, righteous energy, superb musicianship and soulful flair. If you don’t already know that fact firsthand, Soul Of The Blues is here to enlighten and entertain. Roger Wood Living Blues This is how all compilations should be done Dave Penny Blues & Rhythm This two-CD set – the first-ever compilation that focuses solely on his music – should change that. One listen, and you’ll be wondering why he flew under the radar for so long… Run, don’t walk, to buy this one. Bobby Parker was a treasure. This one’s going on my short list for historical album of the year, and, once you hear it, you’ll probably feel the same way, too. Marty Gunther Blues Blast Magazine (R&B Records) should be congratulated on putting together a comprehensive collection of hard to find material John Mitchell Blues In Britain All in all the 52 tracks here are a veritable treasure trove of wonderful music. And the presentation of the CD set is superb with a sumptuous booklet…I can’t recommend (it) strongly enough…The definitive Bobby Parker is a dream come true for fans like me – this is the best reissue CD of 2020 for sure. Don’t you dare miss it! John Ridley RANDB060
  • Sale!
    Disc One British Jazz
    1. Eddie Thompson Trio Eddification
    2. Don Rendell Jazz Six Johnny Comes Lately
    3. The Jazz Couriers Mirage
    4. Tony Crombie Ninth Man
    5. Alan Clare Trio Morning Fun
    6. Melody Maker All Stars Hark Dog
    7. Ronnie Ross Quintet The Serpent
    8. Jimmy Deuchar Sextet Jak-Jak
    9. Vic Ash Sextet Just For The Boys
    10. Don Rendell Jazz Six Tickletoe
    11. Dizzy Reece Quintet Close Up
    12. Ronnie Ross Quintet Slidin'
    13. Ken Moule's Music Fishin' The Blues
    14. Johnny Dankworth Jim and Andy's
    15. The Jazz Couriers The Serpent
    16. Jimmy Deuchar Sextet Heather Mist
    17. Tony Kinsey Quintet Autumn In Cuba
    Disc Two Jazz U.S.A
    1. Eddie Costa Quartet Guys and Dolls
    2. Art Blakey Jazz Messengers Moanin' (45rpm)
    3. Hampton Hawes There Will Never Be Another You
    4. Harold Land Quintet You Don't Know What Love Is
    5. Kenny Burrell Septet The Man I Love
    6. Mose Allison Trio The Seventh Son
    7. Lou Donaldson Quintet Blues Walk
    8. Bill Evans Trio Tenderly
    9. Cannonball Adderley Autumn Leaves
    10. Ahmad Jamal Trio Poinciana (45rpm)
    11. Miles Davis Milestones
    12. John Coltrane/Kenny Burrell Freight Trane
    13. Horace Silver Quintet Pyramid
    14. Count Basie Orchestra Lil’ Darlin’ (45rpm)
  • Disc One 1. Speak Your Piece March 3rd 1965 Hoochie Coochie Men 2. I’m On To You Baby March 3rd 1965 Hoochie Coochie Men 3. Turn On Your Lovelight March 3rd 1965 Hoochie Coochie Men 4. Bright Lights, Big City February 28th 1964 Hoochie Coochie Men 5. The 2.19 February 28th 1964 Hoochie Coochie Men 6. Mojo Working February 28th 1964 Ensemble 7. You're Breaking My Heart March 19th 1964 Long John Baldry/Blue Flames 8. Medley April 28th 1964 Long John Baldry/ Vernon Girls 9. Backwater Blues Early 1965 Hoochie Coochie Men 10. St. James Infirmary Early 1965 Hoochie Coochie Men 11. Time's Getting Tougher Than Tough Early 1965 Hoochie Coochie Men 12. Speak Your Piece Early 1965 Hoochie Coochie Men 13. Five Long Years Early 1965 Hoochie Coochie Men 14. Gee Baby, Ain't I Good To You Early 1965 Hoochie Coochie Men 15. Stormy Monday Early 1965 Hoochie Coochie Men 16. (We're Gonna) Jump For Joy August 8th 1965 Ensemble with Eric Burdon 17. Lord, Remember Me August 8th 1965 Steampacket 18. It’s All Right September 28th 1965 Steampacket 19. How Long Will It Last September 28th 1965 Steampacket 20. In The Midnight Hour September 28th 1965 Steampacket 21. Going To A Go Go June 7th 1966 Steampacket 22. The Drifter June 7th 1966 Steampacket 23. Everything's Gonna Be Alright June 7th 1966 Steampacket 24. I Didn't Want to Have to Do It June 7th 1966 Steampacket Disc Two 1. Filthy McNasty Early 1965 Hoochie Coochie Men 2. Sunset Eyes Early 1965 Hoochie Coochie Men 3. She’s A Woman June 7th 1966 Brian Auger & The Trinity 4. Cuckoo January 1967 Long John Baldry/Bluesology 5. Turn On Your Lovelight January 1967 Long John Baldry/Bluesology 6. Morning Dew November 1967 Long John Baldry/Bluesology 7. Let The Heartaches Begin November 1967 Long John Baldry/Bluesology 8. Bad Luck Soul November 1967 Long John Baldry/Bluesology 9. How Sweet It Is November 1967 Long John Baldry/Bluesology 10. Mexico May 1968 Long John Baldry/Bluesology 11. Morning Of The Carnival May 1968 Long John Baldry/Bluesology 12. Janine May 1968 Long John Baldry/Bluesology 13. Better By Far August 1968 Long John Baldry/Bluesology 14. When The Sun Comes Shining Thru’ August 1968 Long John Baldry/Bluesology 15. The Drifter August 1968 Long John Baldry/Bluesology 16. Call It Stormy Monday Unknown Long John Baldry/Bluesology 17. I Can't Stand It June 5th 1965 Brian Auger & The Trinity 18. Fool Killer June 5th 1965 Brian Auger & The Trinity 19. Just Got Some Unknown Brian Auger & The Trinity 20. Rock Candy Unknown Brian Auger & The Trinity 21. Let's Do It Tonight June 5th 1965 Brian Auger & The Trinity 22. Loop De Loop June 5th 1965 Brian Auger & The Trinity
    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
  • Out of stock
    In 1965, there were two types of group in the UK: those influenced strongly by the Beatles, and those whose raison d'être was American blues and R&B. In part this split would have come about because of the pioneering blues work from Alexis Korner and Cyril Davies, who were both London based. Newcastle’s Animals and Belfast’s Them were the two biggest exceptions. Among the highlights of this CD set are the Animals’ contributions to a Granada TV show “Whole Lotta Shakin’ Goin’ On”. Check out the clip on the net - the camera sweeps across and Eric kicks into the a cappella intro to “Talkin’ ‘Bout You” supported only by hand clapping; there’s a flourish from Alan Price’s Vox and they’re off. Elsewhere the boys conjure up images of people like Pinetop Perkins via Ray Charles’ early classic “Mess Around”; they give us their take on the much recorded “See See Rider” which doesn’t owe a debt to anyone; and they deliver a swinging ”I Got To Find My Baby” with plenty of ad hoc extras from Eric. Several of those great hit singles (plus a flip plus some LP tracks) are here too, all benefitting from full “road testing”; Hooker’s “Boom Boom” is a stand -out with mood switching between intimacy and all out rocking. Round about the time the Animals‘ first single was released, I saw the band perform in one of those Central London clubs you have to go downstairs to reach. They were the toughest of the British R&B Groups. They were the real thing. Dave Stephens RANDB057 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. 24-page booklet included
    1. Jailhouse Rock
    2. Interview
    3. Paint It Black
    4. See See Rider
    5. The Same Thing
    6. Interview
    7. When I Was Young
    8. A Love Like Yours
    9. Connection
    10. If I Were A Carpenter
    11. Shake, Rattle & Roll
    12. McCullough's Rockin' Blues
    13. Yes I´m Experienced
    14. It’s All Meat
    15. San Franciscan Nights
    16. All Night Long
    17. Good Times
    18. I Get So Excited
    19. Interview
    20. San Franciscan Nights
    21. Anything
    22. Interview
    23. Monterey
    24. All Night Long
    25. Orange & Red Beams
    26. Monterey
    27. Interview
    28. It Hurts Me Too
    29. White Houses
    30. Landscape
  • Sale!
    1. Sunday Lunch
    2. Off The Wagon
    3. Inner Urge
    4. You Don’t Know What Love Is
    5. Le Roi
    BBC Paris Theatre, London, June 11th 1967
    1. The Whims of Chambers
    2. Le Roi
    3. My Ship
    4. Inner Urge
    5. No Room For Squares
    6. You Don’t Know What Love Is
    7. Don’t Fall Off The Bridge
    BBC Playhouse Theatre, London, October 18th 1967 Dick Morrissey (tenor saxophone); Harry South (piano); Phil Bates (bass): Bill Eyden (drums) Introduced by Humphrey Lyttelton
  • Out of stock
    1. Around And Around
    2. Off The Hook
    3. Time Is On My Side
    4. It's All Over Now
    5. I'm Alright
    6. Let's Get Together
    7. Carol
    8. Not Fade Away
    9. Carol
    10. Mona
    11. Not Fade Away
    12. High Heel Sneakers
    13. I Just Want To Make Love To You
    14. Ad Break – Rice Krispies
    15. I Wanna Be Your Man
    16. You Better Move On
    17. Roll Over Beethoven
    18. Beautiful Delilah
    19. Around And Around
    20. Time Is on My Side
    21. Not Fade Away
    22. I Just Want To Make Love To You
    23. I'm Alright
    24. I Just Want To Make Love To You
    25. Not Fade Away
    26. Not Fade Away (take 1)
    27. Beautiful Delilah
    28. Walking The Dog
    29. High Heel Sneakers
    30. Susie Q
    31. Mona
    32. High Heel Sneakers/Not Fade Away
    33. I'm Movin' On
  • 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
  • Disc One Commonwealth Jazz Orchestra August 30th 1965
    1. Change Of Setting
    2. Blues For Pipkins
    3. Double Stopper
    4. The Song Is You
    5. Whisper Not
    6. 100% Proof
    7. Blame It On My Youth
    8. Wives and Lovers
    9. I Never Know When To Say When
    10. What’s Blue?
    Disc Two Tubby Hayes Quartet January 25th 1965
    1. Mini Minor
    2. Con Alma
    3. Sometime Ago
    4. Souriya
    5. So What
    July 12th 1965* (low fidelity recording)
    1. Change Of Setting
    2. Alone Together
    3. Sometime Ago
    4. Spring Can Really Hang You Up The Most
    5. Don’t Fall Off The Bridge
       
  • 1. My Babe (1) 2. Got My Mojo Working (1) 3. Leave My Woman Alone 4. Good Understanding 5. Country Line Special (1) 6. Got My Mojo Working (2) 7. Hallelujah All My Blues Have Gone 8. Roll 'Em Pete (1) 9. How Long, How Long 10. Sadness Done Come 11. See See Rider (1) 12. Country Line Special (2) 13. Careless Love 14. On A Monday 15. I'm Movin' On 16. Mockingbird 17. Night Time Is The Right Time 18. Harmonica Breakdown 19. Preaching the Blues 20. I'm Ready 21. Money's Getting Cheaper 22. Country Line Special (3) 23. My Babe (2) 24. Chicago Calling 25. See See Rider (2) 26. Country Line Special (4) 27. Hey Roberta 28. Roll 'em Pete (2) Tracks 22-23 recorded 1/8/1963 BBC Manchester as part of the Pop Go The Beatles show. Tracks 24-28 recorded 2/7/1963 BBC London. All other tracks were recorded for ATV TV Show Hullabaloo. (The widely published broadcast dates for these shows are unreliable.) Sound quality: Hullabaloo – excellent, BBC Manchester – very good, BBC London – listenable.
  • 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.
  • 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
  • As the UK fired up to the 'White Heat' predicted by its new Prime Minister Harold Wilson, the nation's jazz scene was already aglow with talent, both established and up and coming. Indeed, London was a boiling crucible of jazz invention, mixing R&B, Hard Bop and a pinch of the Avant-Garde to forge its very own alchemic brand of jazz. Soho Scene '64/'65 captures this moment perfectly, a time when The Beatles and Bond were both new and fresh and when Brit-Jazz sounded as colourful and swinging as anything sashaying down Carnaby Street. Booklet notes by Simon Spillett RANDB058 I love this series. Since every track is different, dynamic and tasty, you can listen straight through without ever looking up… Where American big-band jazz trailed off in the early 1960s Britain continued to develop the genre further and with gusto… the U.S. sides are funky and off the beaten path, making for a wonderful juxtaposition between jazz evolution in London and the U.S. during the exact same two-year period. It's all here on this new set and series. Grab your Lambrettas! Marc Myers Jazzwax.com