Each month, we are focusing on a record label founded by an active digger. This month, Gerald from Jazzman Records : in our opinion the greatest reissue label of them all, a pioneering mind in the Rare Groove scene and an inspiration to all of us, starting in the early 90s with his legendary stall in Camden Town. He talks about his passion : music, vinyl records, from digging to publishing.

When did you start digging records?
The first real trip that I undertook with a specific aim to search out old records, rather than casual record shop browsing, was probably 1992 or thereabouts. I’d just started out in business and I heard a rumour that St Louis in the US was good for old records, so the plan was to go there and hope for the best, simple as that! In those days there was no internet, and unless you’re old enough to remember the pre-internet days, it’s hard to imagine that the only information you could get about records & record shops was purely word of mouth or ads in music magazines.

What LP’s did you buy at first? Do you still listen to them?
The first record I ever bought was Madness “The Return Of The Los Palmas” – I got it because it came with a free comic so I thought it was better value compared to getting just a record! It’s got a ska version of “Swan Lake” on it but these days I prefer the 1968 version by The Cats which was probably where Madness got their idea from.

Do you have a particular style or favorite period?
Different styles are often best during different periods, for instance funk from 1968-72 is often acknowledged to be the Golden Era not just for funk but all kinds of music. I also like blues from the 1930s & 40s, oddball instros from 1959-63, and jazz from all periods, although there was a bit of a lull in the 80s and 90s, but some better stuff has been made more recently.

Are you still digging’, buying vinyl, visiting record shops?
Since I moved out of London a few years ago I don’t find the time like I used to, most « digging » is done online, but when I do go to London every few weeks yes I try and find the time, mostly at Eldica, Flashback or London House of Records, which is a private dealer rather than a shop. I also still travel to the US every year and make little trips here and there, always on the lookout… Never Stop Diggin’ as the saying goes!

What was your first release on Jazzman? And why this one?
It was the late 1990s and prices were starting to get crazy high because the supply was dwindling and the demand was increasing, so it made sense to start a reissue label. I didn’t have enough money to make LPs and CDs, so I decided to start with 7”s which cost a lot less. I had this 7” by Kathleen Emery that I got from renowned dealer Bob Gibson from Boston, he sold it to me on the basis of the flipside “Evil Ways” but I preferred the A side, a funky version of “Sometimes I Feel Like a Motherless Child” with some fat drums & bass; nobody I knew had heard of it and everyone I played it to was into it, so it seemed like a good choice.

Soul Expedition
Night Life

Why did you choose this name: Jazzman? Why this explicit reference to jazz?
I didn’t make it up, my girlfriend called me the « Jazzman » so it stuck! I decided to keep the name despite my interest in soul & funk etc, because jazz is basically the root of it all. Without jazz there wouldn’t be a lot else.

You have issued series about Spiritual Jazz … A longtime passion?
In the early 2000s I was working with Malcolm Catto doing funk reissues, but we were both into jazz too. Specifically modal jazz, or spiritual jazz as it was becoming known ie music that was derivative of John Coltrane, Sun Ra etc. We’d done quite a few funk things by this point and I didn’t want Jazzman to be known as just a funk label, so the time was right to branch out a bit. I was concerned whether or not people would be into it as it’s quite a departure from the funk stuff we were known for, but the first album contained quite a few tracks that had a bit of a groove going on eg Salah Ragab, Frank Derrick, so we gave it a go, and it seemed to work.

Your favourites on it?
I honestly can’t specify favourites, they’re all good for one reason or another. I must say I was pleased to get Lloyd Miller on there, the inclusion of his music on that album was the first time it had been issued anywhere since his own releases and I’d been looking for an excuse to get his music re-released for quite a long time.

Jef Gilson
Chant Inca

You did a lot of work about french composer Jef Gilson. How did you discover him?
When you hear a piece of music that you like, it’s natural to investigate other stuff by the same artist to see if it’s any good too. I can’t remember exactly which album of Jef’s that I first heard (probably the one on Saba) but I do know that every record of his had something on it that I enjoyed. Not only that, but he had his own sound. A lot of lesser musicians end up sounding the same, but Jef has a sound of his own, and in particularly good taste. These kind of things sit in the back of the mind, and at some point or other the concept of getting the music out there one way or another starts to form. Then it was just a matter of locating as many of his records as possible, and locating the man himself.

And could you explain the fact of an englishman did a better job than all french label about this great musician?
That I can’t explain, but I can say that I could not have done it without the help of many French people, notably Geraldine Gloro, Jerome Simonneau and Fred Martin.

The Jazzman label is famous for the essential 7” reissues serial from a few years back! How many copies did you press of the best sellers?
1000 as a rule, although some of the popular ones crept up to 2000. The rarest is JM002 by Frank Motley, we only did 500 of those, and we did some WLP of some others where we only made 50…

Riccardo Marrero
Babalonia

Some of your previous long time deleted reissues are now collectible items (Ricardo Marrero, Milton Wright Spaced…). Do you plan any repressing? What do you think of the reissues collector’s market?
I have no plans for repressing those records at the moment. They were limited and numbered editions of 1000 copies, so a repress would make a bit of a mockery of that. Perhaps in a few years, when they’re « old ». One of the reasons for making them numbered and limited is to make sure people bought them. If people thought there was an unlimited pressing and they would be around for a while, they may procrastinate with the purchase. But if they’re numbered and limited – you have to buy now because when they’re gone they’re gone! Of course this means they can command a higher price on the reissues market when they’re sold out, but that’s down to the speculators and dealers and those that slept only have themselves to blame! The reissues market is what it is, as long as there is a demand there will be someone who will sell, and prices go up and down like in any market. It can be interesting and amusing at times to stand back and watch it happen.

We heard rumors about a Jazzman reissue of Mor Thiam much sought-after afro spiritual jazz LP. Is it gonna happen?
I’ve been working on it for about seven years and I think the negotiations are coming to an end so not too long now I hope!

What could be your editorial/esthetic line?
« We dig deeper », a simple phrase that works on a number of levels. If anything, it’s a rod for my own back as it’s something I have to live up to!

What is the Jazzman LP you are prouder? why?
Sorry I can’t single out a specific LP, they all have their particular stories and memories. But the ones closest to me are probably the ones where I met the artist in person, shook their hand, listened to their story. Meeting great artists like Jef Gilson, Bobby Jackson, Lloyd Miller and many, many others can impart something special that you can’t get from an email or a phone call.

You released also the first Lp of Tumi Mogorosi, young South African drummer. What did you like in his music?
It’s breathtaking, the whole album. A masterpiece and a debut album at that. I’d have been a fool not to release it.

How do you find brand new talents? On the internet? On stage? By friends?
Tumi was recommended to me by French record guru Antoine Rajon of Nyami Nyami Records. There are no boundaries to the sources of records, ideas and talent: recommendations from friends and strangers, demos that are sent in, internet searches, anywhere that music can be heard. It’s all about keeping your ears and mind open. I’m very fussy though. Developing an artist takes a lot of time and money to do it right, so if I take the plunge, it has to be right.

What could be the label’s leitmotif?
« What is wrong with groovin’. »

The Brief Encounter
Get A Good Feeling

What is the best deal/business : to make reissues or to produce new records?
With the style of music that we do it is much easier to make reissues, but you will never sell more than a few thousand and often you only sell a few hundred. With new music you may sell just a few hundred too, BUT it’s possible to sell tens of thousands, which will never happen with a reissue. So if you have the time, skill, funding and a bit of luck, the best business is new music.

Is it harder and harder to release compilations? Is it more difficult to obtain copyright by family or producers? Do they ask more guarantees (financial, but also moral)?
It’s easier if anything as more info is online than ever before. What’s difficult is that lots of the artists that we’re interested in are either senile or dying. Obtaining copyrights has been and always will be tricky at times, for all kinds of reasons. If only it were a straightforward job. One thing’s for sure, nothing is straightforward in this business!

Nowadays, there are many LP labels who follow this model, I mean more quality even if it’s more expensive… but in same time, there are also another « new » LP market, with majors’ come-back and other labels, who prefer to sell cheaper. Is it the (re)creation of two camps for the LP?
Not sure and I’m not too fussed what others are doing, particularly the majors, I do my own thing and I do what I think is best.

Prices for rare original LP’s are getting crazy these days. What do you think of it?
They always have been crazy, it’s just a matter of getting used to it. It’s all about supply and demand, and what people are willing to pay.

There are more and more reissues of old LPs, and more and more record labels (major or indie) now release their new artists on LP, or EP. Do you think that the LP reissue market could ever reach saturation point?
Unlikely in that LPs, unlike 7”s, are expensive to produce and the pressing runs are greater. This means that unless they’re super hot they tend not to get repressed, so the cycle of « new release – deletion » is quicker. We have certainly seen saturation in the 45s market, specifically RnB reissues, where the market has been flooded and records kept in print. The result is saturation with 1000s of unwanted, cheap records everywhere.

Uncle Funkenstein

These days more and more bootlegs reissues of rare LP’s arrive on the market (recently World Experience Orchestra, Rick Mason or 1619 Bad Ass Band just to name a few…). I imagine you are, like us, very annoyed by this. How do you react regarding this and what is the correct answer as far as you are concerned?
I’d like to meet the person making them and have a chat. I’d like to introduce them to some of the artists they’re ripping off, face to face. I remember a notorious funk bootlegger back in the day in my office when James Bell (from the Highlighters) was there. We spoke about bootlegs and he was hiding behind the speakers. He’s a coward, just like all bootleggers are. They never reveal their names or identity, and the Funky Planet people are no different. They’re nothing more than criminals out to rip artists off and make money from their cheap and nasty bootlegs. They contribute nothing to the preservation of historic music, they don’t care about the damage they are doing; all they care about is making their dirty money.

Have you received many negative answers on some of the LPs, artists, unreleased tapes, you were trying to reissue?
Not exactly no, quite the opposite in fact. Many people are delighted to be able to hear the music on a rare LP for a few pounds that would otherwise cost hundreds or thousands, not to mention months or years searching.

What are your next releases?
James Tatum, Greg Foat, Belgium Popcorn Story, Nat Birchall… There are 30+ more…!

What is the LP you dream of reissuing?
There are a few that have been denied us for various reasons, such as John Coltrane “Cosmic”, and Dusko Gojkovich “Swinging Macedonia”. Several years ago I wanted to do East New York Ensemble de Music, but the Smithsonian said they would not allow any of their albums to be reissued. Then a year or two later they let someone else do it and there it was! You can’t have them all I suppose. Someone else will do these others one day I’m sure, and there’s plenty more out there besides.

YOU NEED MORE ?

CHECK HIS TOP 5, SPECIAL UK JAZZ

Each month, we are focusing on a record label founded by an active digger. This month, Quinton Scott, the man behind Strut Records, talks about his passion since more than thirty years and goes back on his choices, reissues as new stuff.

When did you start digging records?
I started buying vinyl seriously around 1983.

What LPs did you buy at first? Do you still listen to them?
My first love was early ’80s electro. I would travel from the suburbs to Central London and fight through the bomber jackets at the counter in Soho’s Groove Records to get the latest imports. I still love that era. There are brilliant records and some DIY efforts which have dated really badly but that whole period had a particular innocence and is still very special.

Do you have a particular style or favorite period?
1970-1973 was an incredible time for music but my personal favourite is probably around 1986-1987. You would hear a real variety of sounds in London clubs and warehouses from rare groove to boogie to Washington DC go-go, hip hop and early house and it just felt like a very open-minded time for music.

Are you still digging’, buying vinyl, visiting record shops?
Yes, definitely. Running an indie label doesn’t make you rich and I have two growing kids these days but any spare pennies still go on the vinyl.

What was your first release ?
I started a dance reissues label before Strut called Harmless (still going through Demon Music) and we started that in ’95 with a compilation of Masters At Work’s remixes called ‘Masterworks’. With Strut, I kicked off with an Afro-funk / Afrobeat collection compiled by Brighton DJ Russ Dewbury – ‘Club Africa’.

‘Jungle Funk’ by Nkengas

Why Strut ? What does that mean ?
It’s a funky walk! You’re feeling good and you’re struttin’ down the street. It’s obviously inspired by funk records that used ‘Strut’ in their titles too. I was obsessed with The Meters so ‘Cissy Strut’ was probably coming to mind…

What could be the label’s leitmotif?
“Put the artists first and make amazing, lesser known original music available to everyone”. We try and present our albums to appeal to any music fan – it’s personally satisfying to take the music away from over-protective collectors and DJs who feel like they somehow own the music and make it available more widely.

What could be your editorial/aesthetic line?
There’s a broad philosophy of back catalogue dancefloor music that has influenced today’s generation so Strut covers everything from undiscovered “world” fusions to disco, post-punk and industrial music to early house.

How do you decide on the choice of reissues/issues ?
It can happen in a variety of ways – I may spot a gap in the market for a particular album, one of the collectors we work with regularly may have an idea or we may just get approached by someone that we have never worked with before. For an album to work, it needs to be a unique idea with global potential, preferably with an interesting back-story. I think we generally know instinctively straight away if an album will work as an idea or not.

What is the best deal / business : to make reissues or to produce / co-produce new records?
On the whole, compilations are a much safer bet for us – once you know your market, you have a fairly good idea which ones will work and how many they will sell. With artist albums, it’s much more risky. Our work with Ethio-jazz legend Mulatu Astatke was really successful all the way through and set him up as a major world music star. The Souljazz Orchestra too is an amazingly hard-working band – the most super-organised and focused group I have ever worked with. The problem comes when things don’t go right. Touring may not happen at the right time for one reason or another, visas get stuck in the system, recording costs go way over budget. There’s a whole list of reasons why an artist project can become a nightmare!
 

‘Cha Cha’ by Mulatu Astatke & The Heliocentrics

‘Watch We’ by Horace Andy and Ashley Beedle (Souljazz Orchestra Mix)

How do you find brand new talents ? Do you have a team who works for you, I mean who suggests new releases to you?
We’re lucky with Strut now that we get approached by a lot of artists and collectors / compilers – a lot of projects come about because of word of mouth. We do have regular collaborators; collector Duncan Brooker is a core part of the team and is an endless source of amazing rare music and musicians like The Heliocentrics and Ben Abarbanel-Wolff (man behind the Ebo Taylor and Pat Thomas albums) are always great to work with. But, new releases can just as easily come from an in-house idea or a DJ / collector who approaches us out of the blue with a great project.

Strut often creates collaboration projects (Mulatu/Heliocentrics, Tony Allen/Jimi Tenor, Ashley Beedle/Horace Andy,…). What did you expect through these ? and what are the next moves?
We originally set up a series for this called ‘Inspiration Information’ and felt that it would be a really good way to bring in all kinds of interesting and unexpected collaborations and build them into a unique run of albums. In reality, some albums have worked better than others so we have increasingly focused the branding of any collaborative albums on the artists themselves. The next one is Ghanaian highlife legend Pat Thomas with Kwashibu Area Band featuring fellow legends Ebo Taylor, Tony Allen, Ralph Karikari and Osei Tutu alongside younger musicians led by Kwame Yeboah and Ben Abarbanel-Wolff.

For a long time now, you have been putting out multiple compilations emphasizing the « latin » scenes : Funky Nassau, Fania Selection, Haiti Direct or Calypsoul… In this part of your catalogue, you are adding a new project : Peru. What is the specificity of this scene ? How did you discover it ? Do you believe there was/is a connection between all these latin versions? The Peruvian link has come specifically through a partner label we are working with, Tiger’s Milk. The guys behind that are Martin Morales (ex-Outcaste and now a restaurant entrepreneur in London with the Ceviche group of Peruvian restaurants) and Duncan Ballantyne (ex-Soundway). They have already produced two superb comps, ‘Peru Maravilloso’ and ‘Peru Bravo’ and we’re working together on a fine new folk / electronic band called Kanaku y El Tigre.
For the Latin releases we put out, there’s obviously a direct link with the Nu Yorican sound of ’60s / ’70s and some of the Latin-rooted Caribbean bands of the same era – the issue for us as a compilation label is to come up with something different and fresh. We felt that there needed to be a strong overview of Fania on the market (Dean Rudland compiled a great set for us) and ‘Calypsoul 70’ was more of a general celebration of some of the rare funkier island sounds of the era spanning the Caribbean.

‘You Think it Soft!’ by Lancelot Layne

Strut is involved in most of The Heliocentrics projects. What type of collaboration do you have with them?
We actually only work album by album with the Helios – there’s no long term deal. Jake, Malcolm and I will talk at certain points and the timing will just be right to start putting together a particular album. As collaborators, I don’t think there’s anyone to touch them in Europe – they’re all brilliant musicians and they just have a way of working with the legends that brings out the best from them and takes their music into trippy, progressive new areas. The sessions with Mulatu, Lloyd Miller and Orlando Julius were amazing to watch. Not least for the mixing process – Malcolm and Jake essentially have to piece together a big jigsaw of sessions to create their final versions with amazing attention to detail.

Are you still connected to the electro-disco scene, like Berlin touch for instance ? Do you have some similar projects?
Yes, we’re currently working on a project called ‘Subkultur’ which looks at the Berlin scene of the early ‘80s, some of the key artists like Mania D and Malaria!, one-off art experiments, a brilliant demo of Anita Lane and Mick Harvey doing an anarchic version of Sister Sledge’s ‘Lost In Music’ – there’s all sorts in there. The compiler is a musician who was at the centre of that scene, Mark Reeder, and Horst Weidenmueller, boss of Strut’s parent company !K7, started out filming in Berlin clubs and venues during that time so we definitely have the inside story.

What about the Celluloid years, do you want to make a second part of that, more focused on Braziloid ?
I would love to do another Celluloid / Braziloid collection but it’s one of those messy situations on licensing rights, unfortunately. Through doing the first compilation, we discovered that three different parties had claims to the label name and master rights and it all became extremely complicated with the licensing. So, I doubt another will happen, sadly.

You won Label Of The Year at Gilles Peterson’s Worldwide Awards… How is it to make a living out of a record label in 2015?
It’s definitely hard making it a viable business. Everything has to be right – the idea, the artwork, bringing the album in on budget and setting up a really strong marketing campaign globally. If everything falls into place, you can still make money but if any one part of that mix doesn’t work, it can all fall through your fingers very quickly.

‘Kyenkyen Bi Adi Mawu’ by K. Frimpong and His Cubano Fiesta

‘African Dialects’ by Peter King

You worked with Ebo Taylor, Orlando Julius and now Pat Thomas, and released a lot of african music compilation, including the great ‘Next Stop Soweto’ series! Is Strut the main african label at the moment?
I hope Strut plays its part but there are obviously many superb labels around today. I think our compiler Duncan Brooker certainly changed the whole market with his ‘Afro Rock Vol. 1’ compilation and our first ‘Nigeria 70’ collection around 2000. They were some of the first albums to dig deep into African archives and market the music to a much wider audience than the traditional ‘world music’ buyers which definitely helped to inspire other labels to form. Today, the variety of new and original African music out there is mouth-watering – Soundway, Analog Africa, Awesome Tapes, Sublime Frequencies, Now Again, Glitterbeat, Transgressive, Luaka Bop, Voodoo Funk, Hot Casa and of course, the DADDIES – Stern’s and World Circuit, among many others, including Superfly! All doing a great job. It’s an amazing time for record buyers.

You released a compilation of Sun Ra material with Marshall Allen. How did you get to work with him ? And what was the main aesthetic idea for that particular project?
That one came through the nicest man in the music business, Peter Dennett at Art Yard. He has worked with the Sun Ra catalogue and the Arkestra for many years and pulled the strings to make the album happen, linking us with the catalogue gatekeepers over at Sun Ra LLC. The thinking behind it was quite simple – Sun Ra had primarily always been the domain of the collector and there hadn’t ever been a well-marketed Sun Ra compilation. So, rather than going for a straight ‘Best Of’, we felt that a deeper selection curated by the current Arkestra bandleader Marshall Allen would be a strong direction to take. Marshall is truly inspirational for a 91 year-old and it was a huge pleasure to work with him and Peter.

Have you received many negative answers on some of the LPs you were trying to reissue?
Yes, we do often get knocked back, for different reasons. Artists may want to release the album themselves or may just not want to licence their music at all, our licence fees may be perceived as too low or the rights to a track may be complicated and locked in a legal battle.

From Marshall Allen presents Sun Ra And His Arkestra – In The Orbit Of Ra

There are more and more reissues of old LPs, and more and more record labels (major or indie) now release their new artists on LP, or EP. Do you think that the LP reissue market could ever reach saturation point?
There are a lot of releases but I can’t see it reaching saturation quite yet, no. Labels do a run of vinyl and many releases then don’t get repressed so there’s always new titles coming in to replace the ones that sell out. With the music, a lot has been reissued now but there’s many many great albums that are still untouched so I think the vinyl river will flow sweetly for a good while yet…

What are your next releases?
We have quite a lot coming – a previously unreleased Sun Ra concert from Amiens in 1973 for Record Store Day; new studio albums from Kanaku y El Tigre and Pat Thomas in June; The Souljazz Orchestra drop their best album yet in September; we also have a new compilation put together by Roger Bong, the man behind the excellent blog ‘Aloha Got Soul’ bringing together late ‘70s / ‘80s Hawaiian rarities. Then there’s the ‘Subkultur’ compilation and a new Sun Ra collection curated by Gilles Peterson on the way.

What is the LP you dream of reissuing?
We have tried since Strut first started to work with Eddy Grant on reissuing the brilliant obscure funky oddities from his back catalogue. It won’t ever happen on Strut but, if I can be involved in making it happen on his own label Ice at some point, it would feel like a real achievement!

To go further

ANITA LANE & MICK HARVEY – LOST IN MUSIC (demo)

From ‘Subkultur’ compilation – forthcoming

PAT THOMAS – GYAE SU

SUN RA AND HIS INTERGALACTIC RESEARCH ARKESTRA – LIGHTS ON A SATELLITE

From ‘Planets Of Life Or Death: Amiens ‘73’