Jazz Room 黑胶唱片和CD

Review: Jazz Room reissue the infamous first mini-album by Abacothozi. Formed in 1973 by bassist Berthwel Maphumulo, Mac Mathunjwa on organ, Innocent Mathunjwa on drums, Joe Zikhali on guitar, Thema Maboneng was released in 1975, before being almost immediately forgotten. However, a recent rediscovery by diggers and curators Kon & Amir, for their lauded Off The Track Volume Two: Queens compilation, sparked a renewed interest; the South African four-piece shared equal responsibility in writing and arranging these six instrumentals, which are tight and full, and come replete with Hammonds, well-surrounded guitar, and cross-sticking snare hits.

Review: First released in 1980 via the little-known Pick Up Records, Danish jazz-rockers Ariel's self-titled debut record sees an unlikely reissue via Jazz Room here. A worthy reintroduction of the quintet to the world at large - where before it wasn't well-known at all - it comes after the album was recently hepped to by none other than Brownswood aficionado Gilles Peterson, whose encyclopaedic internal memory bank and capacity to chin-wag served the cascading recollection of the album by Jazz Room label boss Paul Murphy. Now the eight-tracker dazzles us once more, fusing jazz with subtle elements of kraut and kosmische to make for bustling, brimming urban fugs, all hemmed together by a consistent baritone sax, and the vocal pyrotechnics of Hawaiian singer Lei Aloha Moe.

Review: Warren Oree is an acoustic bassist, producer and composer who founded The Arpeggio Jazz Ensemble in Philadelphia in 1979. The adventurous outfit are eclectic and have a far from predictable sound that combines acoustic sounds with African and Middle Eastern influences, a hint of Afro-Cuban Orientalism, spiritual jazz and avant garden flourishes. This album was recorded in 1980 and has a truly worldwide sound that very much fits in with the sound of the current jazz revival. There is cool jazz on 'Wet Walnuts and Whipped Cream', percussive drenched grooves on the title track and much more besides. A real classic.

Review: Blue Mode and El Chavo present two fantastic new cover versions. The A-side is of course one of the biggest tunes of the grunge era, and is here lent a jazzy, funky, groovy alteration by Blue Mode - though it is an ostensible Nirvana cut, the band were influenced by everything from the Gap Band to Louie Louie and a fair smattering of 80s indie here. This production by Chip Wickham mixes a swinging 60s Blue Note vibe and acid jazz refrains, brings it bang-up-to-date with contemporary nu-jazz. Side B is a boogaloo Latin jazz version of the Lonnie Smith track 'Hola Muneca', beloved of the acid jazz era's foremost DJs, and formerly released on a now impossible-to-find 7" single that shifts for crazy prices.

Review: Here's a proper genre fusion for the dancehall heads. On his latest reissue, Robert 'Dubwise' Browne testifies to over 20 years of hitmaking with a standalone 7" edition of his remix of Ramsey Lewis' 'Sun Goddess', first released on Vortex in 2023. Whereas Lewis' original 70s funk version is a sweet and sunkissed headboard-licker with a simple backbeat, Browne prefers to cant things dubwise, swapping the aforementioned out for a phat dotted stomp. Clock the new pairing with Browne's version of Grover Washington's jazz-funk classic 'Mister Magic'.

Review: This superb new Jazz Room Records compilation showcases a vibrant mix of world genres that innovatively blend funk, J-jazz, Afro-Cuban, and boogaloo influences. The tracks range from the heavy Latin jazz energy of 'Bolivia 67' to the 1970s kung fu-inspired groove of 'Tong King Rock.' They all add up to a colourful collection that plays out with nice cohesion overall but also offers up some high class DJ weaponry. Along the way, the record takes in further highlights like 'Eastern Folktale' and the lively rhythms of standouts like 'Jump Up Life' which help to make this such a gem for the collection.

Review: It's always worth checking the reissues offered up by Jazz Room Records, not least because there are few people more knowledgeable on the dancefloor friendly end of jazz than boss man Paul Murphy. Predictably, he's scored another coup here by securing the rights to reissue Jazzberry Patch's 1977 debut - a private-press jazz-funk gem that's long been a "holy grail" amongst collectors. Joined by virtuoso organist Mike Longo (who supplies liner notes) and a handful of guest percussionists, the Californian trio lay down a series of effortlessly funky, percussive and solo-rich workouts that should delight jazz-funk fans everywhere. The piece de resistance is undoubtedly the epic title track, which grooves, bobs and weaves over 20 mesmerising minutes.

Review: Vibraphonist Khan Jamal has made many fine albums over the years, though few are quite as revered within the jazz scene as Infinity, a self-released set from 1984 that has been near impossible to find for years. While Jamal's fluid and attractive vibraphone playing is given an airing throughout the album, it never dominates the sound space, with the storied members of his backing sextet - including scene legends Byard Lancaster (alto sax, flute) and drummer Sunny Murray - all being given a chance to shine. Musically, it sits somewhere between spiritual jazz, jazz-funk and Latin jazz, with hectic dancefloor numbers (see the superb 'The Angry Young Man') being joined by a wealth of deeper, more laidback compositions.

Review: Billed as a jazz-funk obscurity by many an expert, the 1984 self-released album by John Lamkin charts the trumpeting and flugelhorning talents of a lesser-spotted Maryland jazzer. Never again releasing a record after this debut for GMI, this shockingly varied record was dedicated to Lamkin's father, also named John Lamkin. Commanding a star cast of instrumental contributors - the likes of Gary Thomas, George Gray and Eugene Mauro - Lamkin would not achieve so much fame as those listed above, and yet brought a timelessly torrid fusion of funk and jazz here. 'Hot' is especially crispy and combustible, and we're not sure why it didn't blow up when it came out; you could fry an egg on that bass lick.

Review: Jazz saxophonist Tony Lavorgna, sometimes known as Captain Bad, recorded Chameleon with the St Thomas Jazz Quartet in 1982. The title track is a cover of Herbie Hancock's classic from Head Hunters, given a fresh lick on this superlative album of incredible renditions of long time favourites. Ray Charles' 'Georgia On My Mind', War's 'The World Is A Ghetto' and Dave Brubeck's 'Take The 'A' Train' all get a look in, given a soulful treatment which goes down very smooth indeed. On the strength of these, it's a shame the group never recorded more music together, covers or otherwise.

Review: The Norio Maeda Trio's 'Alpha Ray' and Terumasa Hino Quintet's 'Hakuchu No Shugeki - Theme' have been unearthed gems from Japan's musical past, revived for contemporary audiences by Jazz Room Records. 'Alpha Ray' exudes hot Latin vibes from the Swinging Sixties, earning its place in Shibuya Jazz Dance Folklore during the Acid Jazz Boom. Meanwhile, 'Hakuchu No Shugeki - Theme' transports listeners to the stylish world of 1970s Japansploitation cinema with its soulful jazz groove reminiscent of Blue Note's golden era. Both tracks, now available on 45 RPM vinyl, promise to ignite the dance floor with their infectious rhythms and timeless charm. Jazz enthusiasts won't want to miss this double dose of vintage Japanese jazz excellence.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


Frank Noviello's debut album is a diverse collection of jazz standards and inventive originals. Randy Weston's 'High Fly' features a grooving arrangement, while the original 'Tribal Dance' features a vocal bebop, but the real standout track is the Gary Bartz/Langston Hughes spiritual jazz piece 'I've Known Rivers.' Gilles Peterson played a part in its reissue, encouraging his listeners to contact the label and demand a reissue - and now this fairly unknown but excellent album is taking off through word of mouth.

Review: Frank Noviello's debut album is a diverse collection of jazz standards and inventive originals. Randy Weston's 'High Fly' features a grooving arrangement, while the original 'Tribal Dance' features a vocal bebop, but the real standout track is the Gary Bartz/Langston Hughes spiritual jazz piece 'I've Known Rivers.' Gilles Peterson played a part in its reissue, encouraging his listeners to contact the label and demand a reissue - and now this fairly unknown but excellent album is taking off through word of mouth.

Review: This second instalment of Jazz Room's Pure Latin re-releases comes in the form of Orquesta Mayombe's masterpiece, Con Ritmo Del Tambo. First emerging in 1980 and now considered to be a classic example of Nu Yorican El Barrio sound, this is an essential record for fans of Tata Vasquez. Featuring Afro-Cubano jazz heavyweights including Chocolate Armenteros, Jose Mangual, Mauricio Smith, and Orestes Vilato, as well as an astounding seven-person percussion section, it's safe to say this release packs a punch. Travelling through ten dazzling, floor-filling cuts of Afro-Cuban via New York Jazz age tracks, this is a must-have for fans of Latin jazz.

Review: Percussionist Robin Jones was one of the earliest - and eventually longest-serving - exponents of Latin jazz in the UK. While he guested on hundreds of records and was still playing a couple of years before his death at 84 last year, Jones only ever released a handful of albums under his own name. Arguably the best - and certainly most popular amongst Britain's legion of jazz-dancers - was 1972's "El Maja", credited to the Robin Jones Sextet. A scintillating fusion of Afro-Cuban and Afro-Brazillian rhythms laden with sprightly woodwind and brass sounds, jaunty piano, jazz-funk Rhodes sounds and notable nods towards rhythm and blues, the hard-to-find album has now been reissued by legendary London jazz DJ Paul Murphy's Jazz Room Records imprint. It should be an essential purchase for anyone who loves Latin jazz.

Review: Ronnie April's Positive Energy's 'Snowflake' is a legendary release that has achieved mythical status within the jazzdance scene. Originally pressed on Ronnie's own Jude imprint and distributed locally with limited success, this impossibly rare gem has become a coveted holy grail for collectors. The track's infectious groove and captivating melody have solidified its place as a timeless classic, even spawning bootleg copies due to its scarcity. Beyond its rarity, the music itself is truly exceptional, showcasing Ronnie April's immense talent as a composer, arranger, and multi-instrumentalist. With a career that boasts collaborations with jazz luminaries such as Tito Puente, Louis Armstrong, and Lionel Hampton, 'Snowflake' stands as a testament to April's enduring musical legacy. The album continues from there, highlights including the excellent upbeat gem 'Dancer's Theme' and the beautiful haunting 'A Ballad For Sir James' that really exemplify that variety of great Soul music here.

Review: This one is such an evergreen classic that it is never long between reissues. The Take Vibe EP is musician Laurence Mason and he here mashes together the sounds of Dave Brubeck and Dave Greenfield of The Stranglers - it started on YouTube and got over one million hits, so then made it to vinyl and keeps selling out. On the flip is a romantic, late night jazz version of The Police classic 'Walking On The Moon', making this a real collector's item.

Review: At legendary jazzdance hubs like London's Horseshoe and Camden's Electric Ballroom, one track ruled the floor: Hino Terumasa's 'Merry-Go-Round', pulled from the Japanese trumpeter's 'Double Rainbow' album. A bass-driven jass fusion storm, it sent dancers into a frenzy, tending fast down a psychedelic jazz mountain. A staple of BBE's J Jazz compilation, 'Merry-Go-Round' was Paul Murphy's top pick for a fresh rework, heard here from Niknak. Rising to the challenge, Takumi assembled top-tier musicians to craft an electrifying tribute; eight minutes of unrelenting, steam-hammer funk, pushing jazz dance energy to its limits.

Review: Jazz Room Records is back with another high class reissue of an album that is considered to be a grail by those who know. The story goes that back in the late 70s in the Seattle area of the Pacific North West, Danny Ward & Reality were an oft called upon funky jazz collective for anyone throwing college or hardcore funk parties. Rather than just serving up covers of the day's big hits they offered proper musical trips though more considered fair from artists like George Benson. This album catches them at their best on one such mid-week gig in the summer of 1977.