Jazzman 黑胶唱片和CD

Review: Master compilation maker Greasy Mike is back with a fourth volume of his characterful selections. This one once again is another action packed and full flavour array of wigged out rhythms and psyched out funk sounds. The label calls it "14 Frantic Flippers Fraught with Frivolous Fun-Filled Frolics" and the tunes sure do have big personalities, wild laughter, sleazy low slung grooves and big steamy horns. Names like Adolphus Bell & The Up Starts, The Fabulous Continentals and Bobby Bunny & The Jackrabbits feature amongst many more niche jazz-adjacent sounds from the 50s and 60s.

Review: Here comes a fresh crop of 50s-60s rock n' roll/rhythm & blues by way of a compilation of rare, obscure tracks from their respective golden era(s), the 'Chinese Takeaway' - selected by Greasy Mike, DJ, record collector and Jazzman label owner. The comp flaunts the wild and diverse wildernesses and recesses of rock'n'roll, from surf and garage to doo-wop and soul - but comes with a far-flung twist, prioritizing songs with influences from Chinese music and culture.

Review: Jazzman have been capitalising on their kinship with revered digger Greasy Mike by offering him a series of compilations which shine a light on some of the wildly rare records contained in his considerable archives. Following prior themes from Middle-Eastern Harem and Shipwrecked On A Tropical Island, Mike turns his attention to "the sublime, seductive sound of the smooth and sultry songstress." You won't find any household names here, but rather a cast of mesmerising, formidable singers set to heartworn jazz ballads. These are no wallflowers and there's more than enough grit to go with their grace, making this a fantastic collection for anyone who savours the sound of 50s and 60s divas with something to say.

Review: Jazzman Records' curatorial moniker Greasy Mike delivers a seventh compilation in his eponymous beatnik jazz series. At The Beatnik Cafe follows up former visits to the Tropical Island, the Chinese Takeaway, and the Halloween haunted house for a trip back in time and place to 1950s New York, netting the sonic essence of the Beat generation. Predominantly comprising swing, bebop and hard bop recorded during and at the turn of the following decade, we're smitten at the likes of Harvey Anderson's 'Monday Night At 8PM', The Seven Arts Beat Society's 'New York Havana', and Cindy Laine's 'Whispering Wind', all of which amount to prototypical, quiet cafe-bound storms, and the perfect complements for free-assocative poetry composition and goatee grooming.