PRE-ORDER: V/A - Spiritual Jazz 9: Blue Notes, Parts 1 & 2 2LP (JAZZMAN) (1).jpg


Spiritual Jazz 9: Blue Notes, Part 1

Side A

A1. Bobby Hutcherson – Verse
A2. Pete La Roca – Basra

Side B

B1. Wayne Shorter – Footprints
B2. Elvin Jones – At This Point in Time
B3. Andrew Hill – Poinsettia

Side C

C1. Eddie Gale -The Rain
C2. Duke Pearson – Empathy
C3. Bobby Hutcherson – Searchin’ the Trane

Side D

D1. Duke Pearson – The Phantom
D2. Freddie Hubbard – Assunta

Spiritual Jazz 9: Blue Notes, Part 2

Side A

A1. Joe Henderson – El Barrio
A2. Jackie McLean – Plight
A3. Duke Pearson – Cristo Redentor

Side B

B1. Wayne Shorter – Indian Song
B2. Hank Mobley – The Morning After

Side C

C1. Pete La Roca – Malaguena
C2. Freddie Hubbard – Blue Spirits (2).jpg

The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record.

Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants – Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note – 'the Cadillac of the jazz lines' – was outstanding in every way. Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note – from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson.

The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s. As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note – the finest in jazz since 1939, brought to you by Jazzman.

PRE-ORDER: V/A - Life & Death On A New York Dance Floor, 1980-1983 Parts 1 & 2 2LP (REAPPEARING RECORDS)


For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence’s most recent publication, Life & Death On The New York Dancefloor, 1980 – 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period’s music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.

This, the second of a 2-part sonic tribute to the 1980 – 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor, sees recognised classics (such as 'Don’t Make Me Wait’ and ‘Din Daa Daa') nestle up alongside the belatedly recognised (including the August Darnell remix of ‘Contort Yourself’ and Mark Kamins remix of ‘Love Tempo') and the downright obscure (‘Vena Cava’ and the B-side of the ‘Pop Your Funk’ 7” promo). Capturing the range and the mayhem, Material’s under-appreciated ‘Bustin’ Out’ features Nona Hendryx delivering lyrics inspired by Black Panther George Jackson’s prison letters plus a music track featuring dance beats combined with a heavy electric guitar—a combination proposed by Michael Zilkha after the ZE label head rejected Bill Laswell’s first effort. The mix comes courtesy of Better Days resident DJ Tee Scott. Everyone, it seemed, was open to everything.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City’s epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.


Life & Death On A New York Dance Floor Part 1

Side A

A1. Dinosaur L – Go Bang! (LP Version)
A2. Tuxedomoon – Desire

Side B

B1. Gray – Drum Mode
B2. Alan Vega – Saturn Drive

Side C

C1. David Byrne – Big Business (Dance Mix)
C2. New York 88 – Jam Hot (Rhumba Rock)

Side D

D1. Rammellzee vs K-Rob – Beat Bop (Original 12-inch Single)
D2. 3 Teens Kill 4 – Hold Up

Life & Death On A New York Dance Floor Part 2

Side A

A1. John Robie – Vena Cava
A2. James White & The Blacks – Contort Yourself (August Darnell Mix)

Side B

B1. Quando Quango – Love Tempo (Mark Kamins Mix
B2. George Kranz – Din Daa Daa (Trommeltanz)

Side C

C1. Loose Joints – Pop Your Funk (Instrumental Version) (7-inch B-Side Mix)
C2. Material – Bustin’ Out (Long Version)

Side D

D1. Peech Boys – Don’t Make Me Wait (Extended Version)
D2. Edwin Birdsong – Rapper Dapper Snapper

PRE-ORDER: Arvo - Bikini / So Deep 12" (STRANGELOVE MUSIC)


Due out 31 July

For its second release, Strangelove resurrects two cuts from Australian synth-pop duo ARVO’s much-mythologized 1984 album “Luna”.Arvo was the project of Sydney-siders Deborah Gray and Roy Nicolson. 

In the early Eighties Gray was playing, writing and touring as a solo artist in Australia & offshore, securing a record deal and touring with her band in Germany until 1983. Nicolson had also spent time aboard and between 1977-1982 worked as synth pro-grammer and session musician in the UK, collaborating with producers such as Trevor Horn and Barry Blue. 

Having both spent time in Europe, beguiled by the continent’s liberated synth-pop textures, each musician returned down-under to discover a still doggedly rock orientated landscape. Undeterred, Gray looked to build on the interest in her solo material, by CBS New York, by imagining a sophisticated visual and electronic duo alternative. 

She found musical partnership with Nicolson and his Sydney home studio, where an album’s worth of demos were written and formed by the new duo they named ARVO.To most Aussies, the word “Arvo” was a slang term for the part of the day when one could legitimately crack open a tinny. It certainly did not denote the kind of theatrical, synthesized opus that “Luna” presented as. Unfortunately as so of-ten occurs, major label misjudgement and local radio’s rock obsession left the album to unjustly slip under the radar. 

Two selections from “Luna” are rescued here: the hazy “Bikini” with its elec-tronic Ipanema vibe that nostalgically recalls Antipodean beach culture and “So Deep”, which drags us into a synthetic undertow where we find space to reflect on the nature of our dreams. Also presented is a reimagined ‘So Deep’’ instrumental from Australia’s synth-pop scholar-in-chief Hysteric, while French M.O.T.M. Shelter tailors Bikini into an excursion version.