Justin Time Records
July 2000

By Nils Jacobson

Part I: An interview with Jim West, founder and head of Justin Time Records

In late 1982, Jim West was sitting in Biddles, a Montreal jazz club. The Oliver Jones Trio was playing, featuring pianist Jones, bassist Charles Biddle, and drummer Bernard Primeau. After each tune, the audience responded enthusiastically, and West made an observation: “There were, I don’t know, 150 people out there... kids 18 years old and people 80 years old, and they all liked it.” This got him thinking. He realized, “Shit, I ought to record this. And that’s what I did. And it [Live at Biddles Jazz and Ribs]sold well right away, which was strange.”

So started West’s Montreal label Justin Time and the jazz recording career of Oliver Jones. West reflects, “when it started selling like hotcakes, I said, ‘Jesus, this is too easy, you know!’” West’s musical interests at the time were diverse: “I grew up with rock. But around 16-18 years old, a couple of my friends just all of a sudden turned on to Pat Metheny when his first record came out. And to me that was great.” His current pop favorites include Nine Inch Nails, the Smashing Pumpkins, Eminem, as well as the Montreal group Slaves On Dope. In the realm of classical music, West prefers the music of Erik Satie. “I’ve listened to Bach, Beethoven, and more traditional stuff like this. And the John Cages and the Stockhausens... I’ve listened to them all. I like them, but to me it’s cutting edge, and that’s very nice, but that doesn’t relax me. It’s very interesting to listen to, but I’d rather listen to Nine Inch Nails than listen to that.”

When it comes to difficult feat of marketing the music on Justin Time, which is almost all jazz, West has an interesting approach. If “jazz” is a dirty word, “then don’t call it jazz,” West explains. “Just call it good music... put it on, don’t give it a title, because it has a stereotype to it--like, you know, a smoky bar in some place. Don’t do that, just play it. And when people hear it, they’ll say, ‘Hey, that’s great! What is that?’... It’s wonderful and great to listen to, so just don’t tell them it’s jazz.”

After debuting Oliver Jones on Justin Time, West went on to release almost 200 more recordings, including 14 more Jones records. Along the way, West was the first to commit the talents of singer/pianist Diana Krall to record. “Oliver Jones’s ex-manager introduced me to her. And then some people from an Ottawa radio station called me and said I should check her out. Then we had lunch and we agreed to do a record. So we went down to LA and recorded something down there. And then, in order to get her into the States, we decided to set up a thing at the Blue Note on a Monday night.” West chuckles... “And it worked too well.” At the Blue Note, Diana Krall attracted representatives from GRP records. “Even though I had a contract for three records with her, I assigned the contract to them and worked out a deal with them.” Now Krall is one of the best known names on the contemporary jazz scene.

While Krall’s evolution from a live phenomenon to a recording star prominently featured Justin Time, she moved onward after only her first record. Does West feel cheated on the deal? Not at all. “Listen, I’ve told any of the artists that we work with that if somebody comes along and wants them... come to me, talk to me, and see if we can work a deal out. I’m happy to do that. I realize what’s involved in that, and there’s no sense in trying to hold somebody back in their career.”

Running Justin Time out of Montreal presents a couple of major challenges. First, there’s the difficulty of operating an indie label without the big budget and marketing power of the majors. West explains, “You go to the NAMM convention. How many independents spend $45,000 to have their act play on stage? It’s not really suited for us... we’re like flies in the ointment.” Second, there are the disadvantages of being Canadian. Observes West, “The U.S. controls the entertainment industry... nobody wants the omnipresent huge megalopoly, whatever you want to call it, the U.S. market, dictating things.” Certain Canadian players have made it big regardless (eg. Diana Krall and Oscar Peterson, for a couple of notable examples).

So Canada does what it can to protect the interests of its own artists and labels, including limiting radio play to a minimum of 35% Canadian content. Obviously this works in favor of Justin Time, which has great popularity in the Canadian market. And Canada has always been involved in the development of the Afro-American music called jazz. West wistfully reflects, “Montreal itself was a historical center of jazz. It was one of the four centers in North America... It was a hub many years ago.”

Justin Time as a label has a couple of offshoots which West created for special purposes. Just A Memory, for example, was created in 1990 “for the reissued product, or something that we did not get involved with production-wise, or something that is older. Anything that has been out for years.” This includes blues greats like John Lee Hooker and Muddy Waters as well as traditional jazz greats like Oscar Peterson and Chet Baker. The offshoot Just A Minute was created when West wanted to put out a record by the Montreal rock group Slaves On Dope. “That didn’t fit on Justin Time itself, which is jazz, blues, and gospel,” West explains. “So I wanted something if we did more of that, which we may at one point..”

Other than his central role in signing artists and deciding what material will appear on Justin Time, West also plays a role in producing most of the material that appears on his label: “I’m there for virtually almost every one on the JUST prefix. A lot of them I’ll produce myself, but certain artists go ahead and do it on their own, like David Murray.” As for his own role in the production process, West likes to keep a low profile. “You gotta create a good atmosphere in the room,” he explains. “Make everybody feel good. Make conditions available so they play their best--because you hired the best to play... I want to know what tape I’m using. I want to know what I’m going to roll to. I want to know that the headphone mix is good. I want to know that the instrumentation is exactly what we’re looking at, but... they do the material, and I just make conditions conducive to making a good record.”

Among the many artists whose records have appeared on Justin Time are Oliver Jones, Diana Krall, Ranee Lee, Jeri Brown, the World Saxophone Quartet, Dave Young, Jane Bunnett, and Paul Bley. Just A Memory has featured Oscar Peterson, Chet Baker, Maynard Ferguson, John Lee Hooker, Muddy Waters, and Taj Mahal. So far Just A Minute has put out Slaves On Dope.

What distinguishes Justin Time from other jazz labels? Wesst elaborates, “The bottom line is that we love the music, and we love dealing one on one with the artists. They can call us and get us on the phone, and we’ll deal with them, and if there’s a situation we’ll work it out, you know? To me, the one on one relationship with the artist is a good thing... They’re treated with respect, and they’re treated the way they should be.”

To his own satisfaction, West notes that “it’s fun doing what we’re doing. But you know what? When it doesn’t become fun any more, it’s time to quit!... Every morning, literally--and I haven’t missed a day in 17 years here--every morning I get up an go, ‘this is going to be something today!’ and it is usually.”

In the reviews that follow, I have focused on a few select groups, rather than try to sample the entire Justin Time catalog. The records listed represent landmark releases from several artists who represent the more progressive, modern jazz angle of the label. As is obvious from reading personnel lists from these records, many Justin Time releases are quite incestuous. For example, D.D. Jackson appears on his own releases as well as those by David Murray and Mor Thiam. The philosophy behind this is simple. Jim West explains, “I don’t like one-off deals. I’ve done them, but I like working with a group... I like the deals where you see progress. I like to develop with the artist as far as I can.” Which can, at times, bring artists on the label together.

For more information, visit http://www.justin-time.com

Part II: Reviews of selected Justin Time releases

D.D. Jackson
Peace-Song (with David Murray)
Rhythm Dance

Pianist D.D. Jackson, a Canadian transplant to New York, recorded his first record, Peace-Song, in late ‘94. It features his trio, which also includes Canadian expatriates John Geggie on bass and Jean Martin on drums. Tenor saxophonist David Murray makes contributions throughout, blowing melodies as well as far-flung solos making use of the full range (emotional as well as tonal) of his instrument. Jackson’s playing betrays obvious similarity to that of the late Don Pullen: it straddles the gap between swinging jazz and avant-garde abstraction, frequently utilizing thick chords and punchy note clusters to accomplish the task. But there’s no doubt that he has his own voice. In the realm of creative rhythmic deconstruction, for example, Jackson definitely has his very own vision of syncopation. The tunes on Peace-Song, are all Jackson’s own, ranging from tight funk to bluesy uptempo jazz to loose ballads.

Rhythm Dance, a trio recording from early ‘96, continues with many of the same themes. Again, the compositions are all by Jackson. In the absence of David Murray’s titanic tenor sax, Jackson explores the greater freedom a straight trio allows. His melodies overflow with gospelly/bluesy embellishments, and his solos break free from rhythmic and harmonic constraints. The trio, as on Peace-Song, is remarkably tight. It’s worthwhile considering that this record was made within months after the deaths of Jackson’s mother and his mentor, Don Pullen--so certain tunes betray a melancholic depth.

Overall, these first two D.D. Jackson records are among the finest in the Justin Time catalog--certainly the best I’ve heard. The clarity, depth, and playfulness of Jackson’s group present a refreshing contrast to most of the trio music out there. Subsequent recordings for Justin Time include two duo records; Jackson has since recorded two group records and a solo outing for BMG.

For more information visit http://www.ddjackson.com/

Hugh Ragin An Afternoon in Harlem

Trumpeter Ragin made this recording in late ‘98 in a (mostly) quartet format featuring pianist Craig Taborn, bassist Jaribu Shahid, and drummer Bruce Cox. The tunes, all Ragin originals, range from the sauntering bluesy strut of the title track to fast bebop to free jazz, concluding with a Sun Ra-inspired avant garde accompaniment to poetry read by Amiri Baraka. His liner notes establish the suite as a celebration of life in Harlem. Ragin obviously plays the starring role here: his total mastery of the trumpet allows him to deliver crystal clear melodies, blistering solos, and twisted screaming avant interludes without hesitation. The rest of his band, while competent, certainly does not inspire any great awe. While Ragin’s emphasis on composition provides plenty of formal structure, he seems to exercise his creative powers most stunnningly in the free jazz and avant garde settings. In this end of the musical spectrum, Ragin’s musical voice is unique and unparalleled. Look for a new Ragin record forthcoming soon on Justin Time.

World Saxophone Quartet
Four Now (with African Drums)
Selim Sevad: A Tribute to Miles Davis (with Jack DeJohnette)
Requiem for Julius

The WSQ, performing as a unit since ‘76, has generated a mountain of excellent recordings on the Black Saint and Elektra labels. In late ‘95, the same year that founding member Julius Hemphill died, the quartet recorded its first Justin Time record with John Purcell taking Hemphill’s place. As a result of Purcell joining the group, the other members were freed to play other instruments outside the earlier paradigm of two altos, a tenor, and a baritone sax. Four Now also distinguishes itself by the addition of three African drummer/vocalists who first appeared on the ‘91 Nonesuch album Metamorphosis. In contrast to this earlier album, the group explores more rhythmic freedom on Four Now, juxtaposing the cross-continental interplay of drum improvisation and horn improvisation. The results of this American-African cultural fusion are dramatically successful. Compositions by both the horn players and the drummers achieve a delicate balance between arrangement and improvisation, as is the WSQ trademark. “Dakar Darkness,” an adventurous piece by David Murray, manages to integrate poetry text read by Oliver Lake into the freedom of the mix without losing the group’s overall coherence.

On 1998’s Selim Sivad, the WSQ devote themselves to the memory and spirit of jazz master Miles Davis. They continue to incorporate African drums, this time also including Davis alumnus drummer/pianist Jack DeJohnette. Compared to the earlier WSQ+drums records, Selim Sivad includes a greater variety of improvisational approaches. While “Seven Steps to Heaven” receives a tight percussion-rich interpretation, “The Road to Nefertiti” more openly explores space and time, and “Tutu” gets the funky drummer treatment from DeJohnette. The expanded quartet expresses a clear appreciation for the wide range of styles explored by Miles Davis during his career, while endowing the (mostly) Davis compositions with its own personal touch. Of course, it’s an ambitious project to interpret the works of Miles Davis using four saxophones and four drummers--but amazingly, the WSQ succeeds.

The most recent WSQ recording, Requiem for Julius, dedicates itself to the memory of founding WSQ member Julius Hemphill (here replaced again by John Purcell). The quartet stands alone here--without African drums--and invokes its remarkable ability to trade off between tight arrangements and free improvisation, with stops everywhere in between. In fact, it’s often hard to tell where the arrangements leave off and the improvisation begins. Despite the quarter century of shared musicianship between the other three founding members, Purcell plays with maturity and sensitivity, fitting right in. The general feel of the record is reflective and downtempo, making generous use of space, although--as always--there are exceptions. The title track, a David Murray composition, rings clear as the strongest on the record: it manages to reflect a contemplative mood, while making effective use of melody and a bluesy sound. While Requiem certainly has few flaws, it’s hard to recommend this record as a must-have, given the amazing quantity and quality of WSQ material available. Look for two more WSQ releases upcoming on Justin Time: a studio performance and a live recording.

David Murray
Fo Deuk Revue
Octet Plays Trane

Saxophonist Murray signed to Justin Time in ‘95 and makes his Justin Time debut on Fo Deuk Revue, an impressively ambitious work recorded in Dakar, Senegal in mid-’96. His ensemble on this record includes American artists such as Jamaaladeen Tacuma, Darryl Burgee, Hugh Ragin, and Robert Irving III, as well as a host of Senegalese stars including sabar player Doudou N’Diaye Rose and rappers Positive Black Soul. Fo Deuk Revue brings together elements of jazz, funk, African percussion, rap, Afro-pop, and spoken word poetry--a massive fusion of styles and sounds. While the combinations often succeed (witness “Village Urbana,” a groovy piece with Senegalese rapping and Murray’s trademark intense blowing; or “Evidence,” a showcase for Amiri Baraka’s dramatic reading of his intense poem “Africa”), they just as often regress into cheesy smooth jazz or boxed-in formulaic drumming. In parts, the sound creeps closer to the Afro-American tradition than the African one, instead of heading somewhere in between. This deviation originates in large part from the incessantly smooth backing keyboards and Tacuma’s usual wanky and out-of-touch bass playing. Just like any work with this incredible range of sounds, Fo Deuk Revue has its hits as well as its misses. Murray deserves credit for even attempting the project, and for Murray fans Fo Deuk Revue presents a totally unique sound hitherto absent on record.

David Murray’s latest record, Octet Plays Trane, returns to the heart of the Afro-American jazz canon with joy and sophistication. Unlike many works with this large an ensemble, Octet Plays Trane steers clear of the rigidity of arranged large-group playing as well as the potential chaos coming from mass improvisation. Murray’s orchestration of “Giant Steps,” for example, builds off of an arrangement of Coltrane’s original solo--still leaving space for individual improvisations within this structure. What’s most remarkable about the record is how clearly the original vision of Coltrane shines through while receiving the signature treatment of some of today’s most articulate modern jazz players. Murray’s solos are, as always, a dominant driving force, but the other members of his octet are given the freedom to make their own individual statements as well. For Coltrane fans as well as Murray fans, this record is absolutely essential. It’s dumbfounding how well David Murray can pull off ambitious projects like this--seemingly effortless, with grace and depth.

Bluiett/Jackson/Thiam
Join Us

Mor Thiam
Back To Africa

The intersection of the musical worlds of Hamiet Bluiett, D.D. Jackson, and Mor Thiam spans decades of musical tradition and continents of cultural history. The second record by this group on Justin Time was recorded in late ‘98 in New York City live in the studio. Bluiett, a founding member of the World Saxophone quartet, articulates the most “forward” voice on the record. Bluiett’s maturity is demonstrated through relatively sparse playing and extensive use of groovy riffs to accompany the musical explorations of Jackson and Thiam. Keyboardist Jackson, from the school of Don Pullen, is equally at home on piano and organ, ranging from gospel-influenced riffs to calypso grooves to all-out modern jazz. The cornerstone of the group, Senegalese percussionist Thiam, takes the sound of BJT to a completely different level, giving new meaning to the word Afro-American. His chanting and free-form drum improvisations fit amazingly well into the overall bluesy feel of the record. The sound of BJT is totally unique, unlike anything you’ve ever heard. While often affecting a carefree forward-looking ease, the trio occasionally pauses for moments of pensive contemplation (e.g. the Jackson composition “Ayse”) as well as solo improvisations with density and depth.

After playing on WSQ records and in BJT, Senegalese percussionist Mor Thiam steps out on his own on Back To Africa, recorded in late ‘98 in Dakar, Senegal. On this record, he demonstrates his remarkable ability to pull together a huge list of West African players and get a coherent record out of the affair. Roughly half of the pieces consist of dense drum ensembles; the other half breeze through uplifting Afro-pop. While the combination may seem incongruous, it’s easy to see the continuum when you reflect upon the central role the drums play in every setting. Thiam’s explanation (not necessarily obvious to the casual listener): “I’m soloing on most of the tunes.” But he’s not alone: he’s assembled some of the top players of Senegal and West Africa. Back to Africa presents a wonderful companion recording to the two BJT issues on Justin Time--delving into the roots of the Senegalese musical tradition without losing track of the present.