Porter Records: A Collector's Rewards
“ It's funny because I switched from collecting records to putting out records, and that hunger is channeled to something else that gives something back to the artist and presents it to more people. ”
Mosling became interested in jazz in the late 1980s as a teenager in rural Wisconsin, after hearing Sun Ra perform on David Sanborn's variety showa strange sight to a kid weaned on metal and punk. "I went out and bought My Brother The Wind Volume 2 [Saturn, 1970] and though I got into other things, Sun Ra was always in the back of my head. Then when I went away to college in Minneapolis, a friend played me Mingus' Black Saint and the Sinner Lady [Impulse, 1963] and that was a revelation." The collegiate habit of record collecting ensued, through a professional life as a video game developer in Florida, and "it's funny because I switched from collecting records to putting out records, and that hunger is channeled to something else that gives something back to the artist and presents it to more people."
2008 marks the year of Porter Records, with a catalog already sixteen titles deep into September. Porter's story is not all that different than one might expect from a small, upstart label: "One day, a friend of mine called me up and said 'I found this great record called Natural Food the other day. You should start a label and reissue it.' That put the spark there, and he did a lot of the legwork and found Mait Edey, who ran the Seeds label and originally put out the LP. We didn't know what we were doing, so we hemmed and hawed for a year or so, got a lawyer to do up a contract and finally the ball got rolling a bit more. Our roster expanded through Mait, who played with [guitarist] Lance Gunderson and [drummer] Craig Herndon, and they knew and played with [Finnish pianist] Heikki Sarmanto. So one day, my friend got a call from Heikki who was looking for me and got the wrong number. It became this small-world kind of thing where this person knows that person, you know. The network fell into place."
Soon, Sarmanto and Byard Lancaster became the artists around which the label's reissue program is based upon. "With Heikki, I had no idea who he was when he called me. I actually met him before I released his music, because his mother-in-law lives about fifteen minutes away. But I didn't know his back history or the EMI records. This was ultimately a new thing for me, and I was blown away when I first heard Counterbalance [EMI, 1971, with reedman Juhani Aaltonen, Gunderson, Herndon and bassist Pekka Sarmanto]. Heikki's work appealed to me because it's different." Indeed, Sarmanto's florid, turnaround-filled lines remind one of Paul Bley or early Jarrett, but coupled with Gunderson's bluesy fretwork and the alternating peals and pillows of Aaltonen's reed arsenal, it's very unique music.
As for Lancaster, "I was looking through my collection trying to think of possibilities for reissues and artists to work with, so I went to his website and sent him a fax. An hour later I got a call from him, and we began corresponding. Prior to solidifying everything I went to Philly and met with him, [vibraphonist] Khan Jamal and [alto saxophonist] Marshall Allen. That's how that came about, and we're working together very closely now." In addition to reissuing Live at Macalester College (Dogtown, 1972) and Personal Testimony (Concert Artists, 1979), Porter also plans on issuing the incredibly hard-to-find Sounds of Liberation Dogtown LP, along with new tracks recorded by the same ensemble, and possibly video footage of the group performing at the Miss Black Philadelphia pageant in the early Seventies.