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ESP-Disk
by Clifford Allen
Sometimes it does take a bit of a reminder--especially in the days of corporate conglomerates managing almost every aspect of one's media experience--that the history of improvised music has been forged not only by left-field artists and visionaries, but also by record labels just as independent as their rosters. Commodore, Savoy, Dial, Transition, Blue Note, Prestige, ...
Storyville Records
by Elliott Simon
Based in Denmark and boasting a catalogue of rarities and seminal recordings that would make any U.S. label drool, Storyville has carved a unique niche for itself on the international jazz landscape. Its own story began in 1952 as 23-year old Danish jazz aficionado Karl Emil Knudsen released a 1924 Louis and Lil' Armstrong recording with ...
Eremite Records
by Robert Iannapollo
The story of record labels devoted to free jazz is largely one of dedicated admirers of the music taking the lead and means of production to disseminate to the world the music they love. Many are well-meaning, committed endeavors that rarely seem to make it past the five year mark. But a few stand out. One ...
Sons of Sound
by Brian P. Lonergan
Meet Jeff Penney, the Sons of Sound record label's founder and president. And producer. And artist-and-repertoire rep. And, well, for that matter, sole employee. Penney started Sons of Sound in 1997, and though it may be a fledgling label compared to some of the jazz heavyweights, in years to come its stock may ...
Not Two Records
by Clifford Allen
For the jazz-listening public, even the cognoscenti, when European improvisers and European labels come up in conversation, there are a central few countries that appear as the only beacons in European jazz--England, France, Holland (via ICP) and Germany (and possibly Italy to some small, Gaslini-an degree). Portugal, Sweden, and Denmark get very little mention, and one ...
Nine Winds: Blowing Hot Out of LA
by Rex Butters
When LA's Jeff Gauthier talked to local independent record labels about starting a label, veteran Nine Winds CEO Vinny Golia kept his advice simple: don't do it. Asked about it in 2005 Golia maintains, “I think that's very sound advice," he says laughing. “If somebody would have told me that I would have thought about not ...
Justin Time Records
by Riel Lazarus
Over 20 years ago, Justin Time Records built a comfortable home for itself on what is commonly considered to be shaky ground. Not only was the label one of dozens fighting for a slice of jazz' dwindling market share, but it was also Canadian. To some it was a recipe for disaster, but for this band ...
Marsalis Music: A Love For Jazz Supreme
by Doug Collette
Born into a family with an estimable legacy in the annals of jazz, Branford Marsalis has always done that legacy proud and never more so than through his conception of Marsalis Music. Conceived, according to noted jazz critic Bob Blumenthal (who works hand in hand on various projects under the MM aegis), as a homage to ...
HatHut Records: Expanding Scope and Vision
by Kurt Gottschalk
Over three decades and 300 releases, HatHut has been on top of not just the changing styles in improvised music--what the label has termed “music of the future"--but innovative ways to market the fluctuating form. From the red-box LP covers to the orange-spined CD sleeves and under the rubrics hatMUSICS, hatART, hatOLOGY, hat[now]ART and hatNOIR, Hat ...
Chiaroscuro Records
by Elliott Simon
In a Syracuse record shop, a '50s teenager bought his first LPs, they included cuts by pianist Lennie Tristano and flugelhorn player Clark Terry. Some 50 years later, Hank O'Neal still has those original purchases safely tucked away. However, the best of his collection, now too numerous to count, list him as producer and bear the ...
