HISTORY of BLACK JAZZ RECORDS

One of my favorite record collector pursuits is amassing the complete output of certain labels. It's big fun to own every LP on a particular label and hear the musical trajectory of the artists develop over time. And if you dig what one group or musician is all about, there's likely similar performers to be found in the catalog. 

Of course, this geeky wannabe-hoarder goal becomes easier with smaller labels that had fewer releases compared to behemoths like Columbia Records or even Blue Note or Prestige Records where collecting every original LP could prove a full lifetime's (expensive) pursuit. 

Some hip small record labels of special interest to me include Detroit's 1970s-empowered Tribe Records, the spiritual/modal jazz powerhouse Strata-East Records and the adventurous Cobblestone Records from NYC, all of whom released a bare handful of records in an aware style of Afro-Jazz music heavy on feeling and groove.

Black Jazz Records released only 20 or so original LPs during its short existence from about 1971-1975. All the original pressing Black Jazz LP titles are in heavy demand and some have become exorbitantly priced over the years. In a nod to the short-lived 4-speaker 'Quad' era of Hi-Fi, many of the original albums were recorded in true Quadraphonic sound (stereo compatible). 

The label's biggest 'star' was perhaps keyboardist/composer Walter Bishop Jr., famous for playing BeBop jazz as Charlie Parker's pianist, but found here in funky pan-Afrodelic regalia for his two stellar Black Jazz releases. Another Black Jazz stalwart was keyboardist/composer Doug Carn who along with his then-wife Jean Carn put out four stunning records for the label, each a minor masterpiece of post-Coltrane spiritual funk-jazz dopeness. 

The executive director responsible for gathering these fuzzy lights of the underground jazz scene was soul-jazz pianist (and occasional actor) Gene Russell who recorded the first LPs on the label and produced many Black Jazz releases for other artists. Unfortunately, the label's independent distribution ensured the records stayed scarce and, likely, few Black Jazz titles sold much over 25,000 original copies, accounting for their rarity today in mint condition. 

The private-press look of the early jackets probably didn't help sales: a basic black & white cardboard cover repeated on both sides. They may appear low-budget to some, but the homespun look of the first Black Jazz LPs remain crudely endearing to us record collector geeks.

This is the kind of head-noddingly funky modal jazz and instrumentally expansive funk/soul you'll rarely hear on the radio (even then), but to my ear it remains among the most intelligently played and satisfying, multi-layered music found anywhere. I hope to address every Black Jazz release in chronological catalog order. And yes collectors, these are all original first-pressing LPs!