M.F. Horn 3, recorded during this period, displays possibly the strongest bias towards jazz-rock of any of his albums, and it’s impossible to resist the music’s muscular, propulsive rhythms. Maynard, whose soloing on trumpet, flugelhorn and superbone borders on the miraculous, is backed up by an all-star cast of mostly British musicians including drummer Randy Jones, pianist Pete Jackson, bassist Dave Markee and trumpeter/flugelhorn player Alan Downey. On one of the pieces Maynard is joined by his old friend Vimu Mukunda, here playing the veena. M.F. Horn 4 & 5, recorded in July 1973 before an invited audience at New York’s famous Jimmy’s jazz club, has now passed into legend and is widely regarded as possibly being Maynard’s finest big band recording. The twelve-piece group Maynard took into Jimmy’s that July day – comprised mainly of American, European and British musicians – is one of the best he assembled in his long and illustrious career. The passion, virtuosity and intensity with which they play is nothing short of stunning. There are plenty of solo opportunities for Maynard and fellow trumpeter Bob Summers, New Zealand-born baritone saxophonist Bruce Johnstone and Dutch tenor saxophone genius Ferdinand Povel within the furiously swinging, emotionally charged arrangements of gems such as Mike Abene’s The Fox Hunt, Don Menza’s Two for Otis, Pete Jackson’s Teonova and many others. Maynard and his band play out of their skins, and Vocalion are delighted to bring these milestone Maynard Ferguson recordings to a new audience in the twenty-first century.

2 CD SET - 2CDSML 8429

"Although Europe has produced many an accomplished and innovative jazz musician, a great number of ultra-talented ones remain in obscurity. Vocalion puts the spotlight on one such forgotten genius, British trumpeter Harry Beckett. The double CD combines the latter two of his three sessions for RCA; which were not only his debut recordings as a leader but also remain the most critically acclaimed of all his work."
"The sound quality of both sets is excellent ... In short this an exciting reissue of a great pair of albums by an often undeservingly overlooked master musician."
Hrayr Attarian, All About Jazz, 20 May 2007

2 CD SET - 2CDSML 8430

The late Dick Morrissey was one of the finest exponents of the tenor sax ever to emerge from the ’60s British jazz scene – a player whose prowess placed him on a par with such British sax geniuses as Tubby Hayes, Alan Skidmore, Tony Coe and Pete King. Therefore, Vocalion is more than proud to present on this 2-CD set two of The Dick Morrissey Quartet’s greatest recordings. Hailing from the latter half of the ’60s, both ‘Here and Now and Sounding Good’ (1967) & ‘Storm Warning!’ (1966) were recorded for the Mercury label and find Dick in his mid-twenties, a fully-fledged jazz tenor player in the company of Harry South, the first of several musical partners, mentors and guides who enhanced Dick’s career. Phil Bates (bass) and Bill Eyden (drums) are fine players and Phil Seamen (drums) is indeed the stuff of legend. Pianist-composer Harry South’s presence is keenly felt throughout both albums, contributing four original compositions. The remainder of the material comprises music by Tubby Hayes, Stan Tracey, Ian Hamer and Dick Morrissey himself, which sits nicely alongside a few well-chosen standards.
Remastered from the original stereo analogue tapes.

"I was the journalist who broke the big story at the time, that Dick had split with guitarist Jim Mullen, to disband the wonderful Morrissey Mullen jazz-funk outfit. I remember calling Jim one day for a chat, and he seemed upset. He told me Dick had just that minute put the ‘phone down after breaking the bombshell news he was done with Morrissey Mullen. His reasons were simple... He just wanted to go back to playing jazz to pub and club audiences, to enjoy his playing again, rather than being part of a hip chart band playing in huge venues to thousands. From selling out several nights at Hammersmith Odeon, to the backroom of a smoky pub on a Sunday night, with bass and drums as a jazz trio, playing to a few dozen people, often for little more than beer money after the band and travel/B&B costs were covered. But in his element. Dick loved his jazz and jazz fans loved him. I recall photographing him at the start of the '80s, when he was backing blues legend Jimmy Witherspoon in 'Our Band.' Great memories of a tremendous player and a very nice bloke. Now two of his seminal albums are available on one CD. 'Here And Now And Sounding Good' (1967) and 'Storm Warning' (1966). Perhaps never quite widely recognised as the great player he was, a listen to either of these two albums on one CD, confirms that as a statement of fact, not just a suggestion. Recorded for the Mercury label, Dick in his mid '20s and in good company, with mega drummer Phil Seamen, Bill Eyden also on drums (he of Whiter Shade of Pale fame, for which he got a £15 session fee), Phil Bates on bass. Pianist and composer Harry South, who helped guide Dick’s career enormously over the years. He contributes four originals here. The remainder of the material comes from the pens of Tubby Hayes, Stan Tracey, Ian Hamer and Morrissey himself, alongside some well chosen standards. Come Rain or Come Shine a pleasing offering. Dick lost his battle with cancer in 2000, aged just 60. But he was a fighter to the end, and spent the last few months of his life sat in a wheelchair in his local pub in Kent, playing sax to a packed room with what little breath he had left. His work with early jazz-rock band “If” was some fine, fine playing and arrangements. Worth checking out. Maybe Vocalion can get hold of those recordings and bring them out on CD. I’ll be first to order them if they do. Meantime, get this CD of Dick’s and enjoy one of the great communicators of jazz, who straddled jazz and rock with ease and opened the door for many jazzers of the future to do the same, without fear of accusations of selling out. Bless you, Richard Edwin "Dick" Morrissey. RIP."
Simon Redley, www.bluesandsoul.com

2 CD SET - 2CDSML 8479

Legendary British jazz musician, bandleader, arranger and composer John Dankworth (1927-2010) took the twelve astrological signs of the Zodiac as inspiration for his glorious big band suite ‘The Zodiac Variations’, released on the Fontana label in 1965. Recorded in London and New York, Dankworth’s band comprised a who’s-who of jazz including such famed soloists as Kenny Wheeler and Clark Terry (trumpets/flugelhorns), Zoot Sims and Ronnie Scott (tenor saxes), Bob Brookmeyer (trombone) and Ronnie Ross (baritone sax). From two years later comes Dankworth’s ‘The $1,000,000 Collection’ album (1967), which forms another important entry in the Dankworth canon. On this occasion the inspiration for Dankworth’s original compositions was derived from the world of painting and art, and the cream of Britain’s jazzmen were on-hand to perform Dankworth’s scores. Among the personnel are Mike Gibbs and Chris Pyne (trombones), Tony Coe, Ray Swinfield and Tony Roberts (reeds), Laurie Holloway (piano) and Henry Lowther (trumpet).
Remastered from the original stereo analogue tapes.

"Assembled within are two wonderful examples of Johnny Dankworth at his compositional best on the 1964 collectors delight 'Zodiac Variations' which is paired with '$1m Collection' from 1967. The former is the jewel in the crown and, as the title suggests, features pieces that are evenly divided up between the stars signs of Zodiac. Underpinning the album as a whole is a deeply impressionistic feel that echoes Gil Evans and his big band orchestrations. If the numbers are relatively concise, then they are nonethless beautifully constructed such as the cool school vibe of 'Aquarius' with it's MJQ sounding texture on vibes. Contrast this with the uptempo hues of 'Aries' and the more sedate tones of 'Libra' with baritone saxophonist Ronnie Ross showcasing his talents. An all-star line up includes a fabulous mix of US and UK musicians including Clark Terry and Kenny Wheeler on trumpets, Zoot Sims, Lucky Thompson and Phil Woods on assorted saxophones and Bob Brookmeyer on trombone. Shoring up the rhythm section is one Chuck Israel who performed as part of the Bill Evans trio. If the first album casts new light on the Zodiac signs, then the second, recorded just three years later and with a British line up, aimed to convey the expression of artistic endeavour more generally. Thus the piece 'Winter scene' was inspired by Dutch landscape painter Hendrik Avercamp while the reflective 'Little girl in blue' is a lyrical number featuring the excellent Ray Swinfield on flute. Pianist Laurie Holloway, later to be a staple of BBC big band orchestras, notably on the Parkinson show, features throughout."
5/5, Tim Stenhouse, Manchester Evening News, August 2011

"This man needs no introduction. as the Godfather of British jazz and big band, with a major International reputation. Sadly he passed away in February last year, playing up to his death, from his wheelchair on stage. John’s musical legacy lives on. A very important figure as a composer, arranger, band leader and superb musician. Head of the Dankworth musical dynasty – son Alec a superb bassist and composer, daughter Jacqui, actress and great singer (currently working on an album she started with her late father.) His “other half”, Dame Cleo Laine, of course. Dankworth Knighted by the Queen in 2006. Unique as a couple, as both had titles in their own right. The man had a wicked sense of humour, was a lovable guy and with his wife, worked tirelessly to establish their wonderful venue, The Stables at Wavendon near Milton Keynes, in the grounds of their home. I can recall the famous couple turning up part way through a show there, and sitting down next to me some years ago, when my friend, actress Judy Carne was doing her one woman show. Distracted, I just wanted to shake John’s hand and tell him how much I admired his music. Not wise, when in the front row in a hushed theatre a few feet from your pal whose show it is! Dankworth took the 12 astrological signs of the zodiac as inspiration for his big band suite 'The Zodiac Variations.' Originally released on Fontana in 1965, recorded in London and New York. Featuring a who’s who of jazz, including famed soloists Kenny Wheeler and Clark Terry on trumpets and flugel horns. Zoot Sims and Ronnie Scott (now there was a funny guy) on tenor sax. The great Bob Brookmeyer on trombone and Ronnie Ross on baritone sax. From two years later comes 'The $1,000,000 Collection.' This time John derived his inspiration from art and paintings.The cream of British jazz were on hand to ably assist in delivering a sparkling symphony of fine jazz. Mike Gibbs, Chris Pyne, Tony Coe, Ray Swinfield, Tony Roberts, the great band leader and arranger Laurie Holloway and trumpet king Henry Lowther, who appeared at Woodstock in 1969 with Keef Hartley.This double CD is a must if you have taste, class, style and perhaps want to save the vinyl originals for your kids!"
Simon Redley, www.bluesandsoul.com

"More fabulous homegrown jazz comes in the shape of a couple of John Dankworth twofers. The first pairs 1964’s orchestral LP, The Zodiac Variations (recorded in New York with US luminaries Clark Terry, Zoot Sims, Phil Woods and Bob Brookmeyer, with ’67’s The $1,000,000 Collection, an ambitious big band suite."
Charles Waring, Record Collector, September 2011 (four stars out of five)

The 1970s was when jazz and rock met head-on, thereby creating the jazz-rock genre, the most significant and certainly the most controversial development in jazz since the free-jazz movement of the previous decade. Miles Davis’s seminal ‘Bitches Brew’ album, recorded in 1969, is regarded as jazz-rock’s first major statement, but of equal importance was a different strand of rock-influenced jazz being developed in Britain at the same time. Among its leading exponents were such gifted young musicians as Mike Gibbs, Ian Carr, Mike Westbrook and, from the generation before theirs, bandleader, composer and alto saxophonist John Dankworth (1927-2010). The albums compiled here are two of Dankworth’s most significant forays into the jazz-rock genre, and show that he was responsive to the latest developments in jazz. 1972’s ‘Full Circle’ and 1973’s ‘Lifeline’ both feature an exciting blend of rock’s energy and electric instrumentation with jazz’s intricate harmonies and melodic contours. Dankworth leads a powerhouse band consisting of such fine players as Tony Hymas/Alan Branscombe/John Taylor (keyboards), Daryl Runswick (bass guitar) and Harold Fisher/John Spooner (drums), while in the brass and reeds sections are luminaries including Mike Gibbs, Kenny Wheeler, Stan Sulzmann, Don Rendell and Dankworth himself.
Remastered from the original stereo analogue tapes.

"British jazz composer and saxophonist extraordinaire, the late Johnny Dankworth was a highly versatile musician who recorded some memorable sides for television, film and vinyl alike. This excellent series of re-issues from Vocalion enables us to rediscover some of the mid-1960s and early to mid-1970s period era of his work, and this particular edition focuses on two albums from 1971 and 1972 respectively. The former, 'Full Circle', is slightly stronger with the reflective piece 'Scmaltz waltz' and it's lovely use of vibes and piano (John Taylor no less) a highlight. By contrast there is a strong percussive cu-bop feel to 'Earthman' (the first of the Dankworth original compositions) with big band unison on the main theme and a lovely flute solo. The second of the two originals on the album, 'Academy One', is an unabashed attempt at a contemporary sound that conjurs up the backbeat to Serge Gainsbourg's 'Melody Nelson' from the same period. Finally an uplifting fusion-jazz number is 'A family joy' with Bruce Graham soloing on piano. The second album, 'Lifeline', features one of Dankworth's most memorable and easily recognisable tunes, the theme from 'Tomorrow's world' which for the uninitiated was the long-standing science programme for the BBC. This includes a gorgeous extended solo on flute from Stan Sulzmann. Far more elaborate and intricate is a five movement suite and, of these pieces, the moody brass-led 'Orinoco' impresses as does the disitnctly 1970s soundtrack ambiance of 'Brass roots' with its use of wah-wah guitar and electric bass. Here Don Rendell features on soprano saxophone alongside Cleo Laine's wordless vocals. All in all a fine example of how British jazz had evolved from bop imitation into something quite distinct and refreshing."
4/5, Tim Stenhouse, Manchester Evening News, August 2011

"Dankworth’s foray into jazz rock, popularised at the time by many exponents here and across the pond, since the seed was first sown by the likes of Blood Sweat and Tears, and of course, Miles Davis in '69, with Bitches Brew. Leading exponents here were Colloseum, Mike Gibbs, Ian Carr, Mike Westbrook, and from the preceeding generation; Mr John Dankworth. The albums compiled here are two of his most significant journeys into the jazz-rock style, reflecting just how responsive he was to the latest developments in jazz, unlike some of the old school who turned their nose up at change and stuck to the same old, same old. 'Full Circle' and 'Lifeline' feature an exciting blend of rock’s energy and electric instrumentation, with jazz intricacy, jazz harmonies and melodic contours. Dankworth leads a powerhouse band of fine players, including Tony Hymas, Alan Branscombe, John Taylor on keys. Daryl Runswick on bass. Harold Fisher and John Spooner on drums. In the brass and reed sections, sat such luminaries as Kenny Wheeler, a colossus of a player. He was in great company, with the likes of Mike Gibbs, Stan Sulzman, Don Rendell and Mr Dankworth himself. A fitting tribute to the late and great JD, this re-issue should remind us of just how bloody brilliant the man was, and just how much he contributed to the world of music. Luckily for us, his music lives on - and he left us with a heck of a lot of it too."
Simon Redley, www.bluesandsoul.com

"Dankworth’s carefully-wrought arrangements, with their rich sonorities, stylistic élan and harmonic sophistication are also in evidence on two of his ’70s big band LPs, Full Circle and Lifeline. The latter contains a souped-up version of his theme to the BBC science programme, Tomorrow’s World.
Charles Waring, Record Collector, September 2011 (four stars out of five)

The Jamaican-born alto-saxophonist Joe Harriott was among the greatest exponents of jazz ever to have resided in the British Isles. His searing, endlessly inventive improvisations and his incredible virtuosity have secured him a place in the jazz pantheon, yet at the time of his death in 1973, he was a forgotten figure, ostracized from the wider jazz community. This was largely as a result of his excursions into what has since become known as free-form jazz, a path Joe trod in the 1960s with a passion and fervour that many of his contemporaries perceived as a waste of both his skills and energies. As often happens with visionaries such as Joe Harriott, however, the passage of time has shown that he was indeed an innovator, and that his free-from jazz explorations were not only a hugely valid musical statement but also Joe’s way of freeing himself from the shackles of Charlie Parker’s influence. As Joe himself famously remarked: “Parker? There’s them over here can play a few aces too.” And nowhere is that statement better exemplified than in the two albums collated on this Vocalion reissue. Recorded in the early 1960s at London’s Lansdowne Studios, they feature the Joe Harriott Quintet at the very top of its game, blending free-from material with more conventional forms of modern jazz. Joe is heard alongside the inimitable Shake Keane, the Carribean-born trumpet and flugelhorn virtuoso whose like we have not seen since his death in 1997. The free-from element is represented on the 1964 Movement album by Joe’s compositions Beams, Movement and Spaces, and there’s a nod in the direction of his erstwhile employer with the inclusion of Michael Garrick’s Face in the Crowd. One of the most beautiful moments comes in Morning Blue, a hauntingly evocative Joe Harriott original that Shake Keane later re-recorded on his 1967 album That’s the Noise. Going in the opposition direction, the Broadway musical High Spirits might seem like odd subject matter for the Joe Harriott Quintet, given its relentlessly modern outlook. Yet it’s what constituted the music on the second album in this collection, albeit resplendent in pianist Pat Smythe’s colourful, swinging arrangements. In fact, this material is ideal for both Joe and Shake in that it brings out their genius for lyrical, melodic improvisation, particularly so in such numbers from the show as If I Gave You, Home Sweet Heaven and I Know Your Heart. Sterling support is provided throughout both albums by Pat Smythe (piano), Coleridge Goode (bass) and Bobby Orr (drums). What’s more, both the Movement and High Spirits albums were originally issued in mono only, but Vocalion has sourced this reissue from the original stereo master tapes, thereby allowing this wonderful music to be heard in its true splendour. Remastered from the original stereo master tapes.

To many, the jazz-funk idiom is strictly the preserve of American musicians and groups such as Lonnie Liston Smith, Bob James, George Benson and The Crusaders. And while there is a certain truth in that, let us not forget that in Britain at the end of the ’70s there too was a thriving jazz-funk scene, which came to be spearheaded by bands like Shakatak and Level 42. This Vocalion reissue presents two albums from the Harvest archives – EMI’s progressive music label – both of which proved to be high watermarks in the first wave of British jazz-funk. Keyboardist Max Middleton and guitarist Robert Ahwai collaborated to produce 1979’s Another Sleeper. Middleton had previously appeared on guitarist Jeff Beck’s landmark album Blow by Blow and later was a member of Hummingbird, the soul band formed by Beck’s vocalist and fellow guitarist Bobby Tench, and which Robert Ahwai also later joined. There’s a lovely, romantic L.A./West Coast sound – though with a uniquely British sensibility – about much of Another Sleeper’s music, particularly on the flowing grooves of Robert Ahwai’s upbeat Dance by the Light of the Moon and Max Middleton’s Partial Eclipse/Total Madness, where Fender Rhodes piano and lush string arrangements combine to wonderful effect. Another Sleeper is partnered by Cape Wrath, the second album from Morrissey-Mullen, which became one of the UK’s most successful jazz-funk groups of the 1980s. Cape Wrath was also recorded for EMI’s Harvest imprint and featured many of the musicians who’d appeared on Another Sleeper, including Max Middleton and Robert Ahwai, which helped to give a pleasing consistency of ‘feel’ and style across both albums. Alongside original compositions from tenor saxophonist Dick Morrissey (Return to Tooting Broadway) and guitarist Jim Mullen (Cape Wrath and Night Song), soul and jazz evergreens such as Bill Withers’ Lovely Day and Mal Waldron’s Soul Eyes are given heartfelt jazz-funk arrangements. If it does nothing else, this release shows that, at its best, British jazz-funk was easily the equal of its American counterpart and indeed had an identity and sound of its own. Remastered from the original stereo master tapes. Remastered from the original stereo master tapes.

"A wonderful 24-track collection of swing recordings cut for the Vocalion label between 1928 ('Bugle Call Rag' by Benny Goodman's Whoopee Makers) and 1936 (Don Redman 's 'Lazy Weather'). Sandwiched in between are stellar tracks from Taft Jordan & the Mob, Luis Russell & His Orchestra, Benny Goodman's Modernists, the Harlem Hot Shots, Benny Carter & His Orchestra, Joe Haymes & His Orchestra, the Blue Rhythm Band, Henry Allen & His Orchestra and Billy Banks' Chicago Rhythm Kings. An excellent collection that sheds some light on some tracks that usually don't show up on compact disc. A must for all hot jazz fans."
Cub Koda, All Music Guide

CDEA 6034

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Please quote catalogue no. CDEA 6034

CDEA 6120

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CDLF 8118

“This one is especially welcome, as much for the charts as for their execution. Best of all, though, is their cohesion and joyful swing dynamic.”
Peter Vacher, Jazzwise, March 2006

CDLF 8127

“Alan Clare contributes two stylish quartet numbers….The Courtley-Seymour big band rouses things with a lusty post-bop take on ‘Struttin’ with Some Barbecue’.”
(author unspecified), Jazzwise, May 2006

CDLF 8129

CDLF 8140

CDLF 8148