Jazz Jazz Band Jazzcraft Jazz Door Jazz Groove JazzHausMusik Jazzland Jazztime/Jazzline Jazz: West JCOA JHM Jihad JMY Josie Jubilee Kharma King Kudu Label Bleu La Colleccio del Taller Landmark Laurie Le Jazz Leo Leo Lab Level Green Liberty Limelight Limited Sedition Lion LRC Magnetic Mainstream Marge Mash Masters of Jazz Matchless Maya Meantime Meniscus MetroJazz. Two record labels above all others have shaped the direction and sound of jazz: Blue Note and Verve. Once Blue Note started recording Thelonious Monk in 1947, followed by Art Blakey, Howard McGhee.
Eyepy Songs Record Tag This is definitely alisting of notable record labels, beginning withA-H.
A-H
Aedit
- Apollo Records (1921) (U.Beds.)
- Apollo Records (1928) (U.S.)
- Apollo Records (1944) (U.S.)
- Argo Records (U.H.)
Wedit
- Bell Information (1920s) (U.S i9000.)
- Bell Information (1940) (U.S i9000.)
- Bell Information (U.H. and U.K.)
- Beyond Information (U.K. 1992)
- Beyond Information (Norway) (2011)
M edit
![Major Major](/uploads/1/2/4/8/124875944/573514958.jpg)
Medit
- Dial Records (1946) (U.Beds.)
- Switch Records (1964) (U.H.)
- Call Records (1998) (U.Beds.)
- Call Records (1999) (Australia)
- Domino Saving Corporation (1993)
- Domino Records (1916 - 1917)
- Domino Information (1924 - 1934)
- Domino Records (1957 - 1961)
Elizabeth edit
F edit
Gedit
L edit
Discover furthermore edit
Outside links edit
![Major Jazz Record Labels Major Jazz Record Labels](/uploads/1/2/4/8/124875944/815646458.jpg)
- labelsbase.net - record labels database
- discógs.com - searchabIe by content label
- russian-records.com - Russian labels
Gathered from 'https://durante.wikipedia.org/w/index.php?title=Listofrecordlabels:A-Hámp;oldid=901001887'
Thé saxophonist Ian Héndrickson-Smith offers caught his talk about of deflected stárdust: as a former foot soldier with Sharon Jonés and the Dáp-Kings, as á employed weapon for the likes of Al Natural and as a member of “The Today Show” band (which is certainly to say, the Roots). For the relaxation of this year, as component of the Lóston Harris Trio, hé'll show up Thursday through Sunday nights at Bemelmans Bar, the hobnobby community centre in the Carlyle Hotel in Ny.
“Live at Smalls,” Mr. Hendrickson-Smith'beds new cd, is supposed to be to a various range of achievement. It'beds a sturdy, uncomplicated collection of vintage-style spirit jazz, documented in one óf New Yórk's minimum pretentious night clubs, probably as an aftérthought. If it't a symbol of creative independence, it's a simple one. But the welcoming gleam in Mister. Hendrickson-Smith'h playing, and the assertive assistance of a tempo section with James Hazeltine on violin, are well worth the problems. The project offers a spark of existence, a reason for being.
It occurs to end up being one of several albums out in actual form this 7 days on SmallsLive, a record content label associated with that Greenwich Community jazz háunt. And SmaIlsLive, in change, is usually one of many significant labels to have got cultivated out of thé New York membership scene. Fifty percent Note, affiliated with the Glowing blue Note Jazz Club (but, it should become said, not Blue Notice Records), provides ended up in business for yrs. Smoke Periods, the imprint of the Top West Aspect club Smoke, began up just this calendar year, demonstrating itself right out of the door.
Thése labels arrive away of an outdated impulse and a newer collection of circumstances. Jazz musicians have become making albums in clubs for as long as it's been feasible; some of the results, like Sonny RoIlins's “A Night time at the Town Vanguard,” documented in 1957, might as well end up being on the register of National Historic Landmarks. For historical and acoustical factors, the Vanguard leads in this industry - a page on its website displays thumbnail images for 123 cds created in the club - but there have also become fine current dispatches from Jazz Standard, Dizzy's Membership Coca-Cola and elsewhere.
Still, those are albums launched on different record labels. The everlasting problem of working a prosperous jazz membership, and the equally daunting proposition of beginning a record content label, have longer conspired to maintain the two businesses split, notwithstanding the unusual, fleeting exception. But in the present record market climate, a street has opened for small but critical labels with reduced over head, ready-made recording area and built-in artist rosters and possible viewers. It'h a question this didn'testosterone levels happen a decade ago.
In the situation of Fifty percent Take note, it do - in a silent, creeping fashion. Founded in 1998, the label gained impetus a several years later under the path of Jeff Levenson, a experienced label professional. Its result since has been prolific, if a Iittle unfocused. Estimable cds by two stalwart Half Note artists, the pianist Kénny Werner and thé trombonist Conrad Hérwig, were launched this fall. Next springtime's group will be to include one Latin-jazz cd by Mister. Herwig; anothér by Jerry GonzaIez and the Fort Apache Band; and a saxophone peak featuring Odean Pope, Pharaóh Sanders and Wayne Carter.
SmallsLive inserted the image four yrs back with an initial batch of 11 “Live at Smalls” releases, like one by Mr. Hendrickson-Smith. Liké Smalls itself, thé content label offers a soulful and scruffy identification, though its creation values are usually mainly beyond réproach.
And, Iike Smalls, it couId become mentioned to symbolize the New York jazz well known in micrócosm, with upstart modérnists like the saxóphonist Will Vinson, mainly because nicely as even more experienced fingers like Philip Bernstein, who place out a considerate solo guitar project this fall. Mister. Hendrickson-Smith't new recording connects to a pair of fresh SmallsLive produces by pianists: Surge Wilner, the manager of Smalls, who has a playful grip of jazz history; and Theo Hill, a painterly youthful participant with a chamberlike approach to composition. Last year's collections incorporated a sharpened getaway by the veteran hard-bop piánist Harold Mabern, leading his trio with Mark Webber on largemouth bass and Joe Farnsworth on drums.
Mr. Mabern and the same rhythm group also place out the inaugural launch on Smoke Sessions early this season, an similarly strong project entitled “Ideal on Period.” That and the brand's following few cds, like one by Mister. Hazeltine, rapidly arranged a shade: swinging, straight-ahead jazz, impeccably engineered in its organic environment by one of the golf club's proprietors, John Staché.
Thé final few of Smoke Sessions albums has long been extraordinarily good, suggesting that the tag has strike full step. “The Original Mob,” a réunion of the get better at drummer Jimmy Cobb with various previous protéhés (Mister. Bernstein, Mr. Webber and the pianist Brad Mehldau), is certainly not only Mr. Cobb's best lp in recent memory space, but furthermore a hard-bop situation research, a cogent point against obsoIescence.
And éach of the brand's three fall releases by piánists - Cyrus Chéstnut's “Midnight Melodies,” Eric Reed's “Groovewise” and Orrin Evans't “Freedom Blues” - deserves a close up appearance by anyone now in the process of putting together a year-end Best 10 list. These collections don't audio like tossed-óff byproducts of live life efficiency; each provides an arch, a feeling of gravity and a suggestion of higher objective.
Naturally, the target audience has a role to enjoy here; there's still something about a packed club that brings the greatest out of most jazz musicians. (It says something about the hidebound older record company that Mr. Chestnut, who spent a 10 years on major labels, has been never provided the natural light to create a live album before “Midnight Melodies.”)
As it happens, Smoke Sessions recorded some of next year's produces at Sear Audio, a appropriate studio room. The reasons have got to perform with a search for audiophile sound quality - though Mister. Cobb'h album, documented in the membership with no audience interference, might seem to recommend a more appealing give up. Still, there's i9000 reason to trust that the membership's nature can endure beyond its phase. And at a moment when robustly moving songs doesn'testosterone levels have numerous safe harbors in the record sector, information like this can just be great.