Last updated: December 20, 2017
Jazzland: Riversides “other” label
Budget label, alternative label, tax-minimisation label, possible all three. Labels are both standard LP size 100mm diameter and small 92mm diameter, exact changeover points not known. Orange mono, black stereo.
1 – Orange, Deep Groove, 100mm
3.2 Not deep groove 100mm
3.3 Deep Groove 92mm
Picture courtesy of Tony
3.4 Jazzland Stereo DG 100mm
Picture courtesy of Nicolas
Another 100mm stereo Jazzland US press, DG on side 2, not on side 1, AB hand-etched Side 1, no other markings. Nice stereo recording – made in London not US, but US transfer is poor. Some Jazzland were pressed by Abbey Manufacturing Corp, NJ (“AB”) and but also others
Though Abbey were famed for excellent pressings for Prestige in the mid to late Fifties, the consistent bold capitalised handwritten AB found on many Prestige title is of a different hand here in 1961: thin spidery and feint and of lesser engineering and pressing quality, if it is the same Abbey.
Both US Riverside and Jazzland pressings are sometimes troubled with presence of surface noises attributable to manufacturing issues, possibly second grade blank lacquers, factory cleanliness, process shortcuts, who knows. Neither Bob Weinstock at Prestige (notorious for use of recycled vinyl on some New Jazz pressings) nor Orin Keepnews at Riverside seemed on top of manufacturing quality, but focussed on artists and recording, cutting the cost of manufacture, sometimes with detrimental results.
Jazzland – Orpheum Productions – Stereo – Maroon
Orpheum continued to maintain the separate identity of Riverside and Jazzland labels
JAZZLAND LP CATALOGUE VISUAL REFERENCE BY SET
The Riverside sub-label Jazzland is often overlooked, perhaps because it was initially a reissue vehicle for Riverside recordings. However it developed as an interesting source of original recordings not found elsewhere, including some from my homeland including artists Joe Harriott, Don Rendell and Tubby Hayes. As a form of international repayment, I determined to produce a definitive visual reference set of the Jazzland label.
Not as easy as at first I hoped, occasionally Side 2 label was unable to be found (many ebay sellers find it too onerous to picture both labels, or indeed any). This means rare items with only few sales, only Side 1 has been found. Promos were given preference, but it is still a conundrum why many promos were not deep groove, while the commercial release is mostly solid deep groove. Skimming auction results reminded me that original deep groove pressings are very frequently found only on Japanese jazz-seller sites, the records grew wings, and found their way to where collectors appreciated original provenance.
There are just under a hundred titles in the Jazzland catalogue, a few instantly forgettable, but others repaying serious interest, and mostly at pocket-money prices. I’ve tried to assemble a visual set of each record, inevitably falling short of archival quality due to the sometimes very poor standard of photography record by record sellers. These are the best of what I found, in a limited amount of time, fixed in Photoshop where I could correct the wonky perspective.
In the research process, I discovered a number of Jazzland records I have never seen in the flesh and didn’t even know existed. It also put my dozen or so Jazzland titles in context of the label history, a piece of modern jazz history deserving of attention. If you put to one side the royalty of modern jazz, Blue Note and Prestige, there is a rich seam of jazz musicians struggling to make a few dollars to pay the rent, and producing interesting recordings.
The research has taken a bit of time away from reviews, but hopefully you may find some new friends to make here in the full catalogue. Given the spiralling price of “royalty”, I think there is a lot of enjoyment to be had through Jazzland, and many of the other lesser labels.
LAST UPDATED: December 17, 2017
Only JLP 8,15 and 23 Side 2 labels remain stubbornly missing. I herby lay a curse on sellers who do not include label-pictures with their auction offerings.
(Updated December 13, 2017)
Many thanks to Thom S for supplying missing Jazzland labels – LJC
At this point, around 1964-5, mono become exceedingly rare and difficult to track down, deep groove is replaced by “normal” single-step pressing ring, stereo takes over , and Riverside re-issues resume in place of original Jazzland recordings, as the Jazzland label runs out of steam, but leaving behind a significant legacy of jazz in its day.
NEW!: JAZZLAND STEREO SERIES (added December 2017)
A bumpy start for stereo as “the next big thing” at the time, but it was several years before the majority of American home-listeners had bought a new stereogram, so often the 1961-2 stereo edition is much more rare than the mono issue. Some titles are rare in themselves, lesser artists and those whose records did not sell well, rarely turn up for auction. Not all labels could be found among auction results, and some of those found did not include the very earliest deep groove pressings of some titles. It is also unclear where the small 92mm label or the regular 100mm label is the original first pressing. Hence these sets are provisional, work in progress, some errors and omissions no doubt, as is normal for a “first cut” – to be improved on in time.
The stereo series runs from 916S to at least 996S, thus far research incomplete.
Series continues, to be added as time permits.
LABEL DISCOGRAPHY LISTING (1960-65)indicating Riverside re-issues
|JLP 1 Gryce, Gigi & Donald Byrd – Jazz Lab (Reissue of Riverside RLP 12-229)|
|JLP 2 Sims, Zoot – Zoot Sims Quintet (Reissue of Riverside RLP 12-228)|
|JLP 3 Dorham, Kenny – The Swingers (feat. Frank Foster, Wilbur Ware, Ernie Henry)|
|JLP 4 Weston, Randy & Art Blakey – Zulu (Reissue of Riverside RLP 12-227)|
|JLP 5 Mann, Herbie – Featuring Jack Sheldon (Reissue of Riverside RLP 12-245)|
|JLP 6 Byrd, Donald & Hank Mobley – Hard Bop! (Reissue of Riverside RLP 12-236)|
|JLP 7 Kelly, Wynton – Cruisin’ The Rhythm Sections (with Wilbur Ware, Philly Joe Jones, Paul Chambers)|
|JLP 8 Lowe, Mundell – Low-Down Guitar (Reissue of Riverside RLP 12-238)|
|JLP 9 Drew, Kenny – Tough Piano Trio (Reissue of Riverside RLP 12-224)|
|JLP 10 Terry, Clark & Kenny Dorham – Top Trumpets|
|JLP 11 Sims, Zoot – East Coast Sounds (Reissue of Riverside RLP 12-225)|
|JLP 12 Griffin, Johnny & Wilbur Ware – The Chicago Cookers (Reissue of Riverside RLP 12-252)|
|JLP 13 Weston, Randy & Cecil Payne – Greenwich Village Jazz (Reissue of Riverside RLP 12-232)|
|JLP 14 Dorham, Kenny – Kenny Dorham & Friends (feat. Kenny Drew, Wilbur Ware, Ernie Henry)|
|JLP 15 Elliot, Don – Double Trumpet Doings (Reissue of Riverside RLP 12-218)|
|JLP 16 Rhyne, Mel – Organ-Izing|
|JLP 17 Herman, Woody – The Fourth Herd (feat. Nat Adderley, Zoot Sims)|
|JLP 18 Baker, Chet – In Milan|
|JLP 19 Rouse, Charlie – Takin’ Care Of Business (feat. Blue Mitchell, Art Taylor, Walter Bishop)|
|JLP 20 Land, Harold – West Coast Blues|
|JLP 21 Baker, Chet – With Fifty Italian Strings|
|JLP 22 Lytle, Johnny – Blue Vibes|
|JLP 23 Alexander, Joe – Blue Jubilee|
|JLP 24 Collins, Joyce – Girl Here Plays Mean Piano|
|JLP 25 Priester, Julian – Spiritsville|
|JLP 26 Werner, Lars & Bernt Rosengren – Bombastica! (The Werner-Rosengren Swedish Jazz Quartet )|
|JLP 27 Thomas, Rene – Guitar Groove|
|JLP 28 Benton, Walter – Out Of This World|
|JLP 29 Gordon, Dexter – The Resurgence Of…|
|JLP 30 Mance, Junior – The Soulful Piano Of…|
|JLP 31 Griffin, Johnny & Eddie Lockjaw Davis – Tough Tenors|
|JLP 32 Red, Sonny – Breezing|
|JLP 33 Land, Harold – In New York|
|JLP 34 Jazz Couriers, The – The Message From Britain|
|JLP 35 Spann, Les – Gemini|
|JLP 36 Gonsalves, Paul – Gettin’ Together|
|JLP 37 Harriott, Joe – Southern Horizons|
|JLP 38 Moore, Wild Bill – Wild Bill’s Beat|
|JLP 39 Griffin, Johnny & Eddie Lockjaw Davis – Lookin’ At Monk!|
|JLP 40 Jordan, Clifford & Sonny Red – A Story Tale|
|JLP 41 Mance, Junior – At The Village Vanguard|
|JLP 42 Griffin, Johnny & Eddie Lockjaw Davis – Griff And Lock|
|JLP 43 Green, Bennie – Glidin’ Along|
|JLP 44 Lytle, Johnny – Happy Ground|
|JLP 45 Sleet, Don – All Members|
|JLP 46 Monk, Thelonious & John Coltrane – With John Coltrane|
|JLP 47 Adderley, Nat – Naturally|
|JLP 48 Garland, Red – Bright And Breezy|
|JLP 49 Harriott, Joe – Free Form|
|JLP 50 Navarro, Fats & Tadd Dameron – Classics Of Modern Jazz, Vol. 1|
|JLP 51 Rendell, Don – Roarin’ (with Graham Bond, John Burch, Tony Archer)|
|JLP 52 Jordan, Clifford – Starting Time|
|JLP 53 Mance, Junior – Big Chief|
|JLP 54 Moore, Wild Bill – Bottom Groove|
|JLP 55 Shearing, George – George Shearing & The Montgomery Brothers|
|JLP 56 Strozier, Frank – Long Night|
|JLP 57 Anderson, Chris – Inverted Image|
|JLP 58 Cook, Junior & Blue Mitchell – Junior’s Cookin’|
|JLP 59 Red, Sonny – The Mode|
|JLP 60 Davis, Eddie Lockjaw & Johnny Griffin – Blues Up And Down|
|JLP 61 Ashby, Dorothy – Soft Winds|
|JLP 62 Garland, Red – The Nearness Of You|
|JLP 63 Mance, Junior – The Soul Of Hollywood|
|JLP 64 Pettiford, Oscar – Classics Of Modern Jazz, Vol. 2|
|JLP 65 Arnold, Harry – Great Big Band And Friends|
|JLP 66 Nistico, Sal – Heavyweights|
|JLP 67 Lytle, Johnny – Nice And Easy|
|JLP 68 Dameron, Tadd – Classics Of Modern Jazz, Vol. 3|
|JLP 69 Jordan, Clifford – Bearcat|
|JLP 70 Strozier, Frank – March Of The Siamese Children|
|JLP 71 Stitt, Sonny – Low Flame|
|JLP 72 Rollins, Sonny – Sonny’s Time|
|JLP 73 Garland, Red – Solar|
|JLP 74 Red, Sonny – Images|
|JLP 75 Adderley, Nat – In The Bag|
|JLP 76 Griffin, Johnny & Eddie Lockjaw Davis – Tough Tenor Favorites|
|JLP 77 Mance, Junior – Happy Time|
|JLP 78 Metronomes, The – Something Big!|
|JLP 79 Roach, Max – Conversation (Reissue of Riverside RLP 12-280)|
|JLP 80 Morgan, Lee – Take Twelve|
|JLP 81 Lytle, Johnny – Moon Child|
|JLP 82 Dorham, Kenny – Kenny Dorham And Friends (feat. Cannonball Adderley and Sonny Rollins)|
|JLP 83 Kelly, Wynton – Whisper Not (Reissue of Riverside RLP 12-254)|
|JLP 84 Mangione, Chuck – Recuerdo|
|JLP 85 Golson, Benny – Reunion (Reissue of Riverside RLP 12-256)|
|JLP 86 Rollins, Sonny – Shadow Waltz (Reissue of Riverside RLP 12-258)|
|JLP 87 Garland, Red – Red’s Good Groove|
|JLP 88 Baker, Chet – Polka Dots And Moonbeams (Reissue of Riverside RLP 12-281)|
|JLP 90 Mitchell, Blue – Blue Soul (Reissue of Riverside RLP 12-309)|
|JLP 92 Jones, Philly Joe – Big Band Sounds (Reissue of Riverside RLP 12-302)|
|JLP 93 Griffin, Johnny – The Little Giant (Reissue of Riverside RLP 12-304)|
|JLP 96 Terry, Clark & Thelonious Monk – Clark Terry Quartet With Thelonious Monk (Reissue of Riverside RLP 12-271)|
|JLP 97 Barretto, Ray & Eddie Lockjaw Davis – Alma Alegre|
|JLP 1001 Various Artists – The Stars Of Jazz|
Hello LJC, just picked up an interesting jazzland title. JLP 14 Kenny dorham and friends. Looking at the deadwax we have RLP 222 B and RLP 225 B. So side 1 is side 2 of ‘presenting ernie Henry’ and side 2 is side 2 of ‘2 horns 2 rhythm ‘ !
Correction: Jazzland was Bill Grauer’s budget operation, not Weinstock. Rudolf comes to the rescue, has the whole story.
Actually JLP 14 is a compilation. The sides are correct, I just thought it was interesting how they took sides from 2 different existing LP’S to make it 🙂
I stand corrected, not one I know.
Jazzland, in the beginning, was a re-issue label, with the mission to give a new life to some Riverside recordings. Sometimes ackwardly by combining one side only of an album, with the half of yet another album. This was Bill Grauer ‘s way. Bob Weinstock always re-issued full albums.
BTW, Jazzland from #20 on, produced new music and went on in this fashion until around # 70.
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No, rather Riverside to Jazzland is as Prestige to New Jazz. Budget label Status had albums of both PR and NJ origin, and even some new titles, but that is an other story.
What’s the skinny on this label? I own a few of the early releases (picture 1 above). They seem to have been released around the same time as the Riverside counterparts with different covers? I don’t get the point. Seems like Jazzland is to Riverside as Status was to Prestige? I still don’t understand the point of releasing them around the same time with different labels. Seems not too cost effective!
Is there any value to these as collectible? Mine look and sound great. Thanks!