Record Label Profile
” data-original-title=”” title=””>Perez Prado to
voice / vocals
1915 – 1998
” data-original-title=”” title=””>Frank Sinatra. The first actual piece of jazz, I heard was Danny Kaye’s version of ‘Minnie the Moocher’ Much later on, I got interested in the roots of ’60s pop and rock music. I like to think of myself as a bit of a musicologist.
Like many of his—and my—generation, Duckett’s introduction to rhythm and blues came with the “blues boom” in the late ’60s, when he heard what was perhaps the best of the British blues groups,
” data-original-title=”” title=””>Peter Green‘s
” data-original-title=”” title=””>Fleetwood Mac. It was, however, somewhat later that his explorations into the music really began, when he started buying compilations of “jump” music. In fact, his entry into blues and jazz says something about the eclectic nature of the catalog he has compiled.
For the jazz element in the Rhythm and Blues Records catalog, Duckett offers a number of intriguing compilations that contrast the American and British jazz releases of the ’50s and ’60s under the rubric Jazz Goes Mod. The title emphasizes the fact that the original “mods” were fans of jazz and blues, French literature and sharp Italian suits, who road Vespas and Lambrettas because they were the simplest way of getting from London’s suburbs to Soho and its jazz and blues clubs. It was their younger siblings who helped provide the headlines for the UK’s second, youth-inspired, moral panic of the post-war years, the first being the “teddy boys.”
“I was never really interested in British jazz as a young man,” Duckett admits. “I used to go down to
1927 – 1996
” data-original-title=”” title=””>Ronnie Scott‘s in the ’80s and didn’t pay much attention to the British support acts. I suppose my interest came later, as I did more research. I have to say I really do love the detective work that goes into researching people like Johnny Burch and ” data-original-title=”” title=””>Harry South.”
A lot of the recordings are radio broadcasts but there are also tapes that Nick has been sent by various people. The catalog includes two four-CD sets of the criminally under-recorded Harry South Big Band. In the main, people know South either through his connection with
” data-original-title=”” title=””>Georgie Fame‘s Sound Venture (Columbia 1966) or through his marvelous score for that ’70s TV classic, The Sweeney. South’s bands, however, featured the cream of British jazz musicians of the year. These two sets, with authoritative notes by saxophonist/writer
” data-original-title=”” title=””>Simon Spillettare currently on special offer and are highly recommended.
How Duckett came by the tapes is one of those serendipitous stories that bless the jazz scene now and again. “I drink in the French House in Soho,” he says, “and, by happy coincidence, Harry’s daughter Annabel works there. She has given me her father’s entire tape archive. Sadly, it’s currently gathering dust in my attic but I’m hoping to pass it onto an institution that might appreciate it.”
Rhythm and Blues Records may be small but it is growing and already perfectly formed. With artists that include
1933 – 2011
” data-original-title=”” title=””>Michael Garrickthe Rendell-Carr Quintet, Georgie Fame,
voice / vocals
1923 – 1997
” data-original-title=”” title=””>Jimmy Witherspoon,
1928 – 1973
” data-original-title=”” title=””>Joe HarriottRonnie Scott and even the
Spontaneous Music Ensemble
” data-original-title=”” title=””>Spontaneous Music Ensemble, there are a good few nuggets in the mine. That it offers an in-depth catalog of the history of black rhythm and blues in the USA adds further attractions. So, is there one particular artist who he would really love to have on his label? Duckett responds instantly, “Yeah,
1930 – 2004
” data-original-title=”” title=””>Ray Charles. I’d love to get round to releasing a Ray Charles collection.” Can I get an “Amen,” Brothers and Sisters?”
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