Results for “Excello”

2012

The Fame catalogue rolled on, as did the Songwriter and London American series, Mod Jazz and New Breed danced on and there were more cute EPs and cuddly 45s. So all of the flowers in the Ace garden were being well tended.

There was a new compiler on the block, looking like he was ready to bop. Ian Saddler, a record collector who specialised in Louisiana music created a new series. The first release was “Boppin’ By The Bayou”. Essential to making the series work was accessing the seminal rock’n’roll and R&B recordings made by JD Miller out of Crowley. While Miller provided Excello with a huge amount of their catalogue, he was also responsible for a lot of great rockin’ rhythm and blues sides that he didn’t sell on. With a big helping hand from John Broven, a deal that had been sought for many a year was finally put together. Before long, the Paddington Branch of the Grand Union Canal was doing a pretty good impersonation of the Bayou. Vince Anthony & the Blue Notes’ ‘Watch My Smoke’ was not just one of the great tracks in the deal but could well be the byword for the alacrity with which the series expanded.

Ace has been in the R&B business since the early 80s when LPs from the likes of Huey Smith, Earl King, Rosco Gordon and Ike Turner were released. In 1982 our Kent label kicked off with “For Dancers Only” and “For Dancers Also”, inspired by my and Randy Cozens’ 6TS Rhythm ‘N’ Soul Society functions. Alongside the soul sounds the LPs featured tracks by Lowell Fulson, Z. Z. Hill, Vernon Garrett, Ike & Tina and Johnny Otis all of which were on the R&B side. Kent continued to feature R&B sides on its label-based CDs of Carnival, Excello and Poncello and there were compilations from R&B giants Chess - “Chess Club Rhythm & Soul” and Atlantic - “At The Club” devoted to where R&B met soul.

In 2001 Kent came up with “New Breed” to describe the sort of R&B records that were getting played on the emerging dance scene frequented primarily by second-generation Mods and Northern Soul dropouts. The increased interest led to prices of the most popular dancefloor plays rising; vintage music fans, record collectors and dealers took notice. A high percentage of the spins were from the early 60s, a period which had been somewhat overlooked by traditional blues collectors. As black music began to experiment with different productions, instrumentation and backing vocals, many collectors felt the music had been bastardised and any pop tendency was looked down on. Some stunning records with poppy choruses or heavily featured organs and the like were overlooked by collectors but this new dance scene was paying more attention to the beat than the virtuosity of the guitarist so a sub-genre came about. Ace having purchased Modern and Kent records in 1990, that catalogue was a natural one to mine for our first foray specifically targeting the new scene. With the help of Manchester’s Hideaway club DJs we put an impressive collection of R&B together and adopted the “New Breed” moniker of Jimmy Holiday’s 1967 Kent release of the same name. It was an appropriate raver of a record that summed up the burgeoning scene’s vitality and freshness.

The CD was very well received and within months “New Breed” was being used as a term for this new approach to black music. A year later we delved into the vaults of King and Federal records, an even better source with monsters such as Mike Pedecin’s ‘Burnt Toast And Black Coffee’, Little Willie John ‘I’m Shakin’’ and Johnny “Guitar” Watson’s ‘I Say I Love You’. Running parallel with interest in the blues was the influence of the Belgium-originated Popcorn scene in the UK. These records were more mid-tempo than what would normally be played here but Popcorners had a thirty year history even then. Their DJs had discovered some sublime black music grooves from this very period over those years. They were not averse to slowing down records that did not fit their perfect dance groove, so some were already suited for UK plays at the correct rpm. Many of the black Popcorn records were accepted onto the New Breed scene simply because they were brilliant, previously overlooked tunes. The mod end of the crowd in particular had no trouble adapting to them.

So in 2008 we brought out the CD “New Breed R&B with Added Popcorn” with tracks like Nappy Brown’s ‘Coal Miner’ and Harold Atkins’ ‘Big Ben’ which fitted neatly with the raucous R&B of Banny Price’s ‘You Love Me Pretty Baby’ and Luther Ingram’s dancefloor sensation ‘Oh Baby Don’t You Weep’. In 2012 we produced a second volume from the deep King vaults and the following year saw “New Breed Blues With Black Popcorn” emphasising the musical hue of Popcorn on there.

Some of the tracks used on the Various Artists CDs were tasters to label stories or solo projects that usually appeared on our Ace label. The Tiny Topsy and Lula Reed shared CD of their Federal recordings was sub-titled “Queens Of New Breed R&B”. Little Willie John’s R&B sound is a cornerstone of New Breed and Ace has four solo CDs riddled with dance classics. Kent Harris’ early productions were spotlighted on “Kent Harris’ R&B Family” Ace CD in 2012 and “Foxy R&B; Richard Stamz Chicago Blues” on the same label the following year, was mainly mid to uptempo R&B that would entertain New Breeders with a hunger.

By the time of those releases younger collectors who had been attracted to the new dance scene were broadening their interests and inevitably finding the wonderful music of the previous decade. Ace of course had been issuing exactly that throughout its thirty plus years and compilations by Etta James, Young Jessie, 5 Royales, Hank Ballard and Otis Williams were just some of the many compilations that would widen the R&B experience. The recently released Ace CD “Cracking The Cosimo Code” is an education in New Orleans R&B as well as a great listen.

Ace and Kent continue to lead the way in all things R&B with our access to master tapes, issued or unheard. We continue to find musical gems, frequently making their first digital (sometimes any) appearance.

November 1973, it was Thursday afternoon and I was on a plane bound for New York nursing a mega-hangover. I vaguely remember joining Phil and Frank and a couple of others at Dingwalls for a drink the night before, after working late on some band accounts in the office with my partner Chris Morrison.

1987

1987 was the transformative year for the label as we started to take on the rest of the Fantasy catalogue: Stax and the Creedence Clearwater Revival albums; then, in 1988, Prestige, Riverside, Milestone and all the other jazz Fantasy had tucked away. Pablo was added in 1989 and this all culminated in all the jazz labels being housed under the OJC umbrella in 1992. More of this later, but it had a big impact on what we were doing and even in the new Harlesden premises we were rapidly running out of space so we bought two adjoining buildings to expand the warehouse.

We also started two new labels to accommodate very different styles of music.

Initially BGP stood for Baz [Fe Jazz], Gilles [Peterson] Productions. The label was aimed at a different dance floor from the one that the Northern soul of Kent records was being played on. Named Rare Groove back then, though it went through a number of name changes, including Wah Wah Jazz. The first BGP release was a Mongo Santamaria compilation, the ideal Latin/jazz mix for the times. Right through its life the vast majority of BGP releases were drawn from the Fantasy jazz labels..

BLUE HORIZON was producer Mike Vernon’s label. It started in 1965 with a Hubert Sumlin outing and eventually mixed US-licensed material with recordings by Fleetwood Mac, Chicken Shack, Duster Bennett as well as US bluesmen like Otis Span and Eddie Boyd.

The early recordings ended up in the maw of CBS Records but Mike retained the label name. So, together, we resurrected it and as expected he brought us impeccably produced recordings by Blues And Trouble and Louisiana’s Lazy Lester and over the next nine years a series of mainly local blues and R&B artists. Mike also features in the Ace story as producer and later member of Rocky Sharpe and the Replays. A real gent to do business with.

We gradually eased into the deal with Fantasy, initially taking in the Stax catalogue and then Creedence Clearwater Revival. Our contact was their overseas licensing person, the highly knowledgeable Bill Belmont. He brought the labels to us piecemeal. At the start we weren’t sure we could handle such huge catalogues, so easing into them was actually a blessing. 

1993

Harold Battiste’s productions ran the gamut from ‘I Got You Babe’ by Sonny and Cher to Dr John’s “Gris Gris” LP. It was the latter aspect of Battiste’s talents that he brought to the label we licensed his New Orleans-based AFO (All For One) Records. This was deep, deep Crescent City, with early and many previously unreleased sides from Mac Rebennack, Dr John, Prince La La, Nookie Boy and soul chanteuse Tammi Lynn. The series title, “Gumbo Stew”, was as apt as could be. We also issued a jazz piano album by Ellis Marsalis, father of Wynton.