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There is nothing quite like the feeling of holding the master tape to a classic record, in particular when it is of 50s and 60s recordings; the tape that was inthe studio when the record was cut, the box annotated with all of the engineer's logs, comments on the producer's choice of take and doodling by a bored drummer. But more than the artefact aspect, open the box and there is the promise of hearing the original master and therefore the best possible source available. At first listen it may not even sound that spectacular. It will often be a little dull, in need of something extra to make it sparkle. And that is precisely why we then take it through a post production or mastering stage , just as it would have been for its original release.

We've had a couple of enquiries about the search button on the Ace website. If anyone is struggling, we've created this handy cut-out-and-keep guide (see below).

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. 

The jazz side of things was also catered for when a deal was brokered through Fantasy Records in 1985 to licence the hugely influential Contemporary label out of California. A couple of years later, Ace recruited jazz DJs Gilles Peterson and Baz Fe Jazz to launch their own jazz reissue outlet, BGP. A name was needed to christen the funky, Hammond B3-powered jazz funk and soul jazz that was proving popular in the clubs and, taking a nod from the then all-pervading acid house scene, the extremely popular Acid Jazz series was born. Twenty years on, things have gone from strength to strength on a label that, in the able hands of Dean Rudland, encompasses everything from Art Blakey to Sugar Pie De Santo from jazz to funk.

2003

By now we had accumulated a vast catalogue of Stax releases and thoroughly mined the vaults for rare and unissued sides. It was fitting then that there would be a works outing to join in the celebrations for the reopening of the reconstructed original McLemore Avenue building as a museum. Alec, Dean, Tony and Roger experienced a remarkable week of music and events as Stax’s indomitable Deanie Parker put on a series of shows. The culmination was an extravaganza at the grand Orpheum Theater, with performances by Stax artists Isaac Hayes, Booker T & The MGs, Mavis Staples, William Bell, Carla Thomas, Eddie Floyd, the Bar-Kays, Little Milton, Jean Knight, the Soul Children and Mack Rice - though, by common consensus, the show was stolen by Rance Allen. Others paying tribute to the label were Al Green and Solomon Burke. There were other shows featuring the Mad Lads, Big Star and a highly emotional Linda Lyndell.