Jazz had its heyday in the 60s and 70s. But, like other musical styles, jazz stayed relevant through its incorporation into other genres: funk, hip-hop, and rock have all dabbled in jazz to much success. While old-school jazz heads typically praise the usual classics – e.g. Miles Davis’s Kind of Blue – it’s the crate diggers and enthusiasts that champion more obscure releases who bring diverse opinions and new life to the genre. UK-based deejay, Paul Murphy, is one such enthusiast. Through his reissue label, Jazz Room Records, Paul releases less well known, but peppy jazz—notable releases that deserve broader attention and celebration from jazz fans. Paul began his journey as a resident DJ at various London venues, including The Wag, Electric Ballroom, and Hoxton Square’s Blue Note. Later, after owning a record store, he took an interest in re-issuing forgotten releases that he encountered via his connections with other labels and DJs. We were fortunate enough to hear from Paul about his label shenanigans and get some sage advice for new labels looking to release great music.
What is your favorite story about finding a record that you wanted to release?
I suppose it has to be the TAKE VIBE E.P. 2020. During lockdown, Laurence Mason had put up his demo mashup of Dave Bruback “playing” The Stranglers druggy opus “Golden Brown” on Youtube (which so far has 8.5 MILLION hits. 9000 comments. Mostly positive.) I said “bin the samples, replay them and we can get this released.” We’ve sold 4,000 so far; it’s looking like it’s gonna be repressed again.
Indeed the Take Vibe E.P. was a top-rated Jazz record on Bandcamp. While the rhythm section is in 3/4 time, not the 5/4 time signature of the original Take Five by Dave Brubeck, the swinging drums and bass lay the groundwork for a lonely saxophone solo to whimsically wail and sail over. The resemblance is striking to Golden Brown, although with the punch and swing like a Jazz Room record!
What was the most difficult record you ever released?
Nothing too difficult. It’s harder to sell if there’s no digital, a bit of a stone drag. But, so far, I’ve managed to get through things.
How do you find such great music? Any advice to a DIY record label?
I can only say do what you like, and try to stay away from double vinyl issues at first (unless it’s a compilation). Keep costs down by promoting yourselves, which is easier than it used to be, as you can send digital files now.
Did you always play jazz records as a DJ, or did you explore other genres?
I seem to have been playing Jazz and its cousins forever. I did get into it via the soul route, though. I just liked those instrumentals better, I guess.
Paul regularly plays a mix of jazz, soul, funk, and even afro beat music during either his DJ mixes, compilations, or reissues through the label. My favorite tracks Paul has resurfaced include: the funky Chameleon by Tony Lavorgna & the St. Thomas Quartet, epic Jazzberry Patch by Ben Champion, Ken Burkhart and Danny Burger, and jazzy rendition of Smells Like Teen Spirit by Blue Mode. I appreciate the sonic qualities that make up Jazz Room releases, which include the aforementioned peppy rhythmic section, punchy bass, and crispy treble. Rhythmically, each record knocks and swings—my personal favorite songs to dance to feature funky afro-beat drums, like on “Denga” by the Robin Jones Quintet. The bass never overpowers the mix, providing enough space for the other instrumentation to breathe and express emotion during solos. Another distinctive aspect to the Jazz Room sound is the sizzling treble, which sits atop each mix and gives the record a well-balanced and distinctive top end.
Any big musical aspirations at this moment? How about non-musical?
The label is taking all my time, and everything I’m doing has some connection with it. I’d like to go to Philadelphia one day, mainly because I seem to be releasing Philly-based artists: Khan Jamal, Arpeggio, and Johnny Walker. But I kinda doubt it will happen. Nice dream, though.
A lot of jazz music is from the past, but what are some current jazz groups you like?
Ezra Collective, Ill Considered, Run Logan Run, Chip Wickham, Mausiki Scales, Delvon Lamarr… Too many to name, really.
Paul’s recommendations are full of gems! I like the funky organ riffs across the Devlon Lamarr Organ Trio’s discography. Ill Considered is reminiscent of an electric Miles Davis, but with grander, and arguably more chaotic, instrumentation. I found that the Ezra Collective’s work is the most danceable, featuring afro-beat and calypso style drums that jitter and skip underneath similarly fast-paced and jovial melodies.
You DJ, run a record label, own(ed) a record store, but if you could choose one, what would it be and why?
I’m thinking, now, the label. DJing has taken a hit since the pandemic, the label just goes rolling on.
If you could be remembered for doing one thing, what would it be?
Being myself, I guess.
If a genie granted you one thing that Jazz Room Records could accomplish, what would that be?
Someone, somewhere, saying “I’ve got a huge catalog of jazz that no-one’s ever reissued. I’m down with what you’re doing. Why don’t you take it on?”
Any hints about upcoming releases that we should look out for?
“Ariel by Ariel”, which is Scandinavian Jazz Funk Fusion that Gilles Peterson hipped me to at the last Shiftless Shuffle. Danny Ward & Reality “Reality” Funky Jazz from Washington State from a tight outfit that were obviously funking up those lounges and college gigs in the early 70’s. Colin Curts Presents: Indigo Jam Unit. Defiant Jazz Funk from Japanese Quartet, who made 11 albums then split in 2016. Heavy Duty Percussive Sounds.
It’s difficult to find these releases online, which is a testament to the great work that Paul does to resurface music that deserves a second listen. I’m especially excited to hear more from the explosive and bold Indigo Jam Unit. It’s also great hearing from someone that shares a passion for finding music that deserves a following. We’ll keep a close eye on the upcoming releases from Jazz Room Records. The vinyl sells fast, so you gotta grab ‘em from their Bandcamp store as soon as the pre-order is available. Thanks again to Paul for the interview. Go support Jazz Room Records and catch one of Paul’s shows around London if you are in the area!
– Evan
Edited by: Seán Pierce