Jazz Dispensary

For the latest installment of the boundary-blurring, mind-expanding Jazz Dispensary series, the homegrown label’s highly discerning sound sommeliers have curated an irresistibly funky selection of songs from midnight movies of the ’60s and ’70s. A movie marathon’s worth of wildly infectious grooves, Jazz Dispensary: At The Movies features can’t-miss classics and deep cuts from Melvin Van Peebles, Isaac Hayes, Booker T. & The M.G.’s, and many more of the soul, funk, and R&B legends behind the soundtracks to a multitude of seminal cult favorites.

We’re delighted to announce the return of our beloved Record Store Day compilations with Super Skunk: a brand-new blend that’s hard on the drums and horns…and easy on the ears. Featuring tracks by Cannonball Adderley, the Bar-Kays, and Gary Bartz, among others, Super Skunk will take listeners on the ultimate groove trip—zigzagging between hard-bop soul jams and rhythmic meditations.

Let the sound of the night drums and the cry of the horns empower you! The cratediggers of Jazz Dispensary are proud to present a collection of jams propelled by the spirit of nature, protest, and freedom, featuring songs from pioneering musicians Joe Henderson, Gary Bartz, Ran Blake, Azar Lawrence, A.K. Salim, and The Dungills.

Blending a socially conscious spirit with hard bop, jazz-funk, and electronic elements, Power to the People finds Joe Henderson saxophonist entering a new creative dimension, as he performs such originals as “Isotope,” “Afro-Centric” and the first recording of his classic “Black Narcissus,” alongside such legends as Herbie Hancock (piano, Fender Rhodes), Ron Carter (electric and acoustic bass), Jack DeJohnette (drums), and Mike Lawrence (trumpet). Available on 192/24 hi res digital.

"Sludge & Tripe" was recorded painstakingly between 2004 and 2008 in a number of derelict houses, basements and studios around London and Bristol, the collective's first album was then stitched together into a twisting, confronting DaDa-rock pronk-pop adventure. Compositions both ape and destroy conventional song structures, as spanners are dexterously jammed into the works. Flirting between ferocious free-jazz improvisations, studio wizardry and meticulously mathematic performances, the album traverses a bizarre progressive landscape while still retaining pop-infused sensibilities. This provides footholds for the ear to cling to, before being pummelled with acrid rubble.