The whole track seems to have too much mid-top for a 1970s analogue track especially when the harsh drum claps come in… is this the quality of the internet file or is it in the mastering? A bit disappointed as I was looking forward to the gorgeous organic feel that makes Leroy's music so special. Hopefully this is just internet compression and the vinyl version is warmer and truer to Leroy's 1970's production sound.

A gem indeed - wow! This is vintage Hutson, what a BONUS to be able to add this to his existing catalogue of wonderful music after all these years...

Acid Jazz is proud to announce that it has entered a long term licensing deal with soul legend Leroy Hutson. 

Hutson, long revered on the soul scene for his production, songwriting and perfromace skills, was Curtis Mayfield’s heir apparent chosen by the great man, to replace him in the Impressions, and then groomed for an extensive solo career on Curtis' own label, Curtom.

The Hutson catalogue has not been available on any format for nearly two decades. The label will be working with Leroy and his team to create the definitive sounding masters, and unearthing lost gems from his extensive archive.

First out of the traps is a double sided limited edition 45 containing two previously unreleased Hutson gems. The A-side is a previously unreleased 1977 recording, which is making its debut on this single. It is coupled with the unreleased full length instrumental of ‘All Because Of You’.

This will be given it debut on Gilles Peterson’s BBC Radio 6 show tomorrow. This single will be strictly limited and is sure to be the soul scene’s sound of the summer.

Leroy Hutson - Positive Forces

www.acidjazz.co.uk

Formed back in the heady days of 1987 at the start of the ‘acieed’ explosion, Acid Jazz was the first of the groundbreaking new indie labels and paved the way for the likes of Mo Wax, Wall Of Sound and Talkin' Loud…

Initially a simple bedroom operation established by Eddie Piller and Gilles Peterson, within three months of the first 45 release (Galliano’s Frederic Lies Still), the label had grown rapidly, acquired premises in London’s east end and laid out a unique manifesto of alternative club sounds – jazz, street-soul, funk, latin, reggae and jazz poetry all put in an early appearance. Galliano, Chris Bangs, The Night Trains, The Last Poets, A Man Called Adam and Snowboy & The Latin Section were amongst the first wave of label signings and they all appeared live at groundbreaking jazz themed nights at London clubs like the WAG in Soho and Camden’s legendary Dingwalls.





By ’89, Peterson had left the label to establish his own Talking Loud imprint and Piller soon moved the operation to Denmark Street, London’s original Tin Pan Alley, into the former EMI music office. The next wave of signings included D Influence, Jamiroquai and The Brand New Heavies. Chart success quickly followed as the label spread its numerous tentacles around the world. The sound of the label became the name of choice for the scene that had established in its wake and by the early ’90s, Acid Jazz was booming out of a succession of speakers from Sweden to Singapore, Hamburg to Hobart, Shibuya to Sheffield and everywhere in between. International tours followed as the label expanded through the 90′s, gradually increasing their musical influences to include daisy-age hip hop, garage psyche and trip hop.





By the mid-90′s Acid Jazz had revived the careers of legends like Terry Callier, Brian Auger and Gregory Isaacs, established three subsidiaries (Focus, All Seeing Eye and Roots to cater for progressive indie, drum and bass and roots and culture respectively) and signed yet another wave of successful independent artists which included the likes of Corduroy, Mother Earth, The Humble Souls, Goldbug and a dozen more.





In 1994, the label took the plunge and opened the first ‘non-house’ based night club in London. Based on the site of the Bass Clef, a down-at-heel and eventually semi-derelict jazz club in Hoxton – perched precariously amidst the second world war bomb sites, derelict buildings and culture-free zone, the club was credited with paving the way for the whole Hoxton/Shoreditch explosion of the late nineties. Indeed, the club was rarely less than full seven nights a week hosting events from the likes of Goldie’s Metalheads, Talvin Singh, Coldcut, Ab-ashanti, Athletico and the label’s own Magic Bus. The Blue Note closed its doors at the end of the decade and Acid Jazz went back to what they do best: releasing records.

Jumping forward to 2014 and we find the label firmly ensconced in their office at the top of Brick Lane and after celebrating their 25th Anniversary the label is as vibrant and vital as ever. The current roster includes the critically acclaimed, prog folk fusions of Matt Berry, new indie hopefuls Dexters, the soul meet the Streets stylings of New Street Adventure and ex Bluetones lead singer Mark Morriss, whilst the highly acclaimed Rare Mod series has discovered and released previously unknown works by everyone from The Riot Squad featuring David Bowie to the Small Faces Steve Marriott.

In short after over a quarter of a century Acid Jazz remains one of the UK’s most important independent labels.


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