Storyville Records

Best in Jazz Since 1952

Storyville Records is Europe’s oldest independent jazz label. It releases a rich variety of jazz, blues and related musical genres, often accompanied by authoritative notes and rare extras. This iconic label was founded in 1952 in Denmark and today continues to augment its unique historic catalogue of recordings made by visiting American jazz and blues legends with new releases from contemporary jazz artists.


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The Danish alto saxophonist Christina von Bülow has created a very special trio with two jazz masters in their own right: The Swedish bassist Palle Danielsson and the American drummer Eliot Zigmund. Together, they pick up standards from the great songbooks of jazz and make them their unique own creations; like birds singing, never quite repeating the same sound. The music is very inspired by Lee Konitz with a focus on improvisation, intuition and interplay. Quite a few of the tracks on the album is Christinas take on new themes for old standards.

Thomas Clausen, writer of the liner notes, explains: “The present CD is all about this element of variation. But also about being natural, playing melodically. And it’s an album about interplay! Every bar these musicians play breathe this truth. Some tunes are straight standards. And the presentation of the melody is sometimes straight, as we know it. But it is varied all the time and never feels repetitive.”

What makes the new album special is a feeling of a collective spirit throughout. Christina is the main soloist, but she is always giving herself time to breathe and making pauses in her solos and thus room for the other instruments."

Buy the album here.

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New Releases

Eddie Taylor / Big Mojo Elem / Andrew "Blueblood" McMahon / Big Voice Odom / Hip Lankchan / Eddie Clearwater / Jimmy Dawkins / Jimmy Johnson / John Littlejohn / Magic Slim / The Aces and their Guests: The Chicago Blues Box 2

After the popularity of Storyville’s first best-selling boxed set of Chicago blues recordings, we’re delighted to present another outstanding 8 CD collection from the vaults of MCM Records. As in the first boxed set, the live atmosphere of these unedited performances shines through, revealing the true ambiance of the Chicago Blues club scene in the mid-1970s, as well as the individuals whose talents MCM Records would preserve. They captured an authenticity that rarely surfaced on the major label recordings that some of these artists made.

MCM was a labour of love by a young French woman, Marcelle Chailleux, and her future husband Jacques Morgantini. In the 1950's Jacques had brought the likes of Big Bill Broonzy, Muddy Waters and John Lee Hooker to Europe to appear at his French hometown event - a dedicated Chicago blues festival - but it was recent blues convert Marcelle who travelled to Chicago in the mid-1970s to record a unique collection of live performances.

Some of the performances presented here were by men who would become giants of the blues; others were by talented artists who never found wider fame and whose MCM recordings remain the only surviving evidence of their talent. 

In this superb collection, you will find rare tracks by Eddie Taylor, Big Mojo Elem, Andrew “Blueblood” McMahon, Big Voice Odom, Hip Lankchan, Eddie Clearwater, Jimmy Dawkins, Jimmy Johnson, Magic Slim, John Littlejohn, Bobby King and The Aces. The recordings stem from famous Chicago blues venues Ma Bea’s, the Golden Slipper and Big Duke’s. Marcelle was only just in time to capture the genuine feel and sound of those old-time clubs before they disappeared. Jimmy Dawkins, bluesman par excellence, was her guide to the 1975 Chicago blues scene, and has said: “It was natural and ‘for real’ without over-preparation. You get the feeling of the room, the music, the audience, and the blues. It was the real thing. Places like Ma Bea’s and the old Golden Slipper are all gone now.” Jacques Morgantini writes in the liner notes: “These records capture the music that was played in the clubs at that time, the real Chicago blues sound! And that was exactly what Marcelle wanted: to give those musicians a chance to get themselves better known”.

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