Barney Whittaker sets the release of Henrik Jensen’s album ‘Above Your House’, the first release from Babel in four years, in the context of the thirty-year history of the label.
For three decades, Babel Label has been at the forefront of the avant-garde jazz scene in the UK, championing unconventional sounds and genre-blending innovations. Launched in 1994, Babel has become a key presence in British jazz, documenting an era of musical exploration that its founder, Oliver Weindling, describes as “organic and evolutionary.” The label has not only served as a platform for celebrated releases but also captured the evolution of the scene itself, introducing audiences to artists like Christine Tobin, Polar Bear, and Portico Quartet.
Reflecting on the inspiration for launching the business, Weindling recalls the early nineties, a time when the British jazz scene was flourishing but lacked platforms for wider recognition. “There was a lot of great music around that needed to be heard more widely and documented,” he explains. With a background in finance, he was already deeply involved in jazz, booking unusual gigs for forward-thinking musicians. “I had left full-time work in banking… and was booking musicians into strange function gigs, like having Billy Jenkins play at a flower show at Hampton Court Palace,” he recounts.
The label’s first releases were a natural progression, driven by encouragement from artists who saw the need for an outlet dedicated to avant-garde British jazz. Loose Tubes, the distinguished 1980s big band, also inspired the label’s direction, sparking Weindling’s interest in supporting experimental talent. His initial catalogue included work by musicians like Iain Ballamy and Julian Argüelles, whom he describes as “almost dropping into my lap.” Since then, Babel Label has become an enduring platform for artists pushing the boundaries of jazz and beyond.
Babel Label’s support of groups like Polar Bear and Portico Quartet led to several noteworthy achievements, marking a turning point for both the label and the wider musical landscape as a whole. Both acts earned Mercury Prize nominations for their albums Held On The Tips Of Fingers (2005) and Knee-Deep In The North Sea (2007), respectively — a rare feat in a genre that often struggles to capture mainstream attention. “Every ten years or so, there seems to be a new interest in the jazz scene,” Weindling observes, noting how both bands’ unique backgrounds and sounds continue to resonate strongly with audiences and critics.
Polar Bear emerged from the F-IRE Collective, an influential jazz ensemble closely tied to the label: “Members of the Collective recorded on Babel include Pete Wareham, Seb Rochford, Tom Arthurs and Ingrid Laubrock,” Weindling explains, adding that the collective spirit around Acoustic Ladyland’s Last Chance Disco (2005) also helped establish a new wave of British jazz. In contrast, Portico Quartet gained popularity through busking outside London’s National Theatre, building an audience for their unique hang drum sound. This diversity, he notes, reflected Babel’s ethos of supporting artists who bring fresh perspectives to jazz, creating music that challenges and engages listeners.
While Babel Label has always prioritised artistic experimentation, balancing this with commercial appeal in today’s digital age remains challenging. Reflecting on the evolving music landscape, Weindling notes, “I have always perceived the music to be released as something that could be quite a ‘slow burn’.” Emphasising a long-term perspective, he believes great music has enduring value beyond immediate returns. However, the label faces challenges from streaming platforms, which offer minimal financial revenues to artists and labels. “Spotify is just another version of the illegal streaming services which were around a decade or so ago,” he laments, noting the diminishing support for independent music from traditional media and retail outlets.
In response to these shifts, Babel has cultivated a community-driven approach, emphasising close relationships with its musicians. “Releases should be able to carve out a space in a scene that has launched so many albums over the past 100 years,” he says, describing his process as a collaborative partnership rather than a transactional arrangement. He also works with the Vortex Jazz Club, connecting with emerging talent through initiatives like the ‘Whirlpool’ series, a platform for recent graduates from leading music schools to create new music and form professional bonds.
At its core, Babel Label’s mission is to support music that fuses genres, a concept Weindling considers central to jazz’s dynamism. “Jazz is at its most exciting when it ‘blends’,” he believes, and Babel’s catalogue reflects this by embracing cross-genre projects. This philosophy prioritises artist-driven work that adds to the larger narrative of British jazz. “I feel that any release is a sort of partnership,” he notes, describing how he collaborates closely with musicians through the recording process, guiding each project to fit within Babel’s experimental ethos while respecting each artist’s vision.
As Babel Label celebrates 30 years, its founder reflects with pride on a journey defined by artistic integrity and community. From its roots in the post-Loose Tubes era to collaborations with figures like anarcho-punk spoken word artist Penny Rimbaud, Babel’s legacy reflects a commitment to progression that has shaped the experimental jazz scene and inspired countless creative minds.
With some exciting new recordings on the horizon, Babel Label is steadily forging its unique path. Above Your House, its latest release — the first in four years — brings together Danish bassist Henrik Jensen with longtime label-associates, pianist Esben Tjalve and drummer Dave Smith, fittingly coinciding with the label’s milestone anniversary. Looking forward, Weindling believes his role will remain pivotal in helping artists find a platform for their voices. As he says, “I love music by musicians who innovate or seek out new ways of getting it together.” For Babel Label and its founder, that mission is as essential now as it was at its inception three decades ago.
Two more releases are in the pipeline, both involving IAIN BALLAMY. One is from the saxophonist’s trio with guitarist ROB LUFT and bassist CONOR CHAPLIN, the other a duo with pianist GARETH WILLIAMS.
