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The Mingus sax-man with Horace Silver, Philly Joe.
Japanese vinyl pressing.

Spun out of the Open House sessions, with Jackie Mac, Ike Quebec and Blue Mitchell in the front line. Blue and white Liberty labels.

From 1972, including three killer JB’s, the funkiest of them In The Middle. Seventies issue with blue Liberty labels: the vinyl is perfect; the sleeve excellent, still wrapped, with a cut-corner top-right.

The fine trumpeter in 1963 — with Joe Henderson, Duke Pearson and Pete La Roca, blimey — when he was with Gil Evans, years before stints with Mingus, Herbie, the Duke, Blakey. Japanese LP, with obi.

LP by Pathe-Marconi.

The LP is a seventies Liberty, with blue-black labels.

With Bobby Timmons (piano), Jackie McLean (alto sax), Paul Chambers (bass), Art Blakey (drums).

Ace, key DB. ‘The perfect bridge between his spacey late-60s attempts to mimic Miles, and his tighter early-70s jazz-funk with the Mizells.’ Trumpet-tenor-flute; Duke Pearson on electric piano.

Alongside Grant Green, Booker Ervin and Johnny Coles, no less, outward bound in 1963. You can hear in his wonderful playing that the Mingus pianist had polio as a kid, partially crippling his right hand.

Moody Paris jams from 1964 with Donald Byrd and Kenny Drew. Byrd’s sweetly soulful Tanya extends 18 minutes; Drew’s Coppin’ is minor-key, modal soul jazz; the ballad is full-force DG, big and hurting.

The master-trombonist’s great, second Blue Note — a 1964 recording with Wayne Shorter, Herbie Hancock, Cecil McBee and Anthony Williams. It’s more reaching than Evolution. You need both. Don.