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Two contrasting, early-1960s Lansdowne LPs: Movement (with Shake Keane) includes three JH free-forms, a Michael Garrick, and the haunting Morning Blue; High Spirits re-presents the Broadway musical.

The 1979 masterpiece of the Washington DC eight-piece recently celebrated by Numero: high steppin’ rhythms, tight, funky arrangements and gorgeous gospel-influenced vocal harmonies. Hollywood Dreamin’!

Sweet, one-away, rare-groove soul from the JA trio of Bruce Ruffin, Bobby Davis and Dave Barker (from The Techniques and The Sensations, and various Upsetters sessions), recorded in London in the mid-seventies.

The two albums with Harry South, Phil Bates and Bill Eyden, from 1965 — expertly remastered for this reissue by Michael Dutton from the original analogue tapes.

1970 quintet recording, with John Surman and Mike Osborne sitting in.

The first of these two original Mercury LPs is a classic, with the killers Water Torture and Quasar, lithe Headhunters vibes, and Patrice Rushen, Paul Jackson, Eddie Henderson and co in the place.

With Paul Gonzalves, visiting London with the Duke in 1964; alongside baritone, trumpets, trombone, Stan Tracey, bass, drums. Coupled with the London Swings album by The Johnny Scott Orchestra.

Crafted, contemplative, beautiful songs from 1973, with Garrick trying out Fender Rhodes for the first time, and including Fellow Feeling, in memory of Joe Harriott, who had died earlier in the year.

A tripped-out jazz cantata — a school choir, Norma Winstone, Don Rendell, Art Themen, Henry Lowther, Coleridge Goode, alongside the pianist. Originally on Argo, under the name Garrick’s Fairground.

‘I’ve loved all the groups I’ve been involved in, but this one particularly. As Norma Winstone says, it was like a family’ (Michael Garrick).

A quintet featuring Joe Harriott and Shake Keane (with Coleridge Goode and John Barnes); alongside poets Dannie Abse, Laurie Lee, Adrian Mitchell and Jeremy Robson.

‘... reworks Duke Ellington’s approach into a personal vision comprising poetry, religious music and unusual instrumentation… a superb album of unorthodox jazz originals.’ The Guardian