Two ace LPs: Marion Brown Quartet on ESP in 1966, after Brown’s breaking through on   Ascension and Shepp’s Fire Music the previous year; and Juba-Lee, a septet recording out on Fontana in 1967.
With Wayne’s brother Alan Shorter in full effect on trumpet (and in the compositions), Bennie Maupin making a very early appearance, the great Grachan Moncur, Dave Burrell, Reggie Johnson, Ronnie Boykins, Rashied Ali and Beaver Harris.

Marion Brown’s family runs a loving Instagram account.

‘Classic Vinyl.’

A quintet, with DJ Harrison from Stones Throw on keyboards, drummer Corey Fonville (Christian Scott, Nicholas Payton), bassist Andrew Randazzo, Marcus Tenney on trumpet and Morgan Burr on guitar. Freaking, hiphop-inflected jazz-funk, with its roots in Weather Report, Return To Forever and early Earth Wind And Fire.

Dazzling, foundational jazz-funk from 1973, with Larry Mizell back at the desk (after Black Byrd), featuring killers like Lansana’s Priestess — as sampled by Theo Parrish on his Baby Steps EP — and the title track, with hot flute by Roger Glenn, and a smack of Curtis to its vocal chorus. Superior pressing; gatefold sleeve.

‘Classic Vinyl.’

Ace hard bop from 1967, elegantly alternating bluesy with modal. Cedar Walton, Billy Higgins, and the excellent Sonny Red. The title track is extended, sultry and grooving; and there’s a version of the dancer Book’s Bossa.

Donald Byrd (trumpet), Hank Mobley (tenor sax), Sonny Red (alto sax), McCoy Tyner (piano), Walter Booker (bass), Freddie Waits (drums).
1968, stereo pressing.

From 1970 — a ten-piece including Duke Pearson and Airto, diversifying the funk innovations of Bitches Brew into sunnier, accessible, freewheeling jazz, with fresh Brazilian flavours.

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.

1961 session with Pepper Adams and Herbie Hancock. Kicks off with I’m An Old Cowhand… always a winner.

With Herbie, Mobley and co — and an eight-person gospel choir — in 1963.
The stand-out is a version of Duke Pearson’s Cristo Redentor. A fail-safe at funerals.
‘Classic Vinyl Series.’