From one of his most creative periods, leading the Vibration Society — Ron Burton, Dick Griffin, Jerome Cooper and co — through one-of-a-kind, freewheeling, radiant wonders like The Inflated Tear (about his going blind) and Volunteered Slavery. Stevie’s My Cherie Amour pops up, trailering next year’s Blacknuss LP.
Kirk called it all ‘black classical music’.

Originally released by Gallo in 1974, this is a raw, impassioned, stunning set led by bop pianist Kirk Lightsey (a regular sideman for Chet Baker) and saxophonist Rudolph Johnson (from Black Jazz), on a break from touring South Africa with Detroit crooner Lovelace Watkins.
A heavy-duty excursion into post-Coltrane spiritual modernism, ranging from the modal, cerebral intensity of the side-long title track Habiba, to the downhome breakbeat groove of There It Is, and the dark glitter of minor-key waltz Fresh Air. Long one of the most desired global jazz LPs, and never before available outside South Africa, Habiba is a forgotten masterpiece of its era.

Radiant, probing piano-trio-jazz by this celebrated ensemble, reaching out in all directions from bluesy, funky, South African roots.

‘It just came down to playing some tunes that we like and we can flow with, so that we can be inspired and express ourselves in a very natural organic way,’ says Kyle. ‘We walked away from the from the studio feeling like – you know, we actually really enjoyed playing this record!
‘With this record, I felt less attached to any sort of predetermined concepts except that we would play some music that I wrote that we like – a selection of things that we like to play. It felt like a bit of a tonic – every musician gets a chance to breathe through the music, and the music just flows and moves as organically as we could make it.’

Ten Shepherd originals, plus a reading of Massive Attack’s Teardrop and a deconstructed take on Journey’s Don’t Stop Believing.
The album’s title nods to William Kentridge, with whom Shepherd collaborated on Waiting For Sybil.

Encapsulating the culmination of a joyously ambitious twelve-day jazz project mounted in 1978 at the ancient amphitheatre Tasso della Quercia, in Rome: the collaboration (in different group configurations) between key Italian avant-gardists like the saxophonists Tommaso Vittorini, Eugenio Colombo and Maurizio Giammarco, trumpeter Alberto Corvini and trombonist Danilo Terenzi, together with visiting players such as Steve Lacy, Steve Potts and Evan Parker, Roswell Rudd, Frederick Rzewski and Noel McGhee.

Marva Hicks, Sylvia Striplin and co, with Roy Ayers at the mixing desk, presenting jazzy, sassy, sexy, all-time boogie landmarks like Turned On To You. Fabulous.

The illustrious saxophonist’s 1971 recording was his debut as leader, originally released five years later by Arista-Freedom. With Joseph Bowie, Don Moye and Charles Bobo Shaw. Grooving, spiritual; great stuff.

The first fruits of Land’s long, luxuriant collaboration with Bobby Hutcherson, from 1968. Jazz Crusaders Buster Williams and Joe Sample are here; and Jimmy Smith’s drummer Donald ‘Duck’ Bailey (with whom Land had recently worked on Roy Ayers’ Virgo Vibes).
Land’s older albums — Harold In The Land Of Jazz, for example, and The Fox — have been HJ touchstones since our very early days. But this is something else. The saxophonist’s dark, schooled lyricism remains unmistakable, but by now hard bop machismo is ceding to the thorough-going influence of the gentler side of John Coltrane — his intentness, key signatures, modal swing.
The eight recordings here are compact and focussed; lit up with a consecratory loveliness. The titular opener and the ballad Imagine share a stricken, abiding, sublime serenity; hailing from the same hallowed ground as Trane knockouts like Tunji, Dear Lord, and After The Rain. Music as the healing force of the universe.

This is a genuine lost classic; handsomely reissued in the ‘Verve By Request’ series, with excellent sound. Hotly recommended.

His wonderful, classic debut as leader, with Frank Butler, Carl Perkins and co.

A lovely set from 1965 — taking its own path away from Fire Music, but forwards nonetheless — featuring the under-rated pianist Georges Arvanitas, and the drummer James Black, trumping his brilliant contributions to the Live At Pep’s sessions.
Bamboo Flute Blues and Satie’s First Gymnopedie are ravishing stand-outs.
‘Verve By Request.’

Terrific, uproariously outernational LP from 1969, with Roy Brooks, Kenny Burrell, Blue Mitchell, Hugh Lawson, Sonny Red, Bob Cranshaw, and a very young Cecil McBee. The Sweet Inspirations are in full effect. Besides tenor and flute, Lateef plays bamboo and pneumatic flutes, tamboura and koto.
There’s a rocking blues (Othelia) and a Japanese freakout (Moon Cup). Back Home is a modal wig-out. The soulful eastern sounds of Like It Is are essential Lateef.