From 1972, with Ra on organ throughout — trading solos with Gilmore and trumpeter Kwame Hadi on the bluesy title cut; duetting with drummer Luqman Ali on In A Blue Mood. June Tyson stars on Blackman.

Recorded one long hot night in July 1978.
Sun Ra at the Rhodes, Disco Kid on guitar… Deadly funk, heady and grooving. A stone classic.
The new box set features the original LP alongside alternative mixes by Bob Blank first released in limited quantities for a 1978 Arkestra gig at Georgia Tech. Both versions of the album are cut loud at 45 rpm over 2LPs each.
Housed in a silver foil box, as per the original issues the first LP comes in a foiled sleeve while the second features two yellow A4 sheets pasted onto a white sleeve. With a twelve-page booklet featuring previously unseen photos and various texts.
The CD version is housed in a foil digipak.
The single LP is a straightforward reissue of the original LP.

The title track was ‘one of Sun Ra’s on-the-spot compositions,’ recalls Danny Ray Thompson. ‘Almost like an Ancient Egyptian Stargazing Ceremony, mapping out the stars and the planets.’ Where Pathways Meet is his ‘funky version of an Egyptian march. Pharaoh is sending his troops off to fight and this is his pep-talk! The music seems to take different pathways but still converges.’ The loping groove of That’s How I Feel features the reflective trumpet lines of Eddie Gale, with solos by John Gilmore, and Marshall Allen on ‘snake charming oboe’. The funky Twin Stars Of Thence weaves around Richard Williams celebrated elastic bassline; the haunting closer There Are Other Worlds is pure ‘space music’.

‘Part of Rashied Ali’s artistic strength involved turning improbable sound combinations into unchallenged masterpieces. After the pattern established by John Coltrane’s Interstellar Space, and Duo Exchange with Frank Lowe, the drummer stepped into this rather unlikely duet with violinist Leroy Jenkins. Five years with the Revolutionary Ensemble had established Jenkins as a composer; he designed all the pieces played on these 1975 duets with Ali.
‘The original LP is augmented by an informal phantom session in which Ali and Jenkins explore thoroughly other territories — standards, Coltrane’s music, and two untitled, unbridled improvisations.
‘Packaged in an old-school tip-on gatefold jacket that includes Stanley Crouch’s original 1975 essay along with new liner notes and excerpts from an interview with Jenkins.’

Legendary Harlem soul and funk from 1973 — the RAT was the house-band at the Apollo —  with bags of lo-fi charm and sublimated Isaac Hayes to its ‘unabashedly sincere songs that perfectly encapsulate the era’s heady milieu of black pride and cultural awareness, and the plaintive emotion of struggling to realise dreams whilst navigating a city and neighbourhood in decline.’
Painstakingly prepared according to the remit of this series; with excellent notes.

‘Classic Vinyl’ series.

‘Classic Vinyl Series.’

Funky soul jazz from 1969, featuring guitarist Melvin Sparks, and including covers of Knock On Wood and Twenty-Five Miles.

Terrific, grooving Black History from the Roy Ayers camp.
‘Remember to remember, to never forget. How long… how long… how long will it take?’

The vibes and marimba player with Horace Tapscott’s Arkestra, together with Adele Sebastian, Diane Reeves, and Billy Higgins, amongst others.
A late-seventies, private-press, spiritual-jazz gem, in Jazzman’s Holy Grail series.

With Barry Guy and Tony Oxley in 1971. Gatefold sleeve.

With Freddie Hubbard trumpet, Herbie Hancock piano, Ron Carter bass, Joe Chambers drums. 1965. Miles Smiles kind of thing.

Fresh from his stint for Miles, the saxophonist with Tony Williams, Ron Carter and Jaki Byard in 1964 — meshing the great jazz tradition and the avant-garde in his own path-breaking way.
‘Classic Vinyl Series’.