Classy gospel soul, with a drop of funk and a couple of heavy breaks.
Featuring the early-70s Fantasy gang including Bernard Purdie and Richard Tee; The Reflections doing backing vocals; ace horns; Van Gelder engineering.

Superb improvising by the Cool School alumnus, taking a line for a walk in all directions, before magically bringing it home. Gary Foster’s alto is uncannily attuned to Marsh, and the rhythm section swings. Including two canonical Tristanos and a Konitz — and some OG Bach to close, a bit tongue-in-cheek, with tantalising brevity. Recorded in 1969 for the Revelation label.

This is sublime. Check it out!

‘The most affecting solo piano album I’ve heard since Keith Jarrett’s much-loved The Melody At Night, With You more than 20 years ago’ (Richard Williams).
‘... the notes hang individually in the air as though being held up to the light… It’s so slow and patient, it becomes an observation of passing time’ (The Wire).

Evocative, engaging considerations of close relationships, a bit like a family portrait, centred on the German town of Ravensburg (home of the trumpeter’s grandmother), by a sextet including affective violin and two drummers, involving African percussion, homemade cymbals and bundles of brushwood, with ‘driving rhythm at the bottom end and soaring melody at the top.’

Alluring duets by Swedish nickelharpa and accordion, inspired by Bach’s sonatas and Pergolesi. (You might recall Matinier from sessions with Anouar Brahem and Louis Sclavis.)