Presents CM is unmissable. The cool and deadly b-line funk of Folk Forms gives way to a New Orleans funeral march; the Original Faubus Fables is irresistible, knockabout antifa, straight to the head of a dingus; What Love showcases brilliant interplay between Mingus and Dolphy; All The Things rages freely about Mental Health.

Pre Bird is from 1960 but ostensibly before Mingus heard Charlie Parker.
A host of stellar players — including Eric Dolphy, Booker Ervin, Max Roach, Marcus Belgrave, Slide Hampton, Yusef Lateef — in variously large ensembles, reading mostly tight, post-Duke scores.
It kicks off with a startling mash-up of Take the A Train, in the left channel, and Exactly Like You in the right. ( On the flip, Do Nothin’ Till You Hear From Me is likewise bundled with I Let a Song Go Out of My Heart.)
The great Mingus art songs Eclipse — hymning black-white relationships — and Weird Nightmare are here. Apparently vocalist Lorraine Cusson fluffed the last line of Nightmare — singing ‘Bring me a heart with a love of gold’ instead of ‘Bring me a love with a heart of gold’ — but Mingus was so happy with the take, he let it go.

With Chick Corea, piano; John McLaughlin, guitar; Miroslav Vitous, double-bass; Jack DeJohnette, drums.

The Weather Report bassist brilliantly driving a core group including a bandoneon, three saxes, two drummers and Randy Brecker through and around swells of orchestra and choir. Ambitious and original.

Another knockout compilation by Born Bad (though Souffle Continu has the matter in hand).

‘In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of ‘little instruments’ (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations. The group’s stage appearance shocked as well. They wore boubous (traditional African robes) and war paint to venerate the power of their free, hypnotic music, directly linked to their African roots. They were predestined to meet up with the Saravah record label (founded in 1965 by Pierre Barouh), already at the vanguard of as-yet unnamed world music. Brigitte Fontaine’s album Comme à la Radio, recorded in 1970 after a series of concerts at the Théâtre du Vieux Colombier, substantiated the union of this heiress to the poetic and politically committed chanson francaise (Magny, Ferré, Barbara) together with the Art Ensemble of Chicago’s voodoo jazz and the Arab tradition perpetuated by her companion Areski Belkacem…’

Remarkable 1966 lineup, with James Spaulding, Lee Morgan, Howard Johnson and Kiane Ziwadi in the brass line — the title track reminds you where the Hypnotics are coming from — and McCoy Tyner, besides.

‘Classic Vinyl Edition.’

Jason Yarde on saxophones, Alexander Hawkins, piano; John Edwards, bass. ‘The listener is overwhelmed by the feeling that there might be no end to the beauty conjured by this extraordinary combination of musicians’ (Richard Williams).

Evan Parker, Kenny Wheeler, Radu Malfatti, Nick Evans, Keith Tippett, Johnny Dyani, Harry Miller.

Duets with Stan Tracey.