With Eric Dolphy, Richard Williams, Roy Haynes and George Duvivier in 1960, Van Gelder at the controls.

‘Originally released in 1970, Black, Brown and Beautiful saw legendary composer and arranger Oliver Nelson musically address the state of black America in the wake of the assassination of Martin Luther King. Tracks like Requiem, Lamb Of God and Martin Was A Man, A Real Man directly address the passing of King, whereas Self Help Is Needed and I Hope In Time A Change Will Come passionately ask questions still unanswered today.
“I have always felt that the Federal Government wasn’t going to do a damn thing and American Blacks were going to have to do it themselves. However, you can’t have a foot on your neck making it impossible for you to help yourself. That seems logical – doesn’t it?”
‘Musically, this is a sumptuous big band banquet with Nelson himself talking the soprano sax solo on the aching I Hope In Time A Change Will Come. Those who are fans of classic Nelson albums like The Blues And The Abstract Truth (1961) and the equally polemical The Mayor And The People (1971) will find much to enjoy here.’

‘From the trios of pianists Kyle Shepherd, Bokani Dyer and Yonela Mnana, to the genre-defying exploits of guitarists Vuma Levin and Reza Khota; and from artists inspired by age-old traditions, like Lwanda Gogwana and Mandisi Dyantyis, to the cosmic explorations of Siya Makuzeni, Benjamin Jephta, Thandi Ntuli, Zoë Modiga and Shane Cooper’s Mabuta’  — Johannesburg label Afrosynth rounds up some of SA’s most talented young composers and bandleaders, as well as a wider cast of supporting musicians.

A fresh survey of post-bop, outsider British jazz labels and musicians: obscure gems, from the time-bending spirit music of London’s Lori Vambe to the psych-jazz of Birmingham’s Poliphony, via Spot The Zebra’s jazz dedication to David Attenborough and Indiana Highway’s modal Christmas carolling.

Milford Graves (percussion), Leroi Jones (vocals), Roswell Rudd (trombone), John Tchicai (alto saxophone), Lewis Worrell (bass).

Strikingly original, still: open and untethered, dreamily ramshackle and provisional, dazzlingly polyphonic.
‘All that is solid melts into air,’ as Marx puts it; ‘all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.’
Tracks 1-4 comprised the eponymous release on ESP in 1964: Roswell Rudd, John Tchicai, Lewis Worrell, Milford Graves, with a walk-on by Leroi Jones (reciting Black Dada Nihilismus).
Tracks 5-9 were released on Fontana the following year, as Mohawk: Roswell Rudd, John Tchicai, Reggie Workman, Milford Graves.

The return of the AACM flautist to the visionary, Afro-futurist science fiction of Octavia Butler, alongside theremin-player Harris, together with fellow Chicago luminaries like cellist Tomeka Reid and trumpeter Ben LaMar Gay.
Tumultuous, visceral musical reflections on Butler’s ideas about Apocalypse, power, hybridity-versus-identity, race and feminism. ‘Writing myself in,’ she called it.

‘Stunning, moody, spiritual jazz from Ireland, recorded in 1979; featuring original compositions such as the deep collectors’ cut Spon Song, subtle Latin flavours on Spacer’s Delight, and a beautiful modal arrangement of the traditional Irish air Castle of Dromore.
‘A legendary recording in Ireland, Ozone reflects Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely.’

Licensed from producer John D’Ardis. Remastered at Abbey Road using the master-tapes; cut at D&M; pressed at Pallas. Presented with previously unseen photographs of the band, and their commentary.
A deadly trump card from Outernational. Essential, startling stuff. Bim bim bim.

With Stanley Clarke, Cecil McBee, Eddie Henderson, Carlos Garnett, Gary Bartz and Buster Williams.

A 1976 recording by this mainstay of the San Francisco jazz scene across the decades, who played with everyone from Sonny Stitt to Pharoah Sanders.

A message from Eddie Henderson…
‘It’s time. It’s time for all to hear the Bishop proclaim spiritual truths in his church, the One Mind Temple, dedicated to the spirit of John Coltrane. The time is also overdue for all to hear the Bishop proclaim musical truths through the medium of his alto saxophone. My first few gigs in 1962 were with the Bishop’s band. I’ll never forget what an inspiration it was for me learning how to play while standing next to the Bishop, who already had it together. I’m sure after hearing the Bishop, you will also agree that his time has come.’

‘A majestic feat in which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacrificing the groove. It’s a deeply personal offering about her trek towards falling back in love with musical composition over the past four years.’

‘As well as pulsating modal workouts (The Seer), there’s real melodic beauty, too, from Set It Free (featuring London-based vocalist and trombonist Richie Seivwright) and We Walk In Gold (featuring Georgia Anne Muldrow) to the ethereal beauty of the instrumental Clarity. Garcia also reveals some lovely arranging touches — the way in which the Chineke! strings and guest vocalist Esperanza Spalding introduce album opener Dawn in free time, while the core trio of Joe Armon-Jones, Daniel Casimir and Sam Jones slowly introduce pulse in a gradual fade in; the dramatic strings-only coda appended to the epic title track; the fabulously rich string pizzicati which drive Water’s Path ever onwards; plus strings and sax ascending together in the all-too-brief Clarity (Outerlude)’ (Jazzwise).