A companion volume to Résumé, from 2011, retrieving EW’s bass solos with the Jan Garbarek Group, 1990-2007, and reworking them with the addition of his own keyboard parts and contributions from veteran Dutch flugelhorn player Ack van Rooyen (who played on The Colours of Chloë, more than forty years ago). New Music with old things, EW calls it.

With Lee Konitz, Bill Frisell, and Dave Holland.

With John Abercrombie, John Taylor, Dave Holland, Pete Erskine.

The last recording by the late Canadian trumpeter — such a mainstay of contemporary UK jazz — stamped with his trademark melancholy… lyrical, sly, sinuous. ‘As a graceful coda to a wonderful career, not to be missed by anyone who ever fell under Kenny’s spell, however belatedly’ (Richard Williams).

Inspired, free, luminous music-making. An outernational holy grail and a stiff tonic for all citizens of nowhere.
Already the great French jazz saxophonist had made monumental records alongside all-time legends like Monk, Blakey, Bud Powell and Miles — that’s Wilen on Lift To The Scaffold — before cutting loose at the end of the sixties on a two-year journey through Morocco, Algeria, Niger, Mali, Upper Volta (now Burkina Faso) and Senegal, with a team of film-makers, technicians and musicians. 
Moshi means trance utterance — the moshi is a demon invoked by the Fulani Borogi of Niger, to chase away angst and depression — and this is a shamanistic bricolage of smoky musical spells and scraps of intimate, outdoors ambience, full of love, good vibes and gritty musical wonder, drawn from more than fifty tape reels recorded en route: desert blues, space-jazz, street-funk, acid rock, polyphonic rhythms and new-thing influences like Shepp and Sanders; buzzing, extended ensemble sessions, like alternative Bitches Brews, crossed with diverse snippets of magic grabbed on the wing, like Algerian gnawa, or solo mbira, or just people laughing together, or a Bamako griot… 
Beautifully presented, with a twenty-page booklet, and the DVD of Caroline de Bendern’s vivid, freewheeling film A L’Intention De Mlle Issoufou A Bilma, about the trip.
Fervently recommended.

The Nordan Project, combining Swedish folk and jazz improvisation. With Palle Danielsson on bass, from various Charles Lloyd, Keth Jarrett and Jan Garbarek lineups.

From 1961 — with Fred Jackson and Grant Green.

‘Classic Vinyl’ series.

Parker playing doson ngoni, dudek, and flutes of bamboo, cedar & walnut; Cooper-Moore on his hand-crafted ashimba and harp; Hamid Drake on frame drum and drum kit.

‘Balancing music, antithetical to destruction. Music to draw sustenance from. Some measure of fortitude, at least, for compassionate souls in the elevating struggle against increasingly inextricable imposed realities that parse a human being’s value solely on what they are able to consume.
‘This is music for sunrise and sunset. Daily music. Healing, centering, mantra, heart music.’

As Parker puts it in his sleevenote: ‘The theory behind this music is the music itself. Empty and fill the heart and soul with sound, letting it dance. Without pretense. We are trying to get to a flow - earth, sky, and flowing water sounds that jump out of the painting… The story, the plot is, life is beautiful. Must be to be life. War is death fueled by hate. How do we stop war? Never start one.’

With Wayne Shorter, Sam Rivers, Herbie Hancock and Gary Peacock.
Classic Vinyl series.

Blue Light ‘Til Dawn, New Moon Daughter, Traveling Miles, Boho Chic, Glamoured.