Dazzling, foundational jazz-funk from 1973, with Larry Mizell back at the desk (after Black Byrd), featuring killers like Lansana’s Priestess — as sampled by Theo Parrish on his Baby Steps EP — and the title track, with hot flute by Roger Glenn, and a smack of Curtis to its vocal chorus. Superior pressing; gatefold sleeve.

1961 session with Pepper Adams and Herbie Hancock. Kicks off with I’m An Old Cowhand… always a winner.

With Herbie, Mobley and co — and an eight-person gospel choir — in 1963.
The stand-out is a version of Duke Pearson’s Cristo Redentor. A fail-safe at funerals.
‘Classic Vinyl Series.’

‘One of the most essential hard bop purchases in the canon. The performances by Duke Pearson — four of his own tunes, five by Byrd, and standards — showcase his improvisational acumen at its height. His soloing on studio records pales in comparison. This was a hot quintet, that not only swung hard, but possessed a deep lyricism and an astonishing sense of timing’ (Allmusic).

‘Classic Vinyl’ series.

With Pharoah Sanders, Henry Grimes and Ed Blackwell, in 1966.
‘Sanders’ mix of Coltrane’s yearning long notes, Ayler’s ghostly, fluttering wail, Coleman’s fast, bumpy phrasing and his own manic bagpipe screams certainly separates the faint-hearted from the stayers on the opening Awake Nu. But the conversation between Sanders and Cherry is light, lyrical and engaging on The Thing, and the saxophonist even gets into a stubborn, Sonny Rollins-like repeating Latin vamp on There Is the Bomb. An unflinchingly quirky classic’ (The Guardian).

DC’s first album as leader, after leaving the Ornette Coleman Quartet. Two side-long suites, recorded in single takes on Christmas Eve, 1965. Bristling with creativity, rammed with great tunes and brilliant solo spots. Cherry plays cornet, alongside Gato Barbieri, Henry Grimes and Ed Blackwell. In the same year as his own debut as leader — The Call for ESP — Grimes is terrific.

It’s a must. The bluesy, grooving title track is essential Sonny. With Art Farmer (playing superbly), Jackie McLean, Philly Joe Jones and Paul Chambers.
Blue Note Classic Vinyl series: all-analogue, mastered by Kevin Gray from the original master tapes.

The 1957 recording with Paul Chambers and Philly Joe Jones.

Kind of a dry run for Blue Trane, a couple of months later: with JC, Byrd, Curtis Fuller, Paul Chambers, Art Taylor; a latinized Speak Low, and SC’s own, wicked News For Lulu.
‘Classic Vinyl.’

The fine trumpeter in 1963 — fronting a cor-blimey line-up of Joe Henderson, Duke Pearson and Pete La Roca — when he was with Gil Evans, years before stints with Mingus, Herbie, the Duke, Blakey.
‘Classic Vinyl Series’.

Hard-blowing bop classic from 1958, when Trane was with Monk. A crack sextet rounded out by the richly soulful trombone of youngster Curtis Fuller. Next stop, Giant Steps.

Landmark Detroit jazz. Trumpeter Charles Moore was the founder of the Detroit Artist Workshop; he and pianist Kenny Cox would go on to found the highly influential Strata Records. The pair split the compositions here. The second of the Quintet’s two Blue Notes, AllMusic likens this 1969 session to Andrew Hill’s Grass Roots, Jackie McLean’s Jacknife, and Grachan Moncur’s Evolution.

‘Classic Vinyl series.’

Another five-star, stone classic. Check his bass clarinet scorching into the Monk tribute, to start. Fire! The rhythm section — Anthony Williams and Richard Davis, Stravinsky’s favourite bassist — is stupendous.

Hard, rollicking soul-jazz by the Texas Twister — sideman to Ray Charles and Amos Milburn, spar of Cannonball Addereley — with Sonny Clark and Grant Green.
Dem Tambourines is for the dancers.

Bringing the funk in 1968, with George Benson, Lonnie Smith, Blue Mitchell, and Leo Morris (who became Idris Muhammed)... not forgetting Dapper Dan.