Dazzling music from 1969, way ahead of its time, by a nonet with Woody Shaw and Dizzy Reece on trumpets, Joe Farrell on reeds, woodwinds, and English horn, Bob Northern on French horn, Howard Johnson on tuba and bass clarinet, Ron Carter on bass. Fresh from Bitches Brew, Lenny White plays drums at just his second recording session; trombonist Julian Priester is a few months away from Mwandishi.
Sideways establishes Hill’s signature twist on Monk and Bud Powell, with its angular, sinewy restlessness, and Caribbean tang. The horns are crossly careering. The evocative title cut has classical, cinematic manners, but in the service of East of the River Nile mysticism. Plantation Bag is magnificent, delirious, epic funk, with Lenny White channelling Clyde Stubblefied, and Ron Carter dug in deep. Noon Tide tears way further eastwards, in the same urgent cohort as classics like Yusef Lateef’s Chang, Chang, Chang and Pete La Roca’s Dancing Girls. Cascade is precisely skittering and eruptive, with wonderful trumpet-playing. Yesterday’s Tomorrow is playful, both jaunty and rueful, undecided, to close.
The arrangements throughout are imperious; the playing is uniformly superb. “We had rehearsal time and a lot of studio time. Some of those songs, we did take 45 or take 50. We played them over and over and over, till we got a complete take just right.’‘
Knockout.

Booker Ervin! Mira!

A cor-blimey line-up, and a masterpiece, recorded on the first day of spring in 1964. Dorham, Dolphy, Joe Henderson, Richard Davis, Tony Williams.
‘Classic Vinyl Series.’

‘Classic vinyl.’

In the ‘Blue Note Classic Vinyl’ series.

Right up there with Blacks & Blues, the flautist’s third LP collaboration with the Mizells is the triumphant culmination of her stint at Blue Note, kicking off with the glorious Latin jazz fusion of Uno Esta. The top-notch crew includes Dorothy Ashby, Julian Priester, Roger Glenn, and Harvey Mason.
Stylishly designed, like all six of her Blue Notes; featuring art-work by Barbara Nessim.

His first quartet session as leader — with Herbie, Joe Chambers and Bob Cranshaw. Seven BH originals and Maiden Voyage. A kind of breather, in amongst his experiments at this time; relaxed, gorgeous and atmospheric, with brilliant playing.
Warmly recommended.
‘Classic Vinyl series.’

From 1969, this first collaboration with Harold Land — questing but chilled post-bop — is probably the best.
Steeped in the compositions of Joe Chambers, the closer Pompeian is a tour de force; opening as a waltz, detouring into moody marimba.

From 1969, with Harold Land, Stanley Cowell, Reggie Johnson, and Joe Chambers, coolly charting a path all their own, out of the tumultuous decade.

Meditative, devotional music pondering racism and ancestorship, co-produced by Meshell Ndegeocello. Featuring the saxophonist’s usual quartet, plus vocalists for the first time — including Ganavya — who shine.

The flautist’s one BN as leader, from 1970, with Eddie Gomez, Don Alias and Sam Brown, produced by Sonny Lester, mixing funk, jazz, Latin, rock, improv… and a John Jacob Niles. Great stuff.