His swansong, in 1962, setting his warmly bluesy, swooping beseechments within the new jazz bossa sound. With Willie Bobo on drums. Kenny Burrell is superb.

‘Charles Lloyd pays homage to his dear friend and longtime collaborator, master-tablaist Zakir Hussain. The album is built around studio recordings made in Mumbai in 2009 for an interrupted project featuring an expanded ensemble with drummer Eric Harland, Carnatic singer Vijay Prakash, Rakesh Chaurasia on bansuri, Sabir Khan on sarangi, Ranjit Barot on keyboard, and Niladri Kumar on sitar.’

This 1954 vocal LP was the trumpeter’s idea. Pretty much everyone in the studio was sceptical, but Baker stuck to his guns during the numerous takes required to iron out his tuning. ‘I thought it was bullshit,’ recalled his close collaborator, pianist Russ Freeman. ‘Louis Armstrong and Jack Teagarden sang like jazz singers. This was ballads. Totally meaningless.’ Metronome magazine pilloried Baker’s ‘abysmal vocal deficiencies’, like ‘a four-month-old baby’s lack of coordination because he can’t walk.’
Punters loved it. The same year, audience polls in Down Beat magazine made him best trumpeter and best vocalist, above Miles Davis and Nat King Cole. This LP became his best-seller, over the decades. Its version of My Funny Valentine is arguably definitive.

The sexual and racial politics of its reception run fascinatingly deep. Baker’s ‘white’, ‘effeminate’ singing style demurs a throw-down with ‘expressive’, ‘black’ machismo. (Bob Dorough, Mose Allison, and Michael Franks are fellow travellers.) ‘A lot of people thought — foolishly so — that because of the way I sang, I, y’know, liked fellas or something,’ Baker once remembered, nervously. According to his biographer James Gavin, the album made him the first jazz musician with a ‘strong homosexual following’. Pacific Jazz producer Dick Bock’s marketing survey in 1955 found that most of Baker’s fans were women who wanted to hear him sing. It was a massive hit in Brazil, too, coursing into the bossa nova movement via admirers like Joao Gilberto and Nara Leao.

His unmissable debut as leader in 1960, bringing with him Sam Jones and Jimmy Cobb from the Adderleys’ set-up. Highlights include the reclamations of three mighty Timmons originals — Moanin’, already recorded by Art Blakey, and Cannonball’s This Here and Dat Dere — and a near-solo rendition of Lush Life.
Unmistakable, irresistible jazz pianism — grooving, direct, gospelised, funky.

‘Verve Vault.’

The first definitive reissue of this 1977 session recorded at the Bluebird in Bloomington, Indiana; restoring previously excised material, a true running order, and the natural transitions between pieces.
‘The Arkestra were at the peak of their powers in 1977, releasing revered albums like The Soul Vibration Of Man and My Favorite Things, with Arkestra regulars Marshall Allen, Danny Ray Thompson, Michael Ray and Luqman Ali among the core musicians. Ra also continued his touring in Europe with historic gigs in Italy. During this period, Arkestra live performances were often loosely structured into thematic blocks that moved from reflections on jazz history to cosmic ‘space narrative’ sections featuring collective chants, extended Africa/Egypt-inspired grooves and selections from the Great American Songbook. This recording brings in all of these features with re-imagined versions of standards like Take The A Train, St. Louis Blues, and title track Over The Rainbow, alongside rarely recorded Ra compositions like Make Another Mistake and Amen Meni Many Amens. Ra conducted improvisations to guide the listener seamlessly from one musical scene to the next. As he described it: ‘It’s like a party—we enjoy ourselves and everybody’s invited to enjoy it with us.’
Newly remastered using the original source tapes; extensive new liner notes by Chris Cutler

Cornerstone, fully-matured Ubiquity runnings from 1976, with classics like the killer Searching, The Memory, One Sweet Love to Remember, and the laid-back, atmospheric title track. Beloved by the hip hop nation; flipped by luminaries like A Tribe Called Quest, Dilla, Dre, and Common.

With McCoy Tyner, Hank Mobley, Lee Morgan, Paul Chambers, Philly Joe Jones, in 1963.
‘Classic Vinyl.’

A 1965 trio led by Ayler’s great bassist, with drummer Tom Price, and an early opportunity to hear the under-appreciated clarinettist Perry Robinson in full flight.

The pioneering Arkestra bassist — that’s him playing arco on Rocket No. 9. in 1959 — leading his own 1975 session, evenly grooving and improvisatory, with great tunes. Check the Middle Eastern vibes of the opener.