The brilliant trumpeter’s final album as leader, from 2007 — fresh, nimble, exuberant, reaching, with Billy Bang on violin and Bryan Carrott on vibraharp.

Four dazzlingly varied, closely written, new works — WP’s first composition for symphony orchestra; a commissioned piece for a standing new music ensemble; a chamber-jazz song series featuring Leena Conquest; and something for a particularly diverse line-up, Universal Tonality in mind. Handsomely presented; a limited edition.

His long-standing quartet with Hamid Drake, Rob Brown and Lewis Barnes — plus singer Leena Conquest and pianist Eri Yamamoto. The entire balance of the material recorded at the 2007 session for the classic Corn Meal Dance album.

Firing interpretations of Curtis, full of funk and soulfulness, grooving jazz fire, and good old-fashioned revolutionary politics, by this octet with Hamid Drake, Dave Burrell, Leena Conquest, Amiri Baraka.
Dynamite twenty-minute version of (Don’t Worry) If There’s A Hell Below, We’re All Going To Go.

The trio of Daniel Carter (reeds, trumpet, flute), William Parker (bass, trombonium, shakuhachi), and Hamid Drake (drums).
The title Painters Winter addresses “those who paint with sound, in different landscapes, to celebrate the coming of the seasons: winter spring summer and autumn. Acknowledging the entire universe of world jazz music. Discovering the undiscovered.” According to WP’s liner notes, ‘The music on this album is a tribute to the flow of rhythm as melody and pulsation. Laced with the joy and the bounce, the dance and the heartbeat. Giving a nod to all the music that has ever passed through us.’

Three live scorchers with William Parker and Warren Smith, from 2010 — plus four treasurable out-takes from the Onecept album sessions.

The late seventies Hat Hut LP — Ware’s debut as leader, when he was with Cecil Taylor — unavailable for decades; plus a full disc of material from the same sessions, never released before.
A protege of Sonny Rollins, with Ayleresque fervour; very warmly recommended.

With Cooper-Moore, William Parker and Muhammad Ali.

Solo saxophones, volume two.

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.’