‘Best of all his Blue Notes… Quebec is on cracking form here, and his pitch and phrasing on Someday My Prince Will Come should be a lesson to all young jazz players. Green has, for us, his finest hour, ripping though My One And Only Love and If I Should Lose You with a ruggedness of emotion that goes hand and hand with the simplicity of diction. Not a single note is wasted’ (The Penguin Guide To Jazz).

A mid-seventies pressing: dark blue labels, black ‘b’; VAN GELDER in the run-offs.

With their unmissable, blistering nine-minute version of the Cat Stevens, a masterpiece of cosmic, jazzy soul.

What a great record. Soaring early-eighties soul from Bill Withers’ spar — original, loose-limbed and funky, full of emotional intelligence and good vibes. Includes Love’s Too Hot To Hide, two-step heaven.

From 1972, taking time out from the Nina Simone band to cut this funky Black-Jazz-style set for his own label, with Horace Silver’s ‘personal seal of approval’. Includes Mr. Clean and Sister Sanctified.

Consummate jazz-funk and two-step soul from their time with Wayne Henderson’s At Home, in 1975-76. Stone classic vocal takes on Ronnie Laws’ Always There and the Crusaders’ Keep That Same Old Feeling, through sublime mid-tempo harmonising like She’s A Lady, to jiggy jiggy murder like S.O.S. (which with sth assistance of gospel diva Helen Baylor trumps even Esther Phillips’ ace version).

Beautiful, hypnotic, long-drawn-out praise singing in the ancient Malian jeli tradition, with ngoni accompaniment.

His second LP, from 1965. Mostly his own songs — including Anti Apartheid — with Roy Harper singing on A Man I’d Rather Be, and John Renbourn duetting on Lucky Thirteen. Bert swaps his steel-string for a banjo, to close with 900 Miles (the same year Terry Callier made it his own, for Prestige).