Originally released on Stefan Grossman’s Kicking Mule label in 1979, after the break-up of Pentangle. With Martin Jenkins, Nigel Portman-Smith, Luce Langridge — and Jacquie McShee on one track.

Three singers a cappella, or with rattle and djembe, emulate the beautiful sound of the insingizi rain bird. Traditional, gospel, warrior-chant and political songs.

Giddily lovely ballads from 1962, with Chuck Israels taking over from Scott LaFaro.
That’s Nico on the cover.

Joyous, anthemic, nyabinghi defiance. The masterful Leonard Dillon on song, beautifully backed by Stephen Taylor. Back-weh horns, twinkling hi-hats, perky piano. Yet more Niney genius. Ace, Tubbys-style dub.

Classic early-eighties jazz-funk for GRP, with Hoboglabotribin, Spinnin, and a nice cover of Miles’ Solar amongst the highlights of his teenage debut; likewise Weldon Irvine’s Mr Clean on the follow-up.

That’s Maupin on Bitches Brew, and Lee Morgan’s Live At The Lighthouse, and Head Hunters. He co-wrote Chameleon. From 1977, this is killer fusion in the same dazzling tradition — as confirmed by transformative readings of two classics by the Mwandishi sextet, Quasar and Water Torture, from the LP Crossings. We’re in the same neck of the woods as Eddie Henderson’s two deadly Blue Notes around this time — Sunburst and Heritage — and the great trumpeter is here. Also Patrice Rushen, who plays a blinder: check her out on the opener. Pat Gleeson, who introduced Herbie to synths, Head Hunters mainstay Paul Jackson, Blackbyrd McKnight, from Flood and Man-Child…

‘A more selfless album is hard to imagine,’ according to Down Beat in 1975. ‘The sound is supreme, and all the players strive to achieve a thorough blending.’ Recorded in New York in 1974, the disc’s personnel is drawn from the circle around Herbie Hancock in the period, but the music has a character all its own.
‘A classic of 1970s spiritual jazz, and as much as any recording on Strata East or Black Jazz, Maupin’s ECM offering is a wonder of arrangement and composition with gorgeous ensemble play, long yet sparse passages, space, and genuine strangeness. Maupin plays all of his reeds and flute in addition to glockenspiel here; Summers’ percussion effects include a water-filled garbage can. The two drummers swirling around in different channels don’t ever play the same thing, but counter and complement one another. And Hancock plays some of the most truly Spartan and lyrically modal piano in his career here… This album sounds as timeless and adventurous in the present as the day it was released’ (AllMusic).
‘Luminessence Series.’

This is a top-notch reissue, with scrupulous sound restoration, and a lyric sheet in card.
Intrepidly sourcing Cal Schenkel’s original cover photograph for maximum definition and colour, it’s never looked so good, either,
Highly recommended, even if you’ve already got a copy.

The original album cut AAA (fully analogue) from original master tape; and a bonus LP including previously unreleased alternate versions and outtakes from the recording sessions.