The CD is newly remastered — it sounds magnificent —  adding two out-takes and two extended versions. (The ending of Slim Slow Slider is startling.) Surely a must at the price.
Rhino vinyl.

The Leroy Burgess disco classic, with Weekend.

The Atlantic albums Worthwhile Konitz and Inside Hi Fi (with 1957’s The Real Lee Konitz, mostly a quartet date, thrown in).

Arthur Russell’s 1978 disco smash for Sire Records, in collaboration with Nicky Siano, deejay at The Gallery in New York.
Wilbur Bascomb plays bass… Allan Schwartzberg, David Byrne, Miriam Valle, Peter Gordon, Peter Zummo… Arthur plays cello and piano.
Remastered from the original tapes. With liner notes by Peter Gordon, Peter Zummo and David Byrne.

John Simon’s funny, entertaining chop-up of a mock MM debate, enacting subjectivities split and scattered, narratives disrupted, signification broken down… ‘Drop this jiggery-pokery and talk straight turkey.’

Hotly recommended! Islam Chipsy’s debut studio album, recorded late last year in downtown Cairo. Four jolts of wild creativity and pure exhilaration — the trolleying frenzy of Trinity and Kahraba sandwiching his inimitable readings of the Egyptian standards Simsimiyya (from the north-eastern Nile delta) and Mouled Saidi (from Upper Egypt).

Private-press gospel boogie from Michigan band Cash Money, featuring full brass and vocal harmony. Plus some ace, synthy, slap-bass, choral gospel soul from Ricky Womack in 1990, in the tradition of the great DJ Rogers.

‘After keyboardist/composer Bayeté aka Todd Cochran established his musical presence on the San Francisco scene playing in Bobby Hutcherson’s band, and before becoming a key member of the innovative band Automatic Man, which he co-founded with Santana drummer Michael Shrieve, he recorded a couple of solo albums for the Prestige label that feature some of the most far-out, futuristic music the legendary jazz imprint ever released… Early ‘70s electric Miles is a clear point on the compass, but so are Parliament-Funkadelic and Lonnie Liston Smith, if he were playing a fuzzed-out clavinet instead of a Fender Rhodes.’

“While I’ve held space for the blues aesthetic and jazz in everything I’ve done, I was leaving one world and entering another, unmooring the ship and heading into a sea of unknowns, so to speak.”