Vintage rai.

Coloured vinyl.

Wildly compelling tapestry of free jazz, dubby electronics, marimba grooves, funk, blues and African folk, recorded in Philadelphia in 1972.
‘My ancestors eventually show up in my music every time I play. I’ve always said that my backyard is Africa.’

Cosmic jazz excursions on saxophone, flute, electric keys, synths and drums.
Supple, deep and spacious; sparklingly dubwise; intensely percussive.

Adding songs from Salad Days, Is The War Over, the Final Day single and their Testcard EP; plus a DVD of their final US show, at Hurrah in New York in 1980.

A zinging selection of posters by the duo behind O$VMV$M, for Bristol club nights run by the Young Echo collective. Buzzing, punky, detailed takes on Dada and surrealism. 48 pages, full colour. Lovely stuff, full of vibes. Nice present!

Brilliant, game-changing re-deployments of the lap-slide Hawaiian steel guitar — in this case a Gibson Super 400, modified with a drone string and a high nut to raise the strings off the fretboard like a lap steel — away from Indian popular music, into the service of ragas.

Four thrilling rounds of rampage, school of Basic Channel.

From the 1965 LP Happy Girl, with the knockout lineup of Woody Shaw, Larry Young, Jimmy Woode and Billy Brooks. A fierce modal original by Shaw, Theme From Zoltan was revisited by Young the following year on his classic Blue Note album Unity. Davis’ own composition Mister E features blistering solos by himself, Shaw and Young.