The ‘little devil’ was born in Tunis in 1884 to a Libyan mother and Moroccan dad. The first half of the twentieth century was a golden era in Tunisian music; Cheikh El Afrite its most celebrated artist. As a youngster he became fluent in its mix of classical Arab-Andalous and Ottoman traditions with folk idioms like bedouin and other African melodies, fondo and fezzani, and the festive tripolitain music of Libya. Turning professional at eighteen, he was soon singing for the bey every Tuesday night, at his seaside palace in Hammam Lif. Later, his recordings made him star throughout the Maghreb.

Traditional and theatre music from Vietnam, the celebrated singer mazily leading dan tranh zither, dan bau monochord, sao flute, dan kim lute, dan co fiddle, and trong percussion.

Elegant, serene, new-wave, profoundly tuneful playing, with accompaniment from Abhijit Banerjee’s tabla and Sudipta Remy’s tampura.

An immersive, slashing, ecstatic thumper, just about getting Mars on the radio; and a kind of unhinged marimba and thumb-piano variation, grubbing around manically in half-memories of African polyrhythm.

A moving, lovely, heartfelt tribute, seamlessly combining jazz-funk, soul, gospel, Black Jazz, bebop, Latin, spoken word and co, with palpably higher concerns than genre and market. Released in 1976 on his own imprint by the jazz veteran — sixties cohort of Eric Dolphy, Ray Charles, Donald Byrd and the rest —  alongside the all-time classic If.

Wonderful, never-before-released collaborations with the brilliant pianist Georges Arvanitas and his trio, in 1966-67, kicking off with The Hip Walk.

The best recordings of this stupendous singer, the greatest jazz singing there is for fucks sake, nattily presented like a seven-inch box-set. Brownie, Roy Haynes, Cannonball… Do yourself a favour.