Two studio albums from 1973, though Friendly Love was never released at the time — and Pathways now comes with an unissued track.

From 1982, this was the last of the El Saturn studio albums.
Open, upful and swinging, including the only recordings of Blue Intensity and the title-track Celestial Love, besides a bouquet of other Ra originals, and a couple of Duke Ellingtons featuring the one and only June Tyson in full effect.
Surely the arrangement of Charlie Chaplin’s Smile, with Tyson and Gilmore upfront together, will cheer you up a bit.

Stalag alert! With Ansel Collins, a killer Big Youth, and King Tubby.

‘Verve By Request.’

Classic rocksteady. A sweet but urgent overture by Wentworth Vernal and Lloyd Parks, arranged by Tommy McCook.
As per the original 45 coupling, The Supersonics return on the flip for the surging, funky Soul Remedy, with tight, bluesy guitar, and Winston Wright blasting away on Hammond.
Beautifully done by Far East.

Love You Madly is a behind-the-scenes profile, including various interviews, and performance footage recorded in Basin St. West Jazz Club, at the 1965 Monterey Jazz Festival, and at the first Concert of Sacred Music in Grace Cathedral. Ellington reckoned it ‘the best film about Duke Ellington ever made.’
Recorded on September 16, 1965, A Concert of Sacred Music more fully commemorates the first of the three evening performances at Grace Cathedral between 1965 and 1973, combining classical, jazz, spirituals, gospel, blues music, and dance.

Our favourite of all his records.
From 1984, inspired by a Kenneth Patchen chapbook, it favours tenderness, lyricism and expressivity, but without foregoing Brötzmann’s characteristic squalling ferocity and angst. It never drags: he plays baritone, tenor and alto saxes, different clarinets including bass clarinet, and tarogato, bringing every trick and technique to bear on a whirl of feelings and emotions, in pieces nearly all less than five minutes. Bar the gorgeous opening reading of Lonely Woman, it’s all improvised, but utterly compelling, reflective, melodious, ravishing and rawly personal.
Beautiful music; hotly recommended.

Heartfelt hymns and songs of praise, deconstructed and rebuilt. Sometimes reverent, sometimes raging, sometimes playful, always spellbinding. ‘Christ Is Not Cute’ runs the Fahey quote on the sleeve. A beauty.

Twenty-one songs, running right back to 1971: assured, lovely, intelligent, good-humoured singer-songwriting, mixing up Americana, folk, pop, art rock, and gentle experimentalism.