Aged just 19, with Pepper Adams, Bobby Timmons, Paul Chambers and Philly Joe Jones. Though so early, this is a crucial set, kicking off with a scorching, fresh A Night in Tunisia.
Timmons plays a blinder.

From 1982 — with the Roots Radics and Jah Thomas at Channel One.

Utterly transfixing and thrilling, this is blues to the limit, a kind of avant-garde primitivism.
‘With an approach that was drawn from the Mississippi modal tradition, where you change chords only when the spirit moves you, variety was never the aim. Intensity was.’
For lyrics, too, Hooker is in the moment, with roughly amplified reflections about despair, sex and booze, rent and dancing; the places and faces of Detroit. The singing is frank and emotional but sly. He never lets up stomping on a wooden pallet, quarter notes with one foot, eighth notes the other.
Returning to the tapes, Ace has got this unmissable music sounding better than ever. Nineteen previously-unavailable alternative takes never drag, but deepen its mesmeric spell.
Truly crucial stuff.

Rough, trippy, live recordings made two years after The Truth. Raw mid-70s psych.

‘The best black, gay, one-eyed junkie piano genius New Orleans has ever produced,’ says Dr John.
The first half of this disc gathers all the sevens Booker cut under his own name at the start of his career, for labels like Imperial, Chess, Ace and Peacock, already evincing his inimitable blend of R&B, gospel, blues, boogie woogie and jazz. The second half features legends like Dave Bartholomew and Joe Tex, during the same period, with Booker as sideman. The likes of Lee Allen, Alvin ‘Red’ Tyler chip in.

‘Documenting a 2023 West Coast tour, this double LP goes deep. On 2023-05-12 Set II, the rhythm section gives Collier plenty of space to develop long, soulful saxophone lines that are full of invention and dynamic variation, culminating in a climax of squawking multi phonics, woody bass runs and multi-directional drumming. Best of all is a riveting set dedicated to Don Cherry, where Collier vocalises freely through a megaphone, setting off its alarm at key points’ (The Wire).