Ten issues.

Cecil Taylor collaborators Jimmy Lyons and Sunny Murray alongside the String Trio of New York bassist John Lindberg, giving the Willisau jazz festival what for, in August 1980.

A trippy, littoral compilation of blissed-out folk-funk, Balearic, AOR, and softly fizzing electronica, from long-forgotten early 70s cassettes, right up to date.

Knockout, anthemic rare groove, from the 1979 album Life, Love And Harmony. Ultra-jazzy, classy, and exultant, this is Nancy Wilson at her very best. She even throws in a quickfire Louis Armstrong impression. That’s John Klemmer playing saxophone.
Backed with The End of Our Love, a northern soul floor-filler from 1968, hard to come by.
Ace.

‘A hard-grooving, vividly evocative EP, deeply rooted in nineties drum & bass, by this Milan-based, Brazilian producer.
‘The original mix of Dynamo rotates its vast spinning coil through a landscape of cavernous basslines and spectral vocals; then Etch fires up a full jungle do-over.
‘Breath - Dance enacts and probes a psycho-physical push-and-pull, alternating caustic breaks with ambient introspection.’

Fresh homage to Pharoah, Alice, Ra, and co, from an all-star Kiwi line-up.
‘Each instrument seems to be in orbit around the concept of symbiotic synergy, and everyone is given equal space to shine: from a psychedelic Korg, to a delirious saxophone or the gentle ripples of a harp. There’s a huge array of keyboards, with a standout acoustic piano solo by Guy Harrison on Plume. The wind section delivers ecstatic saxophone riffs, futtering flutes and solid horn choruses throughout. Percussion, vibraphone and acoustic bass lay the foundations. A full choir performs arrangements by Matt Hunter.’

Big Hands re-united with trumpeter Abraham Parker.
Trialled triumphantly in recent live shows, the opener comes good on the promise of the duo’s triumphant debut for Trule: gliding, hypnotic, and moody, with rueful, burnished brass interjections riding dubwise steppers.
Then a pair of distressed, halftempo d&b rhythms: a call to arms, and a troubled circling of the wagons. Waltz For Matis winds up proceedings with a deep, spooked Fourth World excursion, with skittering marimba.
Another ace EP.

‘In an age when any old modal groove with a tambura drone pasted on is marketed as spiritual jazz, Kingsport, Tennessee born Zoh Amba is the real deal…
‘Opening track Fruit Gathering is a brief aubade to the Holy Spirit, weeping with a tremulous vulnerability recalling Ayler at his most tender and melodic… On the album’s more expansive tunes, her quartet plugs into the tumultuous swells and raging energy of late 1960s US free jazz exemplified by players such as Frank Wright and Noah Howard, which built on the intensity of John Coltrane’s later, spiritually driven exhortations. Here, Amba pushes past low, guttural blasts to altissimo shrieks and the screaming multiphonics pioneered by Pharaoh Sanders during his tenure with Coltrane.
‘On Champa Flower, Amba connects with her Tennessee roots, picking and strumming at an acoustic guitar while cymbals shimmer and bass throbs. Joining the dots between folk, American primitive, pastoral psychedelia and 2000s free folk, she proposes an alternative living continuum of American devotional music. Most affecting, though, are the three solo meditations on which she plays piano with her right hand and sax with her left. Captured in lo-fi on a Zoom recorder, and ending abruptly as though suddenly out of batteries, they’re intimate glimpses of a soul in motion’ (Daniel Spicer, The Wire).