Nutritious jazz duets between flautist LM (who has worked with everyone from Nina Simone to Mulatu) and bassist Marshall Hawkins (who took over from Ron Carter for Miles, and played on Donny Hathaway’s Everything Is Everything, the year after this recording, in 1970). Engrossing, gorgeous, good for the soul. Warmly recommended.

With the classic, studio version of the title track. The drummer John Stevens used to rave about Steve Davis, seldom recorded but here on bass.

Misdemeanour is an irresistible Jacksons-style rare groove classic. Nicked from Dee Clark, arranged by Jerry Peters, sampled by Dre.
Here’s Foster aged eleven, smashing it on Soul Train in 1973, with sisters Angela and Patricia. (Not to mention his bros’ ‘fros.)

Tough sides recorded by Jammys and Scientist, besides a couple of killers from the Black Ark — The Children Are Crying (with The Heptones) and Mr Scabina.

Another expert compilation, featuring some of his early English recordings — like Run A Way (nice try) and Flower Of Love — alongside smashes like Sari Çizmeli Mehmet Aga and Aynali Kemer, with a sprinkling of instrumental gems from his 70s concept albums.

Hard-core Bakersfield honky-tonk, in the manner of Buck Owens and Merle Haggard.
TC’s third and best LP.

Not disco at all — rather a fully rounded excursion into mid-70s dancefloor funk and jazz-funk, by an orchestra of crack NYC musicians originally known as the Smokin’ Shades Of Black.
Like previous Jazzman revives by Sounds of the City Experience and Ricardo Marrero, this reissue saves from obscurity some wonderful music wilfully squandered at the time in the service of tax scamming. The booklet tells the full story.

An anti-war collage of words and sounds from August 6, 1966, including contributions from a plastic clock-radio, The Velvet Underground, Gerard Malanga, Marion Brown, Allen Ginsberg, Ishmael Reed, Andy Warhol (standing around silently) and Ed Sanders.

His first album simply under his own name, from 2022. ‘In a quieter, more meditative space than the pulsing, driving material found in his other groups Sons of Kemet, The Comet Is Coming, Shabaka and The Ancestors.’

Dark, spooked, early-seventies worries from PU — disguised as M. Zalla, in the throes of his fascination with psychedelia and electronics — with titles like Mondo in Crisi, Problemi Sociali, Azione Sindacale and Mafia Oggi.
Drum-machines, Moog and EMS Synthi.
Still acutely germane; musically and temperamentally.
Demdike Stare has called it the first techno record.

Ravishing jazz and electronics from the same stumbling, giddy reaches as La Monte Young and Terry Riley, recorded in Texas in 1981 on multi-tracked organ and synths (with tape loops of birds and wind-chimes), and acoustic guitar.
‘My music is designed to enhance deep meditative, or altered states, to allow the listener to personally connect to the Creator of All that exists in the Universe. My music style is to first create a foundation using cyclic, polyrhythmic music, then build several layers of improvised leads and rhythms that allows you to transcend time and space… We have Memories of Past Lives that reverberate in our hearts like Echoes From Ancient Caves.’