The classic 1970 debut with Beverley Martyn. Rehearsed in Woodstock, with Levon Helm guesting on a couple, Joe Boyd producing. Lovely.

‘From 1971, the first LP the altoist self-produced for his own Altsax label; recorded in the Netherlands during Howard’s second stint in Europe, with an intriguing lineup including Misha Mengelberg and Han Bennink.
‘Howard’s saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid sound painting full of contrasting forms and colours. Patterns remains one of Howard’s most unique, visionary and celebrated recordings.’

With Michael Smith on piano, Noel McGhie on drums, and Bob Reid on bass, in April 1974; originally released by Calumet Records.

Six originals alternately for nylon-string classical guitar and grand piano, with JB’s own subtle vibraphone and B3 organ overdubs. Genevieve Beaulieu sings on And I Have Come Upon This Place By Lost Ways.

Music by Freddie Perren and Fonce Mizell; songs performed by Edwin Starr.
With Easin’ In.

Landmark Detroit jazz. Trumpeter Charles Moore was the founder of the Detroit Artist Workshop; he and pianist Kenny Cox would go on to found the highly influential Strata Records. The pair split the compositions here. The second of the Quintet’s two Blue Notes, AllMusic likens this 1969 session to Andrew Hill’s Grass Roots, Jackie McLean’s Jacknife, and Grachan Moncur’s Evolution.

If you get just one Ray Charles to start with, we’d recommend this, gathering together his bluesier cuts for the label, at the end of his stay.
The almighty, pitch-dark I Believe To My Soul is here, for example. Everybody needs a copy handy for emergencies.
‘Last night you were dreaming and I heard you say “Oh, Johnny”, when you know my name is Ray. That’s why I believe right now (I believe, yes, I believe), I say I believe right now (I believe, yes, I believe), well, I believe to my soul now… You’re tryin’ to make a fool of me. (I believe it).’