This is terrific.
Brazilian post-punk, art rock and DIY from 1988, released here for the first time, by the duo Celso Alves and Kodiak Bachine (whose records with the band Agentss are desperately sought-after nowadays).
Dubwise and rhythmic, percussive and synthy, with tangy Brazilian roots, and a droll humour to its reflections on embalming, LSD and zombies, the music freewheels roughly and vividly from the truffling, chattering, tropical atmospherics of the opener, through to the machine-funk, Romeroesque terrors of the Greenhouse Massacres, to close. 
Sung in Portuguese and English, studded with Spanish, French and German, the lyrics are reproduced on an insert. Pressed at Pallas.
Ace. Check it out.

Hip dance sides and Lowrider ballads from Darrow’s Chicago years.
From his career-opening smash The Pain Gets A Little Deeper, via Northern dancefloor classics like My Young Misery, Infatuation and Gotta Draw The Line, and ballads like Sitting There That Night and My Judgement Day, through to the new social consciousness of Now Is The Time For Love, recorded in 1971 for his step-dad Johnnie Haygood’s Genna label.

A never-before-released studio album!
Recorded on March 8 1959 in Rudy Van Gelder’s living-room studio in Hackensack, New Jersey, one month before the Birdland shows which produced the killer twin LPs Art Blakey And The Jazz Messengers At The Jazz Corner Of The World, this features the same lineup: Blakey, Lee Morgan, Hank Mobley, Bobby Timmons and Jymie Merritt. Two tunes only show up here, including Timmons’ Quick Trick; besides three Mobley compositions.
The LP is an all-analogue 180g vinyl pressing.
Cor.

Startlingly accomplished new jazz from South Africa, teeming with ideas, influences and idioms.
Maybe you remember Asher’s drumming on Angel Bat Dawid’s The Oracle.
Hotly recommended.

Deluxe LP edition, with gold foiling on the sleeve, a four-page booklet, 140g vinyl.

The first album in thirteen years by this great trumpeter (and founder of Strata East).
A quintet — with US veterans Jesse Davis, Keith Brown, Buster Williams and Lenny White — joined by Binker Moses on a couple of cuts.

From 1977.
‘Music of extreme sophistication yet perfect lucidity… A Zen-like tranquillity pervades this album of duets’ (Richard Williams in Melody Maker).
‘Quite an achievement, balancing fantasy and friction with grace as a fulcrum… calm, lucid, colourful, and captivating’ (Art Lange in Coda).

‘With a new lineup including multi-instrumentalists Kwake Bass and Wu-Lu, who are also the producers and arrangers. Horns, played by Soothsayers’ founders saxophonist Idris Rahman and trumpeter Robin Hopcraft, are included on just two of the ten tracks…
‘McFarlane’s spellbinding, crystalline voice continues to be acoustically recorded and reproduced and the primary focus of attention. Her lyrics, as before, are strong on message and relate to the experience of being a black person in Britain, touching on race, identity and the legacy of colonialism.
‘McFarlane’s performances aside, what binds Arise and Songs of An Unknown Tongue together is her embrace of her Jamaican heritage. What makes them distinct from each other is how that heritage is referenced in the material, lyrically and instrumentally. Born and brought up in London, McFarlane made an extended trip to Jamaica in 2018, when she penetrated further into the country’s folk culture and spiritual traditions than she had been able to do on previous, shorter visits. She devoted much of her time to researching the African-derived rhythms that shape the country’s folk music. On her return to London she worked with Wu-Lu and Kwake Bass to present them in a modern electro-acoustic context…
‘It looks forward to a brighter future while acknowleding the past and confronting present. It is deep, immaculately crafted and beautiful.’
(Chris May, All About Jazz).