Dub-plate-style Adrian Sherwood departures from the Midnight Rocker set.
Radical re-works, with interjections from Daddy Freddy and Lone Ranger; and stripped-back dubs. Plus some new stuff.

The soundtrack to the French TV series adapting Henri de Monfreid’s account of his travels in the Middle East. The music for the first series in 1967 features various flutes and marine conches; for underwater settings a celesta or a crystal xylophone. For the later 1975 series, de Roubaix composed a new music score, mixing old and new sounds, his EMS VCS3 synthesizer subtly mixed with acoustic instruments.

‘One of the all-time great records of improvised music from Europe. Period. Blisteringly hot. Uncompromisingly inventive. Staggeringly beautiful. And insanely rare. Originally issued in the mid ‘70s on FMP, featuring the legendary Schlippenbach Trio — with Evan Parker and Paul Lovens — joined by Peter Kowald.
‘Just the first track, an incredible twenty-plus-minutes burner called Range, is worth the price of admission — as punk rock as free music gets, it shows Parker’s spectacular capacity for high-octane blowing. Kowald adds a chewy, molasses bottom to the group, offsetting Lovens’ flinty metal, stick and skin and Schlippenbach’s hyper-focused intensity.
‘A stone cold classic of creative music. Remastered from original tapes.’
LP from Cien Fuegos.

“I didn’t want to make a bebop record. I wanted to make a modal jazz record and there just aren’t that many on viola. I wanted to speak with a heavier voice, more akin to a tenor saxophone. The viola is darker and thicker. It speaks slower.”

‘Love that, kind of Miguel Atwood-Ferguson, big orchestrations with really low down dirty jazz music” (Gilles Peterson).

Mid-seventies Alvin Ranglin productions — an original LP, not a compilation — with the Revolutionaries deep in the groove, Sylvan Morris from Studio One at the controls, the Tamlins on backing vocals, and Deadly Headley and co chipping in tough brass.
Top Gregory, with classics like Jailer and Border.

‘Bisk is back… as cheerfully unhinged as ever… absurd and exhilarating in equal measure. The Japanese producer’s drum programming weaves through knotty thickets of syncopated beats and white-noise bursts, chasing ghosts and dodging potholes. His samples are fragmentary dispatches from far-flung points, and any given musical phrase might shoehorn multiple worlds into wobbly union—free improv with easy listening, kindergarten recess with NASA Mission Control. Beneath each drum hit lies a potential trap door, and his melodies, if that’s what you can call his tangled scraps of electric bass and modal keys, ricochet like pinballs repelled at every turn by shuddering mechanical bumpers’ (Pitchfork).

‘Experimental jazz, chanson, bluesy folk and various strains of outsider music permeate a rich layering of music boxes, walkie-talkies and plastic straws, plucked charrango and banjo, kazoos, flutes and snake-charming ocarina, accordion and melodica, found percussion and traditional tuned drums. The moods switch from child-like and epiphanic (Tarzan en Tasmanie, Madrigal for Lola) to babbling (Pocarina), mysterious and dark (Septième Ciel, Rugit Le Coeur) to tender and simple (Rainbow de Nuit, Chevalier Gambette); from murky, suspenseful melancholy (Levy Attend, Eno Ennio) to pensive psychedelia (Un Cercueil à Deux Places). A world of echoes. A tale of tales. You’ll be whistling and humming along on first listen.’

Tangily raw and fresh piano-trio jazz from 1974.
The title track and Triangle are ace, funky jazz-dance. The Journey is gnarlier funk. Robyn’s Lullaby and Nothing New are hazier, evocative, impressionistic.
Tiny pressing.

Arranged By Kieran Hebden.

Plenty of TKOs — the Colombian opener, for example — beautifully presented.
A moving, mind-boggling testament to Afrobeat, with shout-outs from Ghana, Trinidad, the US and elsewhere.

The Beaters changed their name in tribute to the Rhodesian township which hosted their Damascene cultural and political awakening. One year after the LP entitled Harari came out in 1975, they were back in the studio, deepening the African sensibilities of their music, but also trying out influences like jazz, fusion and prog, which would carry them forward.

A bouquet featuring interpretations of Joe Henderson’s Black Narcissus and Trane’s After The Rain, plus nine originals, performed by the New Breed, and dedicated by the guitarist to his mum.
“I used to deejay a lot when I lived in Chicago. I was spinning records one night and for about ten minutes I was able to perfectly synch a Nobukazu Takemura record with the first movement of A Love Supreme and it had this free jazz, abstract jazz thing going on with a sequenced beat underneath. It sounded so good. That’s what I’m trying to do with Max Brown. It’s got a sequenced beat and there are musicians improvising on top or beneath the sequenced drum pattern. That’s what I was going for. Man vs. machine.
“It’s a lot of experimenting, a lot of trial and error. I like to pursue situations that take me outside myself, where the things I come up with are things I didn’t really know I could do. Patchwork quilting. You take this stuff and stitch it together until a tapestry forms.”

The third, 1980 LP of this vocal trio led by Trevor Bow. Recorded at Treasure Isle with expert backing by the Negus Dawtus, Family Man, Chinna, Rico…