Still sealed.

Originally released by Gallo in 1974, this is a raw, impassioned, stunning set led by bop pianist Kirk Lightsey (a regular sideman for Chet Baker) and saxophonist Rudolph Johnson (from Black Jazz), on a break from touring South Africa with Detroit crooner Lovelace Watkins.
A heavy-duty excursion into post-Coltrane spiritual modernism, ranging from the modal, cerebral intensity of the side-long title track Habiba, to the downhome breakbeat groove of There It Is, and the dark glitter of minor-key waltz Fresh Air. Long one of the most desired global jazz LPs, and never before available outside South Africa, Habiba is a forgotten masterpiece of its era.

DC’s first album as leader, after leaving the Ornette Coleman Quartet. Two side-long suites, recorded in single takes on Christmas Eve, 1965. Bristling with creativity, rammed with great tunes and brilliant solo spots. Cherry plays cornet, alongside Gato Barbieri, Henry Grimes and Ed Blackwell. In the same year as his own debut as leader — The Call for ESP — Grimes is terrific.

It’s a must. The bluesy, grooving title track is essential Sonny. With Art Farmer (playing superbly), Jackie McLean, Philly Joe Jones and Paul Chambers.
Blue Note Classic Vinyl series: all-analogue, mastered by Kevin Gray from the original master tapes.

Rollins’ LPs for Impulse! are neglected. Here is the first of three he recorded in 1965-66, taking fierce flight from five standards. It’s all wonderful, but check the scorching calypso, Hold ‘Em Joe — with Rollins’ characteristic carnivalesque, askance danceability, his ‘impudent swing’, writ large — and the deconstruction of Three Little Words to close, as if to say, Okay, enough of that, now watch this space.
Great sound, too, this Acoustic Sounds issue.

The great trumpeter with Cecil McBee, Stanley Cowell, and Jimmy Hopps, at Slugs’ nightclub in New York City, on May 1 1970.
‘Tolliver, McBee and Cowell (in that order) each contribute a composition to this superb, compelling set; though very much distinct, each is equally strong. Drought is the kind of dark-hued, well-honed burner which Tolliver routinely produced in his fertile years. Felicite is a more contemplative affair, a deeply felt and empathically performed piece. The unit here is in particularly sublime form, merging considerable skill with a staggering emotion. Orientale falls somewhere in between the pace of the two, with Cowell’s Eastern scales establishing an austere, industrious tone throughout its seventeen-and-a-half minutes.’

Recorded between Let Freedom Ring and One Step Beyond, it’s presumably the laidback presence of HJ hero Sonny Clark — who also contributes half the compositions — which tips the scales away from JM’s more screwface, outward-bound trajectory, towards good-old-fashioned, limber, bluesy hard bop. Though a throwback, cancelled at the time (and shelved for twenty years), it’s downright classic Blue Note now.

One of the very greatest jazz vocal albums of all time.

Outstanding modal set for Futura in 1971, with the superb French trio Georges Arvanitas, Jacky Samson, and Charles Saudrais, expertly proliferating Mingus and Trane.