Wicked little minor-key organ instrumental, with a killer intro and rare toasting by Ramon The Mexican — resident deejay of Harriott’s Musical Chariot Sound System — who later changed his name to Ambelique.

With Virgil Jones, Clarence Thomas, Melvin Sparks, Jimmy Lewis, Buddy Caldwell and Harold Mabern. Roars out of the traps with a low-slung Express Yourself; then Joe Dukes’ Soulful Drums; then a cooking Super Bad.

Evan Parker, Kenny Wheeler, Radu Malfatti, Nick Evans, Keith Tippett, Johnny Dyani, Harry Miller.

Duets with Alexander Hawkins.

Five Blokes: John Edwards, Louis Moholo, Alexander Hawkins, Jason Yarde, Shabaka Hutchings.

Louis Moholo, Dudu Pukwana, Johnny Dyani, Frank Wright.
With Chris McGregor delayed, the three Blue Notes were at a loose end in Eindhoven — till they heard Frank Wright was in town.
A previously-unissued live recording from 1969.

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

Shot between 2007 and 2012, Hisham Mayet’s film is an exhilarating, hallucinatory, harrowing record of music, ritual, life, and landscape along the Niger River, as it winds through Mali and the Republic of Niger.

Aka Counceltation — pimped with a new sleeve and title straight out of the treacherous Hefner-Jazz nexus — featuring a hefty West Coast lineup: Jack Sheldon, Curtis Counce, Harold Land, Carl Perkins and Frank Butler.
Easy swinging and elastic, limpid and lyrical, with brilliant playing all round. Perkins is always a pleasure; Land another HJ legend, lethal in ballads; Butler bosses, as per.

‘There are relatively few places where members of the two great Arkestras — Ra’s and Tapscott’s — cross paths… As you might expect from such a line-up, Voyage From Jericho does not have a wasted note. Every light is most definitely on, the band are running hot, and the spirits are live in the set. Tyler’s compositions are ruggedly carved, heraldic and open; he leads on baritone, sculpting the songs, growling out blue-flamed multi-phonics, the flow in full spate. Boykins steps lightly with his familiar elasticity and glowing presence; Blythe and Cross duck and weave, and Reid clatters and baffles, following and leading, echoing and supporting, always right there in his sui genesis super-precision time-beyond-time. Top-tier fire music.’ (Francis Gooding, The Wire)