Crucial, ecstatic, magnificent disco, rinsed nowadays by the likes of Theo Parrish and DJ Harvey. Producer and writer Jerry Peter’s crowning ten minutes — notwithstanding credits with everyone from Foster Sylvers and Gene Harris to Aretha and Marvin.
Plus the mighty Bourgie Bourgie on the flip.

Picture sleeve.

Crafted, varied EP from Kenneth Lay and Jason Carr, out of the Metasplice milieu in Philly. A couple of ant nests, a droner with an mbalax tic, and a monster-crunchy, sun-up soundscape. Boot cyan lean.

With a Newworldaquarium dub.

‘A new twist to the Don’t DJ sound. Leftfield tribalism at its best, with a pinch of Zoviet France fourth world voodoo for the 5am crew that wants to get hazy in the dance. A drum ritual of epic proportions.
‘Then Morgan Buckley — from the mighty Wah Wah Wino crew — takes up this deep and intense trip…  and goes ballistic. He peppers the original with some live Bodhran drumming to invoke the ancient Celtic spirits. If the essence of a remix is to keep the original vibe of the tune and add a different flavour to it, Morgan Buckley nailed it in a big way.’

Terrific album, originally out on Takoma in 1981 — an edgy, angsty, spiritual mix of Suicide, Cluster, La Monte Young, Terry Riley, West African rhythms… which still sounds bang up to date. Hotly recommended.

His treasurable third solo LP in three decades of collaborative work as Vilod, the Moritz Von Oswald Trio, Non Standard Institute, Sun Electric, Ambiq, and company.
‘Max at his most exhilarating, morphing through bittersweet and optimistic soundscapes to bleak moments of throbbing unease — all while maintaining a musical grace and elegance. Petrichor is a reflection of Loderbauer’s impactful trips to the mountains, and returning from these summits with an electrifying urge to paint this mighty perspective. The harmonies and melodies on the tracks simulate emotional peaks and valleys, with vibration and rhythm rooted in the foundation of the sound, as though woven into the fabric of the fauna and flora.’

Ravishingly beautiful, achingly precious songs and instrumentals, sumptuously presented: the Royal Court Orchestra in 1906 through to a hauntingly soulful Hafez setting by Moluk Zarrabi of Kashan, from 1933.

This 1955 date aka I’ll Be Seeing You is the only full release by this brilliant bebop trumpeter who reminds everyone of Chet Baker. The wonderful Allen Eager’s here, too. (‘Best of the grey boys,’ said Pres.)

‘The Complete Session’, adding alternates and a live recording.
Wonderful baritone-playing — nodding to Gerry Mulligan, but going its own way — over a range of settings, quartet to big-band, in an enjoyable mix of standards and three notable originals.