‘Classic Vinyl’ series.

Dazzling, foundational jazz-funk from 1973, with Larry Mizell back at the desk (after Black Byrd), featuring killers like Lansana’s Priestess — as sampled by Theo Parrish on his Baby Steps EP — and the title track, with hot flute by Roger Glenn, and a smack of Curtis to its vocal chorus. Superior pressing; gatefold sleeve.

Donald Byrd (trumpet), Hank Mobley (tenor sax), Sonny Red (alto sax), McCoy Tyner (piano), Walter Booker (bass), Freddie Waits (drums).
1968, stereo pressing.

From 1970 — a ten-piece including Duke Pearson and Airto, diversifying the funk innovations of Bitches Brew into sunnier, accessible, freewheeling jazz, with fresh Brazilian flavours.

Ace hard bop from 1967, elegantly alternating bluesy with modal. Cedar Walton, Billy Higgins, and the excellent Sonny Red. The title track is extended, sultry and grooving; and there’s a version of the dancer Book’s Bossa.

With Herbie, Mobley and co — and an eight-person gospel choir — in 1963.
The stand-out is a version of Duke Pearson’s Cristo Redentor. A fail-safe at funerals.
‘Classic Vinyl Series.’

‘One of the most essential hard bop purchases in the canon. The performances by Duke Pearson — four of his own tunes, five by Byrd, and standards — showcase his improvisational acumen at its height. His soloing on studio records pales in comparison. This was a hot quintet, that not only swung hard, but possessed a deep lyricism and an astonishing sense of timing’ (Allmusic).

Scintillating hard bop. Young Donald with Messengers Art Blakey, Horace Silver, Hank Mobley, Doug Watkins, and Joe Gordon.
Originally released by Tom Wilson’s shoestring Transition label in 1955. The same label which released Sun Ra’s and Cecil Taylor’s first records; the same Tom who produced Bob Dylan and Simon & Garfunkel, Freak Out! and The Velvet Underground & Nico .

Scorcher. Crucial Jackie Mac, with Pete La Roca also on top form.
‘Classic Vinyl Series.’

The rivetingly lucid, acrobatic expression of raw emotion characteristic of this altoist, fronting the same unit which had recently recorded Sonny Clark’s masterpiece Leapin’ And Lopin’, including Tommy Turrentine, Butch Warren and Billy Higgins.
Supposedly Clark came across the music of the opener knocking around Monk’s apartment. Amongst five JM originals, the title track shows how hard bop was too hip to sit still or look back. Sundu is a tasty Clark blues.

The more expensive new LP is in the all-analogue Blue Note 80 Vinyl series.

Japanese: GXK 8085.

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.