Featuring James Massiah from Babyfather.
The flip is pure terror, with John T. Gast in the mix; heavier than lead, dreader than dread.

‘Classic Vinyl series.’

Fresh homage to Pharoah, Alice, Ra, and co, from an all-star Kiwi line-up.
‘Each instrument seems to be in orbit around the concept of symbiotic synergy, and everyone is given equal space to shine: from a psychedelic Korg, to a delirious saxophone or the gentle ripples of a harp. There’s a huge array of keyboards, with a standout acoustic piano solo by Guy Harrison on Plume. The wind section delivers ecstatic saxophone riffs, futtering flutes and solid horn choruses throughout. Percussion, vibraphone and acoustic bass lay the foundations. A full choir performs arrangements by Matt Hunter.’

Recorded a year after the debut, continuing the earthy flow of Malombo’s music. The two albums have since been recognised as unique landmarks of South African jazz. Alongside full original artwork, both albums feature a new interview with Julian Bahula.

‘Malombo music is an indigenous kind of music,’ says Lucky Ranku. ‘If you listen to it, you can feel that it can heal you, if you’ve got something wrong. It’s healing music.’
Lucky was one of the greatest African guitarists of his generation. The deep and hypnotic Down Lucky’s Way was the Jazz Makers’ third album. Recorded in 1969, it was the first to feature additional instruments, and the first to feature Abbey Cindi on soprano saxophone as well as flute. But more than anything else, Down Lucky’s Way is a transfixing showcase for Lucky Ranku’s sui generis guitar virtuosity.
Quite different from their previous recordings, the album shifted the Jazz Makers’ sound toward mesmerising, extended compositions, layered by organ bass and guitar overdubs. Of all the Malombo Jazz Makers recordings, Down Lucky’s Way is the deepest of mood, and the richest of vision.
The most rare, too: it may not ever have been properly issued. Original copies are outrageously scarce — only a few are known among collectors. Prior to this reissue, Lucky was unaware it had ever been released, and had never seen a copy.

Recorded for Futura in the spring of 1971 — soon after the veteran saxophonist arrived in Paris — with his spar Art Taylor and local musicians including Siegfried Kessler.
Singer came up through numerous swing bands, and then team-ups with bop luminaries like Don Byas and Roy Eldridge, before joining Duke Ellington’s orchestra.
A long look back, blues and news, keenly open to the new thing, this is superb, generous, upful jazz — with dashes of modal, r&b, swing, soul jazz — book-ended by tributes to his time with James Brown. It’s My Thing is JB by way of Cannonball; the limber, extended, new version of Malcolm X, with Kessler whipping up a storm, is simply unmissable.
“I get something out of listening to Coltrane, Shepp and Coleman; I’m really pleased that young players are trying to change things. If they go back to the roots and come up with something new, that’s fantastic.”

The Celtic harpist leading a dozen friends — guitar, piano, violins, flutes, zarb, zither — in spell-binding departures from Breton folk-song, originally released in 1976 but fresh and strange as a vermillion hydrangea in full bloom.

Noguès was to collaborate with Rabih Abou-Khalil, amongst others, but ‘we are reminded here of the Meredith Monk of Greensleeves, there the early albums of Brigitte Fontaine / Areski, elsewhere Emmanuelle Parrenin, Pascal Comelade… Noguès’ poetry is ever-changing: airy (Hunvre), cosmopolitan (Pinvidik Eo Va C’hemener), enigmatic (Ar Bugel Koar), profound (Ar Gemenerez), enchanting (Hirness An Devezhiou). And then there is Marc’h Gouez itself, between nursery rhyme and chamber music, weaving a fabulous, transfixing web. “Brittany equals poetry,” said André… Breton; and Kristen Noguès proves it to be true.’

Lovely stuff; dream-like, captivating; quite different. Check it out.