Laid-right-back — with old buddies Dave Reisch and Lewi Longmire, and Tara Jane O’Neil; a Blind Willie McTell and a Lightning Hopkins; and unmissable goes at favourites like Light Green Fellow. One of the very best Hurleys of them all.

Instrumentals on electric guitar and organ. Tiny pressing from last year.

Gorgeous, downbeat, giddy with reverie, longing and loss. Led by Inigo’s guitar, banjo, ukelele or harmonium; with classic brass-band charts. Recorded by James Blackshaw’s engineer; mastered by Rashad.

Originally released on Philips Ethiopia in 1973: a mixture of modern and traditional instruments mark the stages of an Amhara wedding. Wedding photos and liner notes inside.

Tear-up cumbias from this mighty label’s treasure-rooms, handsomely sleeved.

From 1982, with his boom tune Buttercup. Arrangements by Teena Marie; Jamaican pressing and sleeve. CA was at Motown from 1972 — behind the scenes on Songs In The Key Of Life, for example.

Numinous outernational jazz recorded in Stockholm in 1972 — DC originals, and covers of Terry Riley, Nana Vasconcelos, Abdullah Ibrahim, Pharoah Sanders and Leon Thomas.

From 1972, taking time out from the Nina Simone band to cut this funky Black-Jazz-style set for his own label, with Horace Silver’s ‘personal seal of approval’. Includes Mr. Clean and Sister Sanctified.

From 1972, with Ra on organ throughout — trading solos with Gilmore and trumpeter Kwame Hadi on the bluesy title cut; duetting with drummer Luqman Ali on In A Blue Mood. June Tyson stars on Blackman.

Electrifyingly intense Chaoui music from the Aurès region of Algeria, booted into the future, with drum machines, phased gesba flute and reverbed-out vocals.

CD from Reactive.

Plenty of thrills and spills in this soundtrack to Otto Preminger’s 1959 film. Steeply evocative dynamic and rhythmic contrasts and quick changes in orchestral density get the job done — with a repeated strain of melody —  and make for highly entertaining listening, with numerous rollicking brass passages in amongst the piano-threaded impressionism, plus terrific soloing by Johnny Hodges, Ray Nance and co. Highlights include the suspenseful opener, the moody Midnight Indigo, the sublimely sad Almost Cried, and the band hard-rocking out-the-door with Upper And Outest, culminating in an amazing stratospheric passage by Cat Anderson, playing for a moment as if the needle is stuck.
Check out the opening of the film, with its title sequence by Saul Bass, and Duke’s music. Class.