Norwegian Christian-folk-jazz drawn from the two early-seventies LPs of the Oslo-based group, led by Jan Simonsen and Per Arne Lovold, shepherded by Priest Olaf Hillestad.
No kidding!

Classic LP with the Roots Radics, mixed by Scientist at Tubbys.

Tasha and Channel One productions, newly corralled, with three stone exclusives. The highlights are an FJ duet with Michael Palmer retrieved from dubplate duties, and from the Riders a next version of Youthman Invasion and a trigger-happy Illegal Gun. Wonderful photos by Beth Lesser and Syphilia Morgenstierne.

‘Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes, the French composer and drummer, who had been on the scene since he was thirteen — recording Gilson LPs when he was just sixteen — established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesisers, tight writing, teetering on the classical, and in the middle of all that, a hit, the title-track — which Madlib would one day end up hearing and sampling.
‘In a career lasting half a century, centred on freedom, Jacques Thollot played with a roll-call of key experimental musicians (Don Cherry, Sonny Sharrock, Michel Roques, Barney Wilen, Steve Lacy, François Tusques, Michel Portal, Jac Berrocal, Noël Akchoté...) who all heard in him a pulsation coming from another world.’

Dreamy percussion exotica by a group of fourteen-year-old students (ten girls, including Evelyn Glennie, and one boy) in Aberdeen, 1978.

Reshapes of classics by Art Blakey, Horace Silver, Hank Mobley, Dexter Gordon, Kenny Burrell, and Eddie Gale, among others — with contributions from vibraphonist Joel Ross, trumpeter Marquis Hill, alto saxophonist Greg Ward, guitarists Matt Gold and Jeff Parker, bassist Junius Paul, and De’Sean Jones on tenor saxophone and flute. 
“When piecing everything together, I wanted to create a narrative that made the listener feel like they were falling into this space or a movement. I was really trying to make a record out of it, not just a series of tracks… The music that we’re making now is part of the same route and is connected, so I want to honor tradition and release something that people can vibe to.”

Recorded live with Sonny Murray and Gary Peacock in 1964 — just a month before the Spiritual Unity session — already veering so intensely and steeply way outwards from core, morphemic scraps of tunes like Ghosts and Spirits.

‘Their first collaborative recording: four beautifully recorded excursions, threading crystalline drum-work through a sparkling haze of guitars and electronics.
‘The opener Dessus begins with Reidy’s distinctive just-intonation guitar figures, shimmering over a delicate substratum of Befli’s brushwork and bass drum accents. As in all of Reidy’s recent work, the guitarism evades cliché via unfamiliar tuning and electronic processing. Hanging almost inaudibly in the background for much of the piece, a rush of synthetic tones surges into the foreground to end it. Oben is built from kinetic patterns of picked guitar arpeggios, locking into irregular grooves with Belfi’s drums, which move from elegant rolls and cymbal patter to driving closed hi-hats and explosive rock interjections. Around the traditional instruments and across the stereo field, electronic sounds swarm and swirl, fizzing and popping in a sun-drenched soundscape that at points suggests both vintage analogue synth destruction and glitching harmonies. Alto begins in similar territory but turns proceedings up a notch, eventually settling into a propulsive 6/8 groove of shifting drum accents, manically strummed 12 string acoustic, and burbling synth chords.
‘The B side is dedicated to the fifteen-minute Up, where the strategies adopted on the other pieces are put in the service of a more relaxed, slowly unfolding epic. Anchored by a steady pulse throughout, the piece combines chiming guitars, dubbed-out bass lines and constantly adjusted percussive details into a complex flux of sound. Change is at once so subtle and so ever-present that, at any given moment, the listener can never be entirely sure quite how they got there.’

Legendary, underground French rock from 1980, ranging from lo-fi fuzz to full-blown prog. Each song is presented as the hallucination of a possessed six-year-old. Featuring the fourteen-minute Theme Guerre.

1967 — Rudd and Moncur, Jimmy Garrison (an unmissable solo overture), and Beaver Harris, tearing like a tornado into three-quarters-of-an-hour of One For The Trane.

Lost Treasures From The Vaults, 1959-69, Volume Three.

‘Roman Norfleet and Be Present Art Group play deeply felt, sometimes earthy, and sometimes cosmic music. A trio (sax, drums, and organ) are augmented by additional percussion, soaring vocals, and even a vocal appearance by a toddler. Roman Norfleet and Be Present Art Group will take you where you need to go. A spiritual classic for the ages, following the lineage of Alice Coltrane and Pharoah Sanders yet firmly rooted in the present.’

Anniversary LP edition.

Anniversary LP Edition.