Enjoyably odd, wrong folk rock with baroque touches, from 1968. Jarrett plays everything — guitar, harmonica, soprano saxophone, recorder, piano, organ, electric bass, drums, tambourine and sistra — adding a string quartet here and there. He also sings, though it’s better when he doesn’t. Nearly all the tracks are two to three minutes.

‘A spontaneous solo suite interspersing touches of the blues and folksong lyricism between pieces of polyrhythmic and harmonic complexity… one of his very finest performances. An attentive and appreciative audience hangs on every note, every nuance, and is rewarded with some tender encores including a magical version of It’s A Lonesome Old Town.’

With a Nitty Gritty dubplate do-over of Trial And Crosses.

Thumping soundboy frightener from 1987, with nice Eastern flourishes.

‘Yes we nice, yes we nice… Hold them, music, hold them, yes, we control them… no we nah go let them stray.’ Dancehall manners — on the rhythm Delgado used for Rasta People — as clinically murderous as all-time EJ hits for Jammys like Rock Them One By One and Turn Up The Heat.

Solo saxophone performances of three of Lacy’s rarest cycles. The eight-part Shots is from a 1977 Roman concert (with a couple of adds); the rest from a 1980 solo recording session and concert in the lively acoustics of an old church in Porrentruy in Switzerland. Only the 37-minute Hedges has appeared before (on a long out-of-print Hathut from 1982).

From 1986: half Lacy’s stuff — including Wickets — half Monk’s, including a great In Walked Bud. Oliver Johnson and Jean-Jacques Avenal make a superb rhythm section, pulsating, bristling, always moving on; Steve Potts squalls and testifies like a post-Trane trooper; Lacy is a livewire, darting and alight. Don’t potter off before before the finale, As Usual: it’s triumphant.