A funky afro-rock classic, his 1969 debut for Ahmad Jamal’s label by this future director of Amandla (the cultural ensemble of the ANC).

Arranged and produced by Leroy Hutson, who co-wrote all the songs, and part engineered at Curtom. The Voices’ best album, brimming with good vibes, bubbling grooves, great singing, political resistance.

‘Early contender for 2009’s album of the year. Yes, already’ (Mojo). ‘The sheer soul in her voice is revolutionary’ (NME).**** The Independent, The Times. ‘**** a masterclass in gritty southern soul’ (Daily Mail).

Drawn from the hundreds of reel-to-reels and cassettes that Jones — aka The Hurricane, The Fireball — has made of his Southern preaching, raving between speech and song, since 1960. From Dust To Digital.

A facsimile reissue of the first half of the Ronnie Scott’s recordings.

The forgotten music of the Austro-Hungarian diaspora in the mid-west of the United States. An Ian Nagoski compilation to inaugurate the label, with a cover by Eric from Mississippi Records.

Her 1967 album of duets with Jacques Higelin, retaining arranger Jimmy Walter from her debut, the previous year. Two songs here — La Grippe and Maman — became centrepieces of the duo’s stage musical, Maman J’ai Peur.

The trio of Roland P. Young, Aisha Khalil and Glenn Howell, recorded in 1975 at 1750 Arch, in Berkeley, California.

“There was a vibe in the air that we connected with,” recalls Young, “along with other kindred spirits world-wide. What appeared to be ‘experimental’ was reaching for sounds and emotions that were unfamiliar. We often performed at rallies in support of various causes: Black Liberation, Women’s Movement, Anti-War Movement, Gay Liberation. While the music came out of the Black Liberation struggle our ultimate goal was a blending of cultures.”

‘A fascinating glimpse of the trio in action. It testifies to the energy that Infinite Sound channelled into their music, but also to their imaginative breadth and expressive versatility… with Howell’s buoyantly springy and resilient bass taking on a strong pivotal role around which Young’s horns and Kahlil’s voice dance and spar and soar and play. Well-defined rhythms dissolve into textures; melodic shapes soften into shadings of timbre or flare into exuberant bursts of tonal colour. The music’s mood swings unpredictably from flamboyance to introspection; pacing shifts spontaneously from languor to urgency. Moments of musical allusiveness, sly quotation or stylistic reference, mutate into passages of wild inventiveness.’

Lovely record. An intimate, unshowy, reaching blend of British folk and minimalism in the tradition of Robert Wyatt solo; quietly co-mingling Henry Flynt and Ivor Cutler, Eastern outernationalism and Radio art. Beautifully presented, too; in a die-cut, inside-out sleeve, with a poster. Check it out!