That’s Maupin on Bitches Brew, and Lee Morgan’s Live At The Lighthouse, and Head Hunters. He co-wrote Chameleon. From 1977, this is killer fusion in the same dazzling tradition — as confirmed by transformative readings of two classics by the Mwandishi sextet, Quasar and Water Torture, from the LP Crossings. We’re in the same neck of the woods as Eddie Henderson’s two deadly Blue Notes around this time — Sunburst and Heritage — and the great trumpeter is here. Also Patrice Rushen, who plays a blinder: check her out on the opener. Pat Gleeson, who introduced Herbie to synths, Head Hunters mainstay Paul Jackson, Blackbyrd McKnight, from Flood and Man-Child…

Terrific analogue recordings of inimitable covers of Thin Lizzy, Nico, Black Sabbath, Abba, Sandy Denny etc, with support from Will Oldham and labelmates Supersilent.

‘Bottling the vehemence bursting forth nightly in the downtown NYC loft scene, these 1973 recordings at Marzette Watts’s studio are furious, brutal, and poignant.
‘Mixed and mastered from the original tapes, this expanded 2020 LP edition restores sections of the original record inexplicably excised from the CD release in the nineties, adding more than double the playing time of the original LP, in fascinating variations.
‘Heavyweight vinyl; quality pressing.’

Reviewing and trailering the series, with contributions from MED, Guilty Simpson, Strong Arm Steady, Karriem Riggins, and AG; and a Jaylib-era track earmarked for the not-to-be second album.

An expanded edition of the saxophonist’s triumphant Brazilian excursion, originally released by Douglas Records in 1977, adding half an hour of previously unissued versions, plus Meeting House, out for the first time in any form.
Transferred from the original tapes; newly remastered; decent booklet. Sound-wise, Ron Carter in particular benefits from the restoration work.
An extensive lineup also includes legends like Portinho, Dom Salvador, Bernard Purdie, Claudio Roditi…
Sod’s law that the killer cut Clove & Cinnamon sounds freer, more carnivalesque, in the original version, with Alan Douglas’ bells, rattles and whistles intact.