With Joe Henderson, Duke Pearson, Bobby Hutcherson.
The title-track is lengthily, meltingly gorgeous.

Solo acoustic guitar renditions of nine Thelonious Monk tunes.
‘Baker will remind you through his playing that the idiosyncrasies of Monk’s composing are further dimensions of the Americana continuum (and source musics) that has been his turf for years. Especially in Monk’s centennial year, many will address Monk’s oeuvre, in fact hundreds will interpret the scores, but very few can inhabit this music in the way Duck Baker does here.’

His first quartet session as leader — with Herbie, Joe Chambers and Bob Cranshaw. Seven BH originals and Maiden Voyage. A kind of breather, in amongst his experiments at this time; relaxed, gorgeous and atmospheric, with brilliant playing.
Warmly recommended.
‘Classic Vinyl series.’

Eighteen freeform electronic miniatures by Lorenz Lindner — aka Mix Mup — after his love of experimental ambient and soundtrack idioms.

The legendary Library album by Sandro Brugnolini and Stefano Torossi, undercover in 1975 for contractual reasons.
Bad-ass headz vibes — madly sampledelic, super-funky, jazzy and widescreen — with the genies of Herbie, Barry White, Isaac Hayes and the Mizells, all in the mix.

The French avant-garde quartet, four years in, improvising with instruments from Western, African, Middle-Eastern, and Far-Eastern cultures. Recorded for Futura in 1971, this is their sole album. “We just wanted the sound, the raw sound-texture, before being treated and shaped by any cultural code.”

Cornerstone experimental music, from 1966.
‘Nostalgic testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label’s founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd’s first manager, Peter Jenner (PF’s track Flaming is a tribute to the first side here)... Long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew’s purposeful piano chords, radios beam in snatches of orchestral music… AMM sought to develop a collective sonic identity in which individual contributions could barely be discerned. Numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices.’