The first of a fascinating trio of LPs — this for Futura in 1970, by Hungarian saxophonist Yochk’O Seffer, German pianist Siegfried Kessler, French bassist Didier Levallet and Vietnamese drummer Jean-My Truong.
‘Lyrically incandescent free jazz, made up of startling interactions between complex harmonies and disjointed rhythms.’

‘The second LP, from 1971, augmenting the original quartet with numerous guests including Teddy Lasry, Jean-Charles Capon, Kent Carter and Jean-François Jenny-Clark. Siegfried Kessler is largely absent on this recording, temporarily replaced by Manuel Villaroel, a pianist from Chile with a completely different temperament.
‘It all seems to predict the after-life of Perception would subsequently take. One track, by Yochk’O Seffer, who had already been part of Magma two years previously, looks forward to the more structured Neffesh Music, whilst, in the opposite direction, another track, by Didier Levallet, is more evocative of the future arrangements on Swing Strings System. All these different elements, from tightly written pieces to wild improvisation, work so well together: their coherence is one the key attributes of a group free like few others.’

‘By the time Mestari, their third and final album, came out, Perception had four years of questing and originality behind them, developing their own individual language, in which the improvisatory spontaneity did not exclude influences from European folk or classical traditions.
‘Balanced, ethereal and structured, Mestari reinstated the original quartet. It opens infinite perspectives, totally in phase with what was being produced in France at the same time by the Cohelmec Ensemble and the Dharma Quintet.’

His third LP, following up Pieces Of A Man in 1972. One side of collaborations with Brian Jackson; the other, spoken word.
Adding alternate versions, the CD runs through the entire tracklisting twice.
The more expensive LP is newly remastered — all-analogue style, from the master tapes.

From seventies Guinea-Bissau, a captivating, poignant blend of anti-colonial militancy and the knot of homesickness, regret, loss and melancholy at the heart of saudade. Sung in Guinean Kriol, and reviving traditional musical genres like Gumbé, lavished with jazz, Latin, funk and general dancefloor nous, José & Cobiana Djazz went down a storm nationally, hugely influencing local bands like Super Mama Djombo, and hailed by giants like Orchestra Baobab, Letta Mbulu and Miriam Makeba (with whom Zé Carlos recorded his only solo album).
Lua Ki Di Nos, The Moon Is Ours, is a mixture of thumping, blistering high-life, with burning horns and mesmerising guitar lines, for dancing, and sublime, swaying, moodily contemplative body-rockers. The mournful Na Kolonia, for example, is knockout. Locked up for his politics on Ilha das Galinhas, a few miles off the coast of Bissau, the singer wonders what has become of his friends. ‘Where is Sara? Back at the colony. Where is Saidu? Back at the colony. Uncle Malam, tell them not to cry, not to suffer. One day we’ll be back in Bissau, a day that is slow to arrive. Our brothers from Bissau, don’t forget about us. If you think that we’re dead, we haven’t died, we’re waiting here.’
Ace.

Classic spiritual jazz from 1980, with the great bassist Cecil McBee, vocalists Angela Bofil and Bessie Carter, saxophonists Steve Coleman and Byard Lancaster, and cellist Muneer Abdul Fataah.

Recorded in exile in Paris, this is the eye-opening solo debut of the leader of the legendary Lebanese group Ferkat Al Ard.
In 1977 Issam was scratching together a living by busking on the Metro. He could afford just one day in the studio, with a pick-up band of musicians from France, Algeria, Iran  — and a friend from Beirut called Roger Fahr, who had left Lebanon around the same time.
Back in Beirut by the end of the year, Issam added percussion and other touches. He made no more than one hundred cassettes, with his last, personal copy providing the master for this precious reissue.
In these genre-shattering settings of the Palestinian poet Samih El Kasemou you can hear the roots of Ferkat Al Ard — but “it’s more of just me,” avers Issam.
Melancholic, stripped, acoustic folk crossed with cosmic, funky jazz-fusion, with strong Brazilian influences. It’s packed with breaks, and haunted by the unique sound of the santour.

Demdike Stare and Andy Votel.

From 1957… with Monk and Milt Jackson on the title-track; Rollins and Horace Silver on the rest.

Radiant 1950s Tanzanian pop.
‘As a trio Frank Humplick, Thecla Clara and Maria Regina recorded and toured throughout East Africa and issued a string of instant classics, capturing fans with their beautifully harmonized singing, clever lyrics, and Frank’s stunning guitar work. Imagine the fingerstyle finesse of John Fahey cut with a pure pop melodicism, and combined with the family harmony of groups like The Carter Family, The Roches, and The Beach Boys, set in the golden age of Tanzanian music!’
With a colourful eight-page booklet featuring complete lyrics in English, Swahili and Chaga, as well as previously unpublished photographs, extensive interviews, biographies and anecdotes.

A year after Os Tatuís, José Bertrami returned to the studio, this time stripping back to a trio. Again featuring Claudio Henrique Bertrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album in 1966, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The LP also featured three of Betrami’s own compositions: the wistful Lilos Watts, the groovy Kebar, and the dazzling Talhuama.
Another jewel from the golden age of the Brazilian bossa jazz trio — Bossa Três, Milton Banana Trio, Tenório Jr,,  Bertrami’s own Bossa Jazz Trio — ushered in by the Tamba Trio, and nourished along the way by jazz greats from Nat King Cole to Bill Evans,

With Eric Dolphy, Richard Williams, Roy Haynes and George Duvivier in 1960, Van Gelder at the controls.