Ace hard bop from 1967, elegantly alternating bluesy with modal. Cedar Walton, Billy Higgins, and the excellent Sonny Red. The title track is extended, sultry and grooving; and there’s a version of the dancer Book’s Bossa.

With Pharoah Sanders, Henry Grimes and Ed Blackwell, in 1966.
‘Sanders’ mix of Coltrane’s yearning long notes, Ayler’s ghostly, fluttering wail, Coleman’s fast, bumpy phrasing and his own manic bagpipe screams certainly separates the faint-hearted from the stayers on the opening Awake Nu. But the conversation between Sanders and Cherry is light, lyrical and engaging on The Thing, and the saxophonist even gets into a stubborn, Sonny Rollins-like repeating Latin vamp on There Is the Bomb. An unflinchingly quirky classic’ (The Guardian).

‘Rhino Reserve, cut from analog tape.’

Amazing lineup — and a cool reworking of Watermelon Man.
Anthony Williams, Chuck Israels, Grant Green, Grachan Moncur, Hank Mobley.

Beautiful, early-seventies, singer-songwriter, orchestral, countrified pop. The challenges of this second album put her back on heroin: it was her last.

Stretching out in 1965, with John Gilmore, Joe Chambers and co, two extra percussionists, and two bassists on one track. Abstract, fierce, textured, compelling.

Her funkiest record — Eastern-style settings of the writings of Omar Khayyam — with electrified harp, vibes and Japanese koto wrapped up in Richard Evans’ soulful arrangements.
‘Verve By Request.’

‘Classic Vinyl.’

‘Great Black Music’, and funny.