Wonderful, half-enraptured, half-stoned, full-blown re-imagination of vintage country soul sublimity. (He likes Washington Phillips; you can hear Curtis.) Five star reviews everywhere.

‘At the heart of the album lies the resonance, focus and slightly surreal shapes conjured by guitarist Bill Frisell. These gain extra substance by Potter’s arrangements for trombone, clarinet and violin which, added to Potter’s own strident tones, add extra layers of tension and sonic possibility. Bags of detail, soloists in elegant form and the narrative drive of the excellent Nate Smith and Burniss Travis on drums and bass, complete an album that engages and grips.
‘The set, bookended by the stirring fanfares and collective improv of the title track, unfolds thrillingly through layered melodies and blues-rooted solos, hints of Americana and seriously funky grooves… Two bonus tracks are covers featuring the core quartet and are worth the price of the deluxe release’ (Mike Hobart, Financial Times).

A meditation on the white abolitionist John Brown’s 1859 raid on Harpers Ferry, which aimed to ignite a massive armed slave revolt across the American South.
“Looked at from one angle, John Brown was a religious zealot who used violence to try and achieve his aims. From a different angle, he was on the right side of justice, and gave his life hoping others would be free.”

A jazz-piano split release: Matthew Bourne with Vosloo and Giles, interspersing Ra and Duke with improv; Kit Downes with cellist Lucy Railton and sound sculptor Alex Killpartrick, more minimal and meditative.

Lovely trodding-on steppers.

Vivid, unflinching film of two annual Haitian Vodou pilgrimages — for Ezili Danto, goddess of love, art and passion, and her old man Ogoun, god of war, iron, healing. Ecstatic, bloody, intensely musical.

Excellent, tastily apportioned EP, kicking off with a synthy dancefloor chugger from Moon’s back pages, and debuting a fresh, desolate Purpleness, in Art Direction.

A magical, poignant selection from sixty 78s issued in 1942. Featuring Noh theatre musicians, many trained by artists active before the Meiji period, prior to 1868.

Imai Keisho playing koto and Yamase Shoin shamisen, amongst others. Historic recordings by Kokusai Bunka Shinkokai. Excellent label.

Gong, angklung and gender wayang under the direction of Anak Agung Gede Mandera.

‘Anutha ho (bites the dust)...’ Classic rap diss, elbowing in on the Roxanne Shante - Sparky D blow-up.