Arch Enemy - Wages of Sin.
High energy coalesces in the presence of melody 
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There is some value I guess in only having a limited window where I can play music during the day! First time in a week for me.
This sounds wonderful!
I have always adored Satie’s Mort de Socrate 
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There are also some very good Ernest Ranglin & Monty Alexander titles on Telarc (theres a couple that are a bit cheesy sounding too)
Heres three I just grabbed at random, typically as you might expect from me, these are in the Jamaica Jazz/Reggae fusion style.
Monty Alexander Meets Sly n Robbie is particularly good imo.
Telarc is out of print now I believe but can often be bought used for sensible money
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Monty Alexander’s Ivory & Steel - To The Ends Of The Earth ( Concord Picante CD 1996)
Another prompt from @GeoffC mention of the Concord label connection to Telarc. This album fits nicely with the Telarc selections I posted.
Monty Alexander’s group for Ivory (Piano) & the Steel Pan joined by some fine musicians including Ira Coleman and Idris Muhammed
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Tempting fate here…my wife loathes most jazz (Getz\Gilberto excepted).
The great Rahsaan Roland Kirk
Other Folks’ Music
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Heard both of these and think they are great 
Thank you for the recommendations, I will take a look at the others when I am not so busy.
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Miles Davis - Filles de Kilimanjaro
The end of the second ‘great quintet’, but what a way to go! Here Miles is turning away from bop and modal jazz to invent a new form, fusion. A kind of half step to Silent Way. Essential listening by my reckoning.
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This 3rd album released in 1999 is probably my favourite Crows album
Counting Crows - This Desert Life
Brilliant stuff
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Courtney Pine - House Of Legends (Destin-E LP 2012)
Fun and mostly lively album with Courtney Pine gathering a fine group of Caribbean musicians and guests including Michael Bammy Rose & Rico, celebrating the music of the Caribbean and in memoriam to Stephen Lawrence and UK Jazzers Harry Beckett, John Dankworth, Abram Wilson, Lol Coxhill & Andy Hamilton.
If you ever get the chance to enjoy this band live it’s an absolute gas, the last time I saw them at my local arts centre it ended up a lock in with Courtney urging management to keep the bar open, refusing to go and playing his sax whilst dancing and partying amongst the audience.
Still found time to stick around after and just chat, laugh and sign autographs etc
Brilliant!
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Hi Apye, What label is that on?
Courtney Pine - Black Notes From The Deep ( Freestyle LP 2017)
Courtney links up with UK Soul Jazz singer Omar
Black Notes from the Deep Review
by Thom Jurek
The last time Courtney Pine played tenor saxophone in the studio was on 2005’s Resistance. Since then, we’ve heard him use his soprano horn, bass clarinet, flutes, and more in programs as diverse as 2009’s Tradition in Transition – an homage to Sidney Bechet that re-opened NOLA jazz’s embrace of Afro-Cuban and Caribbean sounds – to 2015’s Song (The Ballad Book), a bass clarinet duo offering with pianist Zoe Rahman.
Black Notes from the Deep places Pine in mostly quartet settings, backed by his working band with pianist Robert Mitchell, bassist Alec Dankworth, and drummer Rod Youngs. In addition, nearly half this set features the vocals of old friend and labelmate Omar Lye-Fook MBE in a series of tracks that refract modern jazz through the lens of 21st century soul. The set’s first single is a gorgeous, break-laden reading of Herbie Hancock’s “Butterfly” with Omar’s slightly reedy baritone up front and Charleen Hamilton on backing vocals. The tune’s initial bars suggest Freddie Hubbard’s “Red Clay” before being transformed into an elegant, popping, jazz-funk groover. Pine’s horn fills add weight to Omar’s singing, but the saxophonist also employs an EWI and synth solo for textural contrast. It’s a radio and streaming hit and deserves to be. Another Omar highlight is “Darker Than Blue,” introduced by Dankworth’s bass and Pine’s horn and bass flute. Mitchell’s addition of an organ to his piano adds a sultry element to Omar’s bluesy soul. “Rivers of Blood”'s title directly references Tory MP Enoch Powell’s infamous 1968 racist speech at Birmingham’s Conservative Political Centre and is particularly poignant given the rise of Donald Trump and Theresa May. It’s a classic Pine modal meditation, built up from shimmering minor piano chords while the tenor slowly and passionately moans. The funky Latin soul breaks on “Rules” (that touch on drum’n’bass rhythms) find Omar at his most celebratory; it’s a gorgeous example of jazz crossover. “In Another Time” is another Latin groover with organist Ed Bentley guesting to complement Omar’s uplifting exhortation for listeners to embrace gratitude. It’s followed by “The Morning After the Night Before,” a striking ballad with electric guitarist Chris Cobbson (doing his best Jim Hall) sitting in for Mitchell. Pine’s fills and soloing sound more than a little like Ben Webster in his phrasing. “A Change Is Sure to Come” is the only place here where Pine leaves the tenor on its stand in favor of swirling, multi-tracked alto and bass flutes as Mitchell uses the piano’s middle register to explore alternate harmonic dimensions, while the rhythm section swings behind him. Black Notes from the Deep is a jazz album deeply engaged with classy, 21st century soul, yet it refuses skittering, schizophrenic jumping around. Instead it flows seamlessly; it’s smartly, even ingeniously arranged and expertly played and produced. In its sheer quality, it underscores Pine’s continuing role as the true boss of British jazz.
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Was listening to Ray Charles Live In Person from Tidal yesterday but SQ disappointed so didnt post it
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On vinyl… 
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Just curious, is it good in terms of mastering & SQ, I’m often wary of some of these labels putting out material that’s properly available from the original label, in this case Blue Note