I have always had a soft spot for this one - fairly traditional rock mixed with bizarre/hilarious spoken word numbers with improv jazz backing. Highlight is ‘The Radio is Broken’ which spoofs rubbishy 50’s/60’s sci-fi films:
“They need to reproduce with Richard Baseheart”
Charles Mingus - Black Saint And The Sinner Lady (Acoustic Sounds Series/Impulse)
Continuing with Mingus, another that I previously only owned on a beer mat and a strong favourite of mine. Ive been eagerly awaiting this one and pleased to say this AS Series re issue doesnt dissapoint. 58 year old tape again recorded a few months prior to Mingus Mingus Mingus but sounds like its aged better.
Superb
Horace Tapscott Conducting The Pan Afrikan Peoples Arkestra - Flight 17 (Pure Pleasure/Nimbus West)
Completely new to me and thanks to @TheKevster for the prompts. You recommended Live At The Libero 1 & 2, only Vol2 was in stock but this I think is the debut album so I thought a good place to start, at the beginning.
Typically fine Pure Pleasure pressing and mastering by Ray Staff at Air
Horace Tapscott’s Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn’t have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn’t ring bells like Monk or Tyner, there’s a reason why: in an industry dominated by record labels, a band that doesn’t record doesn’t count. And the Pan-Afrikan Peoples Arkestra didn’t record for nearly twenty years. But recording success was never their concern – they weren’t about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project.
From their base in Watts, UGMA got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. The album commences with the magnificent title track. It is effectively in three parts. It begins with unaccompanied pianos. Then the ensemble embark on a dense, circular and mechanical movement, a platform for horns and pianos to swoop and dive.
We return to Earth with a beautiful solitary flute. The second track, the piano-centric, ‘Breeze’ is different to ‘Flight 17’ in intensity and also brevity but it is quietly as daring as the title track. It concludes with a moving lush wash from the full Arkestra, which sound almost like strings only more substantial. These first two tracks take full advantage of the texture of the unusual mix of the various instruments. Next though, it’s a significant change with ‘Horacio’, which is an exuberant Latin infused jingle. It’s unlike anything else on the album. I like to think it was named after the conductor’s Cuban alter-ego! ‘Clarisse’ gracefully switches between slow blues and bop and is bookended with a grand vaguely East Asian theme. The busy bass line introduces ‘Maui’. As with the previous track, it moves between a number of contrasting melody lines and rhythms but there’s still space for a tuneful sax solo.
Kate Rusby and John McCusker - Heartlands.
I’m pretty sure I have everything by Kate Rusby with this addition, so it had to be bought. Sleepless Sailor, the last track at 12 minutes long, was used in the soundtrack for the film of the same name.
4 x LP boxset - Madfish/Snapper Music this compilation 2017 : )
Peter Green – guitar, vocals, six string bass on “Green Manalishi”
Jeremy Spencer – guitar, vocals, piano, percussion
Danny Kirwan – guitar, vocals
John McVie – bass guitar
Mick Fleetwood – percussion, drums
guests:
Eric Clapton - guitar on “Encore Jam”
Joe Walsh – guitar on “Encore Jam”
Venue: Boston Tea Party, 15 Lansdowne Street, Boston, MA in February 1970
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Happy 76th Birthday John McVie! 
born on 26th November 1945 in Ealing, London, England 
If you’re going to be down there (in the rabbit hole as it were) I cannot stress enough the importance of hydration…
Now playing
Maria Quiles & Rory Cloud - Long Time Coming
Interweaving guitar lines,close harmony singing with Quiles as lead vocal. Great music for quiet moods.
Van Morrison. Common one.
Need this to calm my mood as the house gets blasted by Storm Arwen.
Includes Pee Wee Ellis who has sadly just passed away.
Might be worth warming up the cathode ray tube later…
Friday evening Rio, to be followed by a bit of Bob Moses - Desire, with a sneaky Blue Monday chaser.
Monteverdi. Playing this a lot since picking it up for peanuts. It’s really lovely. ( In a 400 year old sort of way)
