John Patitucci, one of the world’s great bassists, was an irreplaceable pillar of the unsurpassable Wayne Shorter Quartet for two decades. On one level, his new, Grammy-nominated disc ‘Spirit Fall’ (Edition), a trio album with saxophonist Chris Potter and drum magician and fellow Shorter alumnus Brian Blade, is merely a snapshot: the album was recorded with ideal and close colleagues in the course of a single day.

The stylish gentlemen pictured above are Crimson Earth, a band active from 1970 to 1976. Regardless of their longevity, the Dorset-based outfit failed to attract national attention and didn’t release any records. There was an audition for EMI, local media support and a deal with a Bristol booking agency but cigars were not forthcoming.

Alabaster DePlume, aka Mancunian Gus Fairbairn, has been an antically charming performer, confounding unsuspecting crowds with tenderly comic philosophy, voice Tiny Tim-eccentric yet alive to mental fragility, and attuning listeners to the brave possibilities in their every breath. Operating at a quizzical angle to London’s jazz scene, he surfs his own, sui generis wavelength.

UK prog-rockers Gracious! acquired their exclamation mark when their first album was released in July 1970. Up to this point, they were Gracious. Barney Bubbles, who designed their LP’s sleeve, added the symbol without asking or telling anyone.

“The wonderful Mirra exists in its own space.” Back in August, that was the conclusion of my review of Benedicte Maurseth’s then-new album. Living with this “stunningly intense,” “haunting, intense evocation of Norway’s uplands and its wildlife” hasn’t changed this impression. Moreover, over the ensuing months, the impact of this exceptional collection of eight interrelated compositions has increased. 

VINYL OF THE MONTH
Manduria Bite Me (Wild Honey)

Towards the end of Black Rebel Motorcycle Club's run-through of their old album Howl, bassist Robert Levon Been told the crowd the "pain was nearly over". By BRMC standards that's a wisecrack, referencing the gloomy, pared-back tone of that 2005 release, but some of the Glasgow audience seemed to have experienced it for real, having headed for either the bar or exits as the set progressed.

Heard now, 50 years after its release, Tangerine Dream’s Rubycon sounds like what it became: part of the musical template for Jean-Michel Jarre’s 1976 international breakthrough and also as an integral component of the records The Orb began attracting attention with in the early Nineties. Beyond the aesthetic ripples, a specific aspect of the May 1975 album was and is also significant.

Of all the problems a band could face, fighting for room onstage with a Christmas tree must be far down the list of possibilities. Yet there was David "Jaff" Craig struggling to find room to move around, while avoiding knocking over the decoration next to him with an errant swing of his bass. It was the Futureheads own fault though, as both their current album and tour have a festive theme, hence the choice of two large trees on either side of the band.

This album truly is a delightful surprise. Winter Songs Vol. 2 is simply more fun, it swings harder and is filled with far more freshness than I could ever have expected. There will always be people keen to tell you that Nat King Cole and Rosemary Clooney said all that needed to be said about the American Songbook Christmas standards several decades ago. But they’re wrong.