Here is a true horn of the elders and an audacious prophet of free jazz.
His gruff, fiery and super-adenoidal sound on the tenor saxophone made Eddie "Lockjaw" Davis immediately recognisable, whether his solos were suddenly roaring from the ensemble of the Count Basie Orchestra, whether he was partnering the fleet-reeded choruses of Johnny Griffin in a famous "tough tenor" twosome, or whether he was growling alongside Shirley Scott's bouncing Hammond organ, as he did with such clamour during his furious series of albums of 1958 - The Eddie "Lockjaw" Davis Cookbook sessions.
Edward "Kidd" Jordan, born in Crowley Louisiana in 1935, has combined his saxophone artistry with music education, mostly in New Orleans, for nearly 40 years, which includes stints in and out of jazz with figures as diverse as Ray Charles and Martha and the Vandelas.
The reprieve in December of Mumia Abu-Jamal, one of the most high-profile US political prisoners, was only a partial victory for an innocent man and his supporters.
The reappearance of For Losers and Kwanza - two rare and long-deleted Archie Shepp records of 1970 and 1974 respectively - on one album reminds us how much jazz expressed the very spirit and vibrant political ideas of the era.
Among the expatriate US jazz musicians who made a permanent home in Europe - along with fellow trumpeter Art Farmer, mighty tenorists Ben Webster, Dexter Gordon and Johnny Griffin and the arch-pianist Bud Powell - Cleveland-born Benny Bailey was less renowned but still among the finest.
It's too simplistic to say that jazz came from the United States.
The free improvising threesome Trio-X are regular visitors to The Spirit Room, the unique recording studio of CIMP records at Rossie, a rural venue in New York State which records music with its full integrity and honesty - gimmickless, pure and authentic, "capturing the full dynamic range one would experience at a live concert."
From Jamaica, Guyana, Trinidad and all the jewelled islands in between they came after a world war. Migrants, nurses, teachers, soon to become railwaymen, bus drivers, factory wokers all Caribbean peoples whose families and forebears had so much taken from them during the 400 years of slavery, colonialism and imperial bondages.
The first two albums of the young clarinettist Arun Ghosh - seething as they do with the urban joys and tensions of Mancunian life - also inform of deeper provenances.