While several core musical members of the Black Artists Group were in Paris in 1972 and 1973, trumpeter Baikida Carroll was invited to make an album for the fledgling Palm label. He brought saxophonist Oliver Lake to the session, where they were joined by Franco-Chilean pianist Manuel Villaroel and brilliant Brazilian percussionist (and much more) Nana Vasconcelos. The album features just four pieces, ranging from nine to 15 minutes in length and offering a somewhat atmospheric approach incorporating everything from birdsong to bicycle horns, juxtaposed against powerful polyrhythmic grooves. This is clearly the work of young(ish) musicians deeply indebted to the theatrical and compositional innovations of the Art Ensemble of Chicago, but bringing extra elements to the table as well.

Trumpeter Baikida E.J. Carroll was a crucial voice on the spiritual jazz scene of the 1970s, first in his home of St. Louis and then internationally. His horn is highlighted on crucial albums like Julius Hemphill’s visionary Dogon A.D., as a member of the Black Artists Group, and then on albums with the likes of Oliver Lake and Muhal Richard Abrams. But his debut album Orange Fish Tears has remained as elusive as a white whale since first being released in 1974 on French pianist Jef Gilson’s short-lived label. A long-awaited reissue arrives nearly 50 years on.

It’s a fascinating snapshot of the global span of jazz at that time, buoyed by Brazilian percussionist Nana Vasconcelos, Chilean pianist Manuel Villarroel, and Carroll’s old friend, Lake. In intent, it’s closer to the tight focus of Dogon A.D. than the horn-blasting and drum-clattering sessions of the time, allowing there to be space without filling it full of furious small noises, as was the style with the Arts Ensemble of Chicago and their ilk. The solo explorations from Carroll and Lake are considered rather than open-ended, making it a free jazz session that draws you in closer rather than just blowing you out.