If there’s a downside to the resurgence of vinyl, it’s that all that’s left in most charity shops these days is James Galway and his cursed flute and Max Bygraves medley albums. Then again, there’s always new stuff coming in so it’s down to everybody to get in there quick, before the local record shops hoover up all the gems. And there it is. Many small towns now have local record shops again. That’s surely something to celebrate.

Denys Baptiste's deep dive into the mid-1960s work of jazz icon, sax player and composer John Coltrane also serves to mark 50 years since Coltrane's shockingly early death at the age of 40.

Sgt. Pepper is a popular choice for a tribute but also a dangerous one. How to say anything meaningful about a work widely agreed to be the most influential in rock history? How to approach a work that is already a multi-layered pastiche, in places nostalgic and sentimental, in others subversively mind-expanding? With decades of innovative, madcap music-making, including as a leading light in Loose Tubes, Django Bates is undoubtedly the man to try.  

Clifford Price – Goldie – has long cut an imposing, and complicated, figure in the music industry. Part larger-than-life entertainer, part monster (as satirised in music industry grotesque Kill Your Friends), part irrepressible raver, part grandiose conceptualist. But there's another side to him too: the massive, Pat Metheny-idolising, jazz smoothie.

His breakthrough 1994 track “Inner City Life” was partly high-tech drum'n'bass ferocity, but it was completely merged with jazz-soul sophistication and of course the soaring voice of the sadly recently-deceased Dianne Charlegmane (who would work with Goldie on many projects through the years). And his preposterous, almost career-ending, 1998 quadruple album Saturnz Returns was packed with jazz noodling.

All that and more is here. He's still very clearly not shy of excess: of 16 tracks here, only one is under five minutes, and the centrepiece “Redemption” runs to nearly 19. The whole thing is full of virtuoso playing from The Heritage Orchestra as well as plenty of electronic studio technique, and there are six featured vocalists. In the publicity for the record, Goldie compares himself to Stanley Kubrick and Paul Thomas Anderson.

Incredibly, though, it is a fully-functioning, highly listenable album – and that is because “smooth jazz Goldie” is running the show here. Much like how his one-time collaborators 4 Hero evolved from rave and drum'n'bass into sophisticated soul merchants, this is as much a neo-soul record as a drum'n'bass one. There are tracks, like “This is not a Love Song” (not a PiL cover!), which barely have electronics at all – and even the sprawling “Redemption”, which runs from drum'n'bass to deep houseand back, is a coherent, lush listening experience because it follows its own unfolding jazz logic. By letting one side of his contradictory personality lead, against the odds, Goldie has made a rather gorgeous record.

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@JoeMuggs

Overleaf: watch the video for "I Adore You"