Even hardcore jazzheads can be forgiven for not being aware of , one of only two privately pressed albums credited to flutist/composer (born Richard Barth Sanders). He was a counterculture figure who played jazz, Eastern, and psychedelic music and is credited with inventing blotter acid. He was close friends with jazz flute master , who talked into recording. His first album was 1974's solo dedicated to a locked-up pal. He began cutting in March 1974 and completed it in May 1975. It was issued by tiny Vancouver independent label . Two years after its release, was arrested in upstate New York for making and distributing LSD (a million doses a month). Convicted, he spent seven years in prison, then vanished. disappeared. Until this glorious reissue from DJ and London's label, it had been unavailable for more than 47 years; the few original copies fetch large sums. appears here for the first time with its track list in proper sequence. 's sidemen were all industry professionals. They included upright bassist ( , ), electric bassist ), drummer ), and pianist ). The six selections on were recorded in different configurations. Opener "Orangeland" and the proceeding "Pakakrakatoa" are played by a quartet. They stand in sharp contrast to one another musically and claim half the album's length. The former balances funky soul-jazz with modal inquiries thanks to ' roiling double bass. pops and shuffles as the band weds hard bop to modal jazz. 's solo ranges around, showcasing excellent technique with a deep grasp of soul. 's bracing piano break channels everyone from to . The latter tune offers inquisitive, lyric flute runs, sparse upright bass, and skeletal pianism. Two minutes in, the rhythm section increases the tempo and delivers a dazzling, intricate solo atop 's fat chords, joining Eastern and Western harmonies as adds funky breaks. "Oliver Snagnasty" is a burning duet with the drummer. 's complex, intricate solo is polyrhythmic, dancing atop the drumkit, as the pair range from dirty jazz to funky rock. The title track is a stone killer. Played in trio with it's a greasy fingerpopper with furious flute and vocal runs from , matched by a complex backbeat. Closer "Bizarre Bazaar," a trio jam with , pulls out all the stops as it swings angularly in what can only be referenced as early post-bop. This handsome, excellent sounding re-release of is timely. It fits aesthetically with diverse modern jazz approaches from London, Los Angeles, and Chicago, despite being nearly 50 years old. Further, it is one of those rare, recorded obscurities that lives up to, and surpasses the hype. ~ Thom Jurek