This short list gives a combination of raw acoustic power and improvising sophistication built on tradition. All these musicians know where they're coming from, but had something original to bring to the material.

The intrinsic connection for me between these pieces are the Folkloric traditions. Although easier to identify in the works of Doudou and Terry nevertheless Jaco's inclusion of hardcore Conga player Don Alias and the mellifluous playing of Othello Molyneaux on Pan is an acknowledgement of the depth of recognition of the contribution of the Folkloric that Pastorius had in contributing to the masterful music that he made.

Track 1: I know Jaco has been done to death but, this track shows the innovation - Othello Molyneaux on Steel Pan - and compositional and arrangement skills of the man, but over and above this, his playing is under-stated, swinging, funky and pushing all the way and with a galaxy of the top jazzers. Exemplary.

Track Two: Although this sound has now been superseded by younger players, not least by his son Ali, the power and unity of this Percussion Orchestra is still overwhelming to me even after listening to it for more than 10 years. He himself transcended the small group tradition of the Wolof Sabar Ensemble which would usually consist of only 5-7 players and he included women in the line-up to perform, which in Muslim Senegal was unknown at the time. I was lucky enough to see him in Paris in 1995 and it was joyous. The man is an ambassador for the African musical tradition.

Track 3: I believe this man is, with the exceptions of Marvin Gaye and Paul Robeson, the best Male singer I've ever heard. The album from which this track comes was made before the guy had reached the age of 20. It is self-penned, it is evocative and in the tradition of Ray Davies and early Pink Floyd, very English. This man is still alive and playing, although in Los Angeles and not here; although I'm ashamed to admit I missed him perform at WOMAD in 2002 and London in 2001, which I'm still kicking myself for.