Tribe was never a band so much as it was a group of well-organized friends and colleagues: Mr. Harrison, Mr. Ranelin, the pianist Harold McKinney and the trumpeter Marcus Belgrave. As a result, the albums released under the Tribe moniker in the 1970s — and those that its members have put out in ongoing collaborations since — represent a record of the natural, ever-evolving ecology of a local jazz scene: musicians interacting, trading leadership roles and innovating in small, interdependent ways.

“Hometown,” like many of those earlier recordings, works as a wide-lens picture of the Detroit jazz scene. The sound of these tracks reflects a group of musicians grounded in Detroit’s sturdy bebop tradition — with a big, elastic swing feel undergirding some of the tunes, and dashing solos from the group’s members throughout — but also adept at sculpting lush horn arrangements or incorporating propellant African drums and radical poetry (recited on two tracks by Mbiyu Chui, the pastor at the Shrine of the Black Madonna).

All of these tracks had either never been released or were available only on limited-run albums. “Hometown” is the latest in a string of foreign reissues of Tribe-affiliated material, including “Message From the Tribe: An Anthology of Tribe Records 1972-76” (2010) and the two -volume “Vibes From the Tribe” (1997).

Mr. Ranelin has been heartened to see Tribe’s music reaching a greater audience outside Detroit now than ever before. “Since we didn’t have a lot of distribution, it took 20, 25 years for it to finally roll around — and then boom, all of a sudden, these young people are really interested in Tribe,” he said. “But all this time, Tribe never left us.”

Mr. Ranelin arrived in Detroit in 1967, after taking a job at Motown Records. Mr. Harrison came three years later, returning to his hometown after nearly a decade in New York, where he had played with hard-bop and jazz-funk musicians like Grant Green and Hank Crawford, as well as the astro-jazz bandleader Sun Ra.

Mr. Harrison had picked up some business acumen from Ra — who released his own albums by the dozen — and from his own mother, who ran a small real-estate business in Detroit, and expected her newly returned son to help manage it.