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Martha Scanlan "The Shape Of Things Gone Missing, The Shape Of Things To Come" (Jealous Butcher Records) 2015 ....

I agree with the sentiment, but this wasn't his debut album.

Absolutely true, all above. I guess if the price for other sets would be lower, I'd buy Balver Hohle and Altena sets anwyay. In a larger scope, releasing festivals archives in their entirety is so important music-wise and history-wise, as there are often surprising line-ups, obscure groups or unique festival bands.  On the other hand, releasing Alice Coltrane or studio albums by Tomasz Stańko was a straight cash-grab. I think the latter, especially the guy was still living and active, was a kind of tipping point.  But switching back to great German jazz...   This men is outstanding. His guitar style is such a successful synthesis of 60's jazz (Gabor Szabo!), psychedelic craze, mellowness and soundscape approach. I've even made a topic somewhere, trying to show connections between his music and Pat Metheny  (and I still do think it's not a wild guess). "Spectrum" is Kriegel's second solo LP (recorded just after few years spent in nutty Dave Pike Set), it's just so nice fusion of everything that was hip in by 1971, featuring different guitar approach, drums with percussions and fantastic el-piano lines by John Taylor. The album got couple of vinyl releases and modern re-issue in 2003 (CD) and 2017 (CD, LP), so it should be fairly available in shops.

Another debut album reaching classic status .... and Ron Carter again on the spot ....

Just came across this while doing research at Library and Archives Canada: Paul Bley recordings and related records [multiple media] Hierarchical level:    Series Date:    [ca. 1953]-2000. Reference:    R11915-5-7-E, MUS 297, MUS 297/E Type of material:    Photographs, Moving images, Sound recordings, Textual material, Art Found in:    Archives / Collections and Fonds Item ID number:    210550 https://recherche-collection-search.bac-lac.gc.ca/eng/Home/Record?app=fonandcol&IdNumber=210550 Extent:    41 cm of textual records. 7 photographs : b&w ; 20 x 25 cm or smaller. 1 negative : b&w ; 3 x 24 cm. 1 montage : col. ; 42.5 x 28 cm. 524 audio reels (ca. 296 hrs). 19 audio cassettes (ca. 19 hrs 48 min.). 2 videocassettes (ca. 1 hr 52 min.). Language of material:    English Scope and content:     Show detail Finding aid:     Hide detail (Electronic) Numerical list. The descriptions in this series generally include (where known) the performers, instrumentation, titles, the place and date of the recorded performance, and the generation or stage of the recording. In order to minimize repetition, the names of composers have generally been omitted from the descriptions. A comprehensive listing of the compositions in Bley's recorded repertoire, and their composers, is available in Henk Kluck's discography, Bley Play: The Paul Bley Recordings (Emmen, The Netherlands, 1996). (90: Open) Scope and content:     Hide detail Series containing, predominantly, sound and video recordings of live and studio performances by Paul Bley (solo and with other musicians), comprising both concerts and recording sessions that are also documented (in whole or in part) in issued recordings and those that are entirely unissued; also included are related textual and graphic records. Among the sound recordings are: masters, including edited and unedited unmixed masters; safety masters and sub-masters; trial and final assemblies, including assemblies of unmixed masters; master mixes; and unmixed, mixed, and other copies. In the case of sound recordings related to projects issued by IAI and other record labels, many steps of the process between performance and publication are documented (for example, the original recording process, evaluation, selection, editing, titling, composer credits, assembly, mixing, and arrangements for pressing). Many recordings concerning issued projects also contain additional music that was not issued. Bley often made significant annotations on audio reel boxes, such as: his comments on and assessment of the performance, the piano, and technical aspects of the recording; and his subsequent decisions concerning the selection of performances to be issued, editing, assembly, mixing, and titling. Among the related records are: take sheets, track sheets, and other listings of personnel, titles, and other contextual and technical information concerning recorded concerts and studio recording sessions; empty audio reel boxes, and fragments of boxes; notes; sketches of assemblies; correspondence; forms, such as purchase and work orders; photographs; promotional material, including concert posters and programmes; draft liner notes; transcriptions of Bley's recorded solos; and dubs of radio broadcasts featuring Bley recordings. In addition to performances by Bley, some recordings also contain performances by groups that do not include Bley. 524 audio reels (ca. 296 hrs) "comprising both concerts and recording sessions that are also documented (in whole or in part) in issued recordings and those that are entirely unissued"!!! For any record producers who are interested... 🙂