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There is a studio recording by the same trio where they perform "Treffpunkt", one of the 15 pieces that constitute Stockhausen's monumental "Aus den sieben Tagen". Mike Zwerin really has a rather interesting CV.

That concert by the Free Form Improvisation Ensemble has been released under Burton Greene's name.

You can order the label listings alphabetically by "format".

I know it's been reissued by Jazzman Gerald last year, but there seems to be another 2017 reissue on the Gallo label (South Africa). Discogs now lists six (!) different vinyl editions of this album. Which one do you have?

It's not a CD, but the Japanese original on Victor (and not the French budget-pressing on Explosive, as Discogs claims...) is a much nicer issue.

I don't read Japanese either, but I remember reading about this. "Freedom Day" was meant to be the last part of the suite (it's the last track on the Japanese issue); IIRC, according to Max Roach, that song (and the Freedom Now Suite) should have an open ending because freedom has not been achieved yet. Anyway, it's a terrific record.

Although this news doesn't come as a surprise, it's very sad. The first time I saw him perform was at a small club in the early nineties, with Charles Gayle. There was only a handful of people waiting for the concert to begin; I was standing two or three meters away from the drum set. He walked over to the set, took his seat, and then looked at us with a big grin, seemingly not bothered at all by the modest attendance: "Hi, I'm Sunny Murray!". As if we didn't know... I thought: maybe I should say something, tell him how important a musician he was in my opinion, how much I had been enjoying his records. But of course I didn't. Gayle and William Parker came on stage and they immediately started to play. It was a great concert and a wonderful experience to observe the master-drummer from very close. Thank you for the music, Mr. Murray.

Yes, the Ric Colbeck LP is a great one. To be honest: I wouldn't nominate the Jym Young LP, which is neither obscure (fairly easy to find, at least here in Europe) nor musically exceptional. Maybe I was disappointed by the contrast between the promise of the group's name ("San Francisco Avant Garde") and the actual music... It's a decent album, but Dewey Redman's "Look For The Black Star", on which Young also plays, is a much better album and very much harder to find (the original Fontana issue).

This is a very fine album, obviously close in spirit (and sound) to the three Debut releases ("Action", "T.C.J.Q." and "Nu!"). Mid 1960's European avant-garde jazz: how can you possibly go wrong?

Yes, the Charles Tyler live and studio recordings from a couple of years back. But with those releases (even if they were not legitimate) there was no cover-up story about the origin of the recording. While this "Dogtown test pressing" would be a counterfeit and -even more remarkable (and without becoming too metaphysical )- a counterfeit of a record which doesn't even exist.

Sold on Ebay yesterday for $1,775...These were the seller's comments: "looks like an unreleased Dogtown LP !! matrix n° on side a is "dogtown 7"/side b "dogtown 8" (hand-written); very spare and out there music, one side it's under Byard Lancaster/other side by Khan Jamal. could be two different sets as i don't hear for example any vibes on the Lancaster side and viceversa (no sax on Jamal side) ?! unfortunatly not much info on who plays on it (it'd be a trio or 4et on each side ?!) and where it was rec. but without any doubts one of the rarest LP i ever offered for sale in the last 20 years, could easily be the only copy in existence". I am unconvinced, but I'd like to hear other opinions.

In the late 1980's - early 1990's, Yves Charuest was a member of percussionist Michel Ratté's trio, of which I still have a couple of CD's. In fact, Charuest's name awoke my interest in the trio, because at that time he was also playing with Peter Kowald (trio with Louis Moholo; never recorded). I didn't really follow his career since then, but your post will be an invitation to catch up with him again .

My expectations might have been too high because of the calibre of the other players (Sunny Murray, Byard Lancaster...), but none of his three records really works for me. Or maybe it's just the covers that kill them...

That cover probably was received very well, because one year later his next album looked like this:

He was in fragile health, so probably the news doesn't come as a surprise. But still... it's a terrible blow. I'll just say this: it was because of unique artistic voices like Misha Mengelberg that I was initially attracted to and will always love this music.

That's a great find, Clifford. I've never even seen a copy. There's been a CD reissue some years back, but this is really music that should be enjoyed on vinyl.

AFAIK the only album cover designed by Dick Bruna. Unfortunately, it's not very appealing, especially compared with his often beautiful graphical work for paperback covers. He would have been great at designing abstract covers for modern jazz records...

Your Dutch is actually quite good. Jochemsen, who is a big fan of Mobley, also tells about the (at best) lukewarm response to the 1968 concerts in Holland, where the New Thing (Breuker, Mengelberg, etc.) was all the rage. There's a review of the Rotterdam concert in one of the newspapers referred to above, that goes something like this: "Today, Hank Mobley's role in the jazz business is played out. You can tell that from his performance on Friday night. Currently, Mobley isn't much more than a rather pale bopper without any prospects for further development."

OK, so Mats will plead guilty for possession of that "Smile Sessions" box set (although the defence will emphasise that a certain Dutch dealer has been offering copies everywhere for ridiculous prices). But he's not too lazy to search for real music, on the contrary, he's playing real music himself.

Wonderful pictures! The number of records is really not important, but Mat's collection (strictly vinyl) is extraordinarily deep in non-mainstream jazz and "off-the-beaten-track" music.

There's even a Discogs entry for this record: https://www.discogs.com/Miles-Davis-And-His-Band-Dig-Part-One/release/8791948 The 7" 45rpm and the 10" 78rpm have the same catalogue number (prefix 45- added for the single).

About track 3: me too, I was initally guessing one of Arthur Blythe's Columbia-period albums, but the guitar is too clean (certainly no Blood Ulmer) and there's no cello (Abdul Wadud plays on most of those records). Checking Bob Stewart's discography learns that this is a much more recent track: "Nubian Stomp" from his 1996 "Then & Now" album, with Carlos Ward, Graham Haynes and Jerome Harris. About track 7: I have many of Shelly Manne's 50's and early 60's quintet/sextet albums (including this one) and I like them a lot. Just recently I stumbled upon a copy of "My Son The Jazz Drummer", also from 1962, where the band, with Teddy Edwards and Shorty Rogers, improvises on traditional Jewish melodies. Great stuff and they played this 30 years before Zorn started Masada. The David Holland/Barre Phillips duet is lovely and once again a reminder of why I dearly love those early ECM albums.

About 12: I didn't really listen closely the first time, because I generally don't care much for organ jazz. But now I think I actually have this in my collection: I don't have my records here, but is it SoulBrass Inc. with Hans Dulfer, that live album with the fluo spray painted cover?

Like I told you before, I like both Japanese Circle LP's (a lot) more than the ECM "Paris Concert". Just last week I talked about this with someone who was actually present at the 1971 concert. He told me the complete concert was recorded by French radio for broadcasting and included a first set which featured just one long and very "free" improvisation. When ECM released the concert one or two years later that first set was left out. Luckily, we've got those Japanese LP's to get an impression of what this quartet was really about.

My first thought for track 3 (Monk cover) was low-grade Italian bootleg label (great concerts in horrendous sound), but that's Bernie McGann from the "Modern Jazz At Wayside Chapel" LP, a recent release of a 1966 recording by the so-called "Australasian jazz avant garde". Tracks 7 and 9 are really naggingly familiar, but I can't put my finger on them. I'm preparing myself for shame and dishonor upon the reveal.