corto maltese

If you make that a requirement (replacing "singing" with "playing"), I will have to get rid of 97% of my record collection.

Most of my favourites have already been mentioned here, I think. I will add Alexander von Schlippenbach's "Globe Unity" (Saba) and "We'll remember Komeda" by Michal Urbaniak, Tomasz Stanko & co. I can tell you that used records bins here are overflowing with at best mediocre releases of glossy MOR-easy listening jazz on both labels. Sadly, these seem to be much easier to find and cheaper than the quality stuff.

"Intervall" deserves to be much better known. It is a truly great album. Unfortunately Discogs tells me that the reissues of "Intervall" have become very expensive. I've never heard the CD, but the reissue on vinyl is of very high quality. It actually sounds so good that it now sits next to the original on my record shelves.

The Dancing Wayang label released a couple of nice free jazz albums on vinyl (Mats Gustafsson, Peter Evans, Phil Minton...). The first 100 copies of each release came with a bonus 3" cd (or cd-r?) with extra music.

Post deleted after reading a previous post more carefully.

Thank you for this. One small note: five tracks from the 1962-64 Savoy sessions were first released on the "New Music: Second Wave" sampler (1979).

I have more or less pristine originals. I do wonder how much better those newly remastered reissues can sound.

I have had the good fortune and privilege of attending countless concerts of his, both solo and with numerous other musicians. Almost every one of those concerts was an uplifting and invigorating experience. He was indeed a brilliant performer. I have particularly fond memories of the heydays of the Free Music Festival organised by him. What I heard and learned from Fred and other musicians there, on and off stage, influenced me profoundly musically. Thank you for the music.

The most desirable test pressings of this title are the review copies with the screen-printed sleeve.

Incredible band. Superb album.

I don't think the sad news has been reported here yet, but the utterly unique and extremely versatile musician, artist and arts organizer Hartmut Geerken died last week at the age of 82 (21 October 2021). He will be sorely missed.

I share your enthusiasm, but actually they are from Nicaragua.

If you like this, you might be interested to know that two records were released last year in a new series called "The Lost Tapes Of Austrian Free-Jazz Avantgarde" and featuring some of these musicians.

Could it be that this Dutch shop had, intentionally or not, not respected some form an embargo? It was very strange that no other sales platform (nor Blue Note itself) announced the release of that box.

I might have a few of the Castelli booklets in the cellar somewhere, full of notes and my bids (almost always way too low ). These booklets were indeed valuable sources of knowledge in a period when you could hardly find any information about such records on the early Internet. If a cover was pictured in the catalogue and certainly if Castelli marked the record as "rare" or "very rare" (terms he used sparingly), you knew you had very little chance of finding it in your local second-hand shops. Mats Gustafsson's decision to print his auction list as a booklet and send it around was indeed a kind of tribute to Roberto Castelli. His memories of the lists are very recognisable to me.

I think you are confusing him with Roberto Castelli and his legendary "Jazz and Improvised Music Auction List".

Fair enough, but your initial argument (to which I reacted) was that the FMP "clique" played free, because they didn't have the skills to play ("real") jazz. I don't think any of those musicians ever claimed that they were playing on a higher artistic level than other musicians. Besides, as Clifford rightly points out, many of them were also very skilled in more "classical" jazz (or other music).

It happens all the time and may be difficult to avoid, but it makes little sense to label freely improvised music as "(free) jazz" and then judge it according to criteria specific to "jazz".

This one and (even more so) "Concepts In Unity" are perennial favourites. Superb stuff.

The original album from 1974 was called: "The Black Breast Has Produced Her Best, Flesh Of My Skin Blood Of My Blood". On later issues (which have completely different covers) the first part of that spectacular title has been omitted.

It's the 4th song on side 1 of this album. If you own an original pressing, you are a rich man.

Dry your tears, the Pharoah is available again.

Earlier today, this album was advertised and immediately sold (for 1.000 euro) on the website of Record Mania (Swedish record store). Described as follows: "Ultra rare test pressing of never released double LP recorded in Italy with Franco D'Andrea, Bruno Tommaso and Pepito Pignatelli. Features stellar versions of "Maiden Voyage" and "So What" plus six more tracks, nice listening through all four sides. Records appears unplayed, just light signs of storage, plays great. Comes in generic white plain sleeve with RAI stamp + Dymo-sticker ("Gato Barbieri") on front, has a white sticker on front, some humidity spotting and minor paper tear off on back (just white paper torn off, there's no print at all on sleeve). Italian only original." You can listen to a 4 minute sound clip on the website . Information about this release (on Discogs and elsewhere) is scare and incomplete. A French seller offers longer sound clips here . Does anyone know more about this particular record or about this session (or other Barbieri sessions for Italian radio and TV, apparently there are many)?

No heads turned? Then why are we discussing it here? In fact it was even you who brought it to the attention here with your initial post about his piece for Sons d'hiver.

Yes, he can. Just as Tony Herrington has the right to express his opinion on Evan's views and the way in which they are expressed. I think you may be underestimating Evan's position as a "Grand Old Man". Few other musicians (in this, admittedly, small world of free jazz) would cause so much disappointment and dismay with such statements. When I read the Wire piece, it is mainly about that, not about Evan's freedom of speech (which TH obviously acknowledges).