KONSTRUkT with PETER BRÖTZMANN – Eklisia Sunday (reissue LP-2016)

Label: Holidays Records – HOL-095
Format: Vinyl, LP, Album, Limited Edition / Country: Italy / Released: Jul 2016
Style: Free Jazz, Free Improvisation
Recorded at Eklisia, Gümüşlük, Bodrum on the 15th of May, 2011.
Feat. Hüseyin Ertunç, Doğan Doğusel, Barlas Tan Özemek
Limited Edition of 350 copies
Artwork – Canedicoda
Mastered By – Rafal Drewniany
Recorded By – Barlas Tan Özemek, Umut Çağlar
Contact Info: Via Tolmezzo 12/4, 20132 Milano, Italia
Matrix / Runout (Side 1 runout, etched): HOL-095 A K PB
Matrix / Runout (Side 2 runout, etched): HOL-095 B K PB

side 1
A1  -  I, II ................................................................................................................... 14:13
A2  -  III ....................................................................................................................... 9:12

side 2
B1  -  IV .................................................................................................................... 12:35
B2  -  V ....................................................................................................................... 9:41

Personnel:
Peter Brötzmann / tenor & alto saxophones, clarinet
Korhan Futaci / tenor & soprano saxophones
Hüseyin Ertunç / acoustic piano, küstüfon, gong
Barlas Tan Özemek / electric guitar
Umut Çağlar / electric guitar
Doğan Doğusel / double bass, küstüfon
Özün Usta / double bass, djembe, gong, bells 

Korhan Argüden / drums, old k zildjian cymbals

Free jazz outfit KonstruKt might be considered the most evolved improvisational band working in jazz today. They were founded in Istanbul, not in the hotbeds of jazz, London, New York, Chicago, Wuppertal, or Krakow, their isolation is the key to their success. Although this band was formed in 2008, their free jazz ears date back to the 1960s. The band has absorbed the lessons of John Coltrane's Interstellar Space (Impulse!, 1967), Peter Brötzmann's Machine Gun (FMP, 1968), and more recent works by Ivo Perelman, William Parker, and Joe McPhee.

Eklisia Sunday was recorded live in front of a small audience on May 15th, 2011 at Eklisia - an old chapel built in the 17th century in Gümüşlük, a small village near Bodrum. This improvisation features the KonstruKt collective with Peter Brötzmann, their guest from a 2008 recording Dolunay (re:konstruKt, 2010). The quartet's basic lineup of Korhan Futaci (saxophone), Umut Çağlar (electric guitar), Özün Usta (bass), and Korhan Argüden (drums) is augmented here by an additional bassist, guitar, piano, and saxophone.

This large-ish ensemble, to KonstruKt's credit, makes much more than noisy energy jazz. The music is presented in four lengthy parts, each with a nuggets (maybe blocks) of artful music making. The LP opens with a saxophone (it's Futaci) wandering among his quartet before Usta's djembe drum sets the pulse. While the large ensemble slowly joins in, the structure of the piece remains. A coherent groove and consistent energy is sustained, as the piece burns itself into exhaustion, some gentle guitar notes are played over delicate reed work. This recording is divided into five parts is a nomadic opus. The piece sustains a shamanistic energy through percussion, bells, double electric guitars, and ever-spiraling- upward saxophones. The rhapsodic vibe throughout organizes and highlights this excellent date. Peter Brötzmann is in top form...    I recommend...!

(Review by M. C.)

If you find it, buy this album!

LAST EXIT – Last Exit (Enemy Records ‎– EMY 101 / LP-1986)

Label: Enemy Records ‎– EMY 101

Format: Vinyl, LP, Album / Country: Germany / Released: 1986

Style: Free Jazz, Heavy Metal, Free Improvisation

Recorded at New Morning, Paris, Feb 16, 1986.

Mixed at Quad Recording Studios

Design – Thi-Linh Le

Photography By – Val Telberg

A&R [Enemy Records Administration] – Michael Knuth

Engineering: Robert Musso

Assistant Engineer: Peter Sturge

Mastered by Howie Weinberg

Producer, Performer, Composed By – Last Exit

Matrix / Runout (Runout A-side, stamped): EMY 101 - A1

Matrix / Runout (Runout B-side, stamped): EMY 101 - B1

side 1:

A1 - Discharge .......................................................................................................... 3:28

A2 - Backwater .......................................................................................................... 5:30

A3 - Catch As Catch Can .......................................................................................... 2:15

A4 - Red Light ........................................................................................................... 8:03

side 2:

B1 - Enemy Within ...................................................................................................  3:50

B2 - Crackin .............................................................................................................. 7:49

B3 - Pig Freedom ...................................................................................................... 4:03

B4 - Voice Of A Skin Hanger ..................................................................................... 1:46

B5 - Zulu Butter ......................................................................................................... 2:28

Personnel:

Peter Brötzmann – saxophone [tenor, alto, bass]

Sonny Sharrock – guitar

Bill Laswell – electric bass [6 strings]

Ronald Shannon Jackson – drums, percussion, voice

In the mid-'80s, Bill Laswell had a great idea. Why not combine rock's raging rhythms and volume with free jazz improvisation's unfettered creativity and ferocity? To this end, he made three inspired choices to fill out his band. Drummer Ronald Shannon Jackson was a veteran of Ornette Coleman's Prime Time ensemble as well as a past member of Cecil Taylor's volcanic mid-'70s bands. Sonny Sharrock had burst onto the scene in the late '60s with Pharoah Sanders, Don Cherry, and others, establishing a unique approach to free electric guitar playing, only to retreat from the scene before being lured out of retirement by Laswell. The wild card was German saxophone behemoth Peter Brötzmann, known for his classic, shatteringly intense album Machine Gun from 1968 as well as multitudes of subsequent recordings where a premium was placed on visceral, gut-wrenching interplay among musicians. Mix these elements together and Laswell (with his own funky, dub-heavy electric bass anchoring the proceedings) had an incendiary formula, one that perhaps couldn't hold together long but, while it did, it produced some amazingly powerful music. Never was this more in evidence than on this first, self-titled release, one of the very finest albums of the '80s.

Entirely improvised, Last Exit nonetheless based most of its pieces on blues forms, even if highly abstracted. This bedrock allowed the musicians, particularly Brötzmann and Sharrock (whose early death in 1994 would cancel any possibility, however tenuous at that point, of the group's continuation) to freely explore the outer boundaries of their instruments, sublimely soaring over the down to earth and dirty rhythm team of Laswell and Jackson. This tension, strongly shown on the first four tracks here, reached almost unbearable degrees; its release when they would slide back into a groove leaves the listener utterly drained. Subsequent albums (notably Koln) would come close to attaining this level of intensity and creativity, but Last Exit ranks as a pinnacle both in Laswell's career and in the jazz/rock/free improv genre it spawned.

A classic release, one that should be in the collection of anyone interested in either contemporary free improvisation or the more creative branches of jazz/rock.

(Review by Brian Olewnick)

If you find it, buy this album!

LAST EXIT – Cassette Recordings 87 (Enemy Records ‎– EMY 105 / LP-1987)

Label: Enemy Records ‎– EMY 105

Format: Vinyl, LP / Country: Germany / Released: 1987

Style: Jazz-Rock, Free Improvisation

Cassette recordings from Copenhagen, North Sea Jazz Festival, Den Haag, Allentown, Penn. Produced at Quad Recordings, NYC. Mastered at Masterdisk.

Mastered By – Howie Weinberg

Other [Enemy Administration] – Michael Knuth

Producer [Assistant] – Robbie Norris

Producer [Salvage Production] – Robert Musso

Matrix / Runout (Side A, Etched): EMY 105 / Efa 03505 A

Matrix / Runout (Side B, Etched): EMY 105 / Efa 03505 B

side 1:

A  -  Line Of Fire ...................................................................................................... 20:35

side 2:

B1/B4 - Big Boss Man > Sore Titties > Ulli Bulli Fooli > Ma Rainey ....................... 16:29

             1 - Big Boss Man ............................. 1:05

             2 - Sore Titties ................................. 6:17

             3 - Ulli Bulli Fooli .............................. 3:57

             4 - Ma Rainey .................................. 5:08

B5 - My Balls / Your Chin .......................................................................................... 2:36

Personnel:

Peter Brötzmann – saxophone [tenor, alto, bass], tárogató

Sonny Sharrock – guitar

Bill Laswell – electric bass [6 strings]

Ronald Shannon Jackson – drums, percussion, voice

Beautiful, 1987 German Only Original vinyl LP. Recorded Live At The North Sea Jazz Festival.

Sharrock / Brötzmann

Laswell / Jackson

Raw, but these live recordings are better recorded than the title might indicate. Into this recipe Peter Brötzmann brings the euro improvisation ferocity and Cecil Taylor influences, Sonny Sharrock adds the American jazz innovation, Ronald Shannon Jackson's ingredients include the blues and bang-on-a-pot suddeness, and Bill Laswell, well he contributes a fatty slice of the avant garde, and some knowledge of knob-twidding to boot would be my guess. All mixed into an explosive whole. Noisy, yes. Freely, most definitely.

The first track, "Line Of Fire", is a good example: Albert Ayler opening, then rumbling, rumbling, rumbling, and everyone goes off into their own worlds, all the while maintaining a semblance of being a band, a grouping, a gathering of artists, rather than just some guys standing in the same room, blasting and clanging and squalling away on what-have-you. There's superb interaction despite all the sonic feces being flung every which way.

So I'm going to say: stay patient, give it time and a few listens, and you may find yourself falling in love with (or at least have a passing attraction to) a band that no longer exists but which once held the music world by its ear and gave it a good shake.

(Review by RIStout)

If you find it, buy this album!

PETER BRÖTZMANN / HAN BENNINK – Atsugi Concert (Gua Bungue / LP-1980)

Label: Gua Bungue ‎– GBLP-3388.01

Format: Vinyl, LP, Limited Edition, Stereo / Country: Japan / Released: 1980

Style: Avant-garde Jazz, Free Improvisation

Recorded Live At Rodo Center, April 8th 1980 in Atsugi, Japan.

Graphics – Shin-Ichi Okumura, Susumu Ogawa

Photography By [Photographs] – Kazuhiro Nagase

Engineer – Fumiko Fujii, George

Producer – Peter Brötzmann, Shin-Ichi Okumura

Composed By – Bennink, Brötzmann

Many Thanks To: Toshinori, Kondo, Morgue, A.J.C, Far-Out, M.Yamazaki, Y. Osanai, Y. Nakamura

Limited Edition of 300 copies. Silver gatefold cover. Comes with accompanying booklet.

Matrix / Runout (Runout A, etched): S1–GBLP-3388.01 / A

Matrix / Runout (Runout B, etched): S2–GBLP-3388.01 / B

side 1:

A1 - No. 1 ............................................................................................................... 10:21

A2 - No. 2 ................................................................................................................. 6:46

A3 - No. 3 ................................................................................................................ 5:28

side2:

B1 - No. 4 ............................................................................................................... 14:20

B2 - No. 5 ................................................................................................................. 5:21

Personnel:

Peter Brötzmann – tenor / baritone saxophone, Eb clarinet [E-flat], piano

Han Bennink – drums, C-melody saxophone, C-clarinet, trombone, piano,

                         bamboo xylophone, schwirrholz, shell, stones, alt-violin

One of the holy grails in the Peter Brötzmann/Han Bennink discography ... this is "Atsugi Concert", released only in Japan in a limited edition of only 300 copies.

Stunning copy of this major Brotzmann rarity, released only as a limited edition LP in Japan in 1980. Documenting a stunning duo set from Brötz and Bennink, Bennink spends as much time playing reeds and small instruments as he does behind the kit, making for a particularly raucous recording. Packaged in stunning style with a fold-out industrial-silver gatefold with a pocket that holds a booklet full of great snaps from the performances.

This is such a package! One of the most beautifully designed LP´s ever in the free jazz/ improvised music-  business. Silver fold out sleeve…with a fantastic photobook attached!
And music is of course absolutely pulverizing. The vinyl came out in 1980, so Brötzmann & Bennink had already been playing together for a good 20 years +….
Bennink is all over the place with using and misusing various  windinstruments and beating the crap out of his percussive arsenal…

Brötzmann is standing on steady feets and blowing his guts out… as well as hammering the piano (!) in the greatest way…

Few records has a greater feel. And this baby never shows up these days… This record only came out in Japan back in the day and the music has never showed up anywhere else…  one of the hardest to find it in the extensive Brötzmann discography!

Atsugi concert is essential! A masterpiece!

If you find it, buy this album!

MISHA MENGELBERG and ICP ORCHESTRA – Japan Japon (LP-1982 + 7inch single)

Label: Instant Composers Pool ‎– ICP 024, DIW ‎– DIW 1014,

           International Music Activity ‎– IMA 1

Format: Vinyl, LP, Album / Country: Japan / Released: 1982

Style: Free Improvisation

Recorded on 11 May 1982 at Osaka and 17 May 1982 in Tokyo.

Recording Engineer by – Tsutomu Suto

Painting and design by – Tomiyasu Shiraiwa

Back cover photos by – Mitsuyoshi Nishida and Tsutomu Suto

Includes liner notes in Japanese by Kazunori Sugiyama

Produced by IMA (International Music Activity)

Co-produced by ICP (Instant Composers Pool)

This Japanese release included limited bonus 7inch single:

ICP ORCHESTRA – Caravan, DIW  1001, 33 1/3 rpm, (JAP) 1982

A1 - Salute To Fujisawa Shukoh ................................................ 2:50

A2 - Kwela ................................................................................ 17:42

a)      Hap

b)      Boodschappen

c)      Welkom

d)      Briefkaart

e)      Maurits

B1 - Habanera ............................................................................ 6:21

B2 - Carnaval ............................................................................. 3:35

B3 - Japan Japon ....................................................................... 7:10

B4 - Zing Zang Zaterdag ............................................................ 3:14

+

C  -  Caravan (7inch single) ........................................................ 7:12

Artists:

Misha Mengelberg – piano, voice

Han Bennink – drums, percussion

Peter Brötzmann – tenor sax, alto sax, bass sax, voice

Keshavan Maslak – tenor sax, alto sax, voice

Michael Moore – alto sax, clarinet

Toshinori Kondo – trumpet, voice

Walter Wierbos – trombone

Joep Maassen – trombone

Larry Fishkind – tuba

Maurice Horsthuis – viola

Recorded live on May 11th (Osaka) and 17th (Tokyo),  ICP Orchestra Japan Tour in 1982.

Instant Composers Pool (ICP) is an independent Dutch jazz and improvised music label and orchestra. Founded in 1967, the label takes its name from the notion that improvisation is "instant composition". The ICP label has published more than 50 releases to date, with most of its releases featuring the ICP Orchestra and its members.

In 1967 saxophonist Willem Breuker, pianist Misha Mengelberg and drummer Han Bennink founded the ICP label in Amsterdam. Mengelberg and Bennink had been playing together since 1961 and found success as members of Eric Dolphy's quartet in 1964, as documented on his live album Last Date. Mengelberg had also been involved in the Fluxus art movement and was developing a composition style that involved musical games. As European free jazz musicians, they were butting up against disinterest in their music from contemporary jazz labels, so they formed a cooperative as a means to release their own recordings. Mengelberg coined the label's name as a testament to improvisation being composition at the instant that the music is played. ICP's first records documented Breuker and Bennink's New Acoustic Swing Duo, and a trio of Mengelberg and Bennink with John Tchicai, whose album was titled Instant Composers Pool...

Breuker left ICP in 1974 to concentrate on his group, the Willem Breuker Collective, and went on to found his own record label, BVHaast. Mengelberg and Bennink intensified their collaboration and, widening their own musical project as the Instant Composers Pool Tentet with saxophonist Peter Brötzmann and cellist Tristan Honsinger. Throughout the 1970s, the ICP label continued to release records, many as co-productions with other European independent labels, including albums by Jeanne Lee, Derek Bailey, Dudu Pukwana, Steve Lacy, Paul Rutherford, Evan Parker, Maarten Altena and Peter Brötzmann. Most of these releases were of limited (and sometimes even numbered) edition and featured a distinctive idiosyncratic graphic design by Bennink.

 LP Japan Japon + 7inch single – Caravan

A stunning early 80s performance from pianist Misha Mengelberg – working here with the ICP Orchestra, and at a level that's completely fresh and very striking – at a mode when the Dutch jazz approach was something very new indeed, and handled here with a wonderful balance between playful arrangements and fierce improvisations! In addition to Misha on piano, the lineup also includes Han Bennink on drums and percussion, Keshavan Maslak on alto, Walter Wierbos on trombone, Peter Brötzmann on alto and baritone, Maurice Horsthuis on viola, and Toshinori Kondo on trumpet – and most of the players vocalize at some point – but in ways that aren't really singing, and instead act as a great addition to their improvised musicianship. Larry Fishkind also throws in some incredible work on tuba – really amazing sounds – and titles include "Kwela", "Japan Japon", "Habanera", "Carnaval" and "Zing Zang Zaterdag".........

and +

ICP ORCHESTRA – Caravan, DIW  1001, 33 1/3 rpm, (JAP) 1982

One sided rare 7” , released together with ”Japan Japon” 12” LP

Another Japan released musical BOMB…. The legendary ICP Orchestra  under chef Mengelberg´s  leadership playing Ellington´s Caravan in a very wonderful and dreamy way… until… until… Peter Brötzmann enters the stage with some WILD blowing that makes hearts and clocks stop. Totally beautiful playing from Brötzmann, absolutely over the top. The greatest story teller of them all, hits again.

Listening to this music makes the world feel like a better place to be.

Enjoy!

If you find it, buy this album!

THE WUPPERTAL WORKSHOP ENSEMBLE – The Family (LP-1982)

Label: FMP – FMP 0940

Format: Vinyl, LP; Country: Germany - Released: 1982

Style: Free Jazz, Free Improvisation

Recorded live on September 7th 1980, during the 8th Wuppertaler Free Jazz Workshop

Design by Peter Kowald

Photography By – Unknown Artist

Producer – Jost Gebers, Peter Kowald

Recorded By – Jost Gebers

A1 - Improvisation I (Charig/Rutherford/Poore/Brötzmann/Parker/

        Trovesi/Wachsmann/Van Hove/Kowald/Sommer) . . . 5:50

A2 - Fantale (Evan Parker) . . . 9:31

A3 - Bones and wishes (Phil Wachsmann) . . . 6:13

B1 - Improvisation II (Charig/Rutherford/Poore/Brötzmann/Parker/

        Trovesi/Wachsmann/Van Hove/Kowald/Sommer) . . . 10:05

B2 - The Family (Fred Van Hove) . . . 11:35

Marc Charig - trumpet, alto horn

Paul Rutherford - trombone, euphonium

Melvyn Poore - tuba

Peter Brötzmann - saxophones & clarinets

Evan Parker - soprano & tenor saxophone

Gianluigi Trovesi - saxophones & clarinets

Philip Wachsmann - violin

Fred Van Hove - piano

Peter Kowald - double bass

Günter Sommer - drums

This short-lived all-star assemblage of European talent only released one LP, and this is it! A large group that wears its size lightly, there is a lot of space for solos and smaller group work, while also allowing for some tremendously beautiful, all-in crescendos. And don't let the "workshop" of the title lead you astray: this is a band with a full understanding of the repertoire, and complete command of the material. Come join The Family!

DISCOGRAPHY: FMP Numbers (LP's, CD's & Singles), SAJ Numbers, Uhlklang:

http://www.fmp-label.de/fmplabel/discographie/fmpnumbers_en.html

If you find it, buy this album!

PETER BRÖTZMANN / PETER FRIIS NIELSEN / PEETER UUSKYLA – Noise Of Wings (1999)

Label: Jazzwerkstatt – jw056
Format: CD, Album, Reissue; Country: Germany - Released: 01 Aug 2009
Style: Free Jazz, Free Improvisation
Recorded at Bohus Sound Recording, Kungälv, Sweden on March 14, 1999.
The first realization: Slask Records – SLACD019; Sweden 1999
Artwork – Chris Hinze
Design – Klaus Untiet, wppt:kommunikation
Executive-Producer – Ulli Blobel
Producer [Original Album] – Peeter Uuskyla
Recorded By – Dragan Tanaskovic

Swedish cover (1999), Design – Andrew Cowie, Brötzm

"We all know what Brotzmann does; that astonishing burst of energy which seems to boil out of the bell of his saxophone, that extreme sensitivity masquerading as bully-boy macho antics. His is one of the most extraordinary voices on the instrument around, and although well- known, his real talents are regularly underreported because of a tendency to view his playing in terms of noise, punky high-volume confrontation and retro-Aylerisms.

Well, this disk isn't going to change that perception for those who are still in the dark about Brotzmann's towering achievements. Only one track, entitled "A Real Dilemma, This One", reminds us of his ability to play slowly, carefully, and with extreme sensitivity to the reed. As often happens, it's the tarogato which leads him into this more reflective frame of mind. But even that track is a slow-burning whiskey ballad which Brotzmann growls his way through as if looking for someone to start a fight with. That coiled energy is a part of what makes him so special; it's unlike anything else in the world, and the suspicious would do well to start here.

Elsewhere, then, the wonderfully barrel-chested sound of the Brotzmann tenor is allowed to roam free. Nielsen is a free jazz drummer, with Andrew Cyrille's ability to swing even when the pulse seems almost lost, but he's a much sparser player than that early generation with their attachments to ride cymbals still strong. He seems able to describe the rhythm of the music with the smallest of gestures; an extremely valuable player.

Uuskyla plays bass like a percussion instrument, hitting it hard and staying, for the most part, in the bottom register where pitch can come second to attach and articulation. He seems to really love playing with Nielsen -- this writer suspects they're a regular duo -- and Brotzmann audibly enjoys their company. In short, the three lock together tightly and cook.

Nobody works harder than Brotzmann, and he makes his playing partners sweat just as hard as he does. Fortunately, it seems that neither Uuskyla nor Nielsen is afraid of hard work, and they pitch in with the kind of muscular, driving free jazz which makes the reedsman feel at home. A twenty-minute piece which moves between furious blowing and gentle passages with a sense of inevitable destiny crowns an excellent and very generously filled-out CD. Fans will find it essential; if you haven't heard Brotzmann yet, here's where to get on the bus. Highly recommended."

_ By RICHARD COCHRANE



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PETER BRÖTZMANN, HAN BENNINK, ALBERT MANGELSDORFF – Live In Quasimodo, Berlin, January 14, 1985 (Set1 / Set2 on 2CD)

Private recording/DP-0803
Format: CD, Album; Released: 1985
(Set1 / Set2 on 2CD)
Style: Free Jazz, Free Improvisation
Recorded live in Quasimodo, Berlin, Germany, on January 14, 1985. 
Design by ART&JAZZ Studio Salvarica
Artwork and Complete Design by VITKO

Self-taught on clarinets, he soon moved to saxophones and began playing swing/bebop, before meeting Peter Kowald. During 1962/63 Brötzmann, Kowald and various drummers played regularly - Mingus, Ornette Coleman, etc. - while experiencing freedoms from a different perspective via Stockhausen, Nam June Paik, David Tudor and John Cage. In the mid 1960s, he played with American musicians such as Don Cherry and Steve Lacy and, following a sojourn in Paris with Don Cherry, returned to Germany for his unorthodox approach to be accepted by local musicians like Alex von Schlippenbach and Manfred Schoof.

The trio of Peter Brötzmann, Peter Kowald and Sven-Ake Johansson began playing in 1965/66 and it was a combination of this and the Schoof/Schlippenbach Quintet that gave rise to the first Globe Unity Orchestra. Following the self-production of his first two LPs, For Adolphe Sax and Machine gun for his private label, BRÖ, a recording for Manfred Eicher's 'Jazz by Post' (JAPO) [Nipples], and a number of concert recordings with different sized groups, Brötzmann worked with Jost Gebers and started the FMP label. He also began to work more regularly with Dutch musicians, forming a trio briefly with Willem Breuker and Han Bennink before the long-lasting group with Han Bennink and Fred Van Hove. As a trio, and augmented with other musicians who could stand the pace (e.g. Albert Mangelsdorff on, for example, The Berlin concert), this lasted until the mid-1970s though Brötzmann and Bennink continued to play and record as a duo, and in other combinations, after this time. A group with Harry Miller and Louis Moholo continued the trio format though was cut short by Miller's early death.

Today I present to Peter Brötzmann Trio with Albert Mangelsdorff, trombone and Han Bennink, drums and percussion. The concert was held in Berlin at the famous Quasimodo 14 January in 1985. This event in two long sets, was never officially recorded, and was placed on the DIME and Ubu Roi (post from Monday, May 11, 2009, -FLAC). Otherwise, I would recommend this blog, a few months back again is activated:
http://ubu-space.blogspot.com/

I got this gig from my friend Martin five years ago, recorded on tape. I fixed the sound quality (eliminate noise), designed the new cover and now is before you in the form of albums, and in my collection is in the department of "Private recording", catalog # / DP-0803.

I am sure this is fantastic concert and deserves our attention again. Enjoy.



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