This is a surprise, the tapes of the two concerts having only come to light two years ago. Engineered by George Klabin, whose Resonance label put out his recordings of Bill Evans' Top Of The Gate set (see Jazzwise 167), they capture Giuffre during a long period of no studio work at all – between 1962 and 1972, in fact. As opposed to his previous folky style or his even earlier compositionally avant-garde leanings, this period (foreshadowed by the 1962 Free Fall album) found him espousing the ethics of free-jazz, albeit in his own way. The fact that much of the work here is on tenor (a surprise in itself) allows distant echoes of Rollins and Coleman (one of whose tunes, ‘Crossroads’, is on the trio date with Richard Davis), but not of Coltrane or indeed Ayler. The remainder of the material for the two sets (lasting 87 minutes in total) is all original, but another fascinating aspect is that four of the same tunes are heard in quite different versions. The addition of Friedman obviously alters the landscape, but Chambers (despite his then connections with Blue Note) is a revelation in this context. Anyone interested in the 1960s should hear this, even though apparently not many wanted to at the time.