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Recording Improvised Music 247 was essential from a historical point of view. KuÌrvers argued that the very variability of improvised performances was all the more reason to record them, and explained how, for him: Itâs a form of remembrance. It doesnât make any sense to record several versions of classical pieces... because thereâs usually a good studio or radio recording already. Itâs always more or less the same composition thatâs being performed... with small differences... but for Improvised Music, each performance is totally unique... [it] happens once, and happens in an instant and then disappears... In this moment it has a form of historicity, and it becomes history. [...] To follow this you need recordings.11 Over the course of fieldwork, barely a single concert went by without being recorded (or filmed) by KuÌrvers, the venue or the musicians, but while Quiet Cue uploaded the resulting videos to their website, Ausland and the salon were unable to publish their recorded archives because of rights issues.12 KuÌrvers was always happy to share his recordings with the musicians who had performed in each concert, and most knew that if he was in the audience, their performance was probably being documented by his concealed stereo microphone and portable digital recorder. Ultimately, these recordings were documents, faithfully and authentically capturing the audio trace of the full spectrum of âworkingâ moments, searching, misunderstandings, tricks, concepts, âmistakesâ, âamazing thingsâ and risk-taking, and, as I will now show, this âcompletenessâ marked an essential difference between recordings intended for documentation, and those produced for sale and release. 2. Recordings for Sale and Release While most performers and listeners considered Improvised Music to be a primarily live form, those musicians who did record Improvised Music for release (and to be sold) generally had the following motivations in mind: 1. To reach people not in Berlin or other centres for Improvised Music. As Axel DoÌrner put it: recorded many (still unreleased) concerts of the first generation of improvisers in West Germany in the late 1960s (see p. 259). 11 KuÌrvers added, âEvery musician dealing with Improvised Music is in a process of development, and when we look back on the history of jazz we have the complete works of musicians who performed for 40-50 years. [...] Improvising musicians have just the same process of development... their own personal language that becomes continually stronger... and is always developing... but also a process of playing together, like the process of the emergence of [spoken] language - how language and vocabulary develops.â 12 By the time I was writing up, Ausland were publishing some recordings. See [Quiet Cue, 2014] for the Quiet Cue archive.