Thank you, Zev Feldman, of the Resonance and Elemental labels. Examined: Sarah Vaughan, Wes Montgomery, Bill Evans, Stan Getz, João Gilberto & Getz, Thad Jones/Mel Lewis Orchestra, and Art Pepper.
BY BILL KOPP, BLURT JAZZ DESK EDITOR
Lovers of the classic era in jazz and/or modern jazz owe a debt of gratitude to Zev Feldman. The head of a pair of modern-day jazz labels (Resonance and Elemental) has been exceedingly busy of late, rescuing heretofore unheard recordings of great historical import. Kicking off with a bang a mere four years ago, Feldman unearthed a cache of Wes Montgomery recordings, and released them as Echoes of Indiana Avenue. At the time, the source tapes for that set were thought to be the earliest extant recordings of the acclaimed jazz guitarist. But in 2015 Resonance roared back with In the Beginning, a 2CD set of even more (and even earlier) Montgomery.
Other projects have included a remarkable Bill Evans Trio recording from Greenwich Village (Live at Art D’Lugoff’s Top of the Gate) and a John Coltrane set, Offering: Live at Temple University. The latter earned liner note essayist Ashley Kahn a Grammy award.
But the last several months have seen a flurry of activity from Feldman’s labels that suggests those early successes were merely warm-ups. No less than seven (actually eight) archival releases – all featuring previously-unheard music – have been released by Resonance or Elemental.
Sarah Vaughan – Live at Rosy’s
The celebrated jazz singer was in her mid-fifties at the time of this recording, taped in New Orleans for an NPR broadcast in May 1978. At the time, Vaughan was enjoying something of a renaissance. Stephen Sondheim‘s “Send in the Clowns” – a reading of which is included on this 2CD set of mostly standards – had become Vaughan’s signature tune. “Sassy” Vaughan had built her reputation fronting big bands, but here she takes a totally different approach form her earlier work. With a spare band – piano, bass and drums – the focus here is wholly on Vaughan and her voice. Because this recording was professionally made for radio broadcast, the sound quality is quite good. The accompanying booklet is generous with both vintage photos and interview content.
Wes Montgomery – One Night in Indy
Zev Feldman clearly has a thing for the work of Wes Montgomery, and who can blame him? His brief but informative liner note essay tells the story of how he came to release this CD of a 1959 open reel recording. Even with Feldman’s understated description of event, readers will get a sense of the thrill he experienced. And the recording is of more than historical import: playing with The Eddie Higgins Trio, the focus her is squarely on Montgomery’s already fully-developed technique. Those who bemoan his later A&M and Verve outings into reading of pop will appreciate this six-song set of tunes from the songbooks of Duke Ellington, Thelonious Monk, Cole Porter, Neal Hefti and more. Sound quality is simply superb for what was clearly an unofficial recording.
Bill Evans – Some Other Time: The Lost Session from the Black Forest
Here’s a rare treat. Bill Evans was quite prolific in his day, but until now there have been no studio recordings of his short-lived lineup of his Trio featuring bassist Eddie Gomez (Scott LaFaro‘s different but superb replacement), and drummer extraordinaire Jack DeJohnette. These recordings were overseen by MPS head Hans Georg Brunner-Schwer, the so-called “man from the Black Forest.” As with virtually all recordings made at MPS Studios, the music lives and breathes on this recording. Based on the customary run time of albums at the time these recordings were made (June 1968), had this material been released, it likely would have been spread across two or perhaps three record albums. There’s but one breakdown (“It’s All Right with Me”) and one alternate take (“You’re gonna Hear From Me”). Otherwise it’s all new material, a mix of standards. Some tracks feature the Trio; some are duos, and a few feature Evans alone at the piano. Five days prior to this session, the Trio was in Montreux, Switzerland, performing at the annual jazz festival. Feldman’s brief essay reveals the back story of these tapes, and other essays (from critics, Gomez and DeJohnette) provide all the context one could ever wish for.
Stan Getz Quartet – Moments in Time
The first of two releases chronicling tenor saxophonist Stan Getz’s May 1976 residency at San Francisco’s Keystone Korner, this is a thrilling single-disc collection of live music by Getz and his three sidepeople (Joanne Brackeen, piano; Clint Houston, bass; Billy Hart, drums). Superb song selection and even better musicianship are the dual highlights of this timeless set, which sounds (stylewise) as if it could have been recorded any time between the late 1950s and the following three decades. Again, our intrepid jazz archivist Zev Feldman tells the story of how he found these tapes and brought them to current-day listeners. His Q&A with drummer Billy Hart – and a short note from Getz’s son Steve – round out a nice booklet that also contains some good live performance photos. Apparently some “sound restoration” took place on these tapes, but by the sound of them, you’d never know the CDs weren’t sourced from pristine pro tapes stored in some climate-controlled vault for forty-plus years.
João Gilberto & Stan Getz – Getz/Gilberto ’76
The provenance of these recordings is the same as the above title, and the lineup is the same, with the addition of Brazilian vocalist and guitar sensation João Gilberto, he of “Girl From Ipanema” fame and so much more. The program here is give over almost wholly to Gilberto’s original material (no “Ipanema”) and similar material. By its very nature, this material is far more subdued than the Monents in Time set, and – other than some nice sax solos – Getz’s band rarely takes the spotlight. Feldman includes another whole interview’s worth of conversation with drummer Hart for this set.
Thad Jones/Mel Lewis Orchestra – All My Yesterdays: The Debut 1966 Recordings at The Village Vanguard
Few would make the case that big band jazz was anywhere near its peak in the mid 1960s. But likely you couldn’t tell that to bandleader Jones and drummer Lewis; this set finds the big band playing like their lives depended on it. There’s a swinging vibe that – while not exactly loose – feels miles away from the stiff arrangements and readings sometimes associated with large jazz orchestras. The material is built upon a repertoire of standards, yet has the energetic vibe of Buddy Rich‘s pop-leaning shows of the same era. For this set, Feldman made the unusual decision to package the CDs and book in a larger-than-standard case; apparently this engendered complaints and backlash from OCD-leaning consumers who need their CD sets to be either standard size or a box set (a point of view I appreciate), so he’s vowed not to do it again. That issue aside, this is a wonderful set of music in a lovely package.
Art Pepper – Live at Fat Tuesday’s
Heading in more dissonant and wild direction than most of the other titles discussed here, this live recording of a 1981 concert in New Your City focuses on material that lends itself to ambitious interpretations: Monk’s “Rhythm-a-ning” is the best example. And when they slow it down, as on Gordon Jenkins‘ “Goodbye,” thee band shows off their skills in a different manner. Zev Feldman’s in-depth interview with the saxophonist’s widow Laurie Pepper forms the backbone of a characteristically excellent liner note booklet. This is little more than conjecture on my part, but perhaps the reason this title is released on Elemental (as opposed to Resonance, under the umbrella of the not-for-profit organization Rising Jazz Stars) may have to do with Pepper’s estate owning the material. Omnivore Recordings has also released several Pepper titles over the last year or so.
Note that another title, jazz organist Larry Young‘s In Paris: The ORTF Recordings has also been released recently by Resonance; a review copy was not available at the time of this writing.
The release schedule for Feldman’s labels would be impressive by the standards of a mid-sized record label; that these releases come form a tiny label specializing in jazz, and a nonprofit 501(c)(3) organization at that – is truly remarkable. Tantalizingly, and judging by Feldman’s regular Facebook dispatches from locations across the globe, there’s every reason to suspect more jazz treasures will be revealed in the near future.
Bill Kopp is a music journalist, editor of Musoscribe.com, and editor of BLURT‘s newly-launched jazz desk. He has written liner notes for several jazz reissues, including Cannonball Adderley‘s The Price You Got to Pay to Be Free and Music, You All, both due out in May.