The Arrival of Victor Feldman

Victor Feldman had first recorded as a leader when he was 13 and a swing-based drummer. In 1957, he moved from his native London to the United States, and by early 1958 (when he was 23) was in great demand as a pianist and vibraphonist. For his second American release and debut for the Contemporary label, Feldman is completely in the spotlight. Joined by the brilliant bassist Scott La Faro (whose playing is a strong reason to acquire the album) and drummer Stan Levey, Feldman performs a mostly boppish set including "Serpent's Tooth," "There Is No Greater Love," Dizzy Gillespie's "Bebop," a Chopin waltz and three of his diverse originals. An excellent showcase for the still-developing Victor Feldman.

For his second American release and debut for the Contemporary label, Feldman is completely in the spotlight. Joined by the brilliant bassist Scott La Faro (whose playing is a strong reason to acquire the album) and drummer Stan Levey, Feldman performs a mostly boppish set ". On All About Jazz Samuel Chell observed "Feldman's piano is not as developed as his vibes work at this early stage in his career, so there's lots of space (and solo room) for LaFaro's majestic sound and unstoppable drive. In fact, it's probably no exaggeration to say the date is as much LaFaro's as Feldman's. The latter makes a favorable impression; but the former puts on a clinic. Not to be missed by any acoustic bassist or admirer

Lee Konitz - The Complete 1956 Quartets (2010) {2CD Set American Jazz Classics AJC 99017}
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© 1956, 2010 American Jazz Classics | AJC 99017
Jazz / Cool / Saxophone

2 CD set. The complete contents of the original Atlantic label LPs Worthwhile Konitz & Inside Hi Fi, which contain all of Konitz' 1956 quartet recordings. Among the highlights are the sides featuring Konitz, Jimmy Rowles, Leroy Vinnegar and Shelly Manne. This exact formation would never record again. Other tracks feature Sal Mosca, Billy Bauer, Peter Ind, Arnold Fishkin and Dick Scott. The complete 1957 LP The Real Lee Konitz also originally issued by Atlantic has been added as a bonus. It showcases Konitz in a quartet setting again on most of the album.

A rarely seen filmed performance by the splendid Miles Davis septet, recorded live in Warsaw in 1983 - with saxophonist Bill Evans and guitarist John Scofield. This fabulous, complete concert was filmed shortly after Miles Davis recorded his celebrated album 'Star People' - and features many of the compositions from the album, although it hadn`t actually yet been released when they performed in Poland. Bill Evans (the sax player) had been replaced by Branford Marsalis on the original studio versions of 'That`s Right' and 'Code M.D.'

Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward…