{"id":10765,"date":"2016-05-11T05:30:32","date_gmt":"2016-05-11T09:30:32","guid":{"rendered":"http:\/\/blog.musoscribe.com\/?p=10765"},"modified":"2018-11-14T10:49:32","modified_gmt":"2018-11-14T15:49:32","slug":"new-jazz-archival-titles-from-resonanceelemental-part-1","status":"publish","type":"post","link":"http:\/\/blog.musoscribe.com\/index.php\/2016\/05\/11\/new-jazz-archival-titles-from-resonanceelemental-part-1\/","title":{"rendered":"New Jazz Archival Titles from Resonance\/Elemental, Part 1"},"content":{"rendered":"

Lovers of the classic era in jazz and\/or modern jazz owe a debt of gratitude to Zev Feldman<\/strong><\/a>. 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<\/i>. 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<\/i>, a 2CD set of even more (and even earlier) Montgomery.<\/p>\n

Other projects have included a remarkable Bill Evans Trio recording from Greenwich Village (Live at Art D\u2019Lugoff\u2019s Top of the Gate<\/i>) and a John Coltrane set, Offering: Live at Temple University<\/em>. The latter earned liner note essayist Ashley Kahn<\/strong> a Grammy award.<\/p>\n

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 \u2013 all featuring previously-unheard music \u2013 have been released by Resonance or Elemental.<\/p>\n

\"sarah_vaughan_rosys\"<\/p>\n