{"id":11447,"date":"2025-10-20T19:54:46","date_gmt":"2025-10-21T00:54:46","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11447"},"modified":"2025-10-20T20:37:45","modified_gmt":"2025-10-21T01:37:45","slug":"review-time-traveler-brooks-barron-garnett","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-time-traveler-brooks-barron-garnett\/","title":{"rendered":"Jazz Detective Zev Feldman Begins Yet Another Journey with New Imprint, Time Traveler Recordings, and Resurrecting Three Largely Forgotten Gems from the Muse Records Catalog"},"content":{"rendered":"\n

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By now, most readers know that the Jazz Detective, Zev Feldman<\/a>, does not limit his archival work to Black Friday and Record Store Day. Recently, he unveiled the terrific Charlie Rouse Brazilian recording, Cinnamon Flower<\/a> (Resonance, 2025). As the archival consultant for Blue Note Records, he has another great one – Horace Silver\u2019s Silver in Seattle: Live at the Penthouse<\/em> (Blue Note, 2025)- coming by the end of October. Yet, those are single releases. Under his new imprint, Time Traveler Records, Feldman begins by tapping into the catalog of Muse Records, a vital label in several genres throughout the \u201870s. As with any other Feldman project, he presents the highest quality in terms of vinyl sound, detailed liner notes, photographs, and excellent packaging. We will comment on his first three jazz offerings from Muse: Drummer Roy Brooks\u2019 fiery The Free Slave<\/em> (Muse, 1972), featuring Woody Shaw and George Coleman; Pianist Kenny Barron\u2019s debut as a leader, Sunset to Dawn<\/em> (Muse, 1973); and Panamanian tenor saxophonist Carlos Garnett\u2019s big band\/funk\/spiritual jazz project, Cosmos Nucleus<\/em> (1976), featuring 20-year-old Kenny Kirkland at the piano. Future releases are planned quarterly, with Woody Shaw, Jo\u00e3o Donato, Clifford Jordan, and Joe Chambers waiting in the wings.<\/p>\n\n\n\n

The unearthing of these Muse recordings follows Mack Avenue\u2019s reissues of important Strata-East recordings within the past year. Candid Records is reissuing, too. Feldman is not involved in those efforts, but there\u2019s a burgeoning trend of introducing today\u2019s listeners to important music of eras past they may have missed. As a listener from that period of the \u201870s, this listener, and likely others, only wish we could hear reissues of Cobblestone, MPS, and Inner City, to name just a few. Nonetheless, Muse may well be the most important. Jazz was suffering in the \u201870s, having taken a back seat in the popular consciousness to rock music. Some of the artists delivered \u201cpretentious\u201d material, in a sense of latching onto the trends of the time. You\u2019ll hear that in the Barron and Garnett albums, but at least Muse was open to what the artist wished to present. Other labels purposely aimed to steer the artist away from their comfort zone, or clung to a niche, be it hard bop, spiritual jazz, or the popular flavor of the time, fusion. All those approaches and more are represented on Muse. In that sense, the release of these three albums opens a window into the disparate jazz of that time. Let\u2019s briefly examine the three.\ufffc<\/p>\n\n\n\n

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