Digging Deep: Inside Zev Feldman’s Quest for Hidden Jazz Treasures

An inside look at how rare jazz recordings make their way from dusty tapes to deluxe editions

The introduction most often associated with producer—and champion of unfairly unheard music—Zev Feldman, compares him to an archaeologist: the “Indiana Jones of jazz,” as The New Yorker wrote in 2023. Fittingly, Feldman’s occasional SiriusXM radio show is cleverly titled Jazz Detective. In a reissue landscape often focused on bringing listeners albums they may already own in triplicate, Zev shines his producer’s flashlight into unexplored corners of the archive: frequently unearthing recordings that may not have seen the light of day since they were first made.

We’re on an adventure in audiophile archeology, so let’s meet the hero of this serial. A devoted record fanatic from a young age, Zev made his way into the music industry through retail, eventually landing in distribution. It was there he met Resonance Records’ George Klabin, who encouraged him to lean into his passion for music, collecting, and archiving, and to try his hand in the producer’s seat. Since then, Feldman has produced albums not only for Resonance, but also for Blue Note, Prestige, Riverside Records, and many others.

While our conversation was originally focused on two recent Elemental Music releases—Bill Evans Further Ahead: Live in Finland (1964–1969) and Art Pepper: An Afternoon in Norway – The Kongsberg Concert—it quickly evolved into something more. We found ourselves excavating the heart of Zev’s work, asking the essential question: how does the digger do the digging?

Dig in to find out.

ezt: It's interesting to think how someone gets into the line of work that you've gotten into. Maybe that's a place to start. I know you were a record collector when you were a young man and you're a music lover, number one, but if there was someone watching this interview between the two of us and they were thinking about getting into the music industry: what was your route to getting to where you are today? 

zf: Well, thanks, Evan. You know, I think the route's been a long one, which actually indirectly got me into the A&R department. It seems that I've done almost every other job in the music business from sales and marketing, a little bit of promotion, overseeing some publicity, you know, just in general running a label. Just to start off, the first 14 years of my career were spent in record company distribution. I worked at Polygram Records and I worked at Universal Music Group where I represented a plethora of music and really that was how I got in. I worked in the distribution branch. 

I think to answer your question though, maybe somebody wants to try to work in A&R, but for me, where I grew up here in Maryland in the Washington, D.C. area where I'm actually residing again–and I lived in Los Angeles for about 18 years–it was like I had done these other jobs and I actually went in, Evan, to Resonance Records in 2009 with George Klabin and my job was really building an international distribution network. We hit it off right off the bat. There were just some things that we bonded over, especially a passion of music and I want to say, first of all, when you work in the business, sometimes if you work in sales and marketing–at least I experienced this–you stay in that sales and marketing lane. The A&R department doesn't necessarily need you and that's what you do. You work in your department. Maybe the company you work with is receptive or open to ideas. That wasn't always my case, but when I went to work for George Klabin at Resonance Records in 2009, a lot was about to change. 

I was there again working with him with distribution and working on helping the label sell and market releases through the world, but as George and I got to know each other, it became clear to him that I'm a pretty serious collector and I love the folklore and the history and the aura and all those stories and the legacy of these artists and George said to me one day, “but Zev, I don't understand: you've done all this stuff and you know a lot about music, but is it true you've never produced an album?” 

I said, "I've never produced a record,” and he said, “I'm going to make a proposition.” He said, “if you can go out and find some recordings that have never been out before, Zev–I'm not talking about reissues–I'm talking about finding some great straight ahead jazz”–as we referred to it–”that's never been out, I'll consider it and I'll let you be the producer” and–remember–I'm doing sales and marketing, but it gave me the opportunity of getting out of that one singular lane and really out of my own passion and my own love, I found myself giving every waking minute to tracking down tapes, reaching out to families, maybe it was an institution that would have content and it really started there and George Klabin is the one that I owe all that to because it's difficult making those transitions in your career. 

I didn't realize it was a transition, but our first two releases, Wes Montgomery's Echoes of Indiana Avenue and Bill Evans Live at Top of the Gate really set us on our way and it started redefining the role I was playing because all of a sudden now I'm bringing things into George. I feel very lucky. 

In January of 1994, I started my technical career in the music business as an intern before I worked in the mailroom and it's just been this incredible journey–but I won't lie–I actually was working overnights at a gas station when I started interning and I've been at the bottom of the shoe, it's a long road and if you love what you do, you're lucky enough sometimes to be able to stick with it and I'm just in amazement myself of where I am today and I don't take that for granted. 

It's really something that I'm humbled by, that I've been that lucky to do something. This isn't just some widget, this is something that has to speak to me before I really jump on top of the mountain and beat my chest and that's how I am for all my projects. 

ezt: I love the story about George and it's interesting how one person in our lives can see something in us that we don't always see ourselves and get us started on a path. 

zf: It's just remarkable and I feel so fortunate. It doesn't always happen like that, but hey, if you want to start, maybe that's where you start. I did all these other jobs before it led me by chance to this other avenue and George and I are just, it's been kismet. I feel very fortunate. I love what I do at Resonance and George has also been very generous in allowing me to work with other record labels because somehow now I've developed a skill and now I can apply this to doing other stuff, but the music's got to be great. 

You got to play by the rules, you got to respect the legacy, you have to pay people and you really have to do the best job that you can and this road, by the way, I mean, it's really like selfish-town. When I work on a project, I'm always feeling that we should be raising the bar to try to create something extraordinary and folks are going to put their money down. I want to make it as great as it can be and I never hold back and I'm very headstrong like that with the creative direction, the way we present the music, the voices that go into these releases, including the art direction and design, but I want people to keep coming back to these recordings for years and years and...it's a lot of love.

ezt: You're seen as the starting point for a lot of these archival releases and of course you have, as executive producer, you've got control over them, but how do you work to ensure that the end result really reflects what your original vision was when you discovered these tapes or you discover these recordings?

zf: It's just being tenacious and dedicated and trying to make something as great as it can be. You always have to be really careful. Each one of these releases, we do as great of a job as we can. I want to connect with the people that are buying these projects. When I build them, I'm kind of selfishly building it for me with a standard of knowing there's no BS. I know if it's not flying or not and I don't just submit and I don't just put it in, but there's a lot of being selective and being very creative, it's not a cookie cutter thing. 

Each project is its own journey and it also calls in for different people. Obviously it's important first and foremost to have great music and have great presentation and even making sure that it sounds good on a repeated listen, but it's really about having those voices that contribute something relevant to the narrative of telling the story, whether it's about that recording. 

I'm doing a Rahsaan Roland Kirk project, a couple of them right now, and having those right people that can talk about the legacies of these artists. So we were talking about Steve Touré and James Carter, just as an example, but it's really about racking the brain and saying, who's the best fit? Who's the best liner note writer? What can we do to really elevate the experience and just do the best job that we can? And sometimes things just kind of fall into place, but there's been a lot of, I say there's been luck. We work for our luck too, but I think by having this sort of an ethic, Evan, it's allowed me to just really be true to myself. I wouldn't be able to live with myself just turning something in and not feeling right about it. It's got to feel great. 

And I don't know, I think something must be working right. I just want to keep my nose to the grindstone and keep going as long as folks want to keep supporting. I'll keep giving everything in me, but it's also, Evan, it's not just me. It's the label execs that generously allow these projects to be birthed into the world through their generosity and resources. It's about working with incredibly talented designers, recording engineers, and being able to really implement a vision. 

I also have three extraordinary people that I get a chance to work with. Zach Shelby-Siscoe, James Batsford, and also Lindsey Fitzgerald now, who's into the mix. And we have this team. And I work with these folks for multiple labels that I do. So, I'm often pivoting back and forth during my workday. But the team’s role is enormous in the success of these releases. I get to come to you to be the face today, but I'm just one guy. I get to be the head of the operation, so to speak, to the public. But it takes a group of us to make these projects happen.

ezt: You've got your dedicated crew that's helping you out along the way, for sure.

zf: I got my posse. I'm really lucky. And most importantly, the biggest group and supporters are all the fans out there that continue to spend their money on purchasing these projects.

ezt: Jay Millar from Sundazed Records once told me he's always looking for master tapes, and he made a great joke with me saying that even when he's checking out at the grocery store, when he gets his change back from the cashier, he says, “hey, you have any master tapes at home?” This got me thinking about your journey a little bit. How do you go about tracking down the projects that you eventually release? And of course, you have the detective moniker, but it must be that and a little networking and a little bit of both. Or maybe you're asking the cashier at the grocery store what they know.

zf: Well, it really starts with my own personal passion. I can't find myself getting excited about a project and believing it unless it really speaks to me. So the releases that I choose to put out are ones that I'm excited about, genuinely. And often things that I'm finding out there, and you have to ask those questions. You got any tapes? Nothing happens unless you ask. But it begins there. But I've also really, for instance, developed this incredible bond and partnership with the folks at Elemental Music. I'm not a partner in the company, but I basically get to produce all these archival releases that they put out. Not the reissues, but they'll come to me sometimes, “Zev, we found these Bill Evans tapes. We know you love working with Bill and you know Bill Evans' family and know the ins and outs of the players involved.”

Same thing with Chet Baker. So I can bring them stuff. And a lot of the time, at least with Elemental, they bring me recordings first. If I find something, I will generally go to George Klabin first as sort of a first right of refusal. But Evan, it's very apparent, not every release is a good fit for each label. And that's for a variety of reasons. But really, one of the main important things is that it has to click with the people who make these decisions. 

When I work with Elemental, Art Pepper and Chet Baker and Bill Evans are some of Jordi Soley - my label co-founder there - some of his favorite artists. There's a little bit of that art and commerce, but also does it speak to us too? How proud are we going to be? It's not a widget. It's about doing something important. So I've been very lucky having people come to me. And then oftentimes, I'm also still trying to find a home for projects that I believe in. Sometimes it takes years, like Albert Ayler, Revelations on Elemental music. I carried that and Sister Rosetta Tharpe's tapes from her ‘66 concert in Limoges. I feel like I figuratively carried them on my back for years talking with people. And then finally, in that case, I was able to make a go of it with the folks at Elemental. It's tenacity. It's about believing and it's about not giving up the fight and doing the best job. 

ezt: talking about Elemental - that's really what we're here to talk about today - and these releases were from Record Store Day this year: Bill Evans - Further Ahead - Live In Finland 1964-1969 and of course, Art Pepper - An Afternoon in Norway: The Kongsberg Concert. They both sound great. Now, we know that, right? But the takeaway for me is when I'm listening to these, that they're live releases. I keep thinking, they don't sound like typical live albums. They sound very polished, very intimate. The audience, while they have their energy in certain places, especially in the Art Pepper recordings, they sort of know where the line is. It's almost as though they did know it was being recorded and they wanted to be a little polite when the music was happening. But these records, to me, really blur the line between live recording and studio recording. Have you heard that much from folks?

zf: Well, you know, it's interesting. I think what's come up is that there's definitely a whole mine full of live recordings. Now, talking about both of these, these were both professionally recorded. First of all, the Finnish recordings of Bill Evans were for Finnish radio and they’re broadcast quality. So they were mixed live at the time. They had microphones positioned on the musicians and the quality of these recordings is just stellar, as you can hear when you listen. In the case of the Art Pepper’s Kongsberg recording, that was taken from a soundboard mixed live as well. So we're very selective. 

It's really about finding something that also contributes a new chapter, so to speak, something that adds to the legacy. But I will share, philosophically, I think that we're in a very exciting time right now, because there has been so many reissues of a lot of certain staples in the jazz catalog repertoire of the famous labels of all time and having a lot of this stuff that's been out over and over. But there is a whole world out there of unissued recordings that can be considered for these sorts of releases. And we're in an exciting time right now, because I think over the years, some of those areas haven't been mined or cultivated as much. 

For instance, with Bill Evans, I'm working right now on production number fourteen. But this music resonates with the audience and someone like Bill Evans was giving great performances, exciting playing night after night. So it's enabled us to really open up to a whole new landscape and offer the fans of these music recordings that they have never heard before and oftentimes, something that's new to the public. And I think that that's very exciting; it's an exciting time, especially for me, I recognize and see this, what we're doing, we're in a position of being able to bring forth new recordings that folks haven't. And clearly, it provides a lot of happiness to folks, including myself, it's gratifying. But we also, like I said, we have to be very selective. 

Is a recording–I always ask–good or great? Does it welcome something new? And are there folks out there that want to hear it? And we've been able to really make a go of this and, and find a way of making the public happy, but introducing, again, stuff that folks don't have before, have never heard before. And I think that that's great. And also, there's another side of this too, which I had a part of, as you know, Evan, and that's taking recordings that may have been unofficially available before, where artists were never paid, publishing was never paid, and getting a chance to put a tuxedo on it and giving it a facelift, and making it something exciting. And Record Store Day has done an amazing job of participating in some of those releases. Oftentimes, usually, I like to say it's something that's never been out. But we're, I don't know, I just feel like there's been this sense of service to the community of jazz fans that like, were able to bring new things. So I just feel very strongly and very lucky to be here at this time doing this.

ezt: And of course, in doing that, a big part of your job must involve dealing with families and estates. I'm sure that has its challenges. You know, what is the emotional component of that process like of communicating with those stakeholders and shareholders in the music, compositionally and performative? I imagine your role is being a cultural diplomat sometimes.

zf: It is being a diplomat and being able to approach families and, you know, there's a lot of responsibility. And I always try to be very transparent with people about the process. Sometimes it feels to a lot of people that folks have to take a leap of faith and work with me. I try to explain when we go into a production, here's who I am, here's what we do, here's going to be the goal. And would you come along with us? 

And being sincere and, and being there and knowing that there's a lot of responsibility and trust that's being put forward, never to be taken for granted. Yeah, dealing with the families, that's turnkey because if something's never been out before and the family doesn't want it out, and it's like, look, if it's a reissue who you can do a license, whoever controls that catalog, that's a different scenario. But all of these archival discoveries, they're not reissues, archival discoveries like the Bill Evans in Finland you have, or the Art Pepper, that's something, that's something new. And without the families, it could all not happen easily. I'm not interested in it coming out. I've had families that have said to me, or folks who are in these roles to say “yes” or “no,” I'm not interested. I've heard it all. And you have to be respectful and you accept it and you move on. 

But you know what? Generally speaking, for the most part, it's put me in a really great role of coming in from a good place of monetizing and, and treating these artists with respect and paying people. You know, that may seem like a very simple thing, but there are releases coming out in the world right now. I'm not going to talk about the label - one in particular - which gets a lot of attention online, which even does marketing, but there are folks putting stuff out that don't pay the artists. They don't pay probably publishing and it's just atrocious. And unless you're sometimes in the know, it's really hard to differentiate. But for me, I don't want to cause any stir. I'm just very grateful to be in this lane and doing what I'm doing. And I literally don't want it to end. If I can, then hopefully I can stay in good health. Like this is, this is what I enjoy doing. My days fly by fast, Evan. Life is short, but I can tell you without question, I love my life and doing this work brings me a lot of joy. 

ezt: Back to your being a young man who started collecting jazz records, of course, at a pretty young age and tell maybe our readers who would be interested to hear your perspective about what it was like back then and how you see it now in today's world of Discogs and the reissue world. Of course, as you said, in some ways, this is a golden era of jazz appreciation and especially as much as vinyl is concerned. But what do you remember when you were young that you look at today and feel one way or the other about it?

zf: Well, I just remember–as far back as I can remember–like living in record stores, you know, and it wasn't always buying. I think I really became a hardcore record collector probably sometime in the late 90s. There were periods before that that I bought vinyl over the years. I remember before James Brown There It Is was reissued. There I was calling all the mall stores trying to find it. Then I realized, oh, I’ve got to find it on vinyl because it's not available. And having certain records on vinyl and my parents LP collection was everything to me when I was younger, there was a mixture of everything in there. There were Beatles records, there was world music, there was a lot of jazz and some classical too and I eventually inherited my mom and dad's collection. 

But I think before this period where we're in now, what really prepared me for a lot has always been living in record stores, being familiar with the artist and the catalog, the record labels they recorded for. It wasn't always with the intention of, oh, I'm going to put something out. It's always been for self enjoyment. And I travel to record stores all over the world. And I've been collecting hardcore for a long time now. And again, I have things from when I was younger, too. But really, I would say in all honesty, it really picked up steam. And also it was, you know, CDs, too, wasn't just vinyl. 

I think sometime by the late 90s, I probably had five or 6000 CDs and was swapping with friends of my network for other companies and collecting things that I wanted to listen to. But living in record stores, you know, it's just buying records is something enjoyable. And, I think about certain pressings, finding something from an artist that you really enjoy and that sense of discovery, although I will say for me, it happens sometimes a little less frequently now, because I feel like I've been exposed to so much, but I have that knowledge. 

And also along the way, especially working in the first 14 years in distribution, also being in record stores, but dealing with sales, looking and becoming familiar with which artists sold, and having that sort of an education of knowing, we used to do what we call “speed table” merchandise; promotions, it was like Tower Records back in the day, or J&R Music World in New York, or HMV–and getting a chance to really be hands on and seeing what the replenishment needed to be and what moved, it kind of like prepared just like being in stores, like there was all this knowledge that I wouldn't say through osmosis, but I just sort of rubbed off on me. 

And ultimately, it's always about personal interest. I don't want to work on stuff if I'm not interested in it. And I've actually turned work down to things that just don't speak to me, because I can't fake that. But anyways, it's an interesting perspective. And what kind of comes full circle for me now, is that the fact that the work that I'm doing, it wasn't just sales and marketing before now I'm bringing projects out that go into retail, and going to stores and seeing things that I worked on. It feels great. It's really exciting. You know, not to be taken for granted, too. It's an amazing feeling.

ezt: I'm glad you brought up J&R. My dad loved J&R. And that was one of the first record stores I used to go to. And there was plenty to look through in their CDs. And I remember they had a whole - after CDs took over - they still had an entire vinyl floor, which was crazy. I miss it very much. 

So what, what was speed tabling? What was that they would put out some titles, and you guys were just like, watch what they would buy? 

zf: It would be a three for $25 at Tower Records. And you would see, like, hey, they would need what would sell the most. It was just kind of like an education of becoming familiar with all these different artist’s catalogs. And you're in the mix of it so you're also seeing other things that are released; it's just always been an education. And I'm still learning. I don't have all the answers. That's the thing. I'm always very forthright about that, especially when talking with people. I'd be a liar if I sometimes guaranteed stuff. Sometimes we won't make our best efforts on things. I try to plug in with my methodology and other case examples and things that we've worked on. And some projects are meant to be and some aren't. 

Like right now, I'm trying to find ways of bringing projects to the marketplace. Because, I want to say Record Store Day has changed so much in allowing projects to come out that if we weren't able to guarantee, we're going to do a limited edition of a certain run, you do that vinyl run, it makes the numbers work. And without that your profit and loss analysis, I have to sit down with the financial officers at the organizations that I work with, they don't stand up. So constantly, that's why like RSD is a really big freaking deal in my world. They've allowed so much to happen. And I'm very grateful to that organization in particular. It's not to be understated. Do you like these Bill Evans and all these projects that have come out over the years? You can really tip your hat to them because it'd be very hard to bring out most of those projects. 

Otherwise, we don't have that long tail that people talk about, it can be a killer. We need to get there in a hurry sometimes and do an in and out flash promotion. It's not a flash. But, you know, I use the vinyl as the foundation for the project, along with publicity, and a CD release to and other stuff that it just makes it all about coming together. 

I just feel like it's very important when I have these opportunities to speaking with folks like yourself, and having this messaging transmitted to the public that I'm really just very, I'm accurate. And I'm just very sincere. And, I just think that the devil is in the details. These things all matter.

ezt: You say everything goes from the vinyl out, the vinyl sounds like that's really where you're recouping your production costs. And I'm sure the digital versions of these all sound fantastic, whatever I've heard in streaming, of course, they all sound great. But it is interesting to hear you say that the vinyl really is - that the Record Store Day hit - is really important to each one of these releases.

zf: Yeah, I mean, think of it like this, too. It's because of what's created. You know, I'll spare super deep details here. But it's because of that vinyl coming out that we can pay a respectable wage to the artists and having that for their participation. If we were just going to do CDs and digital and streaming, maybe we can make some of these deals work. They don't look as good to the artist. And sometimes they're just, frankly, more risky. And I think that the vinyl resurgence–God resurgence, it never went away–but the vinyl component that allows this to happen and I can't stress that enough. 

And then, you know, I get it. Some people are like, hey, you know, I'm happy with my CD. That's OK. And thank you for your support. But it's just these are complex projects that have lots of steps and they hinge on numbers. And I hate to say it, but we live and die by them when you're in business. And for instance, by the way, with Resonance Records, let me also say this to everyone: the label is a 501(c)(3) not-for-profit. It's a division of the Rising Jazz Stars Foundation, which George Klabin established years and years ago. And, you know, it's different. But you have to look at numbers. You can't be hemorrhaging. And I really hate to have to have that lens on, but unfortunately, it's just part of it. 

But look, we've been making it work. But every release doesn't just blindly come out. It's with scrutiny for good reasons so that companies don't implode and hemorrhage. And it's–I don't know–it's just amazing what I get a chance to do. And I'm just really grateful to be a part of it.

ezt: I'm glad you brought up that Resonance Records is a 501(c)(3). It's interesting to me, what made you go that route? And what are the benefits and tradeoffs of working within that structure, especially for a record label? You don't often hear about record labels set up as nonprofits.

zf: Well, I didn't set that up. That was founded by George Klabin. And it's been his vision, as he said: “Zev, we are a museum and we are preserving music and getting music out into the world.” And he sees it as a very philanthropic sort of endeavor, because that's the reality of what this is, a lot of risk. And, we have a small family that works there, too. We're a mom and pop in the true definition of the sense, it's a lot of generosity. And a lot of times George will allow projects to move forward, “Hey, you know what? It's important. I believe in this project. Let's do this,” and that's sometimes the difference. Although we all have to be very cognizant of what goes in. Otherwise, we wouldn't be around to bring out the next projects. Literally, you slip and fall sometimes. And if something doesn't perform, it can be a loss. And you want these releases to be fine tuned to do just the right amount so that they come out. Nobody gets hurt and then we can keep going. 

And that's the whole thing. It's about longevity, I think, too. I just want this model to work right now. But I get concerned because I want to find ways of, hey, maybe it's something smaller than what typically, you know, Record Store Day runs are. So we're talking about that right now. The good news is that, what's the good news? The good news is all good news. I've got a mountain of incredible, not great, but incredible music that needs to be heard. And it's because of that I have such a sense of optimism about what's coming. 

We're still making discoveries of recordings that are coming to light. I mean, just look in the last year or two, right? I point to a couple, John Coltrane: A Love Supreme, Live in Seattle on Impulse which George Klabin and I had the honor of being co-producers with Ken Drucker and Verve Label Group. We look at, for instance, what's another one that we were talking about? My God, how about McCoy Tyner and Joe Henderson: Forces of Nature on Blue Note. These were tapes sitting in Jack DeJohnette's personal archives for over 60 years. I mean, and there's stuff there, but it also involves folks like myself–and I'm not just the only one–but knowing how to properly navigate these scenarios, these situations, and finding a way of bringing the company and the rights holders together with the end game goal of connecting with an audience of folks that will just be, you know, cherishing

ezt: I'm a big Emily Remler fan, and I was stunned in a good way to see something new come out last year. Speaking of Resonance, she's an artist that I talk about all the time with fellow guitarists and jazz people, and I always felt she was unfairly overlooked. And of course, I'm here in New Jersey. She's a Jersey girl. I've got all of her stuff, which I've enjoyed for years. They're just fabulous, fabulous albums, of course. And I love the Concord releases. I thank you personally for putting that together, because even though I don't have a copy of, Cookin’ at the Queens: Live in Las Vegas (1984 & 1988), maybe you could just talk a little bit about putting that project together. And of course, it's always good to talk about Emily Remler whenever people that love jazz and records are around.

zf: Thanks, Evan. I really love Emily Remler. I love her playing. I think that she has been greatly, unfairly underappreciated for decades and decades. She has obviously a recorded output and I felt very determined when George Klabin allowed me to start doing this sort of work, like, man, it would be incredible to have something from Emily Remler and George was like, “yeah, she's really great. I like her, too.” So we were looking for stuff for the longest time. And I had an opportunity of meeting her sister, Jane Remler-Blank, who we struck up a friendship with years ago. I want to say, like, maybe six or seven years ago. Like, hey, do you have anything? It would be really great to do something. All right, I'm here if you find something. And it was nice to make that connection with her family. 

I just think that she is a really amazing guitarist. She was. And I think that it was an opportunity to do something to celebrate her, to raise the torch for her and her profile for the masses. And I also thought it was really interesting, too. Now, we found these recordings from the UNLV, from the KNPR radio archives. And there were these multiple performances that she had. And as we're listening to them, Bill Malkowski, the great author and journalist and a friend of mine, listened to them. And I put his ears on it. And there were actually finished radio broadcasts where they'd selected the tunes. And then there was all sorts of other music, we listened to it all. Bill was able to weigh in and said, this stuff is really great. 

But understand something: this project was different from any other Emily Remler project. It's the very first live recording of her discography. And there may have been some unofficial stuff, I have to look a little closer again. But this was a chance of doing something above board with the musicians, getting a chance to get the testimonials of all sorts of folks that she influenced, her musicians that played with her. And I really wanted to do that. It's really like a love letter to Emily Remler in terms of the packaging and the presentation, three LPs worth of music. Yeah, that's a big set. And stuff that was recorded for radio. So, it's sounding good. It was a chance to do something selfish that really spoke to me, something that's really incredibly meaningful. And we were able to make an addition to her discography and do something to celebrate her memory. 

And having her family's participation as well was just wonderful. Sometimes it's not always meant to be. I want to also say that George Klabin was the one that was so generous to support this and allow it to happen. And I'm incredibly grateful that it all came together. 

I will also say, sometimes with these releases, not everything is a huge commercial success. And we have ample vinyl still left or CDs available too. I would encourage anyone out there that's listening. If you haven't had a chance to check out Emily Remler at the Four Queens on Resonance Records, do yourself a favor and check it out. And the editorial in the booklet is massive. From all the people that we spoke with to Bill Malkowski's incredibly well-written liners. But yeah, it's probably one of the most meaningful that I ever had a chance to work on because she's someone that I've admired from afar for years. And I got all those same records that you do and she speaks to me and what a story. Yeah, what a story.

ezt: You've got so many labels that you're working on and with, and as you talked about earlier, you're able to subdivide them in your mind and you're working on all of them at the same time. Is there something coming down the road that you're able to talk about or maybe offer a little teaser to the audience about something that's maybe just around the corner? 

zf: There's a bunch of really exciting stuff in the works right now. I want to mention some artists' names without giving too many of the details. I want people to be excited. I'll tell you when the press release goes out and it's unveiling day, it's one of the most exciting and prideful in terms of being someone that works on these releases. But right now I'm working on previously unissued Horace Silver. You can imagine the label that that's going to be on. 

I'm working with Dorothan Kirk, the widow of the great Rahsaan Roland Kirk, on not one but two archival productions of never before heard music from two incredible venues and great performances. 

I'm working on a new Bill Evans release for this fall, which will be my 14th production with the Bill Evans Estate, which I'm incredibly proud of. I'm working on a bunch of goodies. A bunch of goodies. 

Hopefully, more Chet Baker coming, maybe Ahmad Jamal. Oh, B.B. King for this fall. Yeah, previously unissued recordings from studios. Amazing stuff. It doesn't end. I want people to feel excited though. And I would ask that if you're interested, all I do is post about work stuff anyways, but if you go to my social media at Feldman.Zev on Instagram, or you just dial me up at Zev Feldman on Facebook, or even LinkedIn, I always share about the projects that I'm working and I take great pride in the messaging and letting the public know. I really encourage people just to be out there and stay in touch with me. There's always stuff coming it seems these days, and I'm going to keep doing that as long as I'm able to.

I'm really having the time of my life and I cannot emphasize enough to anyone that's out there that's checking this out, how much your support means to me. I didn't end up here just out of the blue, it's been a long road and I'll keep fighting the good fight for all of us, for these musicians' legacies and do the best job that we can. Just know that if you see a production from me, know that all the right steps were handled and work with people to obtain those rights. 

We work really hard, not just me, but my team. On behalf of all the labels that I do, I just say, hang in there with me. I think there's more gold coming. I'm just really happy thinking about it, I'm just happy to meet you finally, Evan, I've been following your page for a long time now and you've been very generous to me to like everybody else. So I just can't thank you enough. 

ezt: Well, thank you so much. That means a lot. And I really appreciate taking the time to talk to me today. These are recordings that really deserve to be heard. And you've heard all that before, but it's certainly true. And it's exciting, as you say, you use the word exciting several times in this interview and as you know, it never gets it never gets old, right? As a customer, it's always fun to see what's coming out. And I'm sure for you, it's a real thrill to put it out into the world. 

zf: As I like to say, I say this to Zach and Lindsay and James, and I'll say it to all of you. Let's keep going. Let's keep going. Let's keep going. 

ezt: Thank you, Zev. Let's keep going.