© - Steven A. Cerra, copyright protected; all rights reserved.
For many years, the late Milt Jackson, affectionately known as “Bags,” was heralded as the undisputed king of the vibraphone and most vibists accorded him their highest esteem and pointed to him as a major influence.
I, too, love his playing, especially in the context of the Modern Jazz Quartet.
But I’ve always had trouble with the notion of ranking Jazz musicians, voting for them in polls and comparing them as artists. I think it’s an absolute waste of time; a meaningless exercise.
Jazz artists work very hard to establish their own approach to the music and I would imagine that, as is the case with actors, writers and painters, they have a tendency to gravitate toward those artists whose work “speaks” to them.
What, then, are the standards that one has to meet to be rated as “better” than another artist?
As Aristotle once said: “Each of us is different with regard to those things we have in common.”
And so it is with Jazz musicians in general and, for the purpose of this feature, Jazz vibraphonists in particular. Everyone imitates and emulates while trying to establish their own voice on an instrument.
Vibes are particularly challenging to play uniquely because of the limitations inherent in how the sound is produced on them.
Bags’ influence was pervasive when it came to Jazz vibes. I’ve played the instrument a bit and I recognize the truth in this assertion because I, too, found myself playing Milt’s “licks” and “phrases.” They lay so easily on the axe. You drop you hands [mallets] on the bars and out they come.
Another reason why so many vibist sound like Bags may be because he played a lot of the same “licks” [musical expressions] or phrases over and over again.
A lot of Jazz musicians do this [some call them “resting points”], but one has to be careful with repetitive phrases because employing the same licks too often can become an excuse for not thinking [in other words, not being inventive].
The expression that is sometimes used when this happens is that the musician “mailed in” the solo.
Bags was one of the “Founding Fathers” of Bebop, he toured all over the
and United States Europe with the MJQ and he made a slew of
recordings with the group, with other artists as well as under his own name.
As a result, his style of vibes had a lot of exposure.
This exposure helped make Milt Jackson instantly recognizable as a major exponent of the bebop, blues-inflected style of playing Jazz vibes.
But for my money, no one has ever played the instrument more musically than Victor Feldman.
Bags’ influence is there in Victor’s style, but Victor is his own man and takes the instrument in a completely different direction than Milt.
There isn’t the repetitiveness nor for that matter the constant bebop and blues phrases, but rather, a more pianistic and imaginative approach, one that emphasizes longer inventions and a constant flow of new melodies superimposed over the chord changes.
Victor also emphasizes rhythm differently than the dotted eighth note spacing favored by Bags. As a result, Victor, begins and ends his phrases in a more angular fashion which creates more surprises in where he is going in his solos.
The starting points and pick-ups for Victors solos vary greatly because he is not just looking for places in the music to put tried-and-tested licks, he’s actually attempting to create musical ideas that he hasn’t expressed before.
Is what Victor is doing “better” than Bags? Of course not. Is it different? Is it ever.
Fresh and adventurous. And exhilarating, too.
Jazz improvisation is the ultimate creative experience.
One doesn’t need any awards. You just can’t wait for the next time you solo so you can try soaring again.
To help give you the “flavor” of Victor Feldman’s marvelous creative powers as a Jazz vibist, we’ve stripped things down to their bare essentials with an audio-only track that I think features him at his imaginative best.
No more words; no photographs or moving images; just the music.
This track has him performing his original composition Too Blue with Rick Laird on bass and Ronnie Stephenson on drums from his triumphant 1965 return to Ronnie Scott’s Club in his hometown of
[Jazz Archives JACD-053]. London
It runs a little over 8 minutes. You can hear the statement of the 12-bar blues theme from 0.00-0.22 minutes and again from 0.23-0.45 minutes. Each 12-bar theme closes with a bass “tag.”
Victor and Rick hook-up for a call-and-response interlude between 0:46-1:10 minutes before Victor launches into his first improvised chorus at minutes.
He improvises seven choruses from minutes before bassist Rick Laird takes four choruses from minutes.
None of Victor’s choruses contains a repeated phrase or a recognizable Milt Jackson lick [phrase].
When Victor comes-back-in [resumes playing] at 5:46 minutes following Rick’s bass solo, if you listen carefully you can hear him using two mallets in his left hand to play 4-beats-to-the-bar intervals while soloing against this with the two mallets held in his right-hand.
He even throws in the equivalent of a big band-like “shout” chorus while trading fills with drummer Ronnie Stephenson beginning at 6:56 minutes.
The closing statement of the theme can be heard at minutes ending with an “Amen” at minutes.
When listening to Victor Feldman play Jazz on the vibraphone, one is hearing a true innovator at work. For him, making the next improvised chorus as original and as musically satisfying as possible was always the ultimate goal.
It’s a shame that Jazz fans are not more familiar with his work on vibes. Having heard it on a regular basis for over twenty-five years, I can attest to the fact that it was something special. The only thing that Victor Feldman ever mailed in was a letter.