Disc #1
1. In Search of a Standard
2. Waltz-Standard
3. A Night in Tunisia
4. Lullaby for Coltrane
5. Poet [Netsuke]
6. Sarabanda
7. Street Organ
8. Waltz
9. Blues in C-Major
10. Totem
11. Three Dances: Dance 1/Dance 2/Dance 3
12. Advance to the Past

Disc #2
1. Matinee (Solo Piano)
2. Vernissage (Solo Piano)
3. Meditation at the Piano (Solo Piano)
4. Maple Leaf Rag
5. Second Siberian Concert [Full Version]
6. Popular Zoological Elements, Pt. 2

Disc #3
1. C Jam Blues
2. Ain't Misbehavin'
3. Michelle
4. Invocation of Spirit
5. Sheptalki
6. Wind Blows into the Ears of a Stone Stallion
7. Intrusion

Disc #4
1. Lines of Destiny [Short Version]
2. Macbeth
3. Lines of Destiny [Full Version]
4. Delusion

Volume 1, снабженный компетентной аннотацией Александра Кана — человека андерграунда 70—80-х, включает известные вещи главной фигуры джаз-рокового подполья Сергея Курехина, вокалистки Валентины Пономаревой, композитора, саксофониста и кларнетиста Анатолия Вапирова, а также совершенно неизвестную программу «Ленинградского дуэта» (Вячеслав Гайворонский — Владимир Волков). Эта последняя, пожалуй, самое ценное приобретение из всех четырех дисков. Как бы «дневник писателя», из которого вырастают такие масштабные произведения, как «Аванс прошлому» и «Путешествия Янки Дудль».

Впрочем, поклонники культового Курехина наверняка со мной не согласятся и самым ценным в первом томе сочтут его впервые опубликованный «Второй сибирский концерт» 1984 года, где пела та же Пономарева. Из вокальных экзерсисов самой Валентины Пономаревой испытание временем выдерживают, в первую очередь, удививительно пластичные, скорее сыгранные, чем спетые, «Шепталки» — малоизвестная в академических кругах электронно-театрализованная композиция Софии Губайдулиной. Между прочим, в аннотации к диску Пономаревой допущена фактическая ошибка: сказано, что певица всю жизнь живет в Москве, хотя на самом деле мало кому известная солистка Тульского джаз-оркестра Пономарева впервые появилась в столице в конце 60-х, когда ей было уже под тридцать!

Интереснейшие симфоджазовые композиции Анатолия Вапирова (ныне директора джаз-фестиваля на своей исторической родине — в Варне, Болгария), исполняемые при участии всех выше перечисленных музыкантов, перенесены на компакт-диск, увы, без должной подготовки: их сложная программная фактура звучит невнятно и вдобавок почему-то очень глухо.

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Golden Years of the Soviet New Jazz, Vol. 1 is the first quarter of an ambitious 16-CD series chronicling creative music under the communist regime. Leo Feigin (Leo Records, of which Golden Years of New Jazz is an imprint) has produced similar, although less extensive, collections in the past, all out of print. This new set does not reissue material from those collector's items; it draws from previously unreleased material and long out-of-print LPs released in Leo Records' early days. This first four-CD set contains over four and a half hours of music. Disc one is the only one to feature nothing but unreleased recordings, 1985 and 1986 studio material from trumpeter Vyacheslav Guyvoronsky and bassist Vladimir Volkov. "Street Organ" is worth the disc alone. The second serving features pianist Sergey Kuryokhin, mainly solo. Material from the long-deleted LPs Sentenced to Silence and Popular Zoological Elements complete the unreleased 22-minute quartet performance "Second Siberian Concert." Vocalist Valentina Ponomareva is at the center of disc three. An obscure recording of Ellington's "C-Jam Blues" opens the set, but the best material comes from her two LPs Fortune Teller and Intrusion, including her creative interpretation of the Beatles' "Michelle" and the superb "Sheptalki," recorded with a symphony orchestra. The disc devoted to Anatoly Vapirov contains the 18-minute "Lines of Destiny" (from De Profundis) and the complete Macbeth, an ambitious (if not a little pompous) piece for saxophone and chamber orchestra. A 32-page booklet provides historical information. This music is the reason why Feigin started a record label in the 1980s. He put all the care he is known for in this set. Old collectors still attached to their vinyl may find it redundant, but everyone else interested in the development of Soviet avant-garde jazz will value it as the must-have treasure it truly is. Edition limited to 500 copies.

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