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Stereoplay, Die Audiophile

String soloists in classical music can have such a big sound that it’s a shame so few of them play jazz with the right rhythmic feeling. The violinist Mark Feldman is one of the big exceptions. Best known as an improviser, he has classical music in his background, and in What Exit he establishes a midcareer high with a great band… Mixing classical technique with stretched-out, space-filled improvisation, he lets his compositions breathe deeply.
Ben Ratliff, The New York Times

Feldman’s What Exit is art music of the highest order. A violinist of astounding virtuosity, Feldman has rightly been called “the Heifetz of our generation”. … Feldman dives headlong into a new classical aesthetic on the stunning 23-minute “arcade”, a work of breathtaking beauty that travels from turbulent minimalism to mournful fragility. On that chamber-like opus and other pieces like the darkly introspective “Cadence,” the spacious “Elegy”, and tango-flavored “Maria Nuñez,” Feldman arrives at an organic integration of classical and modern jazz. An inveterate swinger, the violinist also reveals his sizzling jazz chops on the quirky, free-bop romp “Ink Pin” and the surging title track, which contains a swinging, walking bass section that Feldman wails over with conviction.
Bill Milkowski, The Absolute Sound

Sometimes spiky and at others impressionistic, often atonal yet in places unashamedly melodic, the music of What Exit is shaped to a large degree by the characters involved in its making. …
Feldman’s tone is as pure as the best of them, and by the time we reach the beautiful “Elegy” I was well and truly under his spell. “Cadence” is the disc’s most instant hit, with its simple melody and tender Taylor vamp, whilst the title track makes for an appropriate parting shot, condensing Feldman’s stylistic kaleidoscope into a handy bite-sized chunk. What Exit offers an impressive summary of Feldman’s often overlooked talents, and I hope that he now receives wider recognition on the back of it. Strongly recommended.
Fred Grand, Jazzreview

Der New Yorker Geiger ist einer der besten Instrumentalisten seines Fachs und ein Meister der Dramaturgie. Sein Quartett-Album hat alles, was Audiophile begeistert: grandiose Musik, hervorragendes Zusammenspiel und einen Studiosound zum Niederknien.
Ralf Dombrowski, Stereoplay

Nichts scheint hier unmöglich im gemeinsamen Auskundschaften. Feldman kann von Bachs Chaconne ebenso inspiriert sein wie von indischen Ragas, das alles gemischt mit abstrakten Ansätzen. Natürlich kennt Feldman die Grapellis dieser Welt – aber sein Violin-Ansatz ist kein spaßbetonter, auch kein zigeunerhaft gefärbter. Feldman will auch kein Jazz-Paganini sein – bei aller Virtuosität ist er dem jiddischen Fildler in seiner Sanglichkeit näher. Ein melancholischer Sänger ist er allemal.
Tilman Urbach, Fono Forum

Zunächst ist Mark Feldman ein exzellenter Instrumentalist mit einem eigenen Sound, einer virtuosen Technik, mit einer expressiven Sonorität und einer Vorliebe für Bratschenlagen. Kein E-Saiten-Fetischist also. Dann ist er ein außergewöhnlich vielseitiger Komponist. ... In der Balance von kompositorischer Intelligenz und improvisatorischer Lockerheit ist das alles schwer zu übertreffen – alles eine, Feldmans sehr eigene Musik. Integration eben statt Crossover.
Peter Rüedi, Weltwoche

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