At first glance, it might be surprising that a pianist born in the Soviet Republic of Ukraine, who went through the classical Russian school of pianists, should compose exclusively in the idiom of jazz. But jazz was more prevalent in the Soviet Union that might be supposed. Already in the 1930s, Oleg Ludstrem began appearing with his Big Band touring in the UDSSR. Later, Nikolai Kapustin worked for many years in this orchestra as a pianist and arranger. ‘What interests me most is the fusion between classical music and jazz, and between the classical form and the jazz idiom. Here, the classical portion has more weight for me. The jazz style is merely color.’ (Nikolai Kapustin).
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REVIEW:
The alto sax-cello duo is the one work on this album written for a saxophone, and happily cellist Peter Bruns seems to have some experience in playing jazz time, because he plays his instrument almost like a jazz bass (or at least like a jazz cello, reminding me of Oscar Pettiford and Fred Katz). It’s a wonderfully imaginative piece, too, in which the alto sax plays almost continuous eighth-note figures while the cello prods him rhythmically, and occasionally our saxist, Christoph Enzel, puts some grit in his tone which helps to bring out the jazz connection very well. The second movement in particular (“Sonatina—Animato”) brings out some pretty nifty counterpoint while still having at least a foothold in jazz time.
In toto, then, an interesting album with good music from start to finish and some really good performances of it.
