Jazz 'n' Russia

Leonid Soybelman - guitars, vocals, viola
Vadim Veeremaa - trumpet, alto, vocal
Ilya Komarov - bass
Oleg Davidovitch - guitar, trombone, vocal
Vitaly Redchits - drums, percussion
Victor Bitlovsky - vocal, objects

Recorded May 31, 2000
Time 49:53
Dmitri Kolesnik, bass
Alex Sipiagin, trumphet and flugelhorn
Eric Alexander, tenor sax
Andrei Kondakov, piano
Lenny White, drums
Russian bassist Dmitri Kolesnik’s debut CD as a bandleader, Blues for Dad, shows signs of a rising talent. With over half of the compositions written by Kolesnik, it’s clear the bassist has a gift for melodies (even if, in one case, he borrowed one from a legend) and humility (Kolesnik only solos on one song). The album’s first track, Blues for Dad, features wonderful playing by all, with highlights including a friendly duel of horns between Sipiagin and Alexander and a percussive bass solo from Kolesnik. The first thing you notice about the album’s second track, Home, is that its chorus has been stolen from Coltrane’s A Love Supreme. Since I can’t imagine Kolesnik would deny the similarities, I can only assume the theft is a tribute to Coltrane and a recognition of his influence.
Waltz for B.E. is a tribute to Bill Evans and it has some of the same grace and style found in Evans’ compositions. Kondakov’s piano playing on the track wonderfully sustains the contemplative mood of the track, until Sipiagin and Alexander’s solos go too big and ruin the tone set by the piano, bass, and drums. White Nights, Gray Days is a gorgeous ballad, with great interplay between piano and flugelhorn that creates a sweetly sad tone. Similiar to Waltz for B.E., this tone is broken by Alexander’s sax solo, but since the song’s tempo adjusts, the shift feels more natural. Blues for Dad may be a bit too beholden to its influences (Evans, Coltrane, Miles Davis), but it’s proof that Kolesnik has the right instincts. On White Nights, Gray Days especially, Kolesnik exhibits a gift for capturing a mood with the right melody and the right level of restraint.
1 Blues for Dad Kolesnik 6:16
2 Home Kolesnik 9:11
3 Waltz for B. E. Kolesnik 7:45
4 New York Wind Kondakov 11:37
5 White Nights, Gray Days Kolesnik 7:33
6 Giving Rise to Doubt Kolesnik 7:28
2001 CD Boheme Music 81207
To create instrumental music that tells a story takes a special love of the story. Bassist, Dmitri Kolesnik mostly succeeds in that effort with his new CD, Blues for Dad.
This CD is a thank-you from a son to a father. Kolesnik grew up in Saint Petersburg, formally Leningrad, where before perestroika his father, an amateur pianist with a passion for American Jazz, enjoyed listening to the black-market tapes secreted into the Soviet Union from the West.
Every night young Dmitri fell asleep to a precious tape of Oscar Peterson. This was the one Jazz album the father owned. Later, his father brought Dmitri, now a teenager, a guitar and taught him Jazz theory. They developed a musical partnership playing and listening to Jazz. When Kolesnik came to America to pursue studies as a Jazz bassist, he never forgot the musical gift his father gave him. To show his gratitude he composed the music for this album.
Kolesnik composes with swinging rhythms and enticing harmonies that create a tight musical structure. His compositions are lyrical, sweeping, and dramatic. The music is immediate. They have melodies that could be sung. He also has an ear for big-band music, and one can hear this in his two of his compositions, "Home" and "Giving Rise to Doubt."
Blues for Dad works as a whole because Kolesnik wisely chose musicians who were able to make his vision a reality, especially the exquisite rhythms of drummer Lenny White. A longtime presence on the Jazz scene, White is under appreciated as a percussionist and drummer of the first order. His originality comes through in his precise, often understated shadings of the melody line and his marvelous choice of tempos. His delicate and precise fills are enchanting, especially in Andrei Kondakov's composition, "New York Wind."
Trumpeter and flugelhornist Alex Sipiagin has an alluring, elastic tone. At times he plays so lovely it causes the listener to want to place an ear as close as possible to the speaker.
Eric Alexander is the tenor man on this CD. The hip, Dexter Gordon solo he gives in "Giving Rise to Doubt" is energetic and fresh. He gives, Blues for Dad a dark and sexy blues edge.
Pianist Andrei Kondakov, who is the CD's coproducer, lays out delicate and thoughtful lines evoking a Bill Evans feeling.
The album opens up with, "Blues for Dad," Kolesnik's least complex but certainly most heartfelt composition. Here one can listen to the first conversation between father and son. It's hip, boisterous, and colorful with a slight call-and-response cadence. There is a joyful merriment between the sax and trumpet. By the end of the piece everyone seems to be having a good time.
On the opposite end is the refined composition, "White Nights, Gray Days." The voicing is elegant. There is gorgeous interplay between rhythm and harmony. This sweet song could lull a baby to sleep.
One hears the gratitude Kolesnik feels for his father for passing on to him the gift of Jazz. He is able to do what most artists strive to do-touch us with the integrity of his story. He has the ability to make his feelings known by passing on to us his father's legacy.
--Ayana Lowe and George Chieffet

Personnel: Arkady Shilkloper (French horn, alpine horn); Allegre Correa (vocals, guitar, percussion); Klaus Dickbauer (clarinet); Georg Breinschmid (bass); Endrigo Bettega (drums, percussion).
Producers: Heinrich Schlafer, Andreas Rathammer.
Recorded at Hey-U-Studios, Vienna, Austria on January 15-21, 2001.

Alex Sipiagin Quintet
Hindsight
Total Time: 73:07
Recorded May 23, 2001 in Brooklyn, NY, USA by Max Bolleman
Alex Sipiagin (Tp /Flh)
Chris Potter (Ts)
Adam Rogers (G)
Boris Kozlov (B)
Gene Jackson (Ds)
Again another impressive session from the Russian trumpet player (and New Yorker since 1991) Alex Sipiagin.
His highly interesting compositions and arrangements are played by a group of top-notch New York jazz musicians, tenor saxist Chris Potter, rising guitar great Adam Rogers, fellow Russian bassist Boris Kozlov, and the formidable Herbie Hancock associate, Gene Jackson on drums
1.Very Early I (Bill Evans)
2.Hindsight (Alex Sipiagin)
3.Reincarnation Of A Lovebird (Charles Mingus)
4.Linear Passage (Alex Sipiagin)
5.Second Shot (Alex Sipiagin)
6.Light Blue (Thelonious Monk)
7.Upstream (Alex Sipiagin)
8.Very Early II (Bill Evans)
2002 Criss Cross Jazz 1220 CD

Recorded at Sony Music Studios, Santa Monica, California in October 2001.
Eugene Maslov (piano)
Pete Christlieb (tenor saxophone)
Boris Kozlov (bass)
Vinnie Colaiuta (drums)
Joe LaBarbera (drums).
Hubert Laws (flute) on track 3
It was exposure to Oscar Peterson that turned classically trained pianist Eugene Maslov into a jazzman, and that influence is revealed in the Russian born musician's often decorative style. On The Fuse Is Lit, his third album for Mack Avenue Records, he demonstrates mastery of the classic piano trio, larger combo and solo settings, offering six original compositions and three well crafted covers.
Bassist Boris Kaslov is on all but the closing track, which features Maslov alone, and drum tasks are shared by Vinnie Colaiuta and Joe LaBarbera. Notable guest appearances are made by flautist Herbert Laws and saxophonist Pete Christlieb, and Maslov's ability to attact collaborators of that caliber are a testament to his rising esteem in the jazz world.
As impressive as his work is throughout, his performance with the quintet on the original "Guru" and his solo interpretation of the standard "One For My Baby (And One More For The Road)" are the standout tracks to my ears. Those aren't preferences I'd argue too strongly for, though, because there's not a cut here that I wouldn't happily hear again and again.
1. To My Teacher/To My Friend
2. Dream Of Dreams
3. Sometime, Sometime, Somehow
4. Guru
5. Witch, The (Baba-Yaga)
6. Django
7. Masquerade Is Over, The
8. Entente
9. One For My Baby (And One More For The Road)
2002 Mack Avenue Records 31006
"The Fuse Is Lit" is a fiery collection of Maslov compositions and interpretation of three standards, anchored by the trio of Maslov on piano, fellow Russian Boris Koslov (of Mingus Band fame) on bass and Vinnie Colaiuta on drums. Virtuosity, immense talent, uniqueness and individuality, only begin to describe Eugene's brilliant artistry.

Russian bassist/composer Dmitri Kolesnik is a promising talent who is well-versed in both hard bop and post-bop. His second CD as a leader reunites him with the musicians on his first CD (tenor saxophonist Eric Alexander, trumpeter/flugelhornist Alex Sipiagin, pianist Andrei Kondakov and drummer Lenny White), while adding trumpeter/flugehornist Jim Rotondi, a frequent collaborator with Alexander on various New York sessions. His jaunty, somewhat jagged "In Monk's Mood" salutes Thelonious Monk and is full of great solos by the band. "Bitter Chocolate" is lush ballad with a bittersweet air, highlighted by Kondakov's poignant introduction and the heartfelt unison line of Sipiagin (on flugelhorn) and Alexander, with the leader taking a powerful chorus as well. Kondakov contributed two originals, including the driving, turbulent "Song for Kenny," in honor of the late pianist Kenny Kirkland and "Goodbye," a snappy, infectious post-bop vehicle. It's clear that a good time was had by everyone in the studio and a similar experience awaits the listener. --Ken Dryden,AMG
Recorded May 2006
Dmitri Kolesnik Bass
Eric Alexander Tenor Sax
Jim Rotondi Trumpet,Flugelhorn
Alex Sipiagin Trumpet,Flugelhorn
Andrei Kondakov Piano
Lenny White Drums
`Five Corners' is a result of a project that started six years ago when New York bassist Dmitri Kolesnik invited tenor saxophonist Eric Alexander, trumpeter Alex Sipiagin, pianist Andrei Kondakov and drummer Lenny White to record his music. The musicians clicked instantly, and were so comfortable playing Kolesnik's compositions that all the tracks recorded for their first CD were first takes, alive with freshness and feeling. For their second recording, the outstanding personnel of the first remains the same, but with one addition: the trumpeter Jim Rotondi, who has been Eric Alexander's regular partner in many different line-ups. Along with Sipiagin, the three front-line musicians are among most sought-after players in New York. At the heart of the group, Lenny White brings his unique energy and style to the music. Kolesnik, who moved to the US from his native Russia in 1991 to study with Ron Carter, has composed eight of the ten tracks in his accomplished hard bop style. The remaining two tracks are by his friend and collaborator, pianist Andrei Kondakov, who is a famous Russian musician who often appears on the New York jazz scene.
01 Five Corners (4:30)
02 In Monk's Mood (9:41)
03 Bitter Chocolate (6:01)
04 Blues for Dad (7:45)
05 Masha's Lullaby (6:05)
06 Long Nights Without You (6:12)
07 Song for Kenny (5:42)
08 Aniuta (4:30)
09 Goodbye (6:59)
10 Russian Caravan (5:36)
2007 Challenge CR 73256

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Mikhail Alperin - piano & keyboards
Arkady Shilkloper - French horn
Sergey Starostin - vocals & percussion
+ Folk choir "Russkaja Pesnja"

Multicultural fusion of jazz and folk, east and west, tradition and contemporary. An impressive combination between Jazz and russian-moldavian-hungarian folk elements, with guests - a russian folk ensemble.

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The contents of this disc was born gradually, too, in the course of 2002- 2003, but found its ripeness during 2005. I feel that it was literally born, that is, gave birth to itself. My part of it was that of the midwife, consisting of patiently waiting out the pains of labor - and the waiting proved rather lengthy.
In our present program, there is practically not one single traditional song - the lyrics are written by Sergey Starostin, and the compositions by myself.

The reason why our trio performed so seldom throughout the years 2003-2005 had to do with my period of serious illness. God sent me suffering that proved to be a good education for me. In the course of those two years, I began seeing life as not only a series of breaks between concerts and stints of creative composition, but also as a colorful festival with many unexpected events, where pain and discomfort are included as necessary elements for the sake of contrast. During those two years without the trio, we kept longing for each other. Perhaps that is why this particular repertory is so dear to us. Thank God we’re together again! In 2006, the sum of our years taken together will amount to a 150th birthday. At such an age I think it is only appropriate to call our work “Instead of Making Children”.

~ Oslo, October 20th, 2005, Misha Alperin
Translated from Russian by Isak Rogde


P.S. The title of the last track should read "Children's Song".

APE

Leo Records (CD LR 175)

Tracklist:

1. GOTANDA U-PORT HALL I - 10'58
(V. Ponomareva/V. Chekasin/B. Laswell/V. Tarasov/K. Umezu)
2. GOTANDA U-PORT HALL II - 5'26
(V. Ponomareva/H. Miyake/Y. Takahashi)
3. GOTANDA U-PORT HALL III - 8'13
(V. Ponomareva/A. Takahashi)
4. KOSEINENKIN HALL I - 21'42
(V. Ponomareva/V. Chekasin/S. Kuryokhin/V. Tarasov)
5. KOSEINENKIN HALL II - 8'40
(V. Ponomareva/J. Zorn)
6. ROPPONGI PIT INN - 8'55
(V. Ponomareva/K. Umezu)

Performers:

USSR

SERGEY KURYOKHIN (piano, synth)
VLADIMIR CHEKASIN (reeds)
VLADIMIR TARASOV (drums)

USA

JOHN ZORN (reeds)
BILL LASWELL (b)

JAPAN

YUJI TAKAHASHI (synth)
AYUO TAKAHASHI (g)
HARUNA MIYAKE (piano)
KAZUTOKI UMEZU (reeds)

FLAC

Ralph Towner - Synthesizer, Guitar, Piano, 12-string Guitar
Glen Moore - Acoustic Bass
Paul McCandless - Bass Clarinet, English Horn, Oboe, Soprano Saxophone
Mark Walker - Percussion, Drums

Moscow Tchaikovsky Symphony Orchestra

The Moscow double-album is brilliantly conceived and executed. McCandless'
compositions “Round Robin” and “All That Mornings Will Bring” sound as if they were
written for this kind of expanded palette. Towner's “The Templars” (once again a
visit to the medieval) is magnificent, spacious and emerges with great pomp and
circumstance at the hands of quartet and orchestra. Moore's “Arianna” is completely
reborn at the hands of the musicians of the quartet and the orchestra. “Icarus”,
Towner's classic piece, which made its debut performance with the Paul Winter
Consort and the symphonic orchestra at Indianapolis in 1970 comes alive with myth
and legend, tone, texture and melted wax, here on Moscow. “Spirit's Of Another
Sort”, “Anthem” (from Towner's solo album of the same name), “Firebat” and
“Zephyr” are newly recast gems, but the album also belongs to “Free-form Piece For
Orchestra and Improvisers”.