Цена: 700 р. |
Издательство: Rainy Days Records, 2020 Вес: 60 г.
Подарочное издание, четырёхполосный диджипак.
1. Zoo
2. Happy Hippo
3. Post-Wild
4. New Anthill
5. Dragonflysis
6. The Death Of The Last Dinosaur
Evgeny Sivtsov — piano
Dan Chmielinski — bass
Shawn Baltazor — drums
All compositions are written by Evgeny Sivtsov
Recorded by Tom Tedesco at Tedesco Studios on November 15, 2017
Mixing idea by Kamilo Kratc at Soundworks Recording Studio, Queens, NY
Mixed & mastered by Alexander Perfilyev at Major Studio, Moscow
Produced by Evgeny Sivtsov and Sasha Mashin
Executive Producer — Eugene Petrushanskiy
Package design by Dimitri Komedea (271dsgn)
Cover & liner photography by Sasha Mashin
Леонид Аускерн, Джаз Квадрат.
Новый релиз петербургского лейбла Rainy Day Records представляет альбом московского пианиста и композитора Евгения Сивцова под названием Zoo. Впрочем, на момент записи этого альбома (2017 год), Евгений мог считаться нью-йоркским музыкантом и этот проект он осуществлял при поддержке своих американских коллег — басиста Дэна Шмелински и ударника Шона Балтазора. Коренной москвич, Евгений Сивцов окончил Академию музыки им. Гнесиных, где его основным педагогом был Игорь Бриль, а позднее продолжил свое образование в Нидерландах. Еще в студенческие годы Сивцов начал выступать с JVL Big Band Виктора Лившица, а впоследствии играл с ведущими российскими мастерами джаза – Анатолием Кроллом, Игорем Бутманом, Георгием Гараняном, Германом Лукьяновым, завоевывал призы на престижных конкурсах в Москве и Амстердаме, а в 2009 году перебрался в Нью-Йорк, где провел почти десять лет. Там он занимался самой разной музыкой, руководил, в частности, хором православного собора Св.Николая на Манхэттене, но и, конечно, играл со многими видными представителями джазовой сцены Большого Яблока. Венцом американского этапа его жизни и стала запись Zoo, сделанная незадолго до возвращения Сивцова в Москву. Сама же запись, как уже было сказано выше, превратилась в альбом под логотипом питерского лейбла.
В Zoo вошло шесть авторских композиций Сивцова. По словам Евгения, он старался придать свой, особенный облик каждой из композиций, но при этом сыграть иначе, чем большинство современных музыкантов. Что ж, прослушав альбом, думаю, что своей цели он достиг. Все композиции не похожи друг на друга, в каждой своя «изюминка», и, возможно, именно это не позволяет как-то однозначно определить стилистику музыки Сивцова. Его шесть пьес – это словно прогулка по страницам джазовой истории, в ходе которой можно обнаружить и тонкий лиризм Билла Эванса, и непосредственность ранних джазовых пианистов, и мощную энергетику Оскара Питерсона, и головокружительную парадоксальность а-ля Телониус Монк. И все это разнообразие «музыкальный хамелеон» Евгений Сивцов строит на прочном фундаменте, где солидная академическая школа игры сочетается с истинно джазовой креативностью. Нередко, например, в такой пьесе, как Happy Hippo, Евгений начинает композицию с простенькой темы, которая, по мере развития, претерпевает интереснейшие метаморфозы, чтобы к финалу вернуться на круги своя или превратиться в бравурный марш, как в New Anthill.
От начала и до конца слушаешь Zoo с неослабевающим интересом. Этот альбом – как горная дорога, где за каждым поворотом возникают все новые и новые, но неизменно захватывающие пейзажи. Повторюсь, я не знаю, как определить стилистику музыки Сивцова, а потому спрячусь за размытым понятием «современный мэйнстрим», но в одном, по крайней мере, для себя, я уверен: с альбомом Zoo в моей персональной табели о рангах Евгений Сивцов стремительно врывается в ряды самых интересных пианистов современного российского джаза.
Recorded in 2017 towards the end of Sivtsov’s nine-year residence in New York City, Zoo comprises six original compositions, each postulating an individualistic sound world, experimental yet grounded, sardonic yet tender. Showcasing the leader’s fluent pianism, the recording displays Sivtsov’s clear vision for this trio project — one that is informed by comprehensive immersion in vocabulary refracted from the European classical canon and the most consequential figures of 20th century jazz piano. The pianist is thrilled to be joined by bassist Dan Chmielinski and drummer Shawn Baltazor.
“I tried to make each composition different from the others,” says Sivtsov. “But I also tried to include something that others don’t play, make them different than what we usually hear from other musicians at this time.”
The title track — the album’s oldest composition — exemplifies this compositional approach and springboards off an Ornette Coleman-meets-Thelonious Monk refrain, spurring a linear piano solo that may remind aficionados of Monk crossed with Paul Bley. The conceptual influence is Ornette Coleman’s 1960 avant-garde signpost Free Jazz. The album progresses with “Happy Hippo” — a tune with an opening section evocative of a cross between Fats Waller and Dave Brubeck. Sivtsov describes it as a “rhythmically simple pattern that progresses to different keys and has some leaps to unexpected notes.” For the anthemic “Post-Wild,” Sivtsov thought of “a medium swing where the bass player would never switch to the walking line but would play ‘in 2’ for the whole time — a feel you can find on many of John Coltrane’s early 1960s records.”
The impressionistic “New Anthill,” evokes flavors of Schumann and Profkofiev in the opening section, while Sivtsov’s own blues-tinged solo meshes, completely in his own argot, the worlds of Herbie Hancock and Bill Evans. On “Dragonfliesis”, Sivtsov displays his command of bebop, uncorking long, flowing lines on a melody that references elements from the world of Thelonious Monk.
The album ends with “The Death of the Last Dinosaur,” which opens as a ballad containing surprising intervals in the melody; as Sivtsov proceeds with a melodic solo, the time feel gradually transitions to double-time medium swing propelled by Chmielinski’s supple walking bass line, which morphs into a solo deploying parallel fourths or fifths in the manner of Coltrane’s bassist Jimmy Garrison. On each of the album’s tunes, it’s evident that both Chmielinski and Baltazor have risen to every challenge set by the bandleader, fulfilling Sivtsov’s intentions to perfection.
In 2009, Sivtsov — feeling both the need for a challenge and the desire for opportunity — relocated to New York City. During the ensuing decade, Sivtsov taught privately, wrote charts on commission, led gigs and performed the sideman function at various New York venues, and took a position directing the choir at the St. Nicholas Russian Orthodox Cathedral in Manhattan. “I learned a lot from the musicians in New York,” he says. “It’s their professionalism, approach and attitude to playing jazz — preparing for gigs, organizing gigs, making rehearsals. Russian musicians think in a totally different way. For them, jazz music is something unusual, unfamiliar, not natural. For most New York musicians, jazz means playing known music, while for many Russian jazz musicians their professional level is determined by the unpopularity of the tunes they play. In Russia, many musicians specialize in a particular jazz style; in New York, you must be able to play everything.”
That New York attitude is apparent throughout Zoo, which Sivtsov initially planned to self-release in the U.S. But after the U.S. immigration services refused to extend his working visa, he returned to Moscow. “I realized I’m staying in Russia for a while,” he says. He decided to ask drummer Sasha Mashin, an old friend, to bring the album to Rainy Days, which jumped at the opportunity to issue this remarkable album.
“Now in Moscow I have more gigs than I had in New York,” Sivtsov says. “After ten years not living here, I can see that everything in the Moscow jazz community has changed in a good way. We have more and more venues, more great musicians — now I don’t have this feeling of touching the ceiling with my head.”
More about Evgeny Sivtsov
Born in 1987, Sivtsov began performing at 13, first with the jazz ensemble of the Dunaevsky Music School, and then on paid gigs. By 15, he was functioning as a leader and as a sideman at various Moscow jazz clubs and private functions. His primary mentor was the prominent Russian pianist Evgeny Grechishchev, who “taught us some basics and formed in us good taste.” Meanwhile, Sivtsov enrolled at Moscow’s prestigious Gnessin Academy of Music, where he studied with Moscow’s leading jazz piano professor, Igor Bril. As a student, Sivtsov played in the Victor Livshits JVL Big Band, whose repertoire included charts by the formidable arranger Vitaly Dolgov, and formed the Double Drums Band (featuring five horns, piano, bass, and two drum sets) as an entity for his compositional proclivities. He also studied at Prince Claus Conservatory in Groningen, the Netherlands.
Sivtsov has collaborated with leading Russian jazz musicians like Anatoly Kroll, Georgy Garanian, Herman Lukyanov, Sasha Mashin, Igor Butman, Larissa Dolina, and others. He’s also had the pleasure of working with Rosario Giuliani, Dan Barnett, Lew Soloff, and Bobby Watson during their Russian or Ukrainian tours. While living in New York, he played with many prominent musicians including Tom Tallish, Quincy Davis, Ned Goold, Alex Sipiagin and Boris Kozlov. He has performed at many prestigious festivals, such as Lionel Hampton Jazz Festival, Idaho, and Jazz Jamboree Festival, Warsaw, Poland. To add to his prestige, Sivtsov was the 2006 winner of Moscow’s IV Piano In Jazz competition, and the 3rd prize winner of Amsterdam’s YPF Jazz Piano competition in 2009. In 2008, with his DoubleDrumsBand, a nonet with 2 drum sets and 5 horns, he performed a concert series of his original music which was highly acclaimed by Russian jazz critics and the jazz community. The selections from this program were recorded and aired across the US by the Voice Of Russia radio station
Авторы:
 Дополнительные изображения
|
Оставьте отзыв об издании
| |
Рекомендации:
|
