Eldar Djangirov Rhapsodize

Eldar Djangirov
Rhapsodize
Twelve Tone Resonance, LLC

Pianist Eldar Djangirov came to this country from the former Soviet Union and soon established himself as a child prodigy, appearing on Marian McPartland's piano jazz at the age of 12, and had released two albums before he attended the University of Southern California on a full scholarship. He signed with Sony at the age of 17 and released several critically acclaimed recordings for that label. About 2011's "Three Stories," a solo piano recording, I observed, "Eldar's virtuosity and command of the classical and jazz traditions is astonishing." Listening to this recording reinforces that observation.

On "Rhapsodize," Djangirov leads a trio with Raviv Markovitz on bass and Jimmy Macbride on drums. They complement and add heat on this recording that opens with a tour de force rendition of "A Night in Tunisia." On this, Djangirov inspired playing conjures up Bud Powell crossed with Chucho Valdes with a breathtaking improvisation with him handling the breakneck tempo and tempo shifts with the preciseness of his touch, like a Gold Medal skier negotiates a shalom course. "Anthemic" is an original built upon a captivating left-hand riff for an exciting performance set against a tumultuous backing. His further showcases his ability to develop a solo over a simple motif is also displayed on "Airport." A relaxed, lyrical take on "Willow Weep For Me," provides a welcome contrast.

Other selections include the percolating bop of "Burn," a meditative interpretation of Soundgarden's "Black Hole Sun," and the startling "Variations on a Bach Prelude" where his virtuosity is on full display. The remaining selections are similarly impressive. Djangirov's extraordinary technique and musical inventiveness, along with the first-rate backing provided, result in this outstanding recording.

I received my review copy from a publicist. Here is Eldar Djangirov playing "Night in Tunisia."

Eldar Djangirov Three Stories

Eldar Djangirov
Three Stories
Masterworks Jazz

The piano virtuoso, Eldar Djangirov has a new CD, “Three Stories” (Masterworks Jazz), which is his first solo recording. The title of this recording refers not only to one of the tracks which is a three-movement composition but also that the recordings consist of his “interpretations and arrangements of predominantly three musical facets: standards, originals and classical.” So we have some original compositions, performances of Gershwin and Bach and interpretations of Sammy Cahn, Jimmy Van Heusen, Thelonious Monk, Chick Corea, and Charlie Parker, all displaying his amazing technique.

Comparisons to Art Tatum might be suggested by the marvelous playing on “I Should Care,” but even that display is exceeded by the astonishing rendition of Johann Sebastian Bach’s “Prelude in C# Major.” It is not simply the dazzling speed, but the preciseness of his playing and his touch that astonishes. On “Darn That Dream,” he uses a sparser piano attack, along with an impressionistic approach in deconstructing the melody of the standard, and followed by a rendition of Chick Corea’s “Windows” that again displays his facility as well as restraint. His background in the classical tradition is not always a positive. His rendition of “In Walked Bud” is a fascinating breakdown of the Monk classic but, to these ears, it lacks the warmth and playfulness that Monk, among others, brought to this composition.

After the title composition, he interprets Dave Matthews’ “So Damn Lucky,” with a light, skittering approach that suggests Chick Corea to this listener. His rendition of Gershwin’s “Embraceable You,” is an intriguing mix of virtuosity and wistfulness that is fascinating to listen to while his “Russian Lullaby,” builds, in an understated manner, upon folkloric elements and is quite charming. Another original, “Impromptu,” is followed by “Rhapsody on Blue” in which he has added original cadenzas for a virtuosic performance of this Gershwin classic. It is the lengthiest performance here (just under 15 minutes) and one is dazzled by the preciseness of his touch and dynamics, not simply how cleanly he executes his playing and the original elements he has incorporated here. The album concludes with a dazzling rendition of Charlie Parker’s “Donna Lee.”

Eldar’s virtuosity and command of the classical and jazz traditions is astonishing, although I suspect I am not alone in finding some his solo jazz performances to be more interesting as technical exercises, and occasionally missing the heart. Still, this is most impressive.

I received a review copy from a publicist. This review originally appeared in the May 1- June 15, 2011 Jazz & Blues Report (Issue 335). Here is a trio performance of "Donna Lee."

 

Ashley Brown Reinvigorates the American Songbook

Listening to vocalist’s Ashley Brown’s debut recording, “Speak Low” (Ghostlght Records), it struck me that she sounded like someone who should be on Broadway. Then looking at some of her press materials, I discovered that she is on a National Tour of “Mary Popkins,” after having originated the role on Broadway and winning several awards for her performance in that role. Born in Florida, she is only 28 but shows a poise and confidence in her delivery of someone with decades of experience. On “Speak Low” she sings a number of familiar favorites from the American Songbook where she is matched by some well known jazz masters including Lee Musiker, Yaron Gershovsky and Eldar Djangirov on keyboards; Lee Soloff on trumpet; Jay Leonhart on bass; and Victor Lewis and Rick Cutler on drums. Despite the jazz trappings on this, one should have no doubt that she is a classic pop and Broadway vocalist. That describes her music and is not a judgment on it.

She possesses such a lovely voice and delivers the songs in such an appealing manner, as is immediately evident listening to the opening Kurt Weill & Ogden Nash collaboration, “Speak Low,” with strings adding atmosphere to her lover’s plea. In contrast her vocal on“If I Were a Bell,” with lovely reeds added by Lawrence Feldman, is pure joy. It is hard to shake images of the movie “Casablanca,” on “As Time Goes By,” but Musiker’s arrangement contributes to the freshness of Brown’s wistful handling of this classic. A medley of “Smile”/”Make Someone Happy,” sports a crisp latin groove as Yaron Gershovsky’s piano and Victor Lewis’ drums stand out in backing her uplifting vocal. Can one get much lovelier and romantic than Brown sounds on “My Funny Valentine,” with Lew Soloff’s mellow trumpet echoing the mood. Gershovsky contributes the arrangement (and takes a short piano break) for “Saturday Night is the Loneliest Night of the Week,” on which she scats some while avoiding copying Sinatra’s classic recording. With only Eldar’s piano, she captures the doleful character of the Gershwin classic, “How Long has This Been Going On.” Vocally she waltzes on “I’ve Got the World on a String,” while on “My One and Only Love,” she romances her love without getting sugary.

It is easy to fall in love with Ashley Brown’s singing. It is refreshing to listen to a vocalist from the musical stage whose can take what seem like overly recorded songs from the American Songbook and captivate us with performances that sound like they these songs written yesterday. “Speak Low” is a superb first recording by someone who may become one of the leading singers of the classic American song in the 21st Century.

For purposes of FTC regulations, I received a review copy of this CD from Crossover Media.