Dmitry Baevsky - The Composers

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 53:07
Size: 122,9 MB
Art: Front


(6:30) 1. Ojos de Rojo
(6:12) 2. Gaslight
(5:52) 3. Mister Chairman
(5:29) 4. To Whom it May Concern
(7:37) 5. Self Portrait (of the Bean)
(6:15) 6. Swift As the Wind
(4:17) 7. Smoke Signal
(6:02) 8. Three Wishes
(4:49) 9. Tears Inside

Personnel: Dmitry Baevsky: alto saxophone; Peter Bernstein: guitar; David Hazeltine: piano; John Webber: bass; Jason Brown: drums.

The Composers

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New York Blue Note Quintet - A Weekend At Le Vauban Feat. Joe Magnarelli

Styles: Jazz, Post Bop
Year: 2021
File: MP3@320K/s
Time: 71:14
Size: 168,0 MB
Art: Front

( 9:23) 1. 81 Points
( 9:31) 2. Crystalline
( 8:44) 3. Turquoise Twice
( 7:41) 4. Ballad from Leadership Suite
( 7:03) 5. Minority
( 7:21) 6. The Last Time I Saw Paris
( 8:43) 7. All God's Children Got Rhythm
(11:40) 8. Star Eyes
( 1:04) 9. Cherokee

In February and March 2020, just before the pandemic, we did the second European tour with this quintet, for me truly a dream-team on and off the bandstand, bringing together five musicians from different parts of the world who share the same love: classic swinging “New York Blue Note Jazz.” New York has been the world capital of jazz since decades, I still remember the last days of August 2007 when I first got there and had the chance to listen to my idols such as Cedar Walton, Jimmy Cobb, Louis Hayes, and many more. One of them was Joe Magnarelli who I first heard with the Vanguard Jazz Orchestra on a Monday night, back then I never thought that I would play music with him more than 10 years later.

Joe Magnarelli has been one of the world’s leading trumpeters for three decades. He moved to New York in 1986 and has worked since then with the Lionel Hampton Big Band, Toshiko Akiyoshi, the Buddy Rich Band, Maria Schneider, the Vanguard Jazz Orchestra, and many more. Born in St. Petersburg, Dmitry Baevsky moved to New York in 1996 to study at the famous New School and has since become an integral part of the New York jazz scene. Jeb Patton is one of the outstanding pianists of the younger generation. He studied with Sir Roland Hanna and Jimmy Heath and is a permanent member of the “Heath Brothers” and the “Jimmy Heath Generations Quintet” since then. Further, he worked with Etta Jones, Peter Washington, Lewis Nash, Steve Nelson, Jimmy Cobb, Jackie McLean, Frank Wess, James Moody... His personal, swinging style, presents the entire history of jazz piano from Art Tatum through Phineas Newborn to Cedar Walton. I met Fabien Marcoz when I moved to Paris in 2012, he is one of the finest bassists in Europe and has accompanied many international jazz soloists including true giants such as Harold Mabern.

In the middle of our 2020-tour we got the real gift of doing a recording like in the old days. Jacques Person, organizer of the “Jazz at Le Vauban”-concerts, invited us to stay in Brest for two days to do a studio/live-album under the direction of our mutual friend Jordi Pujol, producer and owner of the internationally well-known jazz label “Fresh Sound Records” in Barcelona. The circumstances were perfect, we spent a wonderful weekend at “Le Vauban”; the concert venue was in the basement, the restaurant/bar on the ground floor and the hotel rooms just upstairs. Besides, Jacques Person took us to great restaurants in the area, so we could really enjoy, relax, have a good time and then focus on the music. We took a very early flight from Copenhagen to arrive in Brest on Saturday by noon, in the afternoon we already recorded a whole set of music under studio conditions without audience. On Sunday evening we did the sold-out concert for a wonderful and warm public, a memorable experience for all of us! What you hear on this release is the result of this “Weekend At Le Vauban”, our selection of two Saturday-no audience and seven Sunday-live tracks from these two days in Brest!

The repertoire of the band follows the timeless “Blue Note” recordings, including a nice variety of classics by masters such as Cedar Walton and Jimmy Heath, well-known standards and standard-arrangements (Minority, arranged by Jeb Patton) and two originals by Joe Magnarelli (81 Points, dedicated to Kobe Bryant) and Jeb Patton (Crystalline). All compositions require strong section playing on the melodies by Joe and Dmitry, supported by an active rhythm-section, and provide the perfect ground for extensive soloing for all the band members.

It was a great pleasure to be part of this, thanks to Jacques and Jordi for making it happen and to Mags, Dmitry, Jeb and Fabien for great playing and wonderful moments on the road! Very much looking forward to seeing you all again, having a glass of wine and of course playing music together!!! By Bernd Reiter https://www.freshsoundrecords.com/new-york-blue-note-quintet-albums/53681-a-weekend-at-le-vauban.html

The New York Blue Note Quintet are: Joe Magnarelli (trumpet), Dmitry Baevsky (alto sax), Jeb Patton (piano), Fabien Marcoz (bass), Bernd Reiter (drums).

A Weekend At Le Vauban Feat. Joe Magnarelli

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Dmitry Baevsky - Soundtrack

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 65:38
Size: 150,6 MB
Art: Front

(4:46) 1. Evening Song
(3:58) 2. Vamos Nessa
(5:17) 3. Baltiyskaya
(5:22) 4. Grand Street
(4:30) 5. The Jody Grind
(5:27) 6. La Chanson De Maxence
(4:02) 7. Over and Out
(4:29) 8. Le Coiffeur
(3:47) 9. Invisible
(6:51) 10. Autumn in New York
(5:37) 11. Stranger in Paradise
(6:16) 12. Tranquility
(5:11) 13. Afternoon in Paris

A collection of songs, some of which are likely to be included in aficionados' play lists; interpretations that don't stray very far off the beaten path; and a band of players who share a vision of how the material should be handled. It's the recipe for many recordingspast, present and future within the mainstream of jazz. So, why does alto saxophonist Dmitry Baevsky's Soundtrack, an entry that readily fits this pattern, stand out from the crowd?

In Baevsky's scheme the melodies of popular songs from the 20th century, such as "La Chanson de Maxence" (AKA, "You Must Believe in Spring"), and "Stranger in Paradise," are worthy of special consideration. Though he possesses a jazz musician's proclivity for reconfiguring a melodic line, oftentimes minimal modifications are sufficient to put the song across. Two consecutive trips through "Evening Song" sound as if Baevsky is encouraging the listener to savor the differences. The often covered "Autumn in New York" succeeds on account of his deft blend of the melody and bop-influenced enhancements.

The same attention to detail applies to Baevsky's treatments of an array of tunes by venerable jazz musicians: Sonny Rollins' "Grand Street," Horace Silver's "The Jody Grind," Dexter Gordon's "Le Coiffeur," Ornette Coleman's "Invisible," Ahmad Jamal's "Tranquility" and John Lewis' "Afternoon in Paris." One distinguishing characteristic of Baevsky's approach to the jazz material (as well as the popular songs) is his regard for dynamics. In contrast to many contemporary saxophonists who sound as if they're demanding to be heard, he's more likely to come way down in volume then to roar, bark or bellow. For instance, the first time around "Grand Street" sounds as if Baevsky is revealing a soulful secret. Joined to his sensitivity to dynamics is the capacity to sound at one with the band on the heads. The music is all the better for his willingness to forsake being the center of attention. A couple of prime examples are "The Jody Grind" and "Tranquility."

"Evening Song" and "Afternoon in Paris," the tracks that bookend the record, best represent Baevsky's virtues as a soloist. The three choruses on "Evening Song" gradually move away from the haunting melody, as he leans into the medium tempo pulse, fashions edgy, well-proportioned lines, and integrates the sprinting runs that are an essential feature of his style. A rendering of "Afternoon in Paris" with only bass and drums displays a more adventuresome disposition. While the solo ultimately remains on solid ground, Baevsky scatters pithy comments throughout and, as if harnessing all his strength, reaches a startling climax at the beginning of the second chorus.

For all Baevsky's capabilities as a song interpreter and improviser, a considerable amount of the success of Soundtrack is due to the contributions of a first-rate band comprised of pianist Jeb Patton, bassist David Wong and drummer Pete Van Nostrand. Their united approach to "The Jody Grind" feels like a deeply grooving assembly of component parts. The breezy Latin quality they bring to "Le Coiffeur" amounts to an invitation to dance. The amiable, medium tempo swing of "La Chanson De Maxence" advances without any signs of stress or strife. Van Nostrand epitomizes good timekeeping, precise sticking, tasteful fills, as well as his placing strokes slightly beneath the bass line. Patton's perceptive accompaniment buoys the ensemble without taking up too much space. Wong's firm, muscular lines make a deep impression while working in tandem with Van Nostrand. Soundtrack is Baevsky's most accomplished recording to date, a sophisticated, invigorating piece of work that makes one look forward to his future endeavors.By David A. Orthmann https://www.allaboutjazz.com/soundtrack-dmitry-baevsky-fresh-sound-records

Personnel: Dmitry Baevsky: saxophone, alto; Jeb Patton: piano; David Wong: bass; Pete Van Nostrand: drums.

Soundtrack

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Dmitry Baevsky - Somethin´ Special

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 42:57
Size: 98,9 MB
Art: Front

(4:41) 1. Somethin´ Special
(4:39) 2. Fools Rush In
(8:30) 3. Cheesecake
(7:58) 4. Lament
(5:10) 5. Eclypso
(7:08) 6. The End of a Love Affair
(4:48) 7. I Thought About You

“Cheese Cake” (Dexter Gordon) plays. The timbre is that of a tenor saxophone. I wonder to the producer and oh surprise, it's an alto sax! He gave it to me with cheese! I scrutinize criticism and verify that qualified critics also succumbed to his fraud. I reconcile myself to my self-esteem and reaffirm my admiration for Baevsky. Dmitry's sound is warm, thick, dark, with a strong presence and a timbre full of harmonics. In the present work, he has chosen a varied bunch of standards that go a long way with his style. It begins with Somethin 'Special, (Sonny Clark), playing the lie with the timbre of his sax, and with the structure of the theme that begins as a minor blues, to surprise us with an interlude to a ternary rhythm. Piano, drums and double bass talk loquaciously on the song.

It follows a mid-time swing with Fools rush in, (Mercer-Bloom), with a livelier and more cheerful tone and phrasing, in keeping with the title of the song.In the following Cheesecake cut, perfectly installed in the language of Dexter Gordon, Dmitry offers us a masterful version, without abandoning the Gordonian wave but using his own arguments. A great Fabio Miano solo and a few bars alternating between breaks and stubbornness lead to a great Joe Strasser drum solo. The fourth track lowers the rhythmic tension, not the emotional one, with a sense of Lament (JJ Johnson), where Baevsky shows his sensitivity and delicacy by threading this beautiful ballad note by note.

In fifth place appears Eclypso (Tommy Flannagan), a calypso, to tone the mood. The piano takes the voice to deliver the witness to the sax. Baevsky's agile phrasing, halfway between hard and Latin, invites the participation of double bass and percussion, which makes it clear that no rhythm is alien to him. Once on, why stop! Dmitry seems to propose with The end of a love affair (Edward Redding) in sixth place, with a final Latin nod. In seventh and last place appears I thougt about you (Jimmy Van Heusen). The song debuts as a ballad floating between undertones, but mutates into a mid-time swing with fresh and fluid phrasing, inviting you to participate in the conversation at the piano and double bass. In conclusion, a great album by a great sax virtuoso ... alto? Yes, stop, accompanied by great performers.
http://majazzine.com/2016/01/dmitry-baevsky-somethin-special/

Personnel: Saxophone – Dmitry Baevsky; Bass – Ignasi González; Drums – Joe Strasser; Piano – Fabio Miano

Somethin´ Special

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Laurent Courthaliac - All My Life, A Musical Tribute to Woody Allen

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 44:03
Size: 101,3 MB
Art: Front

(4:08)  1. He Loves and She Loves
(2:56)  2. Strike Up the Band
(4:33)  3. All My Life
(5:06)  4. Ev'ryone Says 'I Love You'
(2:24)  5. Looking at You
(5:33)  6. But Not For Me
(3:51)  7. You Brought a New Kind of Love to Me
(4:47)  8. I've Got a Crush on You
(5:23)  9. Just You, Just Me
(5:18) 10. Embraceable You

After his tribute to Baroness Pannonica, muse of be-boppers, the pianist Laurent Courthaliac celebrates Woody Allen and his love of jazz. From poetic and timeless "Manhattan" to merry and swinging "Everyone says 'I Love You'", the pianist operates at the head of a byte of choice a classy dive at the heart of Gershwin's spirit and culture New York standards. Translate by Google http://www.jazzandpeople.com/portfolio/allmylife/

Personnel:  Laurent Courthaliac , piano, arrangements; Fabien Mary , trumpet; Bastien Ballaz , trombone; Dmitry Baevsky , alto sax; David Sauzay , tenor sax; Xavier Richardeau , baritone sax; Clovis Nicolas , double bass; Pete Van Nostrand , drums; on orchestrations by Jon Boutellier .

All My Life, A Musical Tribute to Woody Allen

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Dmitry Baevsky - Introducing Dmitry Baevsky

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 57:37
Size: 133,6 MB
Art: Front

(4:44)  1. Love Is a Many Splendored Thing
(3:49)  2. Casbah
(6:12)  3. You Do Something to Me
(5:02)  4. Klact-Oveeds-Teen
(7:22)  5. Autumn Nocturne
(5:56)  6. Tin-Tin-Deo
(4:48)  7. Cool Eyes
(7:44)  8. Buffalo
(5:58)  9. Al-Leu-Cha
(5:57) 10. For You, For Me, Forever More

Over two years after advance copies teased the jazz press about the capabilities of teenaged alto saxophonist Dmitry Baevsky's surprising chops, the Lineage label finally came into being in early 2006, with Baevsky's debut as one of their inaugural releases. Well accompanied by veterans like pianist Cedar Walton and drummer Jimmy Cobb, along with bassist John Webber and guitarist Ilya Lushtak, the young Russian is still forming his own style, though he has obviously done his musical homework and was prepared for the recording session, which is sometimes a problem with young musicians prematurely given the opportunity to record as leaders. The set list covers a lot of ground, mixing standards and jazz compositions (both favorites and forgotten gems). He shows a bit of Phil Woods' influence in "Love Is a Many Splendored Thing," while he easily negotiates the tricky changes of Charlie Parker's "Klactoveedsedstene" and displays a bit of playfulness. The young man also measures up in ballad settings such as the lush "Autumn Nocturne" and Kenny Dorham's down-and-dirty blues "Buffalo." While it is impossible to render a verdict on a newcomer based on his first CD, Dmitry Baevsky obviously has studied his craft and has a lot of potential to offer; this initial session likely provided him some terrific seasoning by getting the opportunity to work with Walton and Cobb. ~ Ken Dryden https://www.allmusic.com/album/introducing-dmitry-baevsky-mw0000544977

Personnel:  Alto Saxophone – Dmitry Baevsky; Bass – John Webber ; Drums – Jimmy Cobb; Guitar – Ilya Lushtack; Piano – Hank Jones

Introducing Dmitry Baevsky

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Dmitry Baevsky & Jeb Patton - We Two

Styles: Saxophone And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 51:05
Size: 117,9 MB
Art: Front

(3:54)  1. Swingin' The Samba
(5:41)  2. Something For Sonny
(3:59)  3. Inception
(5:21)  4. Le Sucrier Velours
(4:42)  5. All Through The Night
(7:24)  6. Don’t Let The Sun Catch You Cryin’
(5:17)  7. Fools Rush In
(4:17)  8. The Serpent's Tooth
(4:18)  9. Quasimodo
(6:08) 10. You'd Be So Easy To Love

Rarely have two musicians given the impression of making their artistic proximity so manifest. Alto saxophonist Dmitry Baevsky and pianist Jeb Patton have known each other for many years. They met at a young age in New York, driven by a same thirst to learn the language of jazz and to make it their idiom of predilection. What better way for these two musicians to reveal their entente than in a tête-à-tête? What better context than a one-on-one, in which they elaborate the music together, privileging careful listening to one another other, a dialogue, a complementarity? The complicity is obvious between Jeb Patton’s elegant and articulated piano playing and Dmitry Baevsky’s vivid, precise and lyrical alto saxophone. The complicity is obvious between Jeb Patton’s elegant and articulated piano playing and Dmitry Baevsky’s vivid, precise and lyrical alto saxophone. Magnificently recorded, they have achieved a classic and everlasting album that marks the meeting of two contemporary jazz masters, simply called ‘We Two’.

Personnel:  Dmitry Baevsky, alto saxophone;  Jeb Patton, piano

We Two

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Dmitry Baevsky - The Day After

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 67:22
Size: 155,0 MB
Art: Front

(6:39)  1. Would You?
(6:37)  2. Minor Blues 012
(5:30)  3. Chant
(6:38)  4. Minor Delay
(7:20)  5. Hotel Baudin
(5:06)  6. The Wise Ones
(6:36)  7. The Day After
(5:39)  8. Four Seven Nine One
(9:33)  9. Delilah
(7:39) 10. I've Told Ev'ry Little Star

Imagine a group that, in large measure, references the bebop revolution of nearly seventy-five years ago, yet steers clear of the pitfalls of nostalgia, hero worship, and blatant imitation, and ultimately wins the day with an adroit blend of teamwork and compelling individual voices. For those who believe that nothing good can come from contemporary players choosing to work an all-too-familiar vein of the jazz tradition, I suggest a visit with Dmitry Baevsky's band. Over the past several years, the alto saxophonist's quartet featuring pianist Jeb Patton, bassist David Wong, and drummer Joe Strasser, has often performed at Smalls Jazz Club in New York City. The fruits of their labor are documented for the first time in The Day After, Baevsky's sixth record date as a leader. One of the record's primary strengths is the lasting impression made by the heads, leaving no doubt that they're as important as the solos that follow. The material feels lived-in, savored, respected, as opposed to expediently worked up for the record date. The group fully realizes a number of expressive perspectives. Baevsky's "Would You?," the opening track, is a graceful, courtly jazz waltz. Duke Pearson's "Chant" manages to wax shrewd and soulful without being too obvious about it. Patton's lickety-split "The Wise Ones" contains a number of dazzling twists and turns. Tom McIntosh's "The Day After" is a convincingly melancholy ballad. Victor Young's "Delilah" evinces a seductive, unhurried vibe. Much of the substance in these tracks lies in the details, such as the easy, natural sounding ways in which Patton supports and/or joins Baeveky in playing the melodies. Or, the exemplary hook-up between Wong and Strasser, in which the bassist lays down a sturdy, feel-good foundation that enables the drummer to use every component of his kit to make all manner of remarks about a song while remaining in the pocket.

The band's primary soloists, Baevsky and Patton, emerge in ways that display an acute awareness of the group as a whole. Throughout his turn on "Would You?," Baevsky persuasively asserts himself without becoming particularly verbose or forceful; often leaving enough space between tart, relatively concise phrases to allow the voices of each accompanying instrument to take effect. The title track finds him in an assertive ballad mode, gradually expanding and imaginatively building in strength without completely breaking ties to the tune's the melody. Patton's "Chant" solo is noteworthy for stability amidst changes in velocity and emphasis, as he leans against Wong's earthy walking bass, suddenly skips away from it with breathless single note lines, and invariably finds unexpected places to snap back into place. 

Left to his own devices at the onset of Baevsky's "Rollin'" and near the end of "Delilah," Strasser makes a deep impression with meticulous sticking and mallet strokes, a genuine feel for structure, and the ability to tell a story minus any extraneous details. For anyone who appreciates shrewdly chosen material, a cohesive, interactive group sound, and solos that are nicely integrated into the whole presentation, I heartily recommend The Day After. ~ David A. Orthmann https://www.allaboutjazz.com/the-day-after-dmitry-baevsky-jazz-family-review-by-david-a-orthmann.php

Personnel: Dmitry Baevsky: alto saxophone; Jeb Patton: piano; David Wong: bass; Joe Strasser: drums.

The Day After

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Dmitry Baevsky - Over and Out

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 69:07
Size: 158,8 MB
Art: Front

(6:39)  1. Poinciana
(5:16)  2. Reflection
(4:29)  3. Over and Out
(5:18)  4. Chega de Saudade
(4:59)  5. Brilliant Corners
(5:43)  6. The Feeling of Jazz
(4:48)  7. In the Know
(6:03)  8. Turquoise
(7:01)  9. Tonight I Shall Sleep (With a Smile on My Face)
(4:59) 10. Circus
(6:50) 11. Silver Screen
(6:56) 12. Stranger in Paradise

New York based saxophonist Dmitry Baevsky's fourth release as a leaderOver and Out finds the St Petersburg native in a spare setting backed only by bass and drums. With his alto's warm, organic tone in the spotlight, Baevsky interprets a mixture of his originals and standards with intense lyricism and confident and mature bravado. Baevsky endows pianist Cedar Walton's "Turquoise" with an eastern mysticism as his warm, languid saxophone meanders fantastically around the main theme. His clever improvisation drips with poetry and his melodic exchanges with drummer Joe Strasser's thrilling and whimsical rumble add a layer of intrigue to the tune. Strasser's thunderous beats burst to the surface on the energetic and fiery title track. Baevsky's blistering notes flood his own composition with feverish spontaneity and boppish virtuosity. Bassist David Wong anchors the delightfully stormy music with his complex walking lines. Wong takes a melancholic and mellifluous solo on pianist Ray Bryant's "Reflection." Baevsky's agile and muscular extemporization intricately constructs passionate and inventive harmonic structures around the main motif simultaneously transforming it yet staying true to its spirit.

The respectful deconstruction of well known tunes their infusion with a fresh perspective without compromise of their essence is something Baevsky does well. It allows him to craft a cohesive album with such diverse pieces as pianist Thelonious Monk's "Brilliant Corners" and multi-instrumentalist Antonio Carlos Jobim's "Chega de Saudade." Monk's splendid classic Baevsky interprets with a haunting and ethereal angularity, laying down vibrant and crystalline phrases. A contemplative and sublime duet between Wong and Strasser ushers in the conclusion. Baevsky burns through the breezy effervescence of Jobim's popular song with ardent vigor but also with deep sensitivity without losing sight of Bossa Nova's playful romanticism. Strasser and Wong weave a percolating rhythmic backdrop peppered with Brazilian hints. With this stimulating record Baevsky proves himself a superbly well-rounded musician. Solidly mainstream yet boldly explorative Over and Out is a captivating work, full of elegant charm and vivid excitement. Despite the finality of its title's colloquial meaning hopefully Baevsky will continue on this brilliantly creative path. ~ Hrayr Attarian https://www.allaboutjazz.com/over-and-out-dmitry-baevsky-bluejazz-review-by-hrayr-attarian.php
 

Personnel: Dmitry Baevsky: alto sax;  David Wong: bass;  Joe Strasser: drums.

Over and Out

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Ehud Asherie - Organic

Styles: Jazz
Year: 2010
File: MP3@320K/s
Time: 43:11
Size: 100,7 MB
Art: Front

(4:59)  1. Tonight
(4:57)  2. Valse Pra Jelena
(4:02)  3. The Stopper
(6:20)  4. Coquette
(5:29)  5. It's Possible
(5:22)  6. Favela
(6:46)  7. Apostrophe
(5:13)  8. Blues For Fats

Contrary to what some might believe, the designation of a musician as an organist or pianist does not have to be mutually exclusive. While some players choose to focus all of their time and energy on one of these instruments, many others prefer to branch out and try their hand at both. Fats Waller wasn't afraid to work in both worlds, and a whole list of modern-day players, including Gary Versace, Larry Goldings and Sam Yahel, are adept on both instruments. Ehud Asherie can now be added to that list. His string of piano-led discs on the Posi-Tone Records label have already positioned him as a rising jazz star on that instrument, but Organic is all about the organ, and he pushes the piano aside for this one.

The program is evenly split between Asherie originals and covers, ranging from Leonard Bernstein's "Tonight" to Antonio Carlos Jobim's lesser-known "Favela," and guitarist Peter Bernstein is superb across the entire album. His clean-toned, single note lines are always a treat and his soloing on the charming ballad "Coquette" is an album highlight. Asherie's organ playing is unpretentious and pleasing, never running into modern-day abstractions or resorting to clichés. The momentary stops on the second syllable of "Tonight" add a hint of mischief to an otherwise fairly straightforward performance, and the aforementioned "Coquette" adds a touch of grace to the album. "The Stopper" a sorely neglected Sonny Rollins tune features lots of stop-time punctuations and unison hits beneath Dmitry Baevsky's alto saxophone proclamations. Baevsky's searing solo work energizes the rest of the band and drummer Phil Stewart delivers an explosive solo. Jobim's "Favela" is taken a bit faster than usual, with a samba-like groove on the bottom, and Asherie kicks things off with a Morse code-like lick. Stewart's solo, with some festive tom-dominated playing over his steady samba footwork, is the highlight here.

Asherie's originals include a mellow jazz waltz ("Valse Pra Jelena") with Bernstein showing some Grant Green-like tendencies delivered in a more modern fashion and a tribute to Fats Waller ("Blues for Fats") that clearly owes a debt to the man himself. Asherie isn't likely to give up the piano on a permanent basis, but the aptly titled Organic's presents an alternate view of the keyboardist's work, and is a welcome addition to his already impressive catalog. ~ Dan Bilawsky  http://www.allaboutjazz.com/organic-ehud-asherie-posi-tone-records-review-by-dan-bilawsky.php
 

Personnel:  Ehud Asherie: organ;  Peter Bernstein: guitar;  Dmitry Baevsky: alto saxophone;  Phil Stewart: drums.

Organic

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Dmitry Baevsky - Down With It

Size: 136,9 MB
Time: 59:01
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Straight-Ahead/Mainstream
Art: Front

01. Down With It (4:50)
02. Mount Harissa (7:20)
03. We See (6:34)
04. LaRue (7:41)
05. Shabozz (7:31)
06. Last Night When We Were Young (5:54)
07. Decision (5:32)
08. Webb City (5:12)
09. I'll String Along With You (8:23)

As jazz moves in many different directions and breaks free from the all too familiar and readily categorized sounds of its first century, how does an artist make bebop sound like something other than an exercise in nostalgia or an academic pursuit? In the hands of the thirty-four year-old alto saxophonist Dmitry Baevsky, bop is still a vein worth mining. Down With It, Baevsky's third date as a leader, contains an inspired selection of material, smart execution, and some marvelously telling details.

Each member of the quartet, with trumpeter Jeremy Pelt joining them on four of the nine tracks, plays his role to perfection. In nailing a ludicrously fast tempo on the head of "Down With It," bassist David Wong and drummer Jason Brown show no signs of strain. Baevsky's keening alto states Bud Powell's edgy, crackling melody with crisp economy. Pianist Jeb Patton dogs Baevsky every step of the way and, despite the band's wicked pace, sometimes his chords jump out and take on a life of their own. Brown's brief, flickering snare fills add just a little more thrust to the proceedings. All in all, the band's performance serves as a reminder that, at its best, bebop is truly a joyous, playful music.

Another highlight of a record which contains no mediocre tracks is Gigi Gryce's "Shabozz." The head makes a smooth transition from a sixteen bar Latin intro to medium tempo swing. Wong's walking bass line gives the band the right amount of lift. Goosed by Brown's snare drum accents—some of them more felt than heard—Pelt's solo is short on pyrotechnics and long on melodic invention. Every note sounds like it's played with Wong and Brown in mind. Baevsky takes a more aggressive stance. He balances long, twisting passages and shorter thoughts which adhere to the rhythm section's firm foundation.

Sonny Rollins' "Decision" contains some of Baevsky's finest improvising of the set. Once again, there's a palpable connection between his alto and the rhythm section—one really can't be separated from the other. The tune is taken at what Kenny Washington - Vocals once referred to as an "adult tempo," a pace somewhere between slow and medium which requires patience seldom found in the young. Though Baevsky eventually builds to a satisfying climax, what stays in mind is the way—particularly during the first chorus—he delivers a short phrase, briefly pauses to let it take effect, and then finds another one. ~Review by David A. Orthmann

To their credit, Baevsky and his cohorts don't invite facile comparisons to giants from a bygone era. Down With It is an excellent recording that stands on its own merits.

Personnel: Dmitry Baevsky: alto saxophone; Jeremy Pelt: trumpet (4, 5, 7, 8); Jeb Patton: piano; David Wong: bass; Jason Brown: drums.

Down With It

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