Hendrik Meurkens & Misha Tsiganov - Junity

Styles: Harmonica And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 62:07
Size: 144,0 MB
Art: Front

(5:17) 1. Blackbird
(4:07) 2. Luiza
(6:12) 3. Lady Bear's Lullaby
(4:47) 4. Junity
(4:15) 5. Norwegian Wood
(3:59) 6. Olena
(4:18) 7. Pent Up House
(4:48) 8. Ruby, My Dear
(4:00) 9. Menina na Janela
(5:03) 10. West Coast Blues
(4:40) 11. Scriabin
(6:45) 12. Close Enough For Love
(3:48) 13. Etude Op.2, No.1

Junity? No, that's not a misprint. Take "junto," the Brazilian word for together, and marry it with "unity"; that's how you get "junity," a hybridized term that accurately describes the relationship between harmonica master Hendrik Meurkens and pianist Misha Tsiganov.

These two men have been playing together for nearly a decade, appearing together on stages across the world and pleasing Meurkens albums like Samba To Go! (Zoho Music, 2009) and Celebrando (Zoho Music, 2012). Junity, a program containing seven harmonica-piano duo tracks and six quartet performances, highlights their simpatico relationship. This record is the first to focus in on the Meurkens-Tsiganov partnership, but it's not the first time these men have worked as a twosome. Over the years they've done a few duo tours in Russia, and the warm reception they received on those occasions likely contributed to the decision to make this type of record.

Both men seem to have eclectic taste(s), demonstrated in the song selections on this album. A pair of Lennon/McCartney classics ("Blackbird" and "Norwegian Wood"), a few jazz standards (Thelonious Monk's "Ruby, My Dear," Wes Montgomery's "West Coast Blues," and Sonny Rollins "Pent-Up House"), some Tsiganov-initiated nods to Russia ("Scriabin," "Etude Op. 2, No. 1" and "Lady Bear's Lullabye"), and Brazilian-based music all have a place at the table. And despite differences in origin, all of the material is tied together neatly.

Within the quartet program there are songs that fully integrate the four menMeurkens, Tsiganov, bassist Oleg Osenkov and drummer Willard Dyson and there are songs that still tend to zone in on the co-leaders, with Dyson and Osenkov gently coloring around them; "West Coast Blues" and "Pent-Up House" belong to the former category while "Close Enough For Love" belongs to the latter. The majority of the duo material is extremely lyrical, projecting a sense of longing. A notable exception is "Menina Na Janela," a sprightly Meurkens-penned choro that's all sunshine and cheer. Regardless of the mood, Junity does what it sets out do: it shines a light on the beautifully collaborative nature of the Meurkens-Tsiganov partnership. It's a match made in heaven. By Dan Bilawsky
https://www.allaboutjazz.com/junity-hendrik-meurkens-hms-review-by-dan-bilawsky

Personnel: Hendrik Meurkens: harmonica; Misha Tsiganov: piano; Oleg Osenkov: bass (1, 3, 5, 7, 10, 12); Willard Dyson: drums (1, 3, 5, 7, 10, 12).

Junity

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Misha Tsiganov Quintet - Misha's Wishes

Styles: Piano Jazz
File: MP3@320K/s
Time: 66:46
Size: 154,9 MB
Art: Front

(7:13) 1. Fire Horse
(8:32) 2. Strike up the Band
(5:34) 3. Misha's Wishes
(6:09) 4. There Was a Birch Tree in the Field, So What
(2:18) 5. Lost in Her Eyes
(6:08) 6. Just a Scale
(8:20) 7. Give Me Five
(7:15) 8. Hope and Despair
(7:21) 9. Comrade Conrad
(7:51) 10. Are You with Me

Misha Tsiganov, who lived in Leningrad in the former Soviet Union until he emigrated to the U.S. in 1991, has never shied away from a challenge. That's apparent from the level's of complexity that Tsiganov embeds in the 18 arrangements and 9 originals on his three prior Criss Cross Albums.

As written in the liner notes for the album Spring Feelings, Tsiganov has established a signature blend of mixed meters, shifting tempos, changing keys and re-harmonization that he deploys in order to insure 'that something is happening’, so the listener doesn't fall asleep.

Tsiganov's latest, Misha's Wishes, doesn't eschew technical complexity. But the feel of this sophisticated, emotionally nuanced program - performed by old friends Alex Sipiagin, Seamus Blake, Boris Kozlov and Donald Edwards, with whom Misha Tsiganov feels such simpatico is different than its predecessors. https://www.challengerecords.com/products/16385399148366

Personnel: Misha Tsiganov: piano, Fender Rhodes; Alex Sipiagin: trumpet, flugelhorn; Seamus Blake: tenor saxophone; Boris Kozlov: bass; Donald Edwards: drums

Misha's Wishes

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The Chico Freeman Project - Out of Many Comes the One

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 66:06
Size: 152,8 MB
Art: Front

(4:06)  1. Guitar
(4:10)  2. Didn't Even Know You
(6:58)  3. Filaraki
(5:34)  4. India Blue
(6:20)  5. Out of Many Comes the One
(6:35)  6. Lift Me Up
(5:34)  7. Twelfth of Never
(5:06)  8. A Teardrop In the Rain
(5:12)  9. Tzivaeri
(5:14) 10. Cartegena
(4:18) 11. Miss You Like Smoking
(6:54) 12. Part of Me - Filaraki - English Version

Chico Freeman's 2004 Arabesque release Out of Many Comes the One brings a bit of chillout jazz and sophisticated funk into the mix along with pretty vocals by Jennifer Hamady, who works up fine ruminations during "Tzivaeri" and "Miss You Like Smoking." The combination of relaxed grooves and elegant vocalizing has plenty in common with the efforts of Detroiters Wendell Harrison and Donald Byrd. 

A seasoned instrumentalist whose artistry is rooted in decades of creative endeavor, Freeman sounds at his best during "Filaraki" and "Part of Me," which feel like salutations from and for Yusef Lateef. ~ arwulf arwulf https://www.allmusic.com/album/out-of-many-comes-the-one-mw0001461211

Personnel: Tenor Saxophone, Soprano Saxophone, Producer – Chico Freeman; Bass – Orlando Marin; Drums – Abe Fogle; Guitar [Guitars] – Bill White; Piano, Electric Piano [Fender Rhodes], Organ, Keyboards – Misha Tsiganov

Out of Many Comes the One

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Joe Chambers - The Outlaw

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 50:40
Size: 117,0 MB
Art: Front

(7:12)  1. The Outlaw
(4:22)  2. Tu-Way-Pock-E-Way
(5:42)  3. Come Back to Me
(5:33)  4. I Think It's Time to Say Goodbye
(6:36)  5. In a Sentimental Mood
(4:10)  6. Bembe
(6:45)  7. Escapade
(4:58)  8. Baha
(5:18)  9. Poinciana

Joe Chambers was one of the best percussionists during the Golden Age of Blue Note Records in the 1950s and '60s. The drummer played on Freddie Hubbard's Breaking Point, Bobby Hutcherson's Components, Wayne Shorter's Schizophrenia, Andrew Hill's Compulsion and McCoy Tyner's Tender Moments. Around the same time, Chambers began playing piano as well. He reached a turning point in 1970, when he was invited to join Max Roach's new all-percussive unit, M'Boom. He was encouraged to play all manner of percussion instruments. The Outlaw shows Chambers primarily as a vibraphonist, but he also plays drums, piano, synthesizer programs and marimba. When Chambers is too occupied on the vibes, New York bandleader Bobby Sanabria handles percussion on five of the nine tracks. Much of this album reflects a Latin jazz patina that reminds me of the Pucho & His Latin Soul Brothers groove (and they are still a functional, recording unit). Chambers' combo makes less use of horns on this session than Pucho does, though saxophonist Logan Richardson does get an opportunity to shine on soprano for "Escapade." Two tracks seem to feature a somewhat annoying drum machine, but since none is listed, it must be a synth programming feature. Nicole Gutland appears on two tracks for vocal ("I Think It's Time To Say Goodbye") and vocalese ("Come Back to Me") performances. Chambers performs a mid-tempo version of "In A Sentimental Mood" and pays respects to Vernel Fournier, drummer with the Ahmad Jamal trio, with his own version of "Poinciana." "Bembe" utilizes a rhythm from a Yoruba Santeria ritual, while "Bahia" is a pulsing Brazilian street band peace with Chambers leading the way. All in all, with some exceptions noted, a most pleasant ride! ~ Michael P.Gladstone https://www.allaboutjazz.com/the-outlaw-joe-chambers-savant-records-review-by-michael-p-gladstone.php

Personnel: Joe Chambers: drums, vibraphone, piano, marimba, synthesizer programs; Nicola Gulland: voice; Logan Richardson: soprano and alto saxophone; Misha Tsiganov: acoustic and electric piano; Dwayne Burno: bass; Bobby Sanabria: percussion.

The Outlaw

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Misha Tsiganov - Playing With The Wind

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 64:29
Size: 148,7 MB
Art: Front

(6:02)  1. Playing With The Wind
(7:35)  2. Mama
(7:28)  3. Witch Hunt
(8:37)  4. Orange Dream
(1:46)  5. Dream Catcher
(8:35)  6. Cry Me A River
(7:57)  7. Virgo
(7:56)  8. To Ne Veter Vetku Klonit
(8:30)  9. The Very Thought Of You

For his third Criss Cross album, pianist Misha Tsiganov presents a nine-tune program of four original compositions and kaleidoscopic arrangements of two Wayne Shorter classics, two Great American Songbook standards, and a Russian folk song. As on 'Artistry of the Standard' and 'Spring Feelings', the St. Petersburg native a U.S resident since 1993  teams with trumpeter Alex Sipiagin and tenor saxophonist Seamus Blake, both leaders of multiple Criss Cross dates and internationally renowned practitioners of their respective instruments. Joining Tsiganov for the first time on 'Playing with the Wind' are bassist Matt Brewer ('Mythology' and 'Unspoken') and drummer Dan Weiss, who apply their virtuosic chops to Tsiganov's elegant charts with an open, poetic attitude. https://www.propermusic.com/product-details/Misha-Tsiganov-Playing-with-the-Wind-260193

Personnel:    Misha Tsiganov - piano, composer; Alex Sipiagin - trumpet, flugelhorn; Seamus Blake - tenor saxophone; Matt Brewer - bass; Dan Weiss - drums

Playing With The Wind

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Misha Tsiganov - The Artistry Of The Standard

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 64:43
Size: 148,6 MB
Art: Front

(7:41)  1. Fall
(9:19)  2. Get Out Of Town
(7:04)  3. The Song Is You
(7:01)  4. Au-Leu-Cha
(5:35)  5. This Is For Albert
(6:37)  6. Four On Six
(7:48)  7. Falling In Love With Love
(6:41)  8. Mr. Day
(6:52)  9. Make Sure You're Sure

Standards represent so many things. They can be a fallback for those short on ideas or a springboard for those willing to invest a bit of themselves into the music. They're a representative historical sampling of what jazz has been and done, reminding all of those on the bandstand of who and what came before, but they can be so much more. Considering all of that, it's hard to imagine why a segment of players often prefer not to address them at all.  Plenty of modernists have abandoned standards or choose to simply use them as garnish around their own dishes. Some are willing to buck the trend and do all-standards programs, but they often do so by making simple adjustments to the established formulas or retreating into the comfortable confines that these songs offer in their original state(s). Pianist Misha Tsiganov does no such thing on The Artistry Of The Standard. Tsiganov pulls history in his direction, altering the shape and scope of these pieces without abandoning what made each one so special in the first place.  The Artistry Of The Standard marks the first time that Tsiganov has ever imagined and written a program with specific musicians in mind, and it's easy to see why he's so enthused about these men. Drummer Donald Edwards can navigate his way through any course with grace and drive; bassist Boris Kozlov is as dynamic and supportive as they come; Seamus Blake's terpsichorean tenor can bound along with glee, sing sweet songs, and outpace nearly anybody in a sprint; and trumpeter Alex Sipiagin brings both focused potency and a sense of warmth to the party, changing hats for different scenarios.

This may be the debut of this particular quintet, but Tsiganov's comrades-in-arms are no strangers to one another. They've crossed paths in various settings and they make up four-fifths of Opus 5, the collectively-operated quintet that also includes pianist David Kikoski. They're well-attuned to one another and it shows on these natty rewrites. Lesser musicians, and even some fine players, would likely stumble and falter on the twisting and turning version of saxophonist Wayne Shorter's "Fall" that opens the album. That song gets the ball rolling and it never stops. As the program continues, the band winds its way through Cole Porter country ("Get Out Of Town"), Tsiganov steps out front to introduce the work of Jerome Kern ("The Song Is You"), and everybody adds a little attitude to a Charlie Parker classic ("Ah-Leu-Cha"). Tsiganov has no problem molding fan favorites to his liking, as demonstrated on the aforementioned numbers and a charged take on guitarist Wes Montgomery's "Four On Six," but he also works his magic on lesser-covered gems like Stevie Wonder's "Make Sure You're Sure." Sipiagin's muted trumpet work, Blake's beautiful tenor, and the leader's classy trappings all come together wonderfully on that one.  Many of these songs have come to define jazz for a certain segment of listeners, but they need not be viewed as sacrosanct vessels. A song, be it a standard or any other type, is simply source material, and it's up to the musicians to do with them as they please. That's where artistry comes into play when addressing the standards, and Tsiganov truly gets that. ~ Dan Bilawsky https://www.allaboutjazz.com/misha-tsiganov-the-artistry-of-the-standard-by-dan-bilawsky.php

Personnel: Misha Tsiganov: piano;  Alex Sipiagin: trumpet, flugelhorn;  Seamus Blake: tenor saxophone;  Boris Kozlov: bass;  Donald Edwards: drums.

The Artistry Of The Standard

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Jed Levy - The Italian Suite

Styles: Saxophone Jazz
Year: 2013
File: MP3@256K/s
Time: 70:15
Size: 128,9 MB
Art: Front

(7:04)  1. The Road to Rome
(8:30)  2. Ligurian Sea
(6:05)  3. The Models of Milan
(6:57)  4. Dado's Visit
(8:17)  5. Daniela
(7:20)  6. Giuseppe's Borgo
(7:01)  7. Toscana
(4:56)  8. Bari Blues
(8:44)  9. Palermo
(5:17) 10. Dogs of War

On this his seventh SteepleChase release, Jed Levy the composer takes centre stage and presents an album-length suite, with each section relating to Jed's impression of Italy where he has made numerous trips and has given concerts.For the past two decades saxophonist Jed Levy has been a stalwart of the New York jazz scene, leading his own group or performing with such luminaries as Jaki Byard, Junior Mance, Eddie Henderson, Jack Walrath, Kevin Mahogany and Tom Harrell, among others. "Very Impressive and about as inventive a departure from the standard tenor-and-rhythm conventions as one can hope for...a first-class session."

Personnel: Jed Levy (tenor saxophone), Misha Tsiganov (piano), Thomson Kneeland (bass), Alvester Garnett (drums)

The Italian Suite

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Misha Tsiganov - Spring Feelings

Size: 148,7 MB
Time: 63:59
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front & Back

01. You And The Night And The Music (7:56)
02. Jed's Place (7:08)
03. October In Kiev (5:52)
04. Yes Or No (7:15)
05. Jumping Michael (6:49)
06. Infant Eyes (8:40)
07. The Night Has A Thousand Eyes (7:07)
08. Blues For Gerry (6:33)
09. Spring Feelings (6:34)

Those who appreciate and follow the art of arranging and orchestration in jazz often point to big band and large ensemble arrangements as examples of excellence, while the art of arranging jazz for the small ensemble is frequently overlooked. Horace Silver, Wayne Shorter, and Andrew Hill are a few who have achieved recognition for their intelligent small-group arrangements, and with his newest release, Spring Feelings, pianist Misha Tsiganov brings his talent to this under-appreciated art.

For his second release on the Criss Cross label, Tsiganov's choice of sidemen to interpret his music is reminiscent of his 2014 release, The Artistry of the Standard. Returning are trumpet virtuoso Alex Sipiagin, tenor veteran Seamus Blake, and rising star drummer Donald Edwards, all common collaborators in the Opus 5 group. Seasoned bassist Hans Glawischnig fills in for Boris Kozlov on bass. Whereas Tsiganov's first Criss Cross release featured only his imaginative reworkings of standards, Spring Feelings mixes in five Tsiganov originals.

Throughout the hour long set, both the original material and the standards unmistakably bear Tsiganov's distinctive stamp. Tsiganov's melodies drift fluidly through constantly shifting meters and are punctuated by skipping, syncopated basslines that fit smartly with Tsiganov's colorful reharmonizations. The opening track, "You and the Night and The Music" exemplifies these characteristics and the band navigates Tsiganov's complex arrangement with ease. Donald Edwards in particular deserves a standing ovation for his graceful navigation of the band through the maze of ever-changing meters. "The Night Has a Thousand Eyes" takes a similar approach with the band alternating between straight-eighth 9/4 feel and a up-tempo swing.

Tsiganov also tips his hat to one of jazz's master small group composers, Wayne Shorter, with reworkings of two Shorter tunes. "Infant Eyes" keeps its slow ballad feel but is given a new time feel that switches between 7/4 and 4/4. "Yes or No" also moves through a variety of time signatures with an energetic and attention-grabbing undercurrent from the rhythm section, which leads into some of the best solos in the album. Sipiagin leads things off with fiery solo over the band's tight swing until they switch to a floating 7 feel for the beginning of Blake's melodically driven tenor solo. The band switches back to swing for Tsiganov's excellent solo which builds impressively in intensity to an exciting pyrotechnic conclusion.

For Tsiganov's original tunes he focuses less on complex time signatures and more on memorable melodies. "Jumping Michael" maintains a 4/4 time signature but it's spacious, syncopated melody gives it a distinctively Latin feel. "Jed's Place" is taken at a medium swing and follows a fairly traditional form, allowing the soloists and interplay of the group to really shine. Blake's tenor solo on this tune is particularly memorable as he thoroughly explores and expands upon his melodic ideas. The title track closes out the album on a bright note with an "A" section that is composed entirely of major and suspended chords. Tsiganov's triumphant piano solo on this track serves as a fitting finale to the album.

With "Spring Feelings," Tsiganov explores a new approach to quintet orchestration and in the process, provides a challenging canvas for the musicians to navigate. They succeed admirably and create really remarkable music. The strength of the music is especially remarkable considering the short amount of time the band spent rehearsing (three hours) and in the studio (seven hours). From conception to execution, this music succeeds on all fronts. ~by Andrew Luhn

Personnel: Alex Sipiagin: Trumpet, Flugelhorn; Seamus Blake: Tenor Sax; Misha Tsiganov: Piano; Hans Glawischnig: Bass; Donald Edwards: Drums

Spring Feelings

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Hendrik Meurkens - A Night In Jakarta

Styles: Harmonica jazz
Year: 2010
File: MP3@320K/s
Time: 53:05
Size: 123,5 MB
Art: Front

(6:01)  1. A Night in Jakarta
(5:36)  2. A Ilha
(5:05)  3. Choronto
(4:41)  4. They Can't Take That Away From Me
(4:20)  5. September Choro
(6:21)  6. The Winter Sea
(6:36)  7. Bolero Para Paquito
(2:52)  8. Choro no.8
(6:51)  9. Prague In March
(4:39) 10. Here's That Rainy Day

Ever since he started taking harmonica solos in the mid-'50s, Toots Thielemans has been without any close competition on his instrument, at least until Hendrik Meurkens arrived on the scene. Born in Germany to Dutch parents, Meurkens began as a vibraphonist, not playing harmonica until he heard Thielemans when he was 19. He traveled to the U.S. to study at Berklee and spent time in Brazil in the early '80s, during which he immersed himself in Brazilian jazz. Back in Berlin, Meurkens worked in the studios, but also recorded with the Danish Radio Orchestra and had his own jazz group. He made a record in Brazil for the Bellaphon label (1989) and since 1991 has recorded several sets for Concord and Concord Picante as a leader, in addition to appearing on records as a sideman with Charlie Byrd. ~ Scott Yanow  http://www.allmusic.com/artist/hendrik-meurkens-mn0000575401/biography

Personnel:  Hendrik Meurkens - harmonica, vibes;  Misha Tsiganov – piano, fender rhodes;  Gustavo Amarante – bass; Adriano Santos – drums, pandeiro, perc.

A Night In Jakarta

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