Musical analogues: Vanguard Jazz Orchestra, Igor Butman Jazz Orchestra, Lincoln Center Jazz Orchestra, Pete McGuinness Orchestra
Album genres: big band jazz, hard bop, orchestra, original arrangements.
Arranged by: Serge Bogdanov.
"Jazz Philharmonic Orchestra":
Kirill Bubyakin – alto, soprano, flute
Serge Bogdanov - baritone, bass clarinet,
Maria Art – alto (2-8,10),
Andrey Blinchevskiy – alto, flute (1,9),
Juriy Bogatirev – tenor,
Vyacheslav Ipatov – tenor;
Andrey Zimovets - piano,
Nick Zatolochniy – bass,
Grigoriy Voskoboynik - bass (1,9),
Egor Krukovskih – drums;
Alexey Dmitriev – flugelhorn (1,9),
Andrey Zimovets – piano (2,4,5,9),
Juriy Bogatirev – tenor saxophone (2),
Egor Krukovskih – drums (2),
Serge Bogdanov – baritone saxophone (3,8),
Kirill Bubyakin – alto saxophone (3,5,7),
Nikolay Zatolochniy – bass (7);
Konstantin Semenov – trombone (3);
Alex Kozlov – trombone (10).
Igor Butman – tenor saxophone (1,10), soprano saxophone (6),
David Goloschekin – flugelhorn (2,5), vibraphone (6).
Recorded in 2011 (2-7,10) and 2012 (1,9) / Released in 2012
Catalogue number: AB–CD–11–2012–038
Booklet in two languages: Russian and English
Publishing House: OOO “ArtBeat”, 127051, Moscow, Trubnaya st., 32, building 4
Sales Department: + 7.903.2090450
The debut album of a young St. Petersburg collective. Classics of jazz in modern arrangements. It is conceived, executed, recorded and published in such a way that it can serve as a new guide for works in this musical direction.
Album reviewThe very name of the Jazz Philharmonic Orchestra seems to hint to us that the orchestra ("Jazz.Ru" wrote about it in detail in No. 6/7-2012) is working at the St. Petersburg Philharmonic of jazz music, which means it works in a conservative paradigm, reproducing the traditions of the irrecoverable jazz past, and not rushing to any new horizons - the more so, keep the Duke, innovative. Listening to the disc from the very first minutes of sound confirms that this is the way it is. And, in principle, until the end of the last - the tenth - the track is nothing and will not change this impression. Yes, this is jazz conservatism in its purest form. But!
It's a very strong orchestra, and it's a very good album. Conservatism - after all, it can be boring, jerky and flabby. And, we note, too often this is what happens. But in this case we are dealing with a different conservatism. This conservatism is young, muscular, healthy and toothy. I would even venture to introduce a new concept: in this case we are not even dealing with conservatism. This is jazz fundamentalism. And fundamentalism, as we know from some examples from modern history, can be very muscular and toothy.
It's interesting that similar projects appeared in parallel in two cities: the same conservative fundamentalist orchestra works in Moscow, only the Great Jazz Orchestra conducted by trumpeter Peter Vostokov is somewhat more consistent, because he does not belong to any organization and therefore works in general out of pure love to art (strangely enough to meet this in the corrupt Moscow). The Jazz Philharmonic Orchestra, having appeared in the cultural capital of Russia, nevertheless belongs to the state (more precisely, the city) institution. Otherwise, the two orchestras are very similar: both work recently (about three years), led by both young leaders (in the case of the St. Petersburg orchestra, these are saxophonists Cyril Bubyakin and Sergei Bogdanov, who in the album's booklet are coquettishly called Serge), and the compositions of both orchestras completely youth - a few in them far exceeded the "tridtsatnik."
The fundamental difference is this: the Moscow orchestra is repertoire, it prepares and executes the programs of historical scores from old jazz epochs, playing jazz classics exactly according to classical orchestras of the distant era. And the St. Petersburg Orchestra, in addition to the "golden jazz classics", plays a lot of original author's music written at the end of the 20th and in the 21st century, only in the conservative and historical style of half a century ago. And even historical plays (Duke Ellington, Vasily Soloviev-Sedoy or, frightfully, "Silent Night" written by the Austrian organist Franz-Xavier Gruber at Christmas 1818) are filed on the album in author's, modern arrangements. In theory, you expect the opposite (nevertheless St. Petersburg is famous for its citadel of jazz conservatism), but, as Johann Wolfgang von Goethe teaches us, "dry theory, my friend, and the tree of life is always green."
It is this green-unsavory tree of life that is the source of the vitality of the St. Petersburg orchestra. Yes, the general stylistics is sustained in historical tones, but the improvisers are full of energy, enthusiasm, knowledge and skill, and they play as they play in the 21st century. And the imbeciles here are very strong, even if you do not take into account the invited stars, although they can not be taken into account in any way: Igor Butman soloed three times on the album, twice on the tenor, another soprano, and two more solo on the flugelhorn and once - on the vibraphone head S.-P. Jazz Philharmonic David Goloshchekin that the album "contributed a lot to the decoration" (AS Griboedov). Both leaders strongly improvise (Sergey - that is, sorry, Serzh - Bogdanov on the baritone, it's a pity that little, only twice for the album, and Cyril Bubyakin - on the viola, in quite satisfying the listener quantities). Other participants strongly solo, and the only solo of the drummer Yegor Kryukovski, coupled with his reliable ensemble work, makes us believe that the next, after Aleksandr Machine, a long jumped to Moscow, a strong jazz drummer, finally grew up in Petersburg.
Finally, the overall sound. It's no secret that we often record orchestras in the middle. Some superprofessional Moscow orchestras, working with powerful organizations with their own excellent studios, sound on their records as in a shed in 1971, before the introduction of GOSTs, pasteurization of milk and obligatory washing of hands. It's no secret that when you list good contemporary studios in Russia, the Petersburg studio is rarely called a gramophone record. "But here you go, dear reader!" (FM Dostoyevsky). The album sounds powerful, vivid, the orchestral balance is densest, the solos are highlighted elegantly - they are read in detail, but do not stick out, the sound picture has a tangible but not overstretched panorama and an elastic, dense but not inflated bass base, and the volume of the studio is clearly read - live and fresh, not smeared with artificial reverberation. Congratulations to the sound engineers of the album (recording - Kira Malevskaya and Alexey Barashkin, mixing - Boris Rubekin, mastering - Nikita Ivanov-Noman).
A separate repertoire plus of the orchestra is the wide use of author music by musicians from St. Petersburg. Musicians do not "press" their own compositions (although for sure they are ripening in the depths of the orchestra), but they play (six tracks out of ten!) Of the composition of Ruslan Khain, a bass player living in New York, who moved to Moscow, the trumpeter Alexander Berenson and the general for everything Petersburg jazz teacher - the legendary Gennady Holstein. Unconventional, strong and respectful move.
So, a new orchestra was born in Russia and confirmed its birth with a strong work in sound recording. We will follow its development!
Konstantin Volkov, "Jazz.Ru"