Musical analogues: Larry Goldings, Bill Stewart, Larry Young, Keith Emerson
Album genres: post-bop, contemporary, organ trio, mainstream, fusion
Written and arranged (except 9 and 10) by Vladimir Nesterenko
Record participants: Vladimir Nesterenko – organ, melodica (3); Maxim Shibin – guitar; Alexander Zinger – drums; Sergey Bakulin – saxophone (8, 9)
Recorded in 2012 / Released in 2012
Catalogue number: AB-CD-09-2012-024
Languages o the booklet: Russian, English
Publishing House: OOO “ArtBeat”, 127051, Moscow, Trubnaya st., 32, building 4
Sales Department: + 7.903.2090450
The album is the first in the Soviet-Russian history album in the format of the classical jazz organ trio (the organ, the guitar and the drums with the participation of the tenor-saxophone). The music of the disc combines all the richness of timbre colors of such ensemble and wide stylistic palette: from chamber jazz playing (“Met, Chatted”, “Where the Grass is Greener”) through post-bop mainstream (“Organology”, “Independence Day”) to a practically hard rock pieces (“Two More Beers”, “Study Hard, My Son…” (alt.take)). Besides the author’s material, the disc includes also two pieces of The Beatles thought over in their arrangements. Beatles’ fans will be surprised!
Album reviewThe evaluation of the new work by Vladimir Nesterenko is absolutely impossible without considering the instruments used to fulfill it. The electronic organ is quite usual in jazz, but on the modern scene it more and more becomes a rarity - not least because the keyboardists of the “wide profile” use only one of its possible timbres. Switching from one sounding to another on the modern keyboard systems one cannot feel a true organist (especially for the reason that...
the classic organ has a foot keyboard while the analogous synthesizers does not). And Nesterenko and his trio do not look for compromisers: he plays like a real organist: two keyboards for hands and one for feet, no synthesizer effects etc. At first sight in the age of high technologies such “return to the roots” largely limits the performer. Even the ordinary piano trio sounds more naturally – mainly for the reason that the listener knows what to expect from the sound and doesn’t pay a lot of attention to it. As to the electronic organ, familiar to us in records of the “old jazzmen” and unfamiliar live, we are listening to it ready for “tricks” and revelations; in short, the listener behaves like a child who has reached a synthesizer and who is trying to find a new content in a melody played “from the name” of the piano, the guitar, the saxophone. That’s why at first sight “Organology” seems not so flamboyant like it should be and this is a very right achievement made by Nesterenko as a leader, who managed to avoid instrumental circus; not immediately but you understand that the album offers the content but not its fa?ade. The content in good music can’t be self-worth – it demands an individual approach from the audience possessing a personal vision. For example, someone will see in the album the influence of old masters Jimmy Smith level, and someone – more contemporary Joey DeFrancesco of the time of working with John McLauphlin guitar trio (the format is the same – the electric guitar, the electronic organ, the percussion instruments). And so what? In the album the organ part is played by certain Nesterenko who is capable of writing world class music which is worth presenting at any big festival.
“Organology” is rather restrained and is free of concert rampage, and sometimes it is forthrightly stingy , like the jazzmen purposely want to leave the audience “underfed”. Guitarist Maxim Shibin pretty often plays one of the first roles, his strong skills in quality mainstream are undoubted; having found their own language the trio musicians unobtrusively take the audience off the entertaining way to the “philharmonic” one; if one could drink beer in the club to Jimmy Smith – not for everyone and not in any composition it will seem appropriate to do listening to Nesterenko.
The compositions are of course author’s and their titles are not bad, such titles are in deficit in Russian music. What is the purpose to clone English clich?s if the piece can be called “Study Hard, My Son, and Probably Some Day They’ll Give Your Name to a Street”? By the way, this name with its deliberate heavy-handedness depicts the core of the album in general – it’s difficult to express shortly and loudly, but it has a connective thought, not an empty exclamation.
Two pieces have been taken from the other authors – these are ‘For No One” and “Something” by great The Beatles. We should say thanks for their interpretation: there is no goal in distortion of the original, there is no slavish abidance to it. The interpretation is interesting for both its proximity to the source and diversion from it.
In general, “Organology” is a slow album, subdued in timbre and in emotion, dense and with capricious architecture. In comparison with the whimsical jazz-rock records of the last time it can seem to be not so flamboyant but the attentive study will show that everything is all right with the virtuosity and the content is pretty rich. In short, the album motivates to go to the live concert – we can hardly expect more from a record nowadays.