Amina Figarova, Sketches (2010, Munich Records)
© 2010, Andrea Canter
Like a scaled down Maria Schneider Orchestra, the Amina Figarova Sextet blends classical European elegance with symphonic harmonies of 21st century large jazz ensembles. Born in Azerbaijan and residing in Rotterdam, classically trained and jazzily inspired, pianist/composer Figarova brings her multi-faceted background to the gilded compositions of Sketches, her 12th recording, taking listeners on tour with her band. “Traveling with our musical family brings us to most interesting and impressive places…we love touring, and we love to share those experiences,” she writes in her liner note.
On this “tour,” Figarova introduces thirteen original “sketches” that form a suite covering a world of modern jazz. The set is beautifully introduced by “Four Steps to…” followed by trumpeter Ernie Hammes blitzing across the boppish “Unacceptable.” Figarova and bassist Jeroen Vierdag set up a catchy vamp on the title track, an effective foundation for Marc Mommaas’s acrobatic tenor sax. The solo intro to “Caribou Crossing” highlights Figarova’s keyboard lyricism and agility as well as the exquisite harmonizing of the horns, and particularly the luxurious flute of (Amina’s husband and executive producer) Bart Platteau. “Breakfast for an Elephant” starts with a slow and heavy step like its namesake, Hammes then leading a safari into unfamiliar, eagerly anticipated wonders.
There’s an unmistakable reflection of “Seven Steps to Heaven” in Figarova’s herky-jerky opening theme for “WHOTSOT,” while Mommaas’s twists and turns take the ensemble to a different destination. Bassist Vierdag holds the spotlight on “Back in New Orleans,” providing a lithe and lyrical solo as well as a somber foundation for an arrangement marked by thoughtful space. Hammes works his magic on flugelhorn on the majestic “On the Road,” with delicate sparkles from Figarova’s deft single-note phrases and Platteau’s songful flute, and big punctuations from drummer Chris Strik. Strik kicks it up a few notches on the energetic “Flight N,” which opens like a heavily syncopated “You and the Night and Music” but soon drifts into a more Latinized feel that recalls Chick Corea’s “Spain;” Platteau and Hammes shine in turn, and Figarova takes off at full throttle on one her most adventurous excursions of the set. Strik lets loose to lead the ensemble homeward.
Amina Figarova, 2008 Twin Cities Jazz Festival (photo © Andrea Canter)
Vierdag carries the Latin feel into the opening of “Look at That” before Mommaas, then Figarova take a northerly turn. On “Train to Rotterdam,” Hammes’ wistful flugelhorn sings with a restrained joy over a piano/bass vamp that gives the track its beating heart; each musician has his or her moment before that solid vamp finds resolution. An effervescent Strik propels “Happy Hour,” Figarova galloping across the bar lines, finding a fleeting Hammes and a festive Platteau. The set closes with “Your Room,” an ominous piano/bass duet climbing and descending as Mommaas creates one of his most engaging tales of the suite. Platteau and Hammes join, ending the track, and the recording, with a lovely lingering dissonance.
Amina Figarova has typically recorded and performed in sextet or septet format, allowing her writing and arrangements plenty of space and harmonic opportunities while managing to highlight individual voices. Sketches is the latest, perhaps finest, of her efforts to produce a music that not only intrigues the ear but also that inner eye that visualizes the interactions among the artists. This is a “musical family” that travels well together.
First posted at www.jazzpolice.com