BURAK BEDIKYAN – Circle of Life
SteepleChase Records (LookOut Series) SCCD33109
Burak Bedikyan (piano) Chris Potter (sax) Peter Washington (bass) Bill Stewart (drums) Recorded April 2nd & 3rd 2012
BURAK BEDIKYAN - Leap of Faith
Steeplechase Records (LookOut Series) SCCD33119
Burak Bedikyan (piano) Chris Cheek (tenor and soprano saxes) Ron McClure (bass) Billy Drummond (drums) Recorded February, 2014
SteepleChase Records (LookOut Series) SCCD33109
Burak Bedikyan (piano) Chris Potter (sax) Peter Washington (bass) Bill Stewart (drums) Recorded April 2nd & 3rd 2012
BURAK BEDIKYAN - Leap of Faith
Steeplechase Records (LookOut Series) SCCD33119
Burak Bedikyan (piano) Chris Cheek (tenor and soprano saxes) Ron McClure (bass) Billy Drummond (drums) Recorded February, 2014
This pair of releases on Steeplechase’s new talent label introduces us to the prodigious virtuosity of Turkish / Armenian pianist Bedikyan performing in the company of a star studded cast of American A listers. The first disc represents his debut for the company and shows that he has thoroughly imbibed the jazz tradition whilst adding the more contemporary influences one would except of a young musician exposed to the popular styles typical of his generation and those drawn from his ethic background. Having said that there is nothing gimmicky about the music and his conception holds together engagingly and convincingly.
His veneration of the tradition is expressed in pieces dedicated to Tommy Flanagan, on the first disc, and Bud Powell on the second : both capture the ethos of their respective styles to perfection whilst an original entitled, `For Old Times’ Sake` is firmly in the familiar bop groove typical of both those artists. Elsewhere the music takes in other periods and genres including the mandatory Lennon and McCartney tune – a limpid version of `Here, There and Everywhere` which ends with a dramatic flourish- sitting alongside sombre modal themes and impressionistic touches of a classical nature of which a Chopinesque nocturne for trio, dedicated to a fallen hero of Turku/ Armenian heritage provides a beautiful coda to the debut disc.
The follow up disc, recorded two years later, opens on a rather different note with the pianist displaying an affinity with Jarrett’s pastoral style and Cheek’s piping soprano recalling with the famed European quartet which featured Jan Garbarek. Subsequent numbers reflect McCoy Tyner modalities and it is only towards the end of the album that what might be discerned as the pianist’s true authentic voice is heard. `Dier Ez-Zor`, an impressionistic piece for solo piano, conveys a moodily suppressed Middle Eastern passion that exudes a dramatic Balkan type melodic feel.
Of his fellow musicians I’m inclined to favour Potter’s robust Rollins style tenor sax because his earthy assertions contrast vividly with the leader’s multi – varied eloquence. Chris Cheek is no less impressive when it comes to the articulation of improvisational development but his tone his rather dry and consequently less expressive. On both discs bass and drum chores are performed by masters of their craft with ex –Hermanite McClure taking a particularly impressive solo on the title track of the second session. What better way to launch the career of a talented neophyte than to raise him up on the shoulders of giants.
Reviewed by Euan Dixon
His veneration of the tradition is expressed in pieces dedicated to Tommy Flanagan, on the first disc, and Bud Powell on the second : both capture the ethos of their respective styles to perfection whilst an original entitled, `For Old Times’ Sake` is firmly in the familiar bop groove typical of both those artists. Elsewhere the music takes in other periods and genres including the mandatory Lennon and McCartney tune – a limpid version of `Here, There and Everywhere` which ends with a dramatic flourish- sitting alongside sombre modal themes and impressionistic touches of a classical nature of which a Chopinesque nocturne for trio, dedicated to a fallen hero of Turku/ Armenian heritage provides a beautiful coda to the debut disc.
The follow up disc, recorded two years later, opens on a rather different note with the pianist displaying an affinity with Jarrett’s pastoral style and Cheek’s piping soprano recalling with the famed European quartet which featured Jan Garbarek. Subsequent numbers reflect McCoy Tyner modalities and it is only towards the end of the album that what might be discerned as the pianist’s true authentic voice is heard. `Dier Ez-Zor`, an impressionistic piece for solo piano, conveys a moodily suppressed Middle Eastern passion that exudes a dramatic Balkan type melodic feel.
Of his fellow musicians I’m inclined to favour Potter’s robust Rollins style tenor sax because his earthy assertions contrast vividly with the leader’s multi – varied eloquence. Chris Cheek is no less impressive when it comes to the articulation of improvisational development but his tone his rather dry and consequently less expressive. On both discs bass and drum chores are performed by masters of their craft with ex –Hermanite McClure taking a particularly impressive solo on the title track of the second session. What better way to launch the career of a talented neophyte than to raise him up on the shoulders of giants.
Reviewed by Euan Dixon
|
|
|
