Bar code: 8427328425246
Retrospective of Russian Composers of the 20th Century
Suite composed by Marko Churnchetz
01. Ouverture 7:24
02. Cantabile 5:30
03. Fantasia 5:29
04. Preludium 7:07
05. Nocturne 5:43
06. Valse 6:30
07. Scherzo 7:56
08. Toccata 7:07
Marko Churnchetz (piano), Mike Moreno (guitar), Chris Jennings (bass), Rudy Royston (drums). Bostjan Lipovsek (French horn), Dario Golcic (oboe), Mateja Kremljak (flute), Matija Krecic, Dejan Gregoric, Klemen Bracko, Barja Drnovsek, Bojan Cvetreznik (violins), Urska Demsar, Barbara Grahor (violas), Tamara Gombac (cello).
Chamber Section on #1: Bostjan Lipovsek (French horn), Dudu Carmel (oboe), Mateja Kremljak (flute), Janez Podlesek, Dragan Radosavljevic (violins), Tamara Marinkovic (viola), Klemen Hvala (cello).
Recorded at RTV Maribor Studio (Slovenia), Salon za eno glasbo (Ljubljana, Slovenia)
and Randy Ingram Studios (NYC); October 10, November 29, 2015; March 22, 2016
Tracks #1 & 3 recorded at Union Hall, Maribor on Festival Maribor (Slovenia), September 8, 2014
Recording engineers: Darko Kukovic, Jernej Krzic/Marko Churnchetz, Randy Ingram, Danilo Zenko (#1 & 3)
Mixed and mastered by Dave Darlington at Basshit Studios, Manhattan, New York City
Editing: Vid Zgajner & Marko Churnchetz
Cover photo: Matjaz Tancic.
Musician photos: Rok Holnthaner & Jernej Krzic
Produced by Marko Churnchetz
Executive Producer: Jordi Pujol
"The opening track’s orchestral nature partly belies what follows in Cantabile and much of the album, which is a somewhat Mehldau and Metheneyesque contemporary jazz sound with a touch of Camilo-like drama, but I very much enjoyed these different aspects of the CD. I’m not so sure that Ouverture really has much to do with the rest of the programme in jazz terms, but its inclusion is understandable given the context of the album, which is a suite of excellent compositions by the leader with an attachment to the themes and composing techniques of the great Russian classical composers of the early 20th century. In fact, there’s a quote in there on the oboe from Stravinsky’s Firebird Suite.
Churnchetz’s compositions are beautifully played by the ensemble as a whole, and he’s an exquisite-sounding pianist whom I suspect would be quite something to hear live. The quality of the recording is certainly no disappointment either, in part courtesy of Randy Ingram’s studio. Ingram is himself a pianist of some note, whom I met in New York in 2010 when I sat in during a jam session at The Kitano in mid-town Manhattan. At the time he was in the house trio, playing with more than a shade of a certain Bill Evans, and recommended that while I was in New York I should check out Sam Yahel’s piano trio at the Village Vanguard, which I gladly did.
The quality of the music here doesn’t wane at any point, in either performance or compositional terms, and I’d strongly recommend this album to anyone, but particularly to those intrigued by high-level fusions of jazz and western classical music.
Dave Jones (June, 2017)
Jazz Journal Magazine
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