Usein Bekirov: Free Way Deluxe

Labels, reductive at best, prove especially slippery when applied to Lviv-based pianist-keyboardist Usein Bekirov. Ethno-jazz, ethno-fusion, jazz-funk—all these titles and more have followed his music around since his debut album, Taterrium (4Records, 2016). Born in Uzbekistan but raised in Crimea from the age of eight, Bekirov has drawn variously on his Ukrainian and Crimean Tatar roots, as well as Balkan and Azerbaijani folk music, alongside modern jazz-fusion. Previous collaborators have included fusion luminaries such as trumpeter Randy Brecker; saxophonist Ada Rovatti; fretless guitarist Cenk Erdogan; electric bassists Hadrien Feraud and James Genus; drummer Dennis Chambers; and former Miles Davis guitarist Mike Stern.

Free Way Deluxe is an EP born of the same session that produced Free Way (Tlsg Digital, 2024). Bekirov once more enlists the services of Chambers and Feraud—both of whom also played on the impressive Sato (Tlsg Digital, 2023)—and rounds out another starry cast with guitarist Frank Gambale, Snarky Puppy's Michael League (here on electric bass) and yet another Davis alumnus in saxophonist Bill Evans. Seven original tunes weigh in at just under 30 minutes and rest squarely in the modern American jazz-fusion mold. The exceptions are "Karaev" and "Obsession"—elegant solo piano vignettes with a contemporary hue.

Bekirov toggles between acoustic piano and electric keyboards, his bright electric chords and rhythmic impetus underpinning the lively "Victory," which sees notable solos from Evans and Gambale. Guitarist and saxophonist are both in terrific form and enjoy significant spotlight across the session. Gambale, the former Chick Corea Elektric Band and Vital Information member, switches to acoustic guitar on "Golden Time," trading melodious, tumbling solos with Evans. On "Muse," the leader bounces between flowing acoustic piano and an electric piano vamp as he passes the baton to Evans and then Gambale.

The folkloric "Melody" offers a taste of Bekirov's ethnic roots, especially in his brief-though-appealing vocals, though it is still Evans' soaring soprano that leaves the deepest impression. A guitar-and-saxophone unison head introduces "From Time to Time," a buoyant slice of jazz-funk spiced by fleet interjections from Evans, Gambale, and the leader on acoustic piano. A joint vamp unleashes Chambers for a brief flurry, but if there is one minor complaint, it is that these otherwise engaging compositions ask too little of the much-vaunted drummer. In fact, both bassists and Chambers feel anchored in a somewhat predictable groove-based comfort zone.

Bekirov's strong suit on Free Way Deluxe is his penchant for uplifting melodic frameworks that invite solos of a similar bent. To this end, the leader should be delighted with Evans' and Gambale's fiery yet accessible contributions. A touch more rhythmic adventure, on the other hand, would have elevated this polished session beyond the merely satisfying.

That such a cosmopolitan musical background results in a set so firmly rooted in mainstream American fusion may surprise, even if Bekirov's melodic instincts lend the material an understated individuality. Context matters, however. Due to Russian missiles attacks and electricity outages, Free Way Deluxe and its parent album were recorded remotely. That the music came about at all is a testament not only to Bekirov's resilience, but to the strength of his artistic drive.