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Dmitry Baevsky

Dmitry Baevsky was born in St-Petersburg, Russia in 1976. He started piano lessons at six and discovered his passion and seriousness for music as a teenager, when he picked up an alto saxophone. In 1991, he entered the Mussorgsky College of Music in St-Petersburg and studied with the brilliant Russian jazz saxophonist Gennady Goldstein. Throughout the nineties, Dmitry Baevsky appeared in many jazz venues and international festivals throughout Russia. In addition, he participated and was awarded prize places in several jazz and classical competitions. Upon his arrival in New York in 1996, he was accepted to the Jazz Department at the New School University on a full scholarship. After finishing college, Baevsky stayed in New York and remained busy working within the local New York jazz community. In 2005, he released his first CD as a leader “Introducing Dmitry Baevsky” (Lineage Records). The album features such masters as Cedar Walton, Jimmy Cobb and John Webber.

Since then, Baevsky performed and/or recorded with musicians such as Peter Washington, Willie Jones III , Harry Allen, Peter Bernstein, Cedar Walton, Junior Mance, Dennis Irwin, Jeremy Pelt, Steve Williams, Joe Magnarelli, David Wong …

In 2009, he recorded “Some Other Spring” (Rideau Rouge | Harmonia Mundi) while on tour with great guitarist Joe Cohn.

In September 2010, the label Sharp Nine Records released “Down with It”, an album featuring trumpet player Jeremy Pelt as well as Dmitry’s current quartet members Jeb Patton (p), David Wong (b) and Jason Brown (dr).

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”Dmitry is an important new voice, distilling the jazz tradition to produce a thoughtful, probing here-and-now feel.” Marc Myers, JAZZWAX

“Dmitry Baevsky is a mind-blower, a major new alto saxophonist. Lots of jazz musicians can play fast (though perhaps not this fast), but Baevsky, as he rockets by, does some unusual things. First, ideas pour out of him in exhilarating extravagance, as if from a bottomless well of creativity or a perpetual-motion music machine. Second, despite their velocity, Baevsky's improvisations deeply cohere. Third, he makes balls-to-thewall bop into something pretty

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