The Brooklyn-Queens Expressway receives its due credit on The BQE for bringing the two halves of this quartet together. It also appears in its own way through the music itself: ranging from dreamily slow to head-long fast, changing tempos and moods at a moment's notice. Sibirsky asserts that most of this record was improvised, built around spare compositional frameworks. Indeed, the openness of the quartet to evolution and devolution is the record's greatest quality.
While the members of the rhythm section (DeCesare and Mondlak) play their swinging due, the real focus of The BQE is the interaction between Sibirsky and Josefsbergwhich relies upon an advanced level of understanding. Trade-offs between head and solos occur spontaneously. These two players seem to have a near-magical ability to predict each other's moves and go with them, not knowing in advance exactly where they will lead. While one might expect more "togetherness" from a quartet arrangement, The BQE offers a tasty hint at the potential of Sibirsky and Josefsberg's playing outside this context.
Track Listing: The BQE; I Remember You; Give It Time; Sweet and Lovely; Sparta; Have You Met Miss Jones.
Personnel: Charles Sibirsky, piano; Mark Josefsberg, vibes; John DeCesare, bass; Drori Mondlak, drums.
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total)
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total). He saw an alto sax on my neck and said: Hey, how about you there, would you like to play something for us? I played a piece with the piano. OK, said Lee, how about you play something unaccompanied? Oh yeah! I was deep into transcribing Sonny Stitt and pretty much into playing as fast as possible as many right notes as possible. So I played Oleo in about 300 beats per minute and was very proud of myself. Lee was tapping his foot all the way through. Hmm, he said, that was in time and all that... (I thought - yeah, of course, haha!) and then he said, You've got a lot of quantity, how about quality? It took me 15 years to realize what he meant.