Calling Amina Figarova merely a jazz impressionist does injustice to the full breadth of the pianist's vision and does not reflect the uniqueness of her artistry. That said, most of her compositions do have an impressionistic bent. The nocturnal "Shut Eyes, Sea Waves...," for instance, on Twelve (her twelfth release as a leader), uses her cascading piano and Dutch drummer Chris " Buckshot" Strik's gentle cymbals to paint a picture of waves crashing against the shore. The salty air is almost palpable in Figarova's husband and Brussels native Bart Platteau's flute playing. Luxembourgian Ernie Hammes' flugelhorn sings a complex and soothing lullaby, while the modal sounds of Figarova's own closing solo conjure images of a rocking cradle in their rhythmicity and melodicism.
Figarova imbues her originals with her sui generis persona, making them instantly recognizable. This is due to a mixture of expressionism without atonality and unparalleled improvisational and leadership skills.
"Leila" is dedicated to her grandmother, the director of a medical institute. In addition to creating a musical portrait, utilizing the contrast between Platteau's whimsical flute and the gravity of Strik's polyphonic drums, Figarova expresses her love and esteem through her own cool pianism and tenor saxophonist Marc Mommaas' reserved but intelligently crafted improvisation.
Figarova's sparse yet carefully played notes and the frontline's chorus of a languid vamp enhance the Zen atmosphere of "Morning Pace." Jeroen Vierdag's graceful and intricate bass and Hammes' introspective horn further the half-drowsy serenity of the piece.
Figarova's move to New York inspired this album, her second with the same sextet. Platteau, however, has been at her side throughout her career, while Strik has appeared on her records since 2004. Such familiarity does not undermine her superior abilities as a bandleader, as evidenced by just a single listen to the tightly swinging harmonies of "Make it Happen." Capable of coaxing the tonality of a progressive big band from only six people, bright and edgy extemporizations from Figarova and Hammes spring forth, only to melt back into it.
Figarova's style cannot be classified neatly in any traditional genre because she has forged an individual character. Her work is neither post-bop nor hard-bopnor anything else, for that matter; it is simply Figarova. Rare are the musicians about whom this can be said.
NYCST; Another Side Of The Ocean; Sneaky Seagulls; Shut Eyes, Sea Waves,...; On The Go; Isabelle; Make It Happen; Twelve; New Birth; Morning Pace; Leila; Maria's Request.
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.
A young artist exhibits his work for the first time. An art critic is in attendance. The critic says, "would you like my opinion on your work?" "Yes," says the artist. "It's worthless," says the critic. The artist replies "I know, but tell me anyway."