Amina Figarova

“Figarova is a pianist, composer and arranger of astonishing freshness and depth--an important new talent on the world jazz stage." -- Thomas Conrad, Jazz Times 
 

Born in Azerbaijan and residing in Rotterdam, classically trained and jazzily inspired—multiple sources of inspiration gild the compositions of pianist/arranger/bandleader Amina Figarova. On Saturday night, June 28th, the Amina Figarova Sextet closes out their U.S. tour on Peavey Plaza, joining a stellar cast at the Twin Cities Jazz Festival. Not the most familiar name on the Caribou Coffee Stage this weekend, Figarova’s band nevertheless may be the surprise jewel in the festival’s crown, an ensemble that features smoldering original compositions and exciting harmonies, a disarming balance of European delicacy and good ol’ Amercan swing and bop. It’s a balance that makes perfect sense to Figarova, who says “That’s the beauty of jazz, it is such an international language. It’s born in America, but it has such different roots.”

In her native Baku, the capital city of the Caspian country of Azerbaijan, Amina Figarova discovered the family piano at age two and was hooked, composing her first tunes by age three. She earned a degree in classical piano at the Baku Conservatory, moving into jazz through studies at the Rotterdam Conservatory and the Berklee College of Music in Boston. With various configurations of trio, sextet and septet, Figarova has performed at The North Sea Jazz Festival, New Orleans Jazz Festival, Capetown International Jazz Festival, Salvador Bahia Jazz Festival, JakArt Festival, and has toured in Indonesia, Israel, Europe, United Arabs Emirates, Mexico, Azerbaijan, and the USA—appearing at Yoshi’s in Oakland and the Blue Note in Manhattan.

Figarova’s debut recording, Attraction, was released in 1994, featuring all original compositions. A few years later she was invited to study at the Thelonious Monk Jazz Colony in Aspen, and in 2001, became Artist in Residence for the Dmitri Matheny Home Season in the San Fransisco Bay Area. Her International Band was launched as a result of her residency. She has also toured with vocalist Denise Jannah and with the American All Stars Band in addition to her own ensembles. Her most recent recordings, both released in 2005, include the septet Come Escape With Me (see below) and the Trio’s September Suite, written following the World Trade Center attack while she was living in Brooklyn.

The current tour is supported by Fonds voor de Podiumkinsten+ and the Dutch Consulate General of New York and Chicago. Appearing with Figarova this summer are husband/flautist Bart Platteau, tenor saxophonist Marc Mommaas, trumpeter Alex Pope Norris, bassist Jerone Vierdag, and drummer Chris “Buckshot” Strik.

Come Escape With Me (Munich Records, 2005)

Amina Figarova’s fifth recording in seven years features all original compositions and arrangements. The arrangements are as critical to the CD’s success as the compositions they support, as the piano as a solo instrument is largely secondary to the focus on the ensemble, its majestic harmonies and sympathetic interplay. Nothing here is overwrought; musical ideas never meander to the point of aimless wandering, with many tracks under six minutes and several clocking as brief, three to four minute, purposeful statements. Figarova’s arrangements bring an orchestral power to the septet context, heavily influenced by bop and blues with classical underpinnings shining through at times but generally in the background. For a European band, the sound is far more New World than Old World, and the inclusion of Bart Platteau’s arsenal of flutes puts a unique (and luxurious) stamp on the music. The other musicians on the recording include Marcel Reys on trumpet and flugelhorn, Tom Beek on alto and soprano sax, Kurt van Herck on tenor sax, Wiro Mathieu on bass, and Chris Strik on drums. 

The title track solidly sets the stage for the remainder of the recording, firmly planted in American post bop. Kurt van Herck opens the door on tenor sax with Figarova comping in the background, all giving way to the soaring song of Platteau on flute. The pianist keeps it grounded with majestic chords and firm phrases while drummer Chris Strik keeps busy throughout. Figarova launches her first solo with the sure dexterity of Herbie Hancock or Keith Jarrett and the powerful chord combinations of McCoy Tyner. 

Wooden flutes seem to be employed on “Hot on the Trail,” with a deeply resonating tone and heavier vibrato than typical of standard metal flutes. While Platteau coaxes an almost guttural growl from his instrument, alto saxman Tom Beek explores with a warm burnished tone. While reminiscent of some of the work done today by young New York horn players, Figarova’s composition tends to be more interesting, both melodically and harmonically. With single line explorations, the pianist turns each phrase inside out, an individual sound nicely supported by bass and drums. “Flight of Fancy” suggests the lyricism of Evans or Jarrett, without the rumination of the latter, an intricate, romantic interlude showcasing Figarova’s beautifully controlled dynamics. Strik here is a master of subtlety; the horns enter gently with Beek particularly lovely on soprano sax. The ensemble’s harmonies suggest Maria Schneider, while the horns fall in a quarter note apart in sequence like a cascading waterfall.  

Amina Figarova©Joke Schot

“Awakening” is one of the most beautiful tracks on this recording, a gorgeous vehicle for flute that sets the stage for some exquisite piano explorations, and again somewhat suggestive of Fred Hersch. Nothing is rushed. Each note has a purpose and relationship to what precedes, what follows. Bassist Mathieu takes the spotlight here, magically framed by Figarova’s well placed phrases before Platteau returns. This is a soft, gradual awakening; the dream lingers and slowly evaporates. “Blues for Wiro” could be a bop standard. Rey’s trumpet gives it 21st century voicings but the fire is out of the bop tradition. Van Herck on tenor sax takes a spin, too, all buoyed by a jogging bassline, a workout for Wiro Mathieu. Everything is spoken and resolved in under three minutes. 

Listening to the trio track “Destiny” as well as some of the trio passages throughout, I am ready to hear a full trio recording from these artists. Without the horns, Figarova’s classical background bleeds into the post bop twists and loops of this composition, also another high point for bassist Mathieu. “Market Place” starts with a slow passage followed by searing energy from all, highlighted by Beek on alto, while Figarova soars from one end of the keyboard to the other, and percussion and bass keep up a brisk pace. The closing track, “Reaching Out to You,” perhaps has the most European feel of all, with a solo piano introduction that drifts into the ensemble, orchestral, floating, and delicate.  

At the Twin Cities Jazz Festival

One of the best reasons to attend the Twin Cities Jazz Festival each year is the opportunity to hear national and international touring artists who may not otherwise be on our radar screens (or even nearby). Saturday, June 28th presents us with such an opportunity to enjoy an artist well established in Europe but perhaps little known on this side of the Atlantic despite her enormous skill as performer and composer. Don’t miss the chance to hear Amina Figarova and her sextet, on the Caribou Coffee Stage at Peavey Plaza at 7 pm. 

Full information about the Twin Cities Jazz Festival is available at www.twincitiesjazzfestival.com. More on Amina Figarova at www.aminafigarova.com