Home » Jazz Articles » Album Review » Dmitry Baevsky: Soundtrack

Dmitry Baevsky: Soundtrack

By David A. Orthmann
July 20, 2021
View read count

A collection of songs, some of which are likely to be included in aficionados' play lists; interpretations that don't stray very far off the beaten path; and a band of players who share a vision of how the material should be handled. It's the recipe for many recordings—past, present and future— within the mainstream of jazz. So, why does alto saxophonist

Dmitry Baevsky

saxophone, alto
b.1976

" data-original-title="" title="">Dmitry Baevsky's Soundtrack, an entry that readily fits this pattern, stand out from the crowd?

In Baevsky's scheme the melodies of popular songs from the 20th century, such as "La Chanson de Maxence" (AKA, "You Must Believe in Spring"), and "Stranger in Paradise," are worthy of special consideration. Though he possesses a jazz musician's proclivity for reconfiguring a melodic line, oftentimes minimal modifications are sufficient to put the song across. Two consecutive trips through "Evening Song" sound as if Baevsky is encouraging the listener to savor the differences. The often covered "Autumn in New York" succeeds on account of his deft blend of the melody and bop-influenced enhancements.

The same attention to detail applies to Baevsky's treatments of an array of tunes by venerable jazz musicians:

Sonny Rollins

saxophone
b.1930

" data-original-title="" title="">Sonny Rollins' "Grand Street,"

Horace Silver

piano
1928 - 2014

" data-original-title="" title="">Horace Silver's "The Jody Grind,"

Dexter Gordon

saxophone, tenor
1923 - 1990

" data-original-title="" title="">Dexter Gordon's "Le Coiffeur,"

Ornette Coleman

saxophone, alto
1930 - 2015

" data-original-title="" title="">Ornette Coleman's "Invisible,"

Ahmad Jamal

piano
1930 - 2023

" data-original-title="" title="">Ahmad Jamal's "Tranquility" and

John Lewis

piano
1920 - 2001

" data-original-title="" title="">John Lewis' "Afternoon in Paris." One distinguishing characteristic of Baevsky's approach to the jazz material (as well as the popular songs) is his regard for dynamics. In contrast to many contemporary saxophonists who sound as if they're demanding to be heard, he's more likely to come way down in volume then to roar, bark or bellow. For instance, the first time around "Grand Street" sounds as if Baevsky is revealing a soulful secret. Joined to his sensitivity to dynamics is the capacity to sound at one with the band on the heads. The music is all the better for his willingness to forsake being the center of attention. A couple of prime examples are "The Jody Grind" and "Tranquility."

"Evening Song" and "Afternoon in Paris," the tracks that bookend the record, best represent Baevsky's virtues as a soloist. The three choruses on "Evening Song" gradually move away from the haunting melody, as he leans into the medium tempo pulse, fashions edgy, well-proportioned lines, and integrates the sprinting runs that are an essential feature of his style. A rendering of "Afternoon in Paris" with only bass and drums displays a more adventuresome disposition. While the solo ultimately remains on solid ground, Baevsky scatters pithy comments throughout and, as if harnessing all his strength, reaches a startling climax at the beginning of the second chorus.

For all Baevsky's capabilities as a song interpreter and improviser, a considerable amount of the success of Soundtrack is due to the contributions of a first-rate band comprised of pianist

Jeb Patton

piano
b.1974

" data-original-title="" title="">Jeb Patton, bassist

David Wong

bass

" data-original-title="" title="">David Wong and drummer

Pete Van Nostrand

drums

" data-original-title="" title="">Pete Van Nostrand. Their united approach to "The Jody Grind" feels like a deeply grooving assembly of component parts. The breezy Latin quality they bring to "Le Coiffeur" amounts to an invitation to dance. The amiable, medium tempo swing of "La Chanson De Maxence" advances without any signs of stress or strife. Van Nostrand epitomizes good timekeeping, precise sticking, tasteful fills, as well as his placing strokes slightly beneath the bass line. Patton's perceptive accompaniment buoys the ensemble without taking up too much space. Wong's firm, muscular lines make a deep impression while working in tandem with Van Nostrand.

Soundtrack is Baevsky's most accomplished recording to date, a sophisticated, invigorating piece of work that makes one look forward to his future endeavors.

Learn more about our star rating system

Track Listing

Evening Song; Vamos Nessa; Baltiyskaya; Grand Street; The Jody Grind; La Chanson De Maxence; Over and Out; Le Coiffeur; Invisible; Autumn in New York; Stranger in Paradise; Tranquility; Afternoon in Paris.

Personnel

Dmitry Baevsky

saxophone, alto

Jeb Patton

piano

David Wong

bass

Pete Van Nostrand

drums

Album information

Title: Soundtrack | Year Released: 2021 | Record Label: Fresh Sound Records

PREVIOUS / NEXT

Miguel Zen��n: Sounds of Home and He...
< Previous

Dancing With The Widow St. James
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make 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.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves 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.