JAM: August/September 2001 Issue: Something Quite Remarkable

Something Quite Remarkable

Special to JAM
by Jeff Putterman

Eldar Djangirov
ELDAR
D&D Records
DDT-2001

Personnel: Eldar Djangirov, piano; Gerald Spaits, bass; Todd Strait, drums

Tracks: Lady Bird; Meetings and Partings; Footprints; In Your Own Sweet Way; Rhododendron; Afterglow; Well You Needn't; Recollection; Turnaround; I Got It Bad; Strollin'; In the Haze; Scrapple From the Apple

Recorded at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer.

In the world jazz musicians and fans inhabit, Eldar Djangirov has already gained some notice as a "scary little monster." Unlike its literal meaning, to us, that is a compliment not handed out lightly, bespeaking both admiration and awe. We recognize Eldar's talent as "monstrous." His youth makes this "scary."

Like most jazz fans, the first time I saw Eldar play I was stunned. I knew what I was hearing; I just couldn't believe it. Here, after all, was a young boy, grinning ear-to-ear, barely tall enough to look out over the top of the piano, but playing with the poise and sureness of touch of an Oscar Peterson.

As I listened, my disbelief rapidly became sheer joy. I was happy for Eldar, his family and jazz fans, that the Djangirovs had moved from Russia to Kansas City so he could study the music we love. I thought about the beauty of freedom, and the freedom of jazz. Now others can "witness" my emotions. Eldar has been recorded.

This eponymously titled CD features the young pianist in two settings: alone, and with the accomplished accompaniment of Gerald Spaits on bass and Todd Strait on drums. The solo spots include two originals (Eldar wrote five of the CD's 13 tracks), and impressive readings of tunes by Wayne Shorter, Ornette Coleman, Marian McPartland and Duke Ellington. The trio roars on three of Eldar's compositions, and songs by Tadd Dameron, Thelonious Monk, Dave Brubeck and Charles "Yardbird" Parker. The breadth of the choices recorded says something about Eldar's innate curiosity and the quality of his teachers.

From the first notes of Dameron's "Lady Bird" -- an interesting choice that indicates Eldar is already immersed in the depths of jazz theory -- it is obvious that something remarkable is happening. From the opening cascade of notes, it seems clear: when Eldar plays, he sounds sure of his destination, and his route. His thoughts about the music are already well developed; his technique seemingly allows him to play whatever his quick mind creates. The result is a swinging interpretation, complete with a lucid blues-tinged solo by Eldar and a too short exchange of ideas by Gerald and Todd. (I don't feel the need to tell JAM readers how important these two are to the sound of any trio they play in!) The tune ends with a rollicking Teddy Wilson-esque snap.

The next tune on the recording, "Meetings and Partings," a Djangirov original written in memory of Charles McWhorter, who helped Eldar and his family get to America, features Eldar alone. Like all of the tunes he composed here, this one has a familiar sound, but doesn't go where you think it will. It begins with an eastern-European sounding, almost classical introduction. But it soon moves into a contemplative groove, as Eldar explores the harmony he has created to honor the life of his friend.

The other solo efforts include the classic "Footprints," dense with notes worked up and down the changes in a manner similar to John Coltrane's "sheets;" a delicate rendition of "Afterglow," a deliberate version of "Turnaround" that sounds like a history lesson in piano styles from stride, through locked-hands, to the modern idiom; a slow exploration of the harmonic richness of "I Got It Bad (And That Ain't Good);" and another Djangirov original, "Strollin'," that begins with a technically impressive run, turns into a slower blues, then again changes speed several more times before ending with another crescendo in the style of Phineas Newborn.

The trio numbers include "In Your Own Sweet Way," played crisp, and driven by Todd Strait's masterful brush work; "Well You Needn't," taken at a faster than usual, and most un-Monk-like tempo; and a smoking version of "Scrapple From the Apple" that allows the listener to enjoy the beauty of Gerald Spaits' deep, driving sound. The trio also plays three of Eldar's tunes: "Rhododendron," a funk-tinged ode to the sound of that word; "Recollection," a lovely little samba; and "In the Haze," a rich ballad that Eldar describes as "mysterious, like walking through a fog."

After numerous listens, I find myself enjoying the trio tunes more than the solo efforts, probably because being more seasoned, Messrs. Strait and Spaits are interested in playing the music, rather than showcasing their abilities. That is the one slight -- and I mean slight -- negative that I have to mention about Eldar's playing. It is totally understandable that, at his young age, he would want to show off his technique. And who could blame him for that?!

But I think his playing will become even more enjoyable when he learns to create "spaces" in his sound, to play around the beat, and to listen more closely to what his fellow musicians are doing.

As he grows older this will surely happen. And he will develop his own sound as well, which promises to be quite remarkable.

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