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Second Approach

Andrei Razin	piano
Tatiana Komova	voice
Igor Ivanushkin	upright bass

Sie nennen sich „Second Approach", und schon der Name deutet darauf hin, dass es sich um ein Projekt handelt, um den „zweiten Ansatz", dargeboten von drei Musikern, die alle zwar aus Russland, aber aus unterschiedlichen musikalischen Richtungen kommen. Grandios ist das Spiel des Andrej Razin, der am Fluegel mit seinen praezisen Stakkati ueberzeugte. Voller Melancholie erklingt dazu der weitraeumige Vokalgesang von Tatjana Komova, eine Stimme, die mit ihrer Ausdruckskraft bisweilen an den Gesang von Lisa Gerrard erinnert, der Front-Frau von „Dead Can Dance". Kraftvoll erklingen die Bassfiguren von Igor Ivanuschkin. Der nach ihm benannte „Ivanuschkin Boogie" wird spaeter zu einem groovenden Duo mit Andrei Razin mit Anlehnungen an amerikanische Boogies wie auch an die Melodien russischer Volksweisen.

The Second Approach is a jazz/improv/crossover trio, based in Moscow, Russia. The Second Approach consists of a classically-trained improvising pianist (Andrei Razin,) an improvising Gypsy singer (Tatiana Komova) and a jazz bass player (Igor Ivanushkin). The Second Approach plays original music written by Andrei Razin. They are not straight-ahead jazz, but they are jazz, nevertheless, definitely unique and really strong in terms of composition/improvisation and overall level of their musicianship. Over the course of their decade-long career as a group, the trio performed at jazz festivals in Norway, Germany, Poland, Finland, Israel, Bulgaria, Ukraine, Russia and other countries, and in June, 2009, they made a great perfomances at the Rochester International Jazz Festival in USA. Since 1999, The Second Approach released five albums in Russia and one on German-based NRW label. Their newest album, due out this May, is recorded in Moscow, guest-starring the great Roswell Rudd on the trombone. Another recording, featuring German free jazz drummer Klaus Kugel, is on the way.

"Razin's compositions are wild, inventive "universes" that involve the whole of each of the artists instruments. Razin and Ivanushkin use all of their instruments (at times, I thought Razin was going to climb into the piano and Ivanushkin was banging on his bass so much that he knocked his pickup clean off and tore a number of guts on his bow). Komova's contribution to this is a rich, beautiful voice that she uses, without words, to mimic a trumpet or other instrument, scat, or create voice soundscapes. Both Razin and Ivanushkin also vocalized. At times the interplay of vocalizations with Razin's and Ivanushkin's playing seemed like a conversation, but again without words. Most importantly, their music, although incredibly serious and highly sophisticated, was full of wild, slapstick humor. It made for a wonderful musical experience....."
(Gregory Bell, Rochester, Usa)