Jazz Journal
This debut from British pianist Ophelia Gordon is a solo album – but features two musicians. Ukrainian pianist Nikolai Kapustin (1937-2020) perches on his protégé’s shoulder to observe her renditions of 20 of his tunes. It’s probably sent here for review because Kapustin’s work blends classical structures with rhythmic and harmonic ideas from the jazz tradition. However, it’s fully composed, with no improvisation. Some may thus question the jazz value but it is nevertheless a perspective on jazz, much composition begins as improvisation, and Gordon is a very polished player.
That polish glimmers on the contours of the clear-cut fiddly bits and intricate twiddly bits that characterise the music. Big Band Sounds Op. 46 is a sparkling ragtime-ish number that evokes an imagined silent movie. The piano sound is gorgeously warm and Gordon’s enunciation of each twisting phrase is deliciously crisp. Prelude No. 11 in B Major is another peppery piece, where listeners glimpse more of Gordon’s personality through the track’s funky attitude and swaggering blues feeling. Prelude No. 5 in D Major is a dreamier tune that Gordon nudges along with great skill. Eight concert etudes turn a blazing spotlight on the pianist’s fast-flying fingertips. It’s a collection of high-energy excursions that unleash endless avalanches of sonic matter. Clearly, Gordon has achieved outstanding levels of instrumental proficiency and has wolfed a triple helping of Weetabix, too.
This is a toe-in-the-water release that introduces an impressive talent to the world. It would be interesting to hear Ophelia Gordon playing jazz standards with a trio and improvising.
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