Eugene Maslov: The Fuse Is Lit

EUGENE MASLOV
The Fuse Is Lit

Mack Avenue Records

Russian-born pianist Eugene Maslov has strong technique and the ability to both swing and provide classically-fueled fantasias, taking the listener on a roller coaster ride that always invigorates and never disappoints. With the help of his high-powered trio comprised of bassist Boris Kozlov and drummer Vinnie Colaiuta along with such guests as Hubert Laws and Pete Christlieb, Maslov delivers a knockout performance that draws from influences as diverse as McCoy Tyner, Bill Evans, and Herbie Hancock.

Maslov is also an impressive composer, as most of the nine tracks here are his own compositions. “To My Teacher/To My Friend,” the opening track, provides powerful, deep block chord voicings with more delicate right-hand improvisational flights and uexpected rhythmic shifts. “Dream of Dreams,” another Maslov composition, brings the beautiful flute work of Hubert Laws to the fore. Here Laws demonstrates how gorgeous the flute can sound, with none of the saccharine qualities less experienced players sometimes bring to the instrument. He returns later on another Maslov original, the Latin-tinged “Entente” which also features the always-welcome tenor sax playing of Pete Christlieb. Christlieb provides a bold, aggressive solo that leads into a brightly-colored statement from Laws. Pete also does a stand-out solo on the track “Guru,” providing a straightahead, swinging sound that tenor sax devotees will adore.

Eugene also tackles a few standards: “Django,” the evocative John Lewis eulogy to Django Reinhardt, is ably handled by the trio, with Maslov’s classical background coming into play in his masterful interpretation of this classic. Then there’s a rousing performance of “The Masquerade Is Over” with Joe LaBarbera sitting in on the drums. The CD’s final cut is a solo piano interpretation of the Harold Arlen/Johnny Mercer song “One For My Baby (And One More For The Road).” No one can perform this song without encountering the ghost of Sinatra, and it is to Maslov’s credit that he doesn’t really try to avoid the inevitable. He provides his own gorgeous interpretations and improvisations on the melodic and harmonic material of the song, and while you can easily feel you are sitting in a piano bar late at night, drinking and pondering that love affair gone wrong, the experience is always elegant, never cheesy, with Maslov at the ivories.

Eugene Maslov is not a household name, but he definitely deserves greater recognition for his energetic and accomplished piano stylings. Those who are interested in piano jazz in trio and small group settings that is brisk yet never loses sight of melodic interpretation would do well to check him out.