THE BQE

Charles Sibirsky/Mark Josefsberg Quartet (Zinnia Records)

By Nils Jacobson

The Brooklyn-Queens Expressway receives its due credit on The BQE for bringing the two halves of this quartet together. It also appears in its own way through the music itself: ranging from dreamily slow to head-long fast, changing tempos and moods at a moment¹s notice. Sibirsky asserts that most of this record was improvised, built around spare compositional frameworks. Indeed, the openness of the quartet to evolution and devolution is the record¹s greatest quality. While the members of the rhythm section (DeCesare and Mondlak) play their swinging due, the real focus of The BQE is the interaction between Sibirsky and Josefsberg--which relies upon an advanced level of understanding. Trade-offs between head and solos occur spontaneously. These two players seem to have a near-magical ability to predict each other¹s moves and go with them, not knowing in advance exactly where they will lead. While one might expect more Œtogetherness¹ from a quartet arrangement, The BQE offers a tasty hint at the potential of Sibirsky and Josefsberg¹s playing outside this context.

Personnel: Charles Sibirsky, piano; Mark Josefsberg, vibes; John DeCesare, bass; Drori Mondlak, drums.

Charles Sibirsky/ Mark Josefsberg,

The "BQE"

Zinnia 113.

The "BQE" / I Remember You / Give It Time / Sweet and Lovely / Sparta / Have You Met Miss Jones. 52:45.

Creative congruity is also a major factor in the "BQE." The Brooklyn-Queens Expressway, the source of the acronym of the disc's title and the means by which the players were able to convene for their session, is an appropriate metaphor for the kinetic energy capitalized on by the four musicians. Their music together mixes light, but effervescent swinging numbers with others that cut along a more explorative edge. All of the pieces are collectively improvised and rely only minimally on prearraged material. In addition, though Sibirsky and Josefsberg are the principal architects behind the musical scaffolding that the group scales, both men foster a feeling of collaborative equality with their partners, which in turn injects a palpable freshness into the proceedings.
On the title track, Sibirsky's angular clusters act as an obstacle course for Josefsberg's opaline strings of notes. On "I Remember You" Mondlak's skewed percussive patterns that weave an interesting rhythmic counterpoint to Josefsberg's lines, but sometimes drop off in unexpected directions. Throughout the program the thick meaty sound from De Cesare's walking strings proficient with both the long and short form. The variations in length between pieces makes for some enjoyable variety, but it's on the long pieces, which afford ample space for melody-based improvisasion, that the quartet really comes into its own. Sibirsky and Josefsberg share a charming attention to their craft, and their music should be referenced by anyone in the mood for thoughtfully rendered post-bop with a piquant twist.

Derek Taylor

JUST JAZZ, JUST TWO

Reviewed by Jeff Morris

Rating: 4 stars

The BQE is good-hearted fun and a fine test of mettle for co-leaders Charles Sibirsky and Mark Josefsberg. Pianist Sibirsky is about as lyrical an improviser as you can find. His solo introduction to "I Remember You," though occasionally a cat-and-mouse game with tempo, is subdued and graceful, and when the full quartet comes in, the tune becomes a lightly (you might even say pacifistically) swinging, impeccably-played jam. That's also the mood on a quicker "Have You Met Miss Jones?," the greatest delight of which is vibist Josefsberg's almost-too-hip entry after Sibirsky's solo.

It's almost a foregone conclusion that more sparks fly on the originals--Sibirsky's "Sparta" goes as far out as anything else on the date, with the leaders bounding around before tackling the sprightly theme, while the title cut starts in a mire of abstraction before bassist DeCesare takes it by the arm, points it in a direction and briskly walks it there.

What we have, then, is a date that defies criticism. Sibirsky and Josefsberg are risk-takers, but tasteful ones. They're engaging instrumentalists. The quartet is beyond reproach, the originals above-average.

Musicians: Mark Josefsberg (vibes), Charles Sibirsky (piano), John DeCesare (bass), Drori Mondlak (drums).

Songs: The BQE, I Remember You, Give it Time, Sweet and Lovely, Sparta, Have You Met Miss Jones?

JM

The American Music Guide

A review by Michael G.Nastos

JUST JAZZ, JUST TWO

Brooklyn based pianist Sibirsky and Australian native-NYC resident (since '78,) bassist Wall have tons of experience working in the Big Apple music scene. Their clear empathy and listening skills are put to the drummerless test on this set of relaxed jazz selections.

On the ten tracks, you hear soulful, resonant renditions of standards like "Love Me Or Leave Me," "Embracable You," "My Old Flame" and "I Remember You." Some of the compositions Sibirsky is credited with writing are based on well known, slightly reharmonized themes; i.e. "South Eight," ("Out Of Nowhere") and "For Graeme" ("What Is This Thing Called Love?") Others as "Blues For Ted," and "Blame Me" are a bit freer from cliches. Sibirsky's piano rings out with a sense of purpose and reflects his literate, classical education. While mixed in the background, Wall's bass lines act as a buoy, supporting the flowing piano of his bandmate. This is unhurried, patient, cool, non- threatening jazz of which a lack of urgency is its hallmark.

Together Sibirsky & Wall create a timeless jazz sound, good for late night or your typical cocktail lounge. This CD's a sleeper, and it is one whose underlying treasures and conscious subtleties should not be passed over. In these frantic modern times, a good tonic for the troops. Recommended.

CADENCE-The review of jazz and blues: creative improvised music

A review by David Dupont
JUST JAZZ, JUST TWO

Some recorded debuts come at you like the opening gambit in a career. Others, like Charles Sibirsky's, approach more quietly, modestly, if you will. Sibirsky is, I guess, fortyish, and had studied for more than twenty year with Sal Mosca. That scholarship marks the work here - the long, snaky lines, the judicious use of block chords, a strong left hand, the usual suspects as vehicles for improvisation, and a couple of well- turned, Tristano-influenced originals.

But Sibirsky clearly has his own voice. It is - and I find myself coming back to this word - "modest", but I mean that in the most positive way. Sibirsky doesn't show off. His technique is solid, and you always have a sense that he's holding something in reserve. His ear is impeccable, and a few times he moves further afield harmonically, but generally he stays within the tonality. He does not overwhelm you, but seduces you.

Of the standards, I especially enjoyed "Love Me or Leave Me", the longest outing on the date, and "I Remember You". "For Ron" is my favorite original, with it's skillful playing with time. Sibirsky found the perfect foil in Murray Wall. His walking is solid, yet soft, with almost a strumming quality. He plays simple lines, and even while soloing he hardly breaks out of a walk. His trade-offs with the pianist at the end of the opening cut and on "Blues For Ted" demonstrate the empathy between the two musicians. Lovers of jazz piano should not pass this up.