BIO
Amina Figarova was born in Baku, Azerbaijan, and as a child studied to be a classical concert pianist. Graduated from the Baku Conservatory as classical concert pianist. In 1990, she entered Rotterdam Conservatory (where she met Bart Platteau, a fellow student from Belgium) to pursue jazz, coming to the United States in 1992 to complete her formal education at Boston’s Berklee College of Music. In 1998 she was invited to the Thelonious Monk Institute’s summer jazz colony in Aspen, and after more than a decade of bookings in major U.S. jazz clubs, concert halls and festivals, the couple gained legal immigrant status in 2013, and became US citizen in 2020. They currently live in Harlem, NY and tour constantly.
“Among the most important composers to come into jazz in the new millennium” – JazzTime
Hailing from Azerbaijan, the New York-based Amina Figarova is an internationally influenced—and recognized—composer, pianist, and bandleader. Those three roles come to the forefront in Figarova’s sextets, bands with a remarkable chemistry that brings her detailed arrangements to life. Every member of the group stands out as a first-rate individual, but their dedication to Figarova’s eclectic and powerful compositions gives this group its depth of feeling and elite status. The Amina Figarova Sextet has been a hit at major festivals like the Newport Jazz Festival and New Orleans Jazz and Heritage Festival
Suite for Africa is Amina’s 18th album, all with original compositions by Amina. Other compositions for Symphonic orchestra, Musical Diana, a ballad book for Trio Del Norte, brass ensemble, flute duo and quartet, and many more.
REVIEWS & QUOTES
Amina Figarova – ROAD TO THE SUN
With this release Amina Figarova is celebrating the 20th anniverssary of her band.
In 1998, having a blast playing with a big band made up of students from Thelonius Monk’s Institute of Jazz, outdoors, surrounded by the gorgeous mountains of Aspen Snow Mass, I was thinking how much I wanted to create a smaller band that would have the same power of a big band, but with so much more room in it for each musician to shine.
Little did I know this was the beginning of a beautiful journey, one that continues to this day, in which every concert, every recording is another beginning, another thrill, another joy.
I conceived of the band as a septet 20 years ago, and later refined it to a sextet in 2005. And many of the most incredible musicians in the world have been a part of this band and of my band family. It is so much fun writing for them, trying out different directions, different unknowns; this continuous journey an exquisite adventure: enlightening, illuminating, beautiful, easy and challenging at the same time.
“… “…Many of the strongest composer-arranger-orchestra leaders in jazz are women. Think Toshiko Akiyoshi, Carla Bley, Maria Schneider. Amina Figarova has a chance to join their company. All she needs is an orchestra. Figarova’s compositions for small ensemble have been brilliant since at least 2005, when she released September Suite, still the deepest, most powerful jazz response to the events of 9/11…” by Thomas Conrad for Stereophile Magazine
Some quotes and reviews
12 Women Influencing the Future of Jazz by Bill Milkowsky Read more
“…Road To The Sun competes with September Suite as Amina Figarova’s finest recording. Her incorporation of strings into her sound is brilliant. Those year-end polls that put the spotlight on Best Arrangers are usually reserved for writers of the larger ensembles. Figaravo, writing for her sextet plus three, should be given that consideration…” by Dan McClenaghan for All About Jazz
On “Road to the Sun,” pianist Amina Figarova explores the possibilities of a little big band, at times combined with a string trio. Born in Azerbaijan, Figarova began as a classical pianist. After studying jazz in Holland, she moved to the United States and studied at Berklee College of Music. Two decades ago, she worked with a big band at the Thelonious Monk Institute, and ever since then she has sought ways to simulate a big band’s power in her smaller ensemble. Figarova has succeeded, composing and arranging every tune on this musical tour de force.
Although the arrangements are constructed around her piano, Figarova writes beautifully for horns and strings. Her voicings and punctuation are especially strong on the opening cut, “All We Dance.” The string parts on “Fall Eclipse” are so gorgeous they could easily be adapted to a classical piece. Of course, these arrangements would be nothing without strong compositional foundations, and Figarova supplies them throughout. My favorite — again, the strings — is the perfectly titled “Explorations.” by Ron Netsky for Rochester City Newspaper
Warm pastoral moods are created by pianist and composer Amina Figarova as she melds woodwinds and brass to give sonic sounds akin to Givenchy. Folksy strings by Sara Caswell, Lois Martin and Jody Redhage Ferber lurk and form gentle rice pilafs for Bart Platteu’s flute on “Snow Mess” the lurking “All We Dance” and chirpy title track. Wayne Escoffery creates a modal mood as he asserts his sax on “Circles” and the easy grooving “No Time For” with the leader showing rich chamber moods on the elegiac “Morning Mist.” Rich pastels. By George W. Harris for Jazzweekly.com
Inconnue jusqu’alors de nos étagères, Amina Figarova, pianiste Azerbaïdjanaise résidant aux États-Unis, y fait une belle entrée. Une vingtaine d’années de carrière, plus d’une dizaine de disques, c’est fou tout ce que l’on peut rater… Quoi qu’il en soit, la musique proposée dans ce CD est sensible et très évocatrice. Bien que l’on sente la formation classique dans son jeu, la pianiste sait propulser son écriture musicale grâce, notamment, à des harmonies lumineuses et des mélodies très chantantes évoquant diverses contrées. Brillamment orchestré, l’ensemble des compositions offrent un panel d’impressions auditives riches et non dénuées d’intérêt qui ne sont jamais agressives. Très écrit mais sophistiqué sans excès, ce disque bénéficie de la présence de solistes impressionnants de maîtrise qui mettent en valeur sans coup férir l’univers musical de la pianiste. Chaque thème, s’il révèle une esthétique particulière, conserve la cohérence d’un projet assurément travaillé avec passion et bon goût. L’on ne peut que ressentir une certaine sérénité et une joie paisible à l’écoute de cet album aux chatoiements délicats qui s’insinue en vous comme si de rien n’était. Recommandé… By Yves Dorison for Culturejazz.fr
“…AMINA FIGAROVA/Road to the Sun: Celebrating 20 years in and showing no lack to her sense of wonder, this sprightly date mixes new age and jazz sensibilities without making a jazz/new age hyphenated release. The band is cooking, her leadership guides the way and her next decade is off to a smoking start. High octane, creative instrumental music runs the table here and runs it in fine form. A winner throughout…” by Chris Spector for www.midwestrecord.com
O’s Notes: Azerbaijani producer and composer Amina Figarova has worked continuously to duplicate to power of a big band with smaller groups. The New York-based jazz pianist has evolved her band towards this end over the past two decades. Alex Pope Norris (t, flugelhorn), Wayne Escoffery (sax), Bart Platteau (fl), Luques Curtis (b) and Jason Brown (d) are some of the primary band members on her new album Road to the Sun. Figarova mixes the meters, pace and intensity to capture our interest with a set of eleven nature-themed, original compositions. “Snow Mess”, “Circles”, “Morning Mist” and “All We Dance” are among the best is a strong showing. by Oscar Groomes for O’s Places jazz newsletter
Review in www.jazztrail.com by Filipe Freitas
“…What’s remarkable about Road to the Sun is how Figarova writes and arranges for these musicians, how twenty years of working together has produced a familiarity that encourages creativity…”I’d love to hear this person play that. I can already imagine it.” Figarova refers to this as “different directions, different unknowns,” and this adventurous album is rife with the unexpected. It’s not small ensemble, it’s not big band, and it’s too original to be merely somewhere in between…” by The Vynil Anachronist
FOUR STARS **** DOWNBEAT REVIEW
Genre-splicing fusion is a tricky thing to get right. Strike the wrong balance between structure and sound, and you can end up with a pastiche that does a disservice to each component part. For pianist Amina Figarova, it’s a risky move to produce an electronic-inflected, part hip-hop and funk-jazz fusion album after 20 years leading an acoustic ensemble.
Aptly titled, Persistence is a surprising delight and one that seemingly avoids many of the pitfalls of fusion. The opening title track launches into enthralling rhythmic interplay between drummer Rudy Royston and bassist Yasushi Nakamura, while flutist Bart Platteau channels the spirit of the Headhunters in his soaring melodies. Figarova, meanwhile, artfully comps, switching between piano and synthesizer. The record continues in this breathless vein, riffing off of Robert Glasper’s hip-hop mentality for ‘I’ve Got No Time,’ while ‘R Song’ highlights Platteau and Figarova’s almost telepathic interweaving with guitarist Rez Abbasi.
Even on slower numbers–‘Morning Blue’ and ‘Horizons’–Figarova and her band manage to create a convincing sonic collage of acoustic and electric sounds: jazz swing and hip-hop swag, and a rollicking funk bottom end. Figarova does trip up on the somewhat gratuitous inclusion of rapper JSWISS for ‘I’ve Got No Time.’ But Paul Jost’s open vocalizations, mirroring Platteau’s melody on ‘Horizons,’ are genius.
Ultimately, Persistence stands as a worthy template for a wholly open approach to jazz that’s generous enough for the inclusion of myriad influences.
—Ammar Kalia, DownBeat Magazine May 2020
Veteran jazz pianist Amina Figarova embarks on a bold new step with her genre-bending Persistence, creating a new sound for the pianist with music that produces an electric-influenced groove mixing funk-jazz, jazz fusion, hip-hop, classical and R&B rhythms found on this new exploratory album. After two decades leading an acoustic sextet, her new quintet ensemble, Edition 113 (named after the block where she and her and husband, flautist Bart Platteau make their home) was assembled specifically to perform the eclectic new music experienced here.
The Azerbaijan-born, New York-based pianist reflects on her life and where she has come from since her classical training and her development as a jazz musician, all through those times she persisted until reaching her goal. This attitude drove her ambition and helped establish a musical presence in the jazz world. Yet the desire to move towards the electronic sound remained unfulfilled until now, where the title is the realization of a long-held desire achieved through “persistence.”
Supplementing the leader on piano and an array of keyboards is a core quintet consisting of renowned guitarist Rez Abbasi, Bart Platteau on the flute, bassist Yasushi Nakamuraand drumming sensation Rudy Royston. Also featured here are rapper JSWISS, singer Paul Jost and poet/singer Skye’s World, on the hip-hop and jazz funk compositions.
The album comprises seven Figarova originals, beginning with the fusion-like title track featuring the leader on keyboards accompanied nicely by Abbasi’s guitar riffs on an aggressive up-beat grabber. The hip-hop sound comes through on the hustling “I’ve Got No Time,” where rapper JSWISS appears with some word rap bolstered by Platteau’s dicey flute voice.
The flautist lays down the foundation on the light and delicate “Lil’ Poem,” a beautiful ballad-like composition that seems almost a departure from the electric-influenced theme of the set, a highlight of the album as is the following “Morning Blue,” with the leader on keyboards and the guitarist on lead completing a twin spin of two showcase numbers.
Long-time instrumentalist turned singer in 2014, New Jersey-based Paul Jost, graces the album on the atmospheric “Horizons,” primarily scatting. The song sounds a bit like it came out of the Pat Metheny song book, another featured highlight here.
To close the session, the finale tune “Bliss,” offers the vocal stage to poet/singer Skye’s World as he voices some words and provides a little scatting in the background of the song, capping off a new chapter in pianist Amina Figarova’s long and distinguished career. Persistence is not only a new sound for Figarova, it’s also the recording debut of her electric ensemble, launching a new direction for this dynamic artist.
Amina Figarova EDITION 113: PERSISTENCE
A review of the pianist’s new electric project
Amina Figarova’s 14 albums (beginning in 1995) constitute one of the richest bodies of work by any jazz composer in the new millennium. Her career has sustained consistency and continuity. As the 14 releases succeeded one another, she extended her reach as a composer and arranger; her ensembles, usually sextets, moved gradually from European to American personnel (as Figarova, originally from Azerbaijan, relocated from the Netherlands to New York). Her work has long deserved interpretation by a full orchestra, and her previous recording, Road to the Sun, approached a large format, with 12 players including a three-piece string section.
Figarova’s journey through the acoustic mainstream has never taken a hard left turn—until now. Edition 113 is her new electric project: Rez Abbasi (guitars), Bart Platteau (flute and EWI), Yasushi Nakamura (electric and acoustic bass), Rudy Royston (drums). Figarova plays an array of keyboards, including a Nord. Persistencecontains sonorities and grooves that are new for a Figarova band: trilling keyboard washes; Platteau’s flute filtered through electronic effects; Royston’s heavy backbeats; even a rapper and a spoken-word poetaster on two (dispensable) tracks. Typically graceful, even yearning Figarova melodies like “Lil’ Poem” and “Morning Blue” take on hard edges.
Those hard edges start with Abbasi. The guitar is an instrument almost entirely new to Figarova’s world, but Abbasi never sounds like an intruder. Working from deep inside her ensemble, he transforms it. On “R Song,” his solo flows so seamlessly into Figarova’s that you might miss the moment when gleaming guitar notes have become the chimings of a keyboard. “R Song” is one brilliant unified treble fabric, unfolding.
Persistence is an interesting departure for Figarova, but here’s a wish for her next album: It should be her long-awaited full-scale orchestral project, and Rez Abbasi should be in the guitar chair.
AMINA FIGAROVA EDITION 113
Persistence (AmFi Records)
Persistence is probably as close to Amina Figarova’s “punk album” as we’re ever going to get. Normally, the Azerbaijan native’s work comes with marvelously intricate horn charts, buoyed even higher by the flute of Figarova’s flutist / executive producer / husband Bart Platteau. On Persistence, the front line is just Platteau and voracious guitarist Rez Abbasi, while bassist Yasushi Nakamura teams up with drummer Rudy Royston to give the foundation strapping, power-lifter muscle. Combine that with Figarova keeping her piano work electric and Platteau adding EWI to his musical arsenal, and the resulting sound is harder, tighter and tougher than anything Figarova’s given us up to this point. More expansion comes with guest shots by vocalists Paul Jost & Skye’s World and MC JSWISS, but otherwise, the focus is on a riveting set of electrifying originals that make Amina Figarova fanboys like me smile like utterly besotted fools.
– by J Hunter for Nippertown.com
“Persistence”: Just the kind of music we could use right now.
For 20 years, pianist Amina Figarova led a series of bracing and accomplished instrumental quintets and sextets. Those were largely acoustic groups that featured undersung horn players such as tenor saxophonist Marc Momaas and flutist Bart Platteau, who is Figarova’s husband. On her latest CD, Persistence (AmFi Records), the Azerbaijan-born New Yorker has both slimmed down and muscled up her band, Edition 113. Rhodes and Rez Abbasi‘s electric guitar often join Platteau on the front line and the thump and crackle of Rudy Royston‘s drums, prominent in the mix, adds an extra jolt of power.
It’s there right from the title track, which spotlights a lemony guitar solo and Figarova skywriting on a Nord synth. JSWISS adds yet another color, his verse moving through the pushy rush of “I’ve Got No Time” like an impatient pedestrian on a crowded New York sidewalk. The rapper is one of the three voices heard on Persistence, joining poet Skye’s World (on the concluding “Bliss”) and singer Paul Jost, whose wordless vocalise doubling Platteau’s flute on the Brazilian-tinged “Horizons” recalls Flora Purim’s aerial ballets with Joe Farrell in the first Return to Forever band. Figarova also dips into the shimmering textures of neo-soul on “Lil’ Poem,” a languid, Saturday-night mood piece with a nimble bassline by Yasushi Nakamura that wouldn’t sound out of place on a Robert Glasper record–or on Herbie Hancock’s “Sunlight.”
Throughout “Persistence” you hear an artist determined to experiment with instrumental and vocal colors while not abandoning the bedrock elements of her compositional voice: strong melodies, confidently handled compound meters and, above all, an optimistic energy.
And that’s just the kind of music we could use right now.
– John Chacona for www.johnchacona.com
Beautiful new photo by Alexis Rotter
By Dee Dee McNeil / Jazz journalist
April 21, 2020 for https://musicalmemoirs.wordpress.com
AMINA FIGAROVA – “PERSISTENCE – EDITION 113” Amfi Records
Amina Figarova, piano/keyboards/composer/arranger; Rez Abbasi, guitars; Bart Platteau, B flat flute d’Amore/EWI; Yasushi Nakamura, electric/acoustic bass; Rudy Royston, drums. SPECIAL APPEARANCES BY: Paul Jost, vocals; JSwiss, lyrics/rapper; Skye’s World, spoken word/vocals.
This album marks a year of new horizons for Azerbaijani-born pianist, Amina Figarova. After 20-years leading an acclaimed acoustic sextet and touring the world, she decided to make a sharp left turn into unexplored waters. “Persistence” is the title of her new album and lets electronic music wash over us, like salty waves. Figarova employs an eclectic band that grooves hard and mixes genres. You will hear fusion jazz, R&B grooves and hip-hop expressions, all mixed up with progressive funk.
Rudy Royston’s pronounced and dynamic drums are both evident and colorful on every track. His rhythms and sensitive embellishments lift Amina Figarova’s piano mastery. She plays a number of keyboards and adds keyboard techniques that enhance this production. On “Lil Poem,” one of seven original compositions she has penned, you hear her straight-ahead jazz chops. Her fingers make the keys sing and swing. She never deserts her jazz sensibilities, even though she is exploring new territory. The addition of Bart Platteau’s free wielding EWI (Electronic Wind Instrument) adds depth and creativity to this arrangement. Yasushi Nakamura’s bass lines dance beneath, making subtle statements while always holding the rhythm tightly in place, along with Royston’s drums. I played this song twice, before moving on. It captures the imagination.
On “I’ve Got No Time,” the staccato piano chords set up the tune and the B flat flute plays tag in the open spaces in between. The drums tap like a metronome or the pendulum of a grandfather clock. Enter JSWISS, who offers a jazzy rap.
On “R Song,” the “R” stands for Rez, her guitarist (Rez Abbasi) and was written as kind of a gift for his birthday. His guitar solo mesmerizes. Amina is not to be denied her place in the spotlight featuring her undeniable piano excellence. I like the way the song grooves at the end and allows a space for the drums to solo atop the piano chords.
Each song on this ingenious recording brings forth its own magic. Each composition pulls a fresh surprise from Amina Figarova’s magician’s hat. They pop-up and entertain us, like technicolor rabbits. Her arrangements are individually unique and each one brings something enchanting to keep our attention on-point and our ears alert. On the final tune titled, “Bliss” Skye’s World, brings us a spoken word poem that perhaps capsulizes all we have heard.
“Like jungle flowers, that bloom, when we are cut too soon; our beauty fades quicker than our destination …” he speaks.
This album is like a freshly cut bouquet, full of exotic sounds and colors. Each musician brings something unique and exceptional to the table. Perhaps the brightest colors are the ones painted by composer, arranger, pianist and bandleader, Amina Figarova. Here is a project I will listen to time and time again.
Amina Figarova Edition 113: Persistence
—Chris Spector for MidwestRecords
Amina Figarova ★★★1/2 Persistence
Pianist Amina Figarova was born in Azerbaijan and now calls New York home. Stylistically one could tag this with “post bop with minor overtones of fusion and hip hop” and, hey, that works. Figarova’s compositions are bright and engaging, and she’s assembled a sharp quintet to play them, including husband-flutist Bart Platteau, guitarist Rez Abbasi, and sharp-as-a- tack drumming-whiz Rudy Royston. Figarova is something of a relative rarity, she doesn’t feel the need to showcase herself with lots of solo- ing. Persistence is very much a group effort, with the focus on her compositions as opposed to the individual players. Make no mistake, however, there’s tasty soloing to be had. Fi- garova slightly recalls the late pianist Jaki Byard in that her solos are pointed, self-con- tained, and encapsulate bits of jazz history within. Figarova makes nice (as in: not cheesy) use of electric piano sparing, as if carefully applying hues to a canvas, adding to the group’s overall texture (as opposed to long solos). Abbasi’s solos, with their bright, burred tone, are models of restraint as are those of Platteau, whose long, elegant lines color the canvas judiciously. Her compositions (all originals here) are economical, lively, varied, and memorable pick to click for radio play: “I’ve Got No Time,” featuring a brief, droll rap by JSWISS and some sleek ‘n’ punchy swing. Also, “Lil’ Poem,” with its languid, slightly romantic ambiance and terse, elegantly twisty soli. (Take note, radio programmers!) Without any overt crossover moves, Persistence fairly demands a bigger/wider audience, albeit on its own terms. (7 tracks, 43 min.) AmFi-records.com
— Mark Keresman for ICON monthly
Amina Figarova, “Persistence”
Pianist and composer Amina Figarova has often worked with a chamberlike sextet, so in one sense her new album. Persistence, represents change. The album, which Figarova has released on her own AmFi Records, introduces a band called Edition 113, with Rez Abbasi on guitar, Yasushi Nakamura on bass and Rudy Royston on drums. Figarova plays synthesizers as well as piano, joined as usual by her partner Bart Platteau, a flutist who branches out on EWI (Electronic Wind Instrument).
The album’s title track is a declaration of purpose, with its bright, airy melody over an ostinato in busily irregular meter. Abbasi takes the first deft solo, followed by statements on synth and drums. As for that one-word title, it refers to the ambition and drive that brought Figarova from her native Azerbaijan to the heart of the New York scene — but of course, persistence is also a word that many of us are clinging to now, as we look toward a horizon line.
— Nate Chinen at WBGO Monday’s Take 5
Amina Figarova/Edition 113 – PERSISTENCE:
Pianist and composer Amina Figarova is back with a new approach–leading an electric ensemble she’s dubbed Edition 113. The group is smaller than it sounds on record, a quintet that features guitarist Rez Abbasi, flutist Bart Platteau, bassist Yasushi Nakamura and drummer Rudy Royston. All are genius players, but the real star of this project is Figarova’s writing, which is both brilliant and stylistically wide-ranging: “I’ve Got No Time” segues seamlessly from funky hip hop (featuring rapper JSWISS) to smooth-but-knotty bebop, while the chord changes to “Lil’ Poem” slide all over the place, in a leisurely and almost wistful manner, and “Morning Blue” is slow, decorous funk. Every track sheds a different light on Figarova’s genius and on that of her band, and Persistence is a thrilling and satisfying album overall.
— Rick Anderson for CDhotlist.com