Born: May 24, 1976
Dmitry Baevsky was born in St-Petersburg, Russia in 1976. He started piano lessons at six and discovered his passion and seriousness for music as a teenager, when he picked up an alto saxophone. In 1991, he entered the Mussorgsky College of Music in St-Petersburg and studied with the brilliant Russian jazz saxophonist Gennady Goldstein. Throughout the nineties, Dmitry Baevsky appeared in many jazz venues and international festivals throughout Russia. In addition, he participated and was awarded prize places in several jazz and classical competitions. Upon his arrival in New York in 1996, he was accepted to the Jazz Department at the New School University on a full scholarship. After finishing college, Baevsky stayed in New York and remained busy working within the local New York jazz community. In 2005, he released his first CD as a leader “Introducing Dmitry Baevsky” (Lineage Records). The album features such masters as Cedar Walton, Jimmy Cobb and John Webber....
Dmitry Baevsky is a mind-blower, a major new alto saxophonist. Lots of jazz musicians can play fast (though perhaps not this fast), but Baevsky, as he rockets by, does some unusual things. First, ideas pour out of him in exhilarating extravagance, as if from a bottomless well of creativity or a perpetual-motion music machine. Second, despite their velocity, Baevsky's improvisations deeply cohere. Third, he makes balls-to-thewall bop into something pretty. It is a rare feat. Baevsky's instrumental sound has sheen, and he loves the alto's lower register. STEREOPHILE.
Dmitry Baevsky is making inroads to becoming a premier performer on his instrument. On his fourth CDs as a leader, The Composers on Sharp Nine, you can clearly hear a distinction with a difference, illustrating his personal voice and solid chops. Baevsky displays a purposed kind of earthy soul that reflects his heritage. In an understated way, Baevsky is defining his sound on his own terms, moving away from obvious influences. HOT HOUSE JAZZ.
“Baevsky's interpretation of the music is a pure celebration, and the memory of the disc's final track lingers long after the last note fades” ALL ABOUT JAZZ
“On Down With It Baevsky, who has fingers galore and uses them to spin out long complex lines, tears through nine cuts with his regular rhythm section of pianist Jeb Patton, bassist David Wong and drummer Jason Brown. (...) He masterfully takes elements from Thelonious Monk’s “We See” and uses them as point of departure to create a solo that says much... The resulting quintet swings its tail off.” DOWNBEAT.
“More than most of today's alto saxophonists, Baevsky consciously shapes his sound, varying dynamics as well as patterns, utilizing his horn's lower register as well as its higher for emphasis - note the crinkled low notes injected into his bop runs on Down With It - and displaying tones and timbres subtly adjusted to fit the individual selections.” HOT HOUSE JAZZ.
“He's an extremely soulful player with excellent technique and a special sense of quiet confidence, which is much in evidence on this immensely enjoyable album. (...) The best straight-ahead record in ages. We'll hear much more of Mr Baevsky.” JAZZWISE.
Baevsky stamps his identity on virtually everything here with his silken yet tightly controlled tone JAZZTIMES.
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