Frank Dupree (piano), Jakob Krupp (double bass), Meinhard Jenne (drums)
Kapustin: Daybreak, Op. 26
Kapustin: Eight Concert Études Op. 40. 1, 2, 7, & 8
Kapustin: Variations Op. 41
Kapustin: Motive Force, Op. 45
Kapustin: Big Band Sounds, Op. 46
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 1 in C Major
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 3 in G Major, Larghetto
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 4 in E Minor, Allegretto
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 6 in B Minor, Animato
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 7 in A Major, Moderato
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 8 in F-Sharp Minor, Allegretto
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 9 in E Major, Lento
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 11 in B Major, Andante
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 15 in D-Flat Major, Moderato
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 19 in E-Flat Major, Vivace
Kapustin: 24 Preludes, Op. 53 (Excerpts Arr. for Jazz Trio): No. 23 in F Major, Moderato
Kapustin: End of the Rainbow, Op. 112
Kapustin: Paraphrase on Blue Bossa, Op. 123
Kapustin: Paraphrase on Aquarela do Brasil, Op. 118
Kapustin uses jazz as his musical language and then composes quasi-improvisations that sound as though they stemmed right from Oscar Peterson’s or Erroll Garner’s fingers. He is one of the few who were able to have the strictures of composition and liberty of improvisation come together to such an organic whole.' – Frank Dupree. Following his first successful release featuring the Fourth Piano Concerto and the Concerto for Violin, Piano and Strings by the Russian composer Nikolai Kapustin (Capriccio C5437), Frank Dupree presents a selection of the little-known master‘s works for solo piano, performed as originally written, while bassist Jakob Krupp and drummer Obi Jenne improvise around him. There is surely no better example of jazz poured so expertly into a classical mould.
