Just Jazz Just Two by Charles Sibirsky/Murray Wall

There are many venues for jazz in the metropolitan area and he has played as a solo artist or in a combo setting at One Fifth Avenue, The Coach Inn, The Angry Squire, CafÈ Royale, The Waterfront, The Iron Horse Pub, The Brown derby, Griff's Seafood Plaza, Citylights, The Grand Prospect Hall, Cleopatra's Needle, La Belle Epoque and The Water's Edge, just to name a few. Ocassionally he accepts booking for parties. The music he creates at these celebrations sets a special mood at these affairs.

Playing at weddings was Charles' first foray into the world of "music for hire." He was just 17 when he embarked on his career as a professional musician. He played in trio and quartet settings in the Catskill Mountains of New York. He majored in music at Brooklyn College and and began his teaching career at Academy Music Studios in Brooklyn. That teaching position led to an introduction to the legendary pianist Sal Mosca. Sal accepted Charles as a student. For 24 years Charles made the weekly trek up to Mount Vernon to study with this wonderful jazz pianist, who remains one of the leading proponents of the ³Lennie Tristano School².

The concert setting has provided opportunity for Charles to share his music. He has given concerts at the Henry Street Settlement House, The Riverdale Country School (where he taught for six years), and at The Brooklyn Academy of Music. He has appeared several times at the Bethlehem Music Festival. His music has been performed at Merkin Hall in NYC.

Charles lives in Brooklyn where as the founder and director of Slope Music he continues to teach jazz. Many of Charles' students have gone on to establish music careers. It is a special joy for Charles' to go out to clubs to hear his own students perform..

REVIEWS

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.

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