By Turan Mamedaliyeva
The second day of the Festival gave the Baku audience the long-awaited surprise. Various Bakunians gathered at 21.00 at Opera and Ballet Theatre. Filled parterre and overloaded amphitheatre. Applauses - calls.
Aziza Mustafa Zadeh, our dear Aziza, did not keep the audience waiting for a long time. After presenter R. Azeri's warm greetings and after his acknowledgments (I am nervous, can not believe that this moment has come) there was a pause - the pause of waiting and unbelief that the moment has come! And the most trembling moment, the first words of the queen of the eastern jazz: I can not understand yet whether it is a dream or for real. I think it because I see Baku very often in my dreams." The first piece that she announced was Singing Nature", one of her eastern compositions. Chorally singing accords spread across the hall.
First of all Aziza is a talented pianist and an interpreter with a special imaging and sounding shaping gift. Her intricate simultaneous jazz visions found its reflections in a colorful interweaving of accords and humbly-expressive melodic images, associated with rhythm- formulas. Despite the absence of the rhythm-section the pianist managed to preserve the dynamic drive in medium phases in development of improvisations. That moment affected all the compositions performed that evening - Sheherezadeh's dance", Bakhian" and The night dance". The Shaman" composition known to us from the singer's album of the same name especially distinguished in that aspect. A special devotion Shehidler", which left a very mournful impression, shall also be noted. Transposition of Mozart on piano with vocal was an original classical intermezzo: Papageno aria from the Magic flute" sounded very freshly.
I want to mark two very important moments. I think the readers will agree with me that Aziza gave a present having performed the three masterpieces of the great Vagif (this was the way she called him all the evening), one of the classics of the Azerbaijani jazz. The Concert 2" was performed brilliantly, a little loaded and slowly. At the end the pianist inserted as a cadence a deletion from his play Fantasy", which was also used in more classical concert 1 of the great jazzman. A little later Aziza played Mustafa Zadeh's one of the greatest unique creations - the Mugam". Vagif's everlasting March" was played on encore with the plays of the pianist and original interpretation of Desmond's Take Five.
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