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Razin's compositions are wild, inventive "universes" that involve the whole of each of the artists instruments. Razin and Ivanushkin use all of their instruments (at times, I thought Razin was going to climb into the piano and Ivanushkin was banging on his bass so much that he knocked his pickup clean off and tore a number of guts on his bow). Komova's contribution to this is a rich, beautiful voice that she uses, without words, to mimic a trumpet or other instrument, scat, or create voice soundscapes. Both Razin and Ivanushkin also vocalized. At times the interplay of vocalizations with Razin's and Ivanushkin's playing seemed like a conversation, but again without words. Most importantly, their music, although incredibly serious and highly sophisticated, was full of wild, slapstick humor. It made for a wonderful musical experience...
Gregory Bell, Jazz@Rochester, June 2009
…The music is startling, a fusion of Eastern European folk, classical and whatever style of jazz fits the moment. Pianist Razin, vocalist Tatyana Komova and bassist Igor Ivanushkin are landscape painters, drawing visuals from diverse Russian arts. For cultural influences, Razin lists four classical composers, four writers and three painters
Jeff Spevak, Rochester Democrat and Chronicle, June 2009
…Razin's "Jazz, Please" has a nifty swing and sees its composer making like a trumpet vocally, contrasting sharply with Komova's bolder, Jeanne Lee-like trills. Here, Razin alternates between a spare Monk-like approach and peeling off runs like he's at the Keith Jarrett Speedway (with a J.S. Bach pitstop). The Light is remarkable for its conciseness—while there's plenty of "space" there's none of the self-indulgent dribble-plink-squee meandering that plagues some free-improv sessions. Verdict: Rudd is his usual boss self and these Second Approaches deserve to be more widely heard.
Mark Kerosman, Signal To Noise #54 2009 Trio / Roswell Rudd The Light. SoLyd CD
Born among many polemics in the 90s, and becoming in a way a ‘supergroup’ thanks to the highest quality of its members and their interpretations, the Second Approach express at the same time the most democratic desire, to give voice to all individual aesthetic senses of its protagonists. A kind of a delicate cocktail mixing impressions, sound researches and the usual mode of thinking ‘non-standard’ music by Mr. Andrej Razin, an eminently attentive pianist, a real and proper master of piano improvisation, Tatiana Komova, a surprising vocalist of the strongest stylistic modernity, and Igor Ivanushkin, currently the prime rhythmic reference of modern russian music.
Vittorio Albani, AllAboutJazz Italien
Если бы меня спросили, что произвело самое большое впечатление на этом фестивале, то, не задумываясь, я бы указал на выступление "Второго приближения" - Second Approach. Это явление не могло бы появиться ни в Америке, ни в Западной Европе, но вполне возможно, что импровизационная музыка вообще пойдет его путем. Хотя и не очень вероятно, потому что этот путь требует очень много познаний в классической музыке, в джазе, в фольклоре разных стран.
Милен Панайотов, Болгарское национальное радио, София, журнал “Полный джаз” август 2005
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