Few of us will be familiar with the name of Nikolai Kapustin, but after listening to this thoroughly enjoyable disc, I think perhaps it is time we were. Kapustin's career may be unique: born in Moscow in 1937, he studied piano at the Moscow Conservatoire, but has gone on to combine a career as a jazz pianist with composition. His music is described by Steven Osborne, in his intelligent and informative sleeve-notes, as 'an intriguing blend of the classical and jazz traditions'. Indeed it seems to fall between two stools as far as classification is concerned; it can be categorised neither as jazz, since it is too carefully constructed in classical forms, nor as 'classical', since the musical language is firmly rooted in the jazz idiom. The nearest classical influences would seem to be Rachmaninov and Scriabin-the piano writing often has a typically rich 'Russian' sound-but there is only a passing resemblance. This recording contains Kapustin's Sonatas 1 and 2, and a selection from the 24 Preludes in Jazz Style (note the obvious use of traditional classical models). Sonata No. 1 (subtitled Sonata-Fantasia) begins with an improvisatory introduction, and winds itself up gradually towards a substantial sonata-form finale. A clear model for this is Beethoven's Op. 109 Sonata, as Osborne points out. The opening is attractive for its fusion of figuration reminiscent of a Scriabin study with the appearance of a catchy tune-a melody typical of many on this disc, in that you have the impression that you've heard it somewhere before (on a couple of occasions, I could almost remember the words!).

Kapustin's melodies are found within a sophisticated and intricate virtuoso style...

The Sonata No. 2, by contrast, announces a confident, bustling presence right from the outset with yet another hummable melody. Here the structure is more conventional-a sonata-form first movement with an excursion into boogie-woogie in the development, a tough little scherzo based on a 12-bar blues, a reflective slow movement and an exhilarating moto perpetuo finale. The Preludes contain some miniature gems-from the intimate reverie of No.3 to the jazz-waltz of No.18 and the affectionate tribute to Dave Brubeck's Take Five in No.13. Kapustin seems to be one of those composers bursting with ideas for great tunes, though in contrast with one of the 20th century's greatest tunesmiths, George Gershwin, Kapustin's melodies are found within a sophisticated and intricate virtuoso style. This leads me to the performance. Osborne's playing is quite breathtaking-he captures perfectly a whole range of moods and colours, from delicate intimacy to frenzied virtuoso fireworks. He seems to be the ideal interpreter of this music-by bringing together his already established sensitivity and intelligence as a classical pianist with a stylish understanding of jazz (a jazz pianist in his own right, he is also quite an authority on the work of, amongst others, Bill Evans and Keith Jarrett). I would unhesitatingly recommend this disc to lovers of classical and jazz piano music alike.

Paul Janes