OLGA AMELCHENKO

Radio France 

“Olga Amelchenko channels her rich cultural heritage and life experiences into an audio narrative that evokes both resilience and introspection.”

Jazz Magazine – Lionel Eskenazi

“This ‘screaming silence’ suggests a particular state of mind that might seem full of contradiction, but this is not the case, as this album explores the space between the desire to express oneself and the weight of silence. Olga Amelchenko, an accomplished and classy musician, is angry and rebellious about the state of the world, but rather than screaming out aggressive and stirring music, she chooses calm, voluptuousness and elegance. It is not exactly silence, but a certain serenity, carried by a muted and sensual inner anger and by saxophone playing that knows how to resonate with intimacy and depth, a sumptuous bouquet of roses full of scent, but whose thorns must nevertheless be feared! Behind these superb compositions, beautifully constructed and sensitively performed by an excellent band, lurks an underlying unease and darkness disguised as beauty, a certain tension carried by the art of relaxation. It is great art, with a keen sense of storytelling and sound staging. With each listen, the album takes on its full meaning and bewitches with its sensuality, depth and intoxicating fragrance. The velvet revolution is underway, full of resilience, passion, hope and contained fury.”

Les dernières nouvelles du Jazz – Xavier Prévost 

“For the Russian musician who has made Paris her home, choosing this oxymoron as a title (screaming silence, deafening silence…) already suggests that the project is one of great expressiveness, restraint, but also rare intensity. Each of the saxophonist’s compositions paints a possible landscape of this expressive force. Winding melodies, harmonic density, and freedom of lines take us where we did not expect to go. Melancholic music? In a way, yes, but not a form of depressive melancholy; here, reflection produces action, a musical and collective action, shared with the group: a Mexican drummer from California, whom the saxophonist met during her time in Berlin; a pianist and a bassist who are undoubtedly masters of their craft, insufficiently recognised in my opinion, from the French scene; and a renowned Canadian guitarist from New York, as a guest. This combination gives rise to a form of synergy that magnifies the message and aesthetic ambition. From then on, we move towards heights of musicality, expression, interaction and invention. An undeniable musical and artistic success, like a singular yet collective voice that tells us: listen, silence speaks loudly.”

La Gazette Bleue – Action Jazz’s webzine

“From the very first track, Howling Silence, the mellow tone of the alto saxophone sculpts a tense melody that becomes the album’s signature sound. We are captivated by the power of the writing and the restraint in the playing. The connection between the performers, who rise to the level of the superb compositions, is striking throughout an opus brimming with melodies crafted with rigour and sincerity. Following in the footsteps of Joe Henderson, the saxophonist deploys an unpretentious technique, seeking a sound that is both caressing and powerful. Noteworthy are the painful discourse of the alto saxophone on Irreversible, the airy layers deployed by Matthew Stevens on guitar on the luminous April, the sensuality of the ballad Midnight Dances, and, throughout all the compositions, the velvety playing, knowing how to use silences, with nuanced delicacy, of the indispensable Enzo Carniel on piano. The rhythm section is not to be outdone, always impeccable, never demonstrative but careful to phrase just right to suggest the anxiety that pierces beneath the sweetness in May Have Forgotten its Way in particular. The album concludes with Walking Shadows, which paints a dreamlike landscape at a slow tempo. Olga Amelchenko writes expressive, meaningful music that does not need to raise its voice to convey strong emotions.”

Stéphane Ollivier – Qobuzz

“At the helm of an organic ensemble driven by a dense and powerfully pulsating rhythm section and enlivened by the intricately intertwined harmonies of Matthews Stevens’ guitar and Enzo Carniel’s piano, Olga Amelchenko deploys her resolutely lyrical vocals across a series of highly dramatic compositions of great melodic beauty, putting her tender, vibrating and subtly tart sound at the service of spontaneous and controlled phrasing — at once sharp, fluid and extremely expressive. An absolutely magnificent album that confirms the extraordinary talent of a musician to watch very closely.”

Tor Hammero – Ny Spennende Stemme

“The Russian saxophonist and composer Olga Amelchenko has spent much of her adult life in Western Europe. And you can hear it. Olga Amelchenko is a new acquaintance. The 37-year-old Olga Amelchenko is a new name to me. The alto saxophonist who holds both a bachelor’s and a master’s degree from Berlin, has been living inParis in recent years. There, she has become part of the vibrant jazz scene and has released three albums prior to this one—her debut on the very active and reputable English label Edition Records. Visible that likely says a lot about how, unless calling cards are released on relatively well-established labels, the chance of literally being heard on the international stage is quite small. Now that opportunity is here for Amelchenko, and it is absolutely worth spending quality time with her and her music. Despite playing alto saxophone, it’s said that tenor players like Coltrane, Joe Henderson, and Mark Turner are solid sources of inspiration—and I see no reason to argue with that. Her music, which sits at an exciting crossroads between tradition and 2025, deals with her personal struggles, hopes, and—of all things—rebirth. I wouldn’t necessarily say that this is always clearly audible, but the dynamics and emotion in her expression clearly bring her personality to the forefront. She also gets excellent support from her regular collaborators: Enzo Carniel on piano, Etienne Renard on bass, and none other than Jesus Vega on drums—plus Matthew Stevens, the only one I was familiar with beforehand, as a guest on guitar—a very exciting and original pick-wielder.Olga Amelchenko has created a modern, « Western » sound and is a voice I very much look forward to following in the years to come.”

Louis-Julien Nicolaou – Télérama

‘Olga Amelchenko stands out for the purity of her sound on the alto saxophone, the depth of her compositions and her total indifference to vulgarity.’

France Musique

‘Olga Amelchenko’s lively, spirited saxophone is a quiet force with a persistent sound.’

M-Essonne

‘Olga Amelchenko’s compositional approach goes beyond simply superimposing music on poetry. She meticulously analyses the form and rhythm of each poem before creating melodies, harmonies and rhythmic patterns that reflect the unique qualities of the texts. This complex work results in a fusion where words and music intertwine, allowing contrasts and continuities to coexist harmoniously.’