Audiopile Review: Comprised of the same group of musicians behind last year’s Gala!, Misha Panfilov’s Septet regroup for a luxurious sprawl on their new release for Funk Night. While Panfilov’s various other pursuits certainly have elements of jazz, the Septet is where he’s been able to explore this interest further. Eschewing his usual instinct to play every instrument, Panfilov has once again pieced together a group to help him fully realize a vision that might have otherwise been out of his grasp. The man, after all, must have some limitations, right? That said, Panfilov is still the lynchpin, composing, recording, producing and mixing the entire LP himself. Made up of two side long pieces, the album’s A Side, the sixteen-minute “Mesosphere”, is based around a repeating melody, sweetly played by the horn section and underpinned by a hypnotically rolling bass line. The repeating motif rises and falls, leaving space for lilting excursions of starry keys, bucolic flute and Panfilov’s psychedelic lap steel guitar, colouring in the air with a spring-like lushness. “New Orbits” on the flip side is an equal length piece that’s somewhat more groove-oriented than “Mesosphere.” Revolving around another rhythmic, nodding bass line that’s utilized as springboard for the flute, horns, synths and, eventually, wordless vocals to weave in and out of each other, reprising the melody endlessly with an effortless feel that gets Panfilov as close to spiritual jazz as he’s ever come. One of Misha’s absolute finest moments, and not to be missed by anyone who has been following his incredible trajectory.

Misha Panfilov’s septet showcases his intricate harmonic palette in their second album, To The Mesosphere And Beyond. Filled with optimism, the album features airy, space-age voicings reminiscent of Terry Riley and Raymond Scott, all centered around jazz. The unique addition of a lap steel guitar, inspired by cosmic country music, adds fresh, innovative layers to the music. The album was created during an intense two-week period, with the band rehearsing and performing live in Tallinn and Stockholm, followed by a spontaneous two-day recording session. Despite challenges, the album was completed in just four days. The compositions are structured into four vignettes, transporting listeners beyond temporal and spatial boundaries. The album does well with blending psychedelic elements with jazz. Sasha’s passionate saxophone and Ilja Gussarov’s flute, paired with Volodja’s synthesizer, create an enchanting soundscape due to their desire for exploration and innovation.