CD Review: Hristijan Risteski, Waters Dance”

Over the past couple of years a lot of the music crossing my desk has come out of Graz, which is why I was curious to hear “Waters Dance”, the debut album from the Macedonian-born, Graz-based saxophonist and clarinettist Hristijan Risteski. I have to say it didn’t disappoint.

First of all, a little background. Risteski started out on clarinet in Macedonia, where he completed his classical studies before turning to jazz and the saxophone. After a spell playing regularly in Germany he ended up in Graz, studying saxophone at the University of Music and Performing Arts (KUG), and he has been part of the city’s scene ever since. The press release describes the album as bringing together “classical precision, Macedonian rhythms and contemporary jazz”. Having listened to it I think that’s a fair description, although for me it’s the classical side you notice first, and it keeps coming back throughout the record.

The band is made up of Marko Churnchetz on piano, Hrvoje Kralj on double bass and Chris Smith on drums. Also worth mentioning is the way the album came together. Risteski played live with this line-up for nine or ten months before going into the studio, yet the final charts were only handed to the band ten days before the session, and I think that shows, as the band sounds really tight throughout. The recording was made at ArteSuono Studio in Italy with Stefano Amerio, and anyone who knows Amerio’s work won’t be surprised to hear that the sound is excellent. In fact it was the first thing I noticed.

The album opens with “High Away”, which starts with an interesting staccato intro over a bass motif before leading into a great theme played unisono between piano and sax. Risteski then takes the opening solo, a really nice one that announces the leader in no uncertain terms, and I really like the interplay between piano and sax on this track. “Coming Home” follows and brings a whole new atmosphere, with an immediate sound of longing that suits the title. This is the first place I could hear Risteski’s classical background, and according to his own notes the piece moves between 7/8 and 11/8, two traditional Macedonian rhythms. Churnchetz takes a very impressive piano solo before Risteski follows, raising the intensity. It’s a great song.

Both tracks were also released as singles, and putting the two tracks people may already know right up front is an interesting way to open an album, however in my opinion these are two killer tracks to open with. They certainly got my attention.

Risteski picks up the clarinet on two tracks and they are very different animals. “Lucky Flight” is based on a Latin feel and sounds to me like a classical etude set to a medium samba groove. As it turns out that’s pretty much what it is, as Risteski drew the melody from 19th-century clarinet etudes, especially those of Henry Lazarus, and set it to a samba in 3/4. It’s interesting, and I really enjoyed his clarinet playing, however I don’t know why it’s here. “Findings”, later in the set, is a totally different story. It opens with a haunting soundscape and develops into a very interesting arrangement that is melodically very intriguing, with great work from the rhythm section keeping it fully alive. If you want to hear what Risteski can do on the clarinet, start there.

Back on the saxophone, “Lee Wise” returns to more of a jazz setting. The tune is dedicated to Lee Konitz and it’s quite an interesting melody, although at first it seems to be at odds with the backing. As the solo opens up it all makes sense. I loved the tone of the alto here, it really shows Risteski’s full command of the instrument, which seems appropriate on a tune written for Konitz. “Immersed” changes the pace somewhat, and once again the classical background comes through, both in the writing and in the way Risteski approaches the melody. When he starts improvising that changes and he’s fully in the jazz language. What I’m getting at here is that he doesn’t have to choose between the two, he can move from one to the other within the same tune. There’s also a nice bass solo from Kralj on this track that is very melodic.

Then comes the title track, one of the highlights of the album. “Waters Dance” has a truly interesting opening and it’s where Risteski’s Balkan roots are on full display. He wrote the piece on the Croatian island of Vis and in Ohrid in North Macedonia, and the melody plays out over a steady bass ostinato as the track builds. There’s great piano work from Churnchetz, and Risteski’s solo here is perhaps one of his best to date. To be honest, I’d buy the album just for this track.

“Departure” is a fairly standard ballad, but it’s played extremely well, and interestingly it was the first piece Risteski ever wrote. That leaves “Summer” to close out the album, a strong but short-lived Latin track (it’s under two minutes) with a catchy melody and a twist, opening up into a sax vamp that fades out. It’s an interesting choice to close the record.

Overall this is a very good album and a strong debut for Risteski. His tone and command of the instrument set him up to be one of the most interesting young players on the European scene at the moment. As I mentioned at the start, I’ve been hearing a lot out of Graz lately and it seems there is seriously something going on there. This album just cements it.

“Waters Dance” is out today on CD, LP and all major streaming platforms. Highly recommended.

Line-Up:
Hristijan Risteski, Saxophone & Clarinet | Marko Churnchetz, Piano | Hrvoje Kralj, Bass | Chris Smith, Drums

Release Date: 2 October 2026
Format: CD | LP | Streaming
Label: Self-release via OPM Records

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