Dewey Records presents the 2nd Kazhargan World's Album "Post Fiction" by Stan Z and his Idea to put worldwide players into this global project to create unique and modern time jazz music:



"The internationally diverse ensemble Kazhargan World comes together with a new one that shows the band evolving and growing. Post Fiction (Dewey-Records LC24579), the latest, combines a sort of middle-period Miles Davis feel with nice composition elements, some excellent individual and collective soloing and a loosely hip rhythm section that swings and rocks appealingly.

Cheryl Pyle recites some spacy poetry in her very own way and plays a warm and contemporary sounding flute--also in her very own way. Stanislav Zaslavsky writes a good deal of the material and plays piano with smarts and flair, sort of post Hancockian. Hans Peter Salentin plays trumpet with a sound that certainly owes something to Miles, especially on muted horn, but the notes are his and nicely done. Sean O'Bryan Smith is on electric bass. What is interesting with him is that he can articulate funk riffs but then sometimes improvise between and around them in ways that make him a part of the improvisatory action. Max Ridgway plays a bluesy, nicely laid out electric guitar. Laurent Planells has for this band the ideal combination of free looseness and funk togetherness, sometimes all at once.

I like this band especially when they collectively improvise. They know when to come in and when to drop out so that it works really well. The written lines are very nice to hear and extend the rock-funk nexus in good ways.

That puts it all together for you as far as what to expect. It's something many people will find accessible, I would think, but it has intelligence and soul enough that you find yourself liking it more the more you hear.

It's not super-electric and it's not super-eclectic. There is a terrific balance between torque and expressive soul-lyricism.

So hear it!"


"Now is that the definition of progressive – to be doing something truly unique?

I think so.

To be pushing forward?

Absolutely.

What kind of pushing forward do you see now that didn’t exist in the 70s, 80s, and 90s?

 

Well, I think as the planet becomes more globalized and we have access to hearing basically anything that’s ever been recorded and we’re kind of at a time when it’s been so easy for musicians to connect with one another across countries, across continents, you’re seeing the types of collaborations that wouldn’t have been possible 30 or 40 years ago.

I recently received an album by Russian pianist Stanislav Zaslavsky. This project is called Kazhargan World, and he’s basically recruited six musicians from diverse places. They’ve all recorded the music that he’s written. They’ve recorded all their parts, shipped it back to him. He mixed it all together, and it sounds like a full band that was recording in the studio together. They’re totally in sync.

That type of technology did not exist 40 years ago. You’ve got Europeans and Americans and Japanese musicians that have all collaborated together and are bringing their diverse backgrounds and experiences into a project. And anything can happen when you’ve got that type of creativity that comes into a project.

So that is really exciting in terms of the future: the types of collaborations that are happening now and will continue to happen. And the types of traditions that may not be common to progressive rock or progressive jazz that may be brought in."

Gregory Kampf

 


"Мы живём в удивительное время, когда Интернет помогает нам не только поддерживать связь, но и дружить, делиться мыслями и эмоциями, быть частью жизни друг друга. Кажется, в этом мире больше не осталось границ. Но возможно ли "виртуально" создавать вместе музыку, сохраняя её дух и настроение? Кажется, теперь это так.

Kazhargan World – совместный проект, ставший реальным благодаря Интернету. Большинство участвующих в нём музыкантов из разных стран никогда не встречались. Тем не менее, результатом их сотрудничества стал один из лучших современных джазовых альбомов!

Технологии бесповоротно меняют всё, и способ звукозаписи не стал исключением. Сто лет назад всем им пришлось бы собраться в одной студии, чтобы сделать подобную запись. Сегодня тысячи миль между континентами не имеют значения. Не рядом физически, но вместе, будто сидя лицом к лицу, они обрели гармонию в музыке и друг с другом.

Здесь и сейчас - замечательное время для тех, кто использует технологии, чтобы напрямую обратиться к музыкантам, художникам и артистам всего мира. Эта идея лежит в основе философии Kazhargan World.

Создал и возглавил проект, сведя на нет расстояния между Оклахомой , Германией, Нью-Йорком, Россией, Парижем и Теннесси, русский пианист Станислав Заславский. Кроме него постоянными участниками Kazhargan World являются:

Hans Peter Salentin (Cologne, Germany) – труба и горн

Cheryl Pyle (East Village, New York) – флейта

Max Ridgway (Oklahoma City, USA) – гитара

Sean O'Bryan Smith (Nashville, Tennessee, USA) – бас

Laurent Planells (Paris, France) –
ударные
и перкуссия

Ранее в проекте играли также басист Tony Cimorosi (Englewood, New Jersey, USA)

и саксофонист Brian Mitchell Brody (Astoria, New York).

Первый альбом «WONDERFUL TIMES», изданный в 2012 году в Нью-Йорке, звучит как сочетание пост-фьюжн стиля позднего Майлза Дэвиса и современных джазовых ходов. Однако эту музыку ни в коем случае не назовёшь абстрактной, авангардной или вторичной. Вместо этого мы получили счастливый яркий альбом с красивым тёплым звуком и оригинальными постмодернистскими риффами, граничащий с лёгким доступным фри-джазом.

Благодаря уникальному подходу к творчеству и гармонической изобретательности участники Kazhargan World создают свой собственный музыкальный ландшафт. И каждый музыкант заслуживает за это высокой похвалы.


Второй CD
Kazhargan World, получивший название «POST FICTION», выпущен в январе 2014 года в Германии. "

 

Александр Пархоменко





“Звуки трубы из Германии. Трель флейты из Нью-Йорка. Ритмичная бас-гитара из Теннесси. Барабанный бит из Парижа. Вы слышите. Вы действительно их слышите. 
Этих музыкантов разделяет расстояние. И объединяет джаз. Они никогда не встречались лицом к лицу, они играют каждый по отдельности, но все вместе в уникальном джазовом проекте Kazhargan.

Лет 20 назад его невозможно было не то что создать, но даже представить. Kazhargan World родился из идеи русского пианиста и звукорежиссера Станислава Заславского, благодаря возможностям Интернета.

Технически всё происходит так: Станислав записывает партию фортепиано в своей студии в России. И отправляет ее по сети Интернет в другие города и даже на другие континенты: трубачу, ударнику, флейтистке, гитаристу и бас-гитаристу проекта Kazhargan.

Что происходит с музыкальной точки зрения? Станислав не диктует четкий музыкальный текст, требуя дословного исполнения. Он только задает тему. И каждый раз, получая партии других инструментов, удивляется неожиданности воплощения. Может, потому, что каждый музыкант вкладывает в своё исполнение  неповторимую частицу себя, своего настроения, окружения, особенностей страны, в которой живет.  

Что такое Kazhargan технически? Обмен звуковыми файлами через Интернет

Что он представляет собой в музыкальном смысле? Настоящий переворот сознания, революционно новый способ творчества. Оказывается, необязательно закрываться в общей студии, чтобы делать музыку сообща. Необязательно стоять на сцене плечом к плечу, чтобы «накрыть» слушателей ощущением единения.

Проект Kazhargan легко преодолел расстояния между континентами. Победил все опасения в невозможности виртуального звукотворчества. Передал современное джазовое звучание. Сохранил уникальное настроение и подлинность чувств каждого музыканта.

Их первый диск «Wonderful Times» был выпущен в Нью-Йорке. Второй «Post Fiction» должен выйти в Париже. Их музыка звучит на радиостанциях Европы и Америки. Список национальностей их слушателей и поклонников проще даже не начинать. 

Первый шаг  в сторону глобальной музыкальной связи сделан.
Нажмите PLAY  и вы услышите.
Звуки трубы из Германии. Трель флейты из Нью-Йорка. Ритмичную бас-гитару из Теннесси. Барабанный бит из Парижа.
Что значит расстояние? Когда звучит джаз. “

Екатерина Никанорова





"Информация, которую мы ежесекундно пропускаем через себя и фильтруем – это то, что делает нас личностями. Личность создаётся из кирпичиков, килобайтов, которые непостижимым образом сохраняются на жёстком диске нашего сознания.

Кто-то сохраняет на этом диске музыку – причём, такую, которая может стать лучшей характеристикой личности. Кто-то идёт ещё дальше, создавая из разобщённых музыкальных цитат нечто цельное, самостоятельное.

Так ли важно, как получены эти килобайты? Разумеется, проект «Kazhargan World» интересен самим процессом производства. Это «дистантный» джаз, ценный способом взаимодействия, процессом продюсирования, продвижения. В каждая части музыкальной картины изначально заложена сама картина; музыканты оставляют сказать другому то, что им самим хочется сказать. Они делают друг другу приятное, не ставят точку – потому что в эту игру интереснее рубиться всем вместе.

В игре ума не принято тянуть одеяло на себя. «Kazhargan World» - подчёркнуто интеллигентский проект. В данном случае музыку делают не хипстеры-экспериментаторы (компенсирующие недостатки мастерства постмодернистскими стилистическими смешиваниями), а взрослые, состоявшиеся музыканты. Они нашли комфортный для себя и эффективный метод – и выжимают из него всё. Или почти всё? Скоро услышим.

Подытожим, оставив в стороне техническую сторону вопроса. При современном развитии технологий её можно просто вынести за скобки, не брать в расчёт.

Джаз – это интеллектуальное взаимодействие. Заславский играет не пальцами - есть немало виртуозов, которые «на руках» смогут его победить. Он играет головой, в голове – его главный компьютер, там уже установлены все необходимые программы. Каждый из участников проекта, создавая самоценный музыкальный фрагмент, оставляет ему лазейку для творчества. А расстояния, которые разделяют участников проекта, добавляют пикантности происходящему действу.

Если вдруг задаться вопросом, чего в получившейся музыке больше – чистого творчества или ремесла – можно зайти в тупик. С одной стороны, звучащее суть некая конструкция, с другой – здание каждой композиции не состоит из отдельных, практически самостоятельных фрагментов, модулей – чем часто грешат любители подобной технологии записи. Это джаз, это взаимопроникновение, это тот случай, когда смысл рождается на стыке музыкальных отрывков, между слоями, в пограничной зоне. Для конструкции в этой музыке слишком много жизни."

Алексей Казанцев




All About Jazz © Rewiew By DAN BILAWSKY
Published: April 22, 2012

"Technology has irrevocably altered everything in its path; the way recordings are made is no exception. A century ago, a nine-person aggregation would have had to hover around a single recording device, playing together, in order for all the participants to make it onto the same record. Now, the members of a nonet don't even need to be on the same continent as one another and everybody can add their parts to the mix at their own leisure. These are wonderful times for those looking to utilize technology to reach out to musicians and artists beyond their own backyard, and this ideal is at the root of Kazhargan World's philosophy.

The members of this international consortium reside in different corners of the world, and many never met one another, but that didn't stop them from banding together in the spirit of creation to make music. Russian pianist Stanislav Zaslavsky spearheaded this project, closing the distance gap between Oklahoma, Germany, New York, Russia and Tennessee to create a cohesive recording. Naysayers may look at such a project and point out that group chemistry is developed over time, and that technology and literal distance can breed a certain sterility and impersonal connection between strangers on the same musical train. They would be right to a certain extent, but musical dialogue and the potential for opening oneself to cross-continental collaboration shouldn't be ignored because it comes with a downside.

Those issues pop up on occasion during this twelve song program, but this band overcomes them during the majority of these times. While a cooperative spirit surrounds this music, the undeniable star is German trumpeter Hans Peter Salentin. His horn is at the center of the most magnetic musical happenings here, and his ability to adapt to, and thrive within, different surroundings is an asset. He can create mood in a non-moving environment—a la Miles Davis—and he is capable of providing fireworks to enliven the party. Cheryl Pyle's flute, which is occasionally too high in the mix, is another important ingredient used for soloing and flavoring. Both of those artists, along with several others, keep things interesting on top while Zaslavsky's keyboard work and electric bassist Sean O'Bryan Smith's slippery lines create texture and interest below.

While this album might have found more focus with a consistent balance between all of the instrumental personalities at play and the removal of several spoken word poetry pieces, the end result is still something marvelous to behold. Zaslavsky has bravely ventured into territory that many are afraid to explore and, in doing so, he's opened a door to pan-global musical communication that many will likely walk through in the future."


Dan Bilawsky ( Northport, NY)




Review by Richard Mortifoglio
(New York, 2012)


"This excellent new jazz release is the happy result of cross-national internet file sharing -- often a recipe for clunky step-on-each-other's-foot instrumental interplay but you wouldn't know it from the seamless results to be heard here. Among the many multi-talents on display is trumpet from Cologne (Hans Peter Salentin), saxophone and guitar from Oklahoma (Brian Mitchell Brody, Max Ridgway), flute and bass from New York (Cheryl Pyle, Tony Cimorosi), electro bass from Tennessee (Sean O'Bryan Smith) -- all under the benign leadership of keyboardist Stan Zaslavsky (from Russia), who has dubbed the whole project Kazhargan World. Drummer and percussionist Papa Z (Stan's father) provides the supple rhythms which hold the whole thing together. In some ways this is a sunlit version of an intriguing, noirish ECM session from a few years back called NEW YORK DAYS, released under Italian trumpeter Enrico Rava's name but which also included a even-handed mix of American and European musicians. Likewise the sound on WONDERFUL TIMES is a post-fusion melange of late-Miles themes and other contemporary jazz tropes. But it's never overly abstract or typically avant-garde or, worse, second-hand. Instead there's a happy, dancing quality to the whole bright affair. Hans Peter Salentin's strong trumpet work (alternating on mute) predominates but it is Cheryl Pyle's fluent flute work which truly shines in the mix. Pyle also contributes some evocative spoken word interludes ("Invisible Celebration," "Irene Was Here"), her unmistakable American accent grounding this ostensible world project in some ideal, imaginary USA of the ear. Throughout Zaslavsky provides sympathetic support on acoustic and electric keys, giving ample room to his selected group of soloists, and never once hogging the proceedings."

 


Gapplegate Music Review

 

Kazhargan World is a cooperative unit made possible by the internet. Wonderful Times (Dewey Records) is the product of the cooperative project. The members discussed and arranged the music via electronic communication, then presumably recorded each part singly and synched them together as a finished product. The group consists of Stan Zaslavsky on piano, Hans Peter Salentin on trumpet, Cheryl Pyle on flute and recitation/poetry, Max Ridgway on guitar, Brian Mitchell Brody on sax, Sean O'Bryan Smith on the electric bass, and Tony Cimorosi on doublebass. And finally on drums and percussion is Alesandr Zaslavsky.

The album goes from a contrapuntal chamber jazz with interlocking piano, trumpet, flute and guitar against a swinging walk to more contemporary jazz-lyric-exotica, longing poetics from Ms. Pyle, and an overarching aesthetic of creativity.

The soloists work together well and sound quite good; their interchanges are most certainly a high point of the disk. The compositional elements are quite interesting and worth hearing too.

In the end you have a disk with some strikingly new ways to get somewhere, a lot of ground covered, excellent musicianship, good writing and arranging. The four-horn front line of Zaslavsky-Salentin-Pyle-Ridgway impresses.

It's a very pleasing album with plenty of substance to it. Give it a listen.



Review by Brent Black (Publisher at criticaljazz.com)

 

Kazhargan World "Wonderful Times" (Dewey Records 2012)


So I'm digging the cover art...


A nice warm sound that is earthy along with some interesting post modern riffs bordering on accessible free jazz only to discover the musicians involved in the project were never actually present in the same room at the time of the recording.

Enter Kazhargan World.

An international jazz collective from Russia, Germany and various areas within the United States of America. Artists in all genres have occasionally "phoned it in" using various electronic platforms with the end result being predictable and incredibly sterile.

Not this time...

The opening tune "Wonderful Times" has an intriguing swing with a subtle undercurrent of harmonic dynamic tension. A textured sound that brings an amazing sonic depth of field to the forefront. A tune that is a critics worst nightmare and guaranteed to have label executives perched on the nearest ledge as this eclectic ensemble artfully dodges any previously accepted sub-genre jazz has to offer.

Contemporary beatnik meets post modern free jazz?

"Kazhargan" is described in the press release and in this context as a word of open interpretation and an invitation for the listener to find the musical path of their choosing. "After Time" carries the cool post bop vibe of Miles Davis where trumpet virtuoso Han Peter Salentin tips his musical hat to the icon with a stellar muted trumpet and groove to match. Normally spoken word pieces that pop up in the jazz idiom are like nails down a chalk board for me but not here. The incredibly open ended sound, all most conceptual by nature is perfectly suited to the occasional spoken word piece by Cheryl Pyle. The zen like approach of Pyle captures the essence of the compositions perfectly. "Live Under Water" continues the Miles Davis ambient quality with Salentin's virtuoso like performance. The ebb and flow and effortless cohesion of this large ensemble takes on the feel of the more traditional working band while keeping in mind this recording is all done via the Internet. "Irene Was Here" is an expressive ballad and delightful lyrical gem featuring Pyle along with pianist Stan Z.

An overall warmth and accessibility permeates Kazhargan World. A world that is a unique and engaging both on a visceral and cerebral level. To achieve an organic base while pushing each individual voice to achieve their own special character under these highly formatted conditions is an amazing accomplishment. Kazhargan World takes the more free form approach and creates their own post modern hybrid that is a sweeping sound scape of lyrical and harmonic ingenuity. Each musician involved is deserving of high praise.  

More than a recording, Kazhargan World is a jazz experience that offers the unique opportunity to become a musical blank slate and then create your own world.

Tracks: Wonderful Times; Children Of The World; Mayan Prophecy; Other Constellations; After Time; Spirit of Discovery; Invisible Celebration; Live Under Water; My Motherland; Irene Was Here; All Day Rain; Cuban Snow.

Personnel: Stanislav Zaslavsky: piano; Hans Peter Salentin: trumpet; Cheryl Pyle: flute, poems & voice; Max Ridgway: guitar; Brian Mitchell Brody: saxophone; Tony Cimorosi: ns double bass; Sean O Bryan Smith: electric bass; Papa Z: drums & percussion.




Review by Cora von Hindte (feb 9, 2012)

 

 "We’re living in times that enable us to keep contact via internet, and not only to keep in contact, but to cherish friendships, to share thoughts and emotions, to let others take part in our lives. There don’t seem to be borders any longer. But what about also making music “the virtual way”? Could it ever be possible without losing spirit, mood and authenticity?

It seems like this …

 “Wonderful Times” is a little musical miracle worked by a group of musicians from different parts of the world: Stan Zaslavsky (Russia) on piano, Cheryl Pyle (New York) on flute, Hans P. Salentin (Cologne, Germany) on trumpet, Max Ridgway (Oklahoma) on guitar; Brian M. Brody (Oklahoma) on saxophone, Tony Cimorosi (New York) on bass, Sean O Bryan Smith (Tennessee) on electric bass and Papa Z (Russia) on drums. Most of them never met face to face – and yet the result of this international collaboration is one of the finest modern jazz albums I’ve listened to so far!

  The thousands of miles between the continents where are they? Resolved into a dew, into nothing but the here and now, not a physical face-to-face, but quasi a “face to face-state” of like-mindedness in music. Cheryl’s poetry in spoken words in “Other constellations” and “Irene was here”, framed only by light, swift flute runs and piano are the beautiful serious counterpoint to the wonderfully serene title track “Wonderful Times”, the other tunes lined up like pearls on a chain between those poles, a spectrum from joyful to poetic that embraces all colours.

 Although there is quite some music of which I could say that it made me serene and happy by listening, this album definitely adds its own quality to it by the sheer joy of making music that just bursts out of every note and by its outstanding, highly artistic approach. It is one thing to have outstanding musical ideas – but to transform them into reality with musical means in the perfection shown here, yet warm and full of life is an achievement that is a class of its own! Congratulations!"




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Trumpet & Horns:

Hans Peter Salentin

Flute & Poems:

Cheryl Pyle

Guitar:

Max Ridgway

Saxophone:

Brian Mitchell Brody

NS Double bass:

Tony Cimorosi

Electric bass:

Sean O'Bryan Smith

Drums & Percussion:

Laurent Planells

Aleksandr Zaslavsky

Cover Photos:

Tanya Truong

Yeppy Harlan

CD Cover designer:

Maxim Rymarev

Producer/Composer:

Stan Z





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