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.
NEWS
"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."
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)
SEAN O’BRYAN SMITH – Jazzed !
Songstreet Podcast about producing Polcat and Kazhargan World albums.
On this show we talk to Sean O’Bryan Smith,
Jazz musician, composer, producer and entrepreneur. He talks with us
about his career, life in music and how his working hard is paying off
and how he is using the internet and other technologies to bring his
brand of music and production to larger and larger audiences.
We also hear some awesome music from his latest projects and album releases. If you want some inspiration on how to approach getting your music out there and want to hear some great music, you won’t miss out on this way cool podcast.
Review by Richard Mortifoglio
(New York, 2012)
(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 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 C 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!"
