The
Music.
This disc contains my compositions spanning 40 years
from 1965 to the present, the last three written right
before the recording sessions.
A little more about the pieces (not in the order of
appearance on the CD).
Dead End (1965), Russian Suite (1968)
and White Sands (1972-2005) reflect my deep
interest in (or better to say, infatuation with) folk
music of the world.
Dead End is loosely based on Azerbaijani "mugams"
and was first played by Crescendo jazz quintet at 1966
Moscow Jazz Festival. It is dedicated to one of my heroes,
Joe Henderson, and although I never could or even tried
to imitate him, I guess you’ll hear the influence.
A three part Russian Suite (Byliny-Stariny)
was first recorded live by Crescendo quartet at 1968
Moscow Jazz Festival. For this recording I changed it
quite a bit. There are several quotes from real Russian
folk melodies there. Please note an amazing bowed bass
solo by Hamilton Price in conversation with tenor sax
in the first part, out of this world work on drums by
Jens Kuross all through the suite and especially in
his solo in the second part and very delicate but also
strikingly powerful solos and comping throughout by
Brian Friedland.
White Sands is a moody piece influenced by
many hauntingly beautiful Middle-Eastern melodies and
dedicated to my wife Marina, who saw this image in her
dream. ECM influence also should be noticeable.
Three compositions: Radical Tango (1984), Polka
Beams (& Moon Dots) and Pink March
(both 2006) are from still incomplete Anti-Social
Studies suite influenced by Carla Bley’s Social Studies CD. I humbly dedicate this suite
of mine to this outstanding pianist and composer.
I played and recorded Radical Tango before
with great pianist Milcho Leviev and this composition
is dedicated to him and Dr. Leslie Eber, who practically
saved my life and so made this CD possible.
Polka Beams (aka Cherny Is Dead) and
Pink March (aka When Neocons Go Marching
In) are dedicated both to Prokofiev and Shostakovich
(but not to neocons). I attempted to combine themes
in the style of contemporary chamber music with absolutely
free improvised sections. I hope these pieces go deeper
than just being funny.
And, lastly, I wrote Sweet Polish Lady for
a feature film back in 1983. The idea was to make it
sound Polish by using the harmonic structure in the
style of Chopin. It was never intended to be played
as a jazz tune, but I think it adds Slavic nostalgia
and diversity to the project. Note the elegant and touching
solo by Brian Friedland (piano).
It is customary now to print a long gratitude list on
every CD. I am deeply grateful to everybody and each
one of you and I just don’t have the space to print
such a list!
I am grateful to those who listen to this CD whether
they like it or not, to all my friends (and enemies
– if there are any), to those who complimented
me on my music and those who harshly criticized it,
to those that helped me and those who put obstacles
in my way because I learned from both, to those who
taught me how to live my life and make my music and
to those who taught me how not to… I am grateful
to everybody and everything for influencing me and making
me who I am and being able to humbly offer this work
of mine and my Rejuvenation Team. I hope to
add some joy to your life and may be even rejuvenate
you a little.
REJUVENATION PROJECT REVIEWS
Up Rejuvenation is the type of recording that grows in interest with each listening for there is much to discover. It is not a conventional jazz project, not with those quirky melodies, the episodic nature of the frameworks, and Zoubov’s sound in general. This intriguing and rewarding effort is available from www.alexeiz.com.
Scott Yanow
There is hope for improvisational music.
Certainly there is great irony in the fact that a CD made by an individual born and raised in the Soviet Union should free us Americans (amongst others) from the cookie-cutter approach to improvisational music (jazz, if you wish). Why is it that one's musical fingerprint is, so to speak,often lost in the mix?! A gorgeous sound. Real personality in this recording. If this music seems to be an endangered species, perhaps the likes of Alexei Zoubov can show us the way to salvation (and rejuvenation).
Ben Salzano
Album for those who are not afraid of Art
The pronounced originality and daring intrepidity of "Rejuvenation" is one of the few, rare flowers amidst today's "pleasing", "play it safe", mire of the record "industry". The quotes are intentional - Real Art is not safe and cannot be industrialized. A lot of the places Zoubov takes you with his quartet aren't pleasant, they are real and hard. But there are also light, funny, satirical as well as lyrical, poetic, warm places. Simply - a very interesting and rich in emotions trip. I strongly recommend this album to those who are not afraid of Art.
Milcho Leviev
Unique-real music-real jazz
This CD is a a reminder that true artists still exist. It is encouraging to know that there is available something to listen to that goes beyond the ordinary, something to really listen to thoughtfully and be inspired by, with great compositions and great playing- these guys kick ass!
Steve Donovan
This is one of the most passionate and sophisticated tenor saxophone sounds you are likely to hear today. Alexei Zoubov has a musical conception that defies a simple description. It is a melding of wistful melancholy, child-like innocence with a urbane sophistication and more than a hint of Wayne Shorter and Fellini's Nino Roto and that, like it's name, is a youthful rejuvenation not a replication. It says something important. You've just got to hear it. GREAT
Chuck Manning
