There are several reasons for naming this CD “Rejuvenation Project”. One of them is that I tried to bring new vigor and freshness into my old compositions. The other is that I firmly believe in rejuvenating power of good music (and I really try to produce such).
And finally, amazing and outstanding musicians that made this project possible are very young (but very mature musically), and during several gigs I played with them and the work on this CD, I really felt getting younger and younger every day.
My partners in this project have a very solid music education: Brian Friedland at University of Southern California, Hamilton Price at University of Texas at Austin and the youngest, Jens Kuross is fresh from the prestigious Berklee College Of Music. They truly deserve “further recognition” and exposure!
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), “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.
Artists info.
Reviews
There is hope for improvisational music. author: Ben Salzano
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 Alexey Zoubov can show us the way to salvation (and rejuvenation).
Album for those who are not afraid of Art author: Milcho Leviev
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 author: Steve Donovan
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!
Excellent saxophone player author: Boris
Alexei is the one of my favorite saxophone players beginning from sixties and I love his style. I'd love to have all his recordings from the time when he was playing in USSR, but I just don't know how to get them.
author: Chuck Manning
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
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