Viktor Pavelko (ts), Aleksandr Pavlov (g), Konstantin Ionenko (b), Pavel Galitsky (d)
Bar code: 8427328435192
01. Contemplation 5:26
02. Dubious Pleasure 6:43
03. Pacific Ocean 4:54
04. Slightly Abashed 6:46
05. Megalomania 7:25
06. Heritage 8:11
07. Torero Hallucinogene 6:55
08. Black Depth 8:40
09. Hope 7:40
Total time: 62:00 min. approx.
All tracks composed by Deep Tone Project: Viktor Pavelko (#3,6,9), Aleksandr Pavlov (#1,2,5), Konstantin Ionenko (#4,7,8).
Viktor Pavelko (tenor saxophone), Aleksandr Pavlov (guitar), Konstantin Ionenko (acoustic bass, electric bass on #2 & 8), Pavel Galitsky (drums).
Recorded at Mask Studio, Kiev, April 2016
Engineered by Sergey Kurochkin
Mixed & mastered by Sergey Kurochkin, at Na Hati Records, Kiev, August 2016
Pictures: Oleg Nitsko & Alexey Karpovich
For more details about Deep Tone Project visit
Produced by Konstantin Ionenko
Executive producer: Jordi Pujol
"The compositions and musicianship on Deep Tone project are a distinctly modern and deftly textured crafting of classical elements and European chamber jazz. The themes are constructed as pleasant explorations, occasionally taking more adventurous turns but always grounded in melody. Ionenko has wisely opted for an all-inclusive format and it is a very rewarding one that should lead to broader exposure for all involved."
Karl Ackermann, New York City Jazz Records
"Very sensuous music, with more than enough of the intellect to engage the mind. This music has enough twists, turns and surprises to claim originality of conception. Highly recommended."
Bud Kopman, All About Jazz
"Deep Tone music may be referred to as a contemporary jazz. Interesting, catchy compositions, which often amaze the listener by recurrence in the narration are their asset. It is a very nice, modern and fresh music!"
Krzysztof Komorek, Jazzpress Magazine
"They are bad asses who make you listen. It’s like a bomb that would unlikely explode. But…
The prettiest thing about the Deep Tone quartet is they don’t show off. They’re into humble practice–perform–record mode. Though they should show off, coz they the are the top-notch Ukrainian jazzmen who write and perform music you want to listen to.
There’s no wonder, you can hear quite a few recordings of quartets like this around. But one of the kicks is they are the Ukrainians, not Americans. The other kick is you want to play it again, no matter who they are. There are influences from the mod-60’s jazz to up-to-this-moment music.
They can do things from mellow though in-depth, ECM-kind jazz to almost rock-heavy stuff. Definitely, this is Alex Pavlov’s electric guitar that changes colours and moods from mild to rough. But there are also these great interplays between guitar and bass, and sax and drums. They, despite of lots of jobs and gigs around, stands for that blessed term – ensemble.
Are there any “hits” on this, second, Deep Tone album? I guess, ‘Megalomania’ and ‘Contemplation’ can tell a lot about the band. But, sorry, I have to go to listen to the whole album again. Chances are it would explode."
Viachek Kryshtofovych, Jr.
"Another fine collection of contemporary jazz from the Ukrainian collective band Deep Tone Project. The personnel is unchanged from their first album Flow (Fancy Music, 2014). But the compositional input is even more democratic. Previously split between guitarist Aleksandr Pavlov and bassist Konstantin Ionenko, this time a third of the tunes come from the pen of tenor saxophonist Viktor Pavelko. Ionenko plays upright bass on all but two selections here, giving the group a richer, more acoustic sound than on their first outing.
Pavlov's aptly-named "Contemplation" opens the set with a gentle 6/8 lilt, with ample space for his guitar and Pavelko's tenor saxophone. "Dubious Pleasure" is more upbeat, and after a brief unaccompanied guitar introduction includes some overdriven guitar, recalling the overdriven jazz playing of John Scofield—overdriven doesn't have to mean fusion. Pavelko's first contribution is "Pacific Ocean," a true ballad which drummer Pavel Galitsky plays with brushes throughout.
"Megalomania" is built on an especially memorable ostinato pattern on the guitar, one of the few places where the composer's instrument takes a special role. Galitsky's tom-toms are prominent in Ionenko's "Torero Hallucinogene," which ends with a lyrical bass solo. And "Black Depth" again visits slightly more electric territory, with electric bass and overdriven guitar. The closer "Hope" does open with the composer on unaccompanied tenor sax. But it also includes a section for solo bass accompanied only by guitar.
It's great to see a cooperative band return with a recording even stronger than their debut. Good as the band members are individually—as composers and performers—they clearly gain even more strength from playing together. Looking forward to the next installment."
Mark Sullivan (May 5, 2017)
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