Zen Land

The five musicians that make up Zen Land—Michael Zentner (violin), Dean De Benedictis (keyboards), Tim Young (guitar), Doug Lunn (bass), and Vonette Yanaginuma (harp)—bring an eye-opening list of credits to their collective venture. By way of background, Zentner has worked with members of The Who, Yes, Sting, Frank Zappa, Peter Gabriel, Gong, and others; Young plays in the Seattle trio Thruster (featuring Pearl Jam/Soundgarden drummer Matt Chamberlain) and has worked with Wayne Horvitz, David Sylvian, Beck, Bill Frisell, and others; De Benedictis (aka Surface 10) has played with The Stratos Ensemble, Brand X, Ian Boddy, and Nels Cline; Yanaginuma's worked with Nelly Furtado, Seal, and Solomon Burke; and Lunn boasts an impressive CV that includes recording dates with Mark Isham, Andy Summers, David Torn, and countless others.

Zentner would appear to be Zen Land's guiding force, given that the album was produced by him and appears on his Warped Records label. Yet while his violin often functions as the lead voice, the others are equally critical parts of the whole. On paper, the instrumentation (with one exception: the harp in place of a drummer) might suggest a jazz-fusion outfit, but Zen Land, in keeping with its name, plays a wholly different kind of music, specifically meditative music of an understated and inordinately soothing kind. The hour of music presented on the group's self-titled release isn't static; instead, the music unfolds with a natural and organic grace. Each piece gives the impression that it was executed live, with each player listening and responding attentively to the others in the moment. But the material doesn't sound like the product of pure improvisation either, as there are melodic phrases that recur throughout a given piece to lend it identity and differentiate it from the other settings.

Though the musicians don't generally solo per se (Zentner comes closest to doing so during “Zong”), there's a sense in which they're always soloing. That said, the playing primarily centers on texture, not soloing, with each helping to build a dense, multi-layered totality. De Benedictis, for example, doesn't play conventional keyboard melodies or patterns; he instead provides a backdrop of atmospheric effects, similar in effect to the sitar-like drone that persists throughout an Indian raga. Young and Yanaginuma likewise contribute flourishes that complement the whole, while Zentner does much the same in using what sounds like a customized electric violin to thread brief phrases into the music. Lunn's fretless bass playing is as stellar and tasteful on Zen Land as it is on the other recordings he's appeared on. His unerring sense of time confidently guides the music along as it wends its lulling way through the album's six settings, the prettiest of which is “Song,” a stirring moodscape whose hypnotic, dream-like lilt makes the strongest argument on the project's behalf (it appears in two versions, by the way, one eight minutes in length and the other twelve).

Though a clear sense of unity prevails, subtle differences emerge between the pieces. In contrast to the Indian drone-styled character of the opening settings, for example, “Vong” gives off a prog-like aroma due to the inclusion of mellotron-flavoured details. Finally, it's not clear whether Zen Land is a project the five intend to carry on beyond this debut album or simply a single-album release they decided to collaborate on. Here's hoping it's the former: it'd be great to hear Zentner and company develop the group's sound further on at least one more album.
June 2015 - Textura

Violinist Michael Zentner recently coined the term ‘Heavy Revel' as a way of characterizing the kind of forward-thinking instrumental music he and four colleagues produce under the Zen Land name. Based in Hollywood, California, the group members—Zentner joined by guitarist Tim Young, bassist Doug Lunn, keyboardist Dean De Benedictis, and harpist Vonette Yanaginuma—bring to the project a staggering list of credits. A partial list of the artists with whom the five have individually performed and/or recorded includes: The Who, Yes, Red Hot Chili Peppers, Sting, Peter Gabriel, Gong, Soft Machine, David Sylvian, Beck, Bill Frisell, John Zorn, Stan Getz, Mark Isham, Bruce Springsteen, Andy Summers, Nelly Furtado, and Seal, and multiple film and TV credits also appear on the members' respective CVs. The music they produce as Zen Land, however, less reflects the influences of any of the cited artists and more something unique that happens when they begin playing together. Zentner recently spoke with textura to discuss the new group and how the music on the album came into being.

1. How did the group Zen Land come into being? Had you known one another for a long time and always planned to work together in some capacity or did it come together unexpectedly and surreptitiously? And how would you describe the group's musical style and how was the style determined?

I met Doug Lunn after performing the Frank Zappa/Mothers of Invention classic “King Kong” at the Troubadour here in Hollywood with founding Mothers of Invention keyboardist Don Preston. We bonded over our appreciation of Zappa and learned of our mutual associations with other Zappa band members as well as members of the British fusion band Brand X.

I was introduced to Tim Young by a mutual friend after watching his amazing performance in Naked City keyboardist Wayne Horvitz's band at the Blue Whale also here in LA (thank you, Erika). His beautiful, vintage guitar tone and extraordinarily creative approach and artistry blew me entirely away that evening and has never ceased to do so since.

I met harpist Vonette Yanaginuma in NYC while I was working on my first solo album. I honestly never expected a classically trained musician to be able to improvise as brilliantly as she did on our piece for that record, let alone playing the whole thing through in one seamless take (the second, I believe).

Dean De Benedictis is the grout that binds us all together, if you'll excuse the masonry analogy. By the way, I've always been struck by how musicians work with their hands like carpenters, brick layers and such. I've often thought of us as the blue-collar workers of the arts and have always admired and appreciated the down-to-earth manner and lack of pretensions exhibited by the vast majority of great musicians I've worked with and known throughout my career. Dean's approach is so subtle and restrained yet yields so much. The first time I worked with him, I couldn't believe what I was hearing. His playing was extremely intuitive and completely unexpected as I knew nothing about him at the time, only subsequently learning of his wealth of solo material and his work with artists such as Nels Cline and Brand X.

So, yes. I've known and admired them all for quite some time, and when I was asked to assemble a band last year for the live on-air radio performance that was the inception of Zen Land, they were my first choice and fondest wish. As far as style is concerned, most would say “Ambient/New Age” though I think we blur the line of many. I've coined the term “Heavy Revel” to describe what I really think we're about stylistically, that being determined by my insistence upon our striving to express the deepest and most profound aesthetic possible in each and every performance.

2. I'm not one to focus all that much on gear in an interview, but I've got to ask about that amazing looking violin you're seen playing in the video for “Song.” Is it the one you always play or just one of many different violins in your possession, and exactly what kind of violin is it?

That violin is the only one I play, and I actually designed it with Mark Wood as an adaptation of his company, Wood Violin's, very popular five-string “Viper” model. So, it's a one-of-a-kind that enables me to play very comfortably, facing straight ahead, without having to crane my neck to the side and use my chin and shoulder as a vice to keep my instrument in place.

It also enables me to sing unencumbered at the same time, which comes in handy for live performances such as the one just filmed by music video director Cherie Bugtong for The Police's Facebook page: a live, in-studio, Zen Land cover of “Spirits in the Material World” requested by the band's site administrator in conjunction with the release of the Police bio-doc Can't Stand Losing You.

3. Each musician in the group—yourself, Dean DeBenedictus, Doug Lunn, Tim Young, and Vonette Yanainuma—brings to the project a long list of credits. (I was especially excited to see Lunn in the bass chair, as I've admired his playing for many years, specifically his contributions to albums by Mark Isham and Andy Summers). Could you say a few words about what each member, yourself included, brings to the group?

Doug is the literal foundation of Zen Land. When Doug Lunn is under you, you cannot fall. I look for and admire musicians who play, above all else, what is right for the piece. That is Doug—always. Each of us is, likewise, committed to the creation of the piece above all else. The nature of the music, it being rather slow and minimalistic, does point us in that direction. But without that approach and discipline being intrinsic to us all, it could have easily skidded into a jazz thing where the song is primarily a vehicle for showing off one's chops. None of us is more important than the song we “sing” and Doug always gives it its due. He is the anchor that continuously grounds the band in that ethic.

Tim drives a lot of what happens harmonically in Zen Land. If we were the Rolling Stones, he'd be the Keith Richards, pumping out the riffs for my Mick Jagger to pull the linear melodies out of, the ones that turn the riffing into songs.

Dean is the glue and “intensifier” of the band with his beautiful synth textures, piano accents, and masterful counterpoint. He has also, more than anyone else, helped to advise and inspire me in this endeavour.

Vonette is the cherry on top—whipped cream, too! Classical harp could be argued to be the most beautiful instrument ever created, and in her hands it's just sublime. She always finds just the right spot to accentuate what's happening without ever, somehow, “stepping on” anyone else.

4. If there's one thing above all else that I was struck by on the album, it's the organic way that each piece develops. All five of you really seem to be listening deeply to what the others are playing in the moment and complementing the total sound with sensitivity and nuance. How were the group members able to achieve that kind of connectedness in their playing, and to what degree is the album material formally composed as opposed to improvised?

Practice, practice, practice! Just kidding.

Actually, the core of this album was performed as part of a live radio broadcast, without any rehearsal, and (although I had performed with each of the members myself individually) this was the very first time we had, all of us, ever performed together as a unit.

When I formed the group, I knew intellectually it would work but had no idea it would work quite so remarkably, that it would be the inception of a musical entity imbued with such instant, complete, and profound telepathy.

Zen Land is a magical place!

5. What does the future hold for Zen Land? Are there plans for a follow-up album? And what about live performances?

Our next album is due to drop early next year. Management is concentrating on summer and fall festival bookings. textura readers are welcomed to stay tuned to the band's official site and social media pages for updates.

web site: ZEN LAND - Textura

Of all the music submitted to this blog, this is probably one of the most original exercises on ambient. It’s mostly made with the use of acoustic instruments, except for some soft electronic embellishments.

Zen Land is an ensemble of musicians that get together for the first time round on this eponymous album. This combo is made up of the following members:

- Michael Zentner (violin and producer): co-founder of The Muffins; he has also performed and recorded with members of The Who, The Doors, Yes, Red Hot Chili Peppers, Sting, Guns’n’Roses, Henry Cow, Peter Gabriel, Frank Zappa… (quite a curriculum or what?)

- Dean de Benedictis (keyboards): he’s also known as Surface 10. He has collaborated with Ian Boddy or the Stratos Ensemble, to name but a few.

- Dough Lunn (bass): has worked with Mark Isham, Bruce Springsteen and many more.

- Tim Young (guitar): co-founder of Seattle trio Thruster, together with Pearl Jam/Soundgarden drummer Matt Chamberlain. Tim has also recorded with David Sylvian, Beck, Bill Frisell or Belinda Carlisle.

- Vonette Yanaginuma (harp): has toured and recorded with artists such as Seal, Nelly Furtado, among others.

From the onset, it’s clear that you’re not listening to clichéd formulas here, but to musical styles that cross-pollinate each other in perfect synchronization.

“Zen Land” is a constructive dialogue between violin, bass, cello, harp and electronics, where none tries to raise its voice above the others. Instruments listen intently to one another and respond in a very educated manner. This is not a tough listening experience, but quite pleasing, even to untrained ears.

The modern sounds of electronics (by Dean de Benedictis) coexist with the more classical sounds of traditional instruments in most natural way.

Each fragile note elbows its way through soft strings. The notes move carefully as if being afraid to break the silence.

The expertise of the members involved in this Zen Land project guarantees a successful result, and that’s indeed what we have here: something different, somewhat original in approach, both complex and simple at the same time.

So if this is not enough reason to feel tempted to have a listen, then I don’t know what else you need.

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To get this album:

https://itunes.apple.com/us/album/zen-land/id968890699

http://www.cdbaby.com/cd/zenland

Official sites:

http://www.zenlandband.com

https://www.facebook.com/zenlandband

https://twitter.com/zenlandband - Synth Caresses

The musical strength of Zen Land lies in the fascinating and original use of transporting colorful raga-like patterns in a jazzy mood combined to powerful textured electronics and softly driven ambiences.

Zen Land is a high standard musical collective which features a bunch of well known artists from the international independent scene. Michael Zentner is a pioneering artist in the world of avant-garde, electronic and jazz rock music and has notably performed with notorious artists for alternative and mainstream audiences. In this adventurous musical procession, Zentner is accompanied by solid skilled artists such as Tim Young, the talented fretless bass player Doug Lunn, the multifaceted artist Dean de Benedictis and Vonette Yanaginuma.

The musical strength of Zen Land lies in the fascinating and original use of transporting colorful raga-like patterns in a jazzy mood combined to powerful textured electronics and softly driven ambiences. The result slightly resonates as a contemporary version of a few materials coming from ECM, notably the work of Steve Tibbetts. Moodily introspective guitar arpeggios dialogues with enchanting and spring-like wind instruments, foggy keyboards chords like in the shimmering and progressive inflected piece “Vong” and the poetically nostalgic and mysteriously enthralling “Song Long.” Some parts features clear Eastern-sounding like elements with psychedelic minimalist-like tendencies and groovy raga ornaments like in the krauty and Gottsching-esque “Zong.” The slowly moving and deeply emotional guitar motifs are quite addictive, almost bring tears in the epilog track with its timeless dreamy cinematic atmosphere.

To sum up things Zen Land is a gorgeous electronic-world jazz album which possesses wondrous meditative sounds and distant melodies for a large ensemble of instruments and effects. Serene, sonic, warm and multidimensional shoegazing world-ambient jazz. Essential listening.

Zen Land is available on Warped. [iTunes / CD Baby] - Igloo Magazine

1. Please introduce the band to the readers.

We have Zen Land bassist, Doug Lunn, of Mark Isham and Andy Summers fame; guitarist, Tim Young, Founding member of Seattle power trio, Thruster with Pearl Jam/Soundgarden drummer, Matt Chamberlain, and Kneebody bassist, Kaveh Rastegar; key-master and ambient recording artist, Dean De Benedictis, alias Surface 10, also of The Stratos Ensemble; and harpist, Vonette Yanaginuma, from my first solo record and from many other important records by the likes of Nelly Furtado, Seal, Outlawz, etc.

2. What is the concept behind the name of the band?

The musical conception for this band was mine and I put it together, so using the first 3 letters of my own sir name in the title seemed appropriate. That, and the fact that the word "Zen" is derived from the Sanskrit, Dhyāna, meaning absorption or meditative state, which is exactly the state that Zen Land music is intended to produce in its audience.

3. How did you persuade all the contributing musicians to participate?

These are all close friends and collaborators from past projects and performing situations who have supported me through the years and continue to do so. I admire all of them greatly and I am very grateful for their artistry and support. Particularly, Dean De Benedictis who really inspired me to push ahead with this project and whose advices and guidance have been instrumental in the process.

4. Most of the musicians in the band, have a great background as session musicians. Please let us know about all the details.

There are extensive bios on each of us on the Zen Land website, www.zenlandband.com but some highlights would be performing and recording with the likes of Sting, Andy Summers, Bruce Springsteen, Robby Krieger of The Doors, members of The Who, Guns N' Roses, Peter Gabriel, Red Hot Chili Peppers, and more.

5. You have a recent album in the market, describe us the process of the production and recording.

We performed the record virtually live in studio. I took the session files home and did a few weeks of premix production on my ProTools rig (cleaning up the tracks and editing to create the actual song structure you hear on the record). After preparing the tracks for the mix, I took them to my "go to" LA mix engineer, Dave Jenkins, who gave us very nice fat, lush mixes of the each track.

Then our keyboard maestro, Mr. De Benedictis (a great record producer in his own right) did such a brilliant remix and edit of the track entitled "Song," I decided to jump it into the actual album sequence rather than sticking it at the end as a bonus remix. I put the full length album mix at the end, instead, and called it "Song Long."

5a. And the album artwork?

I came up with a concept for the cover image, which was executed by Dork Design here in LA and then sent to Steve Averill (of U2 fame) in Dublin, who create the CD package graphics and design.

6. How do you promote your music in the market?

About a week after the official release, I posted the record's first official video, shot for the De Benedictis "Song" remix, directed by Synthian Sharp, and based on a little narrative concept of my own.The video has done a lot to generate interest in the record, getting tens of thousands of views on YouTube. The record is also in rotation on probably the most widely syndicated ambient music program in the US: "Echoes." Zen Land was recently listed in the program's top 25 list of new albums. We were also recently in the studio recording a cover of the Police tune, "Spirits in the Material World," as requested by the band's management, to be posted (along with an accompanying video Directed by LA filmmaker, Cherie Bugtong) to the Police Facebook page in conjunction with their marketing efforts for the new Police documentary, "Can't Stand Losing You." Just one example of how we are employing social media in our promotional efforts. By the way, Zen Land's own Facebook and Twitter pages are rocking at the moment.

6a. How was it that you guys were invited to have your performance posted to a Facebook page (the official Police site) with somewhere in the neighborhood of 5.3 million page likes?

It was chiefly do to our bassist, Doug Lunn's, long association with Police guitarist, Andy Summers. Doug was the bassist for Andy's solo project for many years, beginning their association shortly after the breakup of The Police.

7. Do you think that your music would be suitable for relaxation of patients and other people that seek for a relaxing atmosphere?

People use drugs to relax. But drugs, in my opinion and per my observations, make its users stupid. If you want to relax, put on some headphones, close your eyes and bliss out to Zen Land, with no "side" effects.

8. Do you believe in music therapy?

Yes.

9. How do you face the framework of online streaming music?

With the understanding that music licensing for film and television and touring is really the only viable method of supporting one's act these days. Our management is aggressively pursuing these avenues.

10. How do you plan to reproduce the music of the band on stage?

What happens with us when work is quite organic. What you have on the Zen Land album are basically first take performances of each of the tracks with very little in the way of overdubs. When we record, the sessions are virtually live affairs. So what one would get, seeing Zen Land in a live venue, would be quite close in quality to what one hears when he puts on the CD. The interpretation of each piece would vary greatly, however, as these are very far from static. They transform widely every time they are played.

11. What are your future plans for a new album?

As mentioned earlier, we've just completed the 1st track for the next Zen Land album - the Police cover. So that process is already underway. The next Zen Land album is slated for release in early 2016.

Info: http://www.zenlandband.com/ - Skylight Webzine