The Music Machine

Almost all of the pieces bear “machine-like” titles — for example, one of the most beautiful tracks is “g12vtu5j” — while the vocal lines consist of abstract vocalises. The only exception is the opening miniature “Calibration”, which indeed sounds like a program being tuned before it begins to run. This idea shapes the entire album: the ensemble performs rhythmically complex structures, closer to King Crimson than post-bop, with the piano often taking on a leading rhythmic role.

Despite the “arithmetical” precision of its concept, the music sounds strikingly warm and emotional. Yakovenko plays in an energetic, percussive manner, yet creates memorable melodic lines; the musicians deliver vibrant improvisations, and the vocalists add depth and sensitivity. The result is not cold math-jazz but soulful, engaging music that feels like a full concert experience.

Yakovenko’s fusion of jazz and classical approaches avoids clichés or stylistic imitation: he thinks both as a composer and as an improviser. This makes the music feel natural for audiences from either tradition. And while the album’s concept raises the question of whether an AI could ever compose something like this, the answer becomes clear: even the most advanced algorithm is unlikely to create music with such living emotional force.