Khondzi: First of Many

First of Many is a vivid dialogue between two of Georgia's most distinguished contemporary jazz voices: pianist Papuna Sharikadze and saxophonist Khondzi.

Renowned for its unique choral polyphony, expressive dance traditions, and rich musical heritage, Georgia (Saqartvelo, the country) provides the cultural background for Sharikadze and Khondzi's music.

From the first notes, the album captures the essence of their long friendship and musical partnership, revealing an intuitive connection that turns every track into a conversation. The two musicians share not only years of musical experience but also a set of artistic values shaped by their immersion in both Georgian traditions and modern jazz vocabulary. The duo's sound is so complete that no additional instruments are necessary; piano and saxophone alone provide a full spectrum of melodic, harmonic, rhythmic, and emotional complexity.

Sharikadze blends modern jazz harmony with Georgian modal and rhythmic roots. His soft touch and contemplative manner may recall Chick Corea and Bill Evans, while his left-hand ostinatos at times echo McCoy Tyner. He also draws on Herbie Hancock's funk-fusion approach, creating grooves that are rhythmically sophisticated and harmonically rich. Across the album, he varies touch and dynamics, moving effortlessly from delicate, suspended lines to fuller, percussive chords.

Khondzi's saxophone combines jazz, funk, and Georgian folk motifs with ease. His tone combines warmth and depth, nodding to Lester Young and Coleman Hawkins, while also venturing into the exploratory territories of John Coltrane and Eric Dolphy. Listeners familiar with classic sessions like Maiden Voyage (Blue Note Records, 1965) may hear echoes of Freddie Hubbard and George Coleman in the interplay between piano and saxophone. Together, Sharikadze and Khondzi merge Georgian musical elements with contemporary jazz, integrating structured tradition with improvisational freedom.

From the introspective "Little Garden" and "Roundtrip" to the meditative "One Note Prayer," the duo navigates through waltzes, a blues, and rhythmically intricate pieces like "Take 11," where they seem to challenge and inspire each other in real time. "Doron's Waltz" interweaves classic and modern elements, evoking both jazz club intimacy and grand ballroom elegance, while the anxious and urgent "Lost in Labyrinth" brings to mind the restless energy of Stravinsky's Firebird (1910), as if searching for an exit.

Throughout the album, Sharikadze and Khondzi engage in open, spacious passages with surprising melodic dissonances, sustaining a clear sense of musical storytelling. Their narrative is purposeful, and each composition unfolds with an internal logic that rewards attentive listening and invites the audience into their shared musical world. Beneath the improvisations lies the refined structure of Georgian polyphony: independent melodic, harmonic, and rhythmic lines intertwine while retaining their individuality. The balance of soloing and accompaniment is organic, and each musician listens and responds with remarkable sensitivity.

What emerges is a voice unmistakably unique to the duo: modern, jazzy, yet deeply Georgian, full of unexpected turns, soulful lyricism, and vibrant energy. It is an album that offers something new with every listen, yet it also carries an immediacy that makes it accessible from the first encounter. For listeners who appreciate virtuosity infused with authenticity, First of Many is a gem.

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