Citadel Records press rewiew "Nega" (2003)
Pavel Tukki’s creative development began in 1995 when inspired by the music of D.Sylviana, B.Eno, Talk Talk he got involved in acoustic ambient. Further among his priorities were mainly jazz, even ambient jazz. Searching for the calm, “the state for the single immersion” he made the first album “Nega”. “Nega” consists of the elements of minimalism, atmospheric and cool jazz. The disc received good appraisal of the critics from leading music and entertainment magazines:
 “In fact, it’s adult music for tired people… Comfort loneliness with Pavel Tukki’s music, with the naive piano, grunt-horn when the thoughts are slowing down… and the fatigue and adulthood disappear”. XXL
“Starting his creative development under the influence of Brian Ino and David Sylviana, Pavel successfully reached Miles Davis and Erick Truffase. Taking into account the beauty and forethought of the melodies and rejecting the outrage of passion and depressive mood, the composer created the most tender kind of ambient jazz”. GDE
Citadel Records press rewiew "Nega" (2007) reissue
Pavel Tukki - “Nega”
Following the release of “Salt and Water” by composer and multi-instrumentalist Pavel Tukki, Citadel Records re-releases his debut album “Nega” (2003). This solo project is the result of the author’s “search for silence.” It’s a manifestation in sound of a “state for solitary surfing”, which combines elements of impressionistic minimalism, acoustic ambient music and cool jazz. Tukki creates a fine lace from the concise and evocative, composed and improvised piano and keyboard pieces reminiscent of Harold Butt and Arvo Part, reserved jazz improvisations, and acoustic ambient music to achieve a uniquely intimate, vibrant and atmospheric sound. Stylistically, it is this album that brought forth “Salt and Water”; “Nega” is “the salt” of that work. The re-release, necessitated by the minor adjustment in instrumental parts, re-remixing and new mastering, exposes the much improved and finely-tuned sound and music of the album.
Tukki’s path into the mastery of acoustic ambient music began in 1995 with his collaboration with friends, all inspired by David Sylvian, Brian Eno and Talk Talk. He later integrates into his music a considerable jazz element to shift his sound towards ambient jazz. At the same time Tukki continues to develop his own style as a piano and keyboard player, which can be defined as impressionistic minimalism. It’s marked by impressionism in Marcel Proust’s sense – striving to reflect his deeply personal feelings, or what Tukki calls “solitary surfing” into his impressions and recollections - broadening the range of traditional minimalism. Thus the lightness of his music grows into intensely personal pieces.
 The album was critically acclaimed by leading musical magazines, all noting its beauty, elegance and finesse. “Nega” signifies “bliss,” emerging here from unity and harmony with the sky, sea, mountains, fire, earth and Creator. This serene blissful state is captured on the cover’s placid sky under the overturned mountains. It is also conveyed masterfully through the music that blends the sounds of the sensual and the outwardly, earth and skies, of rapture and sorrow. The rounddance of keyboard, trumpet, basso, ambient and traditional percussion and piano are like ornaments over the sky, arising and dissipating in long pauses. “Intotherounddanceofsorrow” is actually a sort of “musification” of Tukki’s same name verses.
To the tracks of his piano, keyboard and percussion, the author added the trumpet and basso of guest performers, and executed arrangements, recording, mixing and mastering. “Nega” is a naked state of the soul, the touch of the magical and beautiful in sound and the world – with everything that, as the author puts it, “fills this life up to its brims and empties it to its bottom.” Its music awakens thoughts and feelings and tunes the listener to the rhythms of nature, giving one solace from the urban existence of the mechanical and soulless. 
Anya Zontova
Citadel Records press rewiew "Salt and Water" (2006)
“Salt and Water” is a new step in fine-tuning the most gentle kind of “ambient jazz” by composer and performer Pavel Tukki, who in his new solo project reveals himself also through his performance as a fine poet and vocalist. Tukki, creator of “Nega,” which is being simultaneously re-released, continues to broaden the borders of minimalism, cool jazz and acoustic ambient in search of his own language to convey the subtle nuances of mood and his lyrical attitude to the world. The album consists of two parts. “Salt” is the primary and more structured of the two, with its fully arranged and orchestrated vocal works. Appropriately, only its six pieces are named and numbered. The second component, “water,” are ambient minimalist piano pieces with their title names appearing erased from the album jacket. These ephemeral, transparent “ambios” flow liquidly into each other and out into the surrounding space, where they continue to sound in pauses as long as a full minute.
In effect, Tukki immerses listeners into silence to tune them into listening to the world as music. Together salt and water form the sea and the tears. On the album jacket the sound drops roll down in broken crystalline chords from the eyes of a vast outlined face that gazes with compassion at a wandering person, the drops freezing into orbs on the sand. The melancholy of salt and water, verbalized in Tukki’s poetry, is colored in light blue. A poet’s state of bliss in union with the nature is conveyed through deep, impressionistic music. Like Debussy and Eric Satie, Tukki strives to register a transient impression, a brief moment of happiness in sound. These impressions have been gathered from his weighty journeys through the Caucasus, Pamir, and Himalayan Mountains, the wild shores of Northern Cyprus and other rarely trodden places. This sublime state is also expressed in the word of late 1800-1900’s Spaniard modernist Juan Ramon Himenes whose poetry echoes in Tukki’s and is merged into his music (“Redondez”). The images of “the pure poetry” unfold in songs aglow with Tukki’s warm, sensitized voice, and even more eloquently, through his instrumental pieces. The album has a unique curvaceous composition. The first sounds of the new life in a brief piano introduction begins the life cycle of the album’s lyrical hero. Over its course the instrumental pieces grow out of vocal sections and reach an emotional peak in “Prostranstvie” (“Trip in Space”), ending with his farewell in “Yo No Volvere” (“I Am Not Coming Back.”) This piece is based in an old vinyl record scratch with a gramophone sound – like a heart’s faltering rhythm – and the closing piano retro lasts as long as the agony of a dying breath. But, after the end is a long pause, and from its silence emerge beautiful chords, as if tears purified from salt by the sound of rain, surf and tropical nights. The reverse countdown of time begins in the mirror space-time continuum. The piano pieces become even more ephemeral as they filter down to the most airy, sublime ones, and to a silence preceding the new birth… The circle closes in “the round eternity” (Himenes’ “eternidad redonda”). Pavel Tukki adapts music styles to the sensibilities of the 21st century soul who strives to comprehend the connection of the ages and the circle of being and non-being. As such, Tukki creates a new musical epos – through which new facets of romantic jazz, outworldly ambient music and stirring minimalism are exposed. His new project creates music for multiple listening, immersion and inner equilibrium.
Anna Zontova
Press rewiew "Tishe" (2018)
Atmospheric postminimalism - as it would be possible to describe Pavel Tukki's new album «Tishe» (Quieter) based on works from previously released albums. In the arrangement for piano and complemented by wind instruments (flute, trumpet),
they acquired a new sound.The air, the breath instruments, the delicacy of performance to create the atmosphere of a special mood. Miniatures-interludes combine pieces into a single whole, and the original version of Chopin's prelude seamlessly complements the concept of the album. 
Tatiana Muratova