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30.10.2006, 11:55
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# 1 |
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Гость
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Ганелин трио - Вячеслав Ганелин, Владимир Чекасин, Владимир Тарасов
Цитата:
The late Soviet Union was not renowned for its contributions to jazz, but it did produce at least one notable group, for in the '70s and '80s the Ganelin Trio was arguably the world's greatest free jazz ensemble. Comprised of pianist Vyacheslav Ganelin, saxophonist Vladimir Chekasin, and drummer Vladimir Tarasov, the trio's mostly improvised music was as emotionally intense as anything being created in the U.S. — or anywhere else — at the time. The three members were extraordinarily skilled, possessed abundant chops and imagination. In style and instrumentation, the band was similar to Cecil Taylor's trio with Sunny Murray and Jimmy Lyons. It differed, however, in several ways. First, the Ganelin Trio utilized different materials; the musicians' backgrounds dictated as much. Secondly, the instrumentation wasn't exactly the same; Ganelin frequently played piano, keyboard bass, and percussion — sometimes simultaneously — and Chekasin was adept at playing two saxophones at once. Finally, the Ganelin Trio was truly a band of equals. Where Taylor ultimately dominated his band, Ganelin, Chekasin, and Tarasov were consummate team players, each complementing, inspiring, and cooperating with the other. Born in Moscow, Ganelin played in jazz and dance bands as a teenager. He attended the Lithuanian State Conservatory in Vilnius, graduating in 1968. The next year, he formed a duo with Tarasov and two years later, they were joined by Chekasin and the Ganelin Trio was born. The group performed at the Warsaw Jazz Jamboree in 1976; that year they also released their first album — Con Anima — on Melodiya, the Soviet state record label. Leo Feigin, a Russian émigré living in London, began issuing records of the band's work on his Leo Records label, helping establish their reputation worldwide. The group eventually played jazz festivals all over Europe and the U.S. before disbanding in 1987. In addition to his jazz activities, Ganelin also taught composition at the Vilnius State Conservatory and served as music director of the Vilnius Russian Drama Theatre. Ganelin now lives in Israel; he leads another Ganelin Trio, with Petras Vysniauskas on reeds and Klaus Kugel on drums.
Цитата:
Composed by pianist/leader Vyacheslav Ganelin, Ancora Da Capo is an inspired major work consisting of two parts, recorded live on two separate occasions in 1980 and each nearly 40 minutes long. The Ganelin Trio's brand of loosely structured free jazz was something really distinctive, though unfamiliar listeners might use the Art Ensemble of Chicago as a loose comparison since the two groups share several common elements: multi-instrumentalism (the trio's members play 16 instruments among themselves here); liberal uses of space, miscellaneous percussion sounds, and traditional/folk music references; and an anything-goes sense of humor. All of these qualities are evident on Ancora Da Capo. The piece has a few pre-composed themes (which are actually more alluded to than they are clearly stated) and an overarching form that guides the playing along, but the bulk of the music is heavily improvised within this larger framework. "Part 1" begins quietly with several minutes of chimes, shakers, and rattling percussion sounds before Ganelin and Vladimir Chekasin switch to piano and clarinet, respectively, improvising sparsely and patiently around a skeletal theme. Things heat up about halfway through when a new theme enters, as percussionist Vladimir Tarasov slides into a more propulsive free jazz groove and Chekasin's saxophone begins honking and vocalizing. Subsequently, there are more rattling percussion noises, some violin scrapes courtesy of Chekasin, a Ganelin piano solo that veers from fluid bop references to inside-the-instrument plucking, and a raucous finale that finds Chekasin quacking and literally screaming through his horn before he works his way back to the closing melodic theme. "Part 2" incorporates moments of actual toe-tapping, swing-like rhythms, along with primitive synthesizer sounds, more wild soloing from Chekasin (who sometimes blows two horns at once) and Ganelin, and, finally, a folk-like closing theme that brings things to a rousing conclusion. Ancora Da Capo has a rare balance of form and freedom, wildness and restraint that makes it continually surprising (at times even jarringly so) as well as remarkably durable in terms of repeated listening. [Note that Ancora Da Capo originally came out in the form of two separate LPs; the CD combines includes the original release of "Part 1," recorded in Leningrad, with a different version of "Part 2," which was performed weeks earlier in Berlin but not available for release when the original LPs came out.]
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добавлено через 54 минуты [1980] Concerto Grosso  Vyacheslav Ganelin: piano, bells, acoustic guitar, electric guitar, trombone, tanbourine Vladimir Tarasov: percussion, drums, trumpet, rabob Vladimir Checasin - saxophones: alto, tenor, baritone; ocarina, tenor and soprano flutes, clarinet, bass clarinet, violin Скрытый текст (вы должны зарегистрироваться или войти под своим логином):
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добавлено через 1 час 23 минуты [2004] Eight Reflections Of The Past Century 
Цитата:
Другой состав трио -
Slava Ganelin: piano, synthesizer Mika Markovitch: drams Victor Fonarov: double bass Скрытый текст (вы должны зарегистрироваться или войти под своим логином):
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добавлено через 15 часов 36 минут [2002] Ttaango...in Nickelsdorf  credits: Vyacheslav Ganelin, piano, Yamaha synth; Vladimir Tarasov, drums; Vladimir Chekasin, saxophones
Цитата:
Ganelin Trio, led by keyboardist Vyacheslav Ganelin, was one of the primary bands in this venture. This live double LP is a representative sample of their work, although it differs somewhat from their previous oeuvre in that Ganelin is heard in some of his earliest explorations of the synthesizer. To some extent, the group takes as its model Cecil Taylor's early-'60s trio with Jimmy Lyons and Sonny Murray. Aside from the similar instrumentation, the trio's use of space and lengthy explorations, not to mention aspects of Ganelin's piano playing, owe something to Taylor. But Ganelin's style is rooted more in European Romanticism, allowing for more fluid and "pretty" episodes, and he also retains a unique sense of playfulness and wit.
1 In Nickelsdorf 42:40 2 Ttaango 38:57 3 Mack the Knife 5:27 4 Umtza Umtza 10:16 5 End of Story 2:54 6 Summertime 10:40 Скрытый текст (вы должны зарегистрироваться или войти под своим логином):
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добавлено через 41 минуту Ganelin Trio & The Rova Saxophone Quartet [1986] San Francisco Holidays  Credits: Vyacheslav Ganelin: piano, synth; Vladimir Tarasov: drums; Vladimir Chekasin: reeds, voice; Larry Ochs: tenor sax; Bruce Ackley: soprano sax; Jon Raskin: baritone sax; Andrew Voigt: alto sax Скрытый текст (вы должны зарегистрироваться или войти под своим логином):
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02.11.2006, 17:49
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# 2 |
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Гость
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[1981] Poi Seque
 Vyacheslav Ganelin - piano, basset, guitar, bugle, flute Vladimir Tarasov - percussion, drums, flute Vladimir Chekasin – saxophones, trombone, flute, percussion, violin Music by: V.Ganelin, V.Tarasov, V.Chekasin Recorded in 1981, Vilnius Tracks : 1. Part 1 2. Part 2 Скрытый текст (вы должны зарегистрироваться или войти под своим логином):
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15.12.2006, 14:32
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# 3 |
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Гость
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[1989] Opuses
Цитата:
This Ganelin Trio release is somewhat misleading. Although it is a trio date, and is led by Vyacheslav "Slava" Ganelin, it is not the same Ganelin Trio that wowed audiences from Russia all the way to California and Australia. Recorded in 1989, a year and a half after the departure of Vladimir Tarasov and Vladimir Chekasin (who recorded as Ganelin Duos), it reveals why the duo left or were fired, depending on whose side of the story you buy. This trio is firmly under the control of Slava Ganelin. His keyboards control the proceedings, even if they aren't playing (which is seldom). The other members of the group, cellist and bassist Victor Fonarev and drummer Mika Markovich (there is a guest here as well, vocalist Uri Abramovich) are fine musicians in their own right, but it's difficult to hear their full ranges because Ganelin overshadows everything here; his piano and synth are even recorded higher in the mix than his bandmates. While there are moments of sheer improvisational brilliance in these proceedings (particularly on "Opus 3, Cantus"), what the listener is actually hearing is the sound of a ghost leaving its body behind and carrying its name aimlessly as it wanders the earth in search of a new vessel.
1 Prelindio 2:18 2 Opus 1 11:37 3 Opus 2 10:54 4 Interlindio 3:35 5 Opus 3 13:57 6 Postlindio 5:50 Скрытый текст (вы должны зарегистрироваться или войти под своим логином):
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