| | Golden Years Of The Soviet New Jazz, Vol. 2 CD (1 Customer Review)
The second volume in a series of four four-CD box sets, this installment of Leo Feigin's mammoth tribute to avant-garde jazz in the former Soviet Union pushes the listener into darker, stranger corners of new music. Once again, each disc is devoted to one particular artist or group, and all but the last 37 minutes of music on disc four was previously unreleased. Disc one features Vladimir Rezitsky and his Jazz Group Arkhangelsk, to whom the whole collection is dedicated. The two 38-minute pieces included were recorded in 1992 at the group's 20th anniversary concert. The first piece consists of a loose suite of short tunes representing all facets of the quintet, from traditional jazz to African music and "La Cucaracha." The second piece, featuring over 20 musicians on-stage (including friends Sainkho Namchylak and Vladimir Tarasov), is more interesting. This unrehearsed, one-time meeting took place under festive circumstances, a feeling fully transmitted to the listener. The mood changes considerably for disc two, devoted to Orkestrion. The group from Volgograd contributes two works (over a half-hour each), suites of dark urban reality performed and recorded with limited means. Poetry, found instruments, and pre-recorded tapes are collaged into a depressive but fascinating musical vision that recalls some of the music from Czechoslovakia during the communist regime (Plastic People of the Universe, Manzelé, Národní Trída). The most surprising inclusion in this set is Mikhail Chekalin's "Probability Symphony" (disc three). A synthesizer artist the likes of Peter Frohmader and Artemiy Artemiev, Chekalin recorded this hour-long work in 1994 with Sergey Trofimov's jazz trio. Synthesizers also provide the backbone of disc four, featuring saxophonist Petras Vysniauskas. More disconcerting than volume one, this second offering stretches the boundaries of jazz without losing interest or quality. ~ François Couture
(4-CD box set) This is the last chapter in the incredible saga of "new jazz" under the Communist regime. In this four volume series, each CD contains 68-78 minutes of music. Disc 1 features Vladimir Rezitsky & Jazz Group Arkhangelsk; Disc 2 features neve
This is a limited edition pressing of 500.
Performers include: Vladimir Rezitsky & Jazz Group Arkhangelsk, Orkestrion, Mikhail Chekalin & Sergey Trofimov New Jazz Trio, Petras Vysniauskas, Ganelin/Vysniauskas/Talas. Golden Years Of The Soviet New Jazz, Vol. 2 Music Golden Years Of The Soviet New Jazz, Vol. 2 Music Review Purchase Golden Years Of The Soviet New Jazz, Vol. 2 CD To buy, Click on price to add to cart | Golden Years Of The Soviet New Jazz, Vol. 1 CDs (2001) Boxed Set
Golden Years Of The Soviet New Jazz, Vol. 2 album
$38.59 Golden Years of the Soviet New Jazz, Vol. 1 is the first quarter of an ambitious 16-CD series chronicling creative music under the communist regime. ...
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Golden Years Of The Soviet New Jazz, Vol. 2 songs
$14.09 Moonscape is the first solo offering by famed British pianist, organist, and composer Michael Garrick. Garrick, who has since worked with everyone from Joe Harriott to Neil Ardley to Ian Carr to Don Rendell, is also a man of letters and has conducted and participated in more than 2,300 concerts of jazz and poetry. This set is the true Holy Grail of modern British jazz, and thanks to famed collector and blogger Jonny Trunk of Trunk Records, is available (on both CD and vinyl) widely for the first time since it was released in an edition of 99 copies on 10" 33-rpm vinyl in 1964. This is not some flawed early attempt at being the leader of a trio -- Garrick was already one. Instead, it is a remarkable, diverse collection of six tunes (all original compositions) that pointed the way for the era of British jazzmen to come. One can hear in this set the beautifully experimental (yet playful and accessible) rhythmic pointillism that Paul Bley was messing about with around the same time in "A Face in the Crowd" (with some arco playing by bassist David Green), initially composed to accompany a poem by Jeremy Robson. The opening title track is a whispering inquiry into minor keys and the use of space. Colin Barnes' drumming is used not so much to keep a beat but to create spaces between phrases -- some of which are dissonant but not angular. But that's just the intro. What emerges is a scalar set of contingencies around three or four different shapes by Garrick. This is early vanguard Brit jazz but it swings, ...
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