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CD |
| 4.391 Ft
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| 1. | On stage part 1
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| 2. | On stage part 2
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| 3. | Backstage: A piece for string quartet & percussions
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| 4. | Expressions (for a big band)
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| 5. | July (for viola, wind quartet & percussions)
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| 6. | Dolce (for flugelhorn, tuba & drums)
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| 7. | Impressions (for a small orchestra & chorus)
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Jazz / Free Jazz, Avant-Garde Jazz, Jazz Instrument, Piano Jazz
Recorded:
Tracks 1 and 2: Kleiner Konzert Saal, Gasteig, Munchen on 21 April 1992
Other tracks: no recording details.
Vyacheslav Ganelin Keyboards, Computers, Piano, Drums
The first part of this CD was recorded on stage in Munchen, 1992, Ganelin being in his most lyrical mood playing mostly piano.
The second part was recorded in the studio (backstage) with the help of electronic instruments and a computer.
This is a jam-session of one musician improvising with a big band, a string section, voices, etc., a continuation of Ganelin's astonishing concept of "one-man orchestra".
Vyacheslav Ganelin, piano, drums, percussion, synthesizer (On stage); ATARI 1040 ST, KORG MI synthesizer, PROTEUS digital sound module, multirecording (Backstage).
Alan Mosley Remastering
Leo Feigin Producer, Executive Producer
Front cover painting by Guadalupe Masa.
Vyacheslav Ganelin is best-known as leader of the Ganelin Trio -- a free jazz ensemble with the saxophonist Vladimir Chekasin and the drummer Vladimir Tarasov that, against all odds, created music of great originality and authenticity in the former Soviet Union. Here Ganelin plays solo, giving some insight as to why the Trio sounded at times like a much larger band. Ganelin is a ferociously inventive pianist, to be sure, but he's not just a pianist; he sets up a nearly full drum kit within reach of his right hand as he sits at the piano, and augments his freely improvised fantasias with percussive accents. He also uses digital synthesizers and a computer as components of what he intends to be an orchestral approach. The results are somewhat mixed, but always interesting. The Korg and Proteus synthesizers he uses on this date are relics of the 1980s. He integrates them quite naturally, but it's hard to overlook the patent artificiality of the instruments, especially the string patches. The synths date the music, placing it firmly in a specific time and place. Of course, Ganelin is just using the best tools at his disposal, so one really can't fault his intent. And his ambition is commendable. But the problem with using the latest artificial sounds is that they fall so quickly by the wayside, in favor of something newer and better. Contrast this with his acoustic work, which is utterly modern and timeless. Ganelin is a consummately skilled pianist, but more than that, he's a master improviser. His playing exhibits great drive; his rhythms are unpredictable. Every note is fraught with contingency. One gets the sense that Ganelin's liable to go in any direction at any time. Such spontaneity is at the heart of the best free jazz. The pieces here may ramble at times, but Ganelin's audacious creative ambition and powerful imagination wins one over in the end. ~ Chris Kelsey, All Music Guide
Vyacheslav Ganelin
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: 1944
Genre: Jazz
Vyacheslav Ganelin is one of the founding fathers of Lithuanian jazz (which was then Soviet jazz). Born in Moscow in 1944, Ganelin's parents moved to Lithuania in 1948. He studied piano and composition at the State Conservatory. Although jazz was officially denounced by the Soviet Union due to its pedigree as a specifically American art form, Lithuania had a reputation as the jazziest of the Soviet Republics, and Ganelin studied jazz on his own, outside of the academic world. The birth of modern jazz in Lithuania came about in 1961, when the National Conservatory organized a conference on jazz theory and history. At this conference, a 17-year-old Vyacheslav Ganelin first rose to prominence, performing at the accompanying concert. This concert/conference was the start of a jazz scene in Vilnius that saw Ganelin leading a trio with drummer Vladimir Tarasov and sax player Vladimir Rizitsky by the mid-'60s, eventually playing an Estonian Jazz Festival with headliners Keith Jarrett and Charles Lloyd in 1968. Things really took off when Ganelin got together with Tarasov and reedman Vladimir Chekasin in 1971. The Ganelin Trio, as they became known, helped forge a uniquely informed jazz style, based, in part, on Russian and Lithuanian folk music, while eschewing the Western European tradition. Ganelin incorporated guitar, trombone, and trumpet with his keyboard skills in his years with the trio, and more recently has been using computers in both composition and improvisation. As Ganelin stated to Jurate Kucinskaite, "...I believe that creation (composition) and improvisation is the same process that just has a different speed." (From the article "Jazz, Jazz, Jazz: Despite Its Present Popularity, Jazz in Lithuania Has Often Had to Endure Difficult Times.")
Through his work with the trio, Ganelin not only established the template for Soviet jazz, but opened the door to Western Europe and the world through their concert appearances for all musicians who followed. In 1987, following the dissolution of the trio, Ganelin immigrated to Israel, where he continued to compose and teach while performing concerts around the world. Ear magazine says, "Freud is to psychology as Ganelin is to Soviet jazz."
---Sean Westergaard, All Music Guide |
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