“People say, 'I'm going to sleep now,' as if it were nothing. But it's really a bizarre activity. 'For the next several hours, while the sun is gone, I'm going to become unconscious, temporarily losing command over everything I know and understand. When the sun returns, I will resume my life.'
If you didn't know what sleep was, and you had only seen it in a science fiction movie, you would think it was weird and tell all your friends about the movie you'd seen.
They had these people, you know? And they would walk around all day and be OK? And then, once a day, usually after dark, they would lie down on these special platforms and become unconscious. They would stop functioning almost completely, except deep in their minds they would have adventures and experiences that were completely impossible in real life. As they lay there, completely vulnerable to their enemies, their only movements were to occasionally shift from one position to another; or, if one of the 'mind adventures' got too real, they would sit up and scream and be glad they weren't unconscious anymore. Then they would drink a lot of coffee.'
So, next time you see someone sleeping, make believe you're in a science fiction movie. And whisper, 'The creature is regenerating itself'.”
1. Igor Nazaruk Quartet - Statement (Melodia 1978)
From Olympic Village 1976
A1 On the quay (M. Kazhlaev, arr. Nazaruk II)
A2 N. and A. (I. Nazaruk)
A3 It will stay with us. Arrangement on Vagif Mustafa-Zadeh, "The keys, brushes, string theory" (I. Nazaruk)
Igor Nazaruk - piano, elektrorgan
Alex Kuznetsov - electric guitar, acoustic guitar
Alex Isplatovsky - double bass, bass guitar
Andrei Chernyshev - drums, bongos
2. RTV Big Band Ljubljana - Jože Privšek - Sprehod Po Galeriji (1975)
Sprehod
Po Galeriji (A stroll through the Gallery - 1975) is an impressive
composition by Jože Privšek, actually a suite in three partitions with a
coda of different styles and moods - as though one was surrounded by a
variety of paintings in an Art Gallery. The composer who permanently
works with the band as arranger and conductor knew to give way to the
outstandind soloists. The introductory rhapsodical part is played by
SIlvo Stingl on electric piano accompanied by Lado Rebrek on bass. The
ensuing theme is a moderate jazz rock bit with the improvisations by
Tone Janša on saxophone and Petar Ugrin on trumpet. The third bluesy
theme features the clarinet of Ati Soss. Starting in pianissimo it
gradually builds up in dynamicity and expresssion until the brass
section comes in strongly with a gospel theme in new tonality. This part
features drums solo by Ratko Divjak. The composition is concluded by
the tenor saxophone that fades away.
Text by Igor Andrejčič
Tiit Paulus - Tiit Paulus And Friends (Melodia 1980)
Tiit Paulus (born 1945) has played on several Estonian records - but this is the first LP he can call his very own. He has mastered the guitar himself, with no formal schooling. At the age of fifteen Tiit Paulus played in the Nomme House of Culture dance band, and four years later he introduced himself as a promising guitarist at the Talinn Jazz Festival. The talented jazz guitarist soon developed considerable skill in other genres, as well. Before long, Tiit Paulus became the most sought-after guitarist in Estonia; simultaneously he played in a number of bands. Having performed in various groups for ten years, he stayed on with the Variety Orchestra of the Estonian TV and Radio in 1974. It was there that he started his collaboration with the saxophone player Arvo Pilliroog. The original duo has reached a high level of mastery in the many-featured field of chamber jazz music. Their performances in Estonia as well as in Riga, Novosibirsk, Tbilisi etc., and their recent EP all confirm it.
The duo plays on the A side of the LP. Both musicians show unexceptionable compatibility, skillful technique, and wonderful talent for improvisation. Depending upon the musical character of the pieces, their improvisations vary from the lyrical compositions of Tiit Paulus to the Spanish-influenced melody of Joaquin Rodrigo and the typical bepop theme of great jazz musician Charlie Parker. Suprisingly enough, the pointedly rhytmic character of "Moose The Moche" asserts itself, although there are but two players and no permeating rhytmical background can be traced.
On the B side one gets a chance to listen to Tiit Paulus playing in three groups of different size. Uno Naisoo's "Pastoral" is a classical piece of Estonian jazz music, but Tiit Paulus, "Topi" and Tonu Naissoo's "Janne" are novelties. Besides Tiit Paulus and Arvo Pilliroog, we can hear the percussionist Peep Ojavere, the double bass player Toivo Unt, and the pianist Tonu Naissoo here. In one of the pieces there performs also the tenor saxophone player Lembit Saarsalu. All these musicians belong to the elite of the Estonian jazz music.
It is always interesting to listen to the solo performances of Tiit Paulus. German Lukyanov's "Empty Words" has been recorded by Tiit Paulus only. Thanks to the modern technology, the studio engineers have achieved the sound effect of a guitar band, although it is just Tiit Paulus himself who has recorded all the three parts.
text by Valter Ojakaar
A
Sunday (T. Paulus)
Aranjuez (J. Rodrigo)
Moose The Mooche (C. Parker)
B
Pastoral (U. Naissoo)
Topi (T. Paulus)
Empty Words (G. Lukyanov)
Janne (T. Naissoo)
Tiit Paulus, electric guitar (1-3, 5-7), acoustic guitar (4)
Arvo Pilliroog, saxophones (1, 2, 4, 5), clarinet (3)
Tonu Naissoo, electric piano (4, 5, 7)
Peep Ojavere, percussion instruments (4, 5, 7)
Toivo Unt, double bass (4, 5), bass guitar (7)
Lembit Saarsalu, tenor saxophone (5)
Sound recording E. Tomson
Editor E. Pillau
Designed by J. Arrak
1. Walter Hawkins - Metropolis
2. James Last - Inner City Blues
3. Miha Kralj - Jupiter
4. Oblio - Faculty of Reincarnation
5. Drago Mlinarec - Ulrik Skrutten
6. John Martyn - Dreams by the Sea
7. Katarina II - Jesen
8. Cherubin - Sunrise
9. Yves Simon - Raconte-toi
10. Freddie Hubbard - Condition Alpha
11. Unknown Artist – It's Really You (Jan Schulte Edit)
If you don't have time to really listen, please do not buy this record.
If your mind is not ready to unwind, please do not buy this record. If
you are looking for the next big track to play at your cool party, if
you are worried about keeping "real" or staying "raw" or about your
image as a purist and regurgitating the essence of eras past, please do
not buy this record. However... if you find yourself taking for granted
all the natural beauty that surrounds you, caught up in trivial
occurrences that interfere with your daily happiness, letting social
constructs shape your mood... then please do buy this record, sit down,
focus on what is right there in your hands, turn to your loved one,
breathe deeply, enjoy the light in the room, savor your food perhaps,
and simply appreciate all that is happening in this particular moment...
levitate in awe as you enter the Land of Light, a new work by Jonny
Nash and Kyle Martin.
Tomaž Pengov: "Zakaj je toliko dobrih glasbenikov v Sloveniji in zakaj jih ne slišimo?
Odgovoriti mi ni treba. Zakaj se vrti tak drek? To so zdaj moja
vprašanja. Če ima folk oprana ušesa, potem ne sliši drugega, to je
pranje glave. A je to taka uredniška politika, so to kuverte? V katero
smer gre to? Zakaj se nekdo bori, da se v slovenski glasbi še kaj zgodi?
Zakaj se vrtijo ušesa in lomijo peresa."
tomaž pengov – odpotovanja
obred zvoka in njegove besede
založba kaset in plošč rtv ljubljana 1981 (1973)
a1 cesta
a2 danaja
a3 v nasmehu nekega dneva
a4 potovanje nespečih
a5 matala
a6 čakajoč nase, brat
a7 nerodna pesem
a8 kretnje
b1 druga jesen
b2 oče
b3 sarkofagi
b4 ladje prostora
b5 epistola
produkcija: študentska založba in
komisija za glasbo pri študentskem kulturnem centru ljubljana
za producenta: janez krall
posnel: aco razbornik
glasba in poezija: tomaž pengov
(dvanajstrunska kitara, lutnja, glas)
ženski glas: bogdana herman
fotografija: janez brecelj
oprema: matjaž vipotnik
sodelovali so: milan dekleva, jurij
detiček, tone koštomaj, matjaž zajec, andrej zdravič, aleksander
zorn, metka zupančič
tu je ujet in v samoto ustavljen nek
trenutek naše mladosti, menda smo pred tremi leti odpotovali po
kraljevski poti k divjim urokom zvoka in besede, vsaj toliko bo,
nekaj koledarjev in mnogo luninih obratov.
v tujih krajih, v geometriji prisotnih
reči smo začutili molčečo vdanost k obrednosti, ne da bi nas
stvari priklicale nazaj k sebi, to ne, ampak korakoma smo razumeli
njihovo neukrotljivo krotkost, kako srhljivo lepa je pokrajina
neznanega, kjer imena zgubljajo svoj pomen, ne imenujoč ničesar, in
ko smo se do povsod udomačili, smo že globoko posumili v naše
besede, prav do mržnje, in pogovor zamre, molk je bil spoznan, bila
je spoznana tišina.
tako je neznano postalo kot
transcendenca preverjenega celičja sveta, nekak podvig k nebu, kjer
se bogove le stežka opazi, tu pesnik in glasbenik lebdita, v
praznini, v nevezanosti, brezmejni želji, neizmerljivem bogastvu, v
neutrudljivi igri skicirata obrise neštetih oblik bitij, ki jima jih
odkriva „fantazija, sama v sebi temno delujoča“. pesnik in
glasbenik sta izplavala iz središča: če pesnik ne govori več, kdo
govori? beseda sama, če glasbenik ne igra več, kdo zveni? sam zvok.
beseda, ki lahko razume jezik glasbe, s katere pomočjo se je „nekoč“
iztrgala iz govorne stihije, je prenehala označevati reči, se
obrnila vase in postala poezija. zapeta, zaigrana, zakričana beseda,
obredna beseda, zahvalna molitev k svojemu rojstvu. „o, brezkončno“
neka stara spona je med teboj in mano; tesna spona, ki so jo pesniki
skovali.“
poetična beseda se je vrnila v glasbo,
ki jo je sprejela: sama je že prej sporočala le, kar je bilo v
vibraciji njenega materiala in kar se je trdovratno namenila najti –
zvok. in tišino, na katero je ta zmeraj naslonjen, zvok, to prvo
manifestacijo kreacije, pred glasbo, kot je govoril john coltrane.
sijoči, plamteči, goli zvok, ki ne pusti, da bi se iztrgali iz
goste mreže valovanja, s katero nas je prepredel. v teh mračnih skladiščih zvoka, kot
da se je zgodilo tisto čudežno: harmonija dlani z vozlišči žil
na svojem hrbtu in spiralne strune, neznatnega odlitka vere v
vesoljni kristal: da se spekter zlitine z mavričnim prekrije.
magična radost glasbenika in pesnika, ki se je zaklel odrekanju: v
tem je ritualnost teh pesmi, njihova jasnost in preprostost,
razlomljenost v notranji ritem, kjer kot v jasnini zablesti narava te
transcendence: vrnjene v čas.
že res: nekoč se bo roka postarala in
pretrgala se bo struna. a prej, mnogo prej, morda zdajle, v ujetem
trenutku naše mladosti, prikliče polblazna ekstaza obreda svojega
boga v prisotnost: cel nov svet, in se v orgastičnem vrhuncu prevesi
in pade v emulzijo tišine, se v miru zgubi.
„besede se gibljejo, glasba se giblje
samo v času; a tisto kar samo živi, lahko samo umre...“
