Radio Marš 23.06.2013: Tomaž Pengov

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...“

milan dekleva

Fela Kuti live in England, 1984 - "Teacher Don't Teach Me Nonsense"

Spirit bear mezcal ensemble

LN-CC 005 - SPIRIT BEAR MEZCAL ENSEMBLE from LN-CC on Vimeo.

http://www.ln-cc.com/

Radio Marš 09.06.2013: Peter Lipa

 Peter Lipa - Moanin' (Opus 1984)

For more than one decade the singer Peter Lipa belongs to the prominent interpreters of the Czechoslovak jazz. The first wide acknowledgement he achieved with the group Blues Five - one of the most noteworthy bands of the second half of the sixties, together with which he gave a great number of successful concerts. The essential part of their repertory was blues to which Peter Lipa has remained faithful until today.
The significant chapter of Peter Lipa's career were years of the collaboration with the Revival Jazz Band. Here he has the possibility to try out - and very successfully - the feeling of swing, loose phrasing and the sense of collective improvisation.

Their joint successful campaign culminated with concert performances all over Europe. Peter Lipa's effort to master the whole jazz scale universally has made him cooperate also with musicians oriented to more contemporary jazz streams. He performs with a whole range of outstandind representatives of our jazz (with G. Jonaš, L. Gerhardt, E. Viklicky, VV-system or with the Czechoslovak quintet). But not only with ours. For example, being the guest of Polish jazz bands P. Lipa made several concert tours of Poland (Spotkania wokalisatow jazzowych, Jazz Jantar, Jazz Jamboree). Continuous improvement of the quality of his singing and intensive concert activity have given him also official recognition (very good position achieved in the category of European jazz singers in the inquiery of the journal Jazz forum - lastly, in the year 1982, the fourth place -, the Tip of the journal Melodie 1980).

  The year 1980 was significant for P. Lipa: the two new bands came into being, both important for him. Together with the guitar-player Luboš Andršt he founded the "federal" Lipa-Andršt Blues Band and with the pianist Peter Breiner the Peter Lipa Combo.
The Blues Band - it is first of all the return to old loves, to tried "twelves" and to the simple but effective straightforwardness. The Blues Band - it's also collective, where the whole must "plug", where the collective playing gives joy.

 The Combo - it is something different. Here Peter Lipa has much larger space as a soloist as well as possibilities to experiment not only with his own expression but also with genre orientation. In the person of the pianist and composer Peter Breiner he has found the spontaneous co-player for the realisation of his projects.

If we've spoken about the realisation of the projects, it's necessary to mention also another feature of Peter Lipa - his jazz universalism. He is for example the founder and indefatigable organisator of Bratislava Jazz Days, which have already become a significant undertaking. He is simply everywhere where the word jazz is at least uttered.

Peter Lipa's first profile records can be compared to writer's debut. He makes the best of his old loves, completes and, a little bit, also balances. Therefore we can found here compositions of authors very remote to one another, as far as the genre is concerned. But they are connected by different Lipa's interests and above all by his singing. He synthetizes expressive elements of Negro singing and knows how to "strike off" all crystallized jazz streams.

Peter Lipa - as every right jazz singer - affirms that he doesn't sing but plays. He plays the oldest musical instrument - human voice. Perhaps he is right. Because in his case the old principle of music instruments - the older the better - is true.







Recorded in studio May 1983 

A1 Here comes the night
A2 Got to get you into my life
A3 Rain
A4 Tell all the world about you
A5 One note samba
A6 Me and my friend miss lonelyhearts

B1 Dead end street
B2 My album
B3 Night train
B4 Nature boy
B5 Moanin'

Radio Marš 02.06.2013: Quiet Village, Ossian

1 Mudd - Speilplatz (Quiet Village Unreleased Instrumental Remix) (Pyramids of Mars 2012)
Mudd: Paul Murphy
Quiet Village: Joel Martin & Matthew Edwards
Sculptures by Brian Willsher (1930-2010)

Ossian - Księga Chmur (The Book of Clouds) (Polskie Nagrania Muza 1979)
2 Ossian - Księga Chmur - Rozdział I (Chapter I) (J. Ostaszewski)
3 Ossian - Księga Chmur - Rozdział II (Chapter II) (Z. Kaczmarski)
4 Ossian - Księga Chmur - Rozdział III (Chapter III) (J. Ostaszewski)
5 Ossian - Księga Chmur - Rozdział IV (Chapter IV) (T. Holuj)
6 Ossian - Księga Chmur - Rozdział V (Chapter) V (D. Kurtis)

Ossian:
Jacek Ostaszewski / flutes, kayakum, double-bass, percussions, vocals
Tomasz Hołuj / finger piano, xylophone, jugs from Olkusz, percussions, vocals
Zygmunt Kaczmarski / violin, percussions, vocals
Dimitrios "Milo" Kurtis / sitar, percusions, vocals
Radosław Nowakowski / bongos, percussions, vocals
 
The disc and radio recordings of the Ossian group have usually been of a documentary character. Our interference into the recorded material has been restricted to the choice of the right version or of a fragment of concert. In the case of this record however the situation was somewhat different.

"The variegated uniformity" is a combination of opposite elements which make up, in defiance of logic, a living and concise whole, a combination which constitutesa key to "The Book of Clouds". It was not so much an assumed idea of this record as rather a consequence of our experience of music and life. As for our life, it is an incessant travelling, instruments carried on shoulders, our ears filled with their subtle or sharp sounds, changeable like clouds, shouting, buzzing, striking and clattering - all of which give birth to a single, standing sound binding them into an indissoluble whole like the line of the horizon binds earth to the sky. And as for our music, it is a constant playing at a hue fair, where you can buy everything and lose everything too, where what is happening may be serious of trifling, where people come together after years of separion, where you spend your days in lonelliness or among your family, friends, acquaintances as well as strangers, where happiness alternates with sorrow and anger, and where everything is pursuing its course from dawn to dusk...
In order to obtain the possibly fullest musical picture of this proposotion we have invited to cooperate with us our friends and musicians.

Our thanks go therefore to:
-The Aura group
-Ania Preisner (vocalise in Chapter I)
-the vocal group Boom and Jacek Dobrowolski (vocal effects: shouts, hubbub, etc.)
-singers from the Grand Theatre in Warsar (tonus finalis in Chapters I, II and V)
-Piotr Rodowicz (arco double-bass)
-Lidia Matlacz (tampura)
We address our special thanks to Pawel Jarzebski for his double-bass playing, so much imbued with jazz feeling.
Mrs. Halina Jastrzebska-Marciszewska and Mr. Jerzy Berent put much effort and competence into the recording of our music. We owe them very much indeed.
We say also "thank you" to all those who have not been mentioned here but have contributed to the creation of this record.
Ossian