22.7.12
Vinilija @ Radio Marš: Tamikrest - Toumastin
Introduction
by Andy Morgan
Cry beloved Sahara! The Sahara desert
is in turmoil. Those old unshakeable scourges of under-development,
corruption, marginalisation, drought, desertification and
unemployment have been reinforced and even over-shadowed by the
intertwinining furies of islamic terrorism, rampant mineral
exploitation, drug smuggling and people trafficking. As a result, to
coin one of Hunter S. Thompson's phrases, the Sahara has undergone a
'hardening of the arteries'. The Touareg, or Kel Tamashek, as they
prefer call to themselves, seem less in command of their own
territory and destiny than at any time since the arrival of the
French army in the late 19th century. Terrorism has closed
the desert's doors to outsiders. Tourism, once one of the most
important conduits for enterprise and employment in the region, has
collapsed. Floods, droughts and conflict have killed people and
livestock. Unemployment is the norm rather than the exception. The
future looks bleak, sometimes even hopeless.
But hopelessness is a luxury, which the
Touareg know they cannot afford. When it comes to your family, your
friends, your community, your camp, your village and your beloved
homeland, you cannot give up hope. So life persists in the desert,
tenacious in its grip on the dusty soil and relentless in its desire
for freedom, self-government, development, peace and stability. Why
is Assouf... longing, homesickness...one of the words you'll hear
most often in the lyrics of Tamirest and most other modern Tamashek
'guitar' bands? Why this indestructible longing for such a seemingly
arid, harsh and frobidding landscape? Because this desert is home,
and because when there's peace and stability, it's one of the easiest
places in the world to feel free. The Touareg know that only too
well.
Tamikrest are a yound band but their
songs are old. I don't mean that they were written long ago. No, all
these songs are freshly composed, each with its eloquent and powerful
message or sentiment. I mean that the struggle of the Touareg itself
is old and Tamikrest's songs are but the latest expression of that
struggle. But struggle is not all they express. There's love there
too: love of a woman, love of a village, love of a culture and love
of nature. Love is the oldest theme of all, and it keeps hope alive.
Tamikrest are here to confront, once more, the question that should
never be without a clear and unifying answer: „What are we fighting
for?“ The answer is in every note and word of these ten songs: for
this earth, these endless horizons, this freedom, this love. For this
people, my people... Toumastin.
Statement!
By Ousmane Ag Mossa
To the Touareg youth:
We must all recognize that we belong to
a community and a culture, and that this culture is our strength in
the eyes of others.
The Touareg youth must pay attention to
their homeland 'Azawad' and to the towns, villages and camps in which
the real Touareg live. The development of this territory and these
settlements is a personal and collective duty for all of us. No one
will work for the preservation of our land if we do not do it
ourselves. As proof, you only need to consider the fifty years during
which these nation states have been harbouring us, and then take a
look at the conditions in which we live and the state of abandon in
which our people and our lands find themselves today. It's a
situation that can only rend any heart that lover our people in two.
We all have a duty to our people. That
duty is to preserve our culture and our identity, to ceaselessly
demand our basic rights at both a regional and international level,
and to emphasize our right to self-determination, without which it
will be difficult for us to deal with all problems that we face.
To the world:
The international community must not
turn a deaf ear to the possible disappearance of people like ours,
the Touareg, which would be an immense loss to all humanity. The
world today sees the suffering of the Touareg, but few are the voices
that speak out, or the ears that listen to our people who burn inside
with the suffering of entire generations for more than half a
century, thanks to the Balkanisation of their lands by nation states
that they do not recognize, states which persue a policy of
discrimination against our people with the aim of wiping them out.
The living conditions of people in the Sahara, who are poorer than
ever, bears witness to this.
The world must listen to the Touareg
heart and help them to realise their vision, which is none other than
the following: The Touareg demand that the injustice of which they
are all victims ceases forthwith, that what is ours by right be
restored to us, that's to say, our lands and the power to determine
our own destiny. The Touareg want to live in freedom in their
homeland and end of this form of colonisation, which has prevailed
since fifty years, in other words, for far too long.
OUSMANE AG MOSSA – vocals, lead
guitar, acoustic guitar
AGHALY AG MOHAMEDINE – djembe,
percussion, backing vocals
MOSSA AG BORREIBA – rhythm guitar,
backing vocals
CHEICK AG TIGLIA – bass, slide
guitar, acoustic guitar, backing vocals
BASSA WALLET ABDAMOU – backing vocals
WANNOU WALLET SIDATY – backing
vocals
IBRAHIM AG AHMED SALAM – drums,
calabash
MAHMOUD AG AHMOUDEN – vocals &
guitar on #8 & #10
Additional musicians:
Fatma Wallet Cheick: voice on #3, #5,
#6, #7, #9; backing vocals #10
Mossa Ag Ahmed: electric guitar #9
Blaž Celarec: percussion on #4, #9 &
#11
Chris Cacavas: keyboard on #11
Rok Stirn: trombone on #4
Matjaž Sekne: viola on #11
Chris Eckman: organ on #6 & #7
A1 TIZARAT improvisation instrumentale
A2 FASSOUS TARAHNET – HER PRESTIGOUS
LOVE
Her innocent love is the wish
My heart has been seeking forever to
fulfill
The earth is turning and i cross it
like an illusion
Hoping to preserve my love for a long
time
So that it's not just a passing story.
Take care of our love, the treasure of
my soul,
Since yours has become like a plant
That nourishes my heart.
A3 NAK AMADJAR NIDOUNIA – ME, THE
STRANGER TO LIFE
„From this world, to whom I owe my
existence,
My days will reach their end“
I'm just a passanger of life
Which, as it come, will also take its
leave
My soul and heart know it, and I also
believe
That I was not created to be eternal
My life is made of illusions,
In which my sadness overwhelms my joy
My heart never ceases to express
The evil i have known, which my people
have lived.
A4 ARATAN N TINARIWEN – HEIR OF THE
DESERT
We, sons of desert
Who live in drought
This empty space
Where thirst and wind hold sway
Bare of shade and water
But full of liberty
It's the country of antelopes
And nature's beatiful beasts
A5 AYITMA MADJAM – WHERE ARE YOU MY
BROTHERS?
Where are you my brothers?
Let us demand our dreams, all of us, in
good faith
So that we can reach our goal.
Brothers, why do you wait and why all
this patience
With all the problems that never cease
to accumulate.
We see our sisters who have endured
misery
Never losing hope despite their
oppression.
Our lands are divided,
Other countries been founded on them
With their well traced frontiers
My people are divided, marginalised,
And become like strangers in their own
land
Knowing that they are dispossed and
without any authority.
A6 AIDJAN ADAKY – ALL THINGS MUST
PASS
All things must pass
And something else will take its place
Nothing in life is eternal
Its joy often follows its pain
And life will give its all to he who
knows himself!
So whatever you have experienced, stay
vigilant
Do not trust it. Expect further
tribulations.
I've attempted so much
And thought of doing so much more
Just to make the dream of my soul come
true,
But the again, well I know
That nothing is done
Unless it is the will of God.
B1 ADDEKTEGH - improvisation
instrumentale
B2 TARHAMANINE ASSINEGH – TO YOU MY
LOVE I SAY
To you my love, I say:
When i remember you i'm happy
To you my love, I say:
It reminds me of days gone by
To you my love, I say:
When my heart had no other worries
To you my love, I say:
My dream is you
To you my love, I say:
My essence is you
To you my love, I say:
My heart is yours
To you my love, I say:
You are the mistress of my thoughts
B3 NAK AKALINE TINZA – TINZA, MY
HOMELAND
Tinza is my home
My fatherland, which I inhabit and so
admire
I grew up there, and there I learned
how to love
I left my memories of childhood there
too
Those unforgettable memories, shared
with my brothers
From my village which I knew so well,
and loved.
B4 TIDIT – REALITY
The truth we know it well
And we know you know it too
When you rise up
Only to split up
It's the enemy you're encouraging.
You love freedom
You chant for it in your sleep
But the enemy thinks of you
Like the trough in which he quenches
his thirst
There are old men who have waited,
patiently since birth
For you to build a unified country
We have suffered too much; it's our
dishonour
If you don't strive towards a clear
objective.
B5 DIHAD TEDOUN ITRAN – WHEN THE
STARS FALL
Whe the stars fall
I listen to the beautiful melody of the
wind
It's the time when, all alone, I engage
with my thoughts
I sit longingly, and see nothing
But the traces of memories.
My heart speaks to me about some dream
And much besides, much that gives me
pain.
The world seems tight and narrow
When my soul sister is not here with
me.
20.7.12
18.7.12
Electric Elephant 2012
As we are used to it now... amazing days in parallel universe called Electric Elephant. Thank you all and see you next year!
Jaye P. Morgan - Let's Get Together
Christy Essien-Igbokwe - Take Life Easy
Jaye P. Morgan - Let's Get Together
Christy Essien-Igbokwe - Take Life Easy
11.7.12
Živa dvorišča
Wonderful people of Earth thanks to all your positive vibrations that have made this amazing week amazing!
http://www.facebook.com/ziva.dvorisca
http://www.facebook.com/ziva.dvorisca
2.7.12
1.7.12
Vinilija @ Radio Marš: Tamikrest - Adagh (Glitterhouse 2010)
TAMIKREST
When Touareg children arrive in the public Malian schools, they are soon confronted by an administration that refuses to see the realities our people subjected. The youngsters are subject to racism and marginalisation every day at school.
A few of us who attended the private school of Tinzawaten, initiated by the Tuareg elite and financed by European and French funds, followed the road led to Tamikrest.
The rebellion of 23rd of May 2006, caused by the nonapplication of the peace treaty of 1992, shows the tragedy that my people undured since the French colonisation. Because of the rebellion, many families had to flee, and the children were forced to quit school.
Tamikrest, which means in Tamasheq "Union" and "Knot", was created following these events. Our hope is to have the world listen to our revolutionary songs, which reflect the harsh life conditions that our people endure. Tamikrest also sings the desert - so fundamental for the Tuareg - praises of love, beauty, and the goodness of nomadic culture.
REBEL KIDAL
Rebel Kidal is the name, sometimes given to the capital of the 8th region of Mali, also called "Azawad". In this dry and barren northern region, living conditions are difficult: No river, no asphalt roads, and the recently built hospital of Kidal is and empty shell. People must travel over 300km to have a tooth removed or an x-ray done. The popualtion are mostly "Kel Tamasheq" (Touaregs) also known as the "Kel Adagh" (those of the hills) in reference to the mountains "l'Adrar des lforas".
These nomadic breeders endured successively the great droughts of 1973 and 1984. The loss of livestock, government repression, and the difficulty to maintain their traditions, led to the first rebellion in 1963 soon after the independence of young Mali. Again a rebbelion in the 1990's, particulary violent, forced people to flee into exile. After the peace treaty signature, though Kidal was recognised as a regional capital, growing undervelopment, and the lack of opportunities for the youth led to another insurrection in May 2006. Once again the various parties managed to come to an agreement, but tensions continued to grow until 2008 when new conflicts erupted between the army and ex-rebels. Beyond their hopes for a decent existence, The Tuaregs wish above all to save and defend their culture.
Bilqis
Recorded at Studio Bogolan, Bamako, Mali, July 21 - 26, 2009
Produced by Chris Eckman
Translations by Melissa Wainhouse
Tamikrest:
Ousmane Ag Mossa - Vocals, Lead Guitar
Aghaly Ag Mohamadine - Percussion, Drums, Backing Vocals
Cheikhe Ag Tigly - Bass, Backing Vocals
Mossa Ag Borayba - Rhythm Guitar, Backing Vocals
Mossa Ag Ahmed - 2nd Rhythm Guitar, Backing Vocals
Fatma Walette Cheikhe - Backing Vocals
Bassa Walette Abdamou - Backing Vocals
with
Ibrahim Ahmed (Pino) - Calabash On 7
Chris Eckman - Percussion On 2 & Organ on 5
Hugo Race - Slide Guitar On 11
All songs by Ousmane Ag Mossa
A1 OUTAMACHEK
Oh Lord, You who sees all things,
You who have power and strength,
help the Touareg.
Since the beginning of existence
he lives in barren regions with no means.
He watches a world in movement evolving beyond him,
while he remains trapped in ignorance.
A2 AICHA
If Aicha was in a valley,
she would be the flower growing by the water.
If I could have two hearts,
I would live with one,
and offer the other to Aicha,
so that she stays forever happy.
A3 AMIDINI
My friend, what is this pitiful world
which ignores your joy and leaves you in a mystery?
Tell love, master of my soul:
To take care of you and of my heart
Remember my love, the pain that fills my heart,
I send you love.
Remember all the memories and the impressions
that you left my heart in pain.
A4 TAMIDITINE
My beloved, what have you done?
I can't believe you are the author.
My heart asks: What pain is this?
He feels abondoned in a dry desert.
My soul answers: such is life;
what seems to you unbelievable
can one day be possible.
Never could I imagine that my heart and soul
could suffer in this way.
A5 ARATANE N'ADAGH
Oh! How pitiful they are,
the children of L'Adagh.
Since their birth they suffer and
have known only drought.
Foreign cities send help such as Lyon and Les Ulis.
Let's fight against ignorance,
which oppresses the children of L'Adagh
because their greatest worry is the lack of knowledge.
B1 TIDITE TILLE
Truth exists, you hide it because
you don't like it, and you don't admit it.
So much suffering that you've dismissed.
You have ignored our people in their torment.
You have left our people in their pain.
But despite the abandonment we feel
and the drought we endure,
we love our land above all.
B2 TAHOULTE
I greet my beloved, whose love rules my heart.
My heart is in longing abandoned in desperation.
She is more beatiful then the gaze of an antelope
standing by a pond surrounded by rocks.
B3 ALHORYA
I will say it and i'll say it again:
freedom will come even if we leave orphans behind.
Our land is not for sale.
Freedom will be our heritage.
Each of you hear what i say,
freedom will come when my people will have independence.
B4 ADAGH
Adagh, why do aour people,
because of your enemy, become rivals?
Despite each revolution and so close to success,
we end up despising each other like enemies.
We fight for glory and sow discord
and our rancour will lead us to our extinction.
Adagh, what have become of your people
who used to believe in the same values?
B5 ADOUNIA MAHEDJAGH
Oh, World, what can I do for my sad heart,
drowned in despair?
The day passes like a year,
and my endless worries accompany me all night long.
B6 TOUMASTIN
This existence brings no joy and no unhappiness,
wait and see.
My people are in conflict and divided,
they are enemies to each other.
Your best friend
with whom you share so many memories,
with whom you share so many memories;
one day will become your worst enemy.
27.5.12
Vinilija @ Radio Marš: Tone Janša IV
TONE JANŠA QUARTET - GOA (JUGOTON 1983)
A1 GOA (Tone Janša)
Soloists:
Tone Janša ss
Bernd Dietrich b
A2 TRAININ' (Tone Janša)
Soloists:
Tone Janša ts
Slavko Avsenik jun. p
A3 YATRA (Tone Janša)
Soloists:
Dejan Pečenko p
Tone Janša shinay
B1 STROLL AND FIGHT (Tone Janša)
Soloists:
Slavko Avsenik jun. p
B2 BLACK TIME (Tone Janša)
Soloists:
Tone Janša fl
Andy Lummp p
Adelhard Roidinger b
Tone Janša celebrates the tenth anniversary of the existence of his quartet. On this record he represents the last four versions of his group, which changes its members according to need:
Tone Janša ss, Dejan Pečenko p, Bernd Dietrich b, Gerhard Wennemuth dr on "Goa" A1
Tone Janša ts, Slavko Avsenik jun. p, Karel Novak b, Ratko Divjak dr on "Trainin'" A2 and "Stroll and flight" B2
Tone Janša fl, Andy Lummp p, Adelhard Roidinger b, Ratko Divjak dr on "Black time" B2
Tone Janša shinay, Dejan Pečenko p, Adelhard Roidinger b, Ratko Divjak dr on Yatra A3
After having finished his studies in Classical music and Jazz in Graz and after his Jazz studies at Boston's Berklee College of Music, Tone Janša returned to Yugoslavia, joined the RTV Ljubljana Big Band as saxophonist and devoted more time to his own music and quartet. He recorded in Ljubljana at North German radio station in Hamburg, in Trieste in numerous Yugoslav TV and radio studios. Further he played and recorded on Jazz Festivals at:
1974 the Polish "Jazz nad Odra", in Graz where he played in the international Big Band under the direction of Slide Hampton
1975 in Debrecen and Nagykanisza in Hungary, Ljubljana Jazz Festival, Finland "Pori Jazz Festival"
1976 in Prague with Gustav Brom's Big Band, Ljubljana and Belgrade Jazz Festival
1978 UER/EBU (Europena Big Band) in Perugia - Italy
1979 Yugoslav Jazz Festivals (Maribor, Novi Sad, Belgrade, Zagreb)
1980 Yatra Jazz Festival in Bombay + an extensive tour of India Burghausen Jazz Festival in Germany
1981 Berlin Jazz Festival "Jazz Buhne Berlin 81", Austrian Jazz Days in Linz, Aarhus EBU Jazz Festival in Denmark
1982 Saalfelden in Austria, Ljubljana and Maribor Jazz Festival, Nagykanisza and Sombathely in Hungary and many others
Tone Janša is without doubt one of the most promising jazz musicians in our country. He represents a new trend, which one readily recognizes after having listened to his music. His music is fresh, dynamic, and modally as well as rhythmically very interesting. He composes and plays his own music.
JANEZ GREGORC
Down Beat (USA)
Yugoslavian saxophonist Tone Janša, who has studied at Berklee College owes much to Trane-ish manner of building a solo use of trills, some of his phrasing -yet there often is not- Trane-ish edge to his tone a bite that owes a little to Eastern European folk reed instruments.
Mid-Day (Bombay-India)
Tone Janša a big name in Yugoslavian jazz made his mark on Yatra by his well knit coordination with his quartet and his original compositions. This was a group that didn't belive doing their own thing at the expense of the audience but concentrated instead on murmuring into a pleasant whole.
Neue Zaitschrift fur musick (BRD)
Den zweiten Abend (Beim Burghausener jazz Festival) eroffnete internationale Gruppe um den jugoslawischen Saxophonisten Tone Janša. Die Stucke des Quartetts sind durchwegs Eigenkompositionen von Tone Janša, die stilistisch im modalen Bereich angesiedelt sind, durch die Einbeziehung von der Musik vieler jungerer Gruppen unterscheiden. Unuberhorbar der Einfluss der jugoslawischen Folklore die der Music von Tone Janša einen eigenwilligen Charakter verleit.
Neue Zeit (Austria)
Perfektion un Lockerheit. Es ist relativ selten dass vier Musiker dermassen aufeinander eintugehen verstehen eine Ausgewogenhiet war die Folge, die als Basis fur Janšas weitlaufige Improvisationen diente. Das vielzitierte Zusammentreffen bzw. Spielfreude wurde von dem Quartet uberzeugend zum Leben erweckt. Janšas eruptive Klangkaskaden wirbelten um die Holzkonstruktion des Raumes. Soli und kompaktes Zusammenspiel erganzten sich ungezwungen in logischer Folge.
Jazz B. Berlin
Ein 50 minutiges "Hormusik" Solo
An sudslawischer Folklore orientierte Quartett des jugoslawischen Saxophonisten Tone Janša verband in seinem Spiel Virtuositat und kreative improvisationen aufs das glucklichste.
Jazzpodium (BRD)
In seiner Stilistik und Spielauffasung sowohl auf dem Sopranals auf dem Tenorsaxophon, das in seiner auselrichen Abgenutzheit von einer bewegten instrumenten vergangenheit zeugt, verdankt Tone, gegen wartig mit zahlreichen Rundfuk-und Festivalengegements sicherlich einer der richtungsweisenden Jazzmusiker seines Landes, viel John Coltrane, mit dem er sich durch technische Perfektion, souverane Pharsierung, figural arabeske Solodurchfuhrung und fast hymnisch anmutende Expressivitat verbunde wiess.
A1 GOA (Tone Janša)
Soloists:
Tone Janša ss
Bernd Dietrich b
A2 TRAININ' (Tone Janša)
Soloists:
Tone Janša ts
Slavko Avsenik jun. p
A3 YATRA (Tone Janša)
Soloists:
Dejan Pečenko p
Tone Janša shinay
B1 STROLL AND FIGHT (Tone Janša)
Soloists:
Slavko Avsenik jun. p
B2 BLACK TIME (Tone Janša)
Soloists:
Tone Janša fl
Andy Lummp p
Adelhard Roidinger b
Tone Janša celebrates the tenth anniversary of the existence of his quartet. On this record he represents the last four versions of his group, which changes its members according to need:
Tone Janša ss, Dejan Pečenko p, Bernd Dietrich b, Gerhard Wennemuth dr on "Goa" A1
Tone Janša ts, Slavko Avsenik jun. p, Karel Novak b, Ratko Divjak dr on "Trainin'" A2 and "Stroll and flight" B2
Tone Janša fl, Andy Lummp p, Adelhard Roidinger b, Ratko Divjak dr on "Black time" B2
Tone Janša shinay, Dejan Pečenko p, Adelhard Roidinger b, Ratko Divjak dr on Yatra A3
After having finished his studies in Classical music and Jazz in Graz and after his Jazz studies at Boston's Berklee College of Music, Tone Janša returned to Yugoslavia, joined the RTV Ljubljana Big Band as saxophonist and devoted more time to his own music and quartet. He recorded in Ljubljana at North German radio station in Hamburg, in Trieste in numerous Yugoslav TV and radio studios. Further he played and recorded on Jazz Festivals at:
1974 the Polish "Jazz nad Odra", in Graz where he played in the international Big Band under the direction of Slide Hampton
1975 in Debrecen and Nagykanisza in Hungary, Ljubljana Jazz Festival, Finland "Pori Jazz Festival"
1976 in Prague with Gustav Brom's Big Band, Ljubljana and Belgrade Jazz Festival
1978 UER/EBU (Europena Big Band) in Perugia - Italy
1979 Yugoslav Jazz Festivals (Maribor, Novi Sad, Belgrade, Zagreb)
1980 Yatra Jazz Festival in Bombay + an extensive tour of India Burghausen Jazz Festival in Germany
1981 Berlin Jazz Festival "Jazz Buhne Berlin 81", Austrian Jazz Days in Linz, Aarhus EBU Jazz Festival in Denmark
1982 Saalfelden in Austria, Ljubljana and Maribor Jazz Festival, Nagykanisza and Sombathely in Hungary and many others
Tone Janša is without doubt one of the most promising jazz musicians in our country. He represents a new trend, which one readily recognizes after having listened to his music. His music is fresh, dynamic, and modally as well as rhythmically very interesting. He composes and plays his own music.
JANEZ GREGORC
Down Beat (USA)
Yugoslavian saxophonist Tone Janša, who has studied at Berklee College owes much to Trane-ish manner of building a solo use of trills, some of his phrasing -yet there often is not- Trane-ish edge to his tone a bite that owes a little to Eastern European folk reed instruments.
Mid-Day (Bombay-India)
Tone Janša a big name in Yugoslavian jazz made his mark on Yatra by his well knit coordination with his quartet and his original compositions. This was a group that didn't belive doing their own thing at the expense of the audience but concentrated instead on murmuring into a pleasant whole.
Neue Zaitschrift fur musick (BRD)
Den zweiten Abend (Beim Burghausener jazz Festival) eroffnete internationale Gruppe um den jugoslawischen Saxophonisten Tone Janša. Die Stucke des Quartetts sind durchwegs Eigenkompositionen von Tone Janša, die stilistisch im modalen Bereich angesiedelt sind, durch die Einbeziehung von der Musik vieler jungerer Gruppen unterscheiden. Unuberhorbar der Einfluss der jugoslawischen Folklore die der Music von Tone Janša einen eigenwilligen Charakter verleit.
Neue Zeit (Austria)
Perfektion un Lockerheit. Es ist relativ selten dass vier Musiker dermassen aufeinander eintugehen verstehen eine Ausgewogenhiet war die Folge, die als Basis fur Janšas weitlaufige Improvisationen diente. Das vielzitierte Zusammentreffen bzw. Spielfreude wurde von dem Quartet uberzeugend zum Leben erweckt. Janšas eruptive Klangkaskaden wirbelten um die Holzkonstruktion des Raumes. Soli und kompaktes Zusammenspiel erganzten sich ungezwungen in logischer Folge.
Jazz B. Berlin
Ein 50 minutiges "Hormusik" Solo
An sudslawischer Folklore orientierte Quartett des jugoslawischen Saxophonisten Tone Janša verband in seinem Spiel Virtuositat und kreative improvisationen aufs das glucklichste.
Jazzpodium (BRD)
In seiner Stilistik und Spielauffasung sowohl auf dem Sopranals auf dem Tenorsaxophon, das in seiner auselrichen Abgenutzheit von einer bewegten instrumenten vergangenheit zeugt, verdankt Tone, gegen wartig mit zahlreichen Rundfuk-und Festivalengegements sicherlich einer der richtungsweisenden Jazzmusiker seines Landes, viel John Coltrane, mit dem er sich durch technische Perfektion, souverane Pharsierung, figural arabeske Solodurchfuhrung und fast hymnisch anmutende Expressivitat verbunde wiess.
Vinilija @ Radio Marš: Tone Janša III
TONE JANŠA - PATTERN (HELIDON 1979)
A1 NOČ (Night) (Tone Janša)
A2 LABIRINT ( Labyrinth) (Tone Janša)
A3 KJE SO TISTE STEZICE (Where Are Those Little Paths) (Tone Janša)
A4 PARABOLA (Parabole) (Tone Janša)
B1 PATTERN (Tone Janša)
B2 DAN IN VZGON (Day and Buoyancy) (Tone Janša)
B3 ROM (Gypsy) (Tone Janša)
B4 POTOP (Sinking) (Tone Janša)
Tone Janša ts, ss, fl
Andre Jeanquartier p
Ewald Oberleitner b
Miroslav Karlović dr
For this album, Tone Janša's aim was to select recording which greatly vary from one another. His intent to make a versatile record has surely succeeded. Harmoniously and rhythmically, the record includes current and modern music, from the eight note feeling with contemporary harmonies, to madal jazz in complicated rhythms, and bi-tonal to atonal free jazz. At first glance, the record overwhelms the listener with an abundance of musical material. The pieces are intricately composed and each musician contributes his individual talents, producing a kaleidoscope of sound.
"Night" is a lyrical composition for tenor sax, in two parts with a straight eighth note rhythm. Part A has sicteen bars, the first eight repeat an ostinato bass in varying harmonies. Part B follows with four bars. The two solos are by the pianist and Janša. The theme is then repeated and is followed by a coda.
"Labyrinth" is an interwoven composition, consisting of many thematic and transitional elements. It is characterized by a labyrinthine structure, allowing plenty of room for solos on piano, drums and soporano sax. Of special interes in Tone's solo, is a section utilizing some kind of phrygian mode, with the addion of a major third.
"Where Are Those Little Paths" is very interesting use of Slovene folk song in jazz. Whit interesting reharmonization the liric song becomes a jazz ballad. Arranger plays quite free cadenca and then the coda follows.
"Parabole" is a composition for soprano sax with the heavy emphasis on drums, in the first part. The second part is in straight rhythm. The solos are on soprano, piano and bass.
The RTV Ljubljana Big Band, conducting by Jože Privšek surprises us on side B, with Janša's 10/4 composition, "Pattern". Tone starts it on flute, the band follows with the theme, and then Tone appears again on tenor. The climax is reached when the orchestra repeats the theme. The music calms down and dies out.
The following two selections were performed as one, live, at the Ljubljana '78 Jazz Festival. "Day" is a modern composition beginning with arco bass and flute, with the addition later on, of piano and drums. In a collective improvisation, the soloists use scales from the basic mode in atonal playing, return then, reach the climax and fade away.
"Buoyancy" is a piece with a break on tenor and a rather complex modal theme in ABCD form, with D in 7/4 meter. Solos are on tenor, and piano, followed by a break for tenor and a coda. "Day" and "Buoyancy" live from Jazz-Festival, Ljubljana '78.
"Gypsy" is a bi-tonal composition with gypsy music influence, featuring soprano sax. In the third part, the "gypsy minor" scale is used, and at the end, the composer's own composite scale.
"Sinking" is a free jazz composition, starting and ending melodiously with a collectively inspired improvisation by the quartet.
This album reveals a wide range of musical material and presents Janša as a very balanced musician, composer, and improvisator, who is capable of combining very different musical approaches, resulting in meaningful expression. This record of international team work is a valid representation of his credo.
JANEZ GREGORC
A1 NOČ (Night) (Tone Janša)
A2 LABIRINT ( Labyrinth) (Tone Janša)
A3 KJE SO TISTE STEZICE (Where Are Those Little Paths) (Tone Janša)
A4 PARABOLA (Parabole) (Tone Janša)
B1 PATTERN (Tone Janša)
B2 DAN IN VZGON (Day and Buoyancy) (Tone Janša)
B3 ROM (Gypsy) (Tone Janša)
B4 POTOP (Sinking) (Tone Janša)
Tone Janša ts, ss, fl
Andre Jeanquartier p
Ewald Oberleitner b
Miroslav Karlović dr
For this album, Tone Janša's aim was to select recording which greatly vary from one another. His intent to make a versatile record has surely succeeded. Harmoniously and rhythmically, the record includes current and modern music, from the eight note feeling with contemporary harmonies, to madal jazz in complicated rhythms, and bi-tonal to atonal free jazz. At first glance, the record overwhelms the listener with an abundance of musical material. The pieces are intricately composed and each musician contributes his individual talents, producing a kaleidoscope of sound.
"Night" is a lyrical composition for tenor sax, in two parts with a straight eighth note rhythm. Part A has sicteen bars, the first eight repeat an ostinato bass in varying harmonies. Part B follows with four bars. The two solos are by the pianist and Janša. The theme is then repeated and is followed by a coda.
"Labyrinth" is an interwoven composition, consisting of many thematic and transitional elements. It is characterized by a labyrinthine structure, allowing plenty of room for solos on piano, drums and soporano sax. Of special interes in Tone's solo, is a section utilizing some kind of phrygian mode, with the addion of a major third.
"Where Are Those Little Paths" is very interesting use of Slovene folk song in jazz. Whit interesting reharmonization the liric song becomes a jazz ballad. Arranger plays quite free cadenca and then the coda follows.
"Parabole" is a composition for soprano sax with the heavy emphasis on drums, in the first part. The second part is in straight rhythm. The solos are on soprano, piano and bass.
The RTV Ljubljana Big Band, conducting by Jože Privšek surprises us on side B, with Janša's 10/4 composition, "Pattern". Tone starts it on flute, the band follows with the theme, and then Tone appears again on tenor. The climax is reached when the orchestra repeats the theme. The music calms down and dies out.
The following two selections were performed as one, live, at the Ljubljana '78 Jazz Festival. "Day" is a modern composition beginning with arco bass and flute, with the addition later on, of piano and drums. In a collective improvisation, the soloists use scales from the basic mode in atonal playing, return then, reach the climax and fade away.
"Buoyancy" is a piece with a break on tenor and a rather complex modal theme in ABCD form, with D in 7/4 meter. Solos are on tenor, and piano, followed by a break for tenor and a coda. "Day" and "Buoyancy" live from Jazz-Festival, Ljubljana '78.
"Gypsy" is a bi-tonal composition with gypsy music influence, featuring soprano sax. In the third part, the "gypsy minor" scale is used, and at the end, the composer's own composite scale.
"Sinking" is a free jazz composition, starting and ending melodiously with a collectively inspired improvisation by the quartet.
This album reveals a wide range of musical material and presents Janša as a very balanced musician, composer, and improvisator, who is capable of combining very different musical approaches, resulting in meaningful expression. This record of international team work is a valid representation of his credo.
JANEZ GREGORC
Vinilija @ Radio Marš: Tone Janša II
TONE JANŠA KVARTET - BEOGRADSKI JAZZ FESTIVAL '78 (RTB 1978)
A1 MOTIV (Motive)
A2 SEDMINA (Seventh Day)
B1 MRAK (Dusk)
B2 VIZIJA (Vision)
B3 VZGON (Buoyancy)
B4 SONCE (Sun)
Compositions by Tone Janša
The times in yugoslav jazz music have changed. Sympathetic jazz listening and the amateur playing of the musicians, based mostly on talent, has, due to a specialized education, evolved into professional playing, with numerous opportunities to participate in international jazz festivals, modern studio work, and in professional concerts. At this stage in the development of European jazz we can add another expressive jazz talent and realize the importance of Tone Janša on our jazz scene.
Tone Janša is representative of a new generation of jazz musicians. The development of his music is logical for our modern times. He received his first playing experience in a big band in Kranj - a city which has provided jazz with some outstanding names. He continued his music education in Ljubljana, later at the Institute of Jazz in Graz. In Graz he studied tenor-saxophone and other instruments of the same family. He successfully completed his studies in Graz, first in classical music (1974) and than in jazz (1975). These studies provided him with the fundamentals for realising his own projects, including the formation of his own small combo, an important role in Radio-Television Ljubljana's Big Band and in his serious composer's work.
Tone Janša is a fully developed musical personality on our contemporary jazz scene. He is, without doubt, our leading tenor-saxophonist and multi-instrumentalist, with an admirable technique and talent for improvisation. He plays flute and soprano-saxophone as well as tenor-saxophone. He is musician with a lot of energy and full awareness for modern free improvisation. The repertoire of this, his second album, gives a good picture of his fresh and dynamic music, which is modally and rhythmically very interesting. Janša has already proven his abilities many times before on several domestic and foreign stages.
On this album, Tone Janša is presented with his quartet, consisting of collegues form Graz: pianist, Andre Jeanquartier from Switzerland, bassist, Ewald Oberleitner and drummer Johann Preininger, both Austrians. Preininger is replaced in some selections, by the talented young Yugoslav, Miro Karlović. Janša is obviously selecting experienced musicians, who are primarily able to realize able to realize his ideas, as well as contributing vital, individual solo work.
Concerning repertoire and sound, Janša and his quartet are presented on this album in a wide spectrum, from a lyrical ballad with the tender flute's tone, to robust improvisation with powerful tone in a very fast tempo and complicated rhytmical formulas. The program selected for this album therefore presents a wide range of Janša's musical creativity. The first selection MOTIV (recorded in the Zagreb studio "Lisinski") shows the composer as a real tenor saxophonist. So does the following SEDMINA, written in 7/4 meter and medium tempo. The "B" side of this album includes four originals of a wide and dynamic nature. MRAK is a ballad in a slow-medium tempo, where we hear the composer as a flutist. After the rubato introduction, the music goes in 13/4 meter, consisting of 6/4 and 7/4 formulas. In the following composition VIZIJA, the sound, metrical construction and tempo are changing. Having already appeared as tenor-saxophonist and flutist, the composer plays soprano in the meter of eighths, medium tempo and pop-rock rhythm. VZGON is an interesting and dynamically inventive theme, constructed in ABCD form - in four parts, where the fourth one is in 7/4. The introduction is a tenor-saxophone solo, then the music goes into tempo. The album ends with another original Janša's called SONCE, where once again the composer is heard on tenor-saxophone, and Johann Preininger on drums, as in the first two numbers. It starts as a ballad and then goes into 10/4 with an Ostinato figure. At the conclusion, it returns to its original ballad form. This album well expresses the personality of Tone Janša as a musician, composer and leader.
It is, by all means another welcome document of our documentary jazz.
Mladen Mazur
A1 MOTIV (Motive)
A2 SEDMINA (Seventh Day)
B1 MRAK (Dusk)
B2 VIZIJA (Vision)
B3 VZGON (Buoyancy)
B4 SONCE (Sun)
Compositions by Tone Janša
The times in yugoslav jazz music have changed. Sympathetic jazz listening and the amateur playing of the musicians, based mostly on talent, has, due to a specialized education, evolved into professional playing, with numerous opportunities to participate in international jazz festivals, modern studio work, and in professional concerts. At this stage in the development of European jazz we can add another expressive jazz talent and realize the importance of Tone Janša on our jazz scene.
Tone Janša is representative of a new generation of jazz musicians. The development of his music is logical for our modern times. He received his first playing experience in a big band in Kranj - a city which has provided jazz with some outstanding names. He continued his music education in Ljubljana, later at the Institute of Jazz in Graz. In Graz he studied tenor-saxophone and other instruments of the same family. He successfully completed his studies in Graz, first in classical music (1974) and than in jazz (1975). These studies provided him with the fundamentals for realising his own projects, including the formation of his own small combo, an important role in Radio-Television Ljubljana's Big Band and in his serious composer's work.
Tone Janša is a fully developed musical personality on our contemporary jazz scene. He is, without doubt, our leading tenor-saxophonist and multi-instrumentalist, with an admirable technique and talent for improvisation. He plays flute and soprano-saxophone as well as tenor-saxophone. He is musician with a lot of energy and full awareness for modern free improvisation. The repertoire of this, his second album, gives a good picture of his fresh and dynamic music, which is modally and rhythmically very interesting. Janša has already proven his abilities many times before on several domestic and foreign stages.
On this album, Tone Janša is presented with his quartet, consisting of collegues form Graz: pianist, Andre Jeanquartier from Switzerland, bassist, Ewald Oberleitner and drummer Johann Preininger, both Austrians. Preininger is replaced in some selections, by the talented young Yugoslav, Miro Karlović. Janša is obviously selecting experienced musicians, who are primarily able to realize able to realize his ideas, as well as contributing vital, individual solo work.
Concerning repertoire and sound, Janša and his quartet are presented on this album in a wide spectrum, from a lyrical ballad with the tender flute's tone, to robust improvisation with powerful tone in a very fast tempo and complicated rhytmical formulas. The program selected for this album therefore presents a wide range of Janša's musical creativity. The first selection MOTIV (recorded in the Zagreb studio "Lisinski") shows the composer as a real tenor saxophonist. So does the following SEDMINA, written in 7/4 meter and medium tempo. The "B" side of this album includes four originals of a wide and dynamic nature. MRAK is a ballad in a slow-medium tempo, where we hear the composer as a flutist. After the rubato introduction, the music goes in 13/4 meter, consisting of 6/4 and 7/4 formulas. In the following composition VIZIJA, the sound, metrical construction and tempo are changing. Having already appeared as tenor-saxophonist and flutist, the composer plays soprano in the meter of eighths, medium tempo and pop-rock rhythm. VZGON is an interesting and dynamically inventive theme, constructed in ABCD form - in four parts, where the fourth one is in 7/4. The introduction is a tenor-saxophone solo, then the music goes into tempo. The album ends with another original Janša's called SONCE, where once again the composer is heard on tenor-saxophone, and Johann Preininger on drums, as in the first two numbers. It starts as a ballad and then goes into 10/4 with an Ostinato figure. At the conclusion, it returns to its original ballad form. This album well expresses the personality of Tone Janša as a musician, composer and leader.
It is, by all means another welcome document of our documentary jazz.
Mladen Mazur
Vinilija @ Radio Marš: Tone Janša I
TONE JANŠA - JAZZ KVARTET (RTB 1977)
A1 YUDACH (Tone Janša)
A2 SKOZI OBLAKE ( Over clouds) (Tone Janša)
B1 RIMSKA CESTA (Milky way) (Tone Janša)
B2 VITTA QUELLE (Tone Janša)
TONE JANŠA - ts, ss, fl -, got seriously engaged in jazz in 1969, when he started to study it at the Institute of Jazz in Graz (Austria). In the years 1971, 1972, and 1973, he played with Dieter Glawischnig in several clubs in W. Germany, Austria, Poland. Later he began to work with his own quartet, played in clubs and recorded in Ljubljana and for NDR (Radio Station) in Hamburg.
In 1974, he was recording with his quartet for RTV Ljubljana, made after that a tour to Poland, where he took part in "Jazz nad Odra" festival. After finishing his studies in Graz - where he graduated in classical music and jazz - and on Berklee College in Boston, he joined as professional the Big Band of RTV Ljubljana and at the same time continued to work with the quartet. In 1974, he played at jazz festival in Graz with the international big band, the leader of which was Slide Hampton; other members were Albert Mangelsdorff, Art Farmer, Rudi Josel etc. In 1975, he appeared with the quartet at the jazz festival in Ljubljana, in the autumn of the same year he visited Hungary - Debrecen and Nagykanisza. During this time he was also working with his Yugoslav quintet, which played at Pori jazz festival 1975. In 1976, he took part again at the jazz festival in Ljubljana and played also in Gustav Brom's big band together with Simeon Chterev at jazz festival in Prague.
Tone Janša is a musician of modern direction and is no doubt one of the most promising jazz musicians of Yugoslavia. One could well believe this after having heard his music. Janša introduced fresh, and dynamic music, which is modally and rhythmically very interesting. He plays his own tunes. His work contains intensification of rhythm, which is characteristic feature of his music. His progress is rapid and there is not enough space to speak about it in detail. However, the essence of his music is hidden elsewhere - in about it in detail. However, the essence of his music is hidden elsewhere - in the exceptional inventiveness and extraordinary energy, that originates in the manner he plays, thus revealing his artistic definition. His playing reaches other members of the group, thus achieving rich improvisation, which reflects both their common life style as well as the feeling of individual group members.
The quartet plays contemporary music with free improvisation, in fact it is concentrated and each new born idea flows from one to the other enriching itself and acquiring lines. Iridescent themes become lyrical variations performed with great inventiveness where every member of the group is will acquainted with his part.
ANDRE JEANQUARTIER - P -, from Neuchatell in Switzerland, finished studies of classical composition in Graz. He played in clubs in W. Germany, Switzerland, Spain, France, Austria, Poland, Yugoslavia and worked with various jazz groups and musicians. He was a member of international group "Nikodemus" which won the first prize at the jazz festival in San Sebastian - Spain in 1972.
EWALD OBERLEITNER - b -, is the Austrian from Graz, who has played in Switzerland, France, Spain, Poland, Yugoslavia until in 1960, he got engaged in free-jazz with Dieter Glawischnig, 1967-1971 with Eye Thelin, group, Albert Mangelsdorff, Slide Hampton and many others. He teaches at the Institute of Jazz in Graz.
JOHN PREININGER - d -, otherwise doctor of philology, teaches at the Institute of Jazz in Graz. He played in 1967-1972 with Eye Thelin and others, with Albert Mangelsdorff, Dieter Glawischnig, Dudek, Joachim Kuhn etc. in W. Germany, Poland, Switzerland, Austria, Sweden, Yugoslavia. He joined the quartet in 1974.
HARALD NEUWIRTH - p -, in "MILKY WAY"
JANEZ GREGORC
A1 YUDACH (Tone Janša)
A2 SKOZI OBLAKE ( Over clouds) (Tone Janša)
B1 RIMSKA CESTA (Milky way) (Tone Janša)
B2 VITTA QUELLE (Tone Janša)
TONE JANŠA - ts, ss, fl -, got seriously engaged in jazz in 1969, when he started to study it at the Institute of Jazz in Graz (Austria). In the years 1971, 1972, and 1973, he played with Dieter Glawischnig in several clubs in W. Germany, Austria, Poland. Later he began to work with his own quartet, played in clubs and recorded in Ljubljana and for NDR (Radio Station) in Hamburg.
In 1974, he was recording with his quartet for RTV Ljubljana, made after that a tour to Poland, where he took part in "Jazz nad Odra" festival. After finishing his studies in Graz - where he graduated in classical music and jazz - and on Berklee College in Boston, he joined as professional the Big Band of RTV Ljubljana and at the same time continued to work with the quartet. In 1974, he played at jazz festival in Graz with the international big band, the leader of which was Slide Hampton; other members were Albert Mangelsdorff, Art Farmer, Rudi Josel etc. In 1975, he appeared with the quartet at the jazz festival in Ljubljana, in the autumn of the same year he visited Hungary - Debrecen and Nagykanisza. During this time he was also working with his Yugoslav quintet, which played at Pori jazz festival 1975. In 1976, he took part again at the jazz festival in Ljubljana and played also in Gustav Brom's big band together with Simeon Chterev at jazz festival in Prague.
Tone Janša is a musician of modern direction and is no doubt one of the most promising jazz musicians of Yugoslavia. One could well believe this after having heard his music. Janša introduced fresh, and dynamic music, which is modally and rhythmically very interesting. He plays his own tunes. His work contains intensification of rhythm, which is characteristic feature of his music. His progress is rapid and there is not enough space to speak about it in detail. However, the essence of his music is hidden elsewhere - in about it in detail. However, the essence of his music is hidden elsewhere - in the exceptional inventiveness and extraordinary energy, that originates in the manner he plays, thus revealing his artistic definition. His playing reaches other members of the group, thus achieving rich improvisation, which reflects both their common life style as well as the feeling of individual group members.
The quartet plays contemporary music with free improvisation, in fact it is concentrated and each new born idea flows from one to the other enriching itself and acquiring lines. Iridescent themes become lyrical variations performed with great inventiveness where every member of the group is will acquainted with his part.
ANDRE JEANQUARTIER - P -, from Neuchatell in Switzerland, finished studies of classical composition in Graz. He played in clubs in W. Germany, Switzerland, Spain, France, Austria, Poland, Yugoslavia and worked with various jazz groups and musicians. He was a member of international group "Nikodemus" which won the first prize at the jazz festival in San Sebastian - Spain in 1972.
EWALD OBERLEITNER - b -, is the Austrian from Graz, who has played in Switzerland, France, Spain, Poland, Yugoslavia until in 1960, he got engaged in free-jazz with Dieter Glawischnig, 1967-1971 with Eye Thelin, group, Albert Mangelsdorff, Slide Hampton and many others. He teaches at the Institute of Jazz in Graz.
JOHN PREININGER - d -, otherwise doctor of philology, teaches at the Institute of Jazz in Graz. He played in 1967-1972 with Eye Thelin and others, with Albert Mangelsdorff, Dieter Glawischnig, Dudek, Joachim Kuhn etc. in W. Germany, Poland, Switzerland, Austria, Sweden, Yugoslavia. He joined the quartet in 1974.
HARALD NEUWIRTH - p -, in "MILKY WAY"
JANEZ GREGORC
4.5.12
Naročite se na:
Objave (Atom)