Reviews that mention Vladimir Tarasov

July 11, 2020

Vladimir Tarasov & Krugly Band Orchestra

Sound Tapestries
SoLyd Records SLR 0440

Martin Archer

Anthropology Band

Discus 90 CD

Fire! Orchestra

Krysztof Penderecki Actions

Rune Grammofon RCD 2212

Gard Nilssen Supersonic Orchestra

If You Listen Carefully the Music Is Yours

ODIN CD 9572

Webber/Morris Big Band

Both Are True

Greenleaf Music GRE CD 1075

Something in the air Novel Large Ensemble Strategies are expressed by Bands All over the World
MORE

April 21, 2017

Dieter Glawischnig & Friends

Birthday
Izk CD 015

New Old Luten Quintet

Krawall!

Euphorium Records EUPH 052

Harth/Seidel/Spera/Van der Plas

Malcha

Plus 087

Old Free Jazzers never die, they don’t even fade away. What they do, as these CDs indicate, is follow new musical paths. Like pedigreed commodities crossbred with other products, it appears that veteran improvisers can reunite with old associates to uncover variations of mutual musical concepts; demonstrate the timelessness of their conceptions by hooking up with younger improviser; or use contemporary sound language to express their ideas in a novel fashion. MORE

October 6, 2016

Tarasov/Kanevičius/Mockūnas

Intuitus
NoBusiness NBLP 92/93

Roscoe Mitchell Trio

Angel City

RogueArt ROG-0061

Ensemble SuperMusique

Les accords intuitifs

Ambiances Magnétiques AM 222

RED Trio with John Butcher

Summer Skyshift

Clean Feed CF 372 CD

Jack DeJohnette

In Movement

ECM 2488

Something in the Air: Interpreting Roscoe Mitchell’s Challenging and Influential Music

By Ken Waxman

Confirming one again the continued vitality of the first generation of Free Music avatars, at 76, saxophonist Roscoe Mitchell is still innovating with divergent aspects of, instrumentation and arrangements. One demonstration of this occurs Sunday October 16, when he leads a mixed, 15-member, Montreal-Toronto ensembles through several of his composition a part of the Music Gallery’s annual X-Avant Festival. Other components of note include concerts by the likes of composer Pauline Oliveros and violinist Sarah Neufeld, but Mitchell, co-founder of the Art Ensemble of Chicago (AEC), and a stalwart of Chicago’s the Association For the Advancement of Creative Musicians, has a long relationship with Toronto going back to the early 1970s when he recorded some ground-breaking LPs in the city. MORE

August 6, 2016

Jones Jones

The Moscow Improvisations
NotTwo MW935-2

Butch Lacy/Jesper Løvdal/Kresten Osgood/Mark Dresser

Being-Playing

ILK Records 237 CD

Simon Nabatov/Mark Dresser/Dominik Mahnig

Equal Pose

Leo Records CD LR 745

By Ken Waxman

Putting a lie to the canard that “those who can’t – teach”, bassist Mark Dresser hasn’t let his job in the music faculty at University of California, San Diego stop him from playing and innovating. Like a top-drawer business person who is also devoted to charitable works, Dresser is as likely to be found improvising with his peers as instructing a new generation of musicians. These CDs find the bassist in Europe, displaying the precipitous soloing and substantial rhythmic reinforcement for which he’s been known since he was in Anthony Braxton fabled ‘80s quartet. MORE

March 10, 2013

Vladimir Tarasov/Garth Powell

Etudes
SoLyd SLR 0414

Hot and Cold

Hogwild Manifesto

Jungulous 003

Colin Stetson & Mats Gustafsson

Stones

Rue Grammofon RCD 2136 CD

Max Nagl

In Memory of Lol Coxhill

Rude Noises 021

Something In The Air: Identical Instruments: Different Sounds

By Ken Waxman

Demonstrating that accepted musical customs are often shibboleths – the equivalent of not wearing white after Labour Day – contemporary improvisers frequently express themselves unconventionally – even when it comes to instrumental choices. Take for example the fine duo sessions here. Unaccompanied by others, the players prove that there are enough textures available from nearly identical instruments to create full sound pictures. These sets show not only how much can be done with two guitars – a common combination – but also by two percussion sets, not to mention two saxophones of similar ranges and timbres. MORE

January 5, 2012

Alexey Kruglov/Vladimir Tarasov

In Tempo
SoLyd Records SoLyd 0404

Joe McPhee/Michael Zerang

Creole Gardens (A New Orleans Suite)

No Business Records NBCD 32

Bad Luck

Two

Table & Chairs T&C 006

By Ken Waxman

For reasons of tradition, challenge and economy, the saxophone/percussion session has been a stable of freer jazz ever since the duets of John Coltrane and Rashied Ali or Evan Parker and Paul Lytton. How much these duets impress depends on how many original twists are brought to the formula. MORE

August 31, 2011

Alexey Kruglov/Vladimir Tarasov

In Tempo
SoLyd Records SoLyd 0404

Alexey Kruglov/Vladimir Tarasov

Dialogos

SoLyd Records SoLyd 0403

Rather like the A and B sides of an LP from imaginative artists, these Russian CDs by veteran percussionist Vladimir Tarasov and reed tyro Alexey Kruglov – recorded on the same day – offer contrasting view of the duo’s art. With eastern European craftiness as well, neither is exactly what is advertised.

The sonic interchange captured on Dialogos, including a five-part suite, is clearly in the realm of the avant-garde, with Kruglov holding up his side of the discussion playing eight [!] different instruments and the Tarasov’s detours into Jazz time less frequent than outright percussion extensions. Including a trio of “intermedias” – most likely “intermezzos” – for basset horn, In Tempo may be in fact more “in tempo”. But the pitches, textures and impressions attained too are firmly in the non-linear mode. MORE

August 31, 2011

Alexey Kruglov/Vladimir Tarasov

Dialogos
SoLyd Records SoLyd 0403

Alexey Kruglov/Vladimir Tarasov

In Tempo

SoLyd Records SoLyd 0404

Rather like the A and B sides of an LP from imaginative artists, these Russian CDs by veteran percussionist Vladimir Tarasov and reed tyro Alexey Kruglov – recorded on the same day – offer contrasting view of the duo’s art. With eastern European craftiness as well, neither is exactly what is advertised.

The sonic interchange captured on Dialogos, including a five-part suite, is clearly in the realm of the avant-garde, with Kruglov holding up his side of the discussion playing eight [!] different instruments and the Tarasov’s detours into Jazz time less frequent than outright percussion extensions. Including a trio of “intermedias” – most likely “intermezzos” – for basset horn, In Tempo may be in fact more “in tempo”. But the pitches, textures and impressions attained too are firmly in the non-linear mode. MORE

August 6, 2011

Label Spotlight:

SoLyd Records
By Ken Waxman

Like that of many successful endeavours ranging from the mass production of the automobile, the feature-length cartoon or the personal computer, SoLyd record label’s driving force is one person. While Andrei Gavrilov, may or may not like the comparison to Walt Disney, Henry Ford or Steve Jobs, it’s his ideas, taste and finances that keep the Moscow-based label afloat and is responsible for its massive, (more than 400 releases) somewhat idiosyncratic catalogue. “Sometimes, when I look over the catalogue I get confused myself,” he admits. MORE

June 11, 2010

Jones/Jones

We All Feel The Same Way
SoLyd Records SLR 0396

Vladimir Tarasov

Thinking of Khlebnikov

No Business Records NBCD 10

Probably still best-known after all these years as one-third of the Ganelin Trio –

which was the avant-garde ensemble that operated most openly in the pre-Glasnost Soviet Union – percussionist Vladimir Tarasov has followed two complementary paths since the trio dissolved in 1987.

A visual artist as well as a drummer, the now Vilnius-based Tarasov has expressed his musical creativity on an acclaimed series of solo discs, of which Thinking of Khlebnikov is the newest. Always up for collaborations, he has established a long-time partnership with expatriate American vocalist Lauren Newton and recorded with the Moscow Composers Orchestra, Hungarian pianist György Szabados and American reedist Anthony Braxton among others. We All Feel The Same Way – note the double meaning of the title – matches Tarasov with two California-based improvisers, saxophonist Larry Ochs and bassist Mark Dresser. MORE

June 11, 2010

Vladimir Tarasov

Thinking of Khlebnikov
No Business Records NBCD 10

Jones/Jones

We All Feel The Same Way

SoLyd Records SLR 0396

Probably still best-known after all these years as one-third of the Ganelin Trio –

which was the avant-garde ensemble that operated most openly in the pre-Glasnost Soviet Union – percussionist Vladimir Tarasov has followed two complementary paths since the trio dissolved in 1987.

A visual artist as well as a drummer, the now Vilnius-based Tarasov has expressed his musical creativity on an acclaimed series of solo discs, of which Thinking of Khlebnikov is the newest. Always up for collaborations, he has established a long-time partnership with expatriate American vocalist Lauren Newton and recorded with the Moscow Composers Orchestra, Hungarian pianist György Szabados and American reedist Anthony Braxton among others. We All Feel The Same Way – note the double meaning of the title – matches Tarasov with two California-based improvisers, saxophonist Larry Ochs and bassist Mark Dresser. MORE

April 13, 2009

Moscow Composers Orchestra featuring Sainko

Portrait of an Idealist
Leo Records CD LR 527

Festive rather than sombre, Portrait of an Idealist is a raucous send-off and heart-felt salute to Nick Dmitriev, who died suddenly in 2004. He was a Moscow-based gadfly, lecturer, writer and concert organizer who helped nurture Russian post-perestroika free music.

Dmitriev, who ran a local club and organized Russian tours for visiting improvisers, also helped put together and manage the Moscow Composers Orchestra. Thus its fitting that this octet, lead by Russian-British pianist Vladimir Miller performs the program aided by the inimitable vocals of Sainkho Namchylak, the Tuvan singer who has become one of the celebrities of the Eastern European glasnost scene. Recorded at Posciavio’s Uncool Jazz Festival, the program mixes Namchylak’s sung and recited poetry with selections from the work of Russian poet Daniil Kharms, yet another intellectual victim (in 1941) of state Stalinism. MORE

March 28, 2005

BRAXTON/SZABADOS/TARASOV

Trio Tone
Leo Records CD LR 416

Perhaps Anthony Braxton’s most uncommon yet satisfying CD of the past decade, TRIO TONE is memorable because the American saxophonist functions as part of an improvising trio rather than promulgating his own ideas.

Recorded on a busman’s holiday to Serbia-Montenegro in 2003, the disc features Braxton operating as one-third of a cooperative trio convened to play two compositions by Hungarian pianist György Szabados, which led to three subsequent encore/improvisations. Braxton, who is always up for unique collaborations, played and recorded with Szabados, in the early 1980s. Adding lustre to the match up is the presence of former Ganelin Trio percussionist Vladimir Tarasov, who is based in Vilnius, Lithuania. Outside of the trio, Tarasov’s associations have included Braxton’s colleague, American drummer Andrew Cyrille, the ROVA Saxophone Quartet and the Vilnius State Philharmonic. MORE