![]() Though the tidal metaphor might suggest something preordained that was emphatically not the case. Ochs inserted short distinctively wiry tenor saxophone kernels into the discourse and they were away in an ebb and flow of changing dynamics. A conversational spurt from bass and drums launched their set, as Tarasov sprinkled his mallets around his extended kit. Having originally got together in the Bay Area in 2006 their evident synergy lead to several European tours, one documented on The Moscow Concert (Not Two, 2016) with other recordings in the can. Ochs meanwhile remains one quarter of the longstanding Rova Saxophone Quartet, but is involved with an expanding range of projects, including his Sax and Drumming Core. Dresser will likely forever be known as part of the classic Anthony Braxton Quartet, but has since collaborated with a veritable galaxy of stellar names, and convenes his own ensembles (heard lately on Sedimental You (Clean Feed, 2017). Jones Jones First was the conjunction of three white-haired maestros in Jones Jones, with Tarasov joined the by the Americans bassist Mark Dresser and saxophonist Larry Ochs. In his honor the festival programmed two contrasting ensembles for the prime Saturday evening concert. The group disbanded in 1987 when Ganelin emigrated to Israel, but Tarasov has remained a fixture on the Lithuanian scene and in 2017 he celebrated his 70th birthday. Although the three constituent pillars comprising pianist Vyacheslav Ganelin, drummer Vladimir Tarasov and reedman Vladimir Chekasin, hailed from discrete parts of Russia, it was in Lithuania that they came together. ![]() Critic Chris Kelsey described them as "arguably the world's greatest free jazz ensemble" of the period. Very much at ground zero of modern Lithuanian jazz stands the renowned Ganelin Trio, founded in 1971, but which exploded into Western consciousness from behind the Iron Curtain of the Soviet Union in 1980 when Leo Feigin released Live In East Germany on his Leo imprint, bearing the declaration that the musicians were not responsible for publishing the tapes. The first, a celebration of one of the founding fathers of Lithuanian jazz and the second, a Showcase Stage which offered artists, embracing a healthy proportion of Lithuanian groups, an opportunity to present themselves to festival promoters and critics from overseas (of which this writer was one) as well as local listeners. The 2017 edition boasted two unique selling points. Set amid the baroque beauty of the Lithuanian capital, in an assortment of venues, the festival has brought together performers from Europe, USA and beyond for the last fifteen years. Vilnius Mama Jazz Festival Vilnius, Lithuania November 15-19, 2017 Introduction Although a going concern since 2002, Vilnius Mama Jazz Festival doesn't possess the high profile internationally that its longevity might suggest.
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