Accompanying booklet to the compilation CD Jazz Slovenia

CD 2
Jazz
1 Kukushai
Physicist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:57
»as za improvizacijo / Time to Improvise
Slovenia 2015
2 MiNiMe
CD 1
3 Vasko Atanasovski Trio
1 Jan »izmazija
Beautiful Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4:36
4 Vid Jamnik Jamtet
2 Igor MatkoviÊ
Intuition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:37
5 Kombo B
3 Balchemy
Nightwatch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7:36
6 Trojnik
4 Jure Pukl
Last Autumn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:03
5 Robert JukiË
Dictatorship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:25
7 Marko Churnchetz
Being There . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7:25
8 Lenart KreËiË in Big Band RTV Slovenija / Lenart KreËiË & RTV Slovenia Big Band
Mind Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12:32
9 Organics
Australopitek / Australopithecus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4:03
2 At 3 O'Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:01
SreËko Lesica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:57
08 ·
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:55
Južni otok / South Island . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:30
8 Bratko BibiË & The Madleys & gosti / Bratko BibiË & The Madleys & Guests
11 Lolita
Uantauantauantanara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9:45
Hubljeva roža / Hubelj‘s Flower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:47
7 BadBooshBand
6 Jani Moder's Brain Blender
Venus Radius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:29
10 Cene Resnik Quartet
Riverbank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:14
Liberté . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:53
Memoires du soldat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:21
9 Dre HoËevar Trio
Post Resonance 1J7-36 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:49
10 Samo Šalamon Bassless Trio feat. Paul McCandless & Roberto Dani
Kei's Garden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:43
11 Milko Lazar, Zlatko KauËiË
Ena / One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:01
12 Milan StanisavljeviÊ
Old School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:35
13 Drašler/KarlovËec/Drašler Trio
IV (izsek / excerpt) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:08
3
Jazz je drugje
6
CD2
49
Jazz Is Elsewhere 8
Kukushai
50
In medias jazz
10
MiNiMe
52
In medias jazz
14
Vasko Atanasovski Trio
54
»as za improvizacijo
19
Vid Jamnik Jamtet
56
Time to Improvise
22
Kombo B
58
Trojnik
60
BadBooshBand
62
Bratko BibiË & The Madleys & gosti / Bratko BibiË & The Madleys & Guests
64
Dre HoËevar Trio 66
CD1
25
Jan »izmazija
26
Igor MatkoviÊ
28
Balchemy
30
Jure Pukl
32
Robert JukiË
34
Samo Šalamon Bassless Trio feat. Paul McCandless & Roberto Dani
68
Jani Moder's Brain Blender
36
Milko Lazar, Zlatko KauËiË
70
Marko Churnchetz
38
Milan StanisavljeviÊ
72
Lenart KreËiË in Big Band RTV Slovenija, gosta Gene Lake in Boris Kozlov / Lenart KreËiË & RTV Slovenia Big Band feat. Gene Lake & Boris Kozlov
Drašler/KarlovËec/Drašler Trio
74
40
Organics
42
Cene Resnik Quartet
44
Lolita
46
4 DVD »as za improvizacijo / Time to Improvise
Foto / Photo:
Vsebina / Contents
CD
1/1
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5
Jazz je drugje
Ko sem se pred štirimi leti kot kritik loteval razmišljanja ob prejšnji, SIGIC-evi prvi in pionirski kompilaciji
jazza iz Slovenije, si seveda nisem predstavljal, s kakšnimi dilemami so se morali ubadati njeni
sestavljavci. VËasih se mogoËe zdi, kot da se imamo kritiki za najpametnejše, saj poskušamo vztrajati pri
neodvisnosti in se svojega dela lotevamo, kot bi bilo povsem samozadostno. Vendar je to v resnici zgolj
posledica razliËnih izhodišË, brez katerih bi kritiki, ustvarjalci in sestavljavci kompilacij le stežka
uveljavljali svojo razliËnost, ki naše delo sploh upraviËuje in mu hkrati zagotavlja predpogoje za
medsebojno sodelovanje. Brez te drugosti bi se polja našega delovanja enostavno preveË prekrivala
— kar pa je, roko na srce, situacija, s katero smo v Sloveniji tako ali drugaËe primorani živeti. Nekatere
meje vzdržujemo v glavi, da bi jih lahko preËkali v glasbi.
Ker kritiki pogosto pišemo, kot da bi bila naša udeležba v kulturnem krogotoku natanko v tem, da je iz
njega izvzeta, ne smemo pristajati na kompromise, Ëe hoËemo ohraniti svojo integriteto. Dokler si neke
vrste opazovalec, to še gre, kot snovalec — kompilator, urednik ipd. — pa se sooËaš s povsem
drugaËnimi izzivi. ZrašËen si z mrežo, v kateri z enim rezom popusti veË niti. Razmišljati poskušaš veË
korakov v naprej, zadovoljiti Ëim veË ušes. PahljaËo izrazov in rešitev, znotraj katere si prej izbiral in
zagovarjal svoj ožji nabor, poskušaš nenadoma uzreti in ohraniti prav v njeni bogati raznolikosti.
Zgodba, ki jo tako ponujamo vašim ušesom, potrjuje mojo tedanjo nergaško trditev, da imamo Slovenci
vsega po malem; vendar jo postavlja tudi v novo luË. Vprašanja, zakaj oziroma kako neko skladbo
poslušati kot jazz, so nam vedno znova potrjevala sposobnost slovenskih glasbenih ustvarjalcev, da nas
— in vas — presenetijo in izzovejo. Da pokažejo, kako je jazz vedno že nekaj drugega. Ne bomo si
namreË zapomnili tistega, kar poskuša biti brezËasno, temveË tisto, kar izstopa. Ob poslušanju izbranih
(in tudi s težavo izloËenih) skladb smo se veselili novih imen, pogrešali nekatera stara, se Ëudili ob starih
v novem kontekstu in poskušali kontekstualizirati njihov glasbeni razvoj. Dejstvo je namreË, da smo jih v
teh štirih letih nekaj pridobili, a nekaj, žal, tudi izgubili (mogoËe se ne ukvarjajo veË z jazzom, mogoËe se
ne ukvarjajo s takšnimi kompilacijami — npr. Vitja Balžalorsky, Boštjan Simon, Igor Lumpert idr.). Jazz
nas je spet prehitel. Jazz ni na teh dveh CD-jih, jazz je drugje. V svetu, Ëasu in prostoru. V odklonih od
jazza. Andrej HoËevar,
jazzovski kritik in publicist, Ëlan izbirne komisije za kompilacijo Jazz Slovenia 2015
Vprašanja, ki sem jih pred štirimi leti nemara zastavljal bolj kritiËno, Ëeš da se je do njih treba opredeliti,
zdaj izrekam bolj retoriËno, z mislijo na to, da bi nanja lahko odgovarjali drugi, in predvsem vsak po
svoje. (Tudi kritiËno, seveda.) Komu je ta kompilacija namenjena? Kako je slišati slovenski jazz? Kako
bi si želel, da bi bil slišati? Ne nazadnje, kaj sploh je jazz? To so nekatera izmed vprašanj, ki smo si
jih tokratni Ëlani izbirne komisije Tina LešniËar, Mario BateliÊ in jaz skupaj s kolegoma iz SIGIC-a,
Petrom Barošem in Viktorjem Škedljem RenËljem, nenehno zastavljali. In Ëetudi je naše delo temeljilo
bolj na vkljuËevanju kot na izloËanju, to ne pomeni, da nismo bili kritiËni. Nasprotno; vendar smo se
opredeljevali predvsem do celote, ne toliko posameznosti. Na preseËišËu tistega, kar slovenski jazz
dejansko je, in tistega, za kar si je kdo izmed nas želel, da bi bil, se je pred našimi ušesi zaËela razvijati
zgodba, vedno znova sposobna upraviËiti svoj obstoj z nenadnimi izraznimi odkloni in problemskimi
cepitvami. Ni vse najboljše, je pa marsikaj zelo dobro.
6 7
Jazz Is Elsewhere
In the role of critic four years ago, when I reflected on the previous Slovenian jazz compilation, SIGIC’s
first and pioneering anthology, I certainly couldn’t even have begun to imagine the dilemmas that the
compilers had to confront. Endeavouring to maintain our independence and going about our work with
apparent self-sufficiency, critics might sometimes give the impression that they are know-alls. In fact,
this impression arises merely from diverse standpoints, without which compilation critics, editors and
selectors would scarcely be able to fulfil their discrete roles, to voice the difference that really justifies
our job, which is, at the same time, a vital prerequisite for mutual cooperation. Without this divergence,
our spheres of activity would simply overlap unduly, which is, in fact, the reality we are compelled to live
with, in one way or another, in Slovenia. Some limitations are accepted mentally, in order to transcend
them in music.
Since critics often give opinions as if our participation in the artistic scene lay precisely in the fact
that we are on the sidelines, no compromises should be made if our integrity is not to be undermined. As long as you are an observer, things follow their natural course, but as a selector - compiler, editor,
etc. - you tackle completely different challenges. You are an inextricable link in a network, several
threads of which could be severed with a single cut. You try to think several steps ahead, aiming to
please as many listeners as possible. You suddenly try to recognise and preserve the sheer breadth
of expression and solutions from among which you once had the privilege of advocating your personal
favourites against the backdrop of all the rest.
particulars. At the convergence of what Slovenian jazz actually is and our individual ideal images of it, a
story started to take shape in front of our ears, a shared picture whose sudden idiomatic deviations and
divergent concerns rendered it invariably justifiable. Not all examples are superlative, but many are truly
impressive.
So the story that we offer for your listening pleasure confirms my complaint at that time, i.e. that
Slovenia has a modest share of everything; still, the story sheds new light on that claim. The reasons
for considering a piece of music jazz, and ways of doing that, have repeatedly testified to the ability of
Slovenian musicians to surprise and challenge all of us. The ability to demonstrate that jazz is invariably
also something else. Namely, it is not what strives for timelessness that is memorable, but what is
distinctive. Listening to the winnowed (and reluctantly excluded) compositions, we rejoiced at the new
names, regretted not seeing some old ones, marvelled at old figures in new contexts and attempted to
contextualise their musical development. The fact is that over these past four years, some new artists
have surfaced, but also, regretfully, some have vanished (perhaps no longer devoting themselves to
jazz, perhaps not devoting their time to compilations such as this - e.g. Vitja Balžalorsky, Boštjan Simon,
Igor Lumpert, etc.). Jazz has got ahead of us again. Jazz is not on these two CDs; it is elsewhere. It’s
out there, in time and space. In all the deviations from jazz. Andrej HoËevar,
jazz critic and publicist, member of the Jazz Slovenia 2015 compilation selection committee
The issues I examined four years ago from a possibly more critical angle, insisting that we make our
position known, I now consider rhetorically, leaving open the possibility that someone else will resolve
them and, most importantly, from their respective viewpoints (certainly, also critically). For whom is
this compilation intended? What does Slovenian jazz sound like? How would the musicians want it to
sound? And, ultimately, what is jazz anyway? These are some of the issues that the current members
of the selection committee, Tina LešniËar, Mario BateliÊ and myself, in collaboration with SIGIC
associates, Peter Baroš and Viktor Škedelj RenËelj, have dealt with constantly. Although we based our
selection more on inclusion than exclusion, this does not mean we haven’t given it critical attention,
quite the contrary. Nevertheless, our concern focused on the greater whole, and less on going into
8 9
In medias jazz
Ko smo na SIGIC-u leta 2011 pripravljali našo prvo jazzovsko kompilacijo, ki je bila hkrati prva
kompilacija slovenskega jazza, sem spodaj podpisani v spremnem besedilu oËrtal razvoj slovenskega
jazza. Ta se je, spriËo specifiËnega geopolitiËnega položaja Slovenije oziroma takrat Jugoslavije,
razvijal po samosvoji poti in obrazcih, ki so se razlikovali tako od tistih na Zahodu kot tistih v drugih
socialistiËnih državah. Zametki slovenskega jazza so nastali še pred drugo svetovno vojno, po vojni pa
je komunistiËna oblast jazz sprva preganjala. OzraËje se je nato konec 50. let precej sprostilo in zaËele
so nastajati prve zasedbe z avtorskimi skladbami (poprej so manjše zasedbe in big bandi praviloma
igrali predelave standardov). Gotovo je na popularizacijo jazza (in k širitvi njegovega estetskega polja)
usodno vplival jazz festival, ki so ga leta 1960 zagnali na Bledu, sprva kot jugoslovanskega, s selitvijo v
Ljubljano leta 1967 pa je sËasoma prišlo do preimenovanja v današnji Jazz festival Ljubljana.
Medtem ko so bila 60. leta prejšnjega stoletja Ëas vnoviËnega odkritja jazzovske zgodovine in boja za
uveljavitev jazza kot umetniške oblike, enakopravne že etabliranim, so domaËi glasbeniki že dokaj kmalu
zaËeli raziskovati tudi lastna videnja jazza in slediti aktualnim tokovom. Prve moderne zasedbe z avtorskim
repertoarjem smo v Sloveniji, kot reËeno, dobili konec 50. let prejšnjega stoletja, v 70. in 80. letih pa je
mlajša generacija, tako kot se je to poËelo v jazzovsko razvitejših okoljih, zaËela jazz kombinirati z drugimi
zvrstmi, od klasiËne glasbe prek raznolikih tradicionalnih glasb do rocka in punka. Veliko teh glasbenikov
je dejavnih še danes, kar je še posebej pomembno, pa je to, da so se tedaj zastavile smernice
≈inkluzivnega« jazzovskega izraza (takega torej, ki vkljuËuje tudi druge zvrsti), po katerih se še danes
zgledujejo mlajše generacije. Ta demokratizacija glasbe ni minila brez polemik med ≈starimi« in ≈novimi«, a
danes je videti (ali, bolje, slišati), da te stare zdrahe zanimajo bolj zgodovinarje kot glasbenike in publiko.
V nekem drugem zapisu, ki naj bi približal naš jazz tujim ušesom, sem ob koncu ugotavljal, da se na
naši jazzovski sceni še bije bitka med tradicionalisti in modernisti, saj je bilo marsikje zaznati odpor do
free jazza, improvizacije in eksperimentiranja. ≈Vprašanje je le, kdaj bo 'moderno' postalo 'klasiËno'!«
— tako se je glasil zadnji, malËek zbadljivi stavek tistega zapisa, ki se v današnjem trenutku zdi že
rahlo neumesten. V zadnjih letih smo namreË priËe razcvetu eksperimentalne scene, ki se v marsiËem
spogleduje z jazzovsko improvizacijo (pa tudi tisto, ki sodi bolj v podroËje avantgardne klasiËne glasbe),
obenem pa smo dobili kar nekaj zasedb (tako z mlajšimi kot z že poprej uveljavljenimi glasbeniki),
ki se izkljuËno posveËajo svobodnjaškemu igranju. Na tej zbirki so to predvsem Trojnik, Drašler/
10 KarlovËec/Drašler Trio in Cene Resnik Quartet, Ëe omenimo v zadnjih nekaj letih nastale
zasedbe, ki jih sestavljajo dobro znana imena. PriËe smo tako moderni improvizaciji, ki v precep
raziskovanja jemlje sam zven, kot tisti, ki se odkrito navezuje na tradicijo free jazza, od impulzivnega
spiritualnega pristopa do kompleksne zgradbe po vzoru t. i. ameriške loft scene. Tomaž Grom,
kontrabasist v Trojniku, že velja za spiritus movens sodobne eksperimentalne glasbe, ostali Ëlani
teh zasedb pa delujejo v drugih projektih: saksofonist Cene Resnik, denimo, je tudi Ëlan Trojnika,
bobnar Vid Drašler igra tako v Trojniku kot v triu Drašler/KarlovËec/Drašler. Vsa ta prepletanja in
sodelovanja nedvomno prispevajo h krepitvi scene, saj je na plano odloËno stopila mlajša generacija, ki
v sodelovanju pri (tudi žanrsko) razliËnih projektih prej vidi prednost kot oviro.
Hkrati s to žanrsko odprtostjo in radovednostjo je vse bolj prisotna, ali bolje reËeno predstavljena z
manj nelagodja kot vËasih, žanrska odprtost znotraj samega izraza posamiËnih glasbenikov. Res je, tega
je bilo že prej nekaj, a vtis imam, da z vznikom nove, s predalËkanjem manj obremenjene generacije
glasbeniki nimajo ≈težav«, kadar se njihova glasba kakemu ljubitelju standardnega jazza ne zdi ravno
jazzovska oziroma ga, denimo, motijo slišne prvine drugih, z jazzom niti ne tako samoumevno povezanih
zvrsti od popa prek noisa do elektronike. Na priËujoËi zbirki je kar nekaj tovrstnih glasbenikov oziroma
zasedb, ki z radoživim eklekticizmom poživljajo konvencionalne jazzovske obrazce. Med njimi je veË
pripadnikov (naj)mlajše generacije, kakršen je pianist Jan »izmazija, Ëigar skladba odpira našo dvojno
zbirko. »eprav v osnovi prepoznavno jazzovska, skladba stremi k odklonu od standardne matrice tako
v pogostih ritmiËnih spremembah kot pri rabi vokala, ki se nagiba k nenadnim menjavam registra. Bolj
eksperimentalno rabo (spet ženskega) vokala slišimo v skladbah bendov Kukushai in Lolita. Slednji
je veteranski bend, ki pogosto preizkuša nove prijeme in spreminja zasedbo; prenovljena zasedba
tako stavi na besedno dekonstrukcijo, igrivo ponavljanje in spreobraËanje zlogov. Kukushai je novejša
zasedba (pianist Rok Zalokar je prej vodil lastni trio), pri kateri vokal niha med konvencionalnim petjem
in navitim deklamiranjem v slogu ≈slam« poezije. Glasba kitaristov, uvršËenih na kompilacijo, je karseda raznolika. Od Janija Modra, ki mehak, a gibek
fusion pogosto preseka z rockovskimi in funkovskimi vložki, prek Sama Šalamona, ki pri skladanju
za gostujoËe glasbenike svoj zvok spretno umeri na njihovo frekvenco (tokrat na pastoralno sanjavost
Paula McCandlessa), do nagroovanega fusiona Igorja Bezgeta s pirotehniËnimi solažami ter
novatorskega Domna Gnezde, ki se z bendom MiNiMe strumno loteva predrugaËenja prepoznavnega
11
kitarskega zvena v valovanja, piske in šume. Podobno popaËeni zvoki in raba posebnih kitarskih uËinkov
odlikujejo Kombo B, zasedbo, nastalo iz delavnice bobnarja Zlatka KauËiËa. V njej igra kar enajst
bobnarjev in tolkalcev (v skladbi na kompilaciji sicer igrata le dva), vodilno melodijo pa (ob gostujoËem
pozavnistu Damijanu Valentinuzziju) v na zbirki uvršËeni skladbi peljeta kitarista Peter Kastrin in
Jan Jarni; slednji je ob KauËiËu soavtor te skladbe. KauËiË, ki v Kombu B ne igra, temveË ima vlogo
dirigenta in usmerjevalca, se na albumu predstavi v duu s pianistom in pihalcem Milkom Lazarjem. Lazar, znan po minimalistiËnih skladbah, tokrat repetitivne fraze razbija z improvizatorskimi vložki, KauËiË
pa z razpršeno igro vnaša nemir v navidezno umirjeno glasbeno gradivo. Tudi oba mlajša bobnarja s
kompilacije se, tako kot KauËiË, predstavljata kot skladatelja. Žan TetiËkoviË z zasedbo Balchemy
(ime asociira na balkansko alkimijo) balkansko motiviko spretno povezuje s soËno jazzovsko igro. Dre
HoËevar s svojim triom raziskuje pretanjene variacije možnih zvoËnosti, ko v malone dekonstruirani
skladbi v ospredje pridejo razdrobljeni zvoki, škrtanje in šumenje.
PianistiËni prispevki k aktualni sliki slovenskega jazza zasedajo širok spekter možnosti, ki jih ponujajo
Ërno-bele tipke. Milan StanisavljeviÊ vešËe kombinira liriËnost in bogato ritmiËnost stare šole z dobro
odmerjenimi poudarki in premori. Marko »rnËec (Marko Churnchetz) v zdaj že dodobra prepoznavnem
slogu postreže z energiËnim in vitalnim igranjem ter povzemanjem razliËnih jazzovskih usmeritev in jih
združuje z drugimi zvrstmi. Kaja Draksler z BadBooshBandom širi ustaljeno pojmovanje pianistiËnega
tria; veliko je tihih delov in komaj slišnih zvokov, ki se sËasoma stapljajo v navdihnjeno mnogoglasje
skupinske igre. Najbolj emblematski od vseh jazzovskih inštrumentov, saksofon, se pojavi v marsikateri
od omenjenih zasedb, a je bodisi enakopraven ostalim glasbilom bodisi ≈le« del širše zasedbe, ki
jo usmerja neko drugo glasbilo. Pri treh saksofonistih, Juretu Puklu, Lenartu KreËiËu in Vasku
Atanasovskem, pa ima vendarle glavno, nosilno vlogo, a to seveda ne pomeni, da vsi trije ne skrbijo za
uravnovešenost med vsemi glasbeniki v zasedbi in za skupinski zvok. Pukl se z vsakim albumom spušËa
v nova raziskovanja tako lastnega zvenenja kot skupinske interakcije; tukaj je na voljo njegova skladba,
ki iz zaËetnega zadržanega igranja poËasi prehaja v razneženo liriËnost, da bi se na koncu prepustil vse
bolj dinamiËni medigri. KreËiË se v muziciranju z Big Bandom RTV Slovenije podobno poigrava z
menjavanjem slogov in razpoloženj, iz mehkega lirizma prestopa v postbop in swing. Saksofonist Vasko
Atanasovski v zadnjih letih žanje uspehe z netipiËnim triom, v katerem tudi poje. Skladba na tej zbirki
predstavlja izjemo, saj gre za inštrumentalno razliËico njegove starejše skladbe, povrhu pa na njej ne igra
saksofona, temveË flavto in lepo poveže moderno rockovsko spremljavo z bolj komornim vzdušjem.
12 Ostanejo še glasbeniki, ki so (vsaj kot vodje zasedb) na tej kompilaciji edini predstavniki glasbila, ki
ga igrajo. Bratko BibiË nadaljuje svoje v 70. letih prejšnjega stoletja zaËeto poslanstvo osvobajanja
harmonike od okorelih obrazcev (bend Begnagrad). Njegova glasba za marsikoga ni jazz v
konvencionalnem pomenu, a se lucidno spogleduje tako z jazzom kot z obilico drugih zvrsti in obdobij
— od renesanËne glasbe do zvoËnih eksperimentov. Vibrafonist Vid Jamnik je nase opozoril že kot
najstnik; njegova zdaj zrela in oblikovana igra navdušuje z bogatim razponom in impresionistiËnimi
prehodi. TrobentaË Igor MatkoviÊ z le nekaj toni splete atmosferske cinematiËne pokrajine, ki jih nato
z zasedbo gosti in redËi. Kontrabasist in bas kitarist (igra še kopico drugih glasbil) Robert JukiË ima
rad konceptualne albume, kakršen je Life, ki skozi glasbo opisuje razliËna obdobja življenja. Ustvaril
je zgošËeno zvoËno sliko, ki se skozi dobro osmišljene aranžmaje sugestivno sprehodi skozi razliËna
doživljanja.
ZvoËna slika novega slovenskega jazza je izjemno pisana. Bogata je tako v širini uporabljenih postopkov
kakor tudi poetik, ki jih zagovarjajo njeni protagonisti. Okrog nje se lahko istoËasno splete veË zgodb
(tradicionalna, modernistiËna, avantgardna, eksperimentalna ipd.) in zdi se, da se, kot nikoli doslej, te
zgodbe ali scene med seboj ne izkljuËujejo, paË pa zaznamo spoštovanje do drugaËnega igranja (in
naËinov poslušanja). In tudi Ëe obËasno slišimo kako negodovanje ≈jazzovske policije«, ta gotovo ni tako
glasna kot vËasih in mediji se raje kot njej posveËajo primerom pozitivne prakse in sodelovanja, kakršen
je dokumentarec »as za improvizacijo in, upam si (v imenu celotne ekipe) neskromno povedati, tudi tale
zbirka.
ObËinstvo se prav tako ≈seli« iz scene na sceno, rado prisluhne razliËnim zvokom in razumevanjem
tradicije ter si ustvarja lasten soundtrack, ki ga ne obremenjujejo pretekle ideološke ali estetske zdrahe. DrugaËe reËeno: tisti, ki jim je všeË po starinsko zaigrana balada ali soËna staromodna swing in bebop,
prav tako lahko ≈tripajo« še na noise, pop jazz ali avantgardno dekonstrukcijo. »e parafraziram znani
citat iz Carrollove V ogledalu — jazz mi pomeni tisto, kar želim, da pomeni! Mario BateliÊ,
avtor in voditelj radijskih oddaj, glasbeni kritik in publicist, Ëlan izbirne komisije za kompilacijo Jazz Slovenia 2015
13
In medias jazz
When in 2011 the SIGIC associates and I were putting together our first jazz compilation, which was
also the first compilation in the history of Slovenian jazz, I outlined the development of Slovenian jazz
in the liner notes. Because of the specific geopolitical position of Slovenia, or the former Yugoslavia,
Slovenian jazz evolved separately, taking the path less trodden and following patterns different to those
established both in the West and other socialist countries. The origins of Slovenian jazz can be traced
back as far as before World War II, but after the war, jazz was at first suppressed by the communist
authorities. With the unfavourable climate improving considerably in the late 1950s, the first bands to
play original music appeared (previously, smaller groups and big bands generally performed adaptations
of jazz standards). One of the decisive factors in the popularisation of jazz (and broadening of its
aesthetic field) was the jazz festival; inaugurated in 1960 in Bled, the early showcase of Yugoslav jazz
was relocated to Ljubljana in 1967, gradually acquiring its current name, the Ljubljana Jazz Festival.
While the 1960s was a time of rediscovering jazz history and a struggle for the recognition of jazz
as an art form on the same standing as other established genres, Slovenian musicians fairly early on
explored their own visions of jazz and kept abreast of relevant trends. As previously mentioned, the first
Slovenian modern bands to play their own material emerged in the late 1950s, whereas in the 1970s
and 1980s the younger generation of artists, taking their cue from more advanced jazz environments,
began to combine jazz with other styles, from classical and different traditional music genres to rock
and punk. While many of these musicians are still active today, what is especially important is the fact
that, during this period, the principles of an ‘inclusive’ jazz idiom (that is, one that crosses genres) were
formulated, principles still embraced by younger generations today. This musical democratisation was a
bone of contention between ‘the old’ and ‘the new’, but this old controversy no longer seems to be on
the nation’s mind (or, rather, doesn’t reach the nation’s ears), and is more of interest to historians than
musicians or the public.
I concluded another article aimed at introducing Slovenian jazz to international audiences with the
realisation that the battle between the traditionalists and modernists, exhibiting a blatant prejudice
against free jazz, improvisation and experimentation, was still being fought on the Slovenian jazz scene. “It won’t be long before the ‘modern’ becomes ‘classical’!” read the last, somewhat caustic remark in
that piece, which today seems somewhat irrelevant. Namely, an experimental movement has sprouted
14 recently, a burgeoning scene engaging in jazz improvisation in diverse ways (including the type of
improvisation more commonly encountered in classical avant-garde music) whereas, concurrently, quite
a few groups (emerging as well as established musicians) concentrate exclusively on spontaneous
expression. Some of these bands in this compilation are Trojnik, the Drašler/KarlovËec/Drašler
Trio and the Cene Resnik Quartet, to mention only the line-ups formed within the last few years
by well-known figures. Thus, Slovenian jazz has grown to include both contemporary improvisation
that seeks to experiment with sound itself and improvisation that openly draws on free-jazz tradition,
from an impulsive spiritual approach to structural complexity in the style of the American cultural
phenomenon known as loft jazz. Tomaž Grom, double bassist with Trojnik, is considered the spiritus
movens of contemporary experimental music, while other members of the above-mentioned bands also
work in different contexts: sax player Cene Resnik, for example, is also member of Trojnik, drummer
Vid Drašler plays both with Trojnik and the Drašler/ KarlovËec/Drašler Trio. Unquestionably imparting
fresh vigour to Slovenian jazz, all these fusions and collaborations have given rise to a distinct up-andcoming generation, newcomers who see a challenge rather than an obstacle in undertaking diverse
(also stylistically varied) projects.
It is the genre-bending idiosyncrasy of individual musicians, in addition to their stylistic openness and
curiosity, that has become increasingly manifest or, rather, presented with less reserve than before. True, this is no new invention, but my instincts tell me that the nascent generation, less concerned with
categorisations, is not in the least concerned about the lover of conventional jazz who does not regard
their music as genuine jazz or frowns on, for example, the assimilation of other styles, that is, idioms not
so inherently associated with jazz, from pop and noise to electronic music. This compilation contains
quite a few musicians or bands whose energising eclecticism adds renewed vitality to conventional jazz
patterns. These include representatives of the young(-est) generation, such as pianist Jan »izmazija,
whose composition provides the opening track. Although built on a distinctive jazz structure, the piece
tends to deviate from the standard format in both its recurrent rhythm changes and a vocal inclined
towards sudden variations in register. The music of Kukushai and Lolita displays a more experimental
vocal technique (female voice, as well). A seasoned band repeatedly re-inventing their methods and
re-forming their line-up, Lolita’s new configuration makes use of verbal deconstruction, playful reiteration
and syllable inversion. A recently formed band (pianist Rok Zalokar used to lead his own trio), Kukushai’s
lead vocal oscillates between conventional singing and vehement recitation in the style of ‘poetry slam’. 15
The guitarists on our compilation play remarkably variegated music. From Jani Moder, who likes
to interject rock and funk segments into his soft yet supple fusion, through Samo Šalamon, who
is known to dextrously adjust his sound to the frequency of guest musicians when composing for
special projects (in this case, the pastoral reverie of Paul McCandless), to Igor Bezget’s groovy fusion
featuring pyrotechnical solos, and the innovative Domen Gnezda whose MiNiMe band audaciously
seeks to translate a distinctive guitar sound into fluctuations, whistles and rustles. Kombo B, a line-up
formed at a workshop led by drummer Zlatko KauËiË, tends to employ similarly distorted sounds and
special guitar effects. A configuration with as many as eleven drummers and percussionists (although
the track on this compilation features only two), the selected composition’s dominant melodic line
is sustained (alongside guest trombonist, Damijan Valentinuzzi) by guitarists Peter Kastrin and Jan
Jarni, the latter of whom co-wrote the piece with KauËiË. Rather than playing in Kombo B, KauËiË
acts the parts of conductor and driving force behind the band. Our compilation includes another of
KauËiË’s projects, a duo with the pianist and sax player Milko Lazar. On this piece Lazar, noted for
his minimalist writing, interrupts reiterated phrases with improvised passages, while KauËiË’s dispersed
playing ruffles the ostensibly tranquil musical material. Similarly to KauËiË, both of the younger
drummers on our compilation also appear as composers. Žan TetiËkoviË and his band, Balchemy (the
name evokes association with Balkan alchemy), proficiently incorporate Balkan themes into vibrant
jazz playing. In experimenting with various subtle possibilities of sound, it is fractured sounds, rasps and
murmurs that penetrate the surface in Dre HoËevar and his trio’s all-but deconstructed composition.
A piece of the relevant picture of Slovenian jazz, piano creativity makes ample use of the broad
expanse of possibilities the instrument has to offer. Milan StanisavljeviÊ competently combines
lyricism and rich, old-school rhythmic vitality with well-measured accents and rests. Having forged
a highly distinctive identity, Marko Churnchetz, a musician of spirited and vigorous playing style,
borrows from a variety of jazz idioms and integrates them into other genres. Challenging established
notions of the piano trio, the music of Kaja Draksler and the BadBooshBand exhibits a profusion
of quiet parts and barely audible sounds merging gradually into an inspired polyphony of collective
playing. The saxophone, the instrument most emblematic of jazz, features in many of the selected
bands, either on an equal footing with other instruments or ‘merely’ playing a part in the extended
instrumentation dominated by some other instrument. However, it is the saxophone that reedists Jure
Pukl, Lenart KreËiË and Vasko Atanasovski place at the forefront, giving it the leading, central
16 role; nonetheless, the three musicians still pay full attention to the proportional representation of
all band members, as well as the collective sound. Explorative with each new album, Pukl has been
re-imagining his personal sound as well as group interaction; from the initially subdued playing, the
composition included here steadily advances towards tender lyricism, to ultimately give way to an
increasingly dynamic interplay. In collaborating with the RTV Slovenia Big Band, KreËiË similarly toys
with alternating styles and moods, exchanging soft lyricism with post-bop and swing. In recent years,
sax player Vasko Atanasovski has enjoyed great success with his unconventional trio, in which he also
sings. The composition here is an instrumental version of older Atanasovski piece, on which he plays
flute rather than sax, and skilfully invests a contemporary rock outfit with a more intimate atmosphere.
The remaining musicians to be mentioned are the only representatives of their instrument (at least as
band leaders) on this compilation. Bratko BibiË continues to pursue his mission, envisioned in the
1970s, to dispel fossilised perceptions of the accordion (Begnagrad band). Although many listeners
will not think his music is jazz in the conventional sense, BibiË lucidly draws on both jazz and a variety
of other styles and periods, from renaissance music to sonic experiments. Vibraphonist Vid Jamnik
came to prominence already as a teenager; nowadays, he has been riveting public attention with his
mature and well-formed playing, marked by great breadth and impressionistic progressions. It is with
only a few notes that trumpet player Igor MatkoviÊ weaves haunting cinematic soundscapes, which
he then condenses or dilutes with his band. Double bass and bass guitar player (alongside a number of
other instruments), Robert JukiË has a propensity towards conceptual albums, such as Life, a musical
depiction of diverse periods of life. What emerges is a dense tapestry of sound, evocatively reflecting
different experiences through elaborately devised arrangements.
The new Slovenian jazz is a varicoloured kaleidoscope of sound. It displays a wide range of approaches
as well as the artistic visions expounded by its protagonists, and can include several simultaneous
stories or scenes (traditional, modernistic, avant-garde, experimental, etc.) which do not appear to be
mutually exclusive, a phenomenon that’s quite recent, but show respect for different kinds of playing
(and ways of listening). And although the ‘jazz police’ will occasionally voice their indignation, this
disapproval is decidedly milder than before, while the media prefer to address the results of fruitful
practice and collaboration, fine examples of which are the Time to Improvise documentary and, to run
the risk of sounding immodest (and taking credit on behalf of the entire team), also this collection.
17
But audiences also ‘migrate’ from scene to scene, eager to hear different sounds and different
perceptions of tradition, compiling their private soundtracks unburdened by the old ideological or
aesthetic disputes. To put it differently: why couldn’t the people who like an old-fashioned rendition of
a ballad or delectable vintage swing and bebop also ‘get a kick out of’ noise, pop-jazz or avant-garde
deconstruction? To paraphrase a famous quotation from Through the Looking-Glass by Lewis Carroll jazz means to me just what I choose it to mean! Mario BateliÊ,
a radio presenter and reporter, music critic and publicist, member of the Jazz Slovenia 2015
compilation selection committee
»as za improvizacijo
Pobližje sem se s posameznimi glasbeniki v Sloveniji seznanila, ko sem kot novinarka za dnevni
Ëasopis Delo leta 2011 pripravljala serijo Ëlankov o mladih ustvarjalcih s podroËja klasiËne glasbe in
jazza. Posebej pri slednjih me je pritegnila njihova zavzetost, predanost in strast do zvrsti, ki ima sicer
redke in precej specifiËne privržence. Zanimivo se mi je zdelo, kako zgodaj v življenju jim je kompleksni
jazzovski jezik zlezel pod kožo, kako so ga skozi rigorozno vadbo v Ëasu šolanja osvajali z željo, da bi
nekoË svobodno igrali v trenutku, in kako vsak na svoj naËin skozi avtorsko ustvarjanje poskuša najti
specifiËen glas in svoje mesto v glasbi, ki se je drži etiketa marginalnosti. Razumeti sem poskušala
njihovo ≈fanatiËno« vztrajanje, disciplino in osredotoËenost, ki je sicer znaËilna za profesionalne
glasbenike vseh zvrsti.
Navzela sem se nekaj te njihove vznesenosti in jim zaËela z manjšo ekipo slediti s kamero. Ob
raziskovanju in pogovoru z glasbeniki, predvsem pa ob poslušanju njihovega avtorskega izraza, me
je potegnilo v intimni, notranji svet jazza, v odkrivanje (spo)znanj, rezerviranih za posameznike znotraj
≈posveËene« skupnosti.
Leta 2012, ko smo zaËeli resneje slediti premikom na sceni, v prestolnici že par let ni bilo veË
jazzovskega kluba. SporadiËno so se pojavljali lokali, ki so en dan v tednu svojim gostom ponudili
popestritev v obliki žive glasbe. Naenkrat je bilo na veË mestih vsak dan v tednu mogoËe prisluhniti
jazzovskemu koncertu ali jam sessionu. ŠtevilËno zajetna mlada skupina jazzistov, brez pravega
poligona za razvijanje in širjenje svoje glasbe, je vsako tako priložnost zavzeto zgrabila in ustvarila pravo
jazzovsko skupnost, ki je združevala starejšo in mlajšo generacijo, stare in nove stile igranja in predvsem
publiki približevala jazz glasbo. SpecifiËnost slovenskega jazza je tudi to, da številne mlade glasbenike po konËanem srednjem šolanju
sla po znanju žene na študij v tujino; v Sloveniji jazza namreË ni mogoËe študirati na akademski ravni. Slovenci s svetovno znanimi mentorji študirajo v New Yorku, Groningenu, Rotterdamu, Celovcu, Gradcu,
Linzu, na Dunaju, v Berlinu, Amsterdamu in tudi Helsinkih. Ob povratku domov z neprecenljivim znanjem
bodisi kot profesorji oziroma mentorji bodisi kot Ëlani ansamblov pomembno prispevajo k domaËi
glasbeni ustvarjalnosti. S tem ko kljubujejo fiziËnim mejam, s svojo glasbeno odprtostjo in inovativnostjo
premikajo tudi meje znotraj glasbe ter gradijo most med kulturami, mlajšo in starejšo generacijo ter
18 19
glasbenimi tradicijami. Tako jih tudi film ulovi v novih okoljih — konkretno v New Yorku, Amsterdamu in
na Dunaju, kjer so posamezniki našli nov dom in navdih. V filmu je predstavljen ravno prav velik bazen glasbenikov, da prikaže razliËnost in kompleksnost
skupnosti, ki ji pripadajo. Ne gre za antologijski pregled slovenskega jazza, ampak bolj za utrinek
nekega obdobja v zvrsti, ki se v Sloveniji poskuša uveljavljati že od tridesetih let prejšnjega stoletja. Nastala je slika neke generacije, ki ima sicer razliËne poglede na jazz, razliËne talente in znanja in ki se
v doloËenem obdobju spopada z realnostjo na samosvoj naËin. Namen dokumentarca je bil od samega
zaËetka preko svojevrstnih portretov ustvariti skupinsko, univerzalno, a z lokalnimi karakteristikami
prepredeno sliko jazza. Posameznike na njihovi poti ujeti v konkretnem obdobju, skozi katero so vsak
ob svojem Ëasu morali vsi.
Z zanimivimi zgodbami, ozadjem, kako so vstopili v svet jazza, z navdihujoËim avtorskim pristopom ali s
svojo energijo so med snemanjem iz množice poËasi izstopali posamezniki. To so bili saksofonisti Jure
Pukl, prejemnik nagrade Prešernovega sklada, prodoren in produktiven glasbenik, ki so ga z Dunaja,
kjer je študiral in živel veË let, ambicije peljale v New York; Igor Lumpert, ki dlje kot desetletje živi in
ustvarja v New Yorku; Cene Resnik, ki zadnja leta svoj izraz razvija na polju svobodnega jazza in svoje
glasbeno življenje utemeljuje v naËelih budizma; pianista Kaja Draksler, ki je v Amsterdamu študirala
jazz in klasiËno kompozicijo ter se posvetila raziskovanju struktur v svobodni improvizaciji, in Marko
»rnËec (Marko Churnchetz), ki je s svojo virtuoznostjo in širokim spektrom glasbenega izražanja iz
igranja narodnozabavne glasbe na harmoniko postal eden najbolj iskanih mladih jazzovskih pianistov;
trobentaË Igor MatkoviÊ, ki ga služba profesorja jazz trobente na Konservatoriju za glasbo in balet
(KGBL) ni uspavala, paË pa ga notranja strast žene naprej, da uspešno krmari med popularnejšimi
projekti in lastno jazzovsko ustvarjalnostjo; bobnar Žan TetiËkoviË, ki ga je nakljuËje pripeljalo v New
York, kjer študira in asistira na Novi šoli za jazz in sodobno glasbo; in kitarist Jani Moder, ki je bil
v Ëasu snemanja edini, ki je redno službo na KGBL, številne nastope in komponiranje svoje glasbe
uspešno usklajeval še z družinskim življenjem. umetniški direktor za jazz v Kennedy Centru v Washingtonu; Nasheet Waits, mentor številnim našim
glasbenikom in eden vodilnih bobnarjev v progresivnem jazzu; Vijay Iyer, pianist, še en MacArthurjev
nagrajenec in mentor naši pianistki Kaji Draksler; in dva vrhunska newyorška glasbenika, basist Joe
Sanders in bobnar Damion Reid.
V tradiciji jazzovske glasbe je implicitno zapisana angažiranost, odmik od ustaljenih norm in slavljenje
svobodnega duha. VešËina improvizacije (v življenju nasploh) je zaËetnikom jazza zagotovila preživetje. Zato improvizacijo kot osnovno jazzovsko prvino lahko razumemo tudi kot upor. Kreativni upor znotraj
struktur glasbenih kompozicij, a tudi kot upor proti družbenim strukturam in sistemom. V tej luËi sta grajenje prihodnosti na vznesenem glasbenem raziskovanju, ki neposredno ne prinaša
nikakršne ekonomske stabilnosti, in doživljenjska strast do glasbe fascinantni. Zato film skozi mlade
glasbenike, ki so v tem smislu redki zanesenjaki, artikulira tudi sedanjost, družbene probleme in sodobni
pogled na svet — v univerzalnem glasbenem jeziku. Tina LešniËar,
avtorica filma »as za improvizacijo, glasbena novinarka in Ëlanica izbirne komisije za kompilacijo Jazz
Slovenia 2015 Poleg njih v filmu, bodisi kot mentorji, profesorji ali njihovi sodelavci, spregovorijo tudi priznani ameriški
jazzovski glasbeniki: Reggie Workman, basist in profesor na Novi šoli za jazz in sodobno glasbo; Doug
Hammond, bobnar in profesor na glasbenem konservatoriju v Linzu; Jason Moran, eden vodilnih
pianistov mlajše generacije, prejemnik eminentnega priznanja MacArthur Fellowship za genialnost in
20 21
Time to Improvise
I became more aware of the young generation of Slovenian jazz musicians when, as a journalist for
the Delo daily newspaper, I was doing research for a series of articles on young classical and jazz
musicians. When coming into contact with jazz artists, I was particularly impressed by their dedication
and commitment and their passion for a style of music that tends to attract a few discerning and rather
specific aficionados. What I found compelling was the early age at which the complex language of jazz
got under their skin, how rigorously they practised, driven by the desire to one day play jazz freely and
extemporaneously, and how each in their own way strove to develop their specific sound and find a
place in a somewhat marginal music genre. I tried to understand their ‘fanatical’ persistence, discipline
and focus, a common characteristic of professional musicians working in any genre.
Captivated by their drive, I started following them around with a small film crew. While researching
and talking to the musicians and, primarily, listening to their original sound, I immersed myself in the
intimate inner workings of jazz, discovering a secret knowledge shared by members of the ‘select’
community.
In 2012, when my crew and I started to keep abreast of developments in the jazz scene more actively,
the Slovenian capital had been lacking a jazz club for several years. Bars would emerge sporadically
that had an evening earmarked for live music entertainment. Suddenly, it was possible to go to a jazz
concert or jam session every day of the week at various venues. A sizable group of young jazz artists
in need of a real platform on which they could develop and promote their music eagerly jumped at
each of these opportunities, thus forming a veritable jazz community that comprised older and younger
generations, old and new playing styles and, most importantly, encouraging public appreciation of jazz. Another particularity of Slovenian jazz is the fact that many young secondary school music
graduates, motivated by the desire for higher learning, opt to study abroad; the truth of the matter
is that jazz education at university level is not available in Slovenia. Slovenian musicians study
with world-renowned teachers in New York, Groningen, Rotterdam, Klagenfurt, Graz, Linz, Vienna,
Berlin, Amsterdam and even Helsinki. Returning home armed with priceless knowledge, they make
important contributions to Slovenian music scene, either as professors, mentors or band members. By
overcoming physical limitations, these receptive and innovative musicians challenge the boundaries of
22 their art, thus building a bridge between cultural and generational gaps and linking musical traditions. The film likewise captures them in their new environments, such as New York, Amsterdam and Vienna,
where some of them have found both a home away from home and creative inspiration. The film features a circle of musicians large enough to illustrate the diversity and complexity of the
community they belong to. Rather than an anthological overview of Slovenian jazz, it’s a glimpse, a
period in the development of jazz, which in Slovenia has been struggling for recognition since the
1930s. A portrait of a generation began to take shape, of artists with different ideas about jazz,
different talents and skills, confronting the reality of a certain time in their own special way. From the
very beginning, the documentary aimed to paint a universal, group picture of jazz, though one tinged
with local characteristics, based on unique, individual profiles. With the intention of capturing individual
artists in a specific period of their career, which all of them had to go through, each in their own time.
During filming, individual profiles gradually emerged from the collective jazz experience, standing
out with their compelling stories, insights about their first encounters with the world of jazz, inspiring
original approaches and creative energy. These were the stories of sax players: Jure Pukl, a recipient
of the Prešeren Fund Award and an incisive and prolific musician, whose ambitions led him from
Vienna, where he studied and worked for several years, to New York; Igor Lumpert, who has been
living and working in New York for over a decade; Cene Resnik, who has recently developed a
free-jazz sound and has incorporated Buddhist principles into his music; pianists: Kaja Draksler,
who studied jazz and classical composition in Amsterdam, and has devoted herself to exploring the
structures in free improvisation; Marko Churnchetz, a virtuoso player proficient in a wide range of
musical idioms, who has evolved from a folk-pop accordionist into one of the most sought-after young
jazz pianists; trumpet player Igor MatkoviÊ, whose vigour has not been reduced by regular job as a
professor of jazz trumpet at the Ljubljana Music and Ballet Conservatory (KGBL), but follows his inner
artistic drive, effectively steering between popular projects and his own jazz creativity; drummer Žan
TetiËkoviË, who ended up in New York by a stroke of luck, pursuing his studies and assisting at the
New School for Jazz and Contemporary Music; and guitarist Jani Moder who, at the time of filming,
was the only musician who was managing to balance a regular job at the KGBL, his numerous gigs
and the vocation of composer with family commitments. 23
The film also brings into the spotlight acclaimed American jazz musicians in the roles of mentor,
professor or fellow-musician, including Reggie Workman, bass player and professor at the New
School for Jazz and Contemporary Music; Doug Hammond, drummer and professor at the Anton
Bruckner Private University in Linz; Jason Moran, one of the most prominent pianists, a recipient of the
MacArthur Fellowship, and Artistic Director for Jazz at the Kennedy Center in Washington; Nasheet
Waits, mentor to numerous Slovenian musicians and a leading progressive jazz drummer; pianist Vijay
Iyer, another MacArthur Fellow, whose protégée is pianist Kaja Draksler; and two pre-eminent New
York artists, bassist Joe Sanders and drummer Damion Reid.
Deviation from established norms and celebration of freedom of the spirit are some of the
fundamentals implicit in the jazz tradition. Skill at improvisation (as commonly as in life) has been vital
to the survival of pioneers in jazz. This is why improvisation as a basic jazz element can also be seen
as resistance: creative resistance within the structures of musical composition, yet also resistance to
social structures and systems. From this aspect, building one’s future on committed music research, which ensures no direct financial
stability, and a lifelong passion for music-making, seem most fascinating; this is why, by showing the
aspirations of young musicians - with enthusiasm of a rare kind - the documentary also articulates the
present time, social issues and a contemporary worldview - in the universal language of music. Tina LešniËar,
author of the documentary Time to Improvise, music journalist and member of the Jazz Slovenia 2015
compilation selection committee
24 CD 1
Foto / Photo: Urška Lukovnjak
Jan »izmazija
Multiinštrumentalist (pianist, bobnar, saksofonist) Jan »izmazija (1996) je glasbeno pot zaËel na
Glasbeni šoli Lendava, kjer se je pri sedmih letih najprej uËil igranja na klasiËni klavir, tri leta zatem
pa še klasiËni saksofon. Kot bobnar je bil sprva dve leti samouk, nato se je, star trinajst let, vpisal
še na klasiËna tolkala na Glasbeni šoli Beltinci. V nadaljevanju izobraževanja je še naprej kombiniral
klavir in bobne, ljubezni do klasiËne glasbe pa se je kmalu pridružilo zanimanje za jazz. Šolanje je
nadaljeval na umetniški gimnaziji Konservatorija za glasbo in balet Maribor, kjer je vpisal klasiËna
tolkala in teoretiËni oddelek. Med šolanjem se je iz tolkal preusmeril na klasiËni klavir ter se hkrati
vpisal na novoustanovljeni jazz oddelek, in sicer iz bobnov ter kasneje tudi iz klavirja. Med študijem se
je udeleževal mednarodnih in državnih tekmovanj, na katerih je iz vseh treh inštrumentov, ki jih obvlada,
osvajal zlate in srebrne nagrade. Udeležil se je veË delavnic in seminarjev klasiËne (Ruben Dalibaltayan,
Zlata Maleš …) in jazz glasbe (Adam Nussbaum, Alan Jones, Marko »rnËec (alias Marko Churnchetz),
Miroslav Vitous, Duško GojkoviÊ, Jure Pukl, Ratko Zjaca …). V svoji glasbi pretanjeno združuje razliËne
sloge iz klasiËnoglasbene in jazzovske tradicije. Multi-instrumentalist (pianist, drummer, sax player) Jan »izmazija (1996) began his musical studies
at the Lendava Music School, where he started learning classical piano at the age of seven, adding
classical saxophone three years later. A self-taught drummer of two years, Jan signed up for the
classical percussion class of the Beltinci Music School at the age of thirteen. While his further
education included a combination of piano and drums, Jan developed an interest in jazz, while still
pursuing his love of classical music. First enrolling in the classical percussion and music theory course
at the Art Grammar School of the Maribor Music and Ballet Secondary Conservatory, »izmazija later
abandoned percussion in favour of classical piano and also chose to study drums and subsequently
piano at the School’s newly established jazz department. As a secondary student, Jan entered
several national and international competitions, winning first and second prizes with all of his chosen
instruments, and took part in various workshops or seminars on classical music (Ruben Dalibaltayan,
Zlata Maleš, etc.) as well as jazz (Adam Nussbaum, Alan Jones, Marko Churnchetz, Miroslav Vitous,
Duško GojkoviÊ, Jure Pukl, Ratko Zjaca, etc.). »izmazija’s music is a refined blend of classical and jazz
styles. 26 CD
1/1
Skladba / Composition:
Beautiful Mind
(glasba, besedilo in aranžma / music, lyrics and arrangement: Jan »izmazija)
Zasedba / Line-up:
Jan »izmazija - klavir / piano
Sara Briški Cirman - vokal / vocal
Boris Majcen - krilovka / flügelhorn
Luka BenËiË - kontrabas / double bass
Bojan Krhlanko - bobni / drums
Kontakt / Contact:
[email protected]
Predhodno neobjavljen posnetek / Previously unreleased:
z dovoljenjem avtorja / with the author‘s permission
27
Foto / Photo: Jan PrpiË
Igor MatkoviÊ
Za Igorja MatkoviÊa (1983) bi lahko rekli, da mu je bila trobenta položena v zibelko, saj je bil njegov prvi
mentor kar oËe, uËitelj trobente. Legendarne jazzovske trobentaËe, kot so Miles Davis, Clifford Brown, Freddie
Hubbard in Duško GojkoviÊ, je spoznaval ob poslušanju oËetove zbirke plošË. Ko se je sam lotil igranja, je
trikrat zapored osvojil prvo mesto na državnih tekmovanjih za klasiËno trobento. Na ljubljanskem Konservatoriju
za glasbo in balet, kjer je trenutno profesor jazz trobente, je obiskoval tako oddelek za klasiko kot za jazz. Študij je nadaljeval na graški univerzi in leta 2009 magistriral. Izobraževal se je tudi pri vrhunskih trobentaËih,
kot so Stjepko Gut, John Swana, Charles Toliver, Dave Rodgers in Erik Vloeimans. Poleg jazzovskih zasedb
je veliko sodeloval s pop in rock glasbeniki; slišimo ga lahko na veË kot 30 albumih (Melodrom, N'toko, Jani
Moder, Igor Bezget idr.). Na albumu Motion In Two Dimensions (Celinka, 2010) sta z Markom »rnËcem
(Markom Churnchetzem) igrala standarde, leto zatem je izšel Live in Coimbra (Clean Feed) zasedbe European
Movement Jazz Orchestra, katere Ëlan je, njegov avtorski album Sonic Motion (Celinka, 2012) pa je prinesel
skladbe, v katerih se MatkoviÊ s svojim kvartetom predaja impresionistiËnim, cinematiËnim jazzovskim
pokrajinam. V novi razliËici kvarteta igra pianist Marcin Wasilevski (sodelavec Tomasza Stańka). Born into a musical family, Igor MatkoviÊ (1983) received his earliest musical education from his father, a
trumpet teacher. He first came into contact with jazz music by listening to his father’s record collection, albums
by such legendary jazz trumpeters as Miles Davis, Clifford Brown, Freddie Hubbard and Duško GojkoviÊ. As
a musician in his own right, MatkoviÊ has won three successive Slovenian classical trumpet competitions. He
attended classical as well as jazz classes at the Ljubljana Music and Ballet Conservatory, where he is currently a
professor of jazz trumpet. He studied at the University of Graz, Austria, where he also obtained an MA in 2009. MatkoviÊ has trained with such pre-eminent trumpet players as Stjepko Gut, John Swana, Charles Toliver, Dave
Rodgers and Erik Vloeimans. Besides working with jazz ensembles, he has also formed music partnerships
with artists engaged in different genres, including pop and rock musicians; as a sideman, he has contributed
to over 30 albums (Melodrom, N’toko, Jani Moder, Igor Bezget, etc.). While Igor’s joint production with pianist
Marko Churnchetz, Motion in Two Dimensions (Celinka, 2010), includes the duo’s take on a selection of jazz
standards, Live in Coimbra (Clean Feed) was released by the European Movement Jazz Orchestra, another of
the projects Igor has been involved in. Recorded with his Quartet, MatkoviÊ’s own album, Sonic Motion (Celinka,
2012), features original music that evokes a tapestry of impressionistic, cinematic jazz soundscapes. The new
line-up includes pianist Marcin Wasilevski (who also plays with Tomasz Stańko). 28 CD
1/2
Skladba / Composition:
Intuition
(glasba in aranžma / music and arrangement: Igor MatkoviÊ)
Zasedba / Line-up:
Igor MatkoviÊ - trobenta / trumpet
Marko Churnchetz - klavir, Rhodes / piano, Rhodes Robert JukiË - kontrabas / double bass
Vladimir KostadinoviÊ - bobni / drums
Kontakt / Contact:
[email protected]
www.igormatkovic.com Naslov albuma / Album title:
Igor MatkoviÊ: Sonic Motion
(Celinka, 2012)
29
Foto / Photo: Miro ∆eliÊ
Balchemy
Bobnar Žan TetiËkoviË (1991) trenutno živi v New Yorku in študira na Novi šoli za jazz in sodobno
glasbo (tja ga je povabil Reggie Workman), kjer so, med drugimi, njegovi profesorji Tyshawn Sorey,
Gregory Hutchinson, Nasheet Waits in Drew Gress. Kljub mladosti je že pustil peËat v novem okolju,
saj je bil kot najmlajši študent v zgodovini jazzovskega oddelka omenjene šole pri 21 letih izbran za
asistenta Chrisa Stoverja in Jane Ire Bloom. Je dvakratni prejemnik nagrade za skladbo na tekmovanju
Ameriškega združenja glasbenih ustvarjalcev in izdajateljev - ASCAP Young Jazz Composers Award. Leta 2013 je s hrvaškim tamburistom Filipom Novoselom v New Yorku zagnal mednarodni kvintet
Balchemy, ki je lucidno povezal jazzovski pristop in prvine balkanske glasbe. Zasedba je prejela
Downbeatovo študentsko nagrado, podobno navezavo na balkansko motiviko pa je bilo slišati v
projektu Oasis, ki ga je leta 2014 v Sloveniji izvedel v sodelovanju z Big Bandom RTV Slovenija in
vidnimi mednarodnimi gosti. Poleg Novosela sta bila v zasedbi še, denimo, Theodosii Spassov in Vlatko
Stefanovski (v pripravi je tudi album). Po zgošËenki Good Start (2014), ki jo je TetiËkoviË objavil z Geo
Progulakis Triom, z lastnim newyorškim oktetom pripravlja album The Port of Life, kar bo, ob plošËi
Oasis, njegov drugi avtorski album v letu 2015. Currently based in New York City, drummer Žan TetiËkoviË (1991) is attending the New School for
Jazz and Contemporary Music (at the initiative of Reggie Workman), studying with professors such as
Tyshawn Sorey, Gregory Hutchinson, Nasheet Waits and Drew Gress. Despite his youth, the drummer
has already made a strong academic impression and at the age of 21 is the youngest undergraduate in
the history of the School’s Jazz Department to have been appointed assistant to Chris Stover and Jane
Ira Bloom. TetiËkoviË has twice received the Young Jazz Composers Award, a distinction presented
by the American Society of Composers, Authors and Publishers (ASCAP). Balchemy, an international
quintet that lucidly integrates elements of Balkan music into jazz structures, was formed with Croatian
tamboura player Filip Novosel in New York in 2013 and soon went on to win the Downbeat Student
Music Award. Oasis, a 2014 project launched in Slovenia in collaboration with the RTV Slovenia Big
Band and prominent international artists, displays a similar incorporation of Balkan-music motifs. Among others, the line-up has featured Theodosii Spassov and Vlatko Stefanovski as well as Novosel
(an album is also in the making). Recorded by TetiËkoviË and the Geo Progulakis Trio, the Good Start
album (2014) is to be followed by The Port of Life, a new release from Žan as leader of the Zan
Tetickovic Octet, which will be his second 2015 album under his own name after Oasis. 30 CD
1/3
Skladba / Composition:
Nightwatch
(glasba in aranžma / music and arrangement: Žan TetiËkoviË, Filip Novosel)
Predhodno neobjavljen posnetek / Previously unreleased:
z dovoljenjem avtorjev / with the authors‘ permission
Zasedba / Line-up:
Žan TetiËkoviË - bobni / drums
Filip Novosel - tambura / tamboura
Francesco Geminiani - tenorski saksofon / tenor saxophone
Martha Kato - klavir / piano
Martin Doykin - kontrabas / double bass
Kontakt / Contact:
[email protected]
www.filipnovosel.com
31
Foto / Photo: Tone Stojko
Jure Pukl
Jure Pukl (1977) je po zakljuËeni SGBŠ Maribor najprej študiral klasiko, in sicer na dunajski Univerzi za
glasbo in uprizarjajoËe umetnosti, nato pa jazz, za kratek Ëas na Dunaju ter nato na Kraljevem konservatoriju
v Haagu. Na slovitem kolidžu Berklee je nadaljeval s študijem jazzovskega saksofona, iz katerega je nato
opravil še podiplomski študij na Univerzi za glasbo in uprizarjajoËe umetnosti v Gradcu. Izpopolnjeval se je
pri priznanih saksofonistih, kot sta denimo Joe Lovano in George Garzone. Že v Ëasu študija je vodil lastne
projekte ter sodeloval v drugih zasedbah, tudi rockovskih. Med tujimi glasbeniki, s katerimi je igral, najdemo
imena Maceo Parker, Esperanza Spalding, Vijay Iyer, Damion Reid, Aaron Goldberg in Marcus Gilmore, od
domaËih pa denimo Kaja Draksler, Jani Moder in Robert JukiË. Sodeloval je tudi z velikimi orkestri, na primer
z Big Bandom RTV Slovenija in European Movement Jazz Orchestra. Glasbenik, ki trenutno deluje v New
Yorku, je niz avtorskih izdelkov zaËel leta 2003 z albumom The Wizard (Goga, 2003), v letu 2014 pa je s
svojo newyorško zasedbo objavil sedmi album The Life Sound Pictures of Jure Pukl (Fresh Sound New
Talent). V njegovi glasbi slišimo paleto pristopov, od navezav na moderno klasiko do aktualnih jazzovskih
strujanj in eksperimentov. Leta 2015 je prejel prestižno nagrado Prešernovega sklada. After graduating from the Maribor Music and Ballet Secondary Conservatory, Jure Pukl (1977) initially
studied classical music at the University of Music and Performing Arts in Vienna, and subsequently opted
for jazz, first studying in Vienna for a brief spell, and then at the Royal Conservatoire in The Hague. Pukl
continued his jazz saxophone training at the prestigious US Berklee College of Music, then went on to
obtain a post-graduate degree in the instrument at the University of Music and Performing Arts in Graz,
Austria. Two of Pukl’s saxophone teachers were the masters Joe Lovano and George Garzone. Already
while pursuing his studies Pukl performed either as the leader of his own bands or as a sideman with
various groups, including rock acts. He has played with many international musicians, such as Maceo Parker,
Esperanza Spalding, Vijay Iyer, Damion Reid, Aaron Goldberg and Marcus Gilmore, as well as Slovenian
artists Kaja Draksler, Jani Moder and Robert JukiË, to name but a few, and worked with several orchestras,
like the RTV Slovenia Big Band and the European Movement Jazz Orchestra. In his own right, the currently
New York-based Pukl released The Wizard (2003), the first in a series of albums, and in 2014 added his
seventh release to the collection, The Life Sound Pictures of Jure Pukl, recorded with his New York line-up. Jure Pukl’s music displays a variety of approaches, ranging from the incorporation of modern classicalmusic principles to elements of relevant jazz currents and experiments. In recognition of his notable cultural
achievements, Pukl received the 2015 Prešeren Fund Award, one of Slovenia’s major prizes.
32 CD
1/4
Skladba / Composition:
Last Autumn
(glasba in aranžma / music and arrangement:
Jure Pukl)
Naslov albuma / Album title:
Jure Pukl: The Life Sound Pictures of Jure Pukl
(Fresh Sound New Talent, 2014)
Zasedba / Line-up:
Jure Pukl - tenorski saksofon / tenor saxophon
Adam Rogers - kitara / guitar
Sam Harris - klavir / piano
Joe Sanders - kontrabas / double bass
Rudy Royston - bobni / drums
Kontakt / Contact:
[email protected]
www.jurepukl.com
33
Robert JukiË
CD
1/5
Kontrabasist in bas kitarist Robert JukiË (1978) je dejaven ne le na jazzovskem podroËju, paË pa se v
zadnjih letih kot avtor glasbe in besedilopisec uveljavlja tudi znotraj kantavtorskega glasbenega polja
(hvaljeni dvojni album Dobrote iz skrinje zarote, Celinka, 2011). Ta diplomant jazzovskega oddelka
priznane Univerze za glasbo in uprizarjajoËe umetnosti v Gradcu je na slovenski sceni prisoten od
leta 1998, z jazzovskim prvencem How About That!?! (Kuhna) pa se je oglasil štiri leta kasneje. Kot
inštrumentalist in/ali aranžer je prisoten na veË kot 50 albumih tako raznovrstnih izvajalcev, kot so Pero
Lovšin, Nude ter Uršula Ramoveš in Fantje z Jazbecove grape. Sklada tudi za kratke filme, multimedijske
in plesne predstave ter pouËuje na Konservatoriju za glasbo in balet v Ljubljani. Svoje avtorske albume
gradi okrog konceptualno zaokrožene ideje; še posebej dobrega kritiškega odziva je bil deležen album
Operation Charlie (Dit e'nat) z zgodbo o gangsterjih (izšel je leta 2011, tako kot Live in Coimbra zasedbe
European Movement Jazz Orchestra, katere Ëlan je). Leta 2014 je objavil digitalni album ZvoËna zloženka
št. 1 (DI), izbrana skladba pa prihaja z albuma Life (Unit Records, 2013), ki skozi glasbo, ta zajema iz
široke žanrske palete od popa do opere, sugestivno popisuje posameznikovo življenje. 34 Naslov albuma / Album title:
Robert JukiË: Life
(Unit Records, 2013)
Zasedba / Line-up:
Robert JukiË - kontrabas, bas kitara, gimbri /
double bass, bass guitar, guembri Lenart KreËiË - tenorski saksofon / tenor saxophone Jure Pukl - tenorski saksofon / tenor saxophone
Jaka KopaË - altovski saksofon / alto saxophone
Daniel Noesig - trobenta / trumpet
Mario Vavti - pozavna / trombone
Jani Moder - elektriËna kitara / electric guitar
Georg Vogel - klavir, Rhodes / piano, Rhodes Lana CenËiÊ - tabla Kristijan KrajnËan - Ëelo / cello
Andre Carvalho - kontrabas / double bass
Flip Philipp - qarkabeb Wolfgang Reiner - bobni / drums
Foto / Photo: Peter Purgar
Double bass and bass guitar player Robert JukiË (1978) works in a variety of contexts: apart from
devoting his time to jazz, he has recently asserted himself as a composer and songwriter, writing both
lyrics and music (and recording an acclaimed double album, Dobrote iz skrinje zarote, Celinka, 2011). A jazz graduate of the prestigious University of Music and Performing Arts in Graz, Austria, JukiË has
been part of the Slovenian music scene since 1998, releasing his first jazz album, How About That!?!
(Kuhna), four years later. He is a featured instrumentalist and/or arranger on over 50 albums by artists
as diverse as Pero Lovšin, Nude and Uršula Ramoveš in Fantje z Jazbecove grape. A professor at the
Ljubljana Music and Ballet Conservatory, JukiË has scored music for short films, as well as multimedia
and dance productions. A conceptually elaborate theme runs through each of his own albums; focusing
on gangsters, it was Operation Charlie (Dit e’nat) that met with an especially favourable critical
reception (produced in 2011, the year of the European Movement Jazz Orchestra’s Live in Coimbra
release, with JukiË on bass). While 2014 saw JukiË release the ZvoËna zloženka št. 1 digital recording
(DI), the composition here is included on Life (Unit Records, 2013), an album featuring a broad
spectrum of genres ranging from pop to opera, and employing evocative imagery to explore the life of
the individual. Skladba / Composition:
Dictatorship
(glasba in aranžma / music and arrangement: Robert JukiË)
Kontakt / Contact:
[email protected] www.robertjukic.com 35
Foto / Photo: Simon Pintar
Jani Moder's Brain Blender
Kitarist Jani Moder (1978) je klasiËno kitaro zaËel igrati že kot osemletnik; deset let se je izobraževal pod
mentorstvom prof. Ljudmila Rusa. Študij je nadaljeval v Avstriji, in sicer je na Koroškem deželnem konservatoriju
študiral jazz in klasiËno kitaro ter leta 2002 diplomiral z odliko, in v ZDA na slovitem kolidžu Berklee. Tudi ta
študij je zakljuËil z odliko in prejel nagrado šole za izjemne glasbene dosežke. Med njegovimi profesorji so bili
Mick Goodrick, Joe Lovano in David Gilmore. Igral je s številnimi znanimi imeni svetovnega in slovenskega jazza,
kot so European Movement Jazz Orchestra, Dave Samuels, Alex Sipiagin, Jonathan Blake, Miles Griffith, Ratko
Divjak, Krunoslav LevaËiÊ, Aljoša JeriË, Steve Wood, Robert JukiË, Jure Pukl in Joris Teppe. Sodeloval je tudi
z vidnimi izvajalci popa in rocka, kot so denimo Planet Groove, Dado TopiÊ, Janez BonËina - BenË, Jadranka
Juras in Leeloojamais. Prisoten je na veË kot 40 albumih. Avtorskemu prvencu Momentum (Goga, 2008) je
sledil Sky High Low Down (Barnette Records, 2013) s poudarkom na zvoku orgel Hammond (zelo dobro so ga
ocenili v spletni reviji All About Jazz), leta 2014 pa je izšel njegov tretji album, Abacus (RTV Slovenija, ZKP), s
katerega prihaja izbrana skladba Venus Radius. Moder v skladbe vnaša tako sodobne skladateljske postopke
(matematiËno kombinatoriko) kakor tudi navezave na rock in funkovski groove. Guitarist Jani Moder (1978) started learning classical guitar at the early age of eight, and trained for ten years
with Prof. Ljudmil Rus. Undertaking further studies in Austria, Jani graduated summa cum laude in jazz music
and classical guitar from the Carinthian State Conservatory in 2002. He also graduated with honours from the
prestigious Berklee College of Music in Boston, USA, where he was a recipient of the school’s Stephen D. Holland Award for outstanding musicianship. He studied with Mick Goodrick, Joe Lovano and David Gilmore,
to name but a few. Jani has played with numerous internationally acclaimed jazz exponents, from the European
Movement Jazz Orchestra, Dave Samuels, Alex Sipiagin, Jonathan Blake, Miles Griffith, Ratko Divjak, Krunoslav
LevaËiÊ, Aljoša JeriË, Steve Wood, Robert JukiË and Jure Pukl to Joris Teppe. He has also contributed to
projects by some prominent pop and rock figures, including Planet Groove, Dado TopiÊ, Janez “BenË” BonËina,
Jadranka Juras and Leeloojamais. Moder has recorded over forty CDs as a sideman. Momentum (Goga, 2008),
his first album in his own right, was followed by Sky High Low Down (Barnette Records, released in 2013 to
glowing reviews on the All About Jazz web music magazine) which has an overarching Hammond-organ theme. Our selection, Venus Radius, is from the guitarist’s third album, Abacus (RTV Slovenija, ZKP Publishing and
Record Label, 2014). Moder employs contemporary methods of composition (e.g. the mathematical branch of
combinatorics) and also draws freely from rock as well as funk-groove.
36 CD
1/6
Skladba / Composition:
Venus Radius
(glasba in aranžma / music and arrangement: Jani Moder)
Naslov albuma / Album title:
Jani Moder‘s Brain Blender: Abacus
(RTV Slovenija, ZKP Publishing and Record Label,
2014)
Zasedba / Line-up:
Jani Moder - kitara / guitar
Marko Churnchetz - Rhodes
Robert JukiË - elektriËni ≈baby« bas / electric ‘baby’ bass
Klemens Marktl - bobni / drums
Vid UšeniËnik - marimba, zvonËki / marimba, bells
Kontakt / Contact:
[email protected]
www.janimoder.com 37
Foto / Photo: Jaka Vinšek
Marko Churnchetz
Marko »rnËec alias Marko Churnchetz (1986) je, kot mnogi jazzovski pianisti, sprva študiral klasiËno
glasbo; zaËel je že kot šestletnik na harmoniki, ki jo je štiri leta pozneje zamenjal za klavir. Že kot
najstnik je prejel številne slovenske in mednarodne nagrade. Po konËanem študiju klasiËnega klavirja
na SGBŠ Maribor je leta 2009 na Univerzi za glasbo in uprizarjajoËe umetnosti v Gradcu diplomiral tako
iz klasiËnega kot jazzovskega klavirja. Že leto kasneje je pri založbi B.A.S.E. objavil prva dva avtorska
albuma, Signature ter Moral Interchange. »rnËec je nastopal ali snemal z znanimi glasbeniki, kot so Bob
Mintzer, Don Menza, Luis Bonilla, Damion Reid, Karmina Šilec, Stanko Arnold, Mark Shim, Chris Tordini in
Justin Brown. Zadnji trije sestavljajo njegov aktualni newyorški kvartet, s katerim je pri londonski založbi
Whirlwind Recordings objavil tretji avtorski album, Devotion. ≈Sebe imam za skladatelja, ki si prizadeva
uravnovesiti intelekt in emocijo, ne da bi kdajkoli pozabil, da glasba lahko ljudi pripravi do premikanja,
plesa in smeha. Znotraj ene skladbe skušam raziskovati številna raznolika razpoloženja, ki neposredno
odražajo moje glasbene okuse,« pravi »rnËec, ki na novem albumu združuje številne zvrsti od flamenka in
hiphopa do liriËnih balad in swinga. Ta Ëas živi med Slovenijo in New Yorkom. Like many jazz pianists, Marko »rnËec alias Marko Churnchetz (1986) initially studied classical music;
at the early age of six, he started to learn the accordion, which he gave up four years later in favour of
piano. It was not long before, already in his teens, numerous national and international awards followed. Having graduated in classical piano from the Maribor Music and Ballet Secondary Conservatory,
Churnchetz majored in classical and jazz piano in 2009 from the University of Music and Performing
Arts in Graz, Austria. It was only a year later that his first two albums, Signature and Moral Interchange,
were released in his own right on the B.A.S.E. label. Churnchetz has shared the stage or recorded with
a range of notable musicians, including Bob Mintzer, Don Menza, Luis Bonilla, Damion Reid, Karmina
Šilec, Stanko Arnold, Mark Shim, Chris Tordini and Justin Brown. The three last-named artists comprise
his current New York quartet, a line-up that also contributed to Devotion, Churnchetz’s third album under
his own name published by London’s Whirlwind Recordings. Churnchetz, whose latest release melds
various styles, from flamenco and hip hop to lyrical ballads and swing, considers himself “a composer
who aspires to balance intellect with emotion, while never forgetting that music can make people move,
dance, and smile. I try to explore many different moods within a piece that directly translates my musical
taste.” Marko Churnchetz currently divides his time between Slovenia and New York City. 38 CD
1/7
Skladba / Composition:
Being There
(glasba in aranžma / music and arrangement: Marko Churnchetz)
Zasedba / Line-up:
Marko Churnchetz - klavir / piano
Mark Shim - tenorski saksofon / tenor saxophone
Chris Tordini - kontrabas / double bass
Justin Brown - bobni / drums
Kontakt / Contact:
[email protected]
www.markocrncec.com Naslov albuma / Album title:
Marko Churnchetz: Devotion
(Whirlwind Recordings, 2014)
39
Big Band RTV Slovenija deluje že od leta 1945 in sodi med najstarejše tovrstne zasedbe na svetu. OdloËilen peËat sta ustvarjanju big banda dala njegova prva dva dirigenta, Bojan AdamiË in Jože Privšek. Ob upokojitvi slednjega leta 1991 so vodstvo orkestra prevzeli Lojze KrajnËan, Petar Ugrin, Milko Lazar
in drugi. Z big bandom so nastopili vidni tuji dirigenti (Mercer Ellington, Maria Schneider, Michael Abene,
Bob Mintzer ...) in solisti (Johnny Griffin, Jon Hendricks, Bobby Shew, Peter Erskine, Ronnie Cuber, Mike
Stern, Joe Lovano, Ernie Watts, Kurt Elling, Nicholas Payton ...). Saksofonist Lenart KreËiË (1982) živi
med Slovenijo in New Yorkom, kjer je po diplomi leta 2007 na Novi šoli za jazz in sodobno glasbo (tja ga
je povabil Reggie Workman, ki ga je opazil na novomeški delavnici Jazzinty) dve leti kasneje še magistriral
na newyorški univerzi. Njegovi mentorji so, med drugimi, bili Chris Potter (ta je leta 2010 gostoval na
KreËiËevem v samozaložbi izdanem prvencu Chain of Sounds), Joe Lovano, Reggie Workman (z njim je
igral v opaženi zasedbi Statements), Charles Tolliver, Andrew Cyrille in Joe Chambers. KreËiË ustvarja
za razliËne zasedbe, od komornih do big bandov. Skladba iz našega izbora, ki prinaša njegov sugestivno
razigrani solo, je bila posneta v okviru krajše slovenske turneje januarja 2015. Established in 1945, the RTV Slovenia Big Band ranks among the world’s oldest orchestras of its kind. The orchestra’s first two conductors, Bojan AdamiË and Jože Privšek, had a decisive role in shaping
the big band’s artistic vision. Since 1991, when Privšek retired, the orchestra has been led by eminent
musical directors such as Lojze KrajnËan, Petar Ugrin and Milko Lazar. The big band has hosted
some major guest conductors (Mercer Ellington, Maria Schneider, Michael Abene, Bob Mintzer, etc.)
as well as soloists (Johnny Griffin, Jon Hendricks, Bobby Shew, Peter Erskine, Ronnie Cuber, Mike
Stern, Joe Lovano, Ernie Watts, Kurt Elling, Nicholas Payton, etc.). Sax player Lenart KreËiË (1982)
works in Slovenia and New York City, where he graduated in 2007 from the New School for Jazz and
Contemporary Music (which he entered at the invitation of Reggie Workman, who noticed him at the
Jazzinty workshop in Novo mesto, Slovenia) and two years later obtained an MA at New York University. He has studied with luminaries such as Chris Potter (featured on KreËiË’s 2010 self-released debut
album, Chain of Sounds), Joe Lovano, Reggie Workman (the two played in the notable Statements
project), Charles Tolliver, Andrew Cyrille and Joe Chambers, to name but a few. KreËiË also writes for
diverse projects, from chamber ensembles to big bands. Featuring Lenart’s evocatively playful solo, the
composition in our selection was recorded in January 2015 during a small-scale tour of Slovenia. 40 Foto / Photo: Jana Šnuderl
Lenart KreËiË in Big Band RTV Slovenija, gosta Gene Lake in Boris Kozlov /
Lenart KreËiË & RTV Slovenia Big Band feat. Gene Lake & Boris Kozlov
CD
1/8
Skladba / Composition:
Mind Change
(glasba in aranžma / music and arrangement: Lenart KreËiË)
Naslov albuma / Album title:
Lenart KreËiË & Big Band RTV Slovenija: United We Stand — LIVE
(RTV Slovenija, ZKP Publishing and Record Label, 2015)
Zasedba / Line-up:
Lenart KreËiË - tenorski saksofon, dirigent / tenor saxophone, conductor
Big Band RTV Slovenija / RTV Slovenia Big Band:
Aleš Suša, Primož Fleischman, Adam Klemm, Miha
Hawlina, Blaž TrËek - saksofoni / saxophones Darko Sedak BenËiÊ, Dominik KrajnËan, David Jarh,
Tomaž Gajšt, Andy Pesendorfer - trobente / trumpets
Matjaž MikuletiË, Rok Štirn, Marjan Petrej, Emil Spruk pozavne / trombones
Primož GrašiË - kitara / guitar
Blaž JurjevËiË - klavir / piano
Gosta / Guests: Gene Lake - bobni / drums Boris Kozlov - bas kitara / bass guitar
Solisti / Soloists: Lenart KreËiË - tenorski saksofon / tenor saxophone
Gene Lake - bobni / drums Primož Fleischman - altovski saksofon / alto saxophone
Blaž TrËek - baritonski saksofon / baritone saxophone Dominik KrajnËan - trobenta / trumpet
Primož GrašiË - kitara / guitar
Kontakt / Contact:
[email protected]
www.lenartkrecic.com
[email protected] www.rtvslo.si/bigband
41
Organics
CD
1/9
Kitarist Igor Bezget (1968) zase pravi, da je samouk, Ëeprav je konËal tri letnike Brucknerjevega
konservatorija v Linzu. Za seboj ima skoraj 30-letno kariero ter okrog 100 studijskih glasbenih projektov
in sodelovanja v žanrsko raznolikih projektih. V srednji šoli je sprva igral v rockovskih bendih, ko se je
zaËel zanimati za jazz, pa se je pridružil zasedbi Black Balloon, ki je bila ustanovljena v 80. letih in sodi
med pionirje slovenskega fusion jazza. Poleg tega benda, ki deluje še danes, je zagnal številne druge
jazz in etno zasedbe, kot so Maska, Sensor, Bahur, Plan 9, Pangea in Kurkuma, in sodeloval z glasbeniki
iz Sedmine, Lolite in Papirja pa z Zoranom Predinom in Klariso JovanoviÊ. V nekaterih zasedbah se
posveËa tradicionalnim glasbam, od indijskih (Sagar) do orientalskih in afriških, saj igra tudi na arabsko
lutnjo, turški saz in indijski sarod. Nekaj Ëasa je deloval v New Yorku; izmed tamkajšnjih projektov
izstopa Statements, v katerem so igrali Lenart KreËiË, Gerry Hemingway, Reggie Workman in Yayoi
Ikawa. Bezget je posnel vrsto solistiËnih kitarskih albumov, leta 2014 pa je, recimo, sodeloval s slovitim
kitaristom Larryjem Coryellom. Skladba naelektrenega fusiona v našem izboru je del njegovega projekta
Australopitek s skupino Organics, v kateri ob njem igrata še pianist Marko »rnËec (Marko Churnchetz) in
bobnar Damion Reid. 42 Predhodno neobjavljen posnetek / Previously unreleased:
z dovoljenjem avtorja / with the author's permission
Zasedba / Line-up:
Igor Bezget - kitara / guitar
Marko Churnchetz - orgle Hammond / Hammond organ
Damion Reid - bobni / drums
Kontakt / Contact:
[email protected]
igorbezget.webs.com
Foto / Photo: Igor Bezget
Although he studied music for three years at the Anton Bruckner Private University in Linz, Austria, Igor
Bezget (1968) considers himself a self-taught guitarist. His prolific musical career spans almost three
decades and includes close to 100 studio projects and diverse cross-genre partnerships. At first playing
in rock bands in his late teens, Igor’s interest in jazz prompted him to join Black Balloon, a pioneering
Slovenian fusion jazz band established in the 1980s. Apart from performing with the currently still active
Black Balloon, Igor has started a number of jazz and ethno music ensembles, including Maska, Sensor,
Bahur, Plan 9, Pangea and Kurkuma, and worked with members of Sedmina, Lolita and Papir, as well
as musicians Zoran Predin and Klarisa JovanoviÊ. Through engagement in different ensembles, Igor
explores a range of world music styles, from Indian (Sagar) and Oriental to African traditions, and plays
traditional string instruments, including Arabic oud, Turkish saz and Indian sarod. On one of his musical
excursions, Bezget also stopped in New York City, where his most notable project was Statements, a
quintet consisting of Lenart KreËiË, Gerry Hemingway, Reggie Workman and Yayoi Ikawa. With a number
of solo guitar albums to his name, one of Bezget’s 2014 highlights was a project with the illustrious
guitar virtuoso, Larry Coryell. Our selection is an electrified fusion track on Australopithecus, a project
with the Organics trio, which includes pianist Marko Churnchetz and drummer Damion Reid. Skladba / Composition:
Australopitek / Australopithecus
(glasba in aranžma / music and arrangement: Igor Bezget)
43
Foto / Photo: Nada Žgank
Cene Resnik Quartet
Saksofonist Cene Resnik (1978) je, še preden je nase opozoril ljubitelje jazza, igral v priljubljeni
rockovski atrakciji Siddharta. Jazzovski saksofon je študiral na celovškem konservatoriju, med študijem
pa se je izpopolnjeval na delavnicah pri Reggieju Workmanu, Dougu Hammondu in Joeju Zawinulu,
s katerim je tudi nastopal. Po zakljuËku študija leta 2007 se je odpravil v New York, kjer je študiral
z Gregom Osbyjem. V New Yorku se je od blizu sreËal s svobodno improvizirano glasbo; sam pravi,
da je nanj najbolj vplival celotedenski koncertni dogodek Cecila Taylorja in Tonyja Oxleyja v klubu
Village Vanguard. Spontano improvizacijo Resnik združuje z naËeli budizma, saj redno obiskuje Indijo,
kjer se ukvarja z meditacijo in študira budistiËno filozofijo. A njegova glasba ni umirjeno meditativna,
kot bi nemara kdo pomislil, paË pa gre za zelo udaren in tudi kontemplativen free jazz. V njegovem
kvartetu igrajo ob njem še violinist Emanuele Parrini in kontrabasist Giovanni Maier, ki sta med drugim
sodelovala v priznanem Italian Instabile Orchestra, ter bobnar Aljoša JeriË. Kvartet je leta 2012 objavil
prvenec Joyful Spontaneity (Založba Radia Študent - ZARŠ). Skladba v našem izboru je z albuma From
The Sky (Clean Feed, 2014), ki je bil posnet na koncertu na Jazz festivalu Ljubljana leta 2013. Before commanding the attention of jazz buffs, saxophone player Resnik (1978) was a member of
Siddharta, a popular Slovenian rock act. Resnik studied jazz saxophone at the Klagenfurt Conservatory
of Music, and while a student he also honed his skills in workshops run by Reggie Workman, Doug
Hammond, and Joe Zawinul, with whom he also shared the stage. Graduating in Austria in 2007, he
undertook further studies in New York, where he trained with Greg Osby. In New York, Resnik was
able to experience free improvised music first-hand; according to the man himself, Cecil Taylor and
Tony Oxley’s week-long gigs at the Village Vanguard were a major influence. Resnik, who regularly
makes trips to India to practise meditation and study Buddhist philosophy, fuses spontaneous
improvisation with the principles of Buddhism. However, far from being serenely meditative, as some
might expect, his music is a very forceful, yet contemplative free jazz. The Cene Resnik Quartet also
includes violinist Emanuele Parrini and bass player Giovanni Maier, Italians who have also performed
with, among others, the acknowledged Italian Instabile Orchestra, as well as Slovenian drummer Aljoša
JeriË. In 2012, the Quartet released their first album, Joyful Spontaneity (produced under the Radio
Študent label - ZARŠ). Our selection is a composition featured on From the Sky (Clean Feed, 2014), a
live album recorded at the 2013 Ljubljana Jazz Festival. 44 CD
1/10
Skladba / Composition:
Riverbank
(glasba in aranžma / music and arrangement: Cene Resnik, Emanuele Parrini, Giovanni Maier,
Aljoša JeriË)
Zasedba / Line-up:
Cene Resnik - tenorski saksofon / tenor saxophone
Emanuele Parrini - violina / violin
Giovanni Maier - kontrabas / double bass
Aljoša JeriË - bobni / drums
Kontakt / Contact:
[email protected]
www.sploh.si/ceneresnik.html
Naslov albuma / Album title:
Cene Resnik Quartet Live: From The Sky
(Clean Feed, 2014)
45
Foto / Photo: Darja Šter
Lolita
Skupina Lolita sodi med najbolj dolgožive slovenske (ne le) jazzovske zasedbe, saj deluje od leta
1987, resda v razliËnih zasedbah, sta pa v trenutnem sekstetu dva Ëlana, Iztok Vidmar in Primož
SimonËiË, ki sta navzoËa že od samega zaËetka. Omenjena in tudi prvi bobnar Blaž Grm so bili Ëlani
punkovskih, novovalovskih in art-rockovskih bendov, kar je prispevalo k pestremu naboru zvrsti, ki
so se spletle v zasedbin samosvoj izraz. Lolito namreË krasi spogledovanje z mnogimi nejazzovskimi
zvrstmi, od tanga prek alternativnega rocka in punka do tradicionalnih godb. Sam bend je to mešanico
poimenoval ≈HiEnergy Turbo Porno Minimal SugarFree Pop Funky Overdrive Ethno Broootaal
HardGroovie NuJazz«. Zelo odmevna sta bila sodelovanje z igralcem Zijahom SokoloviÊem v veËkrat
nagrajeni predstavi Medved ter projekt Lolita Libre s številnimi domaËimi in tujimi gosti, s katerimi so
igrali popolnoma improvizirano glasbo. OdliËne ocene je prejel The Triple X Album (KUD F. Prešeren,
2005) z bolgarskim trobentaËem Venceslavom Blagojevom, poleg njega pa gre med tujimi sodelavci
benda omeniti vsaj še Jessico Lurie in Alexa Dörnerja. Izbrana skladba je naslovna skladba z albuma
Uantauantauantanara (Založba Radia Študent - ZARŠ, 2014), ki (znova) prinaša eksperimentiranje na
zvoËni (vokalizacije) in strukturni ravni (daljši, nekoliko psihedeliËni komadi). One of Slovenia’s longest-lived jazz ensembles (though exploring a range of genres), Lolita’s various
line-ups have been part of the music scene on this side of the world since 1987. The current sextet
includes Iztok Vidmar and Primož SimonËiË, two original members, who, like Blaž Grm, Lolita’s
first drummer, mastered their craft with diverse punk, New-Wave and art-rock bands, thus gaining
experience that has greatly informed Lolita’s stylistically varied expression. The band’s signature sound
has drawn on a variety of influences, from tango through alternative rock and punk to traditional music. Lolita termed this special blend “HiEnergy Turbo Porno Minimal SugarFree Pop Funky Overdrive Ethno
Broootaal HardGroovie NuJazz”. Two of the group’s notable successes have been a collaboration with
actor Zijah SokoloviÊ on an award-winning theatrical production, The Bear, as well as Lolita Libre, a
project of completely improvised music that included numerous Slovenian and international artists. Released to rave reviews, The Triple X Album (KUD F. Prešeren, 2005) features Bulgarian trumpeter
Ventzislav Blagoev, who is on the band’s impressive roster of international collaborators, a list that
includes Jessica Lurie and Alex Dörner. Our selection is the title track from Uantauantauantanara
(Radio Študent label - ZARŠ, 2014), an album that engages (anew) in experimentation, both sonic
(vocalisations) and structural (lengthy, somewhat psychedelic tracks). 46 Skladba / Composition:
Uantauantauantanara
(glasba in aranžma / music and arrangement: Iztok Vidmar, Primož SimonËiË, Matjaž Sekne, Neža
Trobec, Lado Jakša, Uroš SrpËiË)
Zasedba / Line-up:
Iztok Vidmar - bas kitara / bass guitar
Primož SimonËiË - sopranski saksofon /
soprano saxophone
Matjaž Sekne - violina / violin
Neža Trobec - vokal / vocal
Lado Jakša - klaviature, sopranski saksofon /
keyboards, soprano saxophone
Uroš SrpËiË - bobni / drums
Naslov albuma / Album title:
Lolita: Uantauantauantanara
(ZARŠ Records, 2014)
Kontakt / Contact:
[email protected] www.ljudmila.org/lolita
CD
1/11
47
CD 2
Foto / Photo: Nikos Kalavrytinos
Kukushai
Trio Kukushai je nastal v Rotterdamu, kjer so se na Umetniški univerzi Codarts sreËali slovenska pevka
Eva Poženel in pianist Rok Zalokar ter bolgarski bobnar Martin Hafizi. Trio razširja pojem jazza z vnašanjem
drugih zvrsti: ≈Trio kroji skladbe po svoji malo neobiËajni postavi in išËe nove izrazne možnosti znotraj polj
alternative, popa in jazza (...).« Eva Poženel (1985) je med letoma 2010 in 2012 študirala klasiËno petje na
ljubljanskem Konservatoriju za glasbo in balet, leta 2012 pa je v Rotterdamu vpisala jazz petje. Nastopala
je z APZ Tone TomšiË in sodelovala z Rok Zalokar Triom. Slednjega je kakopak vodil pianist Rok Zalokar
(1990), ki je zaËel skladati že med šolanjem na ljubljanskem Konservatoriju za glasbo in balet. Skladbe
iz tega obdobja so luË sveta ugledale na albumih Arbitrarij benda VsemogoËni mlin in Vol. 1 Rok Zalokar
Tria (2012 oz. 2013, Založba Radia Študent - ZARŠ). Rok Zalokar Trio je leta 2014 osvojil nagrado
Jazzon za najboljšo izvedbo, Zalokar pa nagrado za najboljšo jazzovsko skladbo. Bobnar in tolkalec Martin
Hafizi (1993) je študiral na Državni glasbeni šoli Ljubomir Pipkov v Sofiji. Je prejemnik številnih nagrad,
med drugim je leta 2015 z zasedbo 4exampble osvojil tretje mesto na tekmovanju tolkalskih kvartetov v
Luksemburgu. Izbrana skladba prihaja z EP-ja Kukushai, ki je izšel leta 2014 v samozaložbi. Slovenians Eva Poženel and Rok Zalokar (vocals and piano, respectively), and Bulgarian Martin Hafizi
(drums) formed the Kukushai trio in Rotterdam, the seat of their alma mater, the Codarts University
of the Arts. Appropriating other styles, the trio play a unique re-invention of jazz, “re-imagining
compositions in line with the rather unusual line-up and seeking new means of expression within
the expanses of alternative music and pop, as well as jazz (...).” Eva Poženel (1985) studied classical
singing between 2010 and 2012 at the Ljubljana Music and Ballet Conservatory, and enrolled in
the vocal jazz programme in Rotterdam in 2012. She has performed with the APZ Tone TomšiË
Academy Choir and worked with the Rok Zalokar Trio. A pianist and composer, Zalokar (1990) first
started writing music while a secondary student at the Ljubljana Music and Ballet Conservatory. The
compositions from that time were released on Arbitrarij and Vol. 1, albums recorded by VsemogoËni
mlin and the Rok Zalokar Trio in 2012 and 2013, respectively (on the Radio Študent label - ZARŠ). In 2014, the Rok Zalokar Trio won the Jazzon Competition Best Performance Award, and Zalokar the
Best Jazz Composition Award. Drummer and percussionist Martin Hafizi (1993), who studied at the
National School of Music “Lyubomir Pipkov” in Sofia, has received numerous awards, including Third
Prize at the 2015 International Percussion Competition in Luxembourg with the 4exampble percussion
quartet. The track here is from the Kukushai EP, self-released in 2014. 50 CD
2/1
Skladba / Composition:
Physicist
(glasba / music: Rok Zalokar; besedilo / lyrics: Eva Poženel; aranžma / arrangement: Eva Poženel, Martin Hafizi,
Rok Zalokar)
Zasedba / Line-up:
Eva Poženel - vokal / vocal
Martin Hafizi - bobni / drums
Rok Zalokar - klavir / piano
Kontakt / Contact:
[email protected]
www.kukushai.com
Naslov albuma / Album title:
Kukushai: Kukushai EP
(samozaložba / self-released, 2014)
51
Foto / Photo: Zlatko Gnezda
MiNiMe
Zasedbo MiNiMe vodi kitarist Domen Gnezda (1982), ki je po zakljuËenem izobraževanju na jazz
oddelku SGBŠ Ljubljana leta 2009 diplomiral iz jazz kitare na celovškem konservatoriju. Istega leta
je na nateËaju za najboljšo slovensko jazz kompozicijo Jazzon osvojil 2. nagrado. Izpopolnjevanje je
nadaljeval na Berkleeju, kjer je leta 2012 diplomiral z odliko. V Ëasu študija na tem slovitem kolidžu je
prejel štipendijo za nadarjene ter nagrado kitarskega oddelka za dosežke. Njegovi profesorji so, med
drugimi, bili Jon Damian, Mick Goodrick, David Gilmore, David ≈Fuze« Fiuczynski, Bret Wilmott in Alain
Mallet, med mentorji pa najdemo imena, kot so John Abercrombie, Primož GrašiË, Ratko Zjaca, Garrison
Fewell, Jack Pezanelli in Kurt Rosenwinkel. Zasedba MiNiMe raziskuje avantgardne skladateljske
postopke 20. stoletja (A. Schönberg, J. Cage), naslanja se na izroËilo velikanov jazza (J. Coltrane,
M. Davis) in temu dodaja vplive moderne elektronske glasbe in ritmiko tradicionalne južnoindijske
glasbe. Gnezda razen tega igra še v zasedbah Momento Cigano (gipsy swing) in MAK (freejazzovske
predelave prleških ljudskih pesmi), sodeloval je tudi z Andrejem Fonom (skladba na opaženi kompilaciji
Neposlušno, Zavod Sploh / L'innomable 2012) in z Žiga Murko Group. Leta 2015 je v samozaložbi
objavil solistiËni album Misnomer. MiNiMe is a band led by guitarist Domen Gnezda (1982), a jazz graduate of the Ljubljana Music
and Ballet Conservatory. Gnezda completed his jazz guitar studies at the Conservatory of Music in
Klagenfurt, Austria, in 2009. That same year, Domen won Second Prize for Best Slovenian Jazz
Composition at the Jazzon Competition. In 2012, he graduated with honours from the prestigious
Berklee College of Music. During his stay in Boston, he received the Guitar Department’s Achievement
Award, as well as a scholarship for talented students. He has studied with Jon Damian, Mick Goodrick,
David Gilmore, David “Fuze” Fiuczynski, Bret Wilmott and Alain Mallet, and his mentors have been
luminaries such as John Abercrombie, Primož GrašiË, Ratko Zjaca, Garrison Fewell, Jack Pezanelli and
Kurt Rosenwinkel. While following in the tradition of jazz greats (John Coltrane, Miles Davis), MiNiMe
experiments with twentieth-century avant-garde compositional techniques (Schoenberg, Cage), also
adding influences from modern electronic music and traditional rhythms of South India. Gnezda’s other
two bands are Momento Cigano (gipsy swing) and MAK (free jazz adaptations of folk songs from the
Slovenian Prlekija region). He has also formed notable musical partnerships with Andrej Fon (a track
on the noted compilation Sound Disobedience, Zavod Sploh / L’innomable 2012) and the Žiga Murko
Group. In 2015 he released a solo album, Misnomer. 52 CD
2/2
Skladba / Composition:
Liberté
(glasba / music: Domen Gnezda; aranžma / arrangement: Domen Gnezda, Bojan Krhlanko)
Predhodno neobjavljen posnetek / Previously unreleased:
z dovoljenjem avtorjev / with the authors' permission
Zasedba / Line-up:
Domen Gnezda - kitara, efekti / guitar, effects
Boris Majcen - trobenta / trumpet
Grgur SaviÊ - altovski saksofon / alto saxophone
Gregor Zver - tenorski saksofon / tenor saxophone
Jošt Drašler - bas kitara / bass guitar Bojan Krhlanko - bobni, efekti / drums, effects
Kontakt / Contact:
[email protected]
www.domengnezda.com 53
Foto / Photo: Matjaž VreËko
Vasko Atanasovski Trio
Pihalec Vasko Atanasovski (1977) se je na slovenski in mednarodni sceni uveljavil kot glasbenik, ki
združuje jazz s klasiËno glasbo in tradicionalnimi zvrstmi od klezmerja do glasb Bližnjega in Daljnega
vzhoda. V njegovih mednarodnih zasedbah Adrabesa Ensemble in Visions Ensemble ob domaËih
glasbenikih igrajo še Zoltán Lantos, Xu Fengxia, Simone Zanchini, Michel Godard in Krunoslav LevaËiÊ. Atanasovski je sodeloval tudi z vrsto drugih tujih glasbenikov, kot so Marc Ribot, Vlatko Stefanovski,
Living Colour, Michel Godard, Greg Cohen, Hindi Zahra, The Madleys Bratka BibiËa in Foltin. Poleg
rednega koncertiranja po Evropi je med drugim nastopal na Kitajskem, v Indiji in Argentini. Zametke
Vasko Atanasovski Tria je najti v kvintetu Mljask, s katerim se je predajal klezmerju in balkanskim
motivom. V aktualnem triu, v katerem tudi poje (zanj sam piše hudomušna besedila), se v spevnih in
plesnih pesmih spogleduje z nejazzovskimi zvrstmi od klezmerja do popa in rocka. Izbrana skladba
Hubljeva roža je z drugega albuma tria Feel (Celinka, 2013; prvenec Come to Me je izšel pri isti založbi
leta 2012); gre za eno njegovih starejših skladb, sicer napisano za kvartet harmonik. Ob njem v triu
nastopata še kitarist Dejan Lapanja (duo Katarina JuvanËiË in Dejan Lapanja; tudi tonski mojster in
glasbeni producent) in bobnar Marjan StaniÊ (nekoË pri Loliti; Žoambo Žoet Workestrao, »ompe idr.). Saxophonist and flautist Vasko Atanasovski (1977) came to national and international prominence as
an artist who blends jazz with classical music and traditional styles, from klezmer to the music of the
Near and Far East. Besides Slovenian performers, Atanasovski’s international line-ups, the Adrabesa
Ensemble and Visions Ensemble, include Zoltán Lantos, Xu Fengxia, Simone Zanchini, Michel Godard
and Krunoslav LevaËiÊ. Atanasovski has worked with a number of international artists, such as Marc
Ribot, Vlatko Stefanovski, Living Colour, Michel Godard, Greg Cohen, Hindi Zahra, Bratko BibiË’s The
Madleys and Foltin. Besides regularly appearing at European concert venues, Atanasovski has toured
China, India and Argentina, to name but a few. The Vasko Atanasovski Trio had its origins in Mljask, a
quintet that explored klezmer and Balkan motifs. The Trio’s mellifluous and upbeat songs (with Vasko
as singer and writer of humorous lyrics) flirt with diverse genres outside jazz, from klezmer to pop and
rock. One of Atanasovski’s older compositions, originally written for an accordion quartet, the track on
this compilation, Hubelj’s Flower, is from the trio’s second album, Feel (Celinka, 2013; the debut album,
Come to Me, was released on the same label in 2012). The Trio also comprises guitarist Dejan Lapanja
(Katarina JuvanËiË and Dejan Lapanja duo; he is also a sound engineer and producer) and drummer
Marjan StaniÊ (former Lolita member; Žoambo Žoet Workestrao, »ompe, etc.). 54 CD
2/3
Skladba / Composition:
Hubljeva roža / Hubelj's Flower
(glasba / music: Vasko Atanasovski; aranžma / arrangement: Vasko Atanasovski, Dejan Lapanja, Marjan StaniÊ)
Zasedba / Line-up:
Vasko Atanasovski - flavta / flute
Dejan Lapanja - elektriËna kitara / electric guitar
Marjan StaniÊ - bobni / drums
Kontakt / Contact:
[email protected] www.vaskoatanasovski.com
Naslov albuma / Album title:
Vasko Atanasovski Trio: Feel
(Celinka, 2013)
55
Vid Jamnik Jamtet
CD
2/4
Vibrafonist Vid Jamnik (1993) je po konËani nižji glasbeni šoli (smer tolkala) glasbeno izobraževanje
nadaljeval na jazz oddelku celovškega glasbenega konservatorija, ki ga je zakljuËil leta 2012. V študijskem
letu 2011/2012 je v okviru študentske izmenjave Erasmus pet mesecev študiral na Jazz-Institut Berlin. Glasbeno izobraževanje zdaj nadaljuje na slovitem kolidžu Berklee, kjer je po prvem semestru prejel nagrado
za najdejavnejšega inštrumentalista s tolkaËem (≈The Most Active Mallet Performer Award«). Tam je tudi
ustanovil mednarodno zasedbo Vid Jamnik Jamtet, ki se je s skladbo iz našega izbora uvrstila na album
UpSwing šolske založbe Jazz Revelation Records (izmed 300 prispelih skladb so jih izbrali 10). Za vibrafon
in jazz se je Jamnik navdušil, ko je leta 2005 obiskal delavnico slovitega hrvaškega vibrafonista Boška
PetroviÊa v Grožnjanu, ki je postal njegov mentor in s katerim je nato veliko nastopal kot gost. Razen tega
je Jamnik igral tudi s tako priznanimi glasbeniki in zasedbami, kot so Jimmy Cobb, Georgie Fame, Simone
Zanchini, David Gazarov, Gianni Basso, Howard Curtis in Duško GojkoviÊ. Trenutno je vodja ali Ëlan zasedb
Vid Jamnik Quartet, Vid Jamnik International Quartet, Jazz Continuo ter Via Ad Infinitum. Je tudi del ekipe,
ki v Ravnah na Koroškem že od leta 2007 dalje pripravlja abonma oziroma cikel koncertov Jazz Ravne. 56 Naslov albuma / Album title:
Various Artists: UpSwing
(Jazz Revelation Records, 2014)
Zasedba / Line-up:
Vid Jamnik - vibrafon / vibraphone
Simon Seeberger - klavir / piano
Austin Luther - bas kitara / bass guitar
Jharis Yokley - bobni / drums
Kontakt / Contact:
[email protected]
www.vidjamnik.com
Foto / Photo: Nika Hölcl ValiË
Having completed his basic music education (percussion), vibraphone player Vid Jamnik (1993) furthered his
musical studies in Austria, at the Jazz Department of the Carinthian State Conservatory of Music in Klagenfurt,
graduating in 2012. During the academic year of 2011/2012, he attended the Jazz-Institut Berlin for five
months as a student in the Erasmus Student Exchange Programme. He is currently pursuing his musical
studies in the US, at the prestigious Berklee College of Music, which presented him with the Most Active
Mallet Performer Award in his first semester. The composition of our choice, a track by the international Vid
Jamnik Jamtet, formed in Boston, was included on the album UpSwing (featuring 10 out of the 300 submitted
compositions) released by the College’s student-run record label, Jazz Revelation Records. Jamnik developed
a great passion for the vibraphone and jazz in 2005, when he attended a workshop in Grožnjan by the
acclaimed Croatian vibraphone virtuoso, Boško PetroviÊ, who then took Vid under his wing and featured him
repeatedly at his concerts. To his further credit, Jamnik has played with musicians and bands of such renown
as Jimmy Cobb, Georgie Fame, Simone Zanchini, David Gazarov, Gianni Basso, Howard Curtis and Duško
GojkoviÊ. He is currently the leader or a member of the Vid Jamnik Quartet, the Vid Jamnik International
Quartet, the Jazz Continuo and Via Ad Infinitum. Jamnik is also on the artistic team that since 2007 has been
programming Jazz Ravne, a season series in Ravne na Koroškem. Skladba / Composition:
At 3 O'Clock
(glasba in aranžma / music and arrangement: Vid Jamnik)
57
Foto / Photo: Irena UdoviË
Kombo B
Kombo B je (tako kot že prej zasedba Kombo) nastal v okviru delavnic ZvoËni izviri, ki jih od leta 2001
vodi Zlatko KauËiË. Potem ko so se številni glasbeniki iz prvotne zasedbe že dodobra uveljavili (Samo
Šalamon, Vid Drašler, Jošt Drašler, Marko LasiË, Vitja Balžalorsky, Gal Furlan idr.), je KauËiË iz mlajših
glasbenikov in nekaterih starih Ëlanov sestavil novo zasedbo. Pri njej je še bolj poudarjen ritem, saj
je v bendu kar enajst bobnarjev in tolkalcev. Sam KauËiË sicer v zasedbi ne igra, ampak v njej deluje
kot glasbeni vodja, avtor skladb in dirigent. Zasedba posega po široki paleti jazzovskih usmeritev, od
avantgarde do jazz rocka in fusiona. Prva zasedba, Kombo, se je podajala tudi v latinskoameriške idiome,
predvsem po zaslugi argentinskega pihalca Javierja Girotta, ki je s Kombom sodeloval na albumu
BiËi (2009). To je bil drugi album zasedbe, ki je, tako kot prvenec Skriti kotiËki svetlobe (2006), izšel
pri založbi ZvoËni izviri. Kombo je nastopil na znanih italijanskih festivalih (Musica Sulle Bocche, Jazz
Koine, Udine Jazz), od domaËih nastopov pa velja omeniti tistega na Jazz festivalu Ljubljana (z gostoma
Herbom Robertsonom in Brunom Cessellijem), kjer so nastali posnetki za album ZvoËna polja za T. S.
(ZKP RTVSLO, 2012). Izbrana skladba prihaja s Ëetrtega albuma zasedbe (prvega pod imenom Kombo
B), ki nosi naslov Hramo (ZvoËni izviri, 2015). Kombo B was formed (like the initial Kombo line-up) at ZvoËni izviri, a series of workshops run by Zlatko
KauËiË since 2001. While a number of the first line-up’s original members have already built considerable
reputations (Samo Šalamon, Vid Drašler, Jošt Drašler, Marko LasiË, Vitja Balžalorsky, Gal Furlan, etc.),
KauËiË started a new combo with some younger musicians and several older members. With as many as
eleven drummers and percussionists, the band’s rhythm is even more pronounced. Rather than an
instrumentalist, Zlatko KauËiË plays the parts of the band’s musical director, composer and conductor. The
sound of Kombo B covers a wide array of jazz styles, from avant-garde to jazz-rock and fusion. The first
line-up, Kombo, even took detours into Latin-American idioms, mostly owing inspiration to the Argentine
sax player Javier Girotto (also trained in flute and clarinet), who worked with Kombo on their second
release, BiËi (2009). Both the Kombo’s debut album, Skriti kotiËki svetlobe (2006), and BiËi were released
on the ZvoËni izviri record label. Kombo have appeared at several major Italian festivals (Musica Sulle
Bocche, Jazz Koine, Udine Jazz), and played at various venues in Slovenia, including the Ljubljana Jazz
Festival (with Herb Robertson and Bruno Cesselli), at a gig where live material for the Sound Fields for T. S. album was recorded (ZKP RTVSLO, 2012). The composition on this compilation is featured on Hramo
(ZvoËni izviri, 2015), the Kombo’s fourth album (and the first under their current name, Kombo B). 58 CD
2/5
Skladba / Composition:
SreËko Lesica
(glasba / music: Zlatko KauËiË, Jan Jarni; aranžma / arrangement: Zlatko KauËiË)
Zasedba / Line-up:
Zlatko KauËiË - umetniški vodja / musical director
Žiga Ipavec, Urban Kušar - bobni / drums Jan Jarni, Peter Kastrin - kitara /guitar Matjaž Bajc - bas kitara / bass guitar Damijan Valentinuzzi - trobenta / trumpet
Kontakt / Contact:
[email protected]
Naslov albuma / Album title:
Kombo B: Hramo
(KUD ZvoËni izviri, 2014)
59
Foto / Photo: © Zavod Sploh
Trojnik
Zasedba Trojnik, za katero je znaËilna spontana improvizacija, je sprva igrala vnaprej napisane skladbe in je
nastala na pobudo Tomaža Groma, ki je povabil k sodelovanju Resnika in Drašlerja z zamislijo, da bi igrali
njegove 20 let stare skladbe, ki po njegovih besedah spominjajo na dela Johna Coltrana, Alberta Aylerja
in Dava Hollanda. SËasoma so na vajah glasbeniki dodajali vedno veË lastnih zamisli in improvizacij, tako
da na koncertih zdaj le redko zaigrajo kako konvencionalno strukturirano skladbo. A treba je pristaviti, da
ima Grom samosvoj pogled na dihotomijo kompozicija-improvizacija. Takole je namreË povedal v intervjuju
za spletno revijo Hrupmag: ≈Svobodna improvizacija, to je priprava, to je struktura, to je forma, to je žanr,
to je kompozicija.« O samem triu je na istem mestu povedal: ≈Pri Trojniku pa gre bolj za skupno igro. Delamo skupni zvok, glasba ima razvoj, ki lahko malce dlje traja in se razvija v detajle.« Tomaž Grom je eden
najdejavnejših improvizatorjev v Sloveniji; v okviru Zavoda Sploh je zagnal številne glasbene cikle in delavnice
(Confine aperto, Raziskava, refleksija idr.). Ob Trojniku igra še v mnogih drugih (tudi ad hoc) zasedbah. Pri
založbah Zavod Sploh in L‘innomable je leta 2013 objavil solistiËni album Sam, za … Njegova soglasbenika
iz Trojnika, Cene Resnik in Vid Drašler, se na priËujoËi kompilaciji predstavljata tudi v okviru zasedbe Cene
Resnik Quartet oziroma Drašler/KarlovËec/Drašler. A band committed to spontaneous improvisation that initially played composed music, Trojnik was started on
the initiative of Tomaž Grom, who solicited the participation of Resnik and Drašler in performing compositions
he wrote 20 years ago which he believes evoke the music of John Coltrane, Albert Ayler and Dave Holland. Gradually, the musicians tended to incorporate increasingly more of their own ideas and improvisations at
rehearsals, and would today rarely perform a conventionally structured composition in concert. However,
at this point it’s worth mentioning that Grom entertains an original notion of the composition-improvisation
dichotomy. This is how he outlined it in an interview for the Hrupmag web magazine, “Free improvisation:
it’s preparation, it’s structure, it’s form, it’s genre, it’s composition.” He went on to share his thoughts on
the trio, “When it comes to Trojnik, it’s more about collective playing. We create a common sound, there is
development in our music that will take its time and spread out in details.” One of Slovenia’s most productive
improvisers, Tomaž Grom’s Zavod Sploh Institute for Art Production has launched numerous music series and
workshops (Confine aperto, Raziskava, refleksija, etc.). Grom also plays in several other (also ad hoc) projects. His solo album, Sam, za … was released on the Zavod Sploh and L’innomable labels in 2013. Trojnik’s other
two instrumentalists, Cene Resnik and Vid Drašler, are also included in this compilation as members of the
Cene Resnik Quartet and Drašler/KarlovËec/Drašler, respectively.
60 CD
2/6
Skladba / Composition:
08 ·
(glasba in aranžma / music and arrangement: Cene Resnik, Vid Drašler, Tomaž Grom)
Zasedba / Line-up:
Vid Drašler - bobni / drums
Tomaž Grom - kontrabas, elektronika / double bass, electronics
Cene Resnik - tenorski saksofon / tenor saxophone
Kontakt / Contact:
[email protected]
www.sploh.si/trojnik.html
Naslov albuma / Album title:
Trojnik: Moje uho ima ostre robove /
My Ear Has Got Sharp Edges
(Zavod Sploh, 2015)
61
Foto / Photo: Matjaž Vertuš
BadBooshBand
Pianistka Kaja Draksler (1987) živi v Amsterdamu, kjer je leta 2013 konËala podiplomski študij klasiËne
kompozicije na tamkajšnjem konservatoriju. Še pred tem je študirala jazz klavir na konservatoriju Prins Claus
v Groningenu, kjer je leta 2009 z odliko diplomirala; istega leta je prejela cenjeno nizozemsko nagrado
Deloitte Jazz. Nase je opozorila že kot 21-letnica, ko je s svojo zasedbo Acropolis Quartet objavila album
Akropola (Goga, 2008). S tem kvartetom in pevko Sanem Kalfa je na albumu Türkü (DruGod, 2009) predelala
tradicionalne turške pesmi. Sledil je Live in Coimbra (Clean Feed, 2011) zasedbe European Movement Jazz
Orchestra, katere Ëlanica je, ter odmevni solistiËni album The Lives of Many Others (Clean Feed, 2013). Deluje v veË zasedbah; leta 2015 je z dvema duoma (enim s kitaristom Matissom »udarsom in drugim,
Feecho, z bobnarjem Onnom Govaertom) objavila prvenca. Izbrana skladba je z albuma tria BadBooshBand
The Best Of (ZKP RTVSLO, 2014), v katerem poleg nje igrata še italijanska glasbenika, in sicer kontrabasist
Mattia Magatelli in bobnar Luca Marini. Drakslerjeva, ki se je uveljavila s samosvojim združevanjem jazzovske
improvizacije in klasiËne glasbe z navezavami na zgodovino pop in jazz glasbe, takole opisuje glasbo
BadBooshBand: ≈»lane sestava zanima kolektivna improvizacija v kontekstu brezžanrske avtorske glasbe s
poudarkom na ritmiËni in melodiËni nekonvencionalnosti.« Amsterdam-based pianist Kaja Draksler (1987) completed her post-graduate studies in classical composition
at her adopted city’s conservatoire in 2013. She obtained her bachelor’s degree in jazz piano from the Prince
Claus Conservatoire in Groningen, Holland, graduating summa cum laude in 2009; in that same year, she also
won the Deloitte Jazz Award, a coveted Dutch prize. She first came to attention at the age of 21, when her
Acropolis Quartet released Akropola (Goga, 2008). The Quartet’s Türkü record (DruGod, 2009) was made
in association with Sanem Kalfa on vocals, and featured arrangements of traditional Turkish songs. Live in
Coimbra (Clean Feed, 2011) was made in collaboration with the European Movement Jazz Orchestra, with
Draksler on piano, and her solo album, The Lives of Many Others (Clean Feed, 2013), has been a resounding
success. Draksler has built on her creative talent in a number of partnerships; in 2015, two of her duo projects
(the first with guitarist Matiss »udars, and the second, Feecho, with drummer Onno Govaert) released their
debut albums. Our selection is from The Best Of (ZKP RTVSLO, 2014), an album by the BadBooshBand
trio, with Italian musicians Mattia Magatelli on bass and Luca Marini on drums. Widely celebrated for her
idiosyncratic blend of jazz improvisation and classical music with historical references to pop and jazz, Draksler
envisions BadBooshBand as “players keen on delving into collective improvisation within the context of
genreless original music and an emphasis on rhythmic and melodic unconventionality.”
62 CD
2/7
Skladba / Composition:
Južni otok / South Island
(glasba in aranžma / music and arrangement: Kaja Draksler)
Zasedba / Line-up:
Kaja Draksler - klavir / piano
Mattia Magatelli - bas / bass
Luca Marini - bobni / drums
Kontakt / Contact:
[email protected] www.badbooshband.wordpress.com Naslov albuma / Album title:
BadBooshBand: The Best Of
(RTV Slovenija, ZKP Publishing and Record Label,
2014)
63
Bratko BibiË & The Madleys & gosti / Bratko BibiË & The Madleys & Guests
CD
2/8
Harmonikar Bratko BibiË (1957) velja za pionirja drugaËne rabe harmonike. Ta se v Sloveniji praviloma
povezuje z ljudsko in narodnozabavno glasbo, šele v zadnjih letih pa jo najdemo tudi znotraj klasiËne, jazz
in drugaËne etno in rockovske glasbe. BibiË je z zasedbo Begnagrad že v 70. letih prejšnjega stoletja
s harmoniko ustvarjal žanrsko izmuzljivo glasbo na preseËišËu jazza, rocka (oziroma podžanra rocka
v opoziciji), klasiËne in tradicionalne glasbe. Po prenehanju delovanja Begnagrada (1976—1983) je
bil med drugim Ëlan mednarodnih zasedb Nimal (v bendu je igral tudi Ëelist Tom Cora; 1987—1991)
in Accordion Tribe (1996—2010), od njegove ustanovitve dalje (2009) pa redno koncertira v
petnajstËlanskem, pretežno avstrijskem harmonikarskem orkestru Die Wiener Ziehharmoniker. Leta
1995 je, s tem da ves Ëas nastopa tudi solo ter sodeluje s plesalci in filmarji, zagnal lastno zasedbo
The Madleys, ki v razliËnih kombinacijah deluje še danes. BibiË svojo konceptualno domišljeno glasbo
pogosto sopostavlja k filmom (DVD Na domaËem vrtu, Demiurg & Alcedo, 2005), ob žanrski raznolikosti
pa njegov angažirani izraz zaznamujejo še dadaistiËni in ludistiËni postopki. Izbrana skladba je z albuma
Kabinet Ëudes Brutka BimbiËa (Klopotec, 2013), na katerem igrajo The Madleys ter številni gosti, med
njimi avstrijski harmonikar Otto Lechner. 64 Naslov albuma / Album title:
Bratko BibiË & The Madleys & gosti: Kabinet Ëudes Brutka BimbiËa /
Cabinet of Wonders of Brutko Bim-bitch
(Klopotec, 2013)
Zasedba / Line-up:
Sašo Vollmaier - elektriËni klavir / electric piano
Otto Lechner - harmonika / accordion
Boštjan GombaË - klarinet / clarinet
Matjaž Sekne - violina / violin
Klemen Hvala - Ëelo / cello
Tibor Kerekeš - trobenta / trumpet
Kontakt / Contact:
[email protected]
www.klopotec.si
Foto / Photo: © SIGIC
Bratko BibiË (1957) has pioneered alternative approaches to accordion, an instrument traditionally
associated in Slovenia with traditional and folk-pop music, and only recently introduced into the classical,
jazz as well as other ethno and rock musical contexts. Already with the Begnagrad ensemble in the
1970s, BibiË’s unorthodox accordion music defied classification, fusing jazz, rock (or rock in opposition/
the RIO subgenre), classical and traditional music into a seamless blend. After Begnagrad disbanded
(1976-1983), BibiË took part in various international projects, from Nimal (which also included cellist
Tom Cora; 1987-1991) to Accordion Tribe (1996-2010), and has been a regular member of Die
Wiener Ziehharmoniker, a fifteen-piece accordion orchestra comprising mostly Austrian artists, since the
ensemble’s establishment in 2009. In 1995 BibiË started his own group, The Madleys, whose various lineups are still active on the Slovenian music scene today. Throughout his career, he has also appeared as
a solo artist and has scored music for dance and film. A conceptually complex composer who draws from
Dadaistic and ‘ludic’ models (i.e. adding elements of playfulness) in creating his engaged sound, BibiË
also composes soundtracks (In the Family Garden DVD, Demiurg & Alcedo, 2005) and writes across
diverse genres. The selection here is from an album by The Madleys, Cabinet of Wonders of Brutko Bim-bitch (Klopotec, 2013), featuring an array of artists, including Austrian accordionist Otto Lechner. Skladba / Composition:
Memoires du soldat
(glasba in aranžma / music and arrangement: Bratko BibiË)
65
Foto / Photo: MinusPlusForward
Dre HoËevar Trio
Bobnar Dre HoËevar (1987; pravo ime Andrej) se je po maturi na ljubljanskem Konservatoriju za
glasbo in balet vpisal na konservatorij Prins Claus v Groningenu na Nizozemskem, ki ga je zakljuËil leta
2010, leto zatem pa se je vpisal na newyorško Novo šolo za jazz in sodobno glasbo. Njegovi mentorji
so, med drugimi, bili Michael Carvin, Steve Lehman, Joe Morris, Reggie Workman in Ralph Peterson ml. Med študijem na Nizozemskem je zasnoval avtorski projekt Next Music Ensemble, iz katerega je
kasneje nastal 13-Ëlanski moderni big band Boben in lajna s poudarkom na pihalih in trobilih; isto ime
je HoËevar nadel tudi festivalu, ki ga je ustanovil leta 2011. HoËevar trenutno deluje v New Yorku, kjer
je leta 2013 zagnal Dre Hocevar Trio. Že istega leta je trio objavil prvenec Motion in Time, ki je bil
predstavljen v newyorških klubih in na Jazz festivalu Ljubljana. Skladba iz našega izbora, ki lepo ilustrira
HoËevarjevo nagnjenje k modernim postopkom drobljenja in razpršitve strukture, je z albuma Coding of
Evidentiality, ki je izšel leta 2015 pri Clean Feed. Jeseni 2015 bo pri isti založbi izšel še album s
posnetki z ljubljanskega jazz festivala 2015 (na njem bo HoËevar nastopil v kvartetu, v katerem so tudi
Joe Morris, Nate Wooley in Pascal Niggenkemper). Razen tega je v pripravi tudi tretji album njegovega
tria, ki bo nosil naslov Collective Effervescence. Having graduated from the Ljubljana Music and Ballet Conservatory, drummer Dre HoËevar (1987;
real name Andrej) completed his studies at the Prince Claus Conservatoire in Groningen in 2010, and
the following year entered the New School for Jazz and Contemporary Music in New York City, where
he trained with Michael Carvin, Steve Lehman, Joe Morris, Reggie Workman and Ralph Peterson, Jr. While pursuing his studies in The Netherlands, Dre started the Next Music Ensemble, which gradually
evolved into a thirteen-piece modern big band, Boben in lajna, with a particular emphasis on the wind
and brass sections; since 2011, HoËevar has also run an eponymous music festival. Currently living
in New York City, in 2013 HoËevar formed the Dre Hocevar Trio, which recorded Motion in Time in
its first year of existence and toured the release around the New York clubs and at the Ljubljana Jazz
Festival. Our choice, a composition that well illustrates HoËevar’s propensity for modern procedures
of structure fragmentation and dispersion, is featured on Coding of Evidentiality, released in 2015 on
Clean Feed. In autumn 2015, the same label will also put out a live album to be recorded at the 2015
Ljubljana Jazz Festival (HoËevar is to appear with a quartet consisting of Joe Morris, Nate Wooley
and Pascal Niggenkemper). In addition, Dre is currently working on his Trio’s third release, Collective
Effervescence. 66 CD
2/9
Skladba / Composition:
Post Resonance 1J7-36
(glasba in aranžma / music and arrangement: Dre HoËevar)
Zasedba / Line-up:
Dre HoËevar - bobni / drums
Bram de Looze - klavir / piano
Lester St.Louis - Ëelo / cello
Kontakt / Contact:
[email protected] drehocevar.com
Naslov albuma / Album title:
Dre HoËevar Trio: Coding of Evidentiality
(Clean Feed, 2015)
67
Foto / Photo: Matjaž TanËiË
Samo Šalamon Bassless Trio feat. Paul McCandless & Roberto Dani
Kitarist Samo Šalamon (1978), ki se je med drugim uËil pri slovitem Johnu Scofieldu, se je že dodobra
uveljavil doma in v tujini. Revija Guitar Player ga je leta 2008 uvrstila med deset najbolj vroËih svetovnih
kitaristov. V referenËnem vodniku po jazzovskih albumih Penguin Guide to Jazz so njegovi albumi
Ela’s Dream (Splasc(H), 2005), Government Cheese (Fresh Sound New Talent, 2006) in Ornethology
(Samo Records, 2003) prejeli najvišjo možno oceno (štiri zvezdice), zadnji od omenjenih pa je kot
edini slovenski album uvršËen v knjigo The Penguin Jazz Guide: The History of the Music in the
1001 Best Albums. V svoje zasedbe praviloma vabi priznane glasbenike iz domaËe (Zlatko KauËiË,
Brgs Time) in še zlasti mednarodne jazzovske scene, kot so Tim Berne, Michel Godard, Tony Malaby,
Dave Binney, Paul McCandless, Mark Helias, Tom Rainey, Dominique Pifarély, Gerald Cleaver, Julian
Arguelles, Luciano Biondini, Manu Codjia in Roberto Dani. Šalamon nenehno raziskuje in širi tako svoje
skladateljske postopke kakor tudi zven, ki se vse bolj oddaljuje od konvencionalne jazzovske kitare
ter uporablja tudi rockovske in eksperimentalne prijeme. Diskografsko je zelo dejaven; v letu 2014 je,
denimo, objavil kar tri albume. Izbrana skladba prihaja iz njegovega 18. albuma, ki nosi naslov Little
River (Samo Records, 2015). Guitar player Samo Šalamon (1978), who trained with teachers such as the illustrious John Scofield,
has built a distinguished international career. In 2008, Šalamon was selected as one of the world’s ten
hottest new guitarists by Guitar Player magazine. Three of his albums, Ela’s Dream (Splasc(H), 2005),
Government Cheese (Fresh Sound New Talent, 2006) and Ornethology (Samo Records, 2003), were
given the highest rating (four stars) by The Penguin Guide to Jazz, a reference work containing a
directory of jazz recordings, while Ornethology is also the only Slovenian record to have been included
in The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums. Šalamon’s bands
feature acclaimed Slovenian (Zlatko KauËiË, Brgs Time) and, largely, international artists, including
Tim Berne, Michel Godard, Tony Malaby, Dave Binney, Paul McCandless, Mark Helias, Tom Rainey,
Dominique Pifarély, Gerald Cleaver, Julian Arguelles, Luciano Biondini, Manu Codjia and Roberto
Dani. Engaging in ongoing research, Šalamon has been broadening both his composing horizons and
signature sound, which has gradually veered away from conventional jazz guitar, and additionally tends
to employ rock and experimental methods. A prolific artist with an extensive discography, Šalamon
released as many as three albums in 2014 alone. The composition here is included on his 18th
recording, Little River (Samo Records, 2015). 68 CD
2/10
Skladba / Composition:
Kei's Garden
(glasba in aranžma / music and arrangement: Samo Šalamon)
Zasedba / Line-up:
Samo Šalamon - kitara / guitar
Paul McCandless - sopranski saksofon / soprano saxophone
Roberto Dani - bobni / drums
Kontakt / Contact:
[email protected] www.samosalamon.com Naslov albuma / Album title:
Samo Šalamon Bassless Trio feat. Paul McCandless
& Roberto Dani: Little River
(Samo Records, 2015)
69
Foto / Photo: Matej Vidmar (© Kulturni dom Nova Gorica)
Milko Lazar, Zlatko KauËiË
Milko Lazar (1965) je študiral jazz in klasiËni klavir ter saksofon na Univerzi za glasbo in uprizarjajoËe
umetnosti v Gradcu, Ëembalo pa na Kraljevem konservatoriju v Haagu. V 80. letih prejšnjega stoletja
je soustanovil pomembno jazzovsko zasedbo Quatebriga, kasneje se je usmeril tudi v klasiËno glasbo
(minimalizem, baroËna in simfoniËna glasba) ter pisal za plesne in gledališke predstave. Med jazzovskimi
projekti izstopa album Hunski hrbti (ZKP RTVSLO, 1999) in zasedba Razal Oklim Quartet, ki je objavila
album Beli prodniki (PureZen, 2014). Zlatko KauËiË (1953), veteran slovenskega jazza, je od zaËetka 70. let prejšnjega stoletja deloval v Evropi in ZDA, kjer je igral s številnimi glasbeniki, kot so Radu Malfatti, Mike
Osborne in Paul Bley. Leta 1992 se je vrnil v Slovenijo ter zagnal kopico zasedb in projektov, v katerih je
sodeloval z vidnimi mednarodnimi glasbeniki, kot so Kenny Wheeler (Emotional Playgrounds, Iktius, 1998),
Steve Lacy (Zlati Ëoln, Splasc(H), 2002), Peter Brötzmann (Tolminski punt, Splasc(H), 2007), Evan Parker
(Round About One O‘clock, NotTwo Records, 2011) in Agustí Fernández (Sonic Party, NotTwo Records,
2014). Skladba Ena prihaja z istoimenskega albuma Lazarja in KauËiËa (Klopotec, 2015), njunega prvega
sodelovanja, na katerem sta skozi improvizacijo prepletla klasiko in jazz. Oba sta prejela nagrado Prešernovega
sklada, Lazar leta 2005, KauËiË pa leta 2011. Milko Lazar (1965) studied jazz, classical piano and saxophone at the University of Music and Performing
Arts in Graz, Austria, and harpsichord at the Royal Conservatoire in The Hague. In the 1980s, Lazar was one
of the founding members of Quatebriga, a prominent Slovenian jazz band; he subsequently also ventured into
classical music (minimalism, baroque and symphonic music) and scored dance and theatrical productions. Among his jazz projects, particular mention must be made of the Hunski hrbti album (ZKP RTVSLO, 1999), as
well as the Razal Oklim Quartet and their release Beli prodniki (PureZen, 2014). Since the 1970s, Slovenian
jazz luminary Zlatko KauËiË (1953) has asserted himself across the jazz landscapes of Europe and the US,
performing with notables such as Radu Malfatti, Mike Osborne and Paul Bley. In 1992, KauËiË returned
to Slovenia and started a series of bands and projects, working with some of the foremost international
musicians such as Kenny Wheeler (Emotional Playgrounds, Iktius, 1998), Steve Lacy (The Golden Boat,
Splasc(H), 2002), Peter Brötzmann (Tolminski punt, Splasc(H), 2007), Evan Parker (Round About One
O’clock, NotTwo Records, 2011) and Agustí Fernández (Sonic Party, NotTwo Records, 2014). The One track
is featured on an eponymous album (Klopotec, 2015), a product of Lazar and KauËiË’s first joint endeavour,
which blends classical and jazz through improvisation. Lazar and KauËiË have both received the Prešeren Fund
Award, one of Slovenia’s most prestigious distinctions, in 2005 and 2011, respectively. 70 CD
2/11
Skladba / Composition:
Ena / One
(glasba in aranžma / music and arrangement: Milko Lazar, Zlatko KauËiË)
Zasedba / Line-up:
Milko Lazar - klavir / piano
Zlatko KauËiË - talni bobni / ground drums
Kontakt / Contact:
[email protected] www.milkolazar.com
[email protected]
www.kaucic-zk.si
Naslov albuma / Album title:
Milko Lazar, Zlatko KauËiË: Ena / One
(Klopotec, 2015)
71
Foto / Photo: Robert KrižmanËiË
Milan StanisavljeviÊ
Pianist Milan StanisavljeviÊ (1979) se je po nižji in srednji glasbeni šoli (smer klavir) vpisal na Fakulteto
glasbenih umetnosti v Beogradu, kjer je leta 2006 diplomiral z odliko. Po zakljuËeni klasiËni izobrazbi
je nadaljeval s študijem jazza, in sicer na Univerzi za glasbo in upodabljajoËo umetnost v avstrijskem
Gradcu. Po diplomi je leta 2010 še magistriral. Na Univerzi v Gradcu je glasbeno znanje Ërpal tudi
od drugih znanih glasbenikov, kot so denimo pianista Renato Chicco in Fritz Pauer, bobnar Howard
Curtis in basist Wayne Darling, ter na delavnicah, na katerih je imel priložnost igrati z Billyjem Hartom,
Jerryjem Bergonzijem, Geoffreyjem Keezerjem in Georgeem Colliganom. Igral je v kvartetu priznanega
srbskega trobentaËa Stjepka Guta ter sodeloval z vrsto znanih glasbenikov, kot so Ratko Divjak, Jure
Pukl, Klemens Marktl, Morten Ramsbol, Jani Moder in Femi Temowo. Leta 2011 je objavil prvenec
Awakening (Celinka), ki so ga pohvalno ocenili v cenjeni spletni jazzovski reviji All About Jazz. V vodilni
srbski spletni jazzovski reviji jazzin.rs so o njegovem izrazu zapisali: StanisavljeviÊ ≈nam predstavi
sofisticirani pianizem, poveËini nagnjen k lirizmu in z elegantno dinamiËno linijo«. Skladbo v našem
izboru, ki pred tem še ni bila javno objavljena, je posnel konec leta 2014 z istim triom kot prvenec. After finishing primary and secondary music school, pianist Milan StanisavljeviÊ (1979) studied at the
Faculty of Music Arts in Belgrade, Serbia, graduating summa cum laude in 2006. A classically trained
pianist, Milan then undertook jazz studies and graduated from the University of Music and Performing
Arts in Graz, Austria. In 2010, he also obtained a master’s degree. At the Graz University, StanisavljeviÊ
was also able to evolve as an artist by working with fellow musicians of such repute as pianists Renato
Chicco and Fritz Pauer, drummer Howard Curtis and bassist Wayne Darling, as well as in workshops
with Billy Hart, Jerry Bergonzi, Geoffrey Keezer and George Colligan. He was a member of a quartet
led by Stjepko Gut, a renowned Serbian trumpeter, and played with a number of acclaimed musicians,
such as Ratko Divjak, Jure Pukl, Klemens Marktl, Morten Ramsbol, Jani Moder and Femi Temowo. Awakening (Celinka, 2011), the pianist’s debut album, received great critical acclaim from All About
Jazz, a notable jazz music website. The leading Serbian jazz music website, jazzin.rs, said of the pianist’s
expression, “mostly tending towards lyricism and displaying an elegant dynamic line, the pianism [of
Milan StanisavljeviÊ] shows great musical sophistication”. The composition of our choice, an unreleased
track, was recorded in late 2014 by the same trio that made Awakening. 72 CD
2/12
Skladba / Composition:
Old School
(glasba in aranžma / music and arrangement: Milan StanisavljeviÊ)
Zasedba / Line-up:
Milan StanisavljeviÊ - klavir / piano
Milan NikoliÊ - kontrabas / double bass
Andjelko Stupar - bobni / drums
Kontakt / Contact:
[email protected] www.milanstanisavljevic.com Predhodno neobjavljen posnetek / Previously unreleased: z dovoljenjem avtorja / with the author‘s permission
73
Foto / Photo: © Zavod Sploh
Drašler/KarlovËec/Drašler Trio
Trio sestavljajo glasbeniki, dejavni tudi v drugih projektih, in sicer tako znotraj jazza kot tudi fusiona,
rocka, eksperimentalne glasbe, noisa itd. Zasedba je svoj ≈post free jazz« (kot sami Ëlani imenujejo svoj
glasbeni izraz) predstavila na številnih koncertih doma in v tujini; nastopa tako v neodvisnih klubih in
skvotih kot na festivalih. Med drugim je igrala na festivalih Jazz Cerkno (posnetek s koncerta se je
znašel na prvencu Stir) in artacts v kraju St. Johann na Tirolskem v Avstriji. Trio je razen tega koncertiral na Hrvaškem, »eškem, v Italiji, Srbiji in Franciji. Brata Jošt (1981) in Vid (1983) Drašler sta (bila) dejavna v Kombu in Orkestru brez meja Zlatka KauËiËa, v bendih Zmajev rep, Malik in Balžalorsky/Drašler 3o. Jošt Drašler je soorganizirator delavnic svobodne improvizacije (BCMF,
Raziskava, refleksija, Mariboring, Neforma idr.). Vid Drašler je objavil solistiËni album Kramljanja (Zavod Sploh, 2015), je pa tudi Ëlan tria Trojnik. Pihalec, kitarist in elektrofonik Marko KarlovËec (1983)
v svojem delovanju raziskuje zapušËine free jazza, noisa, black metala, improvizacije in avantgard. Vodi
lastno založbo Botanic Records, na kateri objavlja eksperimentalne projekte. Izbrana skladba prihaja s
prvenca Stir (Zavod Sploh / L‘innomable, 2013), ki vsebuje posnetke z razliËnih koncertov; posneta je
bila v skvoterskem kulturnem centru Tovarna Rog v Ljubljani. Highly versatile performers, the three musicians also work on other projects, not only in jazz, but
also in fusion, rock, experimental music, noise, etc. They call their special sound “post free jazz” and
have played it on numerous national and international concert platforms. They have performed in
independent clubs and at squat venues, as well as a number of festivals, including Jazz Cerkno (which
yielded the live track on their debut album, Stir) and, in Austria, at the St. Johann in Tirol artacts, and
have toured Croatia, the Czech Republic, Italy, Serbia and France. The Drašler brothers, Jošt (1981)
and Vid (1983), have played with various bands, including Zlatko KauËiË’s Kombo and Orkester brez
meja (Orchestra Senza Confini), as well as Zmajev rep, Malik and Balžalorsky/Drašler 3o. While Jošt
Drašler has co-organised free improvisation workshops (BCMF, Raziskava, refleksija, Mariboring,
Neforma, etc.), Vid Drašler, also member of the Trojnik trio, has released a solo album, Kramljanja
(Zavod Sploh, 2015). A saxophone, guitar and no-input mixing board wizard, Marko KarlovËec (1983)
explores the unbroken traditions of free jazz, noise, black metal, improvisation and avant-garde music. He runs his own label, Botanic Records, publishing experimental projects. Recorded at a squat venue,
the Tovarna Rog Ljubljana Cultural Centre, the track here is included on the trio’s debut album, Stir
(Zavod Sploh / L’innomable, 2013), which features a selection of live material. 74 CD
2/13
Skladba / Composition:
IV (izsek / excerpt)
(glasba in aranžma / music and arrangement: Marko KarlovËec, Jošt Drašler, Vid Drašler)
Zasedba / Line-up:
Marko KarlovËec - sopranski saksofon / soprano saxophone
Jošt Drašler - kontrabas / double bass
Vid Drašler - bobni, tolkala / drums, percussion
Kontakt / Contact:
[email protected]
www.sploh.si/stir.html
Naslov albuma / Album title:
Drašler/KarlovËec/Drašler Trio: Stir
(Zavod Sploh / L‘innomable, 2013)
75
DVD
Portret avtorjev
DVD
»as za improvizacijo / Time to Improvise
dokumentarni film / documentary film
Slovenija, 2014
82 min
Nastopajo / Cast
Marko »rnËec / Marko Churnchetz
Kaja Draksler
Igor Lumpert
Igor MatkoviÊ
Jani Moder
Jure Pukl
Cene Resnik
Žan TetiËkoviÊ
Posebni gostje / Special Guests
Vijay Iyer
Doug Hammond
Jason Moran
Damion Reid
Joe Sanders
Nasheet Waits
Reggie Workman
78 Režija / Directed by
Tina LešniËar
Janez Stucin
Tina LešniËar (1978) se je po konËanem študiju kulturologije zaposlila kot novinarka pri kulturni
redakciji Ëasopisa Delo. Med letoma 2006 in 2008 je delala kot asistentka produkcije in raziskovalka
pri produkcijski hiši Propeler, nato se je vrnila k novinarstvu. Ko je leta 2011 za Delo pripravljala
odmevno serijo Ëlankov o mladi jazz generaciji, se ji je porodila ideja, da bi o slovenski jazzovski sceni
posnela film. »as za improvizacijo je njen filmski prvenec.
Ideja in zasnova / Original concept
Tina LešniËar
Janez Stucin (1974) je kot direktor fotografije sodeloval pri številnih dokumentarcih, kratkih filmih in
igranih celoveËercih. Kljub temu da njegova prva strast ostaja filmska fotografija, se udejstvuje tudi kot
režiser, montažer, producent in asistent scenografije. Producenta / Produced by
Andrej Štritof, Aleš Pavlin
Direktor fotografije / Director of Photography
Janez Stucin, ZFS
Montaža / Edited by
Ivana FumiÊ
Filmmakers in brief
A cultural studies graduate, Tina LešniËar (1978) first worked as an arts journalist for the Delo daily
newspaper. Between 2006 and 2008 she was production assistant and researcher for the Propeler
Production Company, and then resumed her career in journalism. In 2011, while researching a series
of articles about young jazz musicians for Delo, she decided to make a film about the Slovenian jazz
scene. Time to Improvise marks her filmmaking debut.
Cinematographer Janez Stucin (1974) has contributed to numerous documentaries, shorts and
fictional features. While cinematography is his abiding passion, Stucin also works as a director, editor,
producer and production design assistant. Oblikovalec tona / Sound editing
Matjaž Moraus Zdešar
79
Jazz
»as za improvizacijo / Time to Improvise
Slovenia 2015
Izbor skladb za kompilacijo je opravila strokovna
komisija v sestavi / The compositions were selected
by an expert committee with the following members:
Tina LešniËar, Andrej HoËevar, Mario BateliÊ.
Uredništvo / Editorial Board: SIGIC
Strokovna sodelavca / Professional assistants: Mario BateliÊ, Viktor Škedelj RenËelj
Besedila / Texts: Mario BateliÊ (tudi biografije
glasbenikov / also musicians biographies), Andrej HoËevar, Tina LešniËar
Lektorica slovenskih besedil / Slovenian language
copy editor: Monika JeriË
Prevod / Translation: Anina Oblak
Lektor angleških besedil / English language copy editor: Philip Burt
Mastering: Neven SmolËiË
Oblikovanje / Design: Eda PavletiË
Tisk / Print: Tiskarna Januš
Naklada / Print run: 1000 izvodov / 1000 copies
Izdano v sodelovanju s / Released in cooperation with:
SIGIC — Slovenski glasbenoinformacijski
center / Slovenian Music Information Centre
Zanj / Represented by: Zoran KrstuloviÊ
Naslov / Address: Trg francoske revolucije 6, 1000 Ljubljana, Slovenija
www.sigic.si
Perfo Production
Zanj / Represented by: Andrej Štritof, Aleš Pavlin
Naslov / Address: Trg Mladinskih delovnih brigad 4,
1000 Ljubljana, Slovenija
www.perfo.si
80 Izdajo so finanËno podprli Ministrstvo za kulturo
Republike Slovenije, Mestna obËina Ljubljana, projekt
MINSTREL (mreža za podporo mednarodni izmenjavi
in razširjanju glasbenih vsebin na evropski ravni) in
Slovenski filmski center. / This publication received
financial support from the Ministry of Culture of
the Republic of Slovenia, the City of Ljubljana, the
MINSTREL project (Music network supporting
trans-national exchange and dissemination of music
resources at European level) and the Slovenian Film
Centre.
Zahvaljujemo se avtorjem, izvajalcem in založbam
za pomoË in dovoljenje, da se njihove posnetke
uvrsti na priËujoËo kompilacijo, ter Ëlanom izbirne
komisije za sodelovanje. / We would like to thank the
authors, musicians and publishers for their help and
permission in putting together the recordings on this
compilation, as well as the members of the selection
committee for their collaboration. SGC CDDVD 001
© SIGIC, 2015
SIGIC — Slovenski glasbenoinformacijski center
SIGIC — Slovenski glasbenoinformacijski center je osrednja informacijska toËka za dostop
do informacij o slovenski glasbi, glasbenikih in glasbenih strokovnjakih ter aktualnih glasbenih
aktivnostih. SistematiËno skrbi za promocijo slovenske glasbe in glasbenikov tako doma kot v
tujini. V ta namen se SIGIC uspešno povezuje s številnimi glasbenimi institucijami v Sloveniji
in po svetu ter je polnopravni Ëlan Mednarodne zveze glasbenoinformacijskih centrov (IAMIC).
SIGIC izdaja spletno revijo o glasbi Odzven, ki ponuja kritiËno refleksijo in analitiËno misel
o aktualnem glasbenem dogajanju vseh žanrov. Z letom 2011 je SIGIC zaËel z izdajanjem
preglednih kompilacijskih zgošËenk, s katerimi predstavlja presežke v posameznih glasbenih
žanrih. ZgošËenkam Jazz Slovenia 2011, Etno Slovenia 2011, Eksperiment Slovenia in Klasika
Slovenia tako sledi že druga jazzovska zbirka Jazz Slovenia 2015: »as za improvizacijo, ki jo
držite v rokah.
SIGIC — Slovenian Music Information Centre
The Slovenian Music Information Centre - SIGIC - is the central information point for
Slovenian music, musicians, musical professionals, and current musical events and activities.
The organization systematically promotes Slovenian music and musicians both nationally
and internationally. To this end, SIGIC connects numerous musical institutions in Slovenia
and around the world, and is a full member of IAMIC, the International Association of Music
Information Centres. SIGIC publishes a web music magazine called Odzven that offers critical
reflection and analysis about current musical activities in all genres. In 2011, SIGIC started
publishing compilation CDs presenting the best from individual music genres; here, we offer
for your listening pleasure SIGIC’s second jazz compilation, Jazz Slovenia 2015: Time to
Improvise, the latest in our series of releases, which includes Jazz Slovenia 2011,
Etno Slovenia 2011, Eksperiment Slovenia and Klasika Slovenia.
VeË o SIGIC-u / More about SIGIC: www.sigic.si.