“Structure # 54” is another step on the way of this Siberia-Moscow quartet, a phase containing a unique improvisational line of a compositional structure. We wanted to create a metaphor through embodying paints, images, conditions, which might no longer exist. The figure 54 is very symbolic here. After the Novosibirsk region code was changed from 54 to 154, the special quality, certain state of being could leave Novosibirsk, or could transform to something completely different – this is what we try to show here with the help of hints and allusions. Fantasies and transiencу – recorded as sounds and well structured – reveal not just some statement of a specific period of time, but also the reflection of personal attitude of musicians to these local changes, which, however, do not affect or change the essence of the attitude to the Siberian world. The world with its immense space, bringing up the image of infinity in each Siberian soul.
This fact is very important when defining the musical philosophy and points of view that specify the Siberian musicians. With increasing “digitalism” of contemporary world, Siberians still remain archetypical and pure in self-identification.
Improvisational school of Siberia and Novosibirsk in particular, is absolutely different to that of any other part of Russia – musicians are in constant research, they stay away from clichés and therefore keep their natural frankness. Due to an uncomplicated call to the heart of the creative process, Siberian musicians, always opened to something new, establish a new language, their own style, own sounding. And it’s amazing to be on the same stage with improvisers from Novosibirsk, participate in the same project together, behave as one single creature, and move towards one goal. It is great when musicians feel and understand as one. So, “Structure # 54” is the perfect reflection of a joint creativity embodied and revealing artistic ideas of the whole team.
released April 28, 2014
Alexey Kruglov: saxophones, bassethorn, recorder
Roman Stolyar: keyboards, recorders
Vladimir Dranitsa: double bass
Sergey Belichenko: drums, percussion
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This album has some real warmth to it. I love playing this on an early morning making coffee and getting ready for my day. Sometimes it's the soundtrack to my morning meditation. A great listen, really good Jazz and more. john greenwood
Just like his contemporary (Kenny Wollesen), Tim Daisy is a very adept and fluid vibes player as well as a 'go to' drummer...
This album seems to dial into a soundspace somewhere between Ornette Coleman's late 60's trio and Eric Dolphy's 'Out To Lunch' ensemble...but Tim's compositions are very much his own and terrific they are too!
He doubles on drums and vibes,the bass is a constant driver and it is good to hear alto and bass clarinet deployed as well...special all round,in fact...