MP3 SAMPLE
BLACK SEA TRIO
Enver Izmailov - Guitars (Crimea / Usbekistan)
Anatoly Vapirov - Saxophon (Bulgaria)
Kornel Horvath - Percussion / Udo, Gato etc. (Hungary)
ENVER IZMAILOV - Guitar
Enver Izmailov is a remarkable guitarist.
He developed a tapping technique long before ever hearing about Stanley Jordan. His playing encompasses Oriental and Balkan folk music, rock, Indian music etc. Western classical and the improvisation of jazz; he can also make his guitar sound like a tabla or saz and is not afraid to leave space.
Use the elements from folk music of Crimean Tatars as well as absorbing the influences of Oriental music, Indian and Balkans, playing difficult rhythms: 7/8, 5/8, 9/8, 11/16, 13/16.
Started playing guitar at the age of 15. 1973 - he had graduated the Music school (basson) in Fergana. He actively paricipated in rock and jazz groups.
1980 - 1988 - he played with the "SATO" group in Fergana. "SATO" have recorded two Lp's: 'Efsane' ('Legend') 1986 and 'Give your love for a friend in a circle' 1987 ("MELODIA" label, Tashkent). 1989 - he moved back to his native land Crimea. 1990 he had graduated at the Tashkent University with a degree in correspondence, specialty: 'the conductor of folk music orchestras'.
1990 - 1998 - took parts in music festivals, tours in USA, Germany, Holland, Finland, Norway, Sweden, Belgium, Denmark, Italy, Bulgaria, Estonia, Russia, Moldavia, Turkey, Ukraine and other countries, participated radio and TV programs. He was giving instruction about guitar style "tapping-technique" (class master) in high music schools of the "Sibelius Academy" (Finland).
He was the first-prize-winner of the First European International Guitarist Competition, which was held on the 20-24, August 1995 in Lausanne (Switzerland). He concluded a publicity-endorsement contract with the "BLADE" - guitar company of Gary Levinson for production of electric guitars. Besides solo performances he took part in duets, trios, quartets... Joint CD-recordings together with foreign musicians. He appeared on the same stage with the most famous guitar players, such as John McLaughlin, Mike Stern, John Scofield, Stanley Jordan. Enver IZMAILOV was voted for the Musician Of The Year (1995) by the Ukrainian music critics.
REVIEWS
"By two handed hammering on he is making the guitar a new instrument which is in no way inferior to the polyhone possibilities of the cembalo. Izmailov's tours through baroque quotations, Slavian folklore and sound excesses are technically and artistically pure magic"
ANATOLY VAPIROV – Saxophone
Especially through his work in the jazz Avantgarde of the former Soviet Union Anatoly Vapirov is known to friends of improvising music. He was the leading saxophonist and one of the most important composers of Leningrad's contemporary jazz scene.
Due to family reasons - his father and his wife are Bulgarian- in 1985 he moved to Varna in Bulgaria. Since 1992 he has been leading the Varna Jazz Festival, which presented a sophisticated program and became an important axis for encounter between jazz musicians from East and West Europe. "In the beginning I was inviting musicians, because I wanted to play with them myself," says Anatoly. "Meanwhile some kind of musical workshop has developed; a laboratory, where musicians from East and West can meet."
In 1974 - still in Soviet times - with the "Bulgarian Rondo" for saxophone and orchestra Vapirov already referred to his Bulgarian roots. As early as the mid-seventies and in opposition to many free-jazz-hardliners, Vapirov included the entire range of classical music, chamber-music, jazz and folklore within his expressive style.
He composed a Concerto for a jazz quartet, mezzosoprano and choir ("Slav Mystery", 1977) as well as a piece for bass, piano, saxophone and string quartett, that reflects the music of Alban Berg ("Lines of Destiny", 1980). His borderline frankness would expose itself likewise in projects with symphony orchestras and Sibirian folklore ensembles.
In the "Fairy Tale Trio" Anatoly plays the soprano saxophone exclusively. The musician, who is also known as a brilliant clarinettist and tenor saxophone player, doesn't blow his trio collegues off the stage. The sound of the soprano saxophone merges most sufficiently with Spassov's kaval.
"I have grown older and maybe a little wiser," he explains. "Good music doesn't come out of unrestricted strenghth and expressivity only, but also out of deep probing."
He works and makes recordings with diferent musicians: Tavitian (Romania); Muthspiel (Austria); Dasek (Czech Rep); Tomlinson, Guy, Wachsman, Rutherford and Surman (England); Krog (Norge); Kowald, Zerbe, Moscher, Dix and Kugel (Germany); Vysniauskas and Labutis (Lithunia); Gebbia, Dato, Fazio and Minarfa (Italy); Leviev, Donchev, Yotsov, Yankoulov and Spassov (Bulgaria); Kuznetzov and Izmailov (Ukraine); Kyriochin, Tarasov, Shilkoper, Volkov and Ponomareva (Russia); Sclavis (France); Aydogdu and Ibrahimova (Turkey); Sainkho (Tuva); Stanko (Poland); Waldron (USA) etc.
KORNEL HORVATH - Percussion / Udo, Gato etc.
Kornel is famous as a flute player from the 70s. His virtuous playing gave him a reputation in Hungary and Europe.
However, he decided to become a percussionist overnight and suddenly the audience met a completely different musician. Since then he has been developing a special technique which ensured him wide poplarity. He has different recordings additionally to his own solo projects.
He is famous for his work with the trio Stendhal and has worked with many international jazz musicians as David Friedmann, Randy Brecker or Munir Bashir etc. In Hungary he work many years in Trio Stendhal with Ferenc Snetberger also with Marta Sebestyen, Mihaly Dresch, Zoltan Lantos etc.
A new project is a also a percussion trio with Stoyan Yankoulov and Carlo Rizzo.
REVIEWS
Ganz anders lag die Sache beim so genannten Schwarzmeer-Projekt. Hier hatten sich vier begnadete Ausnahmemusikanten zusammengefunden, die einem begeisterten Publikum vorführten, wie eine verschärfte, zeitgemäße Folklore klingen kann. Der überschwängliche Jubel bulgarischer Hochzeitsmusik, der klagende Blues des wilden Ostens, ländliche Hirtenlieder, der Sound der E-Gitarre und furios dahinjagende Rhythmen verschmolzen zu einer einzigartigen, rauschhaften Musik jenseits aller Fusionklischees. Virtuos und bewegend spielen sie alle ... Das ist kein Jazz, gewiß. Aber wann hört man schon eine derart swingende Musik?
Hochspannung von der ersten bis zur letzten Minute bot dagegen das sogenannte Schwarzmeer-Projekt, eine eigens für Frankfurt zusammengestellte Formation. Gemeinsame Wurzeln in der rhythmisch komplexen Folklore der Schwarzmeer-Region, ein bis zu Rock und Free Jazz reichender Erfahrungshorizont und nicht zuletzt die irrwige Virtuosität der Musiker sorgten für einen Höhepunkt des Festivals.
"Aha-Erlebnisse wie jenes, für das ein Konzert des „Black Sea Project" sorgte: Musiker aus dem Schwarzmeerraum, verbinden da auf völlig unverbrauchte Weise Folklore und zeitgenössischen Jazz. Sie wärmen keine Klischees auf, veranstalten keine Improvisationsrindelreihen, sondern vertrauen - sensibel aufeinander hörend - einfach auf den großen musikalischen Fluss. Osteuropa, so scheint es hat an Vitalität noch einiges zu bieten"
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