33. 2011 - The Return Of The Inferno Версия для печати

 Artist: Mikhail Chekalin and Ulli A. Ruetzel
The Return Of The Inferno
1) The Return Of The Inferno-Door1 09:18
2) The Return Of The Inferno-Door2 14:36
3) The Return Of The Inferno-Door3 01:33
4) The Return Of The Inferno-Door4 08:31
5) The Return Of The Inferno-Door5 12:17
6) The Return Of The Inferno-Door6 04:49
7) The Return Of The Inferno-Door7 And Exit 05:01
8) The Return Of The Inferno-Epilogue 07:57
Total time: 64:33


Composed, arrangement and mixed by: MIKHAIL CHEKALIN
Produced by: Mikhail CHEKALIN, Ulli A. RÜTZEL
MIKHAIL CHEKALIN – electronics, synthesizer, piano, vocal(Tr. 3 “The Mirror”), computer
ULLI A. RÜTZEL – alto saxophone, bagpipe whistle, mouthpiece, composed+improvisation all saxophone parts(Tr.1 “Blowing Off The Inferno”)

Artcover by M. Chekalin

Executive Producer: Ulli A. Ruetzel
(C)+(P) CCn’C Records / DA Music, 2011

Ulli A. Rützel (born 1944), a German music producer, music publisher and early freejazz pianist from the sixties became acquainted in the early nineties. Rützel has published some of Chekalin´s music on his record labels Erdenklang and CCn´C.
Mikhail Chekalin (1959, Moscow), composer, synthesizer, keyboardist, painter, videoartist; an independent Russian musician unofficial artist whose professional career traces as far back as the very beginnings of the Soviet underground in mid-seventies.
 "Shostakovich for the Electronica Generation", "CDs by Mikhail Chekalin of Post Symphonic music that transcend the boundaries of Electronic, Neo-Classical Jazz Fusion"  Eurock. USA
"Arguably he is the most influential modern composer of the last 35 years in the former USSR, now Russia. His work was experimental; in fact his creative intent was specifically to break new ground stylistically. He worked outside the boundaries of established culture, while at the same time breaching its borders when possible to make his point and music heard“<...> "Over the span of his career Chekalin has produced some 30+ works that range the sonic spectrum from post pop, to free-jazz, electronic, and post-symphonic. While his music was known to me since the 80s, <…>” Progression magazine /issue51, USA “<...> stripping away the cold academic veneer from post-modern 20th century classical music by splicing electronics into a more freeform, compositional matrix; Chekalin’s a veritable Mother of Invention, molesting pianos, tossing horns about and plastering all sorts of synthetic mayhem across the stereo canvas with рcalculated, Zappafied glee. <...> ...recall if anything Tod Machover’s generative computer-glove exaltations, more spank than Frank...“ Densely plotted listening certainly, and an acquired taste, but tenuous comparisons aside, Chekalin remains a true (if sadly underrecognized) original. Darren Bergstein " Signal to Noise“ Issue # 50/ June – July 2008 Circuit Breakers, USA

What kind of inferno are the musicians talking about?
The profane one we all experience day after day?
Or is “inferno” meant to be a metaphor for the freedom of the improviser?
Are they blowing it out or are they blowing it off?
Or are they cancelling it because it is not going to happen?
Or could it be a persiflage on the slippery music business that both musicians have gained experience with from various points of view? Ulli A. Ruetzel

Mikhail Chekalin about “Blowing of The Inferno” and “Return Off The Inferno”
It was Ulli who came up with the title; the idea stirred me as it referes to an infernal contradictiousness of our times; it invokes lots of things, a Luis Buñuel film „La hija de Juan Simón“ (1965) in particular...
That cool Hell of the late ’60s, alluded to by Buñuel, is over and done with; wish one could go back, from our actual hell to that proverbial one.

It’s his epoch that an artist expresses, not just his own self. Saxophohe sound elements here, doing homage to free improvisation era, strike me as essential in reflecting a contradictious Weltanschauung of nowadays. A current world outlook touched by a post-modern, inevitably eschatological state of mind doesn’t seem realistic enough, after all; for what once used to have been qualified ’an apocalyptic delusion’, now seems more like an everyday actuality; so it’s about time to leave this Inferno, following after the Piper...

The Inferno imagery reminds me of an avant-garde playfully contraversial use of symbols; their negation of negation, as is the case with the personage of Lucifer, f.e. ...

...which brings to my mind encounters and discussions with Karlheinz Schtokhausen in 1990; my personal acquaintance with him served, of itself, as a kind of symbol, implying a passing-on the baton of epoch-making music paradigms...
Another meaningful encounter also occured in the same ’90, that with Frank Zappa (having heard my „Night Pulsation“ he wished to meet me), this work might be doing homage partly to him, because improvising here plays its particular role, along with composing.
At the very beginning of the same 1990s, that fateful point in history which seemed such a big bang romance and which turned out more of a bang, less of a romance, we stroke acquaintance with Ulrich and didn’t he played a part in my life; it was Ulrich who released my album „Night Pulsation“.

Perhaps a steady reaching for an exit out of Inferno going on and on is the very essence of music for me.
Quite a few among the 20th century musicians have been left searching answers for a „question without answer“ by Charles Ives. While it would seem more to the point to pose one’s own question: an artist doesn’t give answers, but offers question.
The saxophone here, by its very sound, recalls a burgeoning liberal epoch of free-wheeling thinking, hopeful expectations and strivings – a free improvisation era of late 60s – 70s, which has just liberated itself from the jazz-square captivity to make a plunge to higher level of experimental freedom, to supremacist black square.
For me as a composer, the saxophone, by sort of peculiar agogics, possesses this question-mark intonation, this radical and protestant air, once an indispensable element in music, now all but lost to oblivion – which Ulli knows how to express gorgeously, spanning the whole of emotional spectrum, from grave to whimsical.
I’d like to believe that we succeeded in offering a new question here...
Freedom to pose questions rhymes for me with the dilemma of our times; as John Fawles puts it, an issue of securing free will of an individual against a conformism enforced by compulsion.

>>>>>>>>>Zur Verlinkung hier die bei uns erschienen CDs
LAST SEASONS – CCn’C 01612 (Zeitgenössische Musik)

NIGHT PULSATION – Erdenklang 30632 (Elektronische Musik)

Erdenklang 29612 (Compilation Elektronische Musik)

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