Etnodžazăt: lokalni proekcii v globalnoto selo
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarisch |
| Veröffentlicht: |
Sofija
Bălgarska Akad. na Naukite, Inst. za Izkustvoznanie
2007
|
| Ausgabe: | 1. izd. |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016430795&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016430795&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | In kyrill. Schr., bulg. - Zsfassung in engl. Sprache u.d.T.: Ethnojazz |
| Umfang: | 175, XVI S. Ill. CD (12 cm) |
| ISBN: | 9789548594011 |
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Datensatz im Suchindex
| _version_ | 1819290461799448576 |
|---|---|
| adam_text | СъдърЯсание
Вместо увод
...............................9
1
ИДЕЯТА ЗА (ЕТНО)ДЖАЗА
...................11
Въбедение
..............................11
Из лабиринта от разкази
6
нефиксираната музика
....................15
„Етниката
6
дзказа
.......................29
Белезкки
................................39
2
CON MUCHO
GUSTO:
ГРУБИ ЕСТЕТИКАТА
В МУЗИКАТА НА МИЛЧО ЛЕВИЕВ
..............42
Антибалс
...............................47
Студия
................................50
Блус
6 9................................54
Блус
6 10...............................58
Белезкки
..............................62
3
БАЛКАНСКАТА ЕТНОВЪЛНА
.....:............65
Забръщане към
cßoemo
-чуаѕдо
или за другата
народна музика
..........................65
(Нео)фолклорният сбирач
...................81
Ценителят-менидасър
......................97
Белеаски
...............................118
4
ОТ СВАТБАРСКОТО СВИРЕНЕ
КЪМ ЕКСПЕРИМЕНТАЛНАТА МУЗИКА
..........120
На панаир
с
Баш Майстора:
Ибо Папазоб
и „нетемперираната музика
................122
Още фюЖън
с
Атеш и Венера
................131
Салса
8 11/4
с
„Икадем
....................136
Горчибо-сладката
бленда на
Дасони
............140
Дзкундзкурията на Стоян и Елица
............143
Селският танц на „Карандила
и постетничната перспектива
...............145
Белегкки
................................156
Резюме на английски език
....................159
Литература
..............................169
ПРИЛОЖЕНИЯ;
а) илюстрации-снимки
...................
I—
XVI
б) компактдиск с
музика (описанието
на с
176)
7
Claire
Levy
Ethnojazz
Local Projections in the Global Village
(Summary)
Devoted to the idea of ethnojazz as an innovative form of
interaction between Bulgarian
/
Balkan folk and global jazz vo¬
cabulary, this book discusses on the music of emblematic artists
with different genre backgrounds, who outline the perspective
of a new development in music as well as a new horizon in mi¬
xing of musical languages. United somehow under the particular
dictum „back to the future! , such musicians also bring the no¬
tion of specific artistic awareness which goes beyond the blank
mimicry in the appropriation of traditionally oriented ideas con¬
cerning the jazz idiom. Not accidentally, their common line,
defined by Western critics as the „Bulgarian exceptionalism ,
is dominated and stimulated by the Balkan wedding tradition,
which is now taking new directions
-
hard to be defined, hard
to be located under familiar musical labels, and perhaps this is
why so distinct and thrilling.
This direction in Bulgarian jazz emerged still during the
1960s,
but found more tangible development only several de¬
cades later. The intention to explore its logic draws the attention
to
sociocultural
aspects of the phenomenon as well as to its „lan¬
guage distinctiveness, projected in particular „musical texts .
Having considered as well points in relation to metamorphoses
in attitudes toward the Balkan „ethnika in music, it is argued
that this phenomenon directs also to new self-identification as¬
pects of today s folk musician, who updated the model of artistic
behaviour, not identical neither to the aesthetics of the so-called
folk ensembles (promoted by the state after World War Two), nor
to the museum-like idea in terms of preserving tradition. The
key thesis here argues that this updated model abandons the
claims of „art taken as an alienated category, and turns to folk
159
Claire
Levy
·
ETHNO
JAZZ
(or rather to
neo-folk)
-
not just to interpret the tradition but to
sustain the essence of its nature. By taking a non-traditional ap¬
proach to traditional music, today s folk musician embodies the
very idea of the tradition in contemporary situation. He takes
back and further develops his role of a creative subject, which
-
in the context of developments that oppose art vs. folk
-
was
somehow stolen from him. He gets together the „two sides of the
coin , as if to revive and update the synthesis of that behaviour,
which in jazz as well as in folk, does not split musicians into
„composers and „performers , but combines traditionally both
the creation of music and its very performing. By considering
particular aspects of
neo-folk,
taken as part of contemporary
culture in the „global world , special attention is paid to issues
in relation to regional exoticism,
hybridity
and the postethnic
perspective.
Part One (The Idea of Ethnojazz) outlines basic points in un¬
derstanding jazz as particular novelty in the twentieth century
culture. It is argued that jazz is a broad term that envelops a
wide range of musical practices and „...may be understood as
a context rather than a concept (Beard and Gloag,
2005: 96).
This starting point is further developed by exploring views of the
Bulgarian-born musician Milcho Leviev
-
composer, arranger, pi¬
ano player, and jazz innovator,
-
who still during the
1960s,
the
decade before his immigration to the U.S., played a key role in
Bulgarian jazz and paved the way for what has lately been de¬
fined as „ethnojazz. For Milcho Leviev swinging , one of the ba¬
sic aspects in the field of jazz, has turned out to be an approach
that is compatible with diverse aspects of folk music, especially
its later stages, which evolved in the context of the transition
from rural to urban life and which gave rise of a particular cult
to improvisation and virtuosity in local vernacular instrumental
music. The genesis of these folk styles indicates basic typological
parallels with jazz as a specific
socio-musical
practice. Experi¬
menting in this direction, M. Leviev began a new chapter in the
innovation of jazz (named at that time folk-jazz), inspired by the
idea of
nontraditional
forms of fusion, in this case between the
jazz idiom and the vocabulary of Bulgarian folk music.
Still at the beginning of the
1960s,
long before he met his
American collaborator Don Ellis (a trumpet player and fellow
jazz innovator, who was highly attracted to the challenge of non-
250
_____________
^
____________
Summary
western „exotic rhythms ),
Mücho Leviev
had already recorded
with the Big Band of Bulgarian National Radio his first jazz
compositions that employ elements of Bulgarian folk vocabulary:
„Studia
and „Blues in
9 (1962).
This approach to a large extent
defined the experimental outlook evident as well in his work with
the Jazz Focus
65
quartet
(1965-1970).
The quartet boldly broke
canons and rules, not only from the point of view of Bulgarian
jazz, which until at least the beginning of the
1960s
had imitated
traditional models, primarily from the era of swing. Even at that
time, LevieVs experiments in terms of involving and interpreting
layers of „ethnic and „classical music was part of a much wider
and liberating tendency, most probably connected with general
processes of social, psychological and cultural renewal during
that period. In music as well as in other arts, this process gave
birth to
nontraditional
forms of human and artistic awareness,
which in some way brought innovations in jazz, rock and also
the musical avant-garde closer together. As Leviev noted: „...The
1960s
were the most creative years of the century
-
in art, even
in politics...there was progress even in our society [the eastern
bloc] (Leviev, quoted in Fadel
2001: 6).
This tendency was by no means isolated, nor was it strictly
„Bulgarian. In addition to the already-established regional trend
known as „Latin American Jazz, the
1960s
added new dimen¬
sions to the interest in hybrids spiced up with regional folk
colouring. It was as if a new wave of migration and intersection
of musical languages was being unleashed. In this sense, we can¬
not leave behind the prism of cultural globalization, including
in music, especially if understood also as a new way of thinking
that abandoned conventional manners of relating to the world.
It is precisely in this way of thinking that the perspective on dif¬
ference takes on particular value. Thus, under the conditions of
a global culture that at first glance appears homogenizing, the
specific potential of „community musics, with their multifari¬
ous local characters, turns out to be a means for creating new
modes of identifications.
In fact, as Leviev himself points out, „...music has always
been an international and cosmopolitan art, especially jazz, and
not just in recent times. If you take the time of Bach, and after
that
-
they all learned from one another, mixing the Italian,
French and English schools. For example, Bach borrowed from
161
ЕТНОДЖАЗЪТ
Vivaldi, Vivaldi
from Purcell in England,
and so on. Those are
completely different cultures. Or in more recent times, when
all cultures are already intertwined: Indian, Asian, European,
American, African and so on. This shows that in a certain sense
there has always been globalization. Just not on the same scale
as it is today (Leviev, quoted in Nikolova
1999: 5).
The collaboration between Leviev and Ellis, which began as
a long-standing correspondence between friends (and, as it later
turns out, like-minded musical thinkers), created opportunities
not only for a liberated attitude towards the world, but also
possibilities for full creative fulfillment, regardless of geographi¬
cal barriers. As Leviev recalls: „One day, in
1968,
I sent some
recordings of Bulgarian folk tunes to Don Ellis. There were dif¬
ferent kinds of odd meters in these records and among them
a Sadovsko How in
33/16.
I knew that this meter would excite
Don s curiosity, but what happened was beyond my wildest ex¬
pectations.... Several months later, I heard [the
horo]
under the
title of Bulgarian Bulge which is on the Underground album. My
friends and I in Bulgaria couldn t believe our ears. Here were
musicians, thousands of miles from Bulgaria, playing this music
as if it were native to them! (Leviev, quoted in Ellis
1972: 92).
Not surprising! The mastery of a „foreign vocabulary and
turning it into a part of one s own expressive arsenal is a pro¬
cess that in a certain way recalls the eternal mterplay between
self and the other. „The other in myself or „myself in the other
-
however we choose to call this connection, it from time imme¬
morial indicates that music is not a possession, that it is not an
object that one can lock away in one s own safe. On the other
hand, it is hardly possible to appropriate in details someone
else s individual stylistics. To play like someone does not mean to
sound like that person. Regarding asymmetrical meters, Leviev
notes: „...That is terminology, a problem for theoreticians...In
any case, in practice, in playing, asymmetrical meters are a
question of feeling, of figuring out the trick (Leviev,
p.c.).
Three years later, in
1971,
this time including Leviev, who
brought the added attraction of an improvised keyboard part,
Don Ellis s orchestra again recorded „live a new, expanded and
even more flamboyant, almost five-minute-long version of the
dance tune, which was released on the double album Tears of
Joy. This variant of „Bulgarian Bulge once again combined sty-
162
Summary
listić
features inherited from the Big Band tradition of the
1930s
with instrumental playing in the spirit of Bulgarian folk music,
while the keyboard solo is notable for its lavish inventiveness,
its virtuosic interpretation of the main folk theme in
33/16,
its
playful hints at „Baroque styling, as well as for that artistic and
ingenious sense of swing that can be found in Leviev s music.
Playing and composing with such like-minded musicians turned
out to be especially inspiring for him:
„The biggest impression a jazz musician had on me between
1955
(the year I started listening to jazz) and
1970,
was Don
Ellis. His orchestra was the first jazz group I saw in America,
not only saw, but had the pleasure to occupy its keyboard chair
for
7
years. I ll say one thing about Don: he could play New
Orleans jazz as good as Wynton, (if not better), but his musicality
led him to new, unexplored things with the time elements in
music. He studied the folk music of India,Turkey, Bulgaria, and
achieved highest results in terms of swinging, and grooving on
odd meters. So, imagine what this was for me: a dream come
true. I not only played, I wrote for the band. We recorded a
double disk LP, „Tears of Joy , live in
1971... -
a lot of our highest
quality music was played then. (Leviev, quoted in Gilbert, last
access: March
2007).
Playing around with „odd rhythms was most likely stimu¬
lated by jazz s traditional flight from „square thinking, from
angular symmetry and strictly regimented organization. As one
unwritten motto among jazzmen says, „the world does not beat
in
4/4!
Judging from such interpretations, the interest in asym¬
metrical meters is not necessarily focused on the discovery of
a new musical layer recognized as the „trademark of a given
geographical region of the world or as an identifying marker
that has crystallized solely in the context of one specific ethnic
experience:
.....
Before [Don Ellis], Dave Brubeck had done some
similar things, despite the fact that he wasn t so interested in
„ethnic . His Blue Rondo a la Turk, for example, doesn t sound
Turkish or Bulgarian, there s nothing Balkan in it at all; it
sounds completely Western, even though it is in an asymmetrical
meter...That is actually interesting, too! (Leviev,
p.c.).
For Don Ellis and Milcho Leviev, however, asymmetrical me¬
ters are to a large extent a means of mixing with other hori¬
zons as well, for involving of patterns that point to specifically
163
БТНОДЖАЗЪТ
characteristic
regional
musical
signs. In this sense, ideas about
a „Bulgarian, a „Balkan or even of a more general idea about
„non-Western sound construct the contours of a „new eclecti¬
cism which years later has evolved into a series of local mani¬
festations in Bulgarian jazz.
In this respect, one can hardly speak of any kind of direct
influence.
Leviers
albums (recorded abroad after he had immi¬
grated to America in
1970),
including his collaborations with Don
Ellis, never reached any wide distribution among the public or
musicians in Bulgaria. It is more likely that the logic of general
processes in contemporary music, as well as the internal intui¬
tion of highly gifted artists such as
Ivo
Papasov,
Georgi
Yanev,
Petur
Ralchev, Martin Lyubenov, Vassil Parmakov or Yildiz Ibra-
himova has led to the actualization of the idea of ethnic fusion,
based not on schematic expectations connected to institutiona¬
lized or commercial genre labels, but rather on free movement
that has somehow become inscribed in the metamorphoses of
that ubiquitous „returning to ethnicity that has seized the mo¬
dern world. Nevertheless, the credit to Leviev as notable, in¬
ternationally recognized artist, had played a significant role in
what I would characterize as the particular shattering of ortho¬
dox attitudes among Bulgarian jazzmen. During the
1980s,
and
especially during the
1990s,
Leviev not only encouraged, but also
himself collaborated with Bulgarian musicians with different ar¬
tistic backgrounds, who dared to blend heterogeneous genre and
ethnically derived traditions in a shared stylistic space. Among
Leviev s collaborators was the kaval player
Teodosii
Spasov, who
folk musicians initially considered anathema and jazzmen ac¬
cepted with deep reservations (see Rupchev
1999: 81).
Folk musi¬
cians like Ateshhan Yuseinov (guitar), Darinka Tsekova (gadulka),
and Angel Tichalev (trumpet), or the jazz vocalist of Greek ori¬
gins Vicky Almazidu, among others, have also worked in close
collaboration with Leviev. However, whether Leviev succeeded in
dispelling once-and-for-all the public s doubts about the potential
of
nontraditional
viewpoints on jazz as well as on the „accept¬
able limits of interpretation of Bulgarian folk is another ques¬
tion entirely:
„...Some Bulgarian colleagues of mine have told me: „You
are responsible that the likes of Ibryama
[Ivo Papasov]
are
considered jazzmen. And they ask me: „That, what he plays,
164
what is it? Is it jazz? ... „It s music!!! I tell them. There s jazz
and folk and pop in that music... And then they start to teach
me what is music about... Snobbery! I remember one country
musician who played the banjo terrifically. I m sure he has never
considered himself a jazzman, but...he created music! And our
folk musicians? Look at what they re doing! In Turnovo there is
one great group,
Reporterite
[The Reporters], I don t think that
anybody here has ever heard of them... Or the Gypsy musicians
from Nova
Zagora,
Zlatina Russeva made a documentary about
them...the film was called
„Virtuozite
[Virtuosos], and they really
are virtuosos, despite the fact that they ve never studied music
and can barely read notation (Leviev,
p.c.).
As far I understand it, Milcho had not resisted the temp¬
tation to play with the „Virtuosos, or
-
as happened during
another jam session
-
with the players of the
Karandila
Gypsy
brass band. The informal nature of this type of music making,
however, does not reflect the opposite, orthodox pole of the pub¬
lic s conceptions about the understanding of jazz. For example,
commentary on the occasion of jazz s specialized classification
indicated that international critics prefer to „...defend ideas
about jazz in their essential being [my emphasis] that is, that
„...all variations of the improvisational art that do not use the
jazz idiom are either excluded or very weakly represented...The
commercial category of smooth jazz, as well as the folkloric
genre of world music are practically absent in the classification,
let alone regional concepts such as Balkan jazz or ethnojazz,
among others... This rigidity of criteria is just another sign that
the art of jazz has already distanced itself from its long-standing
close relationship to pop music... (Gadzhev
2006: 17).
And, as is
stated later in this commentary: „This tendency is useful for us
Bulgarians
(ibid.).
I would suspect that the shade of conservatism in this com¬
mentary can in fact be attributed to „international critics. But
why then is a similar rigidity of criteria, as well as the sneaking
sanctioning tone of elitist opinions, perspective and even „useful
for us Bulgarians?
Not wishing to enter into polemics with such ideas as much
as to express his misgivings about the effects of such a rigid
idea about the future of jazz, Leviev confided: „...One hundred
years of jazz, and now we are already running up against the ap-
165
ЕТНОДЖАЗЪТ
pearance of traditionalism, elitism,
snobbism,...
and what s even
more troubling: academism. I think that it is precisely acade¬
mism that destroyed classical music! And nowadays I think jazz
is suffering from the same problem...I m not talking about a
tendency towards complexity; complexity and academism are
two different things! (Leviev,
p.c.).
Elsewhere, Leviev even speaks of a crisis in jazz: „At the
moment, I don t see the crisis in jazz so much in the sense that
there aren t jazz musicians or jazz performances. On the con¬
trary, there are more than ever before. But for two decades now
one can observe a certain conservatism, a return to the old, to
the exploitation of already well-travelled paths... Besides, the
separation of jazz as an elite art form is not quite good. It is
a bit shameful, since it comes from the rank and
nie
(Leviev,
quoted in Fadel
2001: 6).
Such phenomena are not merely projections of abstract si¬
tuations: „...Things took a turn toward academism somewhere
around
1975 - 76,
when Winton
Marsalis
-
an excellent musician,
trumpet player and composer, who nevertheless lacks a sense of
originality
-
assumed an important position... He is the musical
director of Lincoln Center in New York, where he deals with jazz...
That institution supports groups that repeat traditional things...
On the other hand, Winton is a good popularizer, he created an
educational series that is very reminiscent of the successful series
created by Bernstein years ago... But the troubling thing is that
young people have begun to play
-
how shall I say it?
-
mostly
imitations, and mostly up to bebop (Leviev,
p.c.).
This attitude toward tradition
-
a key moment in every edu¬
cational policy
-
obviously runs the risk of ignoring the dynamics
of the viewpoint that looks without concern not only backward
but also forward in time. In this sense, the point of view that
recognizes jazz as the „classical music of the twentieth century
introduces curious nuances. The „classical status of jazz is not
based so much on some defining quality, but rather precisely
due to its relationship to the past as a source of given models in
certain musical spheres. The cultivation of this attitude toward
the history of jazz is reflected in the creation of specialized jazz
pedagogical institutions. The fact that jazz has long since ceased
to be a myth and instead is a range of well documented musical
texts, is an argument in support of this view. However, when the
166
Summary
pedagogical process turns into a source of formalized recipes or
mere mechanized reverence to the past, then one can clearly see
what Leviev was referring to. A similar tendency dominated, for
example, following Beethoven, when sonata form was roughly
formalized. The study of models as canonized directions rather
than inspiration for one s own development to a certain degree
undermines the goals of education.
As to the claim in terms of recognizing jazz as „classical mu¬
sic, Leviev notes: „The very concept classical is quite dubious,
because...what does classical mean? In my opinion, a classic
means a model. Can a whole trend in music or even an entire
historical period really be a model? How so? In school they used
to teach us on the history of music that there was classical and
pre-classical music, and that Bach was a pre-classical com¬
poser. But wait a minute, what does that really mean? Is there
a greater classic than Bach!? Music can not be forced into such
convenient cliches! What does serious music mean, or a seri¬
ous musician? What musician can be considered
unserious? Who
defines that? (Leviev,
p.c.).
From this viewpoint, perhaps there are some advantages
to the fact that ethnojazz in Bulgaria does not yet recognize
the limiting barriers of any single canon, nor does it enjoy
the comfort of belonging to a particular institution. As far as
the functioning of this music is concerned, the demand for
groups featuring musicians such as
Teodosii
Spasov,
Ivo Papasov,
Ateshhan Yuseinov, Stoyan Yankulov or
Petur Ralchev
(more for
concerts abroad than here at home, however), surely is a sign
not only of a local artistic consciousness, but also of a certain
insufficiency within the field of „orthodox jazz, an insufficiency
that at the same time hints that jazz, perhaps, has gone off
„somewhere else. Is it not the case that jazz, that labyrinth
of narratives in unwritten music that assumes such a mobility
-
not only in thinking, but also in relation to „loci, to that never-
ending „tossing of the ball back and forth that now more than
ever attacks frozen ideas about the center and the periphery?
On the other hand, Leviev notes, „...as far as the future is
concerned, I m not a prophet, I don t know what will happen
(Leviev, quoted in Fadel
2001).
The extraordinary multiplication
of tendencies in jazz seems to make the insistence on the label
jazz somehow pointless to a certain extent. Not that it s so im-
167
|
| any_adam_object | 1 |
| author | Levy, Claire 1947- |
| author_GND | (DE-588)141484012 |
| author_facet | Levy, Claire 1947- |
| author_role | aut |
| author_sort | Levy, Claire 1947- |
| author_variant | c l cl |
| building | Verbundindex |
| bvnumber | BV023245327 |
| ctrlnum | (OCoLC)230044208 (DE-599)BVBBV023245327 |
| edition | 1. izd. |
| format | Book |
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| geographic | Bulgarien (DE-588)4008866-2 gnd |
| geographic_facet | Bulgarien |
| id | DE-604.BV023245327 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T13:11:32Z |
| institution | BVB |
| isbn | 9789548594011 |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016430795 |
| oclc_num | 230044208 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 175, XVI S. Ill. CD (12 cm) |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Bălgarska Akad. na Naukite, Inst. za Izkustvoznanie |
| record_format | marc |
| spellingShingle | Levy, Claire 1947- Etnodžazăt lokalni proekcii v globalnoto selo Jazz (DE-588)4028532-7 gnd Weltmusik (DE-588)4267804-3 gnd |
| subject_GND | (DE-588)4028532-7 (DE-588)4267804-3 (DE-588)4008866-2 |
| title | Etnodžazăt lokalni proekcii v globalnoto selo |
| title_auth | Etnodžazăt lokalni proekcii v globalnoto selo |
| title_exact_search | Etnodžazăt lokalni proekcii v globalnoto selo |
| title_full | Etnodžazăt lokalni proekcii v globalnoto selo Kler Levi |
| title_fullStr | Etnodžazăt lokalni proekcii v globalnoto selo Kler Levi |
| title_full_unstemmed | Etnodžazăt lokalni proekcii v globalnoto selo Kler Levi |
| title_short | Etnodžazăt |
| title_sort | etnodzazat lokalni proekcii v globalnoto selo |
| title_sub | lokalni proekcii v globalnoto selo |
| topic | Jazz (DE-588)4028532-7 gnd Weltmusik (DE-588)4267804-3 gnd |
| topic_facet | Jazz Weltmusik Bulgarien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016430795&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016430795&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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