Anatomy of Sound
Yury Yaremchuk - soprano sax (1-3), bass clarinet (4,6) Alexey Lapin - piano (1-5) There is something in Moscow atmosphere that does not quite agree with the very modus of existence of new improvisation music. Even at the end of 1980-ies - in the beginning of 1990-ies when the children of the underground for a brief moment found themselves in the limelight they did not open way to a new generation, did not create a school. Sufficient is to say that only three members of the famous Moscow Composers Orchestra are really from Moscow (and three members of the remaining group do not even know Russian). In the 21 century not a single really important new jazz project appeared in Moscow. And separate single efforts are just exceptions that confirm the general rule. And at the same time one can not say that the capital of Russia is not open towards new jazz. Moscow public welcomes creative music making and adequately reacts to it. Otherwise there would be no DOM cultural centre, nor the Long Arms annual festival dedicated to the memory of Nick Dmitriev, the founder of the DOM. It is interesting to note that the Long Arms-6 Festival open with concerts by two duos - one from Italy, and the second - from Lviv and St Petersburg, the recording of which you're now holding in your hand. Yury Yaremchuk who lives in Lviv and plays saxes and clarinet is the leading free-jazz musician and the driving force of the new jazz life in Ukraine. He performs constantly and records a lot in Russia, Ukraine and Poland (from gigs with the "Moscow Composers Orchestra" to a 2 week tour with the leading figure of US new jazz alto-saxophone player Ken Vandermark). Alexey Lapin, a pianist and sound engineer from St Petersburg, became practically the leader of Russian new jazz scene, released one album in Russia (the DOM label) and two in Great Britain (on Leo Records) with his own as well as international projects. In their duo Yaremchuk and Lapin have a lot of common traits and at the same time they have different approaches that wonderfully complement each other. Yaremchuk - a jazzman feels at home in the stylistics of new music, and he wrote down this project with the so called graphic notation, like Karlheinz Stockhausen or Boguslaw Schaeffer. The musical logic of academically trained pianist Alexey Lapin is developing along the same lines as the phrasing of such free-jazz musicians as Ornette Coleman or Ken Vandermark. One is rather extrovert, the other - an introvert, that's why they hear their combined sound from inside as well as from the outside. "When we play we free ourselves from all social burdens and dogmas, we approach directly our primordial essence", - says Yury Yaremchuk. ""And I support this idea" - adds Alexey Lapin. Without any doubt that's why they made it right - once and for all. Dmitry Ukhov We all know that music is sound and sound is a carrier of quite large information, sound is matter that can be condensed, stretched, conditioned and manipulated as much as our conscience allows that. Controlling a sound we structure it in a composition directly at the moment of playing, the structures that we create there and then are the intellectual product of our mind, which like a mirror reflects our inner and outer state, so all this process is a manifestation of our whole being at this precise moment. The truthfulness of this project is confirmed by unpredictability and spontaneity of the sound material that was played - what is the important thing for this kind of music. As the crucial factor of this music is freedom, we - at the very moment of performing - use the sound to free ourselves from all social burdens and dogmas, we approach directly our primordial essence. And one more thing, music - and culture in general are the most important factors that allow us to overcome the intolerableness of social existence. Yury Yaremchuk.