Vladimir Petrovich Resitsky

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Wladimir Petrovich Resizki or Vladimir Rezitsky ( Russian Владимир Петрович Резицкий ; * 1944 in Arkhangelsk ; † May 24, 2001 ibid) was a Russian alto saxophonist , band leader and composer of avant-garde jazz . With his group Arkhangelsk he was one of the most prominent representatives of the Russian jazz scene of the 1980s and 1990s.

Live and act

Resizki moved to Vilnius after childhood in the northern Russian port city of Arkhangelsk to study at the local conservatory. There he met the pianist Vyacheslav Ganelin and the drummer Vladimir Tarasov . In 1967/68 he played in a café in his hometown with Tarasov, who also comes from Arkhangelsk. With the keyboardist Wladimir Turow , who was appearing as a singer at the time, Rezitsky formed a trio in 1972; This gradually resulted in a sextet that was named Arkhangelsk after its hometown in 1975 and played both dance music and modern jazz. Resizki, who described himself as a nonconformist and at the same time as a character who can form collectives, had a lasting influence on the other members of the group.

Archangelsk appeared in her theatrical (and in that similar to the Ganelin Trio and the American models Sun Ra and the Art Ensemble of Chicago ) and loud style, which included elements of European improvised music and free jazz as well as set pieces from folklore and pop music at many festivals in the 1980s, in the late phase of the former Soviet Union . The group was known both among the country's jazz fans and among fans of their dance music. But your music could not appear in the USSR; their first record was released by Leo Feigin on his London label Leo Records ( Live in Leningrad , recorded on November 15, 1985).

S. Frederick Starr describes in his book Jazz in Russia the way of life and work of the Archangelsk group : “(...) the free jazz groups developed an aesthetic cohesion within the apparent chaos thanks to close working relationships between the members. The musicians of the Arkhangelsk Ensemble practically lived together as a commune, shared meals and sports experiences as if in a kind of micro-society. Their expressiveness corresponded to a language they had created themselves; so limited only by rules and conventions that they have imposed on themselves. Many years before the Popular Front of Lithuania demanded a right of autonomy for this republic, the Ganelin Trio , Arkhangelsk and other avant-garde jazz groups had already tried out the possibilities of aesthetic self-sufficiency in their music. It is therefore significant that precisely some of the cities in which free jazz flourished became centers of the autonomy movement under the perestroika policy. "

For Bert Noglik “the group Arkhangelsk is one of the more interesting, daring and contradicting of the (also) improvising groups in the Soviet Union.” During the period of perestroika the band got an “official” status, which improved their work opportunities; so they toured Japan in 1991 .

In addition to his work with the group Arkhangelsk , Rezitsky released the album Sound from the Arctic on Leo Records in 1994 . In 1992 the band's “20th Anniversary Concert” took place. In 1995 Rezitsky performed with Vladimir Tarasov's Russian Art Project at the JazzBaltica festival . Until recently, Vladimir Rezitsky was the organizer of the Arkhangelsk Jazz Festival. On the night of May 24th to 25th, he died at the age of 57 of a heart attack in his hometown.

Discographic notes

  • Live in Leningrad (Wladimir Resizki as, perc, voice, ld; Fjodor Bagetsow g, perc; Wladimir Turow p, synth, perc; Nicolai Klischin b, perc; Oleg Judanow dr, perc; Nicolai Judanow perc; Leo LR 135)
  • Live in Japan (Ninety One, 1991)
  • Portrait (Leo LR 180, 1991)

literature

Web links

Notes / individual evidence

  1. which were to form the Ganelin Trio in 1971
  2. In the English-speaking world the group is called “Jazz Group Arkhangelsk”; see. Cook & Morton and Ian Carr / Fairweather / Priestley
  3. a b c Bert Noglik, Archangelsk, Archangelsk
  4. cit. after Ian Carr, p. 327
  5. when it is apart from a single piece 1981, that on the sampler jazz festival nad Wolgoi (Melodija C 60-16 255-6) was published
  6. Starr, p. 261