Phantasmagoria was the first (more serious) band i had playing my own original music, consisting of some great musicians and close friends. Not much documentation is left of this band, apart from a weird photoshoot we did and a few live recordings.
Giuseppe Doronzo – baritone sax Evija Vebere – vocals Marta Warelis – keys Miguel Petruccelli – el. guitar Marko Čurčić – bass guitar Lav Kovač – drums
This bulgarian/serbian/spanish double trio is a great example of world music influences in composing for improvisers. Almost a home recording, this album captures first time encounter of these players, interpreting original compositions that at first may seem eclectic but after a listen it becomes clear it delivers a very clear concept.
Recorded in EMMAT Ahlaurín de la Torre, Spain in November 2016.
All compositions by Christian Achim Kühn,
except Mono Industrial Post Depression by Christian Achim Kühn & Ziv Taubenfeld Ziv Taubenfeld – Bass Clarinet Christian Achim Kühn – Guitar Esat Ekincioglu – Double Bass Lav Kovac – DrumsRecorded analog at Clouds Hill Studio Hamburg April 21, 2016 – April 22, 2016Sound Engineer Johann Scheerer & Sebastian Muxfeldt
Mixing by Guy Sternberg at LowSwing Studio Berlin
Mastering by Darius van Helfteren at Amsterdam Mastering
What’s remarkable about Boris is that he has carved out a musical form that transcends genre or even musical content; it’s a music of depth and feeling; and that’s what you hear beyond the notes or style.And he has gathered, over time, musicians who can realize that quality. This, for Boris, is a small group, only five people, so they can be looser, more personal than the larger ensembles. Though informed by chamber music, Serbian, Romanian and Hungarian folk music, and jazz, you can’t file this record in any of those categories. Lyrical and ostensibly simple, these exquisitely coloured and beautifully recorded compositions float, occasionally changing density, but always solid enough to be clear about what they are. The drums are especially subtle in this regard, more touch than motor, but they make themselves expressive, even forceful, when they need to. For the rest, the music moves as a sinuous wave, the parts distinct but not separated. It’s autumnal, that I could say.
What Boris does is without parallel or precedent, and he’s been doing it for over 40 years, perfecting a language that is uniquely his own: not chamber music, not world music, not jazz – but demanding performance skills vital to all three. What do you call a music that is fully scored, played only by acoustic instruments, and demands not only extremely high technical standards from its performers but – if they are to imbue what is written with its proper ritual body – shared histories and deep cultural roots? To grasp the essence of this work, the composition and the ensemble need to be considered together and it’s this aspect of Boris’ work that is so exceptional. Composers write scores, while folk and jazz ensembles spin the present out of collective memory; Boris somehow manages to do both, and there is a depth here that’s not in the notes or in the performances but in an ability to tap into a collective reservoir of archetypical resonances. That’s the source of its intangible strength and apparent inevitability. It has, as we say, the ring of truth.
-Chris Cutler, from the CD booklet
Published by ReR Megacorp London, 2015
Produced by KACHARA MM PRODUCTION – PANNONIA 2013/2014
Performed by New Ritual Ensemble:
Boris Kovač – reeds Slobodanka Stević – piano VladimirĆuković – I violin Marta Kojadinović – II violin Aleksandar Stankov – viola Milica Svirac – cello Siniša Mazalica – double bass Lav Kovač – percussion/drums