Цена: 1100 р. |
Издательство: ArtBeat Music, 2022 Вес: 60 г.
Диджипак.
1. Part I. Energoservice
2. Part II. Igor Fleyshman / Part III. Marina Grigorieva
3. Part IV. Playing with the Electrical Enclosure
4. Final
Participants: Alexey Kruglov and Krugly Band, Art Quartet by Tim Dorofeev, Karina Kozhevnikova, Marina Grigorieva, Energoservice Noise Orchestras
KRUGLY BAND
Alexey Kruglov — alto and soprano saxes, voice, objects
Vladimir Kruglov — ENMV-1, acoustic guitar, voice
Karina Nesmeyanova — voice
Alesya Skovorinskaya — voice
ART QUARTET BY TIM DOROFEEV
Tim Dorofeev — electric guitar
Konstantin Sedovin — voice, flute
Nikolay Klishin — bass guitar
Oleg Yudanov — drums, percussion
Marina Grigorieva — sounds of the art action
Karina Kozhevnikova — voice
ENERGOSERVICE NOISE ORCHESTRAS
Employees of the Engineering Center Energoservice — equipment and various parts from the Energoservice production workshop, objects, percussion, wind instruments
Elena Sergievskaya — air-water pipe
Andrey Rodionov — improvisations with the sampled sounds of the Energoservice production microprocessor devices
Alexander Popov — solo with the whistle
Idea, project producing, album supporting by Igor Fleyshman
Direction, music, sound design, script by Alexey Kruglov
Texts by Elena Borisova, Mikhail Mitropolsky, devices description from the Engineering Center Energoservice catalogue
Author of the ENMV-1 musical instrument — Andrey Rodionov
Russian folksong «One, Two, I love You» was used in the performance
Cover and CD design — the art work by Alexei Grigoriev based on the paintings Territory, Factor, Empire by Marina Grigorieva and script-score by Alexey Kruglov
Photos provided by the Engineering Center Energoservice
Booklet design by Alexander Medvedev
Recorded by Mikhail Marder Processing and sample creation from the sounds of the Energoservice production microprocessor devices, editing, mixing, mastering by Ruslan Zaipold
Album producers — Alexey Kruglov, Nikolay ‘BigNiсk’ Bogaichuk
The album presents an audio version of the performance the Synchronization of Time dedicated to the 30th anniversary of the Engineering Center Energoservice
Engineering Center Energoservice, 08.09.2022, Arkhangelsk
Рецензия Леонида Кравченко, Jazzist:
В 2022 году саксофонист Алексей Круглов выпустил семь разноплановых релизов — обычное дело для этого многогранного трудолюбивого музыканта. Седьмым из них (и 88-м в дискографии Алексея) стал «Synchronization of Time» — аудиоверсия перформанса, посвященного 30-летию инженерного центра «Энергосервис» и художнице Марине Григорьевой. Мероприятие состоялось осенью 2022 года в Архангельске, прямо в производственном цехе «Энергосервиса». Выступление было масштабным: помимо музыкальной составляющей, оно включало художественную, литературную и хореографическую. За музыку отвечали группа Круглова «Круглый Бенд», «Арт-квартет» Тима Дорофеева, состоящий из ветеранов архангельской джазовой сцены (в частности, участников прославленной джаз-группы «Архангельск»), вокалистка Карина Кожевникова и сотрудники «Энергосервиса».
«Синхронизация времени» построена как четырехчастное произведение, музыка в котором развивается вокруг лейтмотивов, создающих в ней логические связи. Эти лейтмотивы откладываются в памяти и служат для слушателя ориентирами в нелинейном повествовании. Музыка дополняется текстами, посвященными как сугубо техническим, научным и инженерным вопросам, так и более «гуманитарным» темам — искусству и философии. По ходу действия они декламируются или пропеваются перформерами. Кроме музыкальных инструментов (духовые, гитары, ударные, клавишные), здесь активно используются и немузыкальные: приборы, созданные «Энергосервисом» (воздушный компрессор, сверлильный станок, высоковольтный переключатель, гофрированные трубы, сэмплы производства и так далее), а также новый инструмент «ЭНМВ-1», разработанный инженером компании Андреем Родионовым.
Музыка так же эклектична, как и само действо: фри-джазовые импровизации пересекаются с городским романсом и народной песней, исполненной в нарочито безыскусной манере, — ее здесь будто напевают себе под нос, одновременно занимаясь другими делами. Такое столкновение «элитарных» и «низовых» жанров иногда подчеркнуто парадоксально: например, в начале альбома Владимир Круглов хриплым голосом под гитару на бардовский манер поет об идеях Гераклита. Но при более внимательном изучении оказывается, что такие сочетания вполне логичны, ведь они обыгрывают идеи времен расцвета советского авангарда. Музыканты напрямую обращаются к его наследию в своих монологах: в частности, речь заходит о синкретизме всех видов искусств, к которому стремится и сам перформанс. В этом контексте всё сходится: свободная импровизация и городской фольклор, джаз-бэнд и шумовой оркестр, профессиональные музыканты и любители, стремление к научно-техническому прогрессу и противоборство «физики» и «лирики». Происходящее здорово укладывается в эстетику, вдохновленную мечтателями 20–30-х годов прошлого века и бережно переосмысленную командой Круглова.
К сожалению, аудиозапись не дает полного представления о перформансе в целом, и зачастую слушателю будет просто непонятно, что происходит в данный момент. Если перед прослушиванием альбома посмотреть хотя бы трейлер, запись будет восприниматься гораздо лучше. Это, впрочем, не означает, что музыка сама по себе не работает. Просто она требует определенного внимания и знакомства с контекстом. При необходимом минимуме усилий слушателя захватит увлекательное и даже в каком-то смысле познавательное повествование. Хотя обнародование полной видеоверсии перформанса, конечно, тоже лишним не будет.
Annotation by Alexey Kruglov:
The album presents an audio version of the performance the Synchronization of Time dedicated to the 30th anniversary of the Engineering Center Energoservice and the unexcelled Arkhangelsk-based artist and performer Marina Grigorieva. I was happy to become a producer, composer and scenarist of this unique theatrical action which hearken back to the early 20th century during the times of the birth of the avant-garde movement and the innovative interdisciplinary collaborations. The performance took place in Arkhangelsk at the production workshop of Energoservice situated in a historical place in Russia, where the first government-instituted shipyard was located, established by Tsar Peter I in 1693. Marina Grigorieva’s paintings exposed during the time of the performance right in the center was an integral part of the project.
The literary foundation of the performance consists of detailed descriptions of the tools and equipment created by the engineers of Energoservice, as well as texts by physicist and jazz journalist Mikhail Mitropolsky and art historian and theoretician Elena Borisova. The multifaceted literary material creates an integral thread which contains the nonlinear narrative about the creation of a conditional art work or installation, which may relay both about an entire direction and about the path of human beings. The technological smoothly flows into the artistic and vice versa — the two directions of life are interconnected here and form an integrality of the production’s dramaturgy.
The performance’s musical stratum is formed by three monograms. Each of them forms the compositional basis which strings on improvisations of the participants which applies not only in the domain of sound, but also passes into the space of Karina Nesmeyanova who is a producer of the stage movement of this performance, as well as many of our projects. The participants of the action were Arkhangelsk-based musicians of the Art Quartet by Tim Dorofeev, which at various periods of time were members of the celebrated Jazz Group Arkhangelsk and Krugly Band under the direction of yours truly, and the final section of the performance was joined by Marina Grigorieva herself, as well as the best Russian jazz singer Karina Kozhevnikova, who formed a single visual-musical-plastic image with their duo.
Personally for me it was a great honor to create such a large-scale project in the city where many years ago the New Jazz direction was founded in our country. To a certain degree we are continuing the path of maestro Vladimir Rezitsky who gave a number of incredible performances in the 1970s and 1980s, along with fabulous The Ganelin Trio and Sergey Kuryokhin, who stood at the origins of instrumental theater in our country. How symbolic it was once again to find ourselves on the same concert stage together with such legendary musicians as Oleg Yudanov and Nikolay Klishin, to draw a thread of time, having connected the Arkhangelsk aesthetics of the improvisational direction, in which northern folklore is harmoniously and richly woven, with the Krugly Band`s method «Dromuse», starting from the concept of the unity of word, sound and movement, drawing new ideas in referring to ancient art! On the whole, the artistic entwinements generated during the process of the preparation turned out to be multifaceted. For example, the image of one of the main Krugly Band participants Vladimir Kruglov may be perceived as the prototype of the Energoservice general director Igor Fleyshman, vocalist Konstantin Sedovin reminds me of my assistant or mediator who reveals the temporality of various art spaces, while the abstract line in Alesya Skovorinskaya’s motion and Karina Nesmeyanova’s graphic plasticity are close to the two styles of Marina’s paintings which were presented at the exhibition at the work center. It is possible to find many such parallels and references here.
The employees of the company took part in the performance. Here it is possible to hear Alexander Popov’s remarkable whistle solo, as well as the vigor of the noise orchestras (Energoservice Noise Orchestras), where approximately twenty employees of Energoservice play on the equipment belonging to the work center — the air compressor, the drill machine, the input switching device, the the high-voltage switch, the electric disconnect device, the air-water pipes, the corrugated pipes and other equipment. The performance made use of an electrical enclosure and a crossmember plug-valve on which Marina Grigorieva went out on stage. At the same time, I was brought out on a hand electric clamp truck — you can even hear in the recording the sound of the opening gates of the work center from which I went out in the very final section of the performance. With the help of a MIDI keyboard for the first time our ensemble featured the sound of a new musical instrument — the ENMV-1 device, created by Andrey Rodionov, an engineer at Energoservice. Andrey showed his skills as an improviser during the theatricalized performance, directing the sampled sounds of the manufacturing.
The Synchronization of Time project presents itself as the System of Providing Unified Time, an important element of any automatized system of control. In this project this name of the equipment has become a metaphor of the meeting of artistic personalities from several different generations, imperceptibly stemming from the innovative ideas of the avant-gardists from the previous century, viewing them through the prism of the present-day world, directing their artistic glance into the future. Here there is a merging into one of multipolar trends and a participation of artistic people from various spheres of life. By jointly bringing together this unusual project, we hope to provide a certain impulse, which would probably induce reflections on various important and profound things. Just as Energoservice outstrips the future, likewise we, the participants of this performance endeavor to go forward, since, after all, as Elena Borisova wrote: «syncretic actions are always about the most important thing!».
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