Russian improvised folk songs
Evgeny Masloboev & Anastasia Masloboeva

CD (2008), CD (2010), CD (2011)









Leo Rec. Evgeny Masloboev & Anastasia Masloboeva :
   Russian folksongs in the key of rhythm (RU,2008)***'

The number of professions that drummer Evgeny Masloboev (born in '66) has had becomes almost uncountable, but he most often was involved in music, art and stage performances. He recorded this album at home with his then 15 year old daughter, who sounds as if already musically well experienced when singing the folk songs. The music is based upon reinterpretations of such Russian local folksongs. Evgeny therefore at his disposal a big amount of found percussion (pots, pans, jars, junk,..) and additional melodic hammered instruments (like marimba, glockenspiel, chimes,..), as a colourful palette of rhythms with its own tones and sounds, as well as (block-)flutes. 

This is all but a usual approach. While Russian folk songs in a pure traditional sense (-I mean, the occasional world music examples that reaches the rest of the world most easily-), for me are (except for some forms like troubadour related traditions, certain folk choirs and certain rarities) hardly listenable or bearable, this duo instead succeeds to poor the magic out of them. Some songs are sung solo or with beautiful (male/female) harmonies (duo/trio,..), or are accompanied by zither, glockenspiel and flutes (while breathing and pushing/rolling air in it) and drums, with a few moody colourful brushed drum solos (combined with other instruments). Then, thoroughly, environmental sounds creep in, like a distant dog barking, night birds and crickets sounds, with the atmosphere of what sounds  like a cold stone church, with sounds of a post-industrial character, of peeping and slowly stomped iron strings and objects, mixed with a dark bass drone, while a distant male voice sings as if being some orthodox priest. This is a mystic dark atmosphere in which more songs appear, as if coming from deep hidden caves, from buried memories from before funerals, performed with a religious serenity, a distant voice as if related with some church, like a flickering light image out of a cold wintery environment.

Label info : http://www.leorecords.com/?m=select&id=CD_LR_517
Other review : http://www.allaboutjazz.com/php/article.php?id=31363next album->
Evgeny and his mother Lyudmilla Masloboeva to whom this album is dedicated
Anastasia Masloboeva
Leo Rec.  Evgeny Masloboev & Anastasia Masloboeva :
   Russian folksongs in the key of sadness (RU,2010)***°

Father and daughter Evgney & Anastasia have made a nice follow-up to their debut. With references to Siberian folk songs, this is a combination of solo folk voice of a still folk based spiritual nature and effect, with some overdubbed vocal repetitions and arrangements, penetrating into the lonely deep and empty space. Anastasia’s lovely, heavenly ethereal and airy voice is also combined with deeper, Byzantine typed vocal arrangements, coming from the deep, like flashes of the past, sometimes arranged in it, occasionally sampled in it, as if really from a different time. Her father, Evgeny arranged some of these voices. He improvises on what sounds like dulcimer, but which most probably is santur and found percussion, often sparsely and following the rhythmical traces, accompanying the slow waves of song themes. These percussive improvisations are colourful, rhythmical but with some open direction. Just once, on the 7th track this is arranged for a full jazz band with drums and piano before returning to the meditative silence. And on the last track a collage of ideas are introduced to end abruptly with nothing left but an empty, open vista. Rewarding.

Label : http://www.leorecords.com/
Leo Rec.  Evgeny Masloboev & Anastasia Masloboeva :
   Russian folksongs in the key of winter (RU,2011)****'

I have reviewed the two previous albums of this Siberian duo.  After “folksongs in the key of rhythm”, “folksongs in the key of sadness”, part three is in the key of winter, this is their natural and constant state of being, a spiritual guidance, the very aspect of their nature. Also this is improvised music while the girl in solo voice returns to desolate melodies, at first this is guided by an almost Orthodox and religious atmosphere, including the rather Byzantine-alike huge spatial echoes from old religious monasteries, churches and the Hagia Sophia, and also the deep tones of singing and rich harmonies in voices with full choirs, even when in a more improvised and in a more personalised setting, this reveals a far more huge background and origin of this very nature.  Rhythms on cymbals and found percussion, vibraphone percussion are always rich in colours, subtle in arrangement, free and in new layers, this returns to certain mumblings of rhythms, just like the girl's voice returns keeping this structurally together, through a penetration into deeper memory and with memorisations of a recognisable folk melody. Also deep flutes are used. Anastasia’s voice can sound Gregorian, then it is more desolate and separated in its foundations. The music is very much a meditation on a lot of energies and backgrounds, which are undoubtedly connected, even when faraway removed from its new life. Recommended.

Label : http://www.leorecords.com/
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