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Enver Izmailov

( Guitarist)

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Biography Enver Izmailov
photo Enver Izmailov
Guitarist Enver Izmailov grew up to become a musician in Fergana (Uzbekistan), . where self-learn to play the electric guitar and then independently invented tapping - receiving games, . in which the fingers of both hands are on the guitar fretboard, . as keyboard, . and the sound of rapid pressing of the strings removed, . not blow or pizzicato on them,
. In music, Enver connects improvisation and elements of folk music as the people of the Crimean Tatars, to which he belongs, and other Black Sea nations, the Balkans and the Middle East.
In the early 90's moved to the Crimea, Enver. He currently divides his time between the Crimea and the capital of Ukraine - Kiev. Enver Izmailov - Honored Artist of the Ukrainian Republic.
In early July 1999. simultaneously with the re-released "Oriental Legend" (cm. below), the Moscow company Boheme Music has released the work of Enver - Enver Izmailov Trio album "Minaret". This work, . standing even closer to the style of ethno-jazz and world jazz, . than "Oriental Legend", . Enver Izmailov is not as a solo musician, . but as equal members of the ensemble (with him on the recording worked saxophonist and flautist and percussionist Narket Ramazanov Rustem Bari),
.
Below you can read articles from the Kiev radio journalist Alexei Kogan, written for the album booklet.

"Minaret"

For a long time, "double-handed" guitar virtuoso from the Crimea, Enver Izmailov was a soloist. Then came duets - with Turkish drummer Burkhanov Ochalom, French pianist Xavier Garcia, agnliyskim saxophonist Geoff Warren.
The trio was the next step in the creative life Izmailov. Saxophonist, clarinetist and flutist and percussionist Narket Ramazanov Rustem Bari - old partners and friends of Enver. The musicians have played together since 1995, but in 1998 decided to write their program by selecting the Kiev studio of "Arcadia-Sympho".
The repertoire of the trio is consistent with the main theme of creativity of its leader, but Izmailov holds in terms of creating the team, in which no major and minor roles. He believes that the trio - is one "tool", which has not yet come up with names.
Program "Minaret", which musicians offer to your attention, includes seven songs created on the basis of people's view of the Caucasus, Central Asia, Bulgaria, India. As always, the music is replete with elements of Tatar folklore. Extraordinary talent and skill of the musicians can not imitate, and recreate the authentic sound of folk instruments.
Music is universal and the trio will probably not be a strict classification. Of course, this is not jazz, but it's the music that you appreciate jazz performers. Here, however, it is appropriate to recall an interesting definition of music trio Izmailov, invented by French musicians from Lyon - "imaginary folklore". In my opinion, very precise and comprehensive definition.
On the other hand, listening to this record, you should not delve into the theory of musicology analysis, and most importantly - do not have to force myself to understand everything at once and finally. Izmailov, Ramazanov and Bari - people are funny, gambling and talented. Probably, hence ease, teamwork and belief in what they are doing. The creators of this record, in particular, sound Arkady Vikhorev could tell you interesting stories - during mixing of the material in the studio, some moments of pieces musicians did not explain, and danced.
In short, you have to listen to an interesting, original and exciting music, which is called "unlimited", "universal", "global" (cm. styles "no borders", "global music", "World Beat"). Plus - a very fashionable today, Eastern music. And the East is known to be a tricky business ...

Alex Kogan, broadcaster (Kiev).

His solo album "Oriental Legend" was released in small editions Moscow label RDM in the early 90's and re-released Boheme Music in 1999. The album was produced by an outstanding jazz pianist Mikhail Alperin, who now lives in Oslo. Below you can read an article by Mikhail Alperin, written for the album booklet.

. Enver Izmailov "Oriental Legend"

. Talent - the only news that is always fresh, "- the idea BORIS PASTERNAK I'm not so often, unfortunately, I remember the last time, but that's cause
. It is difficult not to agree with the poet, when you listen to music Enver Izmailov - guitar player from the farm "Lenin's Testament", in the Crimea. His name has become a revelation for many fans of improvisational art in the world, and the music - a real surprise. This feeling is experienced, and your humble servant, when he first met several years ago with the works of Enver. The only desire that occurs when you open a whole new, exciting world - to share this world with other. Thus was born the idea of recording the plate, which is now before you. I do not believe in the word when it comes to music, but understand that sometimes the words are pushing people to the knowledge. Because of the too frequent disappointment and a huge number of records, music lovers sometimes miss an extraordinary, truly sincere, original art.
. Music world Izmailovo - this, in my opinion, especially the world of sound, or dynamic, as one would say in India, meditation
. All the folk music meditation and is devoid of internal conflicts, which makes it a natural and close to nature itself, simply put, folk music - an integral part of nature and I think they are never born and therefore never die. Roots IZMAYLOVSKY music, of course, in the Eastern tradition of folk instrumental music-making. Sometimes it is akin to the passionate silence, often explosive, but the explosive in the Eastern sense of the word. The authenticity of it does not interfere with the musician to experiment, although the modal playing music, at first glance, quite limited in their ability. As Enver - a man living in the twentieth century, much of his compositions - from the modern improvisational chamber music, from jazz, finally. It is authentic, when you want to, in other cases, it extends the scope of a well-known to him, creating his own eastern "eclectic", almost imperceptible, even for a professional ear. IZMAILOV knows how to dance to music, contemplate, cry with a smile, occasionally staying alone with his "lonely guitar voice". His ethnic roots are felt immediately. The manner and style of execution, . touch to the instrument, . Orchestration traditional Tatar, . Uzbek, . Bulgarian melodies sometimes carried away in the Middle Ages, . sometimes evoke the smells of hot desert, . suddenly transferred to the imagination yuzhnomoldavskuyu or Bulgarian folk wedding with a young wine, . nuts, . sheep's cheese and, . sure, . endless dancing to the sounds of traditional bass drum,
. Someone may remember, oddly enough, modern electronic improvisational music, including rock. But most importantly, in my opinion - Enver does not imitate. He has no facilities for music authority in the world, and this is great. Even when the concerts as an encore he played "Takeo 5" Brubeck or The Beatles on 7 / 8, it sounds always original. Desyatipaltsevoy technique, which he is seeking a piano, the orchestral sounds, including various kinds of drums, enjoy the few guitarists in the world, the most famous of them - Stanley Jordan from New York, for example. However, in the musical sense, nothing in the compositions of the secondary IZMAILOVO no. His imitation of ancient folk instruments, such as Uzbek Dutar, Turkish oud, an ancient lute are its author's invention. Under his fingers primitive model of the Japanese six-stringed electric guitar sounds surprisingly rich and diverse. Abundance of colors, sounds can be achieved only through a special "Izmailovskogo" touch-touching the strings on the instrument. In the case of "Slaughterhouse" - so called one of the tracks on the disc - Enver placed under the strings of an ordinary handkerchief, which gives the effect that resembles the sound of harpsichord, or something like that. In the "Uzbekistan" - rebuilding the entire guitar down to a quart down a striking resemblance to the Indian sitar. This musician almost never uses electronic effects, as do almost all guitarists. It only applies sometimes overlap, as, for example, "Kapanitse - Bulgarian dance in 11 / 8, where he uses the four guitar. Pay attention to the title piece of the plate - "EASTERN LEGEND" - where in the middle part he plays on the strings of glass, which gives a stunning effect of several synthesizers, or something resembling them.
. Sometimes the lack of professional schools, conservatories, dogmas, technical systems, oddly enough, helps a musician
. This happens rarely, but Enver Izmailov example. His specialty - gas welder, and although he studied for several years in musical college class bassoon, the main musical experience he received at public weddings in Uzbekistan. Many Crimean Tatars, including Enver and his family were forcibly deported to Soviet "surreal mode" from the Crimea in various parts of the former Soviet Union, and only years later, now, they slowly, painfully, but returned to his homeland. However, Enver years of exile brought acquainted with the Uzbek national music, tk. many years he spent in the city of Fergana. Sometimes, being poor in a material sense, and the rich - in the spiritual, economic reasons, he tried to play folk guitar without a wedding band. This was the first step to zvukomonopolii, later revealed to him an excellent opportunity to express their individual voices in music.
"... This country has resulted in a young man overjoyed tempted Norwegian public. Famous Paco De Lucia, John MakLohlin will envy him in the ingenuity, originality of thought "- so wrote to the Norwegian press after its debut at the Izmailovo" Vossa Jazz "festival in April 1993. Concerts musician in France, Switzerland, Germany, Scandinavia, are meeting with increased success. "... I almost do not care," - says Enver, - "I love to play, but thought a week after the start of any tour, there, in my village, my family. I miss when leaving, but I feel at ease when going back. I love the audience, but my music, if you can call my own, far from the city in spirit, though it is something that perhaps civilized. At least - it is electric - a sign of my e-rock youth. No, only here, in their own homeland in the Crimea, in the village, I dissolve in nature, and the aroma of melons, south of the morning grass, the Black Sea arouse such strong feelings that I'm in a hurry, packed, express them in the sounds ... "


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