Traditional Club Bratislava / Traditional Club Bratislava
Жанр: jazz, dixie
Страна исполнителя (группы): Czechoslovakia
Издатель (лейбл):
Supraphon
Год издания: 1969
Аудиокодек: MP3
Тип рипа: tracks (vynil)
Класс состояния винила: VG
Битрейт аудио: 320 kbps
Количество каналов: 2 (стерео). Пластинка выпускалась и в варианте моно
Продолжительность: 00:42:47
Наличие сканов в содержимом раздачи: да
Треклист:
Side A: Side B:
A-1. Under The Double Eagle (J.Wagner) B-1. Our Common Birthday (V.Vizar)
A-2. Empty Room Blues (I.Celko) B-2 Song For You (I.Celko)
A-3. Beautiful Love (W.King - E.van Alstyne) B-3. St. James Infirmary Blues (Williams)
A-4. The End Of Summer (I.Celko) B-4. The Mooche (E.Duke Ellington)
A-5. Just A Closer Walk With Thee (spiritual) B-5. Deep River (spiritual)
A-6. Ory's Creole Trombone (E'Kid' Ory) B-6. Bill Bailey (B.Cannon)
Скриншот проверки качества материала
Об исполнителе (группе)
The beginning of the last decade, in particular the first third, marked the most intensive period to date in the development of jazz in Slovakia, more precisely in Bratislava its centre. This was a period of the emergence of new groups of both modern and traditional jazz, when jazz concerts of local groups and groups from other parts of Slovakia began to take on the nature of a tradition and enjoyed more and larger audiences. A logical reflection of this is the level of the public which is not only a passive consumer but also has a share in the formation of an atmosphere proper to jazz. In spite of the fact that conditions in Bratislava were not as favourable as in Prague jazz nevertheless showed a marked advance.
The jazz boom has produced a number of outstanding musicians who have become the promise of further development of this genre in Slovakia. At this extraordinarily favourable period there emerged a group which took traditional jazz as its creed and has systematically devoted eight years to it already. The Traditional Club arose out of the enthusiasm of the students of the Bratislava Conservatoire and Technical College who determined to interpret traditional jazz in the orthodox New Orleans style. After some time they focussed their attention on the leading bands of the forties; this was at the time when they began to record for the radio (spring 1962). From their appearance in the autumn of 1961 to the end of 1962 the group was quite definitely in the amateur spirit, and since its composition has becomo fixed at two trumpets and double-bass instead of tuba we can see traces of the search for a style of their own developing. This change set in after confrontation with Chris Barber's orchestra which at the time represented the worldwide trend in the development of revivalist bands.
The awareness of a certain stiffness in their interpretation led them to a greater freedom and spontaneity of expression which became particularly evident in the variety of sound and in their improvisations which began to take on a creative character. The band widened its repertoire in accordance with its abilities and particularly mentality, and developed their technique and the sophistication of their sound.
During the following years when the Traditional Club became known in Bohemia as well, certain changes took place. These were changes in the membership of the band especially the trumpeters (Martonik, Zavodny, Vailna) and later also trombonists (Karnok, Vizar), so that after 1965 the band was finally fixed in the combination Igor Celko - piano, clarinet, Peter Moric - clarinet, Milan Vasica - trumpet, Vladimir Vizar - trombone, Boleslav Boska — banjo, Pavol Molnar — bass, Karol Zavodny — trumpet and Stefan Popluhar - percussion.
In 1966 the Traditional Club registered some quite marked successes of which in particular their appearance at the 1st International Jazz Festival in Prague brought the group invitations to appear abroad. A year later they took part in festivals in Vienna and Budapest, did a recording for West German television. In 1966 they had made a concert tour of the republic with the Negro singer T. Golan and reaped success at the Munich jazz days ond at the Belgian Jazz Festival in Comblain-la-Tour. They appeared once more in West Germany, at home, in Poland, and after a single appearance at the Dixieland Jubilee in Munich with Ken Coyler they were offered a three-month engagement in Switzerland, which was however extended by almost two months from August 1968.
At that time new changes took place in the band but these were not serious. Igor Celko changed his clarinet tor a soprano saxophone which increased the richness of the band's sound with no detriment to their sparkling acoustic effect which stems in particular from the highly sophisticated tone of Moric's clarinet, the velvety duo of trombone and soprano saxophone (Vizar and Celko) and from the expressiveness of the rhythm section. In the most recent recordings of the Traditional Club the alto saxophonist Imrich Kuruc also has a share, while on the other hand the band is playing without trumpet.
The Band of Engineers, as they are called in Bratislava (for they all, except Molnar, hold this title), is altogether a happy combination of musical spontaneity and exactness. The most convincing proof of this ore their recordings which come to lovers of Traditional Jazz in the most precise form. (Аннотация к пластинке)
Доп. информация
Personnel of this recording:
Igor Celko - ss, p, leader,
Peter Moric - cl,
Imrich Kuruc - as,
Vladimir Vizar - bn ,
Boleslav Boska - bj,
Pavol Molnar - b,
Stefan Popluhar - ds,
Helena Pribusova - vocals on A5, B5, B6 (in english)
--------------------------------------------------
Recorded in Radio Studio Bratislava, 1969
Recording director Leos Komarek
Sound Vladimir Marko and Peter Hubka
Production Zbynek Macha and Ior Celko
Made in Czechoslovakia
SUPRAPHON, 1 15 0584, STEREO
