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작성자: cocciante 조회 수: 19663

마케도니아 음악-기타 듀엣 : Krushevo

이 음반은 마케도니아 음악을 기타 듀엣으로 연주한 것으로 기타 음악의 정수를 들려준다. 마케도니아 음악은 나는 카페트(flying carpet)와 같다. 불규칙한 리듬 속에 너무나 아름답고 영혼의 멜로디가 떠다닌다. 인간적이고 목소리와도 같은 연주는 가슴에 그대로 꽂힌다. 특히 "Jovano, Jovanke"은 너무나 아름다운 곡이며 최고의 마케도니아 기타리스트 Stefanovsky와 유고의 출신의 Tadic의 듀엣은 환상적인 콤비를 이뤄내고 있다. 기타 음악 애호가들에게 적극 추천한다.
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MA Recordings M 044 A

1. Gajdarsko Oro 4:33
2. Jano, mori 4:59
3. Jovano Jovanke 7:30
4. More cico rece da me zeni 4:21
5. Proseta se Jovka Kumanovka 5:56
6. Ni prela gora ni tkala 4:45
7. Dalfino vino crveno 4:47
8. Izlezi, Vido 4:32
9. Ajde da li znaes, pametis Milice 5:27
10. Oj. ovcarce 3:56

Vlatko Stefanovski: Sakura nylon & Yamaha steel string guitars, dobro (tracks 9, 10)
Miroslav Tadic: Ramirez classical guitar, Yamaha steel string guitar (track 9)
Recorded, mastered & produced by Todd Garfinkle inside the Macedonium monument, Krushevo, Macedonia, June 1997
96 kHz High Sampling Digital Recording (2-track)

The subject of a future Exposé magazine article, Tadic has been quietly churning out some innovative music on the hermetic MA Records label, as well as CMP and others, for about ten years now. From the crunching blast of his "Let's be Generous" collaboration with Joachim Kühn, Tony Newton, and Mark Nauseef; to this recent offering of pieces based on Macedonian songs, pairing his acoustic guitars with those of Stefanovski, Tadic is someone deserving of a definite helping of recognition by a larger audience.
All aspects of the perfomer's craft are on display on "Krushevo", showing both players' ability to blend and swing soulfully, whether soloing, accompanying, or in unison. Along the way they capture every nuance of style: jazz, rock, blues, and traditional forays all interweave and connect the dots to a work of true mastery and significance, while in the process tossing off odd-meter passages as if they were playing 4/4 in their sleep.
And yes, Tadic and Stefanovski can - and often do - play fast. Blistering fast. If you were impressed by the John McLaughlin/Paco De Lucia projects, then feast the ears on something a little less conventional, more exotic, but equally inspiring. I won't give away too many details here and spoil all the fun. Look for a future article to go into more depth. The only problem with Miroslav's work has been laying gloves on his fiendishly elusive recordings. (Release a second-rate neo-prog CD though and get distributed by every Tom, Dick and Harry with a web site!). It took some searching; but check the addresses following this review for reliable sources to track down this absolutely recommended work.
- Mike Ezzo, Exposé Magazine; May, 1999

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P R E S S   R E V I E W

Vlatko Stefanovski & Miroslav Tadic, “Krushevo”
[MA Recordings MO44A]

Ancient Soil, Ancient Blues
Nelson Brill, The Stereo Times
January 2006 l

“Little by little
the ocean
empties its pockets-
foam and fluff;
and the long, tangled ornateness
of seaweed…”

Excerpt from Morning Walk, poem by Mary Oliver (Houghton Mifflin 1997)

If you are not familiar with the audiophile gems of MA Recordings ( I hope to introduce a snippet of this great recording catalogue to you in this review of one of my favorites, the evocative and expressive guitar duo of Vlatko and Miroslav in “Krushevo.” MA Recordings was founded in Japan in 1988 and its catalogue reflects the truly world-folk aspirations of its engineer, producer and designer, Todd Garfinkle. Garfinkle has taken his custom built recording equipment to all corners of the globe, seeking to record acoustic music performed in unique and significant acoustic spaces, whose sonic footprint leaves as much a trace on MA Recordings as the individual artists represented. Indeed, MA Recordings exists to promote the quality of sound, the importance of solitary sounds, their musicality and diversity, as much as the overall melodies and compositions presented. In the same way as Mary Oliver describes in her poem how gifts are bestowed by the sea, I find that when I listen to the MA Recordings I own, I am always rewarded with new sonic gifts provided by way of Garfinkle’s recording techniques in these grand and unusual acoustic spaces, partnered with the sheer artistry of the musicians he has collected under their roofs.

“Krushevo” is the name of the town in central Macedonia where, high in the mountains, a large stone monument was built in the mid-1970’s, to commemorate the Macedonians that rebelled against the Ottoman Empire. Garfinkle’s beautifully designed photos of this unique “space-ship” building on the disc’s jacket belie the beauty that lies within: the profound interplay of two great guitarists playing “Balkan Blues” reverberating in an astonishing acoustic environment. From the opening lines of the swirling traditional dance, “Gajdarsko Oro” (“Bagpipe Reel”), we are treated to Vlatko’s fleet footed solos on his Sakura nylon guitar, perfectly foiled by Miroslav’s punctuations on his classical guitar. Back and forth they go, masterfully climbing the steps of this furious melody until they come to a feverish climax. Once the last note is struck, your system will be tested to its maximum to convey the glorious decay of this last punctuated note reverberating off the stone walls of this unique, rounded acoustic space, ad infinitum. I have never heard such wonderful ambience of both recorded space as well as the body of the instruments employed.

We move from shimmering dance melody to a sweet, lilting melody of “Jovano, Jovanke,” with both players lightly and oh so delicately improvisating, pushing the envelope of jazz riffs, Eastern rhythms and sprightly chord changes. Where this exploration goes is anyone’s guess, but there is no doubt as to the mastery of the players, the inner beauty of the song and the way the unique acoustic space colors and intertwines with this creation. At the song’s conclusion, there remains a solitary note from a guitar, delicately lingering in the air and walls of this round acoustic space. This same acoustic portal provides the vessel in which Vlatko and Miroslav forge an involving chemistry of give and take, rock and roll and pulsating earthy melodies, spun from songs in the Macedonian folk tradition.

On “Ni Prela Gora Ni Tkala” (“The Forest Doesn’t Weave and It Doesn’t Knit”), each guitarist takes a turn with a glowing soft melody, turning it around and around, employing sweet caresses and long held notes that reverberate deep into the acoustic space. Harmonics trail away as smoke and then we are set off to see “Dafina With Cheeks Like Red Wine,” an ancient song from the East, with a rounded, warm melody that will stay in your head for a while. Here, Vlatko shows off his razor sharp plucks on string, where (if your system is up to it), each quick transcient echos off into the corners of the acoustic space, deep inside this unique chamber. Finally, we come upon the dobro and its magical resonant qualities played by Vlatko on “Ajde Dali Znaes Pametic Milice (“Do You Remember Milica”), partnered with the strums and beats placed upon the wood body of Miroslav’s guitar. Once again, I have never heard such a beautiful recording of the acoustic body of a wooden instrument as when Miroslav lightly taps his guitar in accompaniment, or how the strums on Vlatko’s dobro extend into the air, leaving the sound to permeate and literally dance upon the walls of this unique recording space. This culminates a very special sonic journey these two masters of the string in their pilgrimage to this hillside village in Macedonia. Garfinkle’s brilliant capturing of this musical event will indeed resonate in your heart and mind long after the last note is struck. We welcome any suggestions for audiophile recording gems. Please write to

Nelson Brill
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