A DIFFERENT ACCORDION, Jure Potokar

A DIFFERENT ACCORDION

Four years ago, when the first album (Reflection of Memory) was released by Jure Tori, a Slovenian accordionist and one of the founding members of the popular group Orlek, his music came as a surprise to many people, because it has strongly separated from the music he was playing with his main band.
But for anyone who knew this young virtuoso, the record and the music were merely a confirmation, that his restless and creative spirit found a musical style in which he feels comfortable and can express all the luxury of his musical knowledge and talent. And because his playing was supported by an experienced and well respected bass player Ewald Oberleitner (who collaborated with the most visible jazz musicians of different orientations, from Anthony Braxton, to Chet Baker), theres little surprise his record was well accepted among critics and listeners. Recently, after four years, a continuation of this wonderful story was released. Jure and Ewald were joined by an Indian percussionist Ganesh Anandan, who has been residing in Canada for many years and the Tori Trio recorded a new album for a new record company Klopotec.
This is a completely new chapter which proves again and again how a refined music comes into being when its played by true masters of their instruments. It seems that all three musicians, especially Tori, are exceptional in expressing a full scope of human emotions and moods, never lacking in fine accents and especially the stops (pay attention to how they are effectively used in several compositions), thus creating a rich sound tapestry that can rarely be heard. The greatest thing about it is that Jure is an author of most of the recorded songs (eight out of twelve) and these are the best ones on the album (with an exception of Andrej Gu?eks song By the Window). This is especially true for the first three compositions (Restless, One More Quiet Night and Dancing With Wolves) which demonstrate all distinctions and expressive capabilities of the accordion, as well as wonderful virtuosic combination of the three instruments. Tori proves he has grown not only as an accordionist, but also as a composer and in the future he should put emphasis on his own compositions. The cover songs (Joggie Boggie and Jessica) are quite pleasant, but nevertheless the weakest pieces on the album which is due to the graphic reproductions of Nikolaj Mašukovs works and Rudi Medveds poems not only a multinational, but also a multi-genre record.
Our Day has one more dimension that will likely stay hidden to many, but is nevertheless worth mentioning. Its the sound and the production by a known music guru and sound master Iztok Zupan. Rarely on can find a record where every instrument can be heard in its full sound spectre and details. In particular the empty bellows sounds produced by the accordion and the sounds of buttons and keys. Although Oberleitners sound of fingers going across the strings and Anandans explosive strikes are equally noticeable. But probably the most astonishing thing on the album is the dynamics which demonstrate full capabilities an accordion has in the hands of a real master.

HARMONIKA ?ISTO DRUGA?E
Ko je pred štirimi leti izšla prva ploš?a (Odsev spomina) zasavskega harmonikarja in enega ustanovnih ?lanov priljubljene zasedbe Orlek, Jureta Torija, je bila glasba na njen za marsikoga presene?enje, saj se je temeljito lo?ila od tistega, kar po?enja v mati?ni zasedbi. Toda za vsakogar, ki je mladega virtuoza kdaj pobliže spoznal, sta bili ploš?a in glasba na njen samo potrditev, da je njegov nemirni in ustvarjalni duh našel glasbeno nišo, v kateri se odli?no po?uti in lahko pokaže vse razkošje svojega glasbenega znanja in talenta. In ker je to delal v družbi preizkušenega in cenjenega avstrijskega kontrabasista Ewalda Oberleinterja (za katerim je sodelovanje z najvidnejšimi evropskimi in ameriškimi džezovskimi glasbeniki najrazli?nejših usmeritev, od Anthonyja Braxtona do Cheta Bakerja), sploh ni ?udno, da je bila ploš?a odli?no sprejeta tako pri kritikih kot pri poslušalcih. Pred kratkim je po štirih letih izšlo nadaljevanje te sijajne zgodbe. Juretu in Ewaldu se je tokrat pridružil še indijski tolkalec Ganesh Anandan, ki sicer že dolga leta živi v Kanadi, in Tori trio je posnel novo ploš?o Najin dan za prav tako novo založbo Klopotec.
To je torej povsem novo poglavje razkošne glasbene zgodbe, ki znova dokazuje, kako prefinjena glasba nastaja, kadar jo igrajo pravi mojstri svojih glasbil. Predvsem se zdi, da so vsi trije glasbeniki, še zlasti pa Tori, izjemni v izražanju cele palete ?loveških ?ustev in razpoloženj, da jim nikoli ne zmanjka prefinjenih poudarkov in še zlasti premolkov (bodite pozorni na izredno u?inkovito uporabo teh v ve? skladbah), s katerimi ustvarjajo tako bogato zvo?no tapiserijo, kot jo le redko slišimo. Pri tem je najlepše, da je Jure Tori tudi ve?inski avtor izvajanih skladb (osem od dvanajstih) in da so te (razen izjemne Ob oknu Andreja Gu?ka, ki sta jo s kontrabasistom posnela že na prvi ploš?i, pa sta jo zaradi vsesplošne priljubljenosti zdaj še enkrat) tudi najboljše na ploš?i. To še zlasti velja za tri uvodne skladbe s ploš?e (Nemiren, Še en tih ve?er in Plešeš z volkovi), ki na najboljši na?in prikažejo vse odlike in neverjetne izrazne možnosti harmonike, pa tudi ?udovito virtuozen preplet vseh treh glasbil. Zlasti tukaj Tori dokazuje, da je dozorel ne le kot harmonikar, ampak tudi kot skladatelj in da bi bilo v prihodnje najbolje, ?e bi se zanašal predvsem na lastne skladbe, ker sta priredbi skladb Joggie Boggie (Peter Cathman) in Jessica (skupine Allman Brother Banda) sicer simpati?ni, vendar tudi najšibkejši skladbi s ploš?e. Ki je zaradi svoje opreme, reprodukcij likovnih del Rusa Nikolaja Mašukova in natisnjenih pesmi Rudija Medveda, kar vse je Toriju služilo kot navdih, ne samo izrazito multinacionalna, ampak tudi multižanrska.
Ima pa Najin dan še eno razsežnost, ki bo žal mnogim ostala prikrita, vendar jo je nujno omeniti. Gre namre? za zvok oziroma za celotno produkcijo, za katero je poskrbel znani krajnski glasbeni zanesenjak in vse bolj prodorni zvokovni mojster Iztok Zupan. Le redko namre? naletim na ploš?o, na kateri bi bilo glasbila mogo?e slišati tako natan?no, z vsemi odtenki v njihovem zvo?nem spektru in z vsemi posebnostmi, ki jih premorejo. Pri tem mislim zlasti na harmoniko, na šum meha na prazno, na tipke, ki jih glasbenik prijema, ?eprav v ni? manjši meri tudi na topel, poln zvok Oberlaitnerjevega kontrabasa in na prste na njegovih strunah in vratu, kot tudi na eksplozivne udarce Anandana po razli?nih tolkalih in zvo?ilih. Toda najbolj osupljiva je izjemna dinamika posnetka, ki zgovorno dokazuje, kakšnih vratolomnih zasukov je sposobna harmonika v rokah pravega mojstra.

Jure Potokar

POLET

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