Igor Iachimciuc & Jim Stout | Country Road

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Jazz: Contemporary Jazz World: Balkan Moods: Solo Instrumental
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Country Road

by Igor Iachimciuc & Jim Stout

Moldavian folk songs arranged in jazz style, using folk melodic elements.
Genre: Jazz: Contemporary Jazz
Release Date: 

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Tracks

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1. Dedication
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5:18 $0.99
2. Sad Man
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6:51 $0.99
3. Good Fellows Drink So
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4:01 $0.99
4. Longing for Mother
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5:31 $0.99
5. I Had a Dream Last Night
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5:32 $0.99
6. Little Heart
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4:06 $0.99
7. Big Dance
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4:12 $0.99
8. Still On the Road
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4:15 $0.99
9. Neither Rich, Nor Poor
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6:21 $0.99
10. Blown Branches
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6:40 $0.99
11. Table Samba
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4:32 $0.99
12. Mother's Visit
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3:49 $0.99
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ABOUT THIS ALBUM


Album Notes
Country Road project is experimental collaboration between Igor Iachimciuc (cimbalom & guitar) and Jim Stout (double bass), two artists with different background. The main idea of the project is a combination of Eastern European folk material with standard jazz form, and the improvisational concept. Cimbalom originated in Hungary and is used mostly in folk music. The sound of cimbalom in jazz music, which listeners of present album can experience, is a rare phenomenon.

Igor Iachimciuc was born in the Edinets Republic of Moldova, where he began to study the cimbalom (string-percussion instrument) at age ten at a children's music school. Later, while studying the cimbalom at the Musicescu Academy of Music, he won 3rd and later 1st prizes at the National Competition "Barbu Lautaru". He has also studied guitar and piano. In 1983 he began to study composition at the College of Music in Chisinau, Moldova, where his characteristic folk music influence emerged. He continued his studies at the Academy of Music, composing works ranging from folk, jazz, classical, to new music for solo instruments, chamber ensembles, choir, and symphony orchestra. In 2001 he began his music composition Ph.D. work at the University of Utah. Mr. Iachimciuc's awards include 1st prize in composition at the Silver Chrysanthemum National Competition and being named the most promising young composer in Moldova, as well as the 2003 Wayne Peterson's Prize in Music Composition. In 2004 and 2008 he has been awarded a prestigious Robertson's scholarship. Igor Iachimciuc's works have been purchased by the National RTV Company and performed by various Moldavian ensembles, as well as by San Francisco's Earplay New Music Ensemble, and New York New Music Ensemble. In 2005 Mr. Iachimciuc won a commission to write an orchestral composition for Utah Arts Festival.

A top-demand bassist for recordings and performances, Jim Stout has backed many top Mountain West artists.
A gifted soloist, Stout's innovative and fluid style rates him among the very best on his instrument.
Stout has served on the jazz faculty at the University of Utah and is equally at home on the acoustic, 6-string electric, and fretless basses.
A student of legendary bassist, John Patitucci, Stout performs with amazing agility, seamlessly weaving imaginative patterns into virtually all jazz styles and rhythms. A drummers' dream.


Reviews


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matthew schmuck

FRUMOASA!
The increasing pace and consequences of globalization have always had a profound effect on music, and nowhere is this more apparent than in the dissemination of American jazz across the world. Various regional scenes have spun this magical export into something all there own, running the gamut from charming to alarming to deconstructed in such a way as to not be recognizable as jazz at all. In Eastern Europe, the task of blending imported jazz with local folk music is a difficult feat indeed, as there exists already quite a few resilient vernacular traditions of music whose most distinct features can be lost in the process of creating such a hybrid.

Igor and Jim have outdone themselves, and many other musicians seeking to create such a successful blend.

A word of warning, this is NOTHING like Taraf de Haïdouks ... in this disc, the exotic flavor comes under the guise of a cimbalist adeptly impersonating a modern jazz pianist so eloquently as to camouflage the Eastern European elements and the instrument itself against a backdrop of modern jazz splendor.

Personally, my favorite selection off of the disc is "Table Samba." First, I would like to point out that the guitar bounces along in the background like the maliciously mellow tamborim, with that syncopated, finger-picked figure pulsing flavor through the piece like aged zacusca on fresh baked bread. The bass part, the soul of the samba and the anchor of the amphibrachic ambiance, is simply perfect in every possible way. Melodic, playful, and groovier than a whole box of Scooby Snacks. This is how bass should be. Igor pleasantly surprises with how cool he plays the head of the tune. If reminds me of vibraphone greats like Cal Tjader or Milt Jackson, in just the right amount of sustain, attack from the mallets, and whimsical charm to pull you into such a catchy tune before he surprises once again with a masterful solo. The solo, in my honest opinion, showcases some of the best techniques of modern jazz when applied to Brazilian music, perhaps even alluding to such specific work as that by pianist Brad Mehldau.

This is an amazing disc that is both a remarkable example of musical fusion, and a delightful display of the cimbalom as a lyrical solo instrument, placing Igor amongst the pantheon of modern jazz instrumentalists.