VLADISWAR NADISHANA: Takku Tatei

Vladiswar Nadishana

Takku Tatei

© 2000 Vladiswar Nadishana (634479356971)

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The music on this CD contains influences of bulgarian, indian, arabian, kuzhebarian and russian musical traditions. In this work various unusual methods of audio editing are used . Vladiswar Nadishana plays on: bansuri, tabla, manjira, yeioing bamboo f

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Vladiswar Nadishana is a russian virtuoso multi-instrumentalist and composer from Siberia.
He plays on more than 50 instruments, including self-maded. His style is the modern world fusion or ethnic jazz.
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The music on this CD contains influences of bulgarian, indian, arabian, kuzhebarian and russian musical traditions. In this work various unusual methods of audio editing are used .

Vladiswar Nadishana plays on: bansuri, tabla, manjira, yeioing bamboo flute, kalyuka, zhaleyka, gayda, khomus, nidlaphon, ghost catchers, morchang, dzuddahord, banbanng, pruzhingum, various percussion, cencaki, sampling surgery.
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Biography
In 1990 along with studying at the Cinema Engineers Institute in Sankt-Petersburg Vladiswar Nadishana began his self-education in playing guitar. Then he mastered other instruments like fretless bass guitar, sitar, mandola, chanzy, jew's harp, ethnopercussion (darabuka, djembe, kalangu, udu, frame drums); winds (bansuri, quena, kalyuka, zhaleyka, gayda). Besides he has created some experimental musical instruments: dzuddahord, pruzhingum, plastrimbaphon, rablorrum, ghostcatcher, pin-sansa, spring-pivot-gamelan, banbang (preparated beer- and coffee-tins) etc.

In 1991 he founded his first group «Soulbuilding Society" together with Lavrenty Mganga, then he played in «Ensemble Ri» with Lavrenty and Youl(1996). He also launched two other projects with Youl: «Phonic Duet»(1994) and «The Fourth Race» (2001). 2000 - was the foundation year of a trio «Russian-Tuvinian Karma Knot» with a throat singer from Tuva, Ayas Holazhyk. Vladiswar also plays in the group «Capercaillies at the Treshold of Eternity». In Berlin he works with famous ethno DJ Genetic Drugs and with Ramesh Weeratunga, a musician from Sri Lanka . All these groups and artists create music based on an experimental synthesis of musical traditions from all over the world. (ethnojazz, trance-ethno fusion, new world music etc.)

Since 2000 Vladiswar lives in «Tibercul» the biggest ecovillage of the world. There he established «The Department of Sound Microsurgery» (DSM) . DSM is a creative research laboratory, tackling a wide variety of project: from mastering unknown ancient musical instruments to investigating the influence of modern sound electronics on the human energy structure.


Russian Tuvinian
Karma Knot
. The Department researches also how musical instruments influence the consciousness and inner organs of the human body(the project «Move Your Chakra!»).

One of the latest projects is the creation of an original energy-dancing system and composing the music for it.

V. Nadishana created some solo albums in his own studio recording with computer using a multi-track overdubbing method. Vladiswar possesses a big collection of musical instruments (more than 100)from different parts of the world. He is laureate of the international festivals «Ustuu-Huree», «The Sayan Ring» and «New Songs of the Old Lands», and he is also the founder of the ethnofestival «Free of Karma Zone».

Since 1998 V. Nadishana engages active research in regeneration the technologies of alternative layers of reality creation, as it exists in aboriginal culture of Ancient Kuzhebar. The examples of this technologies are music, dance, visual art, motional practices , psychosomatic performances, special practices of mental and emotional energy transformation etc. Some of it introduced on this site (this site, of cource, one of this technologies). This research is strictly practical - each researching technology practicing like a lifestyle.

reviews

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  • One of the most pleasant discoveries of 2006
    author: World Music Central

    One of the most pleasant discoveries of 2006, thanks to social networking site Myspace, is Berlin-based Russian multi-instrumentalist Vladiswar Nadishana. He has released several self-produced CDs on his own label. Takku Ta Tei was recorded earlier, in 2000. On this album Vladiswar Nadishana uses dreamlike electronics and sequences combined with distant wind instruments, Asian strings, frame drums, Indian vocals and echoing sounds.

  • author: Gerald Van Waes

    Vladiswar Nadishana plays on this release a whole number of instruments of which many I’ve never heard, and some not under their original names. He plays bansuri, or Indian flute, tabla, manjira, or Indian hand cymbals, "yeioing" bamboo flute, a self built flute in semitone scale, kalyaka, or Russian overtone flute, zhaleka, or Russian reedpipe, gayda, or Yugoslavian/Thracian bagpipe, khomus, or Ancient Jew's harp, nidlaphon, a self built instrument consisting of a needle and pen used to drum the cymbal, wind and stringed ghost catchers, or some self-built overtone instrument, morchang, or Indian jew's harp (see here), dzuddahord, or a self built kind of sitar-guitar (see here), bananng, or preparated beer- and coffee-tins, pruzhingum, or a self-built prepared gamelan-like instrument, and many more percussion instruments, cencaki, or "junkphones", musical instruments made from junk, computer, and I also heard a few vocal samples. Some sounds of instruments I cannot recall, like the strange pipe-like sound as if sampled to play with keys or programming with a computer as some arrangement on “Umbetombi Embio”. Vladiswar shows a very specific flute style which might be influenced by Slavic traditions (they have lots of different flutes in their traditions, fitting with the wide landscapes and huge forests and mountains), but just a few times the flute playing leans to Irish themes, even when the context is different. And he also is a talented colourist on percussion. The music on this CD is said to contain influences of Bulgarian, Indian, Arabian, Kuzhebarian and Russian musical traditions. I heard for instance a mixture of Middle Eastern with jazz and other ethnofolk on "Something behind" with rather progressive touches. In general one can say that Vladiswar's music has much of an all-world attitude and he succeeds to make even a modern blend, gaining even more identity through his approach, inspired through the creative core from several traditions. Really interesting, enjoyable and also surprising..

  • author: Gerald Van Waes

    Vladiswar Nadishana plays on this release a whole number of instruments of which many I’ve never heard, and some not under their original names. He plays bansuri, or Indian flute, tabla, manjira, or Indian hand cymbals, "yeioing" bamboo flute, a self built flute in semitone scale, kalyaka, or Russian overtone flute, zhaleka, or Russian reedpipe, gayda, or Yugoslavian/Thracian bagpipe, khomus, or Ancient Jew's harp, nidlaphon, a self built instrument consisting of a needle and pen used to drum the cymbal, wind and stringed ghost catchers, or some self-built overtone instrument, morchang, or Indian jew's harp (see here), dzuddahord, or a self built kind of sitar-guitar (see here), bananng, or preparated beer- and coffee-tins, pruzhingum, or a self-built prepared gamelan-like instrument, and many more percussion instruments, cencaki, or "junkphones", musical instruments made from junk, computer, and I also heard a few vocal samples. Some sounds of instruments I cannot recall, like the strange pipe-like sound as if sampled to play with keys or programming with a computer as some arrangement on “Umbetombi Embio”. Vladiswar shows a very specific flute style which might be influenced by Slavic traditions (they have lots of different flutes in their traditions, fitting with the wide landscapes and huge forests and mountains), but just a few times the flute playing leans to Irish themes, even when the context is different. And he also is a talented colourist on percussion. The music on this CD is said to contain influences of Bulgarian, Indian, Arabian, Kuzhebarian and Russian musical traditions. I heard for instance a mixture of Middle Eastern with jazz and other ethnofolk on "Something behind" with rather progressive touches. In general one can say that Vladiswar's music has much of an all-world attitude and he succeeds to make even a modern blend, gaining even more identity through his approach, inspired through the creative core from several traditions. Really interesting, enjoyable and also surprising..

  • author: Gerald Van Waes

    Vladiswar Nadishana plays on this release a whole number of instruments of which many I’ve never heard, and some not under their original names. He plays bansuri, or Indian flute, tabla, manjira, or Indian hand cymbals, "yeioing" bamboo flute, a self built flute in semitone scale, kalyaka, or Russian overtone flute, zhaleka, or Russian reedpipe, gayda, or Yugoslavian/Thracian bagpipe, khomus, or Ancient Jew's harp, nidlaphon, a self built instrument consisting of a needle and pen used to drum the cymbal, wind and stringed ghost catchers, or some self-built overtone instrument, morchang, or Indian jew's harp (see here), dzuddahord, or a self built kind of sitar-guitar (see here), bananng, or preparated beer- and coffee-tins, pruzhingum, or a self-built prepared gamelan-like instrument, and many more percussion instruments, cencaki, or "junkphones", musical instruments made from junk, computer, and I also heard a few vocal samples. Some sounds of instruments I cannot recall, like the strange pipe-like sound as if sampled to play with keys or programming with a computer as some arrangement on “Umbetombi Embio”. Vladiswar shows a very specific flute style which might be influenced by Slavic traditions (they have lots of different flutes in their traditions, fitting with the wide landscapes and huge forests and mountains), but just a few times the flute playing leans to Irish themes, even when the context is different. And he also is a talented colourist on percussion. The music on this CD is said to contain influences of Bulgarian, Indian, Arabian, Kuzhebarian and Russian musical traditions. I heard for instance a mixture of Middle Eastern with jazz and other ethnofolk on "Something behind" with rather progressive touches. In general one can say that Vladiswar's music has much of an all-world attitude and he succeeds to make even a modern blend, gaining even more identity through his approach, inspired through the creative core from several traditions. Really interesting, enjoyable and also surprising..

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