Ganelin, Vysniauskas and Kugel are more than just plain avant-gardists that break up all connections behind them just to pay tribute to some future aesthetic. They make use of the method of American jazz in order to listen deeply into the European musical tradition. That way, they shed light on great gestures of baroque music, they internalize the painful individualism of Romanticism and recapitulate the careless lightness of traditional folk music. It is no less than trans-European, inter-traditional and multi-sensual improvised music. What was said above about their rich musical supply is also true without exception for the pianists new formation. With Vysniauskas and Kugel, Ganelin may be less missionary and pugnacious as in the 70´s. But in an age of euphemisms where all fronts have been veiled or dissolved, precisely translatable statements make sense only for the most ardent of idealists. Today´s Ganelin Trio draws from the variety of life an even greater amount of options and perspectives. By not submitting to the worn out primacy of the moment but instead implicating the freedom of the whole process in every moment of their play the new Ganelin Trio is without comparison in European music. (Wolf Kampmann, Berlin, 2006)
There's nothing like hearing a group in concert to reawaken interest. The Ganelin Trio Priority played a staggering set on the penultimate evening of the June, 2007 Vision Festival, a continuous and constantly morphing shock-and-awe campaign in which all national and international demarcations were obliterated.
Slava Ganelin himself, the founder and only original member of the fabled Soviet improvising trio, began the proceedings with a piano solo that was authoritative and moving, hovering somewhere between homage and prayer as it slowly built and began to writhe. Eventually, the trio even destroyed its own admittedly permeable boundaries, electronic billows, dual percussion bouts and long swells and fades giving the illusion of many more players and infinitely possible sound worlds. Change was the only constant, the powerful heights majestically roaring, the moments of reflection exuding solitude, sometimes note by preciously disturbing note. The Polish Not Two label should be thanked profusely for presenting a live document of this fine and animated trio. Recorded in 2006, the live Ganelin sound translates to CD remarkably well; each piece is approximately thirty-eight minutes long and, along with the very faithful recording, gives any interested listener as authentic an experience as possible of the live event. Additionally, the CD allows for the perusal of every detail, such as the stunning drum/sax duo that opens "Conversation IV." Also, Ganelin's pianism can be appreciated from moment to moment, his attention to dynamics and shading equaled only by his virtuosity. Really though, the recording should be heard in a sitting, experienced as it unfolds, turns back on itself and reopens, transcending history and time as it follows its own inexorable logic. No matter how good their previous recordings seem, this might be the trio's definitive statement, the next best thing to experiencing the group in person. (Mark Medwin, AllAboutJazz)
Featuring Vyacheslav Ganelin on piano, synth & percussion, Petras Vysniauskas on soprano sax and Klaus Kugel on drums & percussion. Although these pieces are no doubt improvised, they flow, the trio moving in tight waves together, ever exciting, ever creative and often with that edge-of-your-seat suspense. Ganelin does a wonderful job of playing the piano and synth often simultaneously, creating bass sounds on the synth as he explodes all over the piano, the drums and sax following him and weaving their lines around one another. There are animated, cartoon-like segments, soft, lyrical sections and intense, majestic areas. Superbly recorded, perfectly balanced and extraordinary throughout. (BLG)