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Misha Feigin plays a balalaika, which may be only a word from the Beatles' "Back in the USSR" to many people, but becomes here an excellent vehicle for improvisation. He also plays a classical guitar on four of these seven duos (and balalaika on four as well: he plays both on "A Meter Violation").
All seven of these duos pair Feigin's instruments with other strings: dobro (Elliot Sharp), electric guitar (Davey Williams), cello (Craig Hultgren), violin (LaDonna Smith, who also dances on a wooden box on "Balalaikofrenia"), and guitar and banjo (the one and only Eugene Chadbourne). Feigin and co. achieve a remarkable similarity of texture throughout the disc's shifts in instrumentation. This music avoids easy rhythms and common tonalities, as well as, ultimately, facile categorization. Feigin is a masterful and evocative player who displays a determined modernism and generally avoids the folk clichés that one might expect from a balalaika player: there's no Russian wedding reception music being played here.
Through it all, Feigin creates a hypnotic music built of small gestures. An excellent outing.
Misha Feigin, balalaika, classical g; Elliot Sharp, dobro; Davey Williams, el g; LaDonna Smith, vln, dancing on a wooden box; Craig Hultgren, clo; Eugene Chadbourne, banjo, g.
Track listing: Both Kinds of Music / Balalaikofrenia / Moondance / Zohar Caf
I love jazz because it mixes intellect and emotion in a very spontaneous way.
I was first exposed to jazz by liberating a Coltrane and a Pharoah Sanders record from a friend in NYC and listening to them over and over until I got it.
My advice to new listeners is you have to take the time to listen to some jazz tunes a number of times until it starts to make sense.