Kiril's music for the film The Great Water reveals the composer's diverse approach to his craft, which ranges from tribal/ethnic-inspired pieces to more modern classical works. The incredible music experience could fit into many categories, including world music, ambient and classical. An accomplished composer and keyboardist, Kiril earned broad critical acclaim for his eclectic fusion of classicism, electronica and traditional elements on the soundtracks for Dust and Balcancan.
The Great Water is a political drama based on a novel by Macedonian writer Zhivko Chingo, dealing with the situation in post-WWII communist Macedonia, powerfully portrayed through the events occuring at an orphanage whose real purpose was not the care of children, but their political indoctrination.
The music bears all of Kiril's trademarks but within a different context and relying upon an approach which makes it different from his previous efforts within this genre. There is a variety of mood and texture throughout, but above all there is a unique vision that mixes strings with occasional traditional instruments such as kaval, kanun, drums and zurla. This blend of different styles and instruments is certainly not a haphazard experiment in virtuosityKiril integrates these instruments and influences into a unique mix that pushes the music into the land of fantasy and mystery.
The opening tracks ("Chasing Lem," "Blood Brothers") are characterised by hypnotic tribal percussion in the forefront with deep melodies as an undercurrent. "The Great Water," "The Gate" and "Timelapse" feature beautifully scored string sections. As the story unfolds, the music becomes less dominated by percussion and the melodies that were in the background come to the fore.
"First Magic" is a slow track that features an ethnic violin, unfolding elements even more slowly before percussion enters the track about three-quarters of the way through and changes the direction before it again falls away. "Dream Box," a waltz-like piece with a simple but very effective melody, is one of the standout compositions on this album.
Richly produced, The Great Water marks a further evolution for Kiril's ever evolving sound worlds. It is an incredible, intense and enchanting musical experience with a huge emotional impact.
Track Listing: Chasing Lem; The Great Water; Blood Brothers; The Gate; Timelapse; Drought Break; First
Magic; Farewell; Dream Box; Icon of Love; Forgiveness, Die is Cast; Happy Hero; Secret Place;
Personnel: Kiril Dzajkovski: compositions, arrangement, production. Performed by the
London Telefilmonic Orchestra, conducted by Nikola Kodjabashia. Levine Andrade: first
violin; Project Zlust String Orchestra: additional strings; Ljubisa Kirovski: first violin; Youth
Female by YCC Choir, Skopje; Emilija Lale: conductor; Milena Arsovska: solo female voice;
Vesna Levajkovic: intro solo female voice; Bilent Eminov: solo male voice; Goce Dimovski:
kaval, zurla; Zdravko Angelov: clarinet; Dzijan Emin: french horn, accoustic guitar, piano;
Goce Uzunski: ethnic percussion; Goce Stefkovski: percussion; Husref Said: kanun;
Nikola Avramovski: ethnic violin; Nikola Kodjabashia: orchestral score edit, prepared piano
& creative consultant; Kiril Dzajkovski: additional keyboards, programming & editing.
Year Released: 2006
| Record Label: AG Records
| Style: Beyond Jazz
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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