One
Between 1912 and 1935, before "socialist realism" became the only aesthetic standard, many brilliant artists set off the first wave of avant-garde art in the Soviet Union that lasted for more than a decade, and the literary and artistic landscape of the 20th century was abruptly different because of this revolutionary movement.
Of course, this wave is not only a subversion and innovation in the painting genre, but also a new thinking that has a profound impact on future generations - literature, sculpture, design, film, photography, music, architecture and other aspects of the world have new possibilities.
After the thaw of the 1950s, the stagnation of the 1960s, and the gradual loosening of cultural regulations, in the late 1970s, the second literary wave in the Soviet Union re-emerged.
A very important part of this is the explosion of New Jazz.
Two
In the late 1970s, the atmosphere in Soviet society as a whole had changed considerably compared to before. Western culture and consumption have penetrated into the lives of young people through the Iron Curtain. What was once forbidden has long since turned into an undercurrent and become a treat within reach.
The resurgence of jazz was an important sign of the revival of youth culture (jazz was already popular in the Soviet Union in 1922, but it was banned in the late 1930s). With the help of the "Bone Disc" burned on X-rays in the 1950s and 1960s, the capitalist "sound" that once belonged to the powerful or professionals has become a spiritual consumer product for daily use by the public.
Beginning in the late 1960s, jazz began a process of Soviet localization—native jazz bands, which had not officially introduced Western pop music but whose lyrics and performance style met ideological requirements, could already publish their own records through the state-run record label Melodiya. The only restriction is that they can't be called "Bands", they have to be called "Vocal Instrumental Choirs (VIA)".
Through mainstream channels such as radio and television, jazz that celebrates a better life has approached thousands of households. In the music world outside the mainstream, some more exploratory niche musicians are passionately immersed in the world of "new music".
They gradually broke away from the shackles of traditional jazz, and transitioned to a new stage, whether in tone, chords, rhythm, or in the abstract sense of music.
Like the Soviet and Russian artists who pioneered the genre in the early 20th century, they no longer repeat existing classics, nor do they want to imitate the works of the same period in Europe and the United States. What they wanted was to create a new kind of music that belonged to the soil of Soviet Russia.
In this kaleidoscopic world of sound, they found what later generations called free jazz/avant-garde music to express themselves. One of those who was named the "Father of New Soviet Music" was Slava Ganelin from Vilnius.
He and his band The Ganelin Trio created a piece of music that could not be replicated (as later critics commented).
With the advent of the New Golden Age of Jazz in the Soviet Union, in addition to band and instrumental performance, an alternative minority female singer stood out, and in her early 20s, she became famous in the Russian avant-garde jazz circle with her extraordinary vocal conditions (the only female Humai singer at that time), and unparalleled live improvisational skills, and participated in vocal singing in multiple bands.
She was Sainkho Namtchylak from the Republic of Tuva.
In 1986, With her outstanding performance, Shanko won the second place in the "All-Soviet Folk Song Contest" in Krasnodar and entered the ranks of national singers, starting to tour Europe, the United States and Oceania. However, in addition to her status as a "folk singer" and a "jazz singer", she is brewing an even more violent attempt to subvert world music and new jazz once again and create her own voice.
Three
Gorbachev's social reforms created an unprecedentedly free and open creative atmosphere, and musicians, once underground/semi-underground, took to a larger stage and gradually won widespread international attention.
Thus, the elders of the new Sirs of the Soviets showed greater rebellious power. They proudly call themselves "second cultures", operating according to their own standards and principles, creating their own aesthetic systems and styles of work.
In this circle of rock musicians, avant-garde jazz musicians, poets, painters, dancers, sculptors, and writers, everyone is trying to subvert not only the Soviet literary tradition, but even the heavy traditional cultural shackles of Russia.
The most famous genius of the period across many artistic disciplines was Sergey Kuryokhin.
Gu Liaojin is the conductor of Popular Mechanics, or the manager of this huge project. The members he invited to perform were not necessarily popular rock musicians, but also artists, painters, and so on.
He began to put the show on the stage, and every performance could not be copied because the people involved were different each time. Later, he began to receive many invitations from Western countries, and he added richer elements to the group. For example, various animals... In many performances there are such as horses, cows, and geese. They're flying around the stage like that... There were also tanks, and he got one at a show in Stockholm.
Not surprisingly, the person who could pick up a microphone and stand in the center of the stage in Gulyokin's luxurious lineup, leading the vocal performance, had to be Sanko (victor Choi, the lead singer of KINO, the hottest rock band in the Soviet Union at the time, was no more than the guitarist in the lineup).
In this far-reaching new trend of music, Sanko has always been an active and eye-catching part. Over the years, she has developed an understanding of vocals that goes beyond ethnic minorities, exotic and other labeling styles, and "Humai" is just one part of many vocal expression techniques. Voice and emotion, body and consciousness, under her control, have a more experimental performance.
In 1989, Sankoh had another opportunity in her life, and she participated in the Abakan International Jazz Festival. This once forgotten siberian town welcomed countless international guests that summer – musicians from Switzerland, Germany, Italy, the United States, the United Kingdom, Nordics, record label managers, and music critics to see the musical treasures hidden behind the Iron Curtain for decades.
Two years later, in 1991, at the age of 34, Sanko had already fully joined the international ranks, and in the same year released her debut album "Lost Rivers", with this controversial avant-garde work, becoming a female music creator on a par with Yoko Ono.
Looking at the radical avant-garde literary and artistic attempts of the late Soviet Union, Sanko's musical achievements are absolutely unique. BBC radio host Alex Khan, a new music historian, praised in this article: "Her performance in laryngeal singing over the past decade (1990-2000) is greater than any international achievement of the Soviet era."
Four
With the collapse of the Soviet Union, the crazy and explosive tide of the Iron Curtain years gradually faded from sight. And some wealth, even before more people know about it, has been forgotten in the rapid exchange of information in the 21st century.
Although the New Wave era of Soviet jazz has faded, the 62-year-old Sanko is still active on the music stage. In addition to still exuberant collaboration with avant-garde musicians, she once again began to interpret the gentle and restrained jazz that blended with the music of the world with a unique voice.
For example, this song from Sanko's latest album in 2019, "Workers' Song":
In 2018, Shanko and the band Sainkho Kosmos made their debut at the War Horse Festival, with a group of outstanding musicians from around the world, different from the previous solo performances, this time With outstanding musicians from all over the world known for many years , including duet partner Ned Rothenberg, who is now at the Berkeley School of Music in the United States; and Samm Bennett, a drummer/lead singer who has known for more than 25 years Improv guitarist Kazuhisa Uchihashi and bassist Peter Scherr fused and recreated elements such as jazz, world music, experimental sounds, improvisation and tuvan traditional folk songs to create an unprecedented music scene that deeply shocked Beijing and Shanghai, and many audiences bluntly said that Sanko's performance was a must-see scene of a lifetime.
In May this year, Shanko and the band will start a new round of "2019 China Tour".
Shanko and the band "Naked Soul" 2019 China Tour
5/24 (Fri) @ Beijing Poly Theater
5/25 (Sat) @ Chongqing Nuts Livehouse
5/29 (Wed) @ Xi'an Xi'an Concert Hall
5/31(Fri) @Shenzhen B10 Live
6/02 (Sun) @ Shanghai SAIC Shanghai Culture Plaza
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