Elephant s Hunting

Elephant's Hunting
from RADIO PRESTIGE 101;.;7FM Moscow by Val Belin

00:00 / 08:48
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about
With respect to new challenges which many Russians have been ill-prepared to meet, blues guitarist Valerii Belinov related the following story:
We had this group, Rhythm and Bluesy, and we recorded a tape of our original music in August 1991, just before the putsch in Moscow. We sent out the tape to about seventy different companies and we got no favorable replies. So this was very depressing because a person like myself who plays music certainly wants to see the end result of his labors. The end result is mainly the appreciation of other people and that door was closed to me at this point, so it was depressing. But this experience helped me to surmount some of my naivete. Like all other Soviet people, we didn't have any idea about how to construct a real business, so what we did was actually funny. And it is even funnier when you think about it. Here we were, Soviet people with a real desire to enter the world stage of music, but with no idea whatsoever as to how this is done ... What buttons to push? What makes this big entertainment industry go? We simply had this naive desire to be a part of it, but no idea about how to go about doing that.
A final parallel attending the context in which blues music was introduced both in America's urban north and in Russia concerns the fact that the music seemed to have made a successful journey thanks to the fact that in each case it had brought an appreciative audience in tow. When American blues migrated from primarily rural settings to urban centers such as Chicago and Oakland during and after World War II, its raw, abrasive sound was not immediately well received by local residents for whom "blues" had meant something far more polished and jazzy. It was African American migrants from the South who supplied the audience for blues
in the Northern cities, filling the jukes to listen to that music in whose traditions they were already rooted. Likewise, in postcommunist Russia, much of the initial audience for blues music arrived in the form of young foreigners from the West (primarily from the United States) who, as part of a U.S. blues revival during the late 1980s and early 1990s, had developed a taste for this music while at college. Rather like their black counterparts a couple of generations earlier, they had come for jobs (and adventure) and would frequent the blues joints popping up all over Moscow to spend some money, hear some blues and, often enough, introduce their Russian friends to this music
credits
from RADIO PRESTIGE 101;.;7FM Moscow, released February 21, 1997
Oleg Tarhov - bass
Valery Kamko - drums
Vladimir Kolpakov - alto sax
Val Belin - composer, vocal, guitars, SaViTar, Vitar, caratal, mridungam, drum-machine, violin
Inese Alsina - vocal
Andrew Khudov - director
Alex Merkulov - studio engineer
Vladimir Kolpakov - photo
Recorded Apello label
Riga 1991 Avg19
tags
tags: blues apocalyptic multi-directional New York
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