[Live at Zoglau3, Germany, 2010]
For-Tune Records
• artwork by Petras Repsys
• recorded by Klaus Kugel
• mixed & mastered by Ulrich Seipel
"Overall this is a brilliant album from start to finish, almost a "book" example of Improvised Music and its true vocation, and should serve as an example and a beacon to all other Improvising Musicians. Of the numerous Free Jazz and Improvised Music albums released on the For Tune label, this is definitely one of the absolute best ones so far. An essential listening experience!" Adam Baruch - The Soundtrack Of My Life, December 2015
Review by Sebastian Chosiński in ESENSJA.STOPKLATKA.PL
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"VISIONS"
[Live at the Vision Festival XII, New York City, 2007]
SoLyd Records [SLR 0399]
• artwork by Petras Repsys
• recorded by Stefan Heger
• mixed & mastered by Ulrich Seipel
"Ganelin Trio Priority, visitors from afar, began the evening portion of last night's Vision Fest with an intense, far-reaching free improv set harkening back to the '80s Ganelin Trio, but with an up-to-date rigor, too. Pianist Vyacheslav Ganelin, whose old trio was the only avant-garde improv squad touring as government "approved" artists during the last years of the Soviet Union but who emigrated to Israel shortly before the USSR's demise, looked older but no less absorbed with his deployment of synth keyboard atop the Steinway grand, and also broke away from the keys occasionally to slam the splash cymbal, snare and tom-tom set up to his right. Soprano saxophonist Petras Vysniauskas, a Lithuanian, is I believe one of the most profoundly original musicians concentrating on that instrument -- his jagged phrases expanded on determinedly original intervals and his sound is powerful -- stronger and more pointed than Sam River's has become, for instance, more densely concentrated than the late Steve Lacy's, if not polyphonic in the manner of Evan Parker. Vysniauskas also listened to Ganelin well, not repeating or apeing his pitch choices or phrasing but complementing and opening up the ensemble's soundscape. Drummer Klaus Kugel is a colorist, rather than a beat or swing player, adding even more orchestration to the trio. Their collective efforts created a huge soundscape with lyricism and unity poking through a post-industrial roar (amplified, probably unintentionally, by the Orensanz Foundation synagog's high-ceilinged acoustics."
- Howard Mandel, June 2007, USA
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"LIVE IN LUGANO 2006"
NotTwo Records [MW-783]
• artwork by Petras Repsys
• recorded 2006 by Radio Svizzera
• mixed & mastered by Ulrich Seipel
"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." - Marc Medwin, ALLABOUTJAZZ.COM, 2007, USA
"Live In Lugano" is a fascinating listen - it's the sound of three master musicians interacting at the highest level for over an hour. They never run out of ideas or interesting things to say, and their music is completely free of bald spots and tired sounds. Best of all, the crystalline, detailed, and wonderfully dimensional live recording catches every nuance. Highly recommended." - Dave Wayne, JAZZREVIEW.COM, USA
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"LIVE IN GERMANY"
Auris Media Records [Aum005]
• cover design by Igor Krutogolov
• recorded live at the European Music Festival Münsterland 1999
• mixed & mastered by Udi Koomran
Review by Avi Shaked :: MAELSTROM :: Issue No 37
- rating: 9.7/10
"Like the previous Auris Media release of Ganelin’s Eight Reflections of the Past Century, this recording, which documents the Ganelin Trio Priority live in Germany 1999, is a state of the art live recording, capturing the eighty minute long musical journey (of soprano saxophone, piano, synthesizer, percussions and drums) in all its glory and nuances. But that is where I will abandon my enthusiastic technical adoration in order to focus on the anointed essence. If Ganelin was a painter, his work would probably have been in the vein of Salvador Dali’s, though possibly more intimidating. His recurring motifs as well as his symbiotic blend of acoustic and electronic sounds are instantly recognizable forms which he uses to draw surrealist, dreamlike, abstract sound paintings. Truthfully, I cannot make sense of the flow of events here, but it does flow magnificently! From the laid back, still water, through the tiding and ebbing waves and unto a shivering storm, this recording is one that, I believe, will fascinate any dedicated listener. The trio is in top form throughout, either in solos or as a collective force screaming from the ambience, which ranges from the slightly symphonic and mellow to the fierce and chaotic. A must have for fans of avant garde jazz."
Review by Eyal Hareuveni, ALLABOUTJAZZ.COM, 2006, USA:
" Live in Germany' is from a 1999 concert at the European Music Festival Munster. It’s one of the trio’s first dates and features two long tracks totaling nearly 80 minutes. Ganelin is the undisputed leader—and clearly sets the tone—but Kugel and Vysniauskas are more than supporting musicians. They are both innovative and highly creative players, adding layers and textures to the broad canvas that Ganelin paints. Ganelin is a master architect who can combine eclectic and poly-stylistic themes, abstract ideas, stories and mini-dramas into a unified statement, and than let it sound symphonic, orchestral, cinematic, chaotic and aggressive—even toying with a child-like song theme. All this in a matter of seconds, before spicing it up with tension-filled passages or provocative soothing moments before climaxing in maelstrom-like eruptions. There are so many arresting musical occurrences that reference modern contemporary music, East-European folk music and Film Noir soundtracks. Still, Ganelin's ironic and quite often humoristic use of the synthesizer and small objects and percussion disarms the music from any pomposity or Post-Modern pastiche clichés. The affinity between the players is especially amazing, considering the all-improvised nature of this music, and when all three lock in, the music becomes breathtaking. Beautifully recorded."
The cd "GANELIN TRIO PRIORITY - Live in Germany" was also reviewed by Kazue Yokoi and posted february/march 2005 on the top of the magazine "Jazztokyo.com".
