extraordinary and totally unique artist from Tuva. During her professionalsinging career which started in 1986 with folk songs of Siberia, she covered almost every imaginable aspect of singing from traditional to folklore toimprovised to jazz to avant-garde. She performed with incredible amount ofmusicians as diverse as bass players Peter Kowald, William Parker and JoelleLeandre, drummers Hamid Drake and Vladimir Tarasov, saxophonists Evan Parkerand Ned Rothenberg, the duduk master Djivan Gasparyan, the Russian group TRI-O, Sergey Kuryokhin¹s Pop-Mechanics and The Moscow Composers Orchestra.Her singing technique is truly unprecedented – from khoomei (overtonesinging practised in her native Tuva) to the dizzying vocal extensions from the lowest to the highest possible notes. During her remarkable artistic journey she performed music for films, free improvisations, shamanistic and Buddhist rituals, electronica, dance and word music. In a way, she has become a cult artist throughout the world.
I met Sainkho in 1989 in Moscow and since that time there was one thingthat bothered me from time to time. Her world music audience had no ideaabout her jazz singing, and her folk music audience knew very little abouther free improvisations. I have been asking myself whether it is possible to reconcile all these different approaches to singing within one CD. It was obvious to me that Sainkho herself did not see all these different disciplines as something separate. For her it was one undivided, natural and organic whole. It explains why during her performances she could move within a fraction of a second from jazz to experimental or traditional ways of singing.
Is it possible to introduce one¹s mistress to one¹s wife and make everybody happy? Is it possible to get away with it? This CD is an attempt to present Sainkho in different contexts, to put many different musical styles in one basket. Shall I be able to get away with putting songs and free improvisations next to each other? Will it work musically? Will it be natural and organic? Is it possible to make all her followers happy? In the past I tried to resist all sorts of eclecticism, for I understood all these dangers. Yet, I felt very strongly that sooner or later this should be done and Sainkho¹s 50th anniversary is a jolly good reason for doing it.
Leo Feigin
虽然大部分时间在世界各地流浪，Sainkho从未忘记自己的家乡，每年她都带着西方乐手到图瓦的首都基吉（Kyzyl）表演，希望西方乐手认识的国家、文化与音乐。虽然她是图瓦文化的最佳代言人，但并非所有图瓦人都愿意拥抱她，一方面因为她打破“女人不得喉唱”传统禁忌，另一方面许多人认为她长年居住在西方世界，就是背叛自己的国家，拥抱了腐化的西方思想。1997年，她在自己四十岁生日前于莫斯科遭到暴徒攻击，身受重创，治疗了两星期才出院。之后沈寂了一段时间才继续演唱创作。
2002年由德国女导演Erika von Moeller执导的纪录片《Sainkho》正式面世，让世人对Sainkho的生活有更深层的了解，同年获家乡图瓦颁“二十世纪图瓦最具创意成就奖”。
又是沙发～^_^
我来听歌了~~~~~~~·
呵呵
前奏有点像鬼片里.......
听后有点想家了
