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CD Nero e Bianco

2CD Nero e Bianco, KUD FP, 2003

sold out


download 6CD pack Concerto Nero e Bianco


Zasedba je leta in leta vajena, da igra »naučene«, »naštudirane«, »spiljene« »skladbe«. Če se potem na lepem odloči za improvizacijo – oziroma za instantno komponiranje; za novo, sveže, druge sorte tveganje na odru – to postori iz dveh temeljnih zgibov, ki ju niti ne moremo imenovati »razloga«. Za kaj takšnega sta namreč preigriva, preveč vpisana že v sam način godbenega podjetja, kakor ga pri zasedbi poznamo od prej. Takšna je Lolita, eden redkih ansamblov iz bližnje okolice, pri katerem odločitev za improvizacijo ne more biti umik ali beg – prej je dobesedno kulturnopolitična gesta; implikacija svoje lastne zgodovine; poostreno avtoreferenčno branje vedno ohlapnega spomina na to, kakšna naj bi bila godba, da se ne pusti ujeti nikomur in nikdar. In Lolita ima v svojem imenu pač vpisano neulovljivost; takšna je hočeš-nočeš njena muhava pot. Kulturne politike na Lolitini »uhojeni prelomnici« ne omenjamo kar tako, ampak naklepoma, da poudarimo njen izjemen pogum v času, ki na uradnih ravneh postaja bolj in bolj stiskaški, krčevit, papirnat, nemogoč. Sili k uporu, k dokumentaciji, h kreaciji nove vrste, k zasedanju odrov, špelunk, k muzičnemu skvotu, če hočete. Če bi se Lolita zdevala improvizirat v kakšnem od megapolisov, urbanih centrov godbene moči, kjer je somišljenic, somišljenikov nekaj tisoč, dasipak težav nič manj, potem bi njen korak opazila kvečjemu glasbena kritika in bi ostal razvpita, a kljub temu interna fama. Tako pa ne. Manj ko nas je naklonjenih svobodno improviziranim godbam, širše, silnejše, pomembnejše so takšne lokalne detonacije. In kam vse sežejo! Do problematike avtorskih pravic; do okorele politike sosednih bendov; do zapletenega formularja za sofinansiranje projektov; do mednarodne mreže, upamo navsezadnje, ki je med trdnejšimi, med solidarnejšimi v glasbah. Predvsem pa Lolita-improvizatorka razveseli tistega preredkega hišnika v teh krajih, ki za 60-70 strastnih ljudi vsak mesec, dva, pomije oder, da nanj stopijo svetovni mojstri, mojstrice svobodnih godb. Za takšnega hišnika je bilo do zdaj precejšnja frustracija, ker zlepa ni bilo »hišnega« ali vsaj bližnjega benda, ki bi počel kaj podobnega kakor tisti gostje iz tujine. Zdaj se nenadoma premika, ne le v Lolitinem telesu: Manj ko nas bo, resnejše bodo godbe in z večjim užitkom se bodo igrale. In katera dva sta tista temeljna zgiba z začetka? Nikdar izgovorjena povezanost na sceni in nepretenciozno iskanje drug drugega brez velikih besed.

Miha Zadnikar
The band is used to playing well rehearsed tunes but when it suddenly decides to improvise, to create a new instant composition and to take a risky leap of faith on stage, it is done so for two reasons, which are no real reasons, because they are too playful and have been their guide ever since the beginning of the band. Lolita is one of the rare musical ensembles from around, whose decision to improvise isn't just a fling or a detached step away- but it is literally a cultural political gesture, an implication of their own history, a sharp self portrait pointing to the always fading memory that music should never be caught by anybody. Lolita, as the name of the band suggests, is not to be tamed and she has her own wayward ways. We note the part Lolita plays in cultural politics on purpose, in order to stress her great courage to rock the boat in a time, which is becoming clingy, stingy, stifling, sluggishly bureaucratic and impossible. It forces one to resist, to make a documentation, to create a new species, to take over the venues, and the joints and to create music squats. If Lolita chose to play her music in one of the urban centres of music, she would beyond doubt find a lot of supporters there, but her problems wouldn't be any smaller. Then her steps would be well covered by critics, she would become notorious but still only on a small scale. In reality things are quite different - the fewer people support such kind of free improvised music, the more important such local detonations are. They have a great impact on the problems of author's rights, the rigid politics of other bands, the overcomplicated forms for co- financing projects, and the international network, which is hopefully lending a more sympathetic ear to such bands. Lolita, the improviser, brings sheer joy to those caretakers who clear their stage every month or two, so that some world- famous masters of free music can perform to a crowd of 60-70 passionate fans. Up until now, these people felt frustrated at the fact that there were no such bands playing free music in their neighbourhood. Now, finally things are changing - and not only in Lolita's body. The fewer supporters such liberated music finds, the more seriously and passionately it will be played. Coming back to the two reasons mentioned at the beginning, suffice it to say that Lolita's strength lies in how amazingly they connect on scene and their unpretentious search for each other without any big words.

Miha Zadnikar

CD1 Nero CD2 Bianco



CD2 Bianco