GUNESH ENSEMBLE

1. "Жиги-Жиги (Девушка) / The Girl" (3:42) great jazz-rock fusion rhtyhm lines with jazz-rock horns and odd 1960s- sounding group vocal singing of folk/ethnic music. (9.25/10)

2. "Туни Деря" (5:28) another set up of great, amazingly tight jazz-rock funk fusion. Then, at 0:42, everybody clears out so that an electrified traditional stringed instrument (balalaika?) steps in to solo for the next minute. It feels as if the band is all there, sitting and watching with the utmost respect as their elder tells his old tale. At 1:45 electric guitar and then drums and bass start to join in. When everybody's back in, the band sounds as if they're channelling the Mahavishnu Orchestra. By 3:00 the music has settled into a Latin-sounding rhythm pattern over which several male vocalists begin singing what feels like their traditional (Arabian) call-and-response vocals. Electric guitar takes the next solo in the fifth minute. These vocals almost sound West African! It just illustrates to me how small the planet really is-- how linked are human musical traditions. (9.5/10)

3. "Акжа Кепдери / White Dove" (4:03) opens like an old blues (maybe blues-rock) song from the 1960s with full band playing low and slow while expert jazz guitar and tenor sax play with Elvis-like male vocal crooning with deeply ambiguous feeling: He's obviously expressing deep feelings; Is he sad or happy? (9/10)

4. "Восточный Сувенир / The Oriental Souvenir" (4:58) heavy rock-based music opens this one sounding like something from Larry Coryell or some Latin percussion band. Wonderful sax-marimba interplay after the bridge in the beginning of the second minute. Eventually Stanislav Morozov's sax and rest of the band drown out the tuned percussion as the band drifts into a more smoothly-flowing motif for Stan's sax to continue his wonderful soloing. Bass and drums are outstanding, as are horn section accents and banks. I'm sure that Don Ellis would be proud! (8.875/10)

5. "Кечпелек (Баллада о судьбе) / Bitter Fate / (The Ballad of Destiny)" (7:08) more Arabic-sounding vocals with some electrified oud-like instrument and percussives supporting with flurries and flourishes. After 90 seconds the rock support solidifies in a slow, dirge-like rhythm track with Hammond, electric bass, and straight-time drums. The oud- like electric guitar continues throughout all this, even when the liturgical singer cuts out, leaving a trail of perfectly tremoloed melody lines up to the odd break and transition starting at 3:55. Bass and drums get to start the next very- Andalusian-sounding section as the full bank of horns joins in. The vocalist returns, continuing in a form and style that seems to connote religious fervor. Great bass and horn play with and beneath the singer. Once he cuts out more impressive Don Ellis-like play ensues. I swear that finish is Latin American! (13.375/15)

6. "Ялан / Cheating" (2:44) part Latin/Herb Alpert-like music, part obvious local ethnic traditional music--with support of Hammond organ and horn section. (8.666667/10)

7. "Коне Гузер / At the Old Creek" (4:15) electric guitar and electric piano support the impassioned ethnic vocal of one of the outstanding lead vocalists (wish I knew which one). Great latent tension hiding within this one--tension that the electric guitar, bass guitar, drumming, and saxophone do their best to release to the wind. So many textures and emotions conveyed in this masterpiece. (9.75/10)

8. "Арманым Галды / Separation (Parting)" (3:12) opens like a traditional South American song before turning to jazz- rock at the end of the first minute. GREAT bass, drums, rhythm guitar, and horn section work beneath the lyrics that just gets better between the vocal sections. Wow! These guys can really play! (And this lead vocalist can really sing!) (9/10)

Total Time 35:30

I've heard that Gunesh's next album, released in 1984, is even better than this one!

A-/five stars; a wonderful display of traditional/ethnic music blended seemlessly, no, virtuosically, into rock and jazz- rock and Jazz-Rock Fusion forms. Definitely an experience I highly recommend for all prog lovers.

The first album from Gunesh Ensemble is from 1980, and this one came four years later. On that time, you couldn't Google about that country or their people. And if I'm not mistaken, the north-west side of the world had a simplified and naive preconception of the middle east region: thought as a population with a very traditional, archaic culture. It's very understandable that this work is so unknown by europeans and north-americans.

Don't be fooled by the beginning of this work. The sound of winds doesn't have anything to do with world music, new age and/or traditional songs. It ends very briefly and gives place to a consistent dynamic interplay of jazzy prog tunes disposed in various layers; lots of wind musical instruments collaborate. Next, a smoother jazz-prog takes in, but when they go back to a more energetic execution, starts to gather some few psychedelic ideas. These are replaced by a brief blend of electronic prog with world music. That´s when the first vocals are included; with almost 10 minutes of the vinyl. The vocals that are made before the end of side A, along with the use of atabaques and other percussions, delivers a charming oriental/arabic felling. The beginning of side B is similar to the first minutes of side A. Bass sometimes becomes a little funky, and the violin has the incredible ability to quickly change from a straight-rock tune to a more classical sound, or go very arabic. I find deeply touching those vocals that seem to be carried with some very profound and emotional lament, that can be heard only on the middle east. When he finishes, the drums, violins and atabaques get very fast, as they were celebrating an important confraternization. The last track, called Vietnamese Frescoes, can catch your attention because of its singularity and exotique musicality. But for me it's the weak part of this sublime effort. If this track wasn't there, I'd give them 4.7 stars.

4.4 on a five-star scale.

I've listened to this for the first time, and without a doubt it is the best thing I know of to be produced in Turkmenistan.

It really is a wild ride. The first track wouldn't sound out of place as the funky theme tune to a 70s cop show, before track two slides into an oriental style trance that leaves you feeling like you're floating in outer space, followed by something sounding like a Muslim call to prayer (you'll have to forgive me if that's totally wrong). All the while jazz fusion elements build up in the background. I could go on and describe the rest but I recommend just listening to it yourself.

Turkmenistan's location in the world means it's no surprise this album seems to incorporate cultures and styles that cover the majority of Europe, Asia and the Middle East. It really is something.

Throughout the 70s the band entered contests throughout the Soviet Union and won first prize in many of the competitions for their highly developed take on traditional mughams and jazz improvisations. A mugham is a very complex musical art that combines classical poetry and musical improv. It is a modal system, but unlike Western systems it is not only used with scales but rather is a collection of melodies that enrich the improvisation that is enhanced for a specific event. This can mean increased intensity, rising pitches or even fusing poetic interpretation into musical form. This is a very common art form in this part of the world.

After ten long years and countless performances the GUNESH ENSEMBLE finally released their debut album Гунеш (GUNESH) in 1980. Unlike the spectacular second release and mega-masterpiece "Вижу Землю (Looking At Earth)" which dosed everything jazz-world- fusion-rock in heavy steroids, this debut release finds the band on a less ambitious journey although it is by no means a sleeper. Whereas the second album finds any global influence fair game, this one is more focused on traditional Turkmen music with a healthy jazzy horn section mixed with some veritable progressive rock which is heard mainly in the drum section as well as with the guitar. This first release has a lot more tracks focusing on vocals and harmonies which are less frantic without the playful trumpets, trombones, flutes and keyboards that dominate the instrumentals.

While this debut album by the GUNESH ENSEMBLE isn't nearly as brilliant as the second, it is a beautiful debut that takes you to a lonely corner of the globe where very little is known to the average Westerner and extremely well progressive music like this shouldn't be missed. This album had only one vinyl release in 1980 and is probably impossible to find but fear not. Rishad Shafi released the first two albums on CD titled "Rishad Shafi Presents Gunesh."

The one drawback to this compilation is that not only does it contain zero bonus or extra tracks, it also omits two tracks from the debut album: 'Акжа Кепдери (4:03)' and 'Ялан (2:44). It also for some mysterious reason changed the titles of several tracks:

Original GUNESH album / RISHAD SHAFI PRESENTS'

Жиги-Жиги (Девушка) (3:42) / Младший Брат ' The Younger Brother

2. Туни Деряп (5:28) / Плач Шасанем ' The Lamentation Of Shahsanem

3. Акжа Кепдери (4:03) / omitted

4. Восточный Сувенир (4:58) / same title (Oriental Souvenir)

5. Кечпелек (7:08) / Горькая Судьба ' Bitter Fate

6. Ялан (2:44) / omitted

7. Коне Гузер (4:15) / Свидание С Милой ' Date With A Sweetheart

8. Арманым Галды (3:12) / Утолённая Любовь ' Requited Love

The pluses are that the packaging is bilingual in English and Russian and tells the story of the GUNESH ENSEMBLE's history in the Soviet Union era Turkmenistan and of course that this wonderful music is available on CD! This is worth the price of admission for the second album alone but six out of eight tracks off the debut album are quite worth hearing as well. Another band that i would've loved to hear a few more albums from.

Album 1 = 4 stars Album 2 = 5 stars Thus 4.5 rounded up

Some tracks of the previous singles of the band made it to the final cut of Gunesh'es debut and even them sound a lot better in the enviroment produced by the band over a full-disc performance, combining elements from Ethnic Music and Jazz Fusion in an impressive execution of technical accomplishment, composing talent and vocal passion.Shafi has to be one of the most underrated drummers of the genre, extremely fast and flawless, reminding a bit of ARTI I MESTIERI'S Furio Chirico.The music is mainly instrumental with a few excellent vocal explosions of Eastern Asian-styled lyrics (which of course I do not understand), but you should focus on the music, which is surprisingly energetic, technically amazing and extremely balanced between Ethnic tunes and super-tight Fusion, or if you like between complex twists and more dramatic overtones with a folky flavor.Fantastic guitars parts and solid bass work with Jazz, funky and Eastern influences, complemented by a discreet keyboardist, performing on his sole organ, and a huge brass and wind section with lots of sax and very cinematic display of a small trombone/trumpet orchestra.For the most of its length the album is fast-paced without singificant flaws, a good production and featuring endless interplays and solos with a slight sense of melody and a heavier amount of mourning vocal parts.

One of the well-hidden gems of 80's Jazz Fusion.Ethnic-oriented Fusion with melodramatic vocals and dense executions, definitely one of the most genuine and personal works of Fusion performed by an ex-Soviet group.No less than highly recommended, even if an original copy is pretty rare.

The opening tracks is ''Девушка'', the same with the one presented in the first single but now re-arranged with a better sound and overall delivered in more charming way.Some excellent bass lines, the Eastern-influenced sax moves and the more passionate vocals give the track a better value.The flute part of the previous edition has dissapeared, however some exciting work by the rhythm section is definitely rewarding.Notice also the nice psychedelic influences on the organ parts and the dicreet jazzy guitar work.The second track, ''Обман'' (Cheating), is way more commercial, led by a huge brass section and some extreme lyrical parts with an obvious traditional approach.A decent but repeated groove and the easy-going vocal work are all this track has to offer.

Slightly better than the debut single, this very rare work contains a nice Jazz/Folk/Brass Rock track, which defines Gunesh Ensemble's sound and if you come across a rare copy you should purchase it, if you are a fan of the style...2.5 stars.

Вижу Землю (Looking At Earth) in an unearthly amalgation of musical majesticness. The album begins with a whispering wind and some temple bells before Russian dialogue ushers in some seriously deranged funkiness and energetic percussion and horns with some strange electronic 'talking.' The jazz-fusion doesn't waste any time getting warmed up. You know you're in for a very wild ride with this one. The album continues to surprise with abrupt changes but quite capable of sustaining a beautiful melody in the form of song or chant. The interplay of 10 plus instruments may be going on at any given moment. Absent are any influences from Western bands. All sounds original and isolated like it was all created in a remote area that still hasn't made contact with the Western world. However parts do remind me of Italian avant-proggers Area and the last cut sounds like a traditional Vietnamese song meets the Mahavishnu Orchestra.

If you like eclectic world fusion then you will love this. Must hear to believe.This album had only one vinyl release in 1981 and is probably impossible to find but fear not. Rishad Shafi released the first two albums on CD titled "Rishad Shafi Presents Gunesh."