Audio_excerpts from Magicada Tymbals

1. Magicada Tymbals
2. Cicala Montagna
3. Nala
4. Cassini
5. Triptychon
6. Tibicinini Septem
7. Magicada Tredecim
8. Nas
9. Cicadetta Sibilae
10. Kachine
11. Mahu
12. Cicada Tymbals

          alan kushan, santur


         roland schiltknecht, hackbrett & bergruf

            Gabriel Schiltknecht, percussion

            Heiri Känzig, double bass

            Matthieu Michel, flügelhorn

            Raphael Zweifel, cello  

            Rhea Schiltknecht, voices

            Vladiswar Nadishana, khomus

Roland Schiltknecht, Hackbrett (swiss alpine hammered dulcimer)

geb. im Kanton Glarus. Beginnt Anfang der 80er Jahre mit dem alpinen Hackbrett zu experimentieren und Elemente der alpinen Musik mit Elementen aus Jazz und Rock zu verbinden. Er entdeckt die uralte Tradition der Improvisation in der ursprünglichen alpinen Volksmusik (Stegreifspiel). Gründet 1982 zusammen mit seinem Bruder Gabriel (Drums, Perc.) die Ethno-Jazz-Rock Formation „schildpatt“. und spielt Konzerte sowie auf div. Platten, Produktionen und Projekten wie u.a. mit Curt Cress , Eberhard Weber, Heiri Känzig, Roland Dahinden, Jürg Solothurnmann, Hans Kennel, Alan Kushan, Fizzè, Max Lässer, Überland, Stephan Eicher, Engelberg, Paul Haag u.v.a.m.

Alan Kushan, santur (persisches Hackbrett)

Alan Kushan has passed through multifarious phases of musical composition and performance on his supremely delicate yet highly sophisticated musical instrument  —  his self-made hammered dulcimer or santur.  His compositions and arrangements  range from traditional Eastern music to innovations with Western classical and Eastern mystical music, to jazz and world music, thereby creating newer, fresher, elevated musical forms.

Alan Kushan relentlessly expands the horizons of his art form.  The speed and precision of his dazzling techniques on his self-made santur are simply breathtaking.

He studied music composition in Zurich, Koln and Berlin as well as Canada and the U.S.  He studied with Sir Yehudi Menuhin, Karlheinz Stockhausen, and Ustad Vilayat Khan, among other master musicians.  As a child, he studied under three of the greatest Persian santur masters, H. Malek, F. Payvar, and R. Varzandeh.

Over time, not satisfied with the limited range and capacity of his chosen musical instrument, Alan decided to apply his skills as a master instrument-maker to broaden the range of his instrument by adding elements from the modern piano, the harp and the guitar.  The result is a unique and powerful instrument, which embodies the musical textures of the ancient and the new.  

He cultivates exploration of unusual “universal frequencies”, claiming that this is and has been a prominent source of his creative energy.  During  the 80s he cultivated expressions of freedom and immediacy against a backdrop of constant "galactic buzz", while deliberately suspending control of reason and will.

He applies this spontaneous perspective not only in his artistic and poetic creativity but also in his everyday life.  Alan Kushan’s performance method reveals an academically meticulous technique that is, paradoxically, in stark contrast to the "dream space" he generally endeavours to depict, and its markedly other-worldly, mystical dimensions.  

Alan Kushan has come to the realization  that Time itself is captured within Sound, so that it is Sound that is boundless and limitless, and Time itself is a Prisoner within its paradoxical confines.  “The Dimension of Sound is akin to the vast universe that mercilessly compels me to progress beyond its peripheral territories.  I wish to experience these states of consciousness thoroughly and primordially, so that I may evolve both dynamically and philosophically as an Artist.”

“It is the Quintessence of Sound that I seek.  This is an eternal quest for any authentic musician.  Alas, what is the source of this quintessence?  In order to achieve it, I must be released from my mortal frame for a deeper, more spiritually penetrating journey, all the way back to this source, and then forwards again towards the ultimate consummation of that self-same journey. Could this then be the Silence of God?  A mirror of the Absolute Divine?”

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there's a Bösendorfer Grand and a freshly revamped/revised Hammond B 3 organ (with Leslie 122) on the spot...
However, it's not the gear but the experience of 30 years continuous output that'll make the difference...
Indoor recording can be considered if you're willing to mix with the family!   :-)
Then you're in for recording with a nuance...