Vladiswar Nadishana

Artist of the Month | October 2009

 

Nadishana uses the Trinity System in his instrument.

Vladiswar Nadishana is a siberian multi-instrumentalist, composer, recording producer and instrument designer, who creates his own unique approach to music, web design, dance and videoart.

Nadishana works in ethnic fusion, ethnic jazz and world fusion. His music is based on creative synthesis of different musical traditions of the world on the basis of contemporary technologies. V. Nadishana plays on more than 100 instruments of the world, including self-created.

He elaborates the unique playing technique on each of his instruments and his own approach to advanced digital audio editing called “sound microsurgery”.

In 1990 along with studying in St-Petersburg V. Nadishana began his self-education in playing guitar. Then he became seriously interested in ethnic music and mastered himself other instruments: sitar, mandola, chanzy, bouzouki, jew’s harp, kou xiang, khomus, morsing, ethnic percussion (darabuka, djembe, kalangu, udu, cajon, frame drums, berimbao); winds (bansuri, quena, overtone flutes, kalyuka, zhaleyka, gayda, hu-lu-si, duduk, bawu, tsaaj nplaim), fretless bass. Besides he has created some experimental musical instruments: dzuddahord, pruzhingum, plastrimbaphon, rablorrum, ghostcatcher, pin-sansa, rod-spring gamelan, banbang etc.

While living in Cheremshanka village (South of Siberia) V. Nadishana established “Sound Microsurgery Department” (SMD). SMD is a creative research laboratory handling a wide variety of projects: from mastering unknown ancient musical instruments to elaborating new creative methods of work with digital audio. SMD researches also how musical instruments influence the consciousness and inner organs of the human body (the project “Move Your Chakra!”).

Nadishana improved and developed the playing technique on several instruments. In fact some of them were museum pieces and he gave them a new life. For example he developed the tradition of playing on Russian overtone flute kalyuka and enhanced it’s construction. He also has elaborated a new approach of playing on chinese kou xiang and jew’s harp sets and has incorporated very rare Hmong free reed flute tsaaj nplaim into ethno-jazz arrangements etc.

Using a multi-track overdubbing method V. Nadishana created some solo albums in his own studio.

Check out http://www.nadishana.com/ for more information.

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