Санчилло / Братецкий. Секретная лаборатория
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сергей гурьев - культовый рок-литератор

"Проект Санчилло/Братецкий. Секретная лаборатория - уникальный синтез традиции и эксперимента.
В центре его - самозабвенный дуэт: "Хендрикс блюзового баса" Евгений Санчилло и "Моцарт губной гармоники" Александр Братецкий; также в составе коллектива матёрые профессионалы Игорь Сапрыкин (гитара) и Якуб Охтов (барабаны).

Общеизвестно, что блюз - консервативнейший стиль, но С/Б.СЛ, сохраняя корневую ауру, ухитряются достигать в этих рамках поистине заоблачных высот стилистической свободы."

Сергей Гурьев - культовый рок-литератор, автор и учредитель журналов "Контркультура" и "Урлайт", инди-фестиваль "Индюки", автор книги о "Звуках Му"и Петре Мамонове, один из организаторов "советского Вудстока" 1987 года - фестиваля в Подольске

Отрывок из книги Michael Urban и Андрея Евдокимова "Russia Get The Blues" изданной в США в 2004 году.

"Blues Rhythm Section developed out of a chance encounter beetween Alexandr Bratetsky - a self - taught harp player who, like his counterpart in Evergreens, Sergey Sorokin, took up the instrument after hearing Petrovich blowing on his harmonica in the early 1990s - and slide guitarist Evgeny Ilnitsky. Bratetsky was busking solo on the Arbat ( something of a Moscow equivalent to Chicago's old Maxwell Street ), and the deep resonance that he was pulling out of his harp caught Ilnitsky attention. The two decided to put toghether a group devoted to playing Delta blues. As Bratetsky has recalled:
We decided that blues was what we wanted to do, but not the blues ths\at you would be likely to hear in Moscow at the time. We sere trying to distinguish ourselves by removing the rock influences as much as possible and by attemping to produce that feeling in classic blues - that kind of primordial energy - which is the basis of the music itself.
A second aspect of this group's self - conception would also distinguish it among the bands in our musaic. Blues Rhythm Section - as its name would indicate - formed in reaction to the leader-dominated groups populating the Moscow scene.This group of young sideman playing drums, bass, (slide) guitar, and harmonica, would provide the backing for others. However, when no would-be frontmen appeared, the group - whose rehearsals had raised the level of their skills as well as their self-confidence - decided to strike out on their own.
As had others, they ran up against the sound barrier in nightspots, and were were forced to abandon their acoustic instruments and to go electric. This changed the direction of their repertoire some, away from Delta blues and toward the Chicago style. When Ilnitsky left to play in Italy, he was replaced by Alexandr Kazankov, a folklorist and ethnologist lecturing at Moscow State University who was about twice the age of other members of the group.At the time, Kazankov was convinced that the idea of playing deep blues successfully in Russia held little promise, and so he approached the matter as a kind of ethnographic experiment. He soon discovered that his doubts were ill-founded. Contributing his stage experience gained over a number of years as a singer in Russian folk ensembles, Kazankov also insisted that the band expand its repertoire to include a number of the ancient and obscure Russian folk songs with which he was well acquainted. The band's new format thus became Delta and Chicago blues, performed alongside fifteenth0centry music from deep in the Russian provinces.These traditions are both represented in Kazankov's composition, " Mr. Sherling Blues" which finds the singer pleading with his employer not to sack him from his job as night watchman. The song is a simple blues performed in English but it is laced with humor, pathos, and double-voicing - elements equally common to the blues and Russian folk traditions.
This composition was emblematic of the band's style: serious blues played with plenty of tongue-in-cheek humor. A good examle of this in live performans would be bass player John Sanchillo's rendition of the Jimmy Reed classic, "Bright Lights, Big City". Sanchillo's, a young man in his mid-twenties, had been hitchhiking around Europe with his standup bass, busking on the streets and gathering information about blues music.When he joined Blues Rhythm Section, he brought with him a version of the Reed tune that he he would sing in the exaggerated voicing of an old man reduced to near infirmity by what had apparently been a pretty tough life. His accompanying bass lines departed from his classical training, completing the effect with some very low-down licks. The many styles and influences flowing through the group eventually led its members to go their separate ways..."