

Visions In Black & White
āVisions in Black and Whiteā is a collection of rare jazz and improvised themes by one of the greatest Russian film composers Mikael Tariverdiev (1931-1996). Transferred from the original tapes and beautifully remastered, these recordings manage to retain their original ambience and capture a master at work.
Originally composed for cinema and TV movies of the 1960s and 1970s, it centres on Mikael playing at the piano and keyboard. Many of the compositions can be described as jazz, a genre whose troubled story in the Soviet Union meant they probably would not have existed outside the context of a film score. But, as Vera Tariverdieva, Mikaelās wife, tells, it is probably more in accordance with his vision to hear them in the context of his life-long love of improvisation.
āAstoundingly, he said more than once that he wasnāt fond of jazz. This perplexed me, as heād always been great at improvisation. Imagine my amazement then when I rummaged through one of our old closets and found a crumbling old tape. It was the score for the 1964 film āUntil Tomorrowā. I played it. And the realisation came: not only had Mikael had been fond of jazz ā no, heād been an amazing jazz musician.ā Vera Tariverdieva
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Description
āVisions in Black and Whiteā is a collection of rare jazz and improvised themes by one of the greatest Russian film composers Mikael Tariverdiev (1931-1996). Transferred from the original tapes and beautifully remastered, these recordings manage to retain their original ambience and capture a master at work.
Originally composed for cinema and TV movies of the 1960s and 1970s, it centres on Mikael playing at the piano and keyboard. Many of the compositions can be described as jazz, a genre whose troubled story in the Soviet Union meant they probably would not have existed outside the context of a film score. But, as Vera Tariverdieva, Mikaelās wife, tells, it is probably more in accordance with his vision to hear them in the context of his life-long love of improvisation.
āAstoundingly, he said more than once that he wasnāt fond of jazz. This perplexed me, as heād always been great at improvisation. Imagine my amazement then when I rummaged through one of our old closets and found a crumbling old tape. It was the score for the 1964 film āUntil Tomorrowā. I played it. And the realisation came: not only had Mikael had been fond of jazz ā no, heād been an amazing jazz musician.ā Vera Tariverdieva
























