Story & Inspiration
We work professionally for creative music for over 15 years and brought over 1,000 musicians from 40 countries to Russia. That sets the level. A couple of years ago, we were given a gift — an autographed book in English, written by a musician we met, of improvisational art and its ways under certain political & geographic circumstances. Material itself is fascinating, but it’s not a secret that this sort of literature is usually issued at predictably humble number of copies and will never interest big international publishers to push it to foreign audience. From that point, English writers have some obvious advantage vs. authors who create in even more world-spread languages (Chinese and probably Spanish). A lot of people (like us) can actually read in original English — the “international” language of communication; would we be given a book in French, Hebrew, Japanese, German, Urdu, Spanish, Bulgarian (place any other here), the most outstanding work of words would turn a useless pack of paper full of abracadabra.
So what, in a nutshell
We present a new model to work for music’s sake in COVID times. It is 100% percent online, it unites people worldwide, it improves mutual understanding, and still it has nothing to do with a standard way of online jams or endless video conferences. We make music by spreading the information and knowledge of music, and we create a new entity — a decent text which didn’t existed before. We translate original books on music and make them available for the Russian audience on its native language; in turn, the text itself provokes something new — from knowledge growth to new ideas acquiring and implementation in reader’s own art and life.
Our sort of society of translators and editors pick up the books recommended and selected by professional language bearers — so e.g. French jazz musician can recommend a decent work of French author on gypsy jazz topic, or Chilean rock guitarist can recommend a Spanish book on guitar theory. We make transparent and detailed clearance with authors. Then we translate these books, and we edit the outcome in two “filters” — with editors specializing in professional linguistics and in the selected topic (e.g. general musicology, or blues, or African folklore). The result is quality text in new language.
But how to distribute?
Not in paper, for sure. We stay completely online (both to save trees and to avoid raising the expenses for no real reason). If a potential reader knows certain language and is able to pay, then it’s always possible to get the original book from whatever point of the world, so we’re not spoiling “normal” distribution at all. But we’re opening a brand-new possible audience of people who can’t read on original language, so seriously widening the range of readers.
Still, having no idea if Russian paper edition makes any practical sense, we just agree with the author to put the Russian text online, for “pay what you want” model — which saves the possibility for the author to get additionally paid for the work from those who were out of his reach before our project. We use our own website as an archive, available from now on, but we collaborate also with popular Russian web portals (which match the certain book’s topic) and use them as additional channels. The more, the better. We make the book free for certain language, and there is no competition for it anymore — just collaboration.
Advantages for everybody
An author gets translated to the exotic new language, which is not possible for him under normal circumstances if not only s/he’ll pay it oneself. That brings some attention to the author’s person, not only to the creation.
A book got new readers from an absolutely new pool, from people who can’t speak the native language of an author. As we’re using the established web channels selected for the certain topic, the audience is wider and more matching than it can be by just putting the book online at a stand-alone website.
As the distribution is strictly online, we incorporate direct links (to be discussed with the author and funders) into the book text. That allows not only to acknowledge possible sponsors, but to strengthen the publication with certain music excerpts (up to embedded legal audio and video), link to possible ways of purchase (of music works of original music itself), provide ways for the quoted personalities and products etc etc.
Speaking of Russian project team (of management, translators, editors and distributors), that’s clear: it’s a possibility to work for the culture in a creative and interesting way, make new connections, go networking, study new material of all sorts (from linguistic to specifically professional) and to be paid for that.
And possible sponsors and funders definitely understand that to send music ensemble to play concert tour in Russia means to invest in activity which consumes airplane fuel, human food, hotel services and so on — and then finishes in just a couple of weeks, leaving the virtual impressions and nothing to acquire once again; but to let people translate books means to create text which will live for centuries and has no date of expiry.
How does it work
— send requests and are recommended to check out certain book by serious people;
— study it and, after getting serious, contact the author.
— negotiates with us and agrees to proceed on certain terms which suits everybody.
— start a translator’s selection by sending excerpts for test translation;
— prepare and place an application for the funding;
— make selection of a translator.
— confirms the payment for the basic set of works (management, translation, editing, distribution).
— sign contracts with funder, author, translators and editor.
— translates, with whatever additional conversations, consultations and issues that leads to.
— correct and strengthen the text from the linguistic point of view;
— fact-check and clean text in terms of the professional area.
— pay everybody;
— launch the internet publication;
— collect «pay what you want» donations and extra funding (if any of these follow) and share the additional income with author.
Interested — as author, translator, or funder? Want to recommend some book to recommend? Please contact us.
Want to spread the news to whom it may concern? Feel free and thank you.
Interested as reader? Have a look at our progress, (optional) donate to make it faster, and wait a bit more for texts to follow.
project state last updated January 11, 2021
Applications approved by funders:
Still none; be the first!
Works started (in test translation stage):
«ELOGE DU MUSICAL«, Denis Levaillant, France
Original publishing: DLM éditions, 2012. ISBN 978295391837. 112 p.
Philosophic essay on the topic of musical culture of today, its role in society lifecycle and its historic progression. A strong personal statement of the music role in the humankind’s existence. A comparison of visibly different national attitudes to the music incorporation in everyday life.
Translator assigned: Anastasia Frolova (Izhevsk, Russia)
Planned release: March 2021
«LIVE AT THE FORBIDDEN CITY: MUSICAL ENCOUNTERS IN CHINA AND TAIWAN«, Dennis Rea, USA
Original publishing: Blue Ear Books, 2016. ISBN 9780595390489. 196 p.
A personal account of American improvising musician (jazz, progressive rock, avantgarde) about his time spent in China and Taiwan during the years when no Western musicians were allowed to play this area on permanent or professional basis. Combines both valuable historical material on Chinese music scene, road stories on range from ironic to tragic and deep analysis on music ways.
Translator assigned: Iouri Lnogradski (Dmitrov, Russia)
Planned release: May 2021
«DEREK BAILEY«, Jean-Marc Montera, France
Original publication: Lenka Lente, 2019. ISBN 9791094601280. 110 p.
A biography and analysis to key figure of avant-garde music scene from prominent French guitarist specializing in related area.
Translator assigned: selection in last step
Planned release: April 2021
«A FRAMEWORK FOR JAZZ MASTERY«, Richie Beirach, USA
Original publication: Music Savvy, 2020. ISBN ISBN: 9780982421864. 40 p.
Personal educational and conceptual method of worldwide recognized jazz artist to establish a musician’s qualities.
Translator assigned: selection in last step
Planned release: March 2021
Works in progress (to be started soon):
«L’IMPROVISATION MUSICALE», Denis Levaillant, France
Original publication: Lattès, 1980 / Actes Sud, 1998. ISBN 9782742707515. 304 p.
A key masterpiece in world publications on the subject of musical improvisation’s nature and its philosophical aspects.
«WORLD OF GENE KRUPA: THAT LEGENDARY DRUMMIN’ MAN», Bruce H. Klauber, USA
Original publishing: Pathfinder, 1990. ISBN: 9780934793285. 214 p.
Detailed story of jazz drummer who changed his area of musicianship and is considered as one of the most influental drummers of all time.
«THE ART OF SKILL«, David Liebman, USA
Original publication: Music Savvy, 2020. ISBN 9780982421871. 53 p.
An educational method from renowned US jazz musicians, composer and tutor.
Works in preliminary stage (very first inquiries):
«ONE TRAIN LATER», Andy Summers, UK
Original publication: Portrait, 2007. ISBN 9782742707515. 368 p.
An autobiography by renowned guitarist, the founder of The Police and former member of Soft Machine, Animals and numerous progressive rock ensembles.
«SELF PORTRAIT OF A JAZZ ARTIST», David Liebman, USA
Original publication: Advance Music, 1988. ISBN 9783892210139. 96 p.
An autobiography by legendary jazz musician and educator.
MORE BOOKS requested as recommendations from renowned musicians from Argentina, Australia, Austria, Brazil, Canada, Chile, Denmark, Finland, France, Germany, Indonesia, Israel, Italy, Japan, Norway, Poland, Portugal, Serbia, Spain, Switzerland, Turkey, United Kingdom, USA.
Project founder & manager
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