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Bratko Bibič

Slovenian accordionist Bratko Bibič (given birth to 1957) has already established an abnormal career, his name periodically popping in and away of general public view. He was initially known to Rock and roll in Opposition lovers for mixing Slavic folk components with avant-gardist rock and roll within the organizations Begnagrad and Nimal within the ’70s and ’80s. He later on found wider interest as one-fifth from the worldwide avant-world fusion group Accordion Tribe. He released his 1st solo recording in 1995. His idiosyncratic playing expresses exuberance and sorrow, impressions improved by his usage of onomatopoeic performing. Bibič was raised in a family group where in fact the accordion was section of everyday activity. He started to perform in public areas at age 16, and 2 yrs later on he was leading Begnagrad. Trying an ambitious fusion of East Western folk, jazz, and circus music, this group implemented a similar route as Sweden’s Samla Mammas Manna and Italy’s Stormy Six. The group toured the Yugoslavian republics, produced a vacation to Switzerland, released its just LP in 1982, and disbanded a calendar year afterwards (two even more albums of archival materials arrived afterward). Following a hiatus where he done film and dance ratings, Bibič resurfaced in 1987 in Nimal, an organization including ex-Débile Menthol associates Momo Rossel and Jean-20 Huguenin (both Swiss), plus Tom Cora and Pippin Barnett (both American). Viewed by many being a Rock and roll in Opposition supergroup, Nimal liked a brief but eventful profession, liberating two albums, touring Europe’s songs festivals, and producing one UNITED STATES appearance in the 1988 FIMAV event. The group disbanded in 1991. Another bout of dance ratings adopted for Bibič, interspersed by brief excursions to Switzerland and his first single concerts, around a backdrop of politics turbulence in Yugoslavia, which produced any creative activity very hard. In 1995, Bibič released his 1st solo work, Bratko Bibič & the Madleys of Bridko Bebič, on Rossel’s imprint LabelUsineS. The recording presented ex-Begnagrad clarinetist Bogo Pečnikar. Violinist Matjaž Sekne finished this first release from the Madleys, however the group was placed on keep when Bibič became a member of Slovenian-American Man Klucevsek’s Accordion Tribe, an accordion ensemble also offering Finland’s Maria Kalaniemi, Austria’s Otto Lechner, and Sweden’s Lars Hollmer (from the Samlas). A Western tour, a critically acclaimed debut Compact disc, and another stop by at Canada later on, Bibič returned to his Madleys, recruiting Begnagrad’s older tempo section Nino de Gleria (bass) and Aleš Rendla (drums) to record Na Domacem Vrtu (Within the Family members Backyard), a soundtrack to get a silent film manufactured from historical archives and edited from the accordionist. Besides showing up on two even more Accordion Tribe albums, Bibič also performed single and in duos with Lechner, Sekne, and Wädi Gysi. In ’09 2009, the Bergtöne label released Live at Alpentöne, a documenting made by a fresh edition of Bratko Bibič & the Madleys (comprising Bibič, violinist/violist Sekne, saxophonist Vasko Atanasovski, clarinetist/flutist Boštjan Gombač, and drummer Marjan Stanič) in the 2007 Swiss Alpentöne event in cooperation with Swiss ensemble Rämschfädra and Canadian-born, Switzerland-based multi-instrumentalist Shirley Anne Hofmann (who performed euphonium). Another Bratko Bibič & the Madleys recording, Kabinet čudes Brutka Bimbiča (aka Cupboard of Miracles of Brutko Bim-bitch), premiered from the Slovenian Klopotec label in 2013. The recording featured brand-new Bibič compositions documented at Ljubljana, Slovenia’s Kino ? iška Middle for Urban Lifestyle in Dec 2011 by way of a Madleys lineup offering Bibič, Sekne, Atanasovski, Gombač, and participant trombonist Uroš Polanc, alongside guest music artists including Lechner. Also included over the record were choices from a 2010 Madleys membership show, where the group performed improvisations with non-sensical vocals and sampling, all motivated by Dante’s The Divine Comedy.

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