Trio avec Urs Leimgruber et Fritz Hauser. Duo avec Tetsu Saitoh. Five pieces on new music CD. Duo avec Giorgio Occhipinti. Duo avec Derek Bailey. Duo avec Sebi Tramontana. Chantal Dumas. Duo avec William Parker. Duo avec Haruna Miyake. Solos; trios. Avec Kumi Wakao. Duo avec Ryoji Hojito. Duo avec Danielle P. Okko 2. Rhythm is Stevens With different line-ups, the vibe was bond to differ as well.
Gordon Beck is much to the fore on the Bracknell recordings, but Pete King is highly present on both. I kind of think of this as a showcase for King, not as appreciated as he should be back in the day. The Freebop record was posted as an mp3 back in and that link is unbelievably still active. For this post, I've gone to the master wav file, so this is now posted in lossless flac. Subscribe to: Posts Atom. NET Zapatista Revolution.
Jazz from Italy. Wall of Sound. Funland at the Beach. Dusty Psychic Hut. The Boogieman will get ya! Cecil Taylor - Paris Student Studies bonus tracks. Bill's Blue Note. Ni Kantu.
A Closet of Curiosities. An Announcement about Reposts. Dust in the Nostrils. Arkadin's Ark. Just to let you know Twice Zonked! Penck 22 A. Madhuranath 1 C. Deane 1 J. Moses 3 J. Parran 3 J. Jenny Clarke 4 J. Jenny-Clarke 2 J. M Chourasiya 1 O. Mingus on Mingus-Project progress. Popular Posts Contributions.
Anything our readers and followers would like to contribute goes here. That may include recommendations, reviews, recordings, you name it Requests, broken links, re-ups and related topics go here.
It may be easier for admins to be attentive to these topics if they are put her The Primal Scream B1. Fool's Cap B3. Kittenish End Junji Mori, alto saxophone, voice, percussion Chikara Volume I A.
The Bebop Tune B. Coltrane's Blues B. The Eastern Song A2. Gary Peacock R. This is the earliest official recording with Gary Peacock Hans Koller, tenor saxophone, drums only tr. Duo NoBusiness, with fellow bassist Barre Phillips are all of the highest quality. Suffering from liver problems, in the last year of his life he collaborated with the Gyaatees, a group of monks with learning disabilities.
It may be hard to get them coordinated for sutra chanting, but each of them sings with an absolutely pure heart. This is real improvising. It was rumoured it would be his last performance, but he passed three days beforehand and the concert became a true memorial. Free jazz is a universal language that has many dialects, some with roots in national cultures. Innovation and originality are attempts to find a vocabulary for a language yet to be formulated in musical experience. Bearing that in mind, there are certain characteristics and concerns within the music discussed over the last three days — by no means unique or generic, and which admit of degrees — which can be considered distinctive of the Japanese free jazz parlance developed during this period.
They are features that range from tangible timbres how stuff sounds to more abstract considerations, alternative ways to experience and think about music. Sounds are given room to breathe according to their own distinct resonances, a peculiarly sensual engagement where the subject is sonority and how it can be handled according to an internal, self-engendered logic that has regard to the power of silence as well as the clashes that can activate that space.
The result is musical development that is more environmental than structural, and where sound can have the presence of colour, an almost synesthesthetic experience. It changes into physical matter, each tone heavy and dense. On Essence by Togashi's Guild for Human Music Denon, cello, flute and saxophones are delicately woven over traditional rhythmic patterns played on marimba and assorted percussion.
Sato manipulates the sound of his piano using live electronics in a way that evokes antique instruments and yet at the same time sounds completely modern. At Moers in , he performed with live calligraphy as inspiration and Japanese dancer Tadashi Endo responding to the music, released audio only as Apostrophe Crown, There can also be a noticeably different sense of rhythm and how it functions, possibly influenced by taiko drumming.
Pulse is a matter of pacing rather than metre. For many years the limited availability of these albums, even within Japan, high import costs, language barriers and the self-effacing nature of Japanese culture meant that only the most determined, and those with deep pockets, were able to access the recordings.
That has changed as a result of the Internet. Many of the albums are available on Inconstant Sol , due to the sterling work of Nick, Ernst Nebhuth and others.
There are occasional new releases and re-releases. Soejima passed on 12 July at the age of That is what life is all about. Kaoru Abe in , the year before his death. Part 2 of 3 By Colin Green Culturally, no country is an island, and it was not long before those outside Japan began to take notice and a series of international exchanges took place. The piano was out of tune and their time had been reduced from 40 to 25 minutes. Sato refused to play, and Berendt took flowers to his hotel room to persuade him to go on.
As can be heard on the recording, Penetration Toshiba, , Sato got his 40 minutes, but the piano is still lousy though heavily masked by extensive use of a ring modulator.
Sato was provided with better pianos in the recordings he made either side of his Berlin festival appearance, however: Trinity Enja, a live studio date in Munich with Peter Warren double bass and Pierre Favre drums and Spontaneous Enja, with Warren, Mangelsdorff trombone and Allen Blairman drums , both highly successful collaborations.
Anthony Braxton visited Japan in Trumpet player Itaru Oki made a more long-term commitment to France. Well established in Tokyo, and to the astonishment of many, Oki announced he would be moving to Paris permanently in order to find his own place in European free jazz. Oki went to Paris, and stayed, though he returned to Japan on occasions as heard on the recently released, Kami Fusen NoBusiness, Akira Sakata arrived in Tokyo from Hiroshima in , having agreed with his family that he would stay for three years to make it as a professional saxophone player, failing which he would return home.
He worked as a driver and in a design studio and after work, absent the Williamsburg Bridge, would practice his alto in Yoyogi Park among the trees subsequently, his jerky stage manner was attributed to stopping mosquitoes biting his legs. Travel further round the park and you could hear Shoji Ukaji practicing on his tenor.
As an aside, parks and other unusual locations seem to have proved attractive. Nonaka then raised his sights and played on top of Mount Fuji, no easy task given the difficult ascent, freezing temperature and reduced oxygen levels. In he decided to follow the route of the ancient Silk Road, across the Himalayas into India, then on to Western Asia and Istanbul, transporting 90kg of drum equipment to play solo shows wherever he stopped.
Returning to Sakata, his reputation grew. Kaoru Abe was an admirer but unlike Abe, Sakata was a team player, more interested in group performance. He appeared frequently with the Yosuke Yamashita trio and in late replaced Seiichi Nakamura on saxophone, introducing new energy levels. Over the next few years they proved more popular in Europe than Japan.
A quartet with Schoof trumpet, flugelhorn in Stuttgart is also recommended: Distant Thunder Enja, Inevitably, America beckoned, primarily for more mainstream musicians but also for some who played free jazz. Not long after that date, Toyozumi went to Chicago to check out AACM, arriving unannounced but welcomed at concerts and sessions, and became the first non-American member of the Association.
After six months he moved to Paris and played with Braxton. Later, he arranged for overseas musicians to play with him in an annual series of duos, including John Zorn the first of many visits to Japan trombonist Paul Rutherford — Fragrance NOL, —. Since it was a foreign release it was given the title April is the Cruellest Month , taken from the opening line of T. Nothing further was heard.
From the late 70s Western and Japanese improvisors were brought together in Japan in events often organised by the musicians themselves, picking out combinations that would provide a new challenge. Soejima was not the only person prominent in promoting and organising free jazz in Japan. There was also Akira Aida. Soejima and Aida had collaborated closely after the opening of New Jazz Hall but then fell out when the latter made a speech from the stage inciting the audience to attack the Pitt Inn, whose generosity had allowed the venue to operate.
Abe laughed but Takayanagi took umbrage, and that was the end of that. Takayanagi then made up with Soejima but Soejima was never reconciled with Aida — the soap opera that is musical life.
He invited Derek Bailey to tour with a collection of leading free jazz musicians from his Hangesha collective — Abe, Kondo, Motoharu Yoshizawa double bass and Toshiyuki Tsuchitori drums. Bailey described Aida as a kind of Svengali figure, but all went well with audiences of up to six or seven hundred each night, making Bailey enough money to buy a car on his return to London.
Hardcore Jazz Kitty, Bailey was impressed by the different approach to ensemble dynamics and visited Japan again, including Company weeks in and , as well as playing with Japanese musicians in Europe and America.
Aida died in December at the age of 32, three months after Abe, suffering a cerebral haemorrhage. Soejima received no payment for his work and elected to stand his own annual air fare out of respect for the festival. As a result, each year European audiences were treated to free jazz from Japan — in the F. Much older than the generation with whom he played, Inoue had given Sakata clarinet lessons in Hiroshima and taught himself free jazz by playing along with records before he broke into the Tokyo scene in his fifties.
There was a strong theatrical element to his performances: at an outside festival at Ueno Park those parks again he stopped playing and dove headfirst into the Shinobazu Pond, followed by members of the audience to rescue him. For ten years Soejima would travel all over Japan showing them in small coffee bars and the like, shot on 8mm film with sound added from cassette recordings, answering questions afterwards and acting as a proselytizer for progressive music to audiences outside the major centres.
Soejima was also responsible for promoting the Korean alto saxophonist Kan Tae Hwan. On first hearing his trio, Soejima noticed something different from anything in Europe or Japan and arranged for them to tour. The music is stunning and what an incredible collection of musicians! This album should be exposed to a larger audience. Sorry to be so demanding but was wondering if you have cover scans. Would love to read the liner notes on the back cover Thanks again for the opportunity to hear this!
Thank you for sharing this! Very nice! I tried to Download this one on the original post, but could never get it to work for me with the hosts.
I really appreciate the second chance on this. Very nice once again. This one is still hard to find and to the best of my knowledge has never been available on CD.
Many thanks for the repost. Yes a reissue on CD or so would be welcome. This is one of the very few Milestone Jazz LPs which were obviously 'forgotten'.
Post a comment. Newer Post Older Post Home. Subscribe to: Post Comments Atom. NET Zapatista Revolution. Jazz from Italy. Wall of Sound. Funland at the Beach. Dusty Psychic Hut. The Boogieman will get ya!Carrera musical. En el campo de música contemporánea, ha interpretado con el Ensemble InterContemporain de Pierre Boulez, y trabajado con Merce Cunningham y John Cage.  Tanto Cage  como Giacinto Scelsi compusieron obras específicamente para ella.. Dio un concierto en solitario en el Jazz em Agosto en (Fundación Calouste Gulbenkian, Lisboa, Portugal). .