CPCD-017 Sabu Toyozumi,Rick Countryman,Yong Yandsen:Future Of Change

1.Future Of Change  

2.Two Snakes,Dark River

3.Sol Overtones

 

Sabu Toyozumi  (ds,二胡)

Rick Countryman (as)

Yang Yandsen (ts)

 

Recorded live in The Philippines

on February 29,2020.

at LIMBO Art Gallery in Makati

by Alvin Cornista,engineer

Photos by Virgilio Labial

         

SABU TOYOZUMI / RICK COUNTRYMAN / YONG YANDSEN - Future of Change (Chap-Chap Records CPCD-017; Planet Earth) Featuring Sabu Toyozumi on drums & erhu, Rick Countryman on alto sax and Yong Yandsen on tenor sax. Legendary Japanese drummer, Sabu Toyozumi (currently 73 years), is from a small group of musical pioneers who comprised the first generation playing free improvisation music in Japan. Starting out with the equally legendary figures, Masayuki Takayanagi and Kaoru Abe, both deceased. He has also played with many of the great free music improvisers like Peter Brotzmann, Derek Bailey, Wadada Leo Smith and Kenny Millions. Recently Mr. Toyozumi has been working a new bunch of younger players: Rick Countryman (American-born saxist, currently living in the Philippines) and tenor saxist Yong Yandsen who recently recorded with Paal Nilsson-Love and a more recent disc with Sabu, Mr. Countryman and bassist Simon Tan, on this same label.

 

This disc was recorded in February of this year (2020) in the Philippines, just a few months ago. The first thing I noticed about this disc is how well it is recorded, the sound is splendid, well-balanced and completely focused. Unlike the earlier session by the same musicians, this date had no bassist. Yet, tight, explosive balance of energy is tightly woven. Mr. Toyozumi is a master drummer and does a great job of supporting and interacting with both saxes at the same time. At times it sounds like he is using the higher percussive sounds like cymbals & snare with Countryman’s alto sax while he also matches his bass drum closer to the sound of Yandsen’s tenor sax. Still, it rarely remains that simple since both saxes work their way through both the higher and lower end of their ranges. When both saxes start to bend their notes together at the upper end, it hard to tell them apart plus they work well at exchanging dialogue spinning quick lines around another in a furious fashion. As these pieces unfold, the trio slow down so that either or both saxes get their chance to stretch out, carefully bending and twisting certain notes which Toyozumi keeps the energy flowing from underneath, navigating the rapids that saxes weave their way in and out of. This is power, intense and inspiring free music played at its best. Dig in today! - Bruce Lee Gallanter, DMG