No Business Records Chap Chap Series

2017年4月から、リトアニアのNo Business RecordsのChap Chap Seriesがスタートしました。全部で10枚です。2019年にかけてリリースされました。 

 

第2期は、2020年11月から2022年にかけて10作品がリリース予定です。

 

 

第1弾。

・Paul Rutherford&Sabu Toyozumi:The Conscience (NBCD 99)

・沖至、井野信義、崔善培:紙ふうせん (NBCD 100)

 

第2弾

・Ton Klami/トン・クラミ:Prophecy Of Nue/予言する鵺(NBCD-102)

   *CDのみの発売です。

 

第3弾

・Barre Philips&吉沢元治:OH MY,THOSE BOYS!(NBCD-103,NBLP-111)

・姜泰煥:Live at cafe Amores(NBCD-104,NBLP-113)

 *発売中!

 

第4弾

・Alexander von Schlippenbach&Aki Takase:Live at cafe Amores

(NBCD-106,NBLP-115)

・崔善培カルテット/Choi Sun Bae Quartet:Arirang Fantasy(NBCD-108,NBLP-117)

 *発売中!

 

第5弾

・Wadada Leo Smith&Sabu Toyozumi:Burning Meditation(NBCD-110)

 CD・LP発売中! 

 

 第6弾

・高田みどり/Midori Tadada&姜泰煥/Kang Tae Hwan:永遠の刹那/An Eternal Moment (NBCD-115/NBLP-125)

 

第7弾

・佐藤允彦/Masahiko Satoh&豊住芳三郎/Sabu Toyozumi:The AIKI/合気(NBCD-120/NBLP-129)

 

 

第2期

 

Jazz Tokyo記事

 

第1弾

・Derek Bailey&高木元輝/Mototeru Takagi:Live at FarOut 厚木 1987

 (NBCD 132/NBLP 141)

 

・Sabu Toyozumi/豊住芳三郎&Mats Gustafsson:HOKUSAI/北斎

 (NBCD 134/NBLP 139)

 

・高柳昌行/Masayuki Takayanagi、井野信義/Nobuyoshi Ino、菊地雅章/Masabumi Puu Kikuchi:Live at jazz inn Lovely 1990

 (NBCD 135) *LPは、8月頃リリース予定。

 

 

CD ¥2,000 /    LP¥3,000 で販売いたします。

 

 PayPalでお支払いの場合はCD¥2,200LP¥3,300となります。

 梱包送料は、CD¥200,LP¥800.枚数が増えても変わりません。

PayPal account

goronyan@kss.biglobe.ne.jp

 

CDの送料は、何枚でも¥200

LPの送料は、何枚でも¥800

CDとLPの同梱での送料は、何枚でも¥800

これ以上はいただきません。

 

注文は

goronyan@kss.biglobe.ne.jp

に住所氏名電話番号 数量をお知らせいただければ、郵便振替の用紙を同封して即送らせていただきます。

銀行振り込みを希望される方には、口座番号をご連絡いたします。

 

沖至/Itaru Oki Quartet :Live at Jazz Spot Combo 1975  (NBCD-    /NBLP-     )

沖至(tp,fl)、翠川敬基(b)、田中保積(ds)+藤川義明(as,fl)

Jazz Spot Combo、福岡市 1975年12月7日。

 

Coming soon!

高木元輝、金剛督、竹内直、小山彰太 :Live at Little John,  Yokohama,1999 (NBCD-    /NBLP-    )

高木元輝(ts)、金剛督(as,fl,b-cl)、竹内直(ts,fl,b-cl)、小山彰太(ds)

Little John 横浜市 1999年9月25日。

 

Coming soon.

 

高柳昌行、井野信義、菊地雅章:Live at jazz inn Lovely 1990        (NBCD-135/NBLP-    )

*LPは、8月にリリース予定です。 

 

John Sharpe - New York City Jazz Record

This live date from the titular Nagoya venue reveals the mellow side of Japanese free jazz. That could seem unlikely when considering the lead name, guitarist Masayuki Takayanagi, a maverick follower of Lennie Tristano who later turned to total freak-outs and noise, partnering with the likes of outsider saxophonist Kaoru Abe. Recorded nine months before his death 30 years ago this month, the concert finds him in the company of regular collaborator bassist Nobuyoshi Ino, plus celebrated pianist Masabumi Kikuchi, who died in 2015, sitting in during a trip home from his long sojourn in the U.S. Kikuchi, who worked with Miles Davis, Gil Evans, Dave Liebman and Joe Henderson, as well as a cooperative trio with Gary Peacock and Paul Motian, exerts a pull towards the tradition. But Takayanagi and Ino are not unwilling accomplices. Even on one of the two cuts they play as a duo, they touch on a standard material as a basis for further exploration. Much of the time Ino, who sure-footedly straddles the inside/ outside dichotomy, anchors the often conversational interaction close to the mainstream. But it’s when he picks up his bow to become an equal voice without any supportive function that proceedings unloose their moorings. One of the high points of the disc comes on “Duo I” when his arco slashes and organ-like tones engage in prickly dialogue with Takayanagi’s scratchy fragmentation. Similarly on “Trio III” Ino extracts creaks and groans from his bass as the weather veers stormy, Kikuchi thunders and the guitarist flashes in dramatic gesture. Conventional gambits reappear during “Trio I” as the three parlay an abstraction, which doesn’t shy from consonance. Later Kikuchi plies repeated rhythmic figures that rejuvenate the exchanges, before ultimately harping on an insistent progression. Once Ino latches on, the pianist moves into a loose rendition of Monk’s “Locomotive”, with Takayanagi adding oblique but blues-inflected commentary. It forms the final chapter in an album, which soothes as much as it stirs.

Salt Peanutsのレヴューはこちら

Jazz Tokyoのレヴューはこちらと、こちらと、こちら

 

Derek Bailey&高木元輝:Live at Far Out 厚木 1987                    (NBCD-132/NBLP-141)

Derek Bailey / Mototeru Takagi : Live at Far Out – Atsugi 1987 (No Business/1987)

 

Album réunissant le guitariste Derek Bailey et le saxophoniste Mototeru Takagi, ici au sax soprano et disponible en CD et en LP. En 1987, Derek Bailey est au sommet de son art. Lors de différents séjours au Japon, il rencontre régulièrement une série de musiciens japonais qui avaient participé à son LP « Duo & Trio Improvisation » (Kitty Records avril 1978) : le trompettiste Toshinori Kondo, le percussionniste Toshiyuki Tsuchitori, le contrebassiste Motoharu Yoshizawa, et les saxophonistes Kaoru Abe et Mototeru Takagi. Il rencontra aussi le batteur Sabu Toyozumi, un proche compagnon de cette fratrie d’improvisateurs, aujourd’hui décimée, l’extraordinaire trompettiste Toshinori Kondo étant décédé le mois dernier. Parmi tous ces pionniers de la free-music nippone, Mototeru Takagi n’a pas acquis le statut légendaire des Abe, Takyanagi, Toyozumi, Kondo, Sakata dont les enregistrements fleurissent au point que No Business publie une suite ininterrompue d’albums en collaboration avec le label Chap-Chap de Takeo Suetomi, lui-même un légendaire organisateur de concerts. Celui-ci a cru bon de proposer ce souvenir lointain d’un concert à Atsugi, là-même où Brötzmann et Bennink ont gravé leur album le plus recherché par les collectionneurs, en frappant fort ! Peu importe avec qui il joue, Derek Bailey cultive un art extraordinaire pour tirer un parti créatif d’une confrontation – dialogue en dévoilant encore plus la richesse (illimitée) de son jeu. Si Mototeru Takagi n’est sans doute pas un saxophoniste soprano comparable à des géants comme Steve Lacy, Evan Parker ou Lol Coxhill, il suit sa route sans ciller en étendant son langage avec audace manifestant une volonté bien accrochée. Sa démarche est orientée vers une forme de lyrisme détaché, poétique, subtil par ses altérations sur les tonalités et des pointes sonores extrêmes. Le Duo I s’étend sur 28 :11. La sauce prend mieux encore dans la deuxième improvisation (Duo II 17 :39) où Derek Bailey joue acoustique en solitaire pour commencer, évoquant parfois la sonorité d’une cithare japonaise koto. Visiblement, cela inspire Takagi qui s’applique à dialoguer avec une belle logique. Duo III - 8:09 : le dialogue atteint la plénitude, le timbre du sax acquiert une lueur intense, une chaleur sereine. Il poursuit sa route et découvre un parcours sinueux alors que son compagnon s’est tu, face à un silence interrogateur strié par des aigus. On enchaîne sur le Duo IV - 16:37. Derek Bailey a repris sa guitare électrique et exploite les harmoniques avec la pédale de volume. Le jeu de Mototeru Takagi évoque les ritournelles et cascades polytonales de Lacy. Le duo bat alors à plein avec les staccatos secs aux harmoniques filantes du guitariste sans pour autant que le saxophoniste s’échappe de son attitude pensive, voire réservée. La guitare s’anime, les balancements du guitariste dans les intervalles distendus évoluent progressivement dans des cadences impénétrables et tel un canard face à un étang ensoleillé, le sopraniste caquète et nasille pour enfin étirer des aigus saturés en réponse aux couperets des clusters maniaques. Alors que le concert atteint dès lors un climax où chacun quitte ses procédés habituels en complète métamorphose en étirant les sons, on a le sentiment que D.B. aurait certainement sélectionné cette dernière partie dans un imaginaire album Company Made in Japan. Ce serait d’ailleurs une excellente idée de rééditer à nouveau l’album de 1978 « Duo and Trio » avec les excellentes prises alternatives publiées par la suite et un deuxième CD complété de sélections de rencontres ultérieures de Bailey avec ces musiciens dans les années 80 et 90.

 

(Jean-Michel Van Schouwburg)

 

Moment's Noticeのreviewはこちら

Jazz Tokyoのレヴューはこちら

Jazz Tokyo 及川公生氏のレヴューはこちら

Salt Peanutsのレヴューはこちら

dustedのレヴューはこちら

All about jazzのレヴューはこちら

 

豊住芳三郎/Sabu Toyozumi&Mats Gustafsson:北斎/HOKUSAI      (NBCD-134/NBLP-139)

Jazz Tokyo 及川公生氏のレヴューはこちら

Jazz Tokyo レヴューはこちら

All About Jazzのレヴューはこちらこちら

Salt Peanutsのレヴューはこちら

Avant Musicのレヴューはこちら

 

佐藤允彦&豊住芳三郎:合気/AIKI      (NBCD-120/NBLP-129)

1997年 山口市 クリエイティヴ・スペース 赤れんがにおける 

佐藤允彦&豊住芳三郎のデュオ・コンサートを収録。

 

Salt Peanutsでのレヴューはこちら

Jazz Tokyoのレヴューはこちら

Orynx-imprv'andsoundsのレヴューはこちら

Citizenjazzのレヴューは、こちら

Free Jazz Collectiveのレヴューはこちら

Moment's Noticeのレヴューはこちら

 

Jean-Michel Van Schouwburg - ORYNX

From an archive of recordings made by Takeo Suetomi and which he intended for his Chap Chap label, this formidable duo between pianist Masahiko Satoh and percussionist Yoshisaburo "  Sabu  " Toyozumi is brought to us by No Business in the Chap Chap Series of name of Suetomi's label. Three recordings of superb duets with Sabu Toyozumi have already been published in this series and I recommend them: The Conscience with the unforgettable trombonist Paul Rutherford, Burning with the brilliant chicagoan trumpeter Leo Smith and Mannyokawith Kaoru Abe, the shooting star of extreme free Japanese. Masahiko Satoh is the first Japanese free jazz musician to have performed and recorded in Europe. Spontaneous with Albert Mangelsdorff, Peter Warren and Allen Blairman and Trinitywith Peter Warren and Pierre Favre were published by the Enja label in 1972. You read correctly: Mangelsdorff and Pierre Favre, two essential artists of “free” euro-jazz. Disappeared from European radars since the blessed era when labels like Enja, Moers Music, MPS Saba engaged in "avant-garde" musical subversion, it is time that we throw an ear to this formidable free pianist whose daring then were solidly supported by a talent for pianist and connoisseur of contemporary music. There is a great double album by Joelle Léandre, Signature live at the Egg Farm(Red Toucan), in duet with two Japanese pianists, Masahiko Satoh and Yuji Takahashi. It is often in unexpected albums that the profound talent of the Lady of the Double Bass is revealed and this means that these two refined pianists inspire her. With Sabu Toyozumi, Masahiko Satoh creates a dialogue on everything the drummer offers, rhythms, scansions, distant memories of an Africa that he crossed right through backpack from Cairo to Accra. Mastery of unstoppable rhythms and musical modes, contemporary language of remarkable logic and clarity, cutting of sentences on moving tempos, development of ideas over the seconds and minutes, sequences and interlockings drawn up with a cord in all spontaneity. Immanent swing… In this joint manhunt, we are swept away by the time that fades, the tension which gradually rises in a crescendo of energies and volatile strikes played with unparalleled safety…. In this flight forward which ends up spinning indefinitely, an unstable, ephemeral balance is created, but of a solidity to any test, until Sabu gratifies us with a solo where the rhythmic cells dissolve in an air of samba… And the duo picks up again until the pianist turns alone around a few notes, continuously altering a pulse, an interval, a note, a saccade in the same spirit. A beautiful story that looks like eternity, questions, subtle interactions and majestic flights. Well placed hyphenations, intense sharing and a fountain of ideas, images, fingering pass at high speed with readability and flawless assurance, without downtime. The drummer comes straight out of the school of life of the AACM (of which he was a part a long time ago) and of incessant tours affirming an un feigned Africanity. With such a distinguished pianist, the pair is explosive. A great success of March 9, 1997 in Yamaguchi City which I highly recommend.

John Sharpe - Point Of Departure

The Lithuanian NoBusiness label’s licensing deal with the Japanese Chap Chap imprint has mined a rich seam of 1990s Japanese free music, and in The Aiki, has unearthed another glistening nugget. It presents an exciting encounter between pianist Masahiko Satoh and drummer Sabu Toyozumi, two improvisers of the first rank. Although both have been active exponents of the scene since its inception, their tandem appearances remain limited, and never before available on record. This unissued recording in crystal clear fidelity of a 1997 concert in Yamaguchi now sits alongside several other contemporaneous performances from each man made accessible through the project in recent years. Through the light and shade of two epic improvs, both principals unleash the tools of their trade: unfettered imagination; an innate sense of form; and playful animation. Part of the success surely derives from the fact that they draw on such wide hinterlands. Satoh’s untethered playing is informed by both his classical composition and swing and modern jazz exploits. His stylistically promiscuous flow periodically encompasses a bluesy right-hand embroidery, galloping classical formalism, and torrents of clipped notes which recall Cecil Taylor, all distilled into a unique personal amalgam. Only a brief pentatonic melody suggests any remotely Japanese flavor. Toyozumi calls upon his experience with like-minded spirits across the globe, and his notable sojourn in Chicago where he became the only non-American member of the AACM, to forge unusual textures into a dynamic and vibrant contrapuntal stream. Through a shifting focus on distinct elements of his kit he demarcates and orders. Even when he co-opts march cadences into a solo, it convinces as integral rather than intrusive, while in another feature he evokes the tuneful percussiveness of a Roach or Blackwell. Each feeds off the other in spontaneous syncopation. There’s an electrifying moment early on when Toyozumi suddenly accentuates a Satoh flourish on his rims. Later delicate piano prompts Toyozumi to accompany with hollow slaps on his body. Although “The Move For The Quiet” begins with unhurried quiet toms, inducing a ritual feel, it continues full of dramatic gushing rhythmically aligned unisons. “The Quiet For The Move” seems more conversational, with a stately character, at least to start, but quickly becomes wayward. Though there are tinkling and tapping downtimes in both cuts, it’s the thrill of the flailing full spate dash which proves irresistible. Happily rescued from the vaults, for those in the know this session will affirm the significance of its two sparring partners, while for those unfamiliar it argues a forceful case.

 

 

 

姜泰煥&高田みどり:永遠の刹那/An Eternal Moment                    (NBCD-115/NBLP-125)

1995年3月14日、カフェ・アモレスでの、高田みどり/Midori Takada(perc,marimba)&姜泰煥/Kang Tae Hwan(as)デュオ・アルバム。CDは、姜泰煥のソロを1曲収録。

 

Jazz Tokyoでの、及川公生氏による録音評です。横井一江さんのコラムでも紹介されています。

 

salt peanutsでのレヴューはこちら

All About Jazzのレヴューはこちら

Free Jazz Collectiveのレヴューはこちら

 

 

*残念ながら、今回は日本国内でのLPのChap Chap Recordsからの販売は、限定20枚となります。ご希望の方はお早めに。

在庫僅少。

 

 

Ken Waxman - The Whole Note

 

If Japanese free improvisers are little known outside of a small coterie, imagine the situation for a Korean saxophonist committed to experimental music. Yet An Eternal Moment (NoBusiness Records NBCD 115 nobusinessrecords.com) is a 76-minute live 1995 Yamaguchi concert by Japanese percussionist Midori Takada and alto saxophonist Kang Tae Hwan, visiting from Seoul. One track is an extended solo saxophone meditation and the last, Dan-Shi, posits what sonic challenge would result if sax/drum duos like it mixed narrow, high-pitched, sometimes barely audible reed explorations, with gamelan-like marimba pops and sizzling cymbal hisses, besides regular drum beats. However, the key paring is the nearly 42-minute Syun-Soku, During the exposition, Hwan’s strained reed vibrations work up to lacerating split tones and down to narrowed ghost notes, then up to bagpipe-like overblowing timbre-smears as Takada hits tuned aluminum bars and shakes reverberating cymbals. Rhythmic drum taps spark thin chirps from the saxophonist, who soon seems able to simultaneously output a slim, whistling tone and more rounded coloratura variations. Reaching the first climax at mid-point, the narrative slows down to the extent that Hwan’s dissonant slurps seem to be being pushed back into his horn’s body tube. Crashing ruffs from the percussionist become non-metered whacks in opposition, helping to transform reed multiphonics into low-pitched trills that neatly affiliate with unforced cymbal patterns, leading to a finale that links splash cymbal power with retrained reed snarls. Politically and sociologically Asia is no longer the Mysterious East for most Westerners. These CDs could provide a similar demystification of sound when it comes to improvised music.

 

Wadada Leo Smith&Sabu Toyozumi:Burning Meditation                (NBCD-110/NBLP-120)

1994年3月22日 山口市 C・S赤れんがでのWadada Leo Smithと豊住芳三郎とのデュオ・コンサートから収録されたライヴ録音です。

前年の防府市の公演についでのライヴでした。当時ECMからリリースされていたCD「KULTURE JAZZ」の中から「There Are Human Rights Blues」で、Leoさんの歌声が聴けます。

 

Music and Moreのレヴューです。

JazzTokyo 及川公生氏の録音評はこちらです。

Dustedのレヴューです。

Orynxのレヴューです。

Free Jazz Collectiveのレヴューです。

 Jazz a Parisのレヴューです。by Jean Michel Van Schouwburg.

The Squid's Earのレヴューです。

Salt Peanutsのレヴューはこちら

 

No Business RecordsでのLPは完売いたしました。

Chap Chap RecordsでのLPの販売は、後残り4枚です。

CDはまだ在庫があります。

 

Alexander von Schlippenbach&Aki Takse:Live at cafe Amores        (NBCD-106/NBLP-115)

1995年8月16日、防府市カフェ・アモレスでのライヴ録音。ピアノ連弾(ソロ2曲含む)によるオリジナル、フランク・ザッパ、ミンガス、モンク、ハリー・ワーレンのカヴァーが演奏されている。1曲目のアレックスさんのソロ「Jackhammer」で、一気にピークを迎え、その後は変幻自在の演奏が繰り広げられる。

London Jazz Newsのレヴューは、こちら

JazzTokyoのレヴューはこちら。そしてこちらも。

All About Jazzのレヴューはこちら

The Squid's Earのレヴューはこちら

Salt Peanutsのレヴューはこちら

 

*Chap Chap RecordsでのLPの販売は終了いたしました。

CDの在庫はあります。

 

崔善培カルテット:ARIRANG FANTASY   (NBCD-108/NBLP-117)

1995年7月12日、六本木ロマーニシェス・カフェでの、崔善培カルテットのライヴから収録。メンバーは、吉沢元治、広瀬淳二、金大煥と言う崔善培さんのたっての希望による最強の布陣。CDでは、金さんのソロも含まれている。

 

JazzTokyoのレヴューはこちら

All About Jazzのレヴューはこちら

Salt Peanutsのレヴューはこちら

Distorsionのレヴューはこちら

 

*Chap Chap RecordsでのLPの販売は終了いたしました。

CDの在庫はあります。

 

Barre Phillips&Motoharu Yoshizawa:OH MY,THOSE BOYS!          (NBCD-103/NBLP-111)

ベースの巨匠同士の正味3時間を越えるカフェ・アモレスのライヴからセカンドセットを収録。吉沢さんは、エレクトリック・バーティカル・5ストリングス・ベースを演奏されています。2本のベースの音と、エレクトロアコースティックの音が混ざり合った他では聴けない演奏です。

 

 All ABOUT JAZZのレヴューはこちら

JAZZ TOKYOはこちら

Dustedのレヴューはこちら

The Free Jazz Collectiveのレヴューはこちら

 

Michael Rosenstein - Point of Departure

The fruitful collaboration between the Lithuanian NoBusiness and Japanese ChapChap labels continues in fine form with this live bass duo recording from Barre Phillips and Motoharu Yoshizawa. The set, recorded in April 1994 at Café Amores, Hofu, Yamaguchi, Japan, is a consummate matching of two bass masters. Both began recording and performing solos in the ‘60s and they bring that steadfast probing of their instruments to this spontaneous duo. They also bring a deep-seated sense of musical investigation and collective discovery. Clocking in at 1 hour and 15 minutes, it is remarkable that the two pieces on this disc capture only part of the performance. The opening 40-minute duo was released on ChapChap’s Live “Okidoki” and the entire performance went for over three hours!

The disc begins with “Oh My!,” an expansive 55-minute improvisation. Immediately, one hears the contrast between Phillips’ acoustic bass and Yoshizawa’s homemade electric vertical five-string instrument. The darker, amplified tone and electronic shadings of Yoshizawa’s instrument provide a perfect foil for Phillips’ warm resonance. The two adeptly mine the dusky attack and reverberant sustain of their instruments, patiently building an intertwined dialog of plucked lines, tawny arco, scuttling overtones, and percussive counterpoint. Initially, the pace is measured as they settle in, then about 9 minutes in the momentum starts to mount with a passage of shuddering, sonorous arco. That acrobatic balance continues throughout the piece, with sections of brooding stillness that give way to lithe dynamism. Midway through, their twinned arco, tinged by Yoshizawa’s electronic treatments, becomes orchestral in depth and the richness of timbres and layering. But then, like a changeable sky, they open things up again with a strappingly active section of crackling bowed interchange. During the final section, Yoshizawa introduces Theremin-like sliding sonorities and skittering electronic oscillations, providing apt contrast to Phillips’ rounded tone and more angular attack.

After the almost hour-long tour de force of the opener, the second improv, titled “Those Boys,” starts with more open, spiky interplay. Yoshizawa’s electronic treatments percolate against Phillips’ most spunky, forceful playing of the set. Over the course of 20 minutes, the improvisation has a more restless edge to it, shifting course with mercurial verve. Phrases whiz by with bristling abandon as the two spontaneously steer the arc of the piece. Midway through, Yoshizawa caroms sinuous arco lines off of Phillips’ burred, groaning bowing, which push things off on a spiky trajectory. The final section launches into a flurry of countervailing bowed lines which amass into dense swirls, gradually decelerating to a poised calm. While the playing in this piece is often more boisterous than the opening improvisation, it never lacks a sense of careful listening on the part of the two players. This one is another winner from the ChapChap vaults and is a worthy addition to Phillips’ incredible string of bass duos with musicians like Dave Holland, Peter Kowald, Joelle Leandre, and Barry Guy.

Ken Waxman - JAZZWORD

With the dexterity and ingenuity internalized after years of music making, venerable double bass doyens, American Barre Phillips and the late Japanese Motoharu Yoshizawa combined for more than 75 minutes of contemplative improvisations. Recorded in 1994, as Yoshizawa (1931-1998) was feeling the impending end of his career as Japan’s most eminent Free Music bassist, the CD also serves as a prelude to the adroit creativity Phillips (b. 1934) would continue to exhibit into the next century,

Although close in age, the under-recognized Yoshizawa and Phillips had similar views on their chosen instrument’s substance. Recording with Derek Bailey, Kaoru Abe, Elliott Sharp and Masayuki Takayanagi, Yoshizawa also concentrated in solo bass excursions from the late 1960s on. Known as the first musician to record a wholly improvised solo bass session, Phillips has lived full-time in France since the early 1970s, and followed a wide-ranging career that began with playing Jazz with committed types such as Archie Shepp and Stu Martin; later establishing himself as one of Free Music’s paramount string players in large and small ensembles; and most prominently maintaining a decades-long trio association with two Swiss nationals, saxophonist Urs Leimgruber and pianist Jacques Demierre.

With that configuration years in the future, Phillips who plays conventional bull fiddle here, takes the roles of anchor, conciliator and formalist, keeping his forays within the expected range of the instrument. Meanwhile playing a home-made electric vertical 5-string bass, Yoshizawa is ostensibly the joker in this deck of cards, although his string-strategies aren’t that much different than Phillips’s.

A clear demarcation of their roles comes on the shorter – slightly longer than 20 minutes – track, “Those Boys”. Prepared with effects, it’s as if Yoshizawa’s instrument is signal processing twangs and rumbles from within its body, oscillating impulses that unfold alongside his pizzicato and Arco considerations. Swelling and shrinking, his detuned vibrations frame Phillips’ chunkier string narratives. Guiding the exposition through wood-rapping, while picking and bowing his string set at the same time, the American finally corrals Yoshizawa’s traffic-jam-like disruptions into a linear form that in the end turn to a showcase both splintered and soothing.

Less persuasive, “Oh My” sometimes goes in-and-out of focus as the two maintain an improvisation over almost 55 minutes. Here’s where the non-visual aspect come into play, Unable to watch the experience unfolding, what in real time would be revealed as cause and effect is sometime presented in a vacuum. Both players are too accomplished to let this trope continue for long. But from the time mallet-slapped string reverberations are produced at the be3ginning, the strategy involves one player advancing the narrative chromatically and the other decorating it with as many sul tasto squeals, spiccato jolts and torque high-pitched timbres as possible. One sequence climaxes when spindly shrills and tripled stops are subordinated to almost concert hall formality from bowed bass lines, though so closely attuned are the two that they could be a single person playing a multi-string Sardinian guitar. Slightly before the half-way mark a rapprochement is reached with one bassist thumping expected double bass timbres and the other spiccato feints in the cello range. While this sequence climaxes with a secondary melody and its extension created, most likely from Phillips, the sonic journey that leads to it involves the duo digging deeper and deeper into their instruments’ lowest pitches, with singular bell-like tone heard as they negotiate the journey one string at a time. Yoshizawa’s coiled-spring like warbles are distinctive, as are Phillips’ ambulatory pace that grounds the duet. Finally with the dark woodiness of both instruments’ concentrated into a blended continuum, the final section is revealed as serious-minded and majestic.

Top-flight instances of committed low-pitched innovators craft, the CD reveals much about in-the-moment dual improvising. Mercurial rather than melodic in application, true sonic rewards come in carefully following every moment’s twists, turns, upending and realigning of the presentation.

Pierre Crepon - New York City Jazz Record

This new archival release is the latest product of the sinuous history of the Japanese Chap Chap label, which issued a string of quality recordings in the ‘90s and returned in more recent years, notably for a series of co-productions with Universal Japan in 2015 titled “Free Jazz Japan in Zepp”. Lately, Chap Chap has been collaborating with NoBusiness, helping to cement the Lithuanian label as a premier destination for archival avant garde material. Oh My, Those Boys! adds to an early Chap Chap CD, Motaharu Yoshizawa’s Live “Okidoki”, which contained 40 minutes of the bass duet with Barre Phillips featured here, recorded in 1994 at Café Amores in the Southwest Japan city of Hōfu. The release contains two long free improvisations, the first one abridged to 30 minutes on the LP version, which would therefore be recommended only to hardened vinyl enthusiasts. Discographical traces suggests that Japanese free jazz first emerged around several distinct poles, Yoshizawa, who died 20 years ago this month, having been aligned with the more radical elements (tenor saxophonist Mototeru Takagi, guitarist Masayuki Takayanagi, alto saxophonist/guitarist Kaoru Abe) and later becoming an anchor in the international free improvisation network, working with such players as Americans pianist Dave Burrell and soprano saxophonist Steve Lacy and Brits saxophonist Evan Parker and guitarist Derek Bailey. Phillips hardly needs any introduction. The music conjures at once something very ancient and very new. The entirely free playing evokes echoes of imaginary primeval times predating musical rules and the thorough mastery displayed by the musicians encompasses the whole history of the bass, up to areas uncovered by the most recent avant garde. After an initial section of quietly plucked strings, the bows come out of the quivers. Phillips and Yoshizawa play together throughout. There are no alternating solos and, remarkably, no obvious interplay cues. The improvisation is truly synchronous, without ever clashing. The result is hardly explainable, mesmerizing music. The middle section of the first piece might be the most stunning moment of the recording, music any composer working with pen and paper would have been very happy to create. Yoshizawa’s instrument is a homemade five-string upright electric bass, judiciously ran through electronic effects, something which adds another parameter, throwing off the listener’s expectations. Yoshizawa’s work was featured in two other important series: PJL’s 70年代日本のフリージャズを聴く!, which brought historical Japanese free jazz releases to CD, and PSF’s J· I· コレクション, archival tapes from the early days of the scene. Like the Chap Chap recordings, both are highly recommended.

 

 

姜泰煥:Live at cafe Amores  (NBCD-104/NBLP-113)

姜泰煥のカフェ・アモレスでのソロは、メールス映画上映会での、サービスでのソロ演奏を除けば計3回行っている。これは、3回目のステージから全曲(LPはカット)収録されています。世界でも類例のない音の世界をご堪能下さい。

 

*Chap Chap RecordsでのLPの販売は、終了いたしました。

CDの在庫は有ります。

 

JAZZ TOKYOのレヴューはこちら

All About Jazzのレヴューはこちら

Dustedのレヴューはこちら

 

Ton Klami/トン・クラミ:Prophecy of Nue/予言する鵺  (NBCD-102)

トン・クラミ 防府公演1995年が、ついに発売になりました。佐藤允彦さんが、ノンストップ90分の演奏から編集されました。      CDのみでのリリースとなります。

 

JazzTokyoのレヴュー録音評

Paul Rutherford&Sabu Toyozumi:The Conscience                          (NBCD-99/NBLP-102)

JazzTokyo レヴュー録音評

Dustedのレヴューはこちら

The Free Jazz Collectiveのレヴューはこちら

All About Jazzのレヴューはこちら

 

沖至、井野信義、崔善培:紙ふうせん/KAMI FUSEN                     (NBCD-100/NBLP-103)

jazzandblues.blogspot.レヴュー

JazzTokyoレヴュー録音評

Jazz A Parisレヴュー

All About Jazzのレヴューはこちらこちら

The Free Jazz Collectiveのレヴューはこちら

 

 

Chap Chap RecordsでのLPの販売は終了いたしました。

CDは、残個僅少。