高柳昌行、井野信義、菊地雅章:Live at jazz inn Lovely 1990        (NBCD-135/NBLP-148 )

1990年10月名古屋市のJAZZ inn Lovelyでの髙柳昌行と井野信義のデュオと、菊地雅章が加わったトリオを収録。この三人での録音はこれだけ。

 

Masayuki JoJo Takayanagi - guitar
Nobuyoshi Ino - bass
Masabumi PUU Kikuchi - piano

 

CD

1. Trio III  18:04
2. Duo I (Takayanagi - Ino)
15:21
3. Duo II (Takayanagi - Ino)   11:53
4. Trio I
20:57
5. Trio II 11:10
  • rack 1,4 & 5 improvised and composed by M.Takayanagi, N.Ino and M.Kikuchi / Track 2 & 3 improvised and composed by M.Takayanagi and N.Ino.
  • Recorded live by SONY TC-DM at jazz inn Lovely, Nagoya, Japan, October 9th, 1990
  • Gigs produced by Katsuhiko Kawai 河合勝彦
  • Tapes provided by Koujiro Tanaka 田中康次郎
  • Mastered by Arūnas Zujus at MAMAstudios
  • Design by Oskaras Anosovas
  • Cover photo ©1980 Tatsuo Minami (Masayuki Takayanagi & Nobuyoshi Ino@Moers, West Germany, 5.26, 1980)
  • Booklet photos from private collections except Masabumi Kikuchi by Kenny Inaoka
  • Produced by Takeo Suetomi 末冨健夫Kojirou Tanaka and Danas Mikailionis
  • Co-produced by Valerij Anosov
  • Release coordinator - Kenny Inaoka from Jazz Tokyo

CD、LP共に販売中。

LPの在庫数が少なくなっております。お早目に!

 

Jazz Tokyoのレヴューはこちらと、こちらと、こちら

 

 

 

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

 

撮影:南達雄/Tatsuo Minami

 

撮影:稲岡邦彌/Kuniya Inaoka