2022年10月02日発売。
CD
・1. Lovely Silver 6.000km (34:09)
・2. Sholder blade and Hip joint (30:27)
LP
・A-1 Lovely Silver 6,000km( part1 ) (4:31)
・A-2 Lovely Silver 6,000km( part2 ) (7:40)
・A-3 Lovely Silver 6,000km( part3) (8:50)
・B-1 Sholder blade and Hip joint (23:36)
Yuji Takahashi /高橋悠治(p,perc)
Sabu Toyozumi/豊住芳三郎(ds,perc)
Recorded live on 16 March 1998 at C・S・Aka Renga/赤れんが,Yamaguchi City,Japan by
Takeo Suetomi/末冨健夫
Concert produced by Takeo Suetomi
Photos by Takayo Suetomi/末冨孝代,Takeo Suetomi,
Piano tuner Hiroichi Sumikawa/澄川弘一
Masterd by Arunas Zujus at MAMA studios
Cover art by Sabu Toyozumi
Design by Oskaras Anosovas
Produced by Danas Mikailionis and Takeo Suetomi(Chap Chap Records)
Release coordinator Kenny Inaoka(Jazz Tokyo)
YouTube動画はこちら。
ピアノ調律 by 澄川弘一氏
Maciej Lewenstein -
NoBusiness strikes back with another LP from the Chap Chap Series.
This time is a live recording of the duo of Yuji Takahashi and Sabu Toyozumi,recorded at C*S*Aka Regna in Yamaguchi City in Japan in March 1998.
Side A contains a wonderful suite in three movements "Lovely Silver 6,000 km". Side B contains a single track "Shoulder Blade And Hip Joint".The combines free jazz at the highest possible artistic level with elements of ffree improvisation. Yuji's piano employs, obviously, traditions of Cecil Tayloror Alexander von Schlippenbach, yet is
clearly very original and creative.
He uses much more prepared and inside piano techniques, more typical for the contemporary classical music of John Cage. He employs also repetitive motifs, like in minimal music. The album as a whole is very interesting and diferent from anything I know.
The Quietly Clouds And A Wild Crane -
Jazz Tokyoのレヴューは、こちら。
The breadth of those collective associations comes through strongly in the program, two extended improvisations entitled “Lovely Silver 6000 km” and “Shoulder Blade and Hip Joint”, the former approaching 34 minutes, the latter 30. Dreams or dances, sometimes expressionist, sometimes impressionist, they are suffused with a kind of light, whether it is the contrast of rhythmic patterns that Toyozumi builds from the different elements in his kit to the way Takahashi, at one point, contrasts dense and dissonant clusters in the bass register with sparkling consonance in the treble.
That the various titles suggest both impressionism and immediate physicality is entirely in keeping with the music’s bright complexity and rich playfulness. While Takahashi can throw off fractured runs with the lightness of water drops and flower petals, Toyozumi matches that with a passage on “Shoulder Blade and Hip Joint” making extended use of birdcalls, whether accomplished with sheer oral technique or a dedicated device.
Solt Peanutsのレヴューはこちら。