Graham Lambkin // Aphorisms 2xLP
Graham Lambkin // Aphorisms 2xLP
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British experimental musician Graham Lambkin released a two-disc record in June 2023 from New York's experimental label Blank Forms Editions.
Includes 11 songs from Moon Drone to Concrete.
Labels and other worksplease use this form. ///Click here to see more Blank Forms Editions releases available at Tobira.
------------------------
2x12" 140gram black vinyl.
Tracklist:
A1 Samplehurst
A2 Limp Test
A3 Gibbus
A4 Needlemuff
B1 Slave Painting
B2 Corpsicus
B3 Trilogy Of Embers
C1 Porpitus
C2 Cannon Hill
C3 The Wind Imp
D1 Aphorisms
Artist: Graham Lambkin
Label: Blank Forms Editions
British experimental musician Graham Lambkin released a two-disc record in June 2023 from New York's experimental label Blank Forms Editions.
Includes 11 songs from Moon Drone to Concrete.
Labels and other worksplease use this form. ///Click here to see more Blank Forms Editions releases available at Tobira.
------------------------
2x12" 140gram black vinyl.
Tracklist:
A1 Samplehurst
A2 Limp Test
A3 Gibbus
A4 Needlemuff
B1 Slave Painting
B2 Corpsicus
B3 Trilogy Of Embers
C1 Porpitus
C2 Cannon Hill
C3 The Wind Imp
D1 Aphorisms
Artist: Graham Lambkin
Label: Blank Forms Editions
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{"id":8259235643642,"title":"James Rushford \/\/ Turzets LP","handle":"james-rushford-turzets-lp","description":"\u003cp\u003eオーストラリアの実験音楽家James Rushfordが、2024年4月にアメリカの実験レーベルBlank Formsからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003e彼が2022年にスイス・レマン湖ほとりのアートセンターに滞在した際に制作したコンテンポラリー11曲を収録。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"James Rushfordによるソロとコラボレーションの最新作『Turzets』は、オーストラリアのコンポーザー兼パフォーマーが、スイスのレマン湖畔にあるアートセンター、ラ・ベックに滞在していた昨年、主に制作・録音された2つの新作を収録している。横長の作品 \"Fallaway Whisk \"は、瑞々しく膨らむサウンドスケープを背景に、英語からドイツ語への抽象化されたテキストのライブ翻訳を使い、言葉の遠慮、音の抑制など、様々な形のためらいを探求している。一方、\"Quire \"は、中世後期のレパートリーをポルタティブ・オルガンで研究していた作曲家の影響を受けた10楽章からなる作品で、この楽器のウッディなメロディが、天使のようなヤマハCS-80シンセのスイープ音や吃音のようなグリッチと交錯する。クラウス・シュルツ、具象詩、ars subtiliorの痕跡を精密で展開し続けるタペストリーに織り込んだこの作品は、ラシュフォードの出発点ともいえる。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJames Rushfordの作品は、幅広いコラジストや即興的な音楽言語から引き出され、「鼓動する心臓を持つ電子音響実験」（Boomkat）、「呪われたジャコビアンASMR」（The Wire）などと形容される特異な様式空間を築いている。アーリーミュージックからニューエイジに至る伝統の襞、亀裂、折れ曲がりを調査するラッシュフォードの作品は、雰囲気や演奏者の身体的存在感といった一見限界的な側面を微妙に誇張し、それらがピッチ、リズム、音色といった音楽的要素と同等の重みを持つまでになっている。近年、ラッシュフォードのソロ作品は、音のイメージ、特に影の理論化に導かれており、フェデリコ・モンポウの1959-67年のピアノ曲集『Música Callada』（2016年）の1時間に及ぶ伴奏や、平らな表面を横切る光の戯れを合成音に変換した豪華な作品（『The Lake from the Louvers』Shelter Press、2021年）など、さまざまな作品にインスピレーションを与えている。ピアノ、ポルタティヴ・オルガン、シンセサイザー、電子音響装置のための彼の長年にわたる演奏活動には、繊細なタッチと、世紀末印象派、20世紀アヴァンギャルド、ポピュラー音楽構造からの影響と異質な調律が共存する和声感覚が常に息づいている。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/yEMFZO9oJI8?si=6DXM7_J3bP5viV-k\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more Blank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFallaway Whisk\u003c\/li\u003e\n\u003cli\u003eQuire I 04:23\u003c\/li\u003e\n\u003cli\u003eQuire II\u003c\/li\u003e\n\u003cli\u003eQuire III\u003c\/li\u003e\n\u003cli\u003eQuire IV\u003c\/li\u003e\n\u003cli\u003eQuire V\u003c\/li\u003e\n\u003cli\u003eQuire VI\u003c\/li\u003e\n\u003cli\u003eQuire VII\u003c\/li\u003e\n\u003cli\u003eQuire VIII\u003c\/li\u003e\n\u003cli\u003eQuire IX\u003c\/li\u003e\n\u003cli\u003eQuire X\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e++\u003c\/p\u003e\n\u003cp\u003eBlank Forms Editions:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eThe latest in a prolific string of solo and collaborative releases by James Rushford, Turzets collects a pair of new works primarily created and recorded last year while the Australian composer-performer was in residence at La Becque, an art center on Lake Geneva in Switzerland. The side-length piece “Fallaway Whisk” explores hesitation in its many forms—reticence of speech, sonic restraint—using live, abstracted translations of text from English to German against a lush and swelling soundscape. On the flip side, “Quire” is a work in ten movements influenced by the composer’s study of late medieval repertoire on portative organ, weaving the instrument’s woodsy interlocking melodies with angelic Yamaha CS-80 synth sweeps and stuttering glitches. The combined effort is somewhat a departure for Rushford, working in traces of Klaus Schulze, concrete poetry, and ars subtilior into a precise and ever-unfolding tapestry.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eRushford’s work draws from a wide range of collagist and improvisatory musical languages, staking out an idiosyncratic stylistic space that has been variously described as “electro-acoustic experimentation with a beating heart” (Boomkat) and “haunted Jacobean ASMR” (The Wire). Investigating the creases\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e, cracks, and folds in traditions ranging from early music to New Age, Rushford’s work subtly exaggerates seemingly liminal aspects such as atmosphere and the bodily presence of the performer until these take on a weight equal to musical elements such as pitch, rhythm, and timbre. In recent years, Rushford’s solo work has been guided by his theorization of sonic images, particularly the shadow, which has inspired pieces as diverse as an hour-long companion to Federico Mompou’s 1959–67 piano cycle Música Callada (2016) and a sumptuous translation of the play of light across flat surfaces into synthetic sound (The Lake from the Louvers, Shelter Press, 2021). His long-standing performance practice for piano, portative organ, synthesizers, and electroacoustic devices, is constantly infused with a delicacy of touch and a harmonic sensibility in which unorthodox tunings coexist with influences from fin de siècle Impressionism, the twentieth century avant-garde, and popular musical structures. He has worked with a vast range artists including Klaus Lang, Annea Lockwood, David Behrman, Tashi Wada, Haroon Mirza, Dennis Cooper, Ora Clementi, crys cole, Oren Ambarchi, Kassel Jaeger, Will Guthrie, and Graham Lambkin. He has performed as Golden Fur (with Sam Dunscombe and Judith Hamann) and Food Court (with Joe Talia and Francis Plagne).\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : James Rushford\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e","published_at":"2024-04-02T15:19:56+09:00","created_at":"2024-04-02T14:20:20+09:00","vendor":"Tobira Records","type":"","tags":["ambient","blank forms","contemporary \/ sound poetry","lp","new"],"price":398800,"price_min":398800,"price_max":398800,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45498777403642,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"James Rushford \/\/ Turzets LP","public_title":null,"options":["Default Title"],"price":398800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/jam1_066c72dc-a77d-443e-bf4d-ab6758f66fb9.jpg?v=1712035222","\/\/tobirarecords.com\/cdn\/shop\/files\/jam2.jpg?v=1712035222"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/jam1_066c72dc-a77d-443e-bf4d-ab6758f66fb9.jpg?v=1712035222","options":["Title"],"media":[{"alt":null,"id":33531012153594,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/jam1_066c72dc-a77d-443e-bf4d-ab6758f66fb9.jpg?v=1712035222"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/jam1_066c72dc-a77d-443e-bf4d-ab6758f66fb9.jpg?v=1712035222","width":700},{"alt":null,"id":33531012186362,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/jam2.jpg?v=1712035222"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/jam2.jpg?v=1712035222","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリアの実験音楽家James Rushfordが、2024年4月にアメリカの実験レーベルBlank Formsからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003e彼が2022年にスイス・レマン湖ほとりのアートセンターに滞在した際に制作したコンテンポラリー11曲を収録。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"James Rushfordによるソロとコラボレーションの最新作『Turzets』は、オーストラリアのコンポーザー兼パフォーマーが、スイスのレマン湖畔にあるアートセンター、ラ・ベックに滞在していた昨年、主に制作・録音された2つの新作を収録している。横長の作品 \"Fallaway Whisk \"は、瑞々しく膨らむサウンドスケープを背景に、英語からドイツ語への抽象化されたテキストのライブ翻訳を使い、言葉の遠慮、音の抑制など、様々な形のためらいを探求している。一方、\"Quire \"は、中世後期のレパートリーをポルタティブ・オルガンで研究していた作曲家の影響を受けた10楽章からなる作品で、この楽器のウッディなメロディが、天使のようなヤマハCS-80シンセのスイープ音や吃音のようなグリッチと交錯する。クラウス・シュルツ、具象詩、ars subtiliorの痕跡を精密で展開し続けるタペストリーに織り込んだこの作品は、ラシュフォードの出発点ともいえる。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJames Rushfordの作品は、幅広いコラジストや即興的な音楽言語から引き出され、「鼓動する心臓を持つ電子音響実験」（Boomkat）、「呪われたジャコビアンASMR」（The Wire）などと形容される特異な様式空間を築いている。アーリーミュージックからニューエイジに至る伝統の襞、亀裂、折れ曲がりを調査するラッシュフォードの作品は、雰囲気や演奏者の身体的存在感といった一見限界的な側面を微妙に誇張し、それらがピッチ、リズム、音色といった音楽的要素と同等の重みを持つまでになっている。近年、ラッシュフォードのソロ作品は、音のイメージ、特に影の理論化に導かれており、フェデリコ・モンポウの1959-67年のピアノ曲集『Música Callada』（2016年）の1時間に及ぶ伴奏や、平らな表面を横切る光の戯れを合成音に変換した豪華な作品（『The Lake from the Louvers』Shelter Press、2021年）など、さまざまな作品にインスピレーションを与えている。ピアノ、ポルタティヴ・オルガン、シンセサイザー、電子音響装置のための彼の長年にわたる演奏活動には、繊細なタッチと、世紀末印象派、20世紀アヴァンギャルド、ポピュラー音楽構造からの影響と異質な調律が共存する和声感覚が常に息づいている。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/yEMFZO9oJI8?si=6DXM7_J3bP5viV-k\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more Blank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFallaway Whisk\u003c\/li\u003e\n\u003cli\u003eQuire I 04:23\u003c\/li\u003e\n\u003cli\u003eQuire II\u003c\/li\u003e\n\u003cli\u003eQuire III\u003c\/li\u003e\n\u003cli\u003eQuire IV\u003c\/li\u003e\n\u003cli\u003eQuire V\u003c\/li\u003e\n\u003cli\u003eQuire VI\u003c\/li\u003e\n\u003cli\u003eQuire VII\u003c\/li\u003e\n\u003cli\u003eQuire VIII\u003c\/li\u003e\n\u003cli\u003eQuire IX\u003c\/li\u003e\n\u003cli\u003eQuire X\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e++\u003c\/p\u003e\n\u003cp\u003eBlank Forms Editions:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eThe latest in a prolific string of solo and collaborative releases by James Rushford, Turzets collects a pair of new works primarily created and recorded last year while the Australian composer-performer was in residence at La Becque, an art center on Lake Geneva in Switzerland. The side-length piece “Fallaway Whisk” explores hesitation in its many forms—reticence of speech, sonic restraint—using live, abstracted translations of text from English to German against a lush and swelling soundscape. On the flip side, “Quire” is a work in ten movements influenced by the composer’s study of late medieval repertoire on portative organ, weaving the instrument’s woodsy interlocking melodies with angelic Yamaha CS-80 synth sweeps and stuttering glitches. The combined effort is somewhat a departure for Rushford, working in traces of Klaus Schulze, concrete poetry, and ars subtilior into a precise and ever-unfolding tapestry.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eRushford’s work draws from a wide range of collagist and improvisatory musical languages, staking out an idiosyncratic stylistic space that has been variously described as “electro-acoustic experimentation with a beating heart” (Boomkat) and “haunted Jacobean ASMR” (The Wire). Investigating the creases\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e, cracks, and folds in traditions ranging from early music to New Age, Rushford’s work subtly exaggerates seemingly liminal aspects such as atmosphere and the bodily presence of the performer until these take on a weight equal to musical elements such as pitch, rhythm, and timbre. In recent years, Rushford’s solo work has been guided by his theorization of sonic images, particularly the shadow, which has inspired pieces as diverse as an hour-long companion to Federico Mompou’s 1959–67 piano cycle Música Callada (2016) and a sumptuous translation of the play of light across flat surfaces into synthetic sound (The Lake from the Louvers, Shelter Press, 2021). His long-standing performance practice for piano, portative organ, synthesizers, and electroacoustic devices, is constantly infused with a delicacy of touch and a harmonic sensibility in which unorthodox tunings coexist with influences from fin de siècle Impressionism, the twentieth century avant-garde, and popular musical structures. He has worked with a vast range artists including Klaus Lang, Annea Lockwood, David Behrman, Tashi Wada, Haroon Mirza, Dennis Cooper, Ora Clementi, crys cole, Oren Ambarchi, Kassel Jaeger, Will Guthrie, and Graham Lambkin. He has performed as Golden Fur (with Sam Dunscombe and Judith Hamann) and Food Court (with Joe Talia and Francis Plagne).\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : James Rushford\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Editions\u003c\/p\u003e"}
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This is a record released by Australian experimental musician James Rushford on the American experimental label Blank Forms in April 2024. Contains 4 contemporary songs he created during his stay at an art center on the shores of Lake Geneva in Switzerland in 2022. Below is an explanation by the label. "Turzets, James Rushford's latest solo and collaborative work, is a collection of two works primarily produced and recorded last year while the Australian composer and performer was in residence at La Bec, an arts center on the shores of Lake Geneva in Switzerland. Contains new work. The horizontal work "Fallaway Whisk" uses live translation of abstracted text from English to German, with a lush, expanding soundscape as a background, and uses words that are reserved and sounds suppressed. On the other hand, "Quire" is a 11-movement work influenced by composers who studied the late medieval repertoire on the portative organ. Woody melodies intersect with angelic Yamaha CS-2 synth sweeps and stuttering glitches, a work that weaves traces of Klaus Schulz, figurative poetry, and ars subtilior into a precise, ever-evolving tapestry. could be considered Rushford's starting point. James Rushford's work draws from a wide range of collagist and improvisational musical languages, ranging from "electroacoustic experiments with a beating heart" (Boomkat) to "cursed Jacobean ASMR". (The...
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{"id":8111023816954,"title":"Charlemagne Palestine \/\/ DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!! LP","handle":"charlemagne-palestine-dingggdongggdingggzzzzzzz-ferrrr-sssofttt-divini-tiesssss-lp","description":"\u003cp\u003eアメリカの大御所実験音楽家Charlemagne Palestineが、2023年12月に\u003cmeta charset=\"utf-8\"\u003eBlank Forms Editionsからリリースしたレコードです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e16世紀に誕生した楽器カリヨンを使用したドローン、盟友Tony Conradに捧げた教会でのライブ録音の2曲を収録。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"ブルックリン生まれの革新的な作曲家、Charlemagne Palestine（1947年生まれ）の最新作では、16世紀に生まれた鍵盤制御の鐘楼、カリヨンのための魅惑的な2つの作品を聴くことができる。A面には、ベルギーにある彼のスタジオで録音された新作が収録されている。天井が高く、動物のぬいぐるみがぎっしり詰まった楽園で、彼はシャルルワールドと呼んでいる。その裏面には、Blank Forms Editionsの最初の、そして長らく絶版だったリリースが初めてレコードで登場する。マキシマリストの作曲家が亡き友人トニー・コンラッドに捧げた2018年の音楽的弔辞を、2人が初めて出会った聖トーマス・エピスコパル教会の鐘で演奏したカタルシスのあるストリートレコーディングである。53丁目のクワジモド独特のトランスを誘発するスタイルで、2つの魅惑的な「klanggdedangggebannggg」セッション。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1947年生まれのCharlemagne Palestineは、60年代から70年代にかけての賑やかなニューヨークのダウンタウンのアートシーンで、おそらく同時代の誰よりも、遊び心にあふれたポリマスとしてのアーティストという概念を体現してきた。もともとはカントルになるためにユダヤ教の聖歌の訓練を受けたが、ピアノとアコーディオンを学び、タイニー・ティムやアレン・ギンズバーグなどのパーカッションの伴奏を務め、アルウィン・ニコライスのアシスタントとして初期のシンセサイザーを使い、最終的にはミッドタウンのセント・トーマス・エピスコパルでカリヨンヌールとして長い間演奏した。この自由奔放な実験精神はやがて、レン・ライとキネティック・ライトの彫刻を作り、シモーネ・フォルティと振付のパフォーマンスを考案し、カステリ＝ソナベンド・コレクションで内臓を刺激する一連のビデオテープを制作するなど、他の美的分野での冒険へとつながっていった。70年代には、急成長するロフト・ムーブメントで特に頭角を現し、時間と空間の本質を曲げるかのような、まばらで、激しく、厳密な長編ピアノ・コンサートで有名になった。80年代から数十年間、ニューミュージック・シーンから自主的に追放され、ヨーロッパとハワイでさまざまな生活を送りながら、密閉された音と映像の実践に磨きをかけた。その後、90年代半ばから復活を遂げ、世界各地でパフォーマンスや展示を行なっている。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2081544345\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!! 20:20\u003c\/li\u003e\n\u003cli\u003eSTTT THOMASSS ‘’’’”‘”DINGG GDONGGGDINGGGzzz zzzz ferrrr TONYYY’’’’’’’’ 26:22\u003c\/li\u003e\n\u003cli\u003eDINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!! (Excerpt) 03:11\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eBlank Forms Editions :\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eDINGGGDONGGGDINGGGzzzzzzz!!!!!!! In the newest record by the iconoclastic Brooklyn-born composer Charlemagne Palestine (b. 1947), find two mesmerizing works for carillon, the keyboard-controlled bell tower derived in the 16th century. On side A, a new piece recorded at the artist’s studio in Belgium—a high-ceiling, stuffed-animal-packed paradise he calls Charleworld—among friends and “divinities,” his name for the thousands of plush toys he’s amassed since the ’60s. On the flip side, Blank Forms Editions’ very first and long-out-of-print release appears on vinyl for the first time: a cathartic street recording of the maximalist composer’s 2018 musical eulogy for his late friend Tony Conrad, performed on the bells of St. Thomas Episcopal Church, where the two first met. Two mesmerizing “klanggdedangggebannggg” sessions in the Quasimodo of 53rd Street’s inimitable, trance-induced style.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePerhaps more than any of his contemporaries in the bustling, cross-disciplinary downtown New York arts scene of the ’60s and ’70s, Charlemagne Palestine (b. 1947) has embodied the notion of the artist as playful polymath, testing and transcending nearly every creative form imaginable in his more than six-decade career. Originally trained in Jewish sacred singing to be a cantor, he began his artistic life as a musician, studying piano and accordion, accompanying figures like Tiny Tim and Allen Ginsberg on percussion, using early synthesizers as an assistant to Alwin Nikolais, and eventually landing a long-running gig as the carillonneur at Midtown’s St. Thomas Episcopal. This libertine spirit of experimentation soon led to adventures in other aesthetic arenas: making kinetic light sculptures with Len Lye, devising choreographed performances with Simone Forti, and producing a series of visceral videotapes with the Castelli-Sonnabend collection. In the ’70s, he was particularly prominent on the burgeoning loft movement, becoming well-known for his sparse, intense, and exacting long-form piano concerts that seemed to bend the very nature of time and space. Beginning in the ’80s, he spent decades in self-imposed exile from the new music scene, living variously in Europe and Hawai'i and privately honing his hermetic sonic and visual practice. This was followed by a period of triumphant resurgence beginning in the mid-’90s, since which he has performed and exhibited globally.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Charlemagne Palestine\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Edition\u003c\/p\u003e","published_at":"2023-12-13T08:26:40+09:00","created_at":"2023-12-12T17:27:22+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","drone","lp","new"],"price":394000,"price_min":394000,"price_max":394000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44878590378234,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Charlemagne Palestine \/\/ DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!! LP","public_title":null,"options":["Default Title"],"price":394000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/din1.jpg?v=1702369644"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/din1.jpg?v=1702369644","options":["Title"],"media":[{"alt":null,"id":32827947188474,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/din1.jpg?v=1702369644"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/din1.jpg?v=1702369644","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカの大御所実験音楽家Charlemagne Palestineが、2023年12月に\u003cmeta charset=\"utf-8\"\u003eBlank Forms Editionsからリリースしたレコードです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e16世紀に誕生した楽器カリヨンを使用したドローン、盟友Tony Conradに捧げた教会でのライブ録音の2曲を収録。\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"ブルックリン生まれの革新的な作曲家、Charlemagne Palestine（1947年生まれ）の最新作では、16世紀に生まれた鍵盤制御の鐘楼、カリヨンのための魅惑的な2つの作品を聴くことができる。A面には、ベルギーにある彼のスタジオで録音された新作が収録されている。天井が高く、動物のぬいぐるみがぎっしり詰まった楽園で、彼はシャルルワールドと呼んでいる。その裏面には、Blank Forms Editionsの最初の、そして長らく絶版だったリリースが初めてレコードで登場する。マキシマリストの作曲家が亡き友人トニー・コンラッドに捧げた2018年の音楽的弔辞を、2人が初めて出会った聖トーマス・エピスコパル教会の鐘で演奏したカタルシスのあるストリートレコーディングである。53丁目のクワジモド独特のトランスを誘発するスタイルで、2つの魅惑的な「klanggdedangggebannggg」セッション。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1947年生まれのCharlemagne Palestineは、60年代から70年代にかけての賑やかなニューヨークのダウンタウンのアートシーンで、おそらく同時代の誰よりも、遊び心にあふれたポリマスとしてのアーティストという概念を体現してきた。もともとはカントルになるためにユダヤ教の聖歌の訓練を受けたが、ピアノとアコーディオンを学び、タイニー・ティムやアレン・ギンズバーグなどのパーカッションの伴奏を務め、アルウィン・ニコライスのアシスタントとして初期のシンセサイザーを使い、最終的にはミッドタウンのセント・トーマス・エピスコパルでカリヨンヌールとして長い間演奏した。この自由奔放な実験精神はやがて、レン・ライとキネティック・ライトの彫刻を作り、シモーネ・フォルティと振付のパフォーマンスを考案し、カステリ＝ソナベンド・コレクションで内臓を刺激する一連のビデオテープを制作するなど、他の美的分野での冒険へとつながっていった。70年代には、急成長するロフト・ムーブメントで特に頭角を現し、時間と空間の本質を曲げるかのような、まばらで、激しく、厳密な長編ピアノ・コンサートで有名になった。80年代から数十年間、ニューミュージック・シーンから自主的に追放され、ヨーロッパとハワイでさまざまな生活を送りながら、密閉された音と映像の実践に磨きをかけた。その後、90年代半ばから復活を遂げ、世界各地でパフォーマンスや展示を行なっている。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2081544345\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!! 20:20\u003c\/li\u003e\n\u003cli\u003eSTTT THOMASSS ‘’’’”‘”DINGG GDONGGGDINGGGzzz zzzz ferrrr TONYYY’’’’’’’’ 26:22\u003c\/li\u003e\n\u003cli\u003eDINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!! (Excerpt) 03:11\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eBlank Forms Editions :\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eDINGGGDONGGGDINGGGzzzzzzz!!!!!!! In the newest record by the iconoclastic Brooklyn-born composer Charlemagne Palestine (b. 1947), find two mesmerizing works for carillon, the keyboard-controlled bell tower derived in the 16th century. On side A, a new piece recorded at the artist’s studio in Belgium—a high-ceiling, stuffed-animal-packed paradise he calls Charleworld—among friends and “divinities,” his name for the thousands of plush toys he’s amassed since the ’60s. On the flip side, Blank Forms Editions’ very first and long-out-of-print release appears on vinyl for the first time: a cathartic street recording of the maximalist composer’s 2018 musical eulogy for his late friend Tony Conrad, performed on the bells of St. Thomas Episcopal Church, where the two first met. Two mesmerizing “klanggdedangggebannggg” sessions in the Quasimodo of 53rd Street’s inimitable, trance-induced style.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003ePerhaps more than any of his contemporaries in the bustling, cross-disciplinary downtown New York arts scene of the ’60s and ’70s, Charlemagne Palestine (b. 1947) has embodied the notion of the artist as playful polymath, testing and transcending nearly every creative form imaginable in his more than six-decade career. Originally trained in Jewish sacred singing to be a cantor, he began his artistic life as a musician, studying piano and accordion, accompanying figures like Tiny Tim and Allen Ginsberg on percussion, using early synthesizers as an assistant to Alwin Nikolais, and eventually landing a long-running gig as the carillonneur at Midtown’s St. Thomas Episcopal. This libertine spirit of experimentation soon led to adventures in other aesthetic arenas: making kinetic light sculptures with Len Lye, devising choreographed performances with Simone Forti, and producing a series of visceral videotapes with the Castelli-Sonnabend collection. In the ’70s, he was particularly prominent on the burgeoning loft movement, becoming well-known for his sparse, intense, and exacting long-form piano concerts that seemed to bend the very nature of time and space. Beginning in the ’80s, he spent decades in self-imposed exile from the new music scene, living variously in Europe and Hawai'i and privately honing his hermetic sonic and visual practice. This was followed by a period of triumphant resurgence beginning in the mid-’90s, since which he has performed and exhibited globally.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Charlemagne Palestine\u003c\/p\u003e\n\u003cp\u003eLabel : Blank Forms Edition\u003c\/p\u003e"}
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This is a record released by the famous American experimental musician Charlemagne Palestine from Blank Forms Editions in December 2023. Includes a drone using the carillon, a musical instrument born in the 12th century, and two songs recorded live at a church dedicated to his ally Tony Conrad.Below is an explanation by the label. "In the latest work by the innovative Brooklyn-born composer Charlemagne Palestine (b. 16), we hear two enchanting works for the carillon, the 2th-century keyboard-controlled belfry. Side A. includes new material recorded in his studio in Belgium, a high-ceilinged, stuffed-animal-filled paradise he calls Charlesworld.On the back, Blank Forms Editions' first and long-out-of-print release now appears on vinyl for the first time: the maximalist composer's 1947 musical eulogy for his late friend Tony Conrad, recorded at St. Thomas Episcopal, where the two first met. A cathartic street recording performed with church bells, two mesmerizing "klanggdedangggebannggg" sessions in Kwazimodo's signature trance-inducing style on 16rd Street. Born in 2, Charlemagne Palestine, perhaps more than any of her contemporaries, embodied the idea of the artist as a playful polymath during the bustling downtown New York art scene of the 2018s and 2s.Originally trained in Jewish chant to become a cantor, he also studied piano and accordion, served as percussion accompanist for the likes of Tiny Tim and Allen Ginsberg, and worked with early synthesizers as an assistant to Alwyn Nicolais. , and eventually performed for a long time as a carillonneur at St. Thomas Episcopal in Midtown.This free-spirited experimental spirit eventually led to him creating kinetic light sculptures with Len Lye, devising choreographed performances with Simone Forti, and creating a series of visceral videotapes for the Castelli-Sonnabend Collection. , which led to adventures in other aesthetic fields. In the 53s, she was particularly prominent in the burgeoning loft movement, famous for her sparse, intense, exacting long piano concerts that seemed to bend the very nature of time and space. She spent several decades in self-imposed exile from the new music scene in the '2s, living various lives in Europe and Hawaii, honing her hermetic sound and visual practice.She has since made a comeback since the mid-1947s, performing and exhibiting around the world. "Click here for label and other works ///...
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{"id":7834225606906,"title":"Takehisa Kosugi + Akio Suzuki \/\/ New Sense of Hearing LP","handle":"takehisa-kosugi-akio-suzuki-new-sense-of-hearing-lp","description":"\u003cp\u003e日本の大御所実験音楽家Takehisa KosugiとAkio Suzukiが1980年にリリースしたCDの再発レコード盤です。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2668235880\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eBlank Forms Editions:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAvailable from Blank Forms for the first time since its original 1980 release on ALM-Uranoia, New Sense of Hearing documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms’s high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo’s Aeolian Hall.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eDescribed by Suzuki as the “culmination” of their sound, New Sense of Hearing features the two musicians improvising together in that empty Tokyo theater, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSuzuki and Kosugi first met at the city’s Minami Gallery in 1976 on the occasion of “Sound Objects and Sound Tools,” an exhibition of Suzuki’s homemade instruments. Two years later, at the Festival d’Automne in Paris, Suzuki invited Kosugi to join him for a suite of performances as part of the exhibition “MA: Espace – Temps au Japon,” organized by architect Arata Isozaki and composer-writer Tōru Takemitsu. Suzuki and Kosugi performed together at the Musée des Arts Décoratifs, Paris, nearly fifty times, honing\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e their approach to mutual improvisation, before traveling with the exhibition to Stockholm and New York—critic Tom Johnson wrote in the Village Voice that he had “seldom seen two performers so completely tuned in on the same types of sounds, the same performance attitude, the same philosophy, the same sense of what music ought to be.” For New Sense of Hearing, the duo reunited in Japan and produced an extraordinary dispatch from their collaboration of arioso violin, echoing vocals and bangs, and metallic twangs. As Johnson observed in 1979, Kosugi and Suzuki are “in a very subtle artistic world where there can be no direct relationships. . . . Only coincidence.”\u003c\/span\u003e '\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Takehisa Kosugi + Akio Suzuki\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e","published_at":"2022-11-10T14:01:57+09:00","created_at":"2022-11-10T13:35:33+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","jazz","lp","monooto","new"],"price":379000,"price_min":379000,"price_max":379000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":43635101827322,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Takehisa Kosugi + Akio Suzuki \/\/ New Sense of Hearing LP","public_title":null,"options":["Default Title"],"price":379000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/se1_2dd1bbe2-5511-4e40-8660-d7997260f0a7.jpg?v=1668054934","\/\/tobirarecords.com\/cdn\/shop\/products\/se2_48427052-c31e-48d6-ac20-7b5be0c4bac7.jpg?v=1668054934"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/se1_2dd1bbe2-5511-4e40-8660-d7997260f0a7.jpg?v=1668054934","options":["Title"],"media":[{"alt":null,"id":30966693724410,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/se1_2dd1bbe2-5511-4e40-8660-d7997260f0a7.jpg?v=1668054934"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/se1_2dd1bbe2-5511-4e40-8660-d7997260f0a7.jpg?v=1668054934","width":700},{"alt":null,"id":30966693757178,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/se2_48427052-c31e-48d6-ac20-7b5be0c4bac7.jpg?v=1668054934"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/se2_48427052-c31e-48d6-ac20-7b5be0c4bac7.jpg?v=1668054934","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e日本の大御所実験音楽家Takehisa KosugiとAkio Suzukiが1980年にリリースしたCDの再発レコード盤です。\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2668235880\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eBlank Forms Editions:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eAvailable from Blank Forms for the first time since its original 1980 release on ALM-Uranoia, New Sense of Hearing documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms’s high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo’s Aeolian Hall.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eDescribed by Suzuki as the “culmination” of their sound, New Sense of Hearing features the two musicians improvising together in that empty Tokyo theater, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eSuzuki and Kosugi first met at the city’s Minami Gallery in 1976 on the occasion of “Sound Objects and Sound Tools,” an exhibition of Suzuki’s homemade instruments. Two years later, at the Festival d’Automne in Paris, Suzuki invited Kosugi to join him for a suite of performances as part of the exhibition “MA: Espace – Temps au Japon,” organized by architect Arata Isozaki and composer-writer Tōru Takemitsu. Suzuki and Kosugi performed together at the Musée des Arts Décoratifs, Paris, nearly fifty times, honing\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e their approach to mutual improvisation, before traveling with the exhibition to Stockholm and New York—critic Tom Johnson wrote in the Village Voice that he had “seldom seen two performers so completely tuned in on the same types of sounds, the same performance attitude, the same philosophy, the same sense of what music ought to be.” For New Sense of Hearing, the duo reunited in Japan and produced an extraordinary dispatch from their collaboration of arioso violin, echoing vocals and bangs, and metallic twangs. As Johnson observed in 1979, Kosugi and Suzuki are “in a very subtle artistic world where there can be no direct relationships. . . . Only coincidence.”\u003c\/span\u003e '\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Takehisa Kosugi + Akio Suzuki\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e"}
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A reissue of the CD released in 1980 by Japanese influential experimental musicians Takehisa Kosugi and Akio Suzuki.Click here for labels and other works /// Click here to see more Blank Forms Editions releases available at Tobira.
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{"id":7484385853690,"title":"Don Cherry \/\/ The Summer House Sessions LP \/ 2xCD","handle":"don-cherry-the-summer-house-sessions-lp-2xcd","description":"\u003cp\u003e伝説のスピリチュアルジャズ作家Don Cherryのアーカイブ音源です。以下、レーベル解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"1968年、\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eDon Cherry\u003c\/span\u003eすでにアバンギャルドの主役の一人としての地位を確立していた。オーネット・コールマンのクラシック・カルテットのメンバーとしてフリージャズの先駆者となり、ジョン・コルトレーンとのコラボレーションで注目を集めていたドン・チェリーは、パートナーのモキと娘のネネとともにスウェーデンに移住した。彼はスウェーデンのミュージシャンを集め、1968年2月から4月まで、ABF（Workers' Educational Association）で毎週ワークショップを開き、呼吸法、ドローン、トルコのリズム、倍音、静寂、自然な声、インドの音階など、即興演奏の延長線上のレッスンを行った。その夏、のちにドンの名盤「オーガニック・ミュージック・ソサエティ」と「エターナル・ナウ」を録音したサックス奏者でレコーディング・エンジニアのヨーラン・フリーズが、ドンと彼の2つのワーキング・バンドのメンバー、そしてトルコ人ドラマーをストックホルム郊外のクンメルナスにある彼の別荘に招待し、前月のワークショップを実践するためのリハーサルとジャム・セッションを重ねたのである。長い間、ドンのセッション記録の中で謎の脚注として扱われてきましたが、このセッションのテープと、リリース用にプロがミックスしたテープが最近、Swedish Jazz Archiveの保管庫で発見され、失われていた「Summer House Sessions」が録音から50年以上経ってようやく入手可能になった。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e7月20日、フリースの別荘に集まったのは、ドンのスウェーデンのグループから、ベルント・ローゼングレン（テナーサックス、フルート、クラリネット）、トミー・コヴァーフルト（テナーサックス、フルート）、レイフ・ウェンナーストレム（ドラムス）、トールビョーン・フルトクランツ（ベース）らが参加した。ドンのスウェーデンのグループからレイフ・ウェンナーストレム（ドラムス）、トルビョーン・フルトクランツ（ベース）、ジャック・トロット（ドラムス）、ケント・カーター（ベース）、トルコから来たビュレント・アテシュ（ハンドドラム、ドラムス）、そしてドン自身（ポケットトランペット、フルート、パーカッション）。共通の言語を持たない彼らは、音楽を共通のコミュニケーション手段としていた。これは、ドンが「エターナル・リズム」を発表する4ヵ月前に、より明確に汎民族的な表現をするようになることを先取りした、熱狂的で自由奔放なセッションである。アメリカ、フランス、スウェーデン、トルコのミュージシャンで構成されたオクテットは、ドンが始めた「コラージュ・ミュージック」を追求するための完璧な手段であった。このコンセプトは、ドンが短波ラジオで世界中の音を聴いていたことにも触発されている。コラージュ・ミュージックとは、短波ラジオで世界中の音を聴きながら、ソロや曲の導入部を省き、豊富なメロディー、サウンド、リズムを、さまざまな雰囲気と変化に富んだ詩的な組曲に変換することである。サマーハウス・セッションのアンサンブルは、様々な文化的イディオムを楽しく重ね合わせ、チェリーの地上のビジョンの空気のような山と穏やかな谷を横断している。\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=464474537\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2xCD set in jewel case, with slipcase and OBI strip.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eLP on black vinyl, pressed at RTI and housed in a heavy-duty tip-on Stoughton jacket, with insert.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eRecorded July 20, 1968 at Kummelnäs, Sweden by Göran Freese\u003cbr\u003eAudio restoration by Robbie Lee\u003cbr\u003eMastering for vinyl by Kassian Troyer at Dubplates \u0026amp; Mastering, Berlin\u003cbr\u003eCover painting by Moki Cherry: Untitled, ca. 1967-68\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIn 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e over fifty years after they were recorded.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Don Cherry\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e","published_at":"2021-12-06T11:53:00+09:00","created_at":"2021-12-06T11:32:06+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","cd","jazz","lp","tape"],"price":258000,"price_min":258000,"price_max":385000,"available":true,"price_varies":true,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":42154070802682,"title":"LP","option1":"LP","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Don Cherry \/\/ The Summer House Sessions LP \/ 2xCD - LP","public_title":"LP","options":["LP"],"price":385000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]},{"id":42154070835450,"title":"CD","option1":"CD","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Don Cherry \/\/ The Summer House Sessions LP \/ 2xCD - CD","public_title":"CD","options":["CD"],"price":258000,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/products\/ho_c20c9da7-a476-4293-b732-759a4e54a7b8.jpg?v=1638757929","\/\/tobirarecords.com\/cdn\/shop\/products\/ho2_c9b326ff-355e-49a8-996c-9e4b9cf4ec70.jpg?v=1638757928","\/\/tobirarecords.com\/cdn\/shop\/products\/ho3_3ef4318e-aeab-4b74-8776-2508b5037936.jpg?v=1638757928"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho_c20c9da7-a476-4293-b732-759a4e54a7b8.jpg?v=1638757929","options":["format"],"media":[{"alt":null,"id":28822054011130,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho_c20c9da7-a476-4293-b732-759a4e54a7b8.jpg?v=1638757929"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho_c20c9da7-a476-4293-b732-759a4e54a7b8.jpg?v=1638757929","width":700},{"alt":null,"id":28822054043898,"position":2,"preview_image":{"aspect_ratio":1.402,"height":856,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho2_c9b326ff-355e-49a8-996c-9e4b9cf4ec70.jpg?v=1638757928"},"aspect_ratio":1.402,"height":856,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho2_c9b326ff-355e-49a8-996c-9e4b9cf4ec70.jpg?v=1638757928","width":1200},{"alt":null,"id":28822054076666,"position":3,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho3_3ef4318e-aeab-4b74-8776-2508b5037936.jpg?v=1638757928"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/products\/ho3_3ef4318e-aeab-4b74-8776-2508b5037936.jpg?v=1638757928","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e伝説のスピリチュアルジャズ作家Don Cherryのアーカイブ音源です。以下、レーベル解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"1968年、\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eDon Cherry\u003c\/span\u003eすでにアバンギャルドの主役の一人としての地位を確立していた。オーネット・コールマンのクラシック・カルテットのメンバーとしてフリージャズの先駆者となり、ジョン・コルトレーンとのコラボレーションで注目を集めていたドン・チェリーは、パートナーのモキと娘のネネとともにスウェーデンに移住した。彼はスウェーデンのミュージシャンを集め、1968年2月から4月まで、ABF（Workers' Educational Association）で毎週ワークショップを開き、呼吸法、ドローン、トルコのリズム、倍音、静寂、自然な声、インドの音階など、即興演奏の延長線上のレッスンを行った。その夏、のちにドンの名盤「オーガニック・ミュージック・ソサエティ」と「エターナル・ナウ」を録音したサックス奏者でレコーディング・エンジニアのヨーラン・フリーズが、ドンと彼の2つのワーキング・バンドのメンバー、そしてトルコ人ドラマーをストックホルム郊外のクンメルナスにある彼の別荘に招待し、前月のワークショップを実践するためのリハーサルとジャム・セッションを重ねたのである。長い間、ドンのセッション記録の中で謎の脚注として扱われてきましたが、このセッションのテープと、リリース用にプロがミックスしたテープが最近、Swedish Jazz Archiveの保管庫で発見され、失われていた「Summer House Sessions」が録音から50年以上経ってようやく入手可能になった。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e7月20日、フリースの別荘に集まったのは、ドンのスウェーデンのグループから、ベルント・ローゼングレン（テナーサックス、フルート、クラリネット）、トミー・コヴァーフルト（テナーサックス、フルート）、レイフ・ウェンナーストレム（ドラムス）、トールビョーン・フルトクランツ（ベース）らが参加した。ドンのスウェーデンのグループからレイフ・ウェンナーストレム（ドラムス）、トルビョーン・フルトクランツ（ベース）、ジャック・トロット（ドラムス）、ケント・カーター（ベース）、トルコから来たビュレント・アテシュ（ハンドドラム、ドラムス）、そしてドン自身（ポケットトランペット、フルート、パーカッション）。共通の言語を持たない彼らは、音楽を共通のコミュニケーション手段としていた。これは、ドンが「エターナル・リズム」を発表する4ヵ月前に、より明確に汎民族的な表現をするようになることを先取りした、熱狂的で自由奔放なセッションである。アメリカ、フランス、スウェーデン、トルコのミュージシャンで構成されたオクテットは、ドンが始めた「コラージュ・ミュージック」を追求するための完璧な手段であった。このコンセプトは、ドンが短波ラジオで世界中の音を聴いていたことにも触発されている。コラージュ・ミュージックとは、短波ラジオで世界中の音を聴きながら、ソロや曲の導入部を省き、豊富なメロディー、サウンド、リズムを、さまざまな雰囲気と変化に富んだ詩的な組曲に変換することである。サマーハウス・セッションのアンサンブルは、様々な文化的イディオムを楽しく重ね合わせ、チェリーの地上のビジョンの空気のような山と穏やかな谷を横断している。\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=464474537\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/blank-forms-editions\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e2xCD set in jewel case, with slipcase and OBI strip.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eLP on black vinyl, pressed at RTI and housed in a heavy-duty tip-on Stoughton jacket, with insert.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eRecorded July 20, 1968 at Kummelnäs, Sweden by Göran Freese\u003cbr\u003eAudio restoration by Robbie Lee\u003cbr\u003eMastering for vinyl by Kassian Troyer at Dubplates \u0026amp; Mastering, Berlin\u003cbr\u003eCover painting by Moki Cherry: Untitled, ca. 1967-68\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e~\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003eBlank Forms Editions:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eIn 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e over fifty years after they were recorded.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWith liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Don Cherry\u003c\/p\u003e\n\u003cp\u003eLabel : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlank Forms Editions\u003c\/span\u003e\u003c\/p\u003e"}
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It is an archive sound source of the legendary spiritual jazz writer Don Cherry.Below is a description of the label. "In 1968, Don Cherry had already established himself as one of the protagonists of the avant-garde. As a member of Ornette Coleman's classical quartet, he became a pioneer of free jazz and has been attracting attention in collaboration with John Coltrane. Don Cherry moved to Sweden with his partner Moki and his daughter Nene. He gathered Swedish musicians and held a weekly workshop at the Workers' Educational Association (ABF) from February to April 1968. We gave lessons on the extension of improvisational performances such as breathing, drones, Turkish rhythms, harmonics, silence, natural voices, Indian tones, etc. That summer, later with Don's masterpiece "Organic Music Society". Yoran Freeze, a sax player and recording engineer who recorded "Eternal Now," invited Don, members of his two working bands, and a Turkish drummer to his villa in Kummernas, a suburb of Stockholm. We had a rehearsal and a jam session to practice the workshop of the previous month.Treated as a mysterious footnote in Don's session recordings for a long time, the tape for this session and a professionally mixed tape for release were recently found in the Swedish Jazz Archive vault and lost. The "Summer House Sessions" that had been used have finally become available more than 2 years after recording. On July 4, Bernt Rosengren (tenor sax, flute, clarinet), Tommy Koverfurt (tenor sax, flute), and Reif Wennerström (tenor sax, flute) gathered at Fries's villa from Don's Swedish group. Drums), Tallbjorn Flutekrantz (bass) and others participated.Reif Wennerström (drums), Thorbjorn Flutekranz (bass), Jack Trot (drums), Kent Carter (bass) from Don's Swedish group, Burent Atesh (hand drums, drums) from Turkey. , And Don himself (pocket trumpet, flute, percussion).Having no common language, they used music as a common means of communication.This is an enthusiastic, free-spirited session that anticipates becoming a clearer pan-national expression four months before Don announces "Eternal Rhythm."Composed of American, French, Swedish and Turkish musicians, the octet was the perfect way to pursue "collage music" initiated by Don.This concept is also inspired by Don's listening to sounds from around the world on shortwave radio.Collage music is a shortwave radio that listens to sounds from around the world, omits solos and song introductions, and transforms a wealth of melodies, sounds, and rhythms into poetic suites with a variety of atmospheres and variations. That is.The ensemble of summerhouse sessions is a fun superposition of various cultural idioms, crossing the aerial mountains and calm valleys of Cherry's ground-based vision.Click here to see ...
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