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{"id":6129334681765,"title":"Judith Hamann \/\/ Music for Cello and Humming CD","handle":"judith-hamann-music-for-cello-and-humming-cd","description":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、チェロと対峙した際の直感的感覚をハミングで表現しており、彼女のうっすらとした声がチェロと融合した8曲を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2178117103\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/music-for-cello-and-humming\"\u003eMusic for Cello and Humming by Judith Hamann\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, \"Shaking Studies,\" is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Judith Hamann\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T13:24:16+09:00","created_at":"2021-01-27T13:24:16+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","cd","drone","jazz","monooto","new"],"price":217800,"price_min":217800,"price_max":217800,"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":37786762248357,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Judith Hamann \/\/ Music for Cello and Humming CD","public_title":null,"options":["Default Title"],"price":217800,"weight":90,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0384000667_16.jpg?v=1611721581"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0384000667_16.jpg?v=1611721581","options":["Title"],"media":[{"alt":null,"id":16259287941285,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0384000667_16.jpg?v=1611721581"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0384000667_16.jpg?v=1611721581","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、チェロと対峙した際の直感的感覚をハミングで表現しており、彼女のうっすらとした声がチェロと融合した8曲を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2178117103\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/music-for-cello-and-humming\"\u003eMusic for Cello and Humming by Judith Hamann\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, \"Shaking Studies,\" is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Judith Hamann\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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The debut work of Australian cellist Judith Hamann.As the title suggests, it expresses the intuition when confronting the cello with humming, and includes eight songs in which her faint voice is fused with the cello. DL code included. Music for Cello and Humming by Judith Hamann For her first album releases ...
¥ 2,178
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{"id":6129327210661,"title":"Judith Hamann \/\/ Shaking Studies LP","handle":"judith-hamann-shaking-studies-lp","description":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、自身の左手の震えの速度とその結果として生じるチェロとの共振周波数を音楽的に表現した作品。ミクロ＝マクロな全4曲を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2317036613\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/shaking-studies\"\u003eShaking Studies by Judith Hamann\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, \"Shaking Studies,\" is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Judith Hamann\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T13:17:29+09:00","created_at":"2021-01-27T13:17:29+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","jazz","lp","monooto","new"],"price":261800,"price_min":261800,"price_max":261800,"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":37786735476901,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Judith Hamann \/\/ Shaking Studies LP","public_title":null,"options":["Default Title"],"price":261800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a2376208719_16.jpg?v=1611721295"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a2376208719_16.jpg?v=1611721295","options":["Title"],"media":[{"alt":null,"id":16259263824037,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a2376208719_16.jpg?v=1611721295"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a2376208719_16.jpg?v=1611721295","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eオーストラリアのチェロ奏者Judith Hamannのデビュー作品。題の通り、自身の左手の震えの速度とその結果として生じるチェロとの共振周波数を音楽的に表現した作品。ミクロ＝マクロな全4曲を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2317036613\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/shaking-studies\"\u003eShaking Studies by Judith Hamann\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor her first album releases as a soloist, nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her LP, \"Shaking Studies,\" is a collection of iterative cello performance that foregrounds shaking as a generative subject. In addition to an arsenal of techniques for registrable shaking, Hamann’s conception of the term emphasizes micro and macro pulsing, including tremors, vibrato, wolf tones, and complex partial activity. Hamann begins with a sphygmological reading of the pulse of her cello, inciting it to shake audibly and visually as a symbiotic basis for determining the rate of her own left hand’s tremor and consequent direction of resonant frequencies. Following a thorough harmonic investigation of her shaking practice in two parts, she directs us to look outwards, combining beating chordal structures with electronics and recordings of real world shaking. From inner pulse to more macrocosmic quaking, Hamann’s alternative conception of shaking rejects measurement and regularity, order and control, instead alluding to a more responsive and intuitive mode of convulsive sounding.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJudith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ein a discourse based project, ‘Materialities of Realisation.’ She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O’Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada’s Duets, Graham Lambkin’s Community, Alvin Lucier’s Illuminated By The Moon, and Gossamers, with Rosalind Hall.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Judith Hamann\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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The debut work of Australian cellist Judith Hamann.As the title suggests, this is a musical expression of the speed of the tremor of one's left hand and the resulting resonance frequency with the cello.Contains all 4 micro-macro songs. DL code included. Shaking Studies by Judith Hamann For her first album releases as a soloist, ...
¥ 2,618
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{"id":6129320624293,"title":"Masayuki Takayanagi New Direction Unit \/\/ Axis\/Another Revolvable Thing CD","handle":"masayuki-takayanagi-new-direction-unit-axis-another-revolvable-thing-cd","description":"\u003cp\u003e高柳 昌行アーカイヴ・リイシュー第2弾。1975年9月5日、東京・新宿の安田生命ホールで行われたNew Direction Unitのコンサート録音を収録した2枚組で、高柳がそれまでの「リアルジャズ」という枠を飛び越えて「ノンセクション・ミュージック」と呼ぶようになったものを深く追求している様子がうかがえる内容です。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4144906859\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/axis-another-revolvable-thing\"\u003eAxis\/Another Revolvable Thing by Masayuki Takayanagi New Direction Unit\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAxis\/Another Revolvable Thing is the second installment of Blank Forms’ archival reissues of the music of Japan’s eternal revolutionary Masayuki Takayanagi, following April is the cruellest month, a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo’s Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling “non-section music” after leaping beyond the confines of his prior descriptor “real jazz.” The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi’s spacious “gradually projection” and explosively virulent “mass projection” concepts across six pieces, titled Fragments I - VI. Originally issued in two individual LP volumes in rearranged order, this CD edition presents the Another Revolvable Thing concert in chronological sequence for the first time, with “gradually projection” pieces on the first disc and “mass projection” eruptions on the second.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAs part of his liner notes for the original records (newly translated for this edition), noted Japanese free jazz critic Teruto Soejima wrote:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"New Direction Unit performances always emit the smell\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof blood. Fresh blood, never blood that is old or crusted. This is not the desiccated shell of music, it's sound through which pumps the blood of living human beings. Blood that seethes, that flows and counterflows, that blazes, runs, rises and congeals, blood that vomits and spurts. Vivid, scarlet blood. The ultimate beauty that Takayanagi aims at, is it not the color of this blood?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBlood calls out to blood. For these four musicians, playing together means feasting on each other’s blood. It is also a summoning to a secret blood oath, to the creation of solidarity with the audience. In the moment, truly, the situation and beauty are instantaneously unified. To borrow the title of a movie by Kōji Wakamatsu: blood is redder than the sun.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMasayuki “Jojo” Takayanagi (1932 - 1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late ‘60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late ‘50s, Takayanagi had his mind blown by the Chicago Transit Authority’s “Free Form Guitar” in 1969 and promptly turned his back on the jazz scene by which he was beloved, going as far as to call his former peers and admirers “a bunch of losers” in the press. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide, but even at its most limitless hurdling Takayanagi’s playing is propelled by the dexterous grasp of his foundations, to which he paid tribute with elegant takes on flamenco and Ornette Coleman’s “Lonely Woman.” In the autumn of his life, Takayanagi’s solo Action Direct performances made him one of the first guitarists, alongside but independent of Keith Rowe, to use tabletop guitar for pure noise improvisation.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Masayuki Takayanagi New Direction Unit\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T13:09:36+09:00","created_at":"2021-01-27T13:09:36+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","cd","jazz","new"],"price":261800,"price_min":261800,"price_max":261800,"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":37786713260197,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Masayuki Takayanagi New Direction Unit \/\/ Axis\/Another Revolvable Thing CD","public_title":null,"options":["Default Title"],"price":261800,"weight":150,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a2507392548_16.jpg?v=1611720786"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a2507392548_16.jpg?v=1611720786","options":["Title"],"media":[{"alt":null,"id":16259215294629,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a2507392548_16.jpg?v=1611720786"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a2507392548_16.jpg?v=1611720786","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e高柳 昌行アーカイヴ・リイシュー第2弾。1975年9月5日、東京・新宿の安田生命ホールで行われたNew Direction Unitのコンサート録音を収録した2枚組で、高柳がそれまでの「リアルジャズ」という枠を飛び越えて「ノンセクション・ミュージック」と呼ぶようになったものを深く追求している様子がうかがえる内容です。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4144906859\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/axis-another-revolvable-thing\"\u003eAxis\/Another Revolvable Thing by Masayuki Takayanagi New Direction Unit\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAxis\/Another Revolvable Thing is the second installment of Blank Forms’ archival reissues of the music of Japan’s eternal revolutionary Masayuki Takayanagi, following April is the cruellest month, a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo’s Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling “non-section music” after leaping beyond the confines of his prior descriptor “real jazz.” The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi’s spacious “gradually projection” and explosively virulent “mass projection” concepts across six pieces, titled Fragments I - VI. Originally issued in two individual LP volumes in rearranged order, this CD edition presents the Another Revolvable Thing concert in chronological sequence for the first time, with “gradually projection” pieces on the first disc and “mass projection” eruptions on the second.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAs part of his liner notes for the original records (newly translated for this edition), noted Japanese free jazz critic Teruto Soejima wrote:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"New Direction Unit performances always emit the smell\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof blood. Fresh blood, never blood that is old or crusted. This is not the desiccated shell of music, it's sound through which pumps the blood of living human beings. Blood that seethes, that flows and counterflows, that blazes, runs, rises and congeals, blood that vomits and spurts. Vivid, scarlet blood. The ultimate beauty that Takayanagi aims at, is it not the color of this blood?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBlood calls out to blood. For these four musicians, playing together means feasting on each other’s blood. It is also a summoning to a secret blood oath, to the creation of solidarity with the audience. In the moment, truly, the situation and beauty are instantaneously unified. To borrow the title of a movie by Kōji Wakamatsu: blood is redder than the sun.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMasayuki “Jojo” Takayanagi (1932 - 1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late ‘60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late ‘50s, Takayanagi had his mind blown by the Chicago Transit Authority’s “Free Form Guitar” in 1969 and promptly turned his back on the jazz scene by which he was beloved, going as far as to call his former peers and admirers “a bunch of losers” in the press. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide, but even at its most limitless hurdling Takayanagi’s playing is propelled by the dexterous grasp of his foundations, to which he paid tribute with elegant takes on flamenco and Ornette Coleman’s “Lonely Woman.” In the autumn of his life, Takayanagi’s solo Action Direct performances made him one of the first guitarists, alongside but independent of Keith Rowe, to use tabletop guitar for pure noise improvisation.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Masayuki Takayanagi New Direction Unit\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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Masayuki Takayanagi The second archive reissue. Takayanagi jumped over the frame of "real jazz" in a two-disc set that recorded the concert recording of the New Direction Unit held at Yasuda Seimei Hall in Shinjuku, Tokyo on September 2, 1975. It is a content that seems to be deeply pursuing what has come to be called "music". Axis / Another Revolvable Thing by Masayuki Takayanagi New Direction Unit Axis / Another Revolvable ...
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{"id":6129315315877,"title":"Exotic Sin \/\/ Customer's Copy LP","handle":"exotic-sin-customers-copy-lp","description":"\u003cp\u003eDon Cherryの孫Naima Karlssonと日本人ジャズ奏者Kenichi Iwasaによるデュオの初リリース作品。アナログとデジタル、アコースティックとエレクトリック、自然と非自然のコントラストを好む\u003cmeta charset=\"utf-8\"\u003eKarlssonはピアノ、チェレスタ、ベルに加えてシンセサイザーを、Iwasaは時代錯誤な90年代ヤマハのキーボードとギターレットにコントラバス・リコーダー、ドラムス、カリンバ、そしてDon Cherryオリジナル楽器「Donのやかん」（けたたましい高音が出るため）を取り入れています。ジャズと呼ぶにはアヴァン過ぎる3作を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2308381917\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/customers-copy\"\u003eCustomer's Copy by Exotic Sin\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCustomer’s Copy is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson’s grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys’ instruments as well as their synergetic integration of music with artistic practice.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePreferring the stark contrast of analog\/digital, acoustic\/electric, and natural\/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic 90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry’s instruments: one of his trumpets as well as two of his “zen saxophones,” handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don’s kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics ‘70s duos from Don Cherry’s maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton’s work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard’s Sing Me a Song of Songmy, and Muhal\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eRichard Abrams’ electronic works. On album opener “Dot 2 Dot,” Karlsson’s measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott’s 1989 film Black Rain, the schizosphere of “Charlie Vincent” interfaces ominous, dystopian synthesizer with permuted organ swells before album closer “Canis Minor” sets gentle sail for a distant bed of lonesome stars.\u003cbr\u003e\u003cbr\u003eA visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don’s compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record’s three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon’s 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Exotic Sin\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T13:01:04+09:00","created_at":"2021-01-27T13:01:04+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","jazz","lp","monooto"],"price":261800,"price_min":261800,"price_max":261800,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":37786688258213,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Exotic Sin \/\/ Customer's Copy LP","public_title":null,"options":["Default Title"],"price":261800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0160732745_16.jpg?v=1611720376"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0160732745_16.jpg?v=1611720376","options":["Title"],"media":[{"alt":null,"id":16259184001189,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0160732745_16.jpg?v=1611720376"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/a0160732745_16.jpg?v=1611720376","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eDon Cherryの孫Naima Karlssonと日本人ジャズ奏者Kenichi Iwasaによるデュオの初リリース作品。アナログとデジタル、アコースティックとエレクトリック、自然と非自然のコントラストを好む\u003cmeta charset=\"utf-8\"\u003eKarlssonはピアノ、チェレスタ、ベルに加えてシンセサイザーを、Iwasaは時代錯誤な90年代ヤマハのキーボードとギターレットにコントラバス・リコーダー、ドラムス、カリンバ、そしてDon Cherryオリジナル楽器「Donのやかん」（けたたましい高音が出るため）を取り入れています。ジャズと呼ぶにはアヴァン過ぎる3作を収録。DLコード付属。\u003c\/p\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2308381917\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blankformseditions.bandcamp.com\/album\/customers-copy\"\u003eCustomer's Copy by Exotic Sin\u003c\/a\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eCustomer’s Copy is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson’s grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys’ instruments as well as their synergetic integration of music with artistic practice.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePreferring the stark contrast of analog\/digital, acoustic\/electric, and natural\/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic 90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry’s instruments: one of his trumpets as well as two of his “zen saxophones,” handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don’s kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics ‘70s duos from Don Cherry’s maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton’s work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard’s Sing Me a Song of Songmy, and Muhal\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eRichard Abrams’ electronic works. On album opener “Dot 2 Dot,” Karlsson’s measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott’s 1989 film Black Rain, the schizosphere of “Charlie Vincent” interfaces ominous, dystopian synthesizer with permuted organ swells before album closer “Canis Minor” sets gentle sail for a distant bed of lonesome stars.\u003cbr\u003e\u003cbr\u003eA visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don’s compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record’s three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon’s 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eartist : Exotic Sin\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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The first release of the duo by Don Cherry's grandson Naima Karlsson and Japanese jazz player Kenichi Iwasa.Karlsson, who likes analog and digital, acoustic and electric, and natural and non-natural contrasts, has synthesizers in addition to pianos, celestas, and bells, and Iwasa has contrabass recorders, drums, and time-honored 90's Yamaha keyboards and guitarlets. It incorporates the double bass and Don Cherry's original instrument "Don's Yakan" (because it produces a loud treble).Includes 3 works that are too avant to be called jazz. DL code included. Customer's Copy by Exotic Sin Customer's Copy is the debut ...
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{"id":6129311154341,"title":"Catherine Christer Hennix \/\/ Unebgrenzt LP","handle":"catherine-christer-hennix-unebgrenzt-lp","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e哲学者、数学者の顔も持つスウェーデンの伝説的作曲家Catherine Christer Hennixのアーカイブシリーズ第３弾。\u003cmeta charset=\"utf-8\"\u003e1974年2月にシュトックハウゼンの楽曲を演奏した音源で、彼女が朗読、\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eパーカッション、エレクトロニクスを、HANS ISGREN がゴングを担当しています。マスタリングは\u003cmeta charset=\"utf-8\"\u003eStephan Mathieuが担当。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/810834142\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\n\u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"Blank Forms\" href=\"https:\/\/soundcloud.com\/blankforms\" target=\"_blank\"\u003eBlank Forms\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"Catherine Christer Hennix: Unbegrenzt (excerpt)\" href=\"https:\/\/soundcloud.com\/blankforms\/catherine-christer-hennix-unbegrenzt-excerpt\" target=\"_blank\"\u003eCatherine Christer Hennix: Unbegrenzt (excerpt)\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003eUnbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the number 1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.\u003c\/p\u003e\n\u003cp\u003eRecorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.\u003c\/p\u003e\n\u003cp\u003eartist : Catherine Christer Hennix\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e","published_at":"2021-01-27T12:55:57+09:00","created_at":"2021-01-27T12:55:55+09:00","vendor":"Tobira Records","type":"","tags":["blank forms","drone","lp","monooto"],"price":338800,"price_min":338800,"price_max":338800,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":37786671382693,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Catherine Christer Hennix \/\/ Unebgrenzt LP","public_title":null,"options":["Default Title"],"price":338800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/500x500.jpg?v=1611719757"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/500x500.jpg?v=1611719757","options":["Title"],"media":[{"alt":null,"id":16259119317157,"position":1,"preview_image":{"aspect_ratio":1.0,"height":500,"width":500,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/500x500.jpg?v=1611719757"},"aspect_ratio":1.0,"height":500,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/500x500.jpg?v=1611719757","width":500}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e哲学者、数学者の顔も持つスウェーデンの伝説的作曲家Catherine Christer Hennixのアーカイブシリーズ第３弾。\u003cmeta charset=\"utf-8\"\u003e1974年2月にシュトックハウゼンの楽曲を演奏した音源で、彼女が朗読、\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eパーカッション、エレクトロニクスを、HANS ISGREN がゴングを担当しています。マスタリングは\u003cmeta charset=\"utf-8\"\u003eStephan Mathieuが担当。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/810834142\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\" height=\"166\" width=\"100%\" allow=\"autoplay\" frameborder=\"no\" scrolling=\"no\"\u003e\u003c\/iframe\u003e\n\u003cdiv style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"\u003e\n\u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"Blank Forms\" href=\"https:\/\/soundcloud.com\/blankforms\" target=\"_blank\"\u003eBlank Forms\u003c\/a\u003e · \u003ca style=\"color: #cccccc; text-decoration: none;\" title=\"Catherine Christer Hennix: Unbegrenzt (excerpt)\" href=\"https:\/\/soundcloud.com\/blankforms\/catherine-christer-hennix-unbegrenzt-excerpt\" target=\"_blank\"\u003eCatherine Christer Hennix: Unbegrenzt (excerpt)\u003c\/a\u003e\n\u003c\/div\u003e\n\u003cp\u003eUnbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the number 1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.\u003c\/p\u003e\n\u003cp\u003eRecorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.\u003c\/p\u003e\n\u003cp\u003eartist : Catherine Christer Hennix\u003c\/p\u003e\n\u003cp\u003elabel : Blank Forms\u003c\/p\u003e"}
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The third in the archive series of the legendary Swedish composer Catherine Christer Hennix, who also has the face of a philosopher and mathematician. In February 1974, she played a song by Stockhausen, and she is in charge of reading, percussion, and electronics, and HANS ISGREN is in charge of gongs.Stephan Mathieu is in charge of mastering. DL code included. Blank Forms · Catherine Christer Hennix: Unbegrenzt (excerpt) ...
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