Colin Webster / Mark Holub // Nadir LP
Colin Webster / Mark Holub // Nadir LP
¥2,380
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Labels and other worksthis /// Click here to see more Raw Tonk releases available at Tobira.
------------------------
Edition of 250.
Colin Webster --alto and baritone saxophones
Mark Holub --drums
Recorded and mixed at Hackney Road Studios, London by Tim Cedar in July 2018.
Artist: Colin Webster / Mark Holub
Label: Raw Tonk Records
Labels and other worksthis /// Click here to see more Raw Tonk releases available at Tobira.
------------------------
Edition of 250.
Colin Webster --alto and baritone saxophones
Mark Holub --drums
Recorded and mixed at Hackney Road Studios, London by Tim Cedar in July 2018.
Artist: Colin Webster / Mark Holub
Label: Raw Tonk Records
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{"id":7618283929850,"title":"Seikatsu Kōjyō Iinkai \/\/ Seikatsu Kōjyō Iinkai LP","handle":"seikatsu-kojyo-iinkai-seikatsu-kojyo-iinkai-lp","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e日本のジャズ奏者梅津和時と原田依幸、アメリカの\u003cmeta charset=\"utf-8\"\u003eWilliam Parker、\u003cmeta charset=\"utf-8\"\u003eAhmed Abdullah、Rashid Shinanが\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e1974に録音した作品です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eライナーノーツと写真が掲載されたブックレットが付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/rKv6bzGcnz4\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eAguirre releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEssay by Aguirre:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eFerocious JP \/ US free jazz bomb. A rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs \u0026amp; liner notes by Alan Cummings.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003cbr\u003eFollowing hot on the heels of the first, mid-sixties generation of Japanese free jazz players like \u003cstrong\u003eKaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa,\u003c\/strong\u003e etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist \u003cstrong\u003eKazutoki Umezu\u003c\/strong\u003e and multi-instrumentalist \u003cstrong\u003eYoriyuki Harada\u003c\/strong\u003e. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. They first met as students in the clarinet department at the Kunitachi College of Music, a well-known conservatory in western Tokyo. Harada was already securing sideman gigs on bass with professional jazz groups and was active in student politics, making good use of his connections to set up jazz concerts on campus. It was around this time that the two began to play together in an improvised duo, with Umezu on clarinet and bass clarinet and Harada on piano. They also experimented with graphic scores and prepared piano.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThese experiments eventually led to the creation of a trio, with a high-school student called Tetsuya Morimura on drums, that they decided to name \u003cstrong\u003eSeikatsu Kōjyō Iinkai\u003c\/strong\u003e (Lifestyle Improvement Committee) in joking reference to the Marxist discourse of the student radicals of the time. Around 1973, Umezu and Harada decided to call it a day and go their separate ways. Umezu began playing with the\u003cstrong\u003e Toshinori Kondo Unit\u003c\/strong\u003e and Harada with the \u003cstrong\u003eTadashi Yoshida Quintet.\u003c\/strong\u003e In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThen, in September 1974 Umezu travelled alone to New York, where he set about building connections with the loft jazz scene in the city. It was a fortuitous moment to arrive in New York. Rents were cheap in the Lower East Side, possibilities for squatting existed, so many musicians and artists had moved to the area. Umezu soon became known on the scene as Kappo and he started to make connections with some of the young musicians like \u003cstrong\u003eDavid Murray, Arthur Blythe\u003c\/strong\u003e, and \u003cstrong\u003eOliver Lake\u003c\/strong\u003e. He recalls making the rounds of the lofts every evening, checking out the performances, and getting the chance to sit in with many groups including Juma Sultan’s Aboriginal Music Society and trumpeter Ted Daniel’s orchestra. \u003cbr\u003e\u003cbr\u003eThings were going so well that Umezu wrote to Harada and invited him to come to New York. He accepted and arrived in the city in July 1975. Harada and Umezu took the opportunity to resume their artistic collaboration. Their first concert together in over two years took place on July 20\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e at another loft, Sunrise Studios at 122 2\u003csup data-mce-fragment=\"1\"\u003end\u003c\/sup\u003e Avenue. Umezu remembers Sunrise as an unusually sunny loft with the rarest of things, a grand piano. He invited along \u003cstrong\u003eAhmed Abdullah\u003c\/strong\u003e, a trumpeter he had got to know while playing with Ted Daniel. Abdullah led his own group and was a long-term \u003cstrong\u003eSun Ra\u003c\/strong\u003e sideman. \u003cstrong\u003eWilliam Parker\u003c\/strong\u003e, one of the key figures in the loft jazz scene of the period, was on bass. Abdullah also brought along \u003cstrong\u003eRashid Sinan\u003c\/strong\u003e on drums. Sinan drummed in Abdullah’s units throughout the seventies, but he had also played on \u003cstrong\u003eFrank Lowe\u003c\/strong\u003e’s immortal Black Beings album and collaborated with \u003cstrong\u003eArthur Doyle\u003c\/strong\u003e, playing on Doyle’s Alabama Feeling album. By all accounts the evening was a huge success, with speed and dynamism of Harada’s piano playing gaining him lots of support.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eSince they had managed to save some money from their day jobs, Umezu and Harada decided to set up a recording session with the same line-up on August 11 at Studio We, where there was a well-equipped studio on the third floor. Umezu recalls the session as follows,\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eOf course, we recorded our performances in one take, with zero retakes as far as I remember. On all the tracks we recorded, we moved as one unit, sharp and fast. That was the nature of Lifestyle Improvement Committee, New York Branch.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eUmezu and Harada would later become known for the elements of parody and entertainment that they brought to their music, a freewheeling blend of pastiche, humour and on-stage performativity that paralleled the approaches of the\u003cstrong\u003e Art Ensemble, Sun Ra\u003c\/strong\u003e, and Holland’s \u003cstrong\u003eICP\u003c\/strong\u003e. But here, on their first recordings, the humour element is not yet present. Instead, there is a febrile sense of joy in creation and connection. On the Umezu-penned “Kim”, for example, Harada opens the piece with a speedy exploration of the full-range of the keyboard, hitting hard on the bass keys to create a rhythmic bed out of which patterns begin to emerge. Umezu enters at a much slower pace, longer held notes that at first float weightlessly over the urgency of the piano before they begin in splinter and accelerate. When Parker and Sinan kick in, it’s a rollicking tempo with Parker plucking deep and hard and the left-handed Sinan skittering hard across the topside of his kit. Abdullah kicks in a glorious solo twelve minutes in, bright and breathy at once. The piece slows and grows more spacious towards the end, giving Parker a chance to showcase some arco work that shades beautifully into the air against Abdullah’s trumpet.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSeikatsu Kōjyō Iinkai\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Aguirre\u003c\/p\u003e","published_at":"2022-05-25T14:55:01+09:00","created_at":"2022-05-25T14:19:13+09:00","vendor":"Tobira Records","type":"","tags":["aguirre","jazz","lp","new"],"price":398000,"price_min":398000,"price_max":398000,"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":42793322053882,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Seikatsu Kōjyō Iinkai \/\/ Seikatsu Kōjyō Iinkai LP","public_title":null,"options":["Default Title"],"price":398000,"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\/se1.webp?v=1653455955","\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/se2.webp?v=1653455955"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/se1.webp?v=1653455955","options":["Title"],"media":[{"alt":null,"id":29759324586234,"position":1,"preview_image":{"aspect_ratio":1.0,"height":540,"width":540,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/se1.webp?v=1653455955"},"aspect_ratio":1.0,"height":540,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/se1.webp?v=1653455955","width":540},{"alt":null,"id":29759324619002,"position":2,"preview_image":{"aspect_ratio":1.0,"height":540,"width":540,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/se2.webp?v=1653455955"},"aspect_ratio":1.0,"height":540,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/se2.webp?v=1653455955","width":540}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e日本のジャズ奏者梅津和時と原田依幸、アメリカの\u003cmeta charset=\"utf-8\"\u003eWilliam Parker、\u003cmeta charset=\"utf-8\"\u003eAhmed Abdullah、Rashid Shinanが\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e1974に録音した作品です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eライナーノーツと写真が掲載されたブックレットが付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/rKv6bzGcnz4\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eAguirre releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEssay by Aguirre:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eFerocious JP \/ US free jazz bomb. A rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs \u0026amp; liner notes by Alan Cummings.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003cbr\u003eFollowing hot on the heels of the first, mid-sixties generation of Japanese free jazz players like \u003cstrong\u003eKaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa,\u003c\/strong\u003e etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist \u003cstrong\u003eKazutoki Umezu\u003c\/strong\u003e and multi-instrumentalist \u003cstrong\u003eYoriyuki Harada\u003c\/strong\u003e. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. They first met as students in the clarinet department at the Kunitachi College of Music, a well-known conservatory in western Tokyo. Harada was already securing sideman gigs on bass with professional jazz groups and was active in student politics, making good use of his connections to set up jazz concerts on campus. It was around this time that the two began to play together in an improvised duo, with Umezu on clarinet and bass clarinet and Harada on piano. They also experimented with graphic scores and prepared piano.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eThese experiments eventually led to the creation of a trio, with a high-school student called Tetsuya Morimura on drums, that they decided to name \u003cstrong\u003eSeikatsu Kōjyō Iinkai\u003c\/strong\u003e (Lifestyle Improvement Committee) in joking reference to the Marxist discourse of the student radicals of the time. Around 1973, Umezu and Harada decided to call it a day and go their separate ways. Umezu began playing with the\u003cstrong\u003e Toshinori Kondo Unit\u003c\/strong\u003e and Harada with the \u003cstrong\u003eTadashi Yoshida Quintet.\u003c\/strong\u003e In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThen, in September 1974 Umezu travelled alone to New York, where he set about building connections with the loft jazz scene in the city. It was a fortuitous moment to arrive in New York. Rents were cheap in the Lower East Side, possibilities for squatting existed, so many musicians and artists had moved to the area. Umezu soon became known on the scene as Kappo and he started to make connections with some of the young musicians like \u003cstrong\u003eDavid Murray, Arthur Blythe\u003c\/strong\u003e, and \u003cstrong\u003eOliver Lake\u003c\/strong\u003e. He recalls making the rounds of the lofts every evening, checking out the performances, and getting the chance to sit in with many groups including Juma Sultan’s Aboriginal Music Society and trumpeter Ted Daniel’s orchestra. \u003cbr\u003e\u003cbr\u003eThings were going so well that Umezu wrote to Harada and invited him to come to New York. He accepted and arrived in the city in July 1975. Harada and Umezu took the opportunity to resume their artistic collaboration. Their first concert together in over two years took place on July 20\u003csup data-mce-fragment=\"1\"\u003eth\u003c\/sup\u003e at another loft, Sunrise Studios at 122 2\u003csup data-mce-fragment=\"1\"\u003end\u003c\/sup\u003e Avenue. Umezu remembers Sunrise as an unusually sunny loft with the rarest of things, a grand piano. He invited along \u003cstrong\u003eAhmed Abdullah\u003c\/strong\u003e, a trumpeter he had got to know while playing with Ted Daniel. Abdullah led his own group and was a long-term \u003cstrong\u003eSun Ra\u003c\/strong\u003e sideman. \u003cstrong\u003eWilliam Parker\u003c\/strong\u003e, one of the key figures in the loft jazz scene of the period, was on bass. Abdullah also brought along \u003cstrong\u003eRashid Sinan\u003c\/strong\u003e on drums. Sinan drummed in Abdullah’s units throughout the seventies, but he had also played on \u003cstrong\u003eFrank Lowe\u003c\/strong\u003e’s immortal Black Beings album and collaborated with \u003cstrong\u003eArthur Doyle\u003c\/strong\u003e, playing on Doyle’s Alabama Feeling album. By all accounts the evening was a huge success, with speed and dynamism of Harada’s piano playing gaining him lots of support.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eSince they had managed to save some money from their day jobs, Umezu and Harada decided to set up a recording session with the same line-up on August 11 at Studio We, where there was a well-equipped studio on the third floor. Umezu recalls the session as follows,\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eOf course, we recorded our performances in one take, with zero retakes as far as I remember. On all the tracks we recorded, we moved as one unit, sharp and fast. That was the nature of Lifestyle Improvement Committee, New York Branch.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eUmezu and Harada would later become known for the elements of parody and entertainment that they brought to their music, a freewheeling blend of pastiche, humour and on-stage performativity that paralleled the approaches of the\u003cstrong\u003e Art Ensemble, Sun Ra\u003c\/strong\u003e, and Holland’s \u003cstrong\u003eICP\u003c\/strong\u003e. But here, on their first recordings, the humour element is not yet present. Instead, there is a febrile sense of joy in creation and connection. On the Umezu-penned “Kim”, for example, Harada opens the piece with a speedy exploration of the full-range of the keyboard, hitting hard on the bass keys to create a rhythmic bed out of which patterns begin to emerge. Umezu enters at a much slower pace, longer held notes that at first float weightlessly over the urgency of the piano before they begin in splinter and accelerate. When Parker and Sinan kick in, it’s a rollicking tempo with Parker plucking deep and hard and the left-handed Sinan skittering hard across the topside of his kit. Abdullah kicks in a glorious solo twelve minutes in, bright and breathy at once. The piece slows and grows more spacious towards the end, giving Parker a chance to showcase some arco work that shades beautifully into the air against Abdullah’s trumpet.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSeikatsu Kōjyō Iinkai\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLabel : Aguirre\u003c\/p\u003e"}
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This work was recorded in 1974 by Japanese jazz players Kazutoki Umezu and Yoriyuki Harada, and American William Parker, Ahmed Abdullah, and Rashid Shinan.Includes liner notes and a booklet with photos.Click here to see more Aguirre releases available at Tobira. ------------------------------. ..
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{"id":7618283012346,"title":"Takayanagi Masayuki New Direction for the Art \/\/ La Grima LP","handle":"takayanagi-masayuki-new-direction-for-the-art-la-grima-lp","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e大御所ギタリスト\u003cmeta charset=\"utf-8\"\u003e高柳昌行が1971年8月14日に行ったライブの録音盤です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eライナーノーツと写真が掲載されたブックレットが付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/m-1kxWzgTEM\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eAguirre releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEssay by Aguirre:\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\"\u003c\/strong\u003eFamed free jazz concert registration of an early New Direction for the Art performance. Recorded in 1971. Old-style Gatefold LP, with rare photographs \u0026amp; extensive liner notes by Alan Cummings.\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003eThe performance by \u003cstrong\u003eTakayanagi Masayuki New Direction for the Art\u003c\/strong\u003e at the Gen’yasai festival on August 14, 1971 was an intense, bruising collision between the radical, anti-establishment politics of the period in Japan and the febrile avant-garde music that had begun to emerge a few years before. The ferocious performance that you can hear here was received with outright hostility by the audience, who responded first with catcalls and later with showers of debris that were hurled at the performers. Takayanagi though described the group’s performance to jazz magazine Swing Journal as a success, “an authentic and realistic depiction of the situation”.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn 1962, Takayanagi, bassist Kanai Hideto and painter Kageyama Isamu went on to form an AACM-style musicians’ collective called the \u003cstrong\u003eNew Century Music Research Institute.\u003c\/strong\u003e Every Friday, members gathered at Gin-Paris, a chanson bar in the fashionable Ginza district of Tokyo, to push the outer limits of jazz creativity. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBut the pivotal moment for his music was the creation a new trio version of his New Directions group in August 1969, with the free bassist \u003cstrong\u003eYoshizawa Motoharu\u003c\/strong\u003e and a young drummer \u003cstrong\u003eToyozumi (Sabu) Yoshisaburō\u003c\/strong\u003e. Experiments eventually led to the creation of two basic frameworks for improvisation that Takayagi referred to as Mass Projection and Gradually Projection. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e “La Grima” (tears), the piece that was played at the Gen’yasai festival, is a mass projection and listening to it, you can get a clear sense of what Takayanagi was aiming at. Mass projection involves a dense, speedy and chaotic colouring in of space that destroys the listener’s perception of time, and thus of musical development.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe ferocity of the performance of “La Grima” at the Gen’yasai Festival in Sanrizuka on August 14, 1971 was consciously grounded by Takayanagi in a particular historical moment, ripe with conflict and violence. A month after the festival, on September 16, three policemen would die during struggles at the site. This was the context that the three-day Gen’yasai Festival existed within. The line-up reflected the radical politics of the movement, with leading free jazz musicians like \u003cstrong\u003eTakayanagi, Abe Kaoru\u003c\/strong\u003e, and \u003cstrong\u003eTakagi Mototeru\u003c\/strong\u003e appearing alongside radical ur-punkers \u003cstrong\u003eZuno Keisatsu\u003c\/strong\u003e, heavy electric blues bands like \u003cstrong\u003eBlues Creation\u003c\/strong\u003e, and\u003cstrong\u003e Haino Keiji\u003c\/strong\u003e’s scream-jazz unit \u003cstrong\u003eLost Aaraaff\u003c\/strong\u003e.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eNew Direction for the Arts\u003c\/strong\u003e trio topped the bill on the opening day, playing an aggressive, uncompromising “mass projection” set of polyphonic improvisation. Alongside drummer \u003cstrong\u003eHiroshi Yamazaki\u003c\/strong\u003e and saxophonist \u003cstrong\u003eKenji Mori\u003c\/strong\u003e, Takayanagi soloed hard and continuously for forty minutes. This was performance as precisely calibrated metaphor: three musicians responding to the demands of the moment with instinctive force and fury, untethered by rules, leaderless yet not rudderless (the direction part of the group’s name was no accident). The piece was entitled La Grima – tears - and the fusion between the palpable anger of the performance and hopeless sadness of its title were also perfectly apt for the situation. This was a fight that the state was always going to win. Yet, by all accounts, the band’s set went down like a fart at a funeral. The band were showered with catcalls and debris throughout, and by chants of “go home” when the music finally came to an end.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eHowever, looking back at the event in the year-end issue of Japan’s leading jazz magazine, Swing Journal, Takayanagi was surprisingly upbeat: New Directions brought a solid political consciousness to our performance and succeeded in an authentic and realistic depiction of the situation. But journalism revealed its superficiality in its inability to penetrate the core of the music. I don’t know much about anyone else, but we at least left behind a competent record.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eIt’s a fascinating statement in many ways. Perhaps on one-hand it can be read as stubborn, solipsistic and self-justifying, yet in conjunction with his statement in 1971 there are points that guide us towards an understanding of just what Takayanagi intended with his performance at the festival. As\u003cstrong\u003e Kitazato Yoshiyuki\u003c\/strong\u003e has argued, it becomes an almost religious act, directed at the earth deities of the land. A union of anger, sorrow and malevolence that can be placed nowhere effective, all it can do is find expression and channeling. The forcible land seizures at Narita, the eviction of farmers from land that had been in families for generations, the destruction of communities: none of this can be prevented, not least by an artistic action. All that can be done is an attempt to mark the land itself, to soak it with the combined force of emotions and the volume of the performances, to bury something there that cannot be drowned out, even by the coming roar of jet engines.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Takayanagi Masayuki New Direction for the Art\u003c\/p\u003e\n\u003cp\u003eLabel : Aguirre\u003c\/p\u003e","published_at":"2022-05-25T14:51:27+09:00","created_at":"2022-05-25T14:17:01+09:00","vendor":"Tobira Records","type":"","tags":["aguirre","jazz","lp","new"],"price":398000,"price_min":398000,"price_max":398000,"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":42793311764730,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Takayanagi Masayuki New Direction for the Art \/\/ La Grima LP","public_title":null,"options":["Default Title"],"price":398000,"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\/ta1.webp?v=1653455822","\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ta2.webp?v=1653455822"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ta1.webp?v=1653455822","options":["Title"],"media":[{"alt":null,"id":29759311380730,"position":1,"preview_image":{"aspect_ratio":1.0,"height":540,"width":540,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ta1.webp?v=1653455822"},"aspect_ratio":1.0,"height":540,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ta1.webp?v=1653455822","width":540},{"alt":null,"id":29759311413498,"position":2,"preview_image":{"aspect_ratio":1.0,"height":540,"width":540,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ta2.webp?v=1653455822"},"aspect_ratio":1.0,"height":540,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ta2.webp?v=1653455822","width":540}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e大御所ギタリスト\u003cmeta charset=\"utf-8\"\u003e高柳昌行が1971年8月14日に行ったライブの録音盤です。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eライナーノーツと写真が掲載されたブックレットが付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/m-1kxWzgTEM\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/agu\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/agu\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eAguirre releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------------\u003c\/p\u003e\n\u003cp\u003eEssay by Aguirre:\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\"\u003c\/strong\u003eFamed free jazz concert registration of an early New Direction for the Art performance. Recorded in 1971. Old-style Gatefold LP, with rare photographs \u0026amp; extensive liner notes by Alan Cummings.\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003eThe performance by \u003cstrong\u003eTakayanagi Masayuki New Direction for the Art\u003c\/strong\u003e at the Gen’yasai festival on August 14, 1971 was an intense, bruising collision between the radical, anti-establishment politics of the period in Japan and the febrile avant-garde music that had begun to emerge a few years before. The ferocious performance that you can hear here was received with outright hostility by the audience, who responded first with catcalls and later with showers of debris that were hurled at the performers. Takayanagi though described the group’s performance to jazz magazine Swing Journal as a success, “an authentic and realistic depiction of the situation”.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eIn 1962, Takayanagi, bassist Kanai Hideto and painter Kageyama Isamu went on to form an AACM-style musicians’ collective called the \u003cstrong\u003eNew Century Music Research Institute.\u003c\/strong\u003e Every Friday, members gathered at Gin-Paris, a chanson bar in the fashionable Ginza district of Tokyo, to push the outer limits of jazz creativity. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBut the pivotal moment for his music was the creation a new trio version of his New Directions group in August 1969, with the free bassist \u003cstrong\u003eYoshizawa Motoharu\u003c\/strong\u003e and a young drummer \u003cstrong\u003eToyozumi (Sabu) Yoshisaburō\u003c\/strong\u003e. Experiments eventually led to the creation of two basic frameworks for improvisation that Takayagi referred to as Mass Projection and Gradually Projection. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e “La Grima” (tears), the piece that was played at the Gen’yasai festival, is a mass projection and listening to it, you can get a clear sense of what Takayanagi was aiming at. Mass projection involves a dense, speedy and chaotic colouring in of space that destroys the listener’s perception of time, and thus of musical development.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe ferocity of the performance of “La Grima” at the Gen’yasai Festival in Sanrizuka on August 14, 1971 was consciously grounded by Takayanagi in a particular historical moment, ripe with conflict and violence. A month after the festival, on September 16, three policemen would die during struggles at the site. This was the context that the three-day Gen’yasai Festival existed within. The line-up reflected the radical politics of the movement, with leading free jazz musicians like \u003cstrong\u003eTakayanagi, Abe Kaoru\u003c\/strong\u003e, and \u003cstrong\u003eTakagi Mototeru\u003c\/strong\u003e appearing alongside radical ur-punkers \u003cstrong\u003eZuno Keisatsu\u003c\/strong\u003e, heavy electric blues bands like \u003cstrong\u003eBlues Creation\u003c\/strong\u003e, and\u003cstrong\u003e Haino Keiji\u003c\/strong\u003e’s scream-jazz unit \u003cstrong\u003eLost Aaraaff\u003c\/strong\u003e.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eNew Direction for the Arts\u003c\/strong\u003e trio topped the bill on the opening day, playing an aggressive, uncompromising “mass projection” set of polyphonic improvisation. Alongside drummer \u003cstrong\u003eHiroshi Yamazaki\u003c\/strong\u003e and saxophonist \u003cstrong\u003eKenji Mori\u003c\/strong\u003e, Takayanagi soloed hard and continuously for forty minutes. This was performance as precisely calibrated metaphor: three musicians responding to the demands of the moment with instinctive force and fury, untethered by rules, leaderless yet not rudderless (the direction part of the group’s name was no accident). The piece was entitled La Grima – tears - and the fusion between the palpable anger of the performance and hopeless sadness of its title were also perfectly apt for the situation. This was a fight that the state was always going to win. Yet, by all accounts, the band’s set went down like a fart at a funeral. The band were showered with catcalls and debris throughout, and by chants of “go home” when the music finally came to an end.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eHowever, looking back at the event in the year-end issue of Japan’s leading jazz magazine, Swing Journal, Takayanagi was surprisingly upbeat: New Directions brought a solid political consciousness to our performance and succeeded in an authentic and realistic depiction of the situation. But journalism revealed its superficiality in its inability to penetrate the core of the music. I don’t know much about anyone else, but we at least left behind a competent record.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem\u003eIt’s a fascinating statement in many ways. Perhaps on one-hand it can be read as stubborn, solipsistic and self-justifying, yet in conjunction with his statement in 1971 there are points that guide us towards an understanding of just what Takayanagi intended with his performance at the festival. As\u003cstrong\u003e Kitazato Yoshiyuki\u003c\/strong\u003e has argued, it becomes an almost religious act, directed at the earth deities of the land. A union of anger, sorrow and malevolence that can be placed nowhere effective, all it can do is find expression and channeling. The forcible land seizures at Narita, the eviction of farmers from land that had been in families for generations, the destruction of communities: none of this can be prevented, not least by an artistic action. All that can be done is an attempt to mark the land itself, to soak it with the combined force of emotions and the volume of the performances, to bury something there that cannot be drowned out, even by the coming roar of jet engines.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Takayanagi Masayuki New Direction for the Art\u003c\/p\u003e\n\u003cp\u003eLabel : Aguirre\u003c\/p\u003e"}
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This is a live recording of the live performance by the great guitarist Masayuki Takayanagi on August 1971, 8.Includes liner notes and a booklet with photos.Click here to see more Aguirre releases available at Tobira. ------------------------------ Essay by Aguirre: ...
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{"id":7618277933306,"title":"Bromp Treb \/\/ Bald Eagle Over Food City LP","handle":"bromp-treb-bald-eagle-over-food-city-lp","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアメリカ・マサチューセッツのコラージュ作家Bromp Trebが、2022年5月にフィンランドの実験レーベルArtsyから300部限定でリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eカオティックな世界観で繰り広げられる土着コラージュ・ジャズ〜コラージュ・フォーク\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e13曲を収録。\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eDLコード付属。マスタリングはSamuli Tannerが担当しています。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e※ジャケット右下に若干の角折れがございます。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=21539313\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=739252393\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=21539313\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=1709405636\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eArtsyその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/artsy\"\u003eこちら\u003c\/a\u003e \/\/\/ Click\u003ca href=\"https:\/\/tobirarecords.com\/collections\/artsy\"\u003e here\u003c\/a\u003e to see more Artsy releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e----------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition of 250.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArsty\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eBald Eagle Over Food City is a blurry zoomed-in photograph of a national bird soaring over a grocery store parking lot. It is an album of thirteen failed portraits attempting to distill the impossible essence of a place that is repeatedly deformed by displacement and extraction, quietly made invisible by milltown charm.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBromp Treb is the solo project of noisemaker and filmmaker Neil ‘Cloaca’ Young, who has been performing and producing small-run releases under this moniker for some 20 years. For almost as long he’s been the percussionist for weirdo noise collective Fat Worm of Error, and collaborating in other units such as Carbus, Gloyd and Playbackers.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eYoung co-directed Milford Graves Full Mantis with Jake Meginsky, as well as making many other obscure personal experimental films. He has lived in the village described in Bald Eagle Over Food City for the past 16 years and between the Connecticut and Hudson River Valleys his whole life.\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e***\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBald Eagle Over Food City was composed, performed and produced by Bromp Treb aka Neil ‘cloaca’ Young, recorded with several tape machines in 2019-21 at the chromazone home studio in western massachusetts, along the Connecticut River at a small village currently called Turners Falls, aka Pocumtuck and Wabanaki lands.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Bromp Treb\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Artsy\u003c\/span\u003e\u003c\/p\u003e","published_at":"2022-05-25T19:23:12+09:00","created_at":"2022-05-25T13:59:38+09:00","vendor":"Tobira Records","type":"","tags":["artsy records","jazz","lp","monooto","new","strange beats"],"price":289000,"price_min":289000,"price_max":289000,"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":42793189671162,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Bromp Treb \/\/ Bald Eagle Over Food City LP","public_title":null,"options":["Default Title"],"price":289000,"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\/ci.jpg?v=1653454780","\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ci2_c2d66ead-2430-4d00-9008-9c5b4eca7fbe.jpg?v=1653454780"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ci.jpg?v=1653454780","options":["Title"],"media":[{"alt":null,"id":29759235522810,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ci.jpg?v=1653454780"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ci.jpg?v=1653454780","width":700},{"alt":null,"id":29759235555578,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ci2_c2d66ead-2430-4d00-9008-9c5b4eca7fbe.jpg?v=1653454780"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/ci2_c2d66ead-2430-4d00-9008-9c5b4eca7fbe.jpg?v=1653454780","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eアメリカ・マサチューセッツのコラージュ作家Bromp Trebが、2022年5月にフィンランドの実験レーベルArtsyから300部限定でリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eカオティックな世界観で繰り広げられる土着コラージュ・ジャズ〜コラージュ・フォーク\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e13曲を収録。\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eDLコード付属。マスタリングはSamuli Tannerが担当しています。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e※ジャケット右下に若干の角折れがございます。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=21539313\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=739252393\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=21539313\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=1709405636\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eArtsyその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/artsy\"\u003eこちら\u003c\/a\u003e \/\/\/ Click\u003ca href=\"https:\/\/tobirarecords.com\/collections\/artsy\"\u003e here\u003c\/a\u003e to see more Artsy releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e----------------------------\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition of 250.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArsty\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eBald Eagle Over Food City is a blurry zoomed-in photograph of a national bird soaring over a grocery store parking lot. It is an album of thirteen failed portraits attempting to distill the impossible essence of a place that is repeatedly deformed by displacement and extraction, quietly made invisible by milltown charm.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eBromp Treb is the solo project of noisemaker and filmmaker Neil ‘Cloaca’ Young, who has been performing and producing small-run releases under this moniker for some 20 years. For almost as long he’s been the percussionist for weirdo noise collective Fat Worm of Error, and collaborating in other units such as Carbus, Gloyd and Playbackers.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eYoung co-directed Milford Graves Full Mantis with Jake Meginsky, as well as making many other obscure personal experimental films. He has lived in the village described in Bald Eagle Over Food City for the past 16 years and between the Connecticut and Hudson River Valleys his whole life.\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e***\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBald Eagle Over Food City was composed, performed and produced by Bromp Treb aka Neil ‘cloaca’ Young, recorded with several tape machines in 2019-21 at the chromazone home studio in western massachusetts, along the Connecticut River at a small village currently called Turners Falls, aka Pocumtuck and Wabanaki lands.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Bromp Treb\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Artsy\u003c\/span\u003e\u003c\/p\u003e"}
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Bromp Treb, a collage writer in Massachusetts, USA, released a limited edition of 2022 copies on the Finnish experimental label Artsy in May 5.Contains 300 indigenous collage jazz-collage folk songs that unfold in a chaotic world view. DL code included.Samuli Tanner is in charge of mastering. * There is a slight break in the lower right corner of the jacket. Click here to see more Artsy releases available at Tobira. ----------------------------...
¥2,890
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{"id":7618274132218,"title":"Airaksinen Pekkola Tanner \/\/ Uudet Jes Opot LP","handle":"airaksinen-pekkola-tanner-uudet-jes-opot-lp","description":"\u003cp\u003eフィンランドのキーボード奏者故\u003cspan data-mce-fragment=\"1\"\u003ePekka Airaksinenとサックス奏者\u003cmeta charset=\"utf-8\"\u003eSami Pekkola、コラージュ作家Samuli Tannerによる実験ジャズバンドが、2022年4月に同国実験レーベルArtsyから300部限定でリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e2015年に行ったライブの2テイクを収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePekka Airaksinen - keyboards\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSami Pekkola - saxophones, bongos and small objects\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSamuli Tanner - electronics\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e※ジャケット左上に若干の角折れがございます。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3113424999\/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\/artsy\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/artsy\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/artsy\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/artsy\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eArtsy Records releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 300.\u003c\/p\u003e\n\u003cp\u003eArtsy Records:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003ePekka Airaksinen (1945–2019) was a pioneering composer of electronic and experimental music. Despite his undisputed position as one of the most significant factors in Finnish experimental music, he rarely performed live since the early days of Finnish underground in the 60’s and 70’s. He composed and developed his unique, gentle and enthusiastic approach to music at his private meditation center, far from the pulse and demands of life in the city. Luckily some exceptions did occur, like this live set with saxophonist Sami Pekkola and electronic musician Samuli Tanner.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe trio was formed around 2015 for private sessions and occasional live performances. The music varied from dreamy electroacoustic improvisations to blasting blowout sessions where Tanner switched to drums. In February 2017, they performed in Tampere and Helsinki, opening for Rashad Becker. The latter concert can be heard almost entirely on this record.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn loving memory of Pekka.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003ePekka Airaksinen - keyboards\u003cbr\u003eSami Pekkola - saxophones, bongos and small objects\u003cbr\u003eSamuli Tanner - electronics\u003cbr\u003eSimo Ulvi - front cover photograph\u003cbr\u003eSamuli Tanner - mastering and cover design\u003c\/p\u003e\n\u003cp\u003eArtist : Airaksinen Pekkola Tanner\u003c\/p\u003e\n\u003cp\u003eLabel : Artsy Records\u003c\/p\u003e","published_at":"2022-05-25T14:17:55+09:00","created_at":"2022-05-25T13:50:59+09:00","vendor":"Tobira Records","type":"","tags":["artsy records","jazz","lp","monooto","new"],"price":289000,"price_min":289000,"price_max":289000,"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":42793119351034,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Airaksinen Pekkola Tanner \/\/ Uudet Jes Opot LP","public_title":null,"options":["Default Title"],"price":289000,"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\/op1_34d95896-0e12-4e96-ae6a-bd7d7fc21200.jpg?v=1653454260"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/op1_34d95896-0e12-4e96-ae6a-bd7d7fc21200.jpg?v=1653454260","options":["Title"],"media":[{"alt":null,"id":29759191449850,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/op1_34d95896-0e12-4e96-ae6a-bd7d7fc21200.jpg?v=1653454260"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/op1_34d95896-0e12-4e96-ae6a-bd7d7fc21200.jpg?v=1653454260","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eフィンランドのキーボード奏者故\u003cspan data-mce-fragment=\"1\"\u003ePekka Airaksinenとサックス奏者\u003cmeta charset=\"utf-8\"\u003eSami Pekkola、コラージュ作家Samuli Tannerによる実験ジャズバンドが、2022年4月に同国実験レーベルArtsyから300部限定でリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e2015年に行ったライブの2テイクを収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ePekka Airaksinen - keyboards\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSami Pekkola - saxophones, bongos and small objects\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSamuli Tanner - electronics\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e※ジャケット左上に若干の角折れがございます。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3113424999\/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\/artsy\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/artsy\"\u003eこちら\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003e\/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/artsy\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/artsy\"\u003ehere\u003c\/a\u003e to see more \u003cmeta charset=\"utf-8\"\u003eArtsy Records releases available at Tobira.\u003c\/p\u003e\n\u003cp\u003e------------------------\u003c\/p\u003e\n\u003cp\u003eEdition of 300.\u003c\/p\u003e\n\u003cp\u003eArtsy Records:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003ePekka Airaksinen (1945–2019) was a pioneering composer of electronic and experimental music. Despite his undisputed position as one of the most significant factors in Finnish experimental music, he rarely performed live since the early days of Finnish underground in the 60’s and 70’s. He composed and developed his unique, gentle and enthusiastic approach to music at his private meditation center, far from the pulse and demands of life in the city. Luckily some exceptions did occur, like this live set with saxophonist Sami Pekkola and electronic musician Samuli Tanner.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eThe trio was formed around 2015 for private sessions and occasional live performances. The music varied from dreamy electroacoustic improvisations to blasting blowout sessions where Tanner switched to drums. In February 2017, they performed in Tampere and Helsinki, opening for Rashad Becker. The latter concert can be heard almost entirely on this record.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eIn loving memory of Pekka.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003ePekka Airaksinen - keyboards\u003cbr\u003eSami Pekkola - saxophones, bongos and small objects\u003cbr\u003eSamuli Tanner - electronics\u003cbr\u003eSimo Ulvi - front cover photograph\u003cbr\u003eSamuli Tanner - mastering and cover design\u003c\/p\u003e\n\u003cp\u003eArtist : Airaksinen Pekkola Tanner\u003c\/p\u003e\n\u003cp\u003eLabel : Artsy Records\u003c\/p\u003e"}
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An experimental jazz band by the late Finnish keyboard player Pekka Airaksinen, saxophonist Sami Pekkola, and collage writer Samuli Tanner released in April 2022 on the Finnish experimental label Artsy in a limited edition of 4 copies. Includes 300 takes of the live concert in 2015. DL code included. Pekka Airaksinen --keyboardsSami Pekkola --saxophones, bongos and ...
¥2,890