Alto saxophonist/composer Tsahar further investigates what 3rd stream music left behind, a gorgeous exploration of sound and movement with percussionist Nakatani and the KJLA String 4tet.
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Label: Hopscotch Records
Catalog ID: HOP 36
Squidco Product Code: 5447
Packaging: Cardstock Gatefold Sleeve
Recorded, mastered and produced by Assif Tsahar.
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• Show Bio for Tatsuya Nakatani
"Tatsuya Nakatani. Acoustic Sound Artist, Master Percussionist. b. 1970, Osaka Japan
Tatsuya Nakatani is an acoustic sound artist and master percussionist originally from Osaka, Japan. He has released over eighty recordings in North America and Europe. Residing in the USA since the mid-nineties, he has performed countless solo percussion concerts and has collaborated with hundreds of artists in international music festivals, university concert halls, art museums and independent venues. Infamous for his constant touring, Nakatani criss-crosses the country every year inspiring audiences with his pioneering sound. In addition to his solo performances, he conducts the Nakatani Gong Orchestra (NGO), a mobile community engagement project which organizes local ensembles performing on multiple bowed gongs.Nakatani teaches master classes and workshops at universities, giving students an opportunity to share his unique musical approach and philosophy for creating visceral, non-linear music.
He has created his own instrumentation, effectively inventing many instruments and extended techniques. Utilizing drums, gongs, cymbals, singing bowls, wooden sticks, metal objects, and the bows and mallets he handcrafts in his Kobo; he creates an intense, intuitively primitive, expressive music that defies genre. His work references improvised-experimental music, free jazz, and noise, while still retaining the sense of space and beauty found in traditional Japanese folk music."-Tatsuya Nakatani Website (http://www.hhproduction.org/tatsuya_bio.html)
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1. Love Is 5:52
2. Unmoving 11:02
3. Sand Between A Toe 3:02
4. The Epistemology Of Loss (For John Berriman) 7:39
5. Of Amazing Most Now (For E. E. Cummings) 6:44
6. Blue Sun 5:48
7. Falling 5:34
8. By And By 5:01
9. Solitude 6:06
sample the album:
"The first cooperative venture between Israeli reed man Assif Tsahar and Japanese conceptual percussionist Tatsuya Nakatani, both based in New York, focused on investigating the more abstract regions of free jazz (Come Sunday, Hopscotch, 2004). Tsahar exerted more control than sweaty power, and Nakatani proved himself a most singular and versatile percussionist. Nakatani hardly ever uses a regular drum kit and is very close in spirit to another sonic master, German percussionist Paul Lovens. On Solitude, with the KJLA string quartet, they expand their sonic studies further into free-form tone poems.
Out of the nine tracks on Solitude, eight are group improvisations, and the title track that concludes this disc is a Duke Ellington standard. The first track, the tender "Love Is," sets the dark tone for this release. Tsahar's somber bass clarinet soars over Nakatani's murmuring bells and the drone of the strings. The sonorities on the longest track, "Unmoving," are more abstract, and the strings sometimes sound as if they are imitating overtone throat-singing. They add to Tsahar's breathy blowing on the tenor sax and Nakatani's distant drumming until all the tension climaxes in muscular interplay. "Sand Between a Toe" is more playful and the sax and strings play a sort of hide-and-seek game.
The tone poem "The Epistemology of Loss" (dedicated to poet John Berryman, after one of his well-known poems, "The Ball Poem") and the following track, "Of Amazing Most Now" (dedicated to poet e.e. cummings, after his famous poem "i thank You God for most this amazing"), are dense contemplations that capture the realization of loss in the Berryman poem and cummings' sensory bewilderment.
"Blue Sun" retains the same tense, dark atmosphere. The tones become more clearer on "Falling," where Nakatani's tap drumming interlocks with the pizzicato strumming of the strings while Tsahar's bass clarinet navigates the turmoil into more coherent lines. Only then does violinist Audrey Chen manage to stand out with her exceptional technique. This continues on the free-improv "By and By," where all the members of the string quartet are much more prominent. The strings on Ellington's "Solitude" sound a bit dry and detached, but Tsahar contrasts this deficiency with a rich and soulful tone.
Solitude managse to draw a cohesive aesthetic that is very similar in spirit to earlier high-energy efforts by Tsahar, with more colors and shades, more control over expressiveness—but still same intelligence and passion. It may demand more from the listener, but it guarantees an exceptional reward."-Eyal Hareuveni, All About Jazz
Get additional information at All About Jazz
NY Downtown & Jazz/Improv