Performing at Astor Place in the East Village, NYC every Sunday for 3 years prior to this recording created the unique sound and tight interactions of these remarkable recordings.
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Label: Hopscotch Records
Catalog ID: HOP 24
Squidco Product Code: 2409
Packaging: Cardstock Gatefold Sleeve
Recorded and mastered at H&H Studios, August 2003 by Tatusya Nakatani.
Assif tsahar-tenor sax and bass clarinet
Tatsuya Nakatani-drums and gongs
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1. Rap Ace Slot 4:19
2. J Walk 5:22
3. Closed News 4:38
4. Sawing Clouds 7:38
5. Street Cleaning 5:01
6. Come Sunday 3:08
7. West 4th 2:39
8. NY Movement 1:54
9. Low Lov 5:42
10. Circling The Cube 4:38
11. Missed Rehearsal 7:07
Related Categories of Interest:
NY Downtown & Jazz/Improv
sample the album:
"Come Sunday is music that on its most immediate, most obvious level is meant to conjure an ostensibly non-musical vignette in the mind's eye. Think of Clifford Brown & Max Roach's "Parisian Thoroughfare" or Beethoven's sixth "Pastorale" symphony. Within its 52-minute running time, Come Sunday contains several such items. The sound of waking from a mid-afternoon nap to the sound of gentle rain. The sound of sitting in rush hour traffic. Of watching one of life's comedies play itself out through a greasy diner window. Of hearing one side of a frantic phone conversation. From start to finish, Come Sunday is free, loose, broadly expressive, impressionistic.
And yet, for all its moments of discord, not one threatens the organic, almost telepathic dialogue between these two musicians. Tsahar and Nakatani maintain an impressive unity that is rarely possible among larger incarnations like trios, quartets and philharmonic orchestras. As if to demonstrate the power of the jazz duo (their own in particular), they have given us the title track, a Duke Ellington chart originally composed for a much larger ensemble, in addition to their ten original compositions.
Not everything on Come Sunday is sheer bliss. "West 4th" overlooks the fact that Coltrane, whose influence haunts Tsahar's playing on this disc, never abandoned a solid melodic line altogether to chase after rapture. "Street Cleaning" is a bit too much like performance art. It's also tempting to wonder where "Circling the Cube" is headed, and why. But you can be sure that wherever Tsahar is going, Nakatani is right beside him; and vice versa. I doubt that even Siamese twins share this kind of intimacy."-Eric J. Iannelli, All About Jazz
• 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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