UK free improvising drummer Roger Turner meets Japanese guitarist Otomo Yoshihide at the Hara Museum, Tokyo in the winter of 2013 for a performance that balances introspective improvisation with assertive and authoritative playing for a captivating and dynamic album.
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Catalog ID: 10
Squidco Product Code: 20295
Country: Great Britain
Packaging: Cardboard Gatefold
Recorded at Hara Museum, Tokyo , Japan, on February 17th, 2013, by Taku Unami.
Roger Turner-drumset, percussion
Otomo Yoshihide-guitar, amplifier
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1. The Wait 16:28
2. The Sigh 8:21
3. Crack 11:41
4. Run 3:53
London & UK Free Improvisation Scene
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sample the album:
"Utterly beguiling recording of two great improvisers at work in the Hara Museum, Tokyo in the winter of 2013. Drumset, percussion, guitar, amplifier - a simple set up that produces complex and extremely dynamic results, with immense swells of enveloping feedback, fragile cymbal scrapes that hover at the edge of audibility, ecstatic free-rock clatter and slyly resonant melodies."-Fataka
"The Wait," the opening 16 minute-plus improvisation that forms the bulk of this album contradicts that reputation in terms of an absence of sheer noise for the most part.
What is here instead on most of the tracks is more a quietly circling gritty meditation, edgy yes, but not confrontational at all. When did free improv need to be hand-to-hand combat, a question not requiring an answer the duo might even be addressing in their method.
This is a limited edition duo album featuring drummer Roger Turner - known for his work in the 1980s with Annette Peacock and more recently with Isabelle Dutoit and Alexander Frangenheim - performing alongside Japanese guitarist Otomo Yoshihide. Recorded in the Hara Museum, Tokyo in February 2013, rustling percussion and ghostly echoes do much to concentrate the mind as the pair retreat from their own bare soundscapes to very private spaces where you have to listen hard to glean anything beyond even the hum of an amplifier, the biff of something struck or rattled turning into a startling surprise.
Fragments emerge from nowhere, little scuffles of sound or slices of pent-up energy impacting violently, the wildnesses (on 'The Sign' and more of these on the visceral 'Crack') largely fleeting.
If ever there was a case of silences that act to illuminate and harness the non-silences then this is a great example. Like the improv that works way beyond mere moments, something that is incredibly hard to achieve in long passages on record even in ideal circumstances but definitely accomplished here, this amounts to an album that makes you think beyond the music itself while at the same time allowing you to admire the method, musicianship and holistic environment achieved by the performance itself."-Stephen Graham, Marlbank.net
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