The trio of Akira Sakata on reeds & voice, Johan Berthling on bass, and Paal Nilssen-Love on drums & percussion in an intense set of free jazz denoted by the name Arashi (Storm), an apt description of the fury and irreproachable power of this trio's playing.
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Label: Trost Records
Catalog ID: TROST 146CD
Squidco Product Code: 22316
Packaging: Cardboard Gatefold
Recorded at Atlantis Grammofon, in Stockholm, Sweden, on May 20th, 2015, by Janne Hansson.
Akira Sakata-alto saxophone, clarinet, voice
Johan Berthling-double bass
Paal Nilssen-Love-drums, percussion
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1. Snowing on the Temple Garden 4:01
2. Blow the Humpback Whale 7:33
3. Saitaro-Bushi 15:35
4. Again Sheep Said "Wolf Is Coming" 3:12
5. Semikujira 17:43
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sample the album:
"A couple of years ago Akira Sakata, a powerful saxophone player who has been on the forefront of Japan's free jazz scene since the early '70s, teamed up with Johan Berthling and Paal Nilssen-Love, each one part of some of today's best rhythm sections (Fire! and The Thing, respectively) and both tireless musical explorers. The result was the record Arashi, that true to its title (meaning "storm") presented a band with a huge, powerful sound, but also capable of a variety of different moods, and despite recording together for the first time they already showed clear ideas and a strong interplay. This new album picks up from there and further develops the same discourse, mostly working on the band's strengths but also looking for new formal solutions. In the meantime, Arashi has become the name of the band, and the time passed touring together had a clear effect on the ensemble sound, making it even stronger and more cohesive.
The first track, "Snowing on the Temple Garden" begins with a sparse base of bass, bells and percussions, over which Sakata evokes the atmosphere described by the title with a beautiful, understated theme on clarinet, creating a tangible tension that prepares the ground for the rest of the album. The following Blow of Humpback Whale returns to more familiar terrains, with Berthling and Nilssen-Love providing an explosive free jazz vehicle for the fast winding lines and high register cries of Sakata's alto sax. Saitaro Bushi, based on a traditional Japanese song, opens with a fast dialogue between bass and drums, soon joined by the wild, theatrical vocals of Sakata, screaming over the free rhythm base, then picking up the alto sax for one of the most intense solos of the album. The following section features a bouncing drum solo leading to a layered coda of reverberating metal percussions, revealing a perfectly calibrated compositional structure. Again Sheep Said "Wolf is Coming" is another showcase for Sakata's vocal explosions, a chaotic intermission before the more nuanced final track. Semikujira (Right Whale) begins with a passionate, blues-tinged solo on the alto over a steady percussive base of single drum hits that recalls Japanese ceremonial music. The performance then slowly morphs into an intense free jazz excursion, with solo spotlights for all the musicians, before returning to the sparse atmosphere of the beginning, with Sakata's lyrical playing flowing over the textural backdrop of bass and percussions until the album ends with another high energy collective exchange.
Semikujira is a major new addition to these musicians already vast discographies, and one of the most satisfying listens of the year so far - a powerful, thoughtfully constructed work that blends familiar but disparate musical dimensions into a convincing whole, while preserving the spontaneity of instant creation. The same qualities are mirrored on the cover artwork, an apparently traditional illustration (by Sagaki Keita) that on closer inspection reveals a quirky, irreverent world of strange creatures.Highly recommended."-Nicola Negri
"There are moments on this album when the energy is so furiously intense it feels like it's going to spin out of control and take someone's eye out. Sakata delivers wry alto phrases, as though from the corner of his mouth, before digressing into urgent flights of fancy, and finally launching into screaming, red-faced declamation - fueled by Nilsen-Love's boiling pulse-time drums and the low bounce of Berthling's double bass."-The Wire
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• Show Bio for Johan Berthling
"Johan Berthling (* 1973 in Stockholm ) is a Swedish jazz and improvisational musician ( contrabass , electric bass , also piano ).
Berthling studied at the Royal Music College in Stockholm from 1996-1998 . Since then, he has worked in the Swedish and international jazz and improvisation scene in various ensembles including David Stackenäs , Raymond Strid , Fredrik Ljungkvist , Sten Sandell , Paal Nilssen-Love , Akira Sakata , Mats Gustafsson , Jonas Kullhammar and the Christer Bothén Acoustic Ensemble. In the field of jazz, he was involved in 23 recording sessions between 1996 and 2014. He also worked with folkmusicist and songwriter Nicolai Dunger ( roasting och herren , 2007)."-Wikipedia translated by Google (https://de.wikipedia.org/wiki/Johan_Berthling)
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• Show Bio for Paal Nilssen-Love
"Paal Nilssen-Love was born in Molde, Norway, Dec 24. 1974, and raised at a jazz club in Stavanger, run by his parents. It was natural to choose his fathers drums as his instrument and jazz as his work. From 1990 on he took actively part in the jazz milieu in Stavanger and joined bands with established musicians such as trumpeter Didrik Ingvaldsen and saxophonist Frode Gjerstad. In many ways, these collaborations were essential as they pointed out the directions for Paal's later musical development and career. During his studies at the Jazz dept at the University in Trondheim, where the first self initiated bands were established, things developed really fast - and Paal was nationally acknowledged at the age of 20.
The forming of the quartet Element in 1993 in many ways represented the start of a new phase in Paal's musical life. Element musically became a platform for several other groups with bassist Flaten and pianist Wiik, and lead to collaborations with Iain Ballamy and Chris Potter, amongst others. Paal moved to Oslo in 1996, where he joined and/or took part in the forming of bands like Vindaloo, SAN, Håkon Kornstad Tio, The Quintet and Frode Gjerstad Trio. He later on got more into self initiated projects and collaborations with Swedish musicians, such as pianist Sten Sandell and saxophonist Mats Gustafsson.
Paal played his first solo concert in 1999, and since then the solo concept has been an important part of his work: "Everyone should try doing some solo work, just to feel who you really are and what gets you going". His solo album "Sticks and stones" was put out in 2001 on SOFA Rec.
Being active in several bands at the same time has always been Paal's deliberate working method. He is constantly conscious about the projects he is in, as his participation in each and one of them is fully dedicated. Playing is not about getting from start to goal, but rather being in an everlasting process, a continuous movement where each new piece of music performed is a prolongation of the latest. Hence, keeping focused and concentrating all energy around what's happening there and then is of greatest importance - as is the freedom in the music, the ability of being free within the expression.
All bands, although various styles and musical versatility in general, represent important pieces that make up a total, and all bands are formed or joined with a clear vision. Today Paal's portfolio includes Atomic, School Days, The Thing, Frode Gjerstad Trio, Sten Sandell Trio, Scorch Trio, Territory Band, FME, and various duo projects such as with reedmen Ken Vandermark, John Butcher, Mats Gustafsson, organist Nils Henrik Asheim and noise wizard Lasse Marhaug. And not to forget the recently joined Peter Brötzmann Chicago Tentet."-Paal Nilssen-Love Website (http://www.paalnilssen-love.com/biography.php)
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