The 1st in a series of unreleased concerts from the 90s recorded in Japan by Chap-Chap Records, acquired by NoBusiness to bring them to light; this duo album brings the late and influential UK free improvising trombonist Paul Rutherford together with drummer Sabu Toyozumi for five far-ranging dialogs of both reflective and enthusiastical energetic playing.
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Catalog ID: NBCD 99
Squidco Product Code: 23969
Packaging: Jewel Case
Recorded live at Cafe Jumbo in Tokoname, Aichi, Japan, on October 11th, 1999 by Ryuji Enokida.
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• Show Bio for Paul Rutherford
"Paul William Rutherford (29 February 1940 - 5 August 2007) was an English free improvising trombonist. Born in Greenwich, South East London, Rutherford initially played saxophone but switched to trombone. During the 1960s, he taught at the Guildhall School of Music and Drama.
In 1970, Rutherford, guitarist Derek Bailey and bassist Barry Guy formed the improvising group Iskra 1903, which lasted until 1973. The formation was documented on a double album from Incus, later reissued with much bonus material on the 3-CD set Chapter One (Emanem, 2000). A film soundtrack was separately released as Buzz Soundtrack. Iskra 1903 was one of the earliest free improvising groups to omit a drummer/percussionist, permitting the players to explore a range of textures and dynamics which set it apart from such other contemporary improvising ensembles as SME and AMM. The group's unusual name is the Russian word for "spark"; it was the title of the Iskra revolutionary newspaper edited by Lenin. The "1903" designation means "20th century music for trio"; occasionally Evan Parker played with the group (Iskra 1904) and Rutherford also at one point assembled a 12-piece ensemble called, inevitably, Iskra 1912. The group was later revived with Philipp Wachsmann replacing Bailey, a phase of the group's life that lasted from roughly 1977 to 1995; its earlier work is documented on Chapter Two (Emanem, 2006) and its final recordings were issued on Maya (Iskra 1903) and Emanem (Frankfurt 1991).
Rutherford also played with Globe Unity Orchestra, London Jazz Composer's Orchestra, Centipede, the Mike Westbrook Orchestra, and the Orckestra, a merger of avant-rock group Henry Cow, the Mike Westbrook Brass Band and folk singer Frankie Armstrong. He also played a very small number of gigs with Soft Machine. He is perhaps most famous for solo trombone improvisations. His album The Gentle Harm of the Bourgeoisie is a landmark recording in solo trombone and his 1983 Trio album Gheim, recorded at the Bracknell Jazz Festival is another acclaimed work.
Rutherford died of cirrhosis of the liver and a ruptured aorta on 5 August 2007, aged 67."-Wikipedia (https://en.wikipedia.org/wiki/Paul_Rutherford_(trombonist))
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• Show Bio for Sabu Toyozumi
"Yoshisaburo "Sabu" Toyozumi (born Tsurumi, Yokohama, 1943) is one of the small group of musical pioneers who comprised the first generation playing free improvisation music in Japan. As an improvising drummer he played and recorded with many of the key figures in Japanese free music including the two principal figures in the first generation, Masayuki Takayanagi and Kaoru Abe from the late 1960s onwards. He is one of a very few of this circle who are still alive and engaged in playing this music today.
Toyozumi features on numerous commercially available recordings with many of the most notable Japanese and international improvising musicians including Derek Bailey, Mototeru Takagi, Misha Mengelberg, Peter Brötzmann, Keiji Haino, Otomo Yoshihide, Tom Cora and Fred Van Hove.
In 1971 he became the only non-American member of the Association for the Advancement of Creative Musicians(AACM)). He dedicated his first record as a leader, Sabu - Message to Chicago, to compositions by AACM members, and in 1992 toured and recorded with AACM trumpeter Wadada Leo Smith.
Toyozumi has been instrumental in bringing many European and American improvisers to Japan including Derek Bailey, Misha Mengelberg and Sunny Murray.
In 2005 British improvising guitarist and promoter John Russell arranged a two-day event dedicated to Toyozumi in which the drummer performed in different groupings with 14 musicians from the London improvised music scene including, most notably, Evan Parker, Lol Coxhill, Phil Minton, John Edwards and Steve Beresford. The Wire described his playing at this time as follows: "He's busy, but there's always space between his notes, and he avoids the flashy technical solution to musical problems. His playing is crisp and dramatic, with a very occasional use of repetition to spark a climax. If it's possible for a drum kit to ask awkward questions, Toyozumi seems to be doing it".
In an interview with Cadence Magazine in 1988 Toyozumi makes clear the importance of his relationship with nature as an influence on his playing and Clive Bell writing in The Wire in 2005 notes "his devotion to the way of Watazumido, the late shakuhachi player and Zen master, whose performances mixed martial arts and music in a bizarre cocktail of discipline and craziness".
In 2009 he returned to London to feature as one of the players in Russell's improvisation festival Fete Quaqua which was recorded for broadcast by BBC Radio 3. He continues to tour widely and in the past year or so has performed in Belgium and France, Chile, Taiwan, England, Philippines and Greece. He also performs from time to time with the legendary Japanese noise group Hijokaidan. Currently he can be found performing on the erhu - a two-stringed Chinese violin - as often as playing the drums."-Wikipedia (https://en.wikipedia.org/wiki/Sabu_Toyozumi)
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1. The Conscience 23:56
2. Beer, Beer and Beer 8:37
3. Dear Ho Chi Mihn 10:03
4. I Miss My Pet Rakkyo 9:42
5. Song for Sadamu Hisada 17:52
sample the album:
"Paul Rutherford meets Sabu Toyozumi by Sadamu Hisada
This is the live recording of the 2nd event from the annual duo series by Sabu Toyozumi, one of the world well-known Japanese drummer / percussionist / erhu-player, for whom I had promoted in my hometown Tokoname since 1998. It is literally a pleasant surprise to me that the recording originally secured as a document of the event is released to the public all over the world, even if their performances are exceptionally overwhelming.
The reason why I as a local jazz fan had started promoting jazz live will be disclosed later, but my encounter with Sabu Toyozumi went back to 1998 when I brought myself to the music event held at a gallery & café in my town. Sabu collaborated with two local musicians, shakuhachi player and percussionist, and Phil Minton, voice, but it seemed this quartet did not work well probably due to the lack of communication among musicians.
Since my preceding experiences of Sabu's performances taught me his excellence, I told him of my plan of holding his small gig for a small number of audiences in my town once a year giving him freedom of choice of musicians. He willingly accepted my humble proposal. In the meanwhile I got a call from him asking me if I could accept his duet with Peter Brötzmann on October 18th. Oops! That "Hercules of jazz", a giant of free jazz, is coming to my town, Tokoname!? Of course I could find no reason to say no, at all. Thus, my serial duo event with Sabu started.
I started preparation. Venue Jumbo is the one where I have ever held duet between Toshinori Kondo and Eugene Chadbourne back in 1980 and the owner was willing me to book them this time, too, handling the party with foods and drinks after the show. I managed to originate the artwork for the flyer by cutting and pasting several pieces. With self-made flyers I visited cafes and friends asking for coming to the show. It was pretty hard for me to get through in get audiences in this town with less jazz fans, I could manage to draw more or less 30 people this time too, who were company colleagues, ceramic artists (Tokoname is well-known for ceramics studio), artists, friends who love jazz and families from the venue... Bandstand was set up myself with help from friends. Performance started with no rehearsal at all.
One biggest roar of Bro's sax bounced the wooden ceiling of the venue and frightened the family upstairs who felt the earthquake hit the town, bringing them downstairs with scared faces which tickled us. Against Bro's roaring sax, Sabu played all the percussion with every possible technique he mastered. After the show, all of us spent a peaceful time after the heavy storm.
Next year, in 1999, Sabu called me up to study if I could accept the duet with Paul Rutherford. Of course, I agreed to his idea instantly showing keen interest in this trombonist who represents European improvising music scene.
"Super Improvising Performance:Paul Rutherford meets Sabu Toyozumi in Tokoname" October 11, 1999 at Café-terrace Jumbo. Just like last event, I started preparation at once.
My first impression of Rutherford was that he looked just like an English gentleman and also somehow like a scholar. In fact he invented various unique sounds extending possibilities of a trombone. At the party after the show he willingly signed autographs for his fans with smiles onhis face.
Next year's event was - "Super Improvising Performance:Joseph Jarman meets Sabu Toyozumi in Tokoname" July 9, 2000 at Café-terrace Jumbo.
Next year, in 2001, I had a severe attack of sickness, which disabled me to continue the annual event with Sabu since then due to the lack of both physical power and mental toughness as well.
I will try to sum up results from my experiences of jazz lives I promoted in my home town of Tokoname - We could enjoy wonderful performances by leading jazz musicians in the world. It was pretty hard to draw enough audiences in my home tow with less jazz fans. They were more or less 30 crowds consisted of friends, authors, company colleagues, families, jazz fans and so on.
My real intention was to encourage those artists who are engaged in ceramics, glasses, sculpture, art, photography, etc, etc in our town through personal experiences of serious challenging performances by world's leading musicians. I will never forget young kids from preschool to elementary school to keep listening to that Bro's roaring sax performance until last.
Deciding to promote jazz live myself I thought I should deal with free jazz and improvising music since they could be enjoyed only live which I studied through my personal experiences since 1974.
As the venue I did think no other place than Jumbo since I am so close to its owner for whom I used to be a regular customer for almost 30 years since 1970. Moreover I used to help him manage the café for 15 years or so since 1975. In return he helped me to promote events by charging me nothing for both venue and after hours party.
The income coming exclusively from tickets sale could cover half of expenses of mostly musicians' fee and hotel rooms. Other half of expenses was paid from my pocket, which was actually compensated by bonuses paid by my employer half-yearly.
Finally, I would like to refer to my personal history in short - I was born in Tokoname, Aichi, in 1945 and still live there. In 1961 when I was 15 years old I was so much fascinated by the sophisticated feelings created by jazz seeing the documentary film Jazz on a Summer's Day. In 1962 my elder brother took me to the spiritual concert by Golden Gate Quartet which was my very first one in my life, followed by the one by Carmen Cavallero. In 1963 I went by myself to the concert by Art Blakey & Jazz Messngers, which knocked me out deeply hooking me on modern jazz. Since then I never missed any of American jazz concerts held one after another in the boom; Sonny Rollins, Thelonious Monk, Cannonball Adderley, Roland Kirk, Max Roach, Oscar Peterson, Stan Getz, Duke Ellington, Hellen Merrill, Sarah Vaughn, John Coltrane, etc, etc.
In 1968 I got the membership for YAMAHA Jazz Club in Nagoya which was administrated by Dr. Osamu Uchida and until 1997 I appreciated great performances by Japanese jazz musicians from swing to free but mostly modern jazz, just to name a few Sadao Watanabe, Masayuki Takayanagi, Masahiko Togashi, Masabumi Kikuchi, Terumasa Hino, Isao Suzuki, Masahiko Sato, Akira Sakata, Takeo Moriyama, Motohiko Hino, Takehiro Honda and so on."Also available on vinyl LP.
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