"This duo represents an experiment that pushes the boundaries of music itself. Their collaboration does not confine itself to genres such as free jazz or improvisational music. Instead, it stands as a sonic adventure that explores the very potential of sound. The moments of their collaboration, glimpses into the future of acoustic art, resonate not merely as music but as a philosophical inquiry into "sound" itself."-Nobusiness "This duo represents an experiment that pushes the boundaries of music itself. Their collaboration does not confine itself to genres such as free jazz or improvisational music. Instead, it stands as a sonic adventure that explores the very potential of sound. The moments of their collaboration, glimpses into the future of acoustic art, resonate not merely as music but as a philosophical inquiry into "sound" itself."-Nobusiness

"I have spent over half a century considering the study of improvisational performance as my life's work, listening deeply.

There is jazz, rock, and blues-style ad-libbing, modal performances from folk music, compositions using electronic sounds, noise, and sampled concrete sounds, non-idiomatic styles, formats ranging from solo to large ensembles, and performers from those with almost no technical skill to those of godlike virtuosity.

Perhaps the free jazz and electric jazz I immersed myself in during adolescence became the foundation of my listening experience. And the existence of the ECM label cannot be ignored, for this label actively released many small-format improvisations like solos and duos. Lithuania's NoBusiness Records and Japan's ChapChap Records have carried on that legacy.

In solo performances, everything about the performer is laid bare - their background, confidence, skill, intention, and philosophy - all exposed as sound. It's a harsh situation, and to dare face it requires first youth, then maturity, and then a refined simplicity. Listening to a solo improvisation is, in essence, to confront that person directly.

But what about duos?

It's a contest, without winners or losers, where masters exchange techniques they have so thoroughly absorbed they are like personal signatures, all in the same space.

With a fierce fighting spirit, each strike and sound slices through the air.

It takes no time to make a sound - and yet, one could say, it takes as long as the performer has lived.

It's like what the ceramic artist Kanjiro Kawai once said.

These two performers introduced here need no further explanation.

What surprises me is that such an extraordinary performance has remained in the shadows until now.

Kim's percussion is simple and pure, completely different from Western, Latin, African, Indian, or Middle Eastern small percussion techniques - it's like the sea, like waves crashing, like spray shattered against rocks and dancing on the wind.

And Yoshizawa's bass is howling wind, distant thunder, flying clouds.

Yes, I hear here the border between sea and sky.