| $27.15
back in stock as of
april 25th, 2011
first in stock on
july 17th, 2007
threads:
guitar-themed
free-improvisation
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| | | jinya disc (japan) #jinya b12 cd masayuki takayanagi / new direction unit “april is the cruellest month” compact disc - we have existed (10:21)
- what have we given? (6:43)
- my friend, blood shaking my heart (19:43)
- we have existed (alternate take) (10:06)
| june 2007 re-release; finally, the last missing piece in the jinya-disc / masayuki takayanagi puzzle: his 1975 new direction unit” quartet date “april is the cruelest month” (originally slated for release on the legendary esp-disk’, but alas stollman folded the label just after preparations had begun...) reissued in a lovely mini-lp-sleeve replica edition with a bonus track and liner notes in both english and japanese ...
(ps - i’ve reprinted teruto soejima’s the english liner-notes below - one of the more entertaining bits of writing on “energy music” i’ve come across in a good long while ...) |
| | jinya disc press release... |
| 3023 stereo
april is the cruellest month
masayuki takayanagi new direction unit
personnel =
masayuki takayanagi (g)
kenji mori (as, a, bcl)
nobuyoshi ino (b,cello)
hiroshi yamazaki (perc)
all composition (outer frames and forms) by masayukl takayanagi
...
this is new direction
by teruto soejima
this is indeed a new direction. the driving power of the standout group new direction unit has come into being via several different paths.
the group's leader, masayuki takayanagi, plays in various genres in addition to free jazz and is well known as japan's best guitarist. many musicians go to takayanagi whenever there is a complex guitar score to be played. with his exceptional talent, it would have been a simpie manner to gain monetary wealth as a musician.
but takayanagi chose artistic integrity over wealth. his stance, as the guiding force of japanese new music's core group, never wavers. he always aims for the ultimate technical progress and, by continually pursuing new musical ideas, strives for greater depth in his own music. takayanagi maintains a rigorous attitude towards music itself.
through the experience and theoretical grounding gained during his long career in music, takayanagi has developed two fundamental concepts, which he explains thus: “these are static and kinetic phenomena that take the forms of 'gradually [sic] projection' and 'mass projection.' when the two are combined or united, the possibilities are infinite.”
in keeping with this methodology, takayanagi instructs the group's members to free themselves from existing frameworks and formats. together they play completely improvised freeform music.
the album and track titles were taken from the famous poem by t.s. eliot.
tracks 1, 2, and 4 take the “gradually projection” approach, whereby power is expressed internally as well as externally. in an airtight space, energy is gradually accumulated and the density of the mass produced through all-out effort continues to increase. the invisible power whirls through the space, racing along incessantly while occasionally emitting flashes of light at the outer limits. just imagine this spectacle. this is the musical energy of new direction unit. the power comes from their unique sense of time, and the sound is vividly brought to life by their superb collaboration.
in track 3, through the “mass projection” method, the power produces a monumental explosion. energy rushes headlong into the far corners of infinite outer space. this “madness” is constructed with great care. it’s as if the weightiest things were gathered from among all kinds of ordinariness and packed into the sound. this sound takes on meaning and launches an attack.
at first the sound strikes the listener as loud noise. is this really music? yes - magnificent music. the performance is filled to the brim with the takayanagi spirit. in a calm, levelheaded manner, he builds his own kind of sound - a sound like a raging sea, a sudden squall, a flying jet. the sound is hurled into unknown musical territory. it's the awesome crescendo of new direction unit!
the volume is stepped up even more. the playing accelerates exponentially, and it feels good. only freeform music delivers this surpassing swing.
at around the halfway point in the music, we become aware of an unexpected change in the sound. deep within the roaring sound, we perceive something like a continuous stream of extremely delicate shards of beauty. in the far reaches of a wilderness of volubility, a castle of silence floats, mirage-like, into view. the group's music has guided us on a trip into hyperspace. for a short time our consciousness wanders in a mirror-image world. this sensation of all phenomena being reversed is in fact the elegance that is present on the reverse side of vio.lence. curiously, there exists within new direction unit's massive sound a solemnity similar to that in the organ music of j.s. bach. it's a metaphysical enlightenment and tranquility that could even be called religious.
into hiroshi yamazaki’s, magnificent waves of percussion are interwoven takayanagi’s awesomely beautiful guitar and kenji mori’s alto sax. nobuyoshi ino's cello presses insistently nearer. in this sound, their passionate artistic aspirations are realized. we listeners just stand there, helplessly mesmerized. and at length, we take our leave from this place of fearsome beauty.
at the base of this music, which is too sharp-edged and furious to be described as unique, one senses the influence of traditional japanese culture. vivid autumn hues that burn up the landscape. noh-like dramaturgy that connects this world with the netherworld. takayanagi the musician violently expands refinement and, what's more, makes the listener perceive this elegance. this is where his power as an artist becomes apparent.
one more thing. it should be noted that the violent nature of takayanagi’s, expressive style is a manifestation of his anger about the corrupted state of today's world. his keen sensitivity establishes an “image of blood” connoting freshness, beauty, and violence. his artist's blood cries out in response to beauty and in protest against corruption. this is evident in the album's track titles, too. and this is what new direction is about.
- june 1975 |
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