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About Tatsuya Nakatani
Instrument: Percussion
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by Nicola Negri
Percussionist Tatsuya Nakatani moved from Japan to the U.S.A. in the mid 1990s, and since then he has worked with many important jazz and free improvisers, both historical figures like Peter Kowald or Fred Van Hove, and younger musicians like Ingrid Laubrock and Mary Halvorson. A specialist of the solo set, he builds his own instruments and employs original techniques to suit his particular style, blending an avant-jazz sensibility with the sense of space and laconic beauty of traditional Japanese ...
read moreTatsuya Nakatani, Shane Perlowin: Anatomy of a Moment
by Alberto Bazzurro
Un'improvvisazione fortemente strutturata, di carattere non necessariamente jazzistico (semmai, per riferimenti linguistici, fra il country-blues e, più marginalmente, il contemporaneo) contrassegna quest'ottimo album del duo composto dal chitarrista di Asheville (North Carolina) Shane Perlowin e dal percussionista- rumorista giapponese (di Osaka, ma ormai di stanza in Pennsylvania) Tatsuya Nakatani, già attivo, fra gli altri, accanto a Eugene Chadbourne, Billy Bang, Peter Kowald e Frank Lowe. L'additato senso della struttura (della quadratura, se vogliamo) si esprime in verità ...
read moreTatsuya Nakatani / Harold Rubin / Barre Phillips / Assif Tsahar
by Eyal Hareuveni
Japanese percussionist Tatsuya Nakatani's last visit to Israel produced two albums. Both are totally different in their spirit. Both feature Nakatani's unique manner of shaping and extracting sounds from the cymbals and the skins of the drums that blossom as a memorable music. Harold Rubin / Barre Phillips / Tatsuya Nakatani3 On A Thin LineHopscotch Records2013 This live recording from April 2009 documents the first ...
read moreTatsuya Nakatani: Essences and Abiogenesis
by Clifford Allen
What is improvised music without visuality? While the music of improvising composers can be felt and picked apart aurally, the physical act of making music in an un- preconceived setting is something rather extraordinary and easily lost through the audible distance of a recording. It's not just the dynamic, theatrical high jinks of a player like percussionist Han Bennink or ferociously deft fiddling of bassist Barry Guy (with his table of accoutrements at the ready). That visualness can be in ...
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