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Jazz Articles about Satoshi Takeishi
Shoko Nagai, Maryanne de Prophetis, Ron Horton, Stomu Takeishi: FIDOqrtet
by Alberto Bazzurro
Album di improvvisazione senza rete, questo del FIDOqrtet, che in realtà agisce come tale solo in quattro degli undici brani complessivi, scindendosi negli altri sette in diversi abbinamenti: senza la voce in altri quattro ("Rayo de luna," “Tsuru," “Terramoto" e “Morning"), senza al tromba in “La Coyote," in duo rispettivamente piano/batteria e tromba/batteria in “Waking" e “Flow In." Il risultato è un album inciso in più sedute fra il 2015 e il 2016 (il gruppo è attivo ...
Continue ReadingQuinsin Nachoff: Pivotal Arc
by Friedrich Kunzmann
Canadian saxophonist and composer Quinsin Nachoff's newest outing out on Whirlwind Recordings once again proves what was established long before: that nothing about his approach to jazz is common. As a matter of fact, if his name weren't almost exclusively mentioned in jazz publications, jazz wouldn't necessarily be the first thing that came to mind when confronted with his music. A fact that appears even more valid with regard to his new effort, Pivotal Arc. Opening with a ...
Continue ReadingTaylor Ho Bynum 9-tette: The Ambiguity Manifesto
by Giuseppe Segala
All'interno della generazione di musicisti che si sono formati con Anthony Braxton negli anni Novanta, studiando presso di lui alla Wesleyan University e collaborando ai suoi lavori di quel periodo, Taylor Ho Bynum spicca insieme a Mary Halvorson per versatilità dinamica e dovizia progettuale. Bynum, nel periodo in cui ha diretto la Tri-Centric Foundation, dal 2010-2018, ha pure prodotto molti importanti lavori di Braxton, tra cui due poderose opere della serie Trillium e due spettacoli di Sonic Genome. La sua ...
Continue ReadingTaylor Ho Bynum: The Ambiguity Manifesto
by Mark Corroto
Cornetist, composer, organizer and curator Taylor Ho Bynum marshals his recording The Ambiguity Manifesto into the categories of before and after, as in AM/PM, BC/AD, and maybe more appropriately before AACM (Association for the Advancement of Creative Musicians) and after AACM. With the entire breadth of recorded jazz history available, Bynum chose the concepts of the AACM as the tipping point(s) for this recording. This is a natural progression from his apprenticeship with Anthony Braxton and also his work with ...
Continue ReadingTaylor Ho Bynum 9-tette: The Ambiguity Manifesto
by Karl Ackermann
Taylor Ho Bynum's The Ambiguity Manifesto, with its oxymoronic title, is the third album in what the cornetist-composer calls an “accidental trilogy." Following his Firehouse 12 Records releases Navigation (Possible Abstracts XII & XIII) (2013) and Enter the Plus Tet (2016), Bynum recognized a form--however unconventional--both in the composition and performing of these large ensemble works. With a 9-tette made up of members of his sextet and Plus Tet, Bynum adds Stomu Takeishi on electric bass. Bynum cites ...
Continue ReadingEmilio Teubal: Musica Para Un Dragon Dormido
by AAJ Italy Staff
Musica Para Un Dragon Dormido (il riferimento è alla simbologia utilizzata nel calendario cinese) è la terza pubblicazione del pianista e compositore argentino Emilio Teubal. Con i due album precedenti si era messo in luce grazie ad una miscela di jazz e radici argentine di sicuro impatto ma in qualche modo ancora troppo legata a cliché consolidati. Con quest'ultima pubblicazione Teubal compie un deciso balzo in avanti, verso una matura consapevolezza delle proprie doti compositive ed una più ampia visione ...
Continue ReadingLeslie Pintchik: Quartets
by Jeff Dayton-Johnson
How to keep the exacting piano-trio format fresh sounding? Leslie Pintchik rises to that challenge by making the trio a quartet. Not one or many quartets, but two quartets. The strategy is a successful one.On five tracks, pianist Pintchik, bassist Scott Hardy and drummer Mark Dodge are joined by percussionist Satoshi Takeishi (the brother of trumpeter Cuong Vu's pile-driving bassist Stomu Takeishi; the mind reels at the thought of a Takeishi-Takeishi duet). The idea here is not so ...
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