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by Eyal Hareuveni
The first cooperative venture between Israeli reed man Assif Tsahar and Japanese conceptual percussionist Tatsuya Nakatani, both based in New York, focused on investigating the more abstract regions of free jazz (Come Sunday, Hopscotch, 2004). Tsahar exerted more control than sweaty power, and Nakatani proved himself a most singular and versatile percussionist. Nakatani hardly ever uses a regular drum kit and is very close in spirit to another sonic master, German percussionist Paul Lovens. On Solitude, with the KJLA string ...
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