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Content by tag "Satoshi Takeishi"

ARTICLE: MULTIPLE REVIEWS

A Sense of Place

Read "A Sense of Place" reviewed by Geno Thackara

Music itself may be universal, but the circumstances of its birthplace (or places) so often aren't. Overt or otherwise, it can be fascinating how those factors don't just shape a recording, but become vital elements in themselves.

Yukari
Synchronic
QFTF
2017

There's no place like home ...

Stefano Pastor

Read "Stefano Pastor" reviewed by Vincenzo Roggero

1. Ludwig van Beethoven, Concerto per violino e orchestra op. 61 in RE maggiore, David Oistrakh, André Cluytens, French National Radio Orchestra (EMI, 1959).

Da tempo sono tornato a frequentare il repertorio violinistico di matrice euro-colta dopo anni di indagine sull'improvvisazione. L'occasione è resa maggiormente suggestiva dal fatto di avvalermi di un violino di ...

Miya Masaoka: Triangle Of Resistance

Read "Triangle Of Resistance" reviewed by Neri Pollastri

Ben nota sperimentatrice nei più diversi generi musicali, esperta interprete del koto, Miya Masaoka presenta in questo CD due lavori abbastanza diversi per organico e colore, ma omogenei stilisticamente, entrambi infatti collocabili tra la contemporanea da camera.

Il primo, più complesso lavoro è quello che dà il titolo al disco -"Triangle of Resistance" -ed ...

ARTICLE: CD/LP/TRACK REVIEW

Erik Friedlander: Rings

Read "Rings" reviewed by Enrico Bettinello

In questo disco dai tratti ciclici e suadenti, il violoncello di Erik Friedlander incontra sotto la sigla “Black Phebe" le percussioni di Satoshi Takeishi e la fisarmonica/piano/elettronica di Shoko Nagai.
Con grande varietà di approcci e contando su una sensibilità in grado di infondere anche al gesto sonoro più semplice un'angolazione più profonda, i ...

ARTICLE: CD/LP/TRACK REVIEW

Leslie Pintchik: True North

Read "True North" reviewed by Luigi Sforza

Nella musica della pianista Leslie Pintchik non vi è alcuna traccia di rottura con la tradizione classica del jazz, tutt'altro. La presenza marcata di paradigmi noti privilegia l'interesse per un modello espressivo che nelle forme chiuse, siano esse blues o A-A-B-A ("Falling in Love Again"), trova il principio originario, la cornice all'interno della quale prendono corpo--sotto ...

Erik Friedlander: Rings

Read "Rings" reviewed by Jakob Baekgaard

Repetition is sometimes seen as a bad thing. The mundane cycle of everyday life involving the same actions. However, it is only through repetition that differences can occur. A weekend is only special because it stands out as a difference from the ordinary week. But repetition is not only useful as a way of appreciating difference, ...

Renku: Live In Greenwich Village

Read "Live In Greenwich Village" reviewed by John Sharpe

Born in Israel, raised in Paris and the American Midwest, saxophonist Michael Attias has lived in NYC since 1994. But in spite of that lengthy sojourn, only relatively recently has Attias come to the fore. He might just have found his ideal vehicle in Renku. That's the name of the co-operative threesome rounded out by in ...

Leslie Pintchik: True North

Read "True North" reviewed by Dan Bilawsky

Leslie Pintchik's music has a magical draw to it. Perhaps it has to do with her pearly and softly pronounced piano work, at once circuitous and direct in the way it shapes and navigates expressive pathways. Or maybe it has to do with her compositional acumen. Her pieces, after all, have a way of registering and ...

Richard Nant / Alan Plachta: Un Viaje

Read "Un Viaje" reviewed by Jakob Baekgaard

Things are happening right now in Argentina. There is a jazz scene that just seems to keep on growing and growing. Fortunately, international collaboration has also started to happen and Argentinian musicians are travelling around the world to share their special take on the jazz tradition. For instance, cutting edge pianist Paula Shocron has recently been ...

Thomas Bergeron: Sacred Feast

Read "Sacred Feast" reviewed by Dan Bilawsky

On the surface, the late Olivier Messiaen was no lover of jazz. When the topic came up in an interview that he gave in the mid '80s, he was quick to say that jazz, as a style, was something of a stylistic “robber" or borrower rather than an innovator, and that he'd “never been fond of ...


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