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Pioneering Japanese sound artist Akio Suzuki has created improvised and transitory performances since the 1960s, investigating the acoustic qualities of selected locations and utilising an array a self-made instruments. For this beautiful and beguiling release for Takuroku, he presents new work using his ANAPOLAS instrument and “I wa fu e” stone flute.  -- Akio Suzuki - all instrumentation & recording -- Oliver Barrett - mastering & artwork design -- Artist’s Notes (English)  “ANAPOLAS -a” & “ANALAPOS -b” 2021 This ON-KI (sound instrument) is a variation of Voice ANALAPOS-a, an instrument which was created in 1970 while exploring the sound of echo at the “self-study event” of the 1960s. This instrument was used in the LP “ New Sense of Hearing” with Takehisa Kosugi, and in Sesshu Kai work “Interactivity for ANALAPOS.” It was also used in compositions by Aki Takahashi and for Toru Takemitsu’s film music… There was a time ANALAPOS was very active. ANALAPOS -a is mainly played by blowing a vice into one of the cylinders connected by a spring, while the -b type is made into a percussive instrument by arranging several of those cylinders upright and playing with drumsticks. In the 1980s, my ANALAPOS was invited to Derek Bailey’s “Company” of Free improvisation, and was able to presented for the first time in London. I also played with Steve Lacy, and more recently John Butcher and Aki Onda using these ON-KI. These groups of ANALAPOS let me play across the field of improvisation from contemporary music.  I’ve found it difficult to carry the heavy iron ON-KI so I have stored them, but I’m grateful that TakuRoku made these ON-KI see the sun again.  “i wa fu e” 2021 In Japan’s Jomon period, which lasted for about 13,000 years from now to 2500 years ago, according to archiological “i wa fu e” (stone flutes) samples may suggest that there have been a festival of blowing natural stones with holes.  There was a “i wa fu e” that I was given from my father, and it was a family treasure that has been passed down to the Suzuki family for generations. I always took it overseas as my mascot, but in the autumn of 2005, at the request of a filmmaker from London, I headed from Paris to Schiphol Airport on the way back from playing this “i wa fu e” at the old crater of the Italian volcanic island Stromboil. This family treasure disappeared from the net shelves of the train together with my suitcase!  Immediately a lost property request call was made on the page of THE WIRE magazine (issue 265), but still no luck after 16 years since then.  In 2019, Carlo Fossati, the owner of Torino’s gallery e/static contacted me that he managed to archive the documentation of me playing the family treasure at the Stromboil. This is the only video record of this “i wa fu e”.  And in February of last year 2020, when I was invited to perform in Auckland, New Zealand. Phil Dawson from Scratch gifted me another stone flute. This is the ““i wa fu e” I use now.  Phil remembered the incident that family stone flute got lost. He had picked up something similar to the lost stone at a nearby beach and kept it for me.  Phil and I have been “stone friends” for many years.  - Akio Suzuki  Notes on the title “ m e r i d i a n s c e n e r y “  As an Eastern person, I wonder if this is allowed, but I made up this word myself.  I put together “meridian” and “light” with a space in between each letter.  Tango, where I live, is the northernmost point on the 135 degree line of Japan Standard Time. I named it honestly according to where I recorded and in this particular time and season.  I dedicate this title to both the seasonal scene and Keiko, “the child of landscape”, too.   Artist’s Notes (Japanese) “ANALAPOS -a”& “ANALAPOS -b” 2021  ‘60年代の「自修イベント」で、エコーポイントを探るなか1970年に創作したVoice ANALAPOS -aのバリエーションがこの音器です。 Takehisa Kosugiと”New Sense of Hearing・・”というLPレコードの中で使用したり、Sesshu Kaiが、”Interactivity for ANALAPOS”の作曲をして下さったり、Aki Takahashiの委嘱で作曲をしたり、Toru Takemitsu の映画音楽にも登場したりと、活躍をした時期がありました。  ANALAPOS -aは、スプリングでつないだ片方のシリンダーに、主に声を吹き入れて演奏するのですが、それを立てにして幾つかを並べることにより打楽器に仕立てたのが -bタイプで、特性のバチによって演奏をします。  ‘80年代になって、Free improvisationのDerek Bailey “Company”に呼ばれてLondonで初演奏が出来たり、フリー・ジャズのSteve Lacyや、最近では、John Butcherや Aki Ondaと、この音器を使っての共演の例もあります。だから、現代音楽から即興の分野をまたいで遊ばせてくれたのが、これらANALAPOS群です。  現在は、鉄製の重い音器を運ぶのが億劫になって、お蔵入りをしていましたが、”TakuRoku”が、また陽の目を見させてくれて感謝しています。 “i wa fu e” 2021  今から2500年前までの約13000年間続いたという、日本の「縄文時代」には、穴の空いた自然石を吹きならす祭り事があったのではと、考古発掘例の「石の笛」から推測されています。  たまたま父から譲り受けた「石の笛」があって、それは代々鈴木家に伝わってきた宝でした。常に我がマスコットとして海外に持ち出していましたが、2005年の秋にLondonの映像作家の要請に応えて、イタリアの火山島Stromboliの旧火口でこれを演奏した帰りに、ParisからSchiphol空港に向かう列車 Thalysの網棚からケースごとこれが消えてしまったのでした。  直ぐに、THE WIRE Issue265の紙面に消息願いが出されましたが、あれから 16年が経ってしまいました。  2019年になって、Torinoの画廊 e/staticオーナーの Carlo Fossatiから連絡が来て、video document,2003 を 〈vimeo.com/364584092〉 登録したとの朗報をくれました。これが、動画としての唯一の記録です。  そして、昨年(2020)の2月に、ニュージーランドのAuclandの演奏に招かれた折、From Scratchの Phil Dadsonから矢庭にプレゼントされたのが、 この「石の笛」です。久しぶりに再会した彼は、以前無くした「石の笛」のことを覚えていてくれたのです。ぼくのために、近くの浜で似たものを拾っておいたんだと。 Philは、長年の”stone friend” なのです。 - Akio SUZUKI “ m e r i d i a n s c e n e r y “  と子午線と景(ひかり)をくっつけてしかも半角あけて作りました (東洋人が勝手にこんなことして良いのかナ) 意味はぼくの住む丹後は日本標準時の135度線上の最北地です この季節に演奏をしたので正直に名付けました 季節の情景でもあり景子さんに捧げてもいます

Akio Suzuki – " m e r i d i a n s c e n e r y "

Samuel D. Loveless' curious and implacable music arrived in our inbox late last year, and we've been spellbound since. Alone himself in a room, 'krɪstəfə [live crypt] is both an excavation of the voice and an improvised reckoning with space and temporality. The work is book-ended by a 25 minute long composed piece, 'Guardian', which turns the clock off, drifting the narrative into free-fall with slowly moving blocks of resonant piano notes. ˈkrɪstəfə, isn’t daring, or perhaps even very interesting in its audible output. It’s not been researched nor is it refined.ˈkrɪstəfə(tracks 1-6), was recorded live at the beginning of March 2021 on a stunning day in a cold, dark, damp room on Euston Road. The room, a crypt, has not been renovated or changed much at all since its construction in 1822, barring a few lights and minimal plug sockets. It is the resting place of so many. It is beautiful, grounding, harrowing and contemplative.ˈkrɪstəfə, is a duet between myself and the space. Nor I or the space are more important than the other. During the time 'krɪstəfəwas inspired, most of us had been between the same four walls for a large majority of the previous year and had experienced the foreign with our own company, for better or worse. For myself, Lent (of which March is in) is a very spiritual and meditative time of year for many reasons that I won’t go into now.  Within my work as a creative, whether it be sound, visual, performative, whatever, everything is purposed; everything is exactly there for a specific reason. It is hugely researched, deliberate and deliberated over. It comments on something. It is what is have to say. During Lent, on my own, within the same four walls, I wanted to introspectively just ‘be’; setting my main creative tools  aside (trumpet and composition) and simply saying what it is I have to say. Something, that although not daring for krɪstəfə, was and is for me. In order to simply ‘be’, it had to be done by my ’self’ alone. Not least of all because it had to encompass my whole being, but because singing, more specifically choral music, was my entry into the musical world as a chorister. Ironically,ˈkrɪstəfə goes right back to my roots in music, whilst also managing to be removed from anything I’ve done before, improvising with just my voice.  So whilst 'krɪstəfə may not be daring or perhaps even very interesting, it is nothing if not open and forth coming. Thank you.  - Samuel D. Loveless -- ˈkrɪstəfə (tracks 1-6) Improvised and recorded by Samuel D. Loveless Space by Crypt Gallery on Euston Road  Mixed by Josh Wolfsohn  -- Guardian  Piano by Roberto Boschelli  Composed and recorded by Samuel D. Loveless Mixed by Edward Cross -- Artwork by Robert George Sanders Mastered by Oliver Barrett

Samuel D. Loveless – 'krɪstəfə [live crypt]

What is the origin of music? In the last few decades this centuries-old puzzle has been reinvigorated by new archaeological evidence and developments in the fields of cognitive science, linguistics, and evolutionary theory. In this path-breaking book, renowned musicologist Gary Tomlinson draws from these areas to construct a new narrative for the emergence of human music. Starting at a period of human prehistory long beforeHomo sapiensor music existed, Tomlinson describes the incremental attainments that, by changing the communication and society of prehumen species, laid the foundation for musical behaviors in more recent times. He traces in Neandertals and early sapiens the accumulation and development of these capacities, and he details their coalescence into modern musical behavior across the last hundred millennia. But A Million Years of Musicis not about music alone. Tomlinson builds a model of human evolution that revises our understanding of the interaction of biology and culture across evolutionary time-scales, challenging and enriching current models of our deep history. As he tells his story, he draws in other emerging human traits: language, symbolism, a metaphysical imagination and the ritual it gives rise to, complex social structure, and the use of advanced technologies. Tomlinson's model of evolution allows him to account for much of what makes us a unique species in the world today and provides a new way of understanding the appearance of humanity in its modern form. --- Zone Books, 2015

Gary Tomlinson – A Million Years of Music: The Emergence of Human Modernity

Original GRM member Beatriz Ferreyra deploys a gripping trio of concrète works spanning 40 years (1977-2007) and revealing some of her most mysterious, freeform and otherworldly work comparable to Schaeffer and Parmegiani, but with a poetic playfulness of her own. This vinyl record brings together three pieces that play mischievously with the voice as a sound source, narrative source or diverted object: "Huellas Entreveradas" (2018), "La Baballe du Chien Chien à la Mé-Mère" (2001) and "Deux Dents Dehors" (2007). “Beatriz Ferreyra has been at the forefront of electroacoustic music composition since 1963 when she joined the Groupe de Recherches Musicales as one of Pierre Schaeffer’s research assistants. She is one of very few composers still performing who was instrumental at the beginning of Schaeffer’s theories of sound objects and reduced listening techniques. She continues to compose commissioned works and perform around the world in a career that has spanned some sixty years. From the 1960s until 1997 Beatriz composed tape pieces for multi-speaker performance using three or four Revox reel-to-reel tape machines at each concert. She now works on Pro Tools with GRM plug-ins but still uses the Revoxes for certain tape techniques that can’t be achieved with computer software. Beatriz discusses her music in the Schaefferian way, as a series of impulsions [sharp attacks], iteratives [repetitions], percutés [percussive hits], and trames [sustains] whilst also using her own onomatopoeic descriptions such as ‘schkllang, prrrrwip, ferrrwisssssh, takatak’ communicating sounds freely and directly as she hears them. Her music is about movement; the movement of sounds around a performance space, or the positioning of sounds as point sources within the illusory stereo field between loudspeakers. It is also about movement within individual sounds, where each one is a composition of different shifting components and a ‘little structure’ in its own right, with its own character. She likens her sounds to a Russian doll, inside each is another one, which contains another, and so on. During her time at Schaeffer’s studios, Beatriz developed her own research project, Objets Construits, (constructed objects). These are layers of short sounds, chords made of different noises. Each layer is isolated on a separate piece of tape to analyse the relationships between components and the effect of minimal alterations in pitch, dynamics or timing, to the overall perception of the chord. This was a way of thinking about sound slowly and patiently, of taking time to experiment, analyse and contemplate each manipulation, that is lost in the speedy world of vast ready-made digital sound libraries and the immediacy of save and recall buttons. In Beatriz’s work, small, playful sounds interact like chattering creatures and merge into vast cavernous and mysterious immersive landscapes. These three signature pieces use snippets of speech which are gradually deconstructed to create abstract textures, interweaving vocals with percussive and sustained sounds. Small, playful sounds interact like chattering creatures and merge into vast cavernous and mysterious immersive landscapes. La Baballe du Chien Chien [The doggie’s little ball] (2001) is a playful take on the way that we speak in a childlike way to pets. A brief narrative at the start invites the listener into this ‘pet speak’ scene, with the sound of footsteps and chatter. These gradually crescendo and morph into a cacophonous swirling explosion. Deux Dents Dehors [two teeth sticking out] (2007) is a pun on Bernard Parmegiani’s piece Dedans Dehors [Inside Outside] (1977), composed for his birthday. It takes snippets of lively vernacular and processes these into complex patterns of unintelligible and unrecognisable speech, in sustained or percussive sequences and glissandi. Heullas Entreveradas (2018) is a new commission that transforms vocal sounds into choral textures which fragment, granulate and transform into continuous whorls and tidal washes interspersed with her trademark short silences.”

Beatriz Ferreyra – Huellas Entreveradas

Otoroku is extremely proud to present the first vinyl reissue of one of the most legendary free jazz records ever produced. Originally released in 1978 on Ogun recordings, Louis Moholo Octet’s Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody  Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti and Kenny Wheeler, this is former Blue Note artist Louis Moholo’s first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza’s ‘You Ain’t Gonna Know Me ‘Cos You Think You Know Me’ alone is enough to make your life a better place. From Matthew Wright’s new liner notes:  The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout –  Evan Parker and Keith Tippett on “Shine Wherever You Are”; the contrasting trombone styles of Nick Evans and Radu Malfatti on “You Ain’t Gonna Know Me...”; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler’s moving and all-encompassing trumpet on the elegiac “Amaxesha Osizi” and the joyous flamboyancy of “Wedding Hymn” with Parker’s relatively straight-ahead tenor and Tippett’s dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis’ early hero, Big Sid Catlett, would have loved it! This 2019 re-issue has been made with permission and in association with Ogun records. Features an exact reproduction of the original artwork and liner notes along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi and packaged in a high gloss sleeve this is the definitive release of one of the absolute free jazz classics of the 20th Century. Edition of 1000 copies.

Louis Moholo Octet ‎ – Spirits Rejoice!

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