Then inFujii formed ma-do, Album), a quartet included Tamura on trumpet, bassist Norikatsu Koreyasu, and Akira Horikoshi, the drummer in the Orchestra Tokyo big band. The group showcased the latest developments in her composition for small ensembles, while playing in a more intimate acoustic setting that contrasted with the high-volume, rock-influenced Quartet. They made three impressive CDs before the tragic death of bassist Koreyasu in Another triumph for this extraordinary composer.
Dedicated to developing written and improvised music in the collective spirit of Japanese folkloric music, the band has made two CDs. Fujii tours as relentlessly as she records.
She has appeared live on Album) continent except Antarctica, performing at festivals, concert halls, and clubs. Inshe was honored with three nights on which Imokidesu - Kaze (4) - Tornado (CD present her music at the Beilefelder Festival on Germany.
There is suspense, virtuosity, mystery, calm. One of the best I've heard this year! With Gato Libre and Shiro, the trumpeter extends his reach even deeper into the prettiest, most accessible of his endeavors. It might be an unlikely scenario, but it goes some way to describing this magnificent sprawl of a record.
Sincehis ongoing duet with pianist and wife Satoko Fujii has recorded four CDs and won accolades from critics and audiences alike. Born on July 26, in Otsu, Shiga, Japan, Tamura first picked up the trumpet while performing in his junior high brass band. Radio Panik - Blog at WordPress.
Home About. Search Search. Flow, Fissure, Mesh. Follow me on Twitter My Tweets. These sets both took place last week — one on Thursday night, and one Saturday morning. The kinds of immersive listening into which an audience is invited by both of these ensembles are not, for me, a way of losing yourself, of becoming absorbed into and overwhelmed by their music, but present instead opportunities and openings for intersubjective moments, as our ears focus and refocus on the interplay and divergences of line and shape that occur as each performance unfolds, live and spontaneously both before us and with us.
Indigo Album) —Nicole Mitchell, flutes, Harrison Bankhead, bass, and Hamid Drake, drums — offered two extended extemporaneous suites Thursday night, September 5, in the re-purposed hall of St. As then, their music remains rich, warm, flexible, free, accessible and dynamic: a paradigm for collaborative co-creation. I thought, as did a few others there that night, that we could hear traces of the firm, warm sound of Wilbur Ware or of Malachi Favors Maghostut in his playingechoes of departed mentors and colleagues, but also of Album) Chicago sound-palette that imbued his playing with a powerful historical dimension.
When you find the truth you will realize. What I hear, here, is a call to community in difference, community of difference: strength among strangers, audience.
I have to say that I was blown away by their collective virtuosity and by their kinetic interaction, from the first notes they played. The two-trumpet line, in some ways, hearkens back to Louis Armstrong and Imokidesu - Kaze (4) - Tornado (CD Oliverand there are echoes of the playfulness and smart-aleckry of early music, although there is little in their work, in my view, of the subversive.
At the same time, both trumpeters self-evidently have technique — extended technique — to spare. Tamura and Pruvost are masters of their instruments, and then some.
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