Miyata Aki => BERLIN CONTEMPORARY JAZZ ORCHESTRA – Live In Japan ’96 (1997)

Label: DIW Records – DIW-922
Format: CD, Album; Country: Japan – Released: 1997
Style: Free Jazz, Free Improvisation
Recorded live during Shin-Kobe Oriental Theatre upon Aug 6 1996, solely lane 2 during Nakano ZERO Hall, Tokyo upon 31 Jul 1996.
Produced by Alexander von Schlippenbach as well as Aki Takase
Associate producer: Kazue Yokoi / Executive producer: DIW/Disk Union
Recorded by Kimio Oikawa (及川公生 )
Assistant engineers: Nobuhiro Makita (Nakano ZERO Hall), Satoru Nakanishi (Shin-Kobe Oriental Theater)
Mastered by Keiko Ueda during Tokyu Fun, Tokyo
Photography by Hiroyuki Yamaguchi (Picture Disk) / Cover pattern by Yuri Takase

Conducted by Alexander von Schlippenbach & Aki Takase

Unlike pianist Alexander von Schlippenbach’s progressing vast aggregation, a giveaway song pioneering Globe Unity Orchestra, a Berlin Contemporary Jazz Orchestra was recognised as a composer’s forum as many as an improviser’s. In further to Schlippenbach’s own provocative scores, a 10-year-old BCJO has consecrated functions from Carla Bley, Kenny Wheeler, as well as others. The BJCO primarily dictated to make use of Berlin musicians exclusively, though has turn an general unit, that right away includes a large Japanese fortuitous together with pianist as well as co-conductor Aki Takase, as well as such eminent English improvisers as saxophonist Evan Parker, trumpeter Henry Lowthar, as well as trombonist Paul Rutherford. Live in Japan ’96 provides a glorious one-disc summary of a evolution.

The module is uniformly separate in between compositions by Schlippenbach as well as Takase as well as repertory items, together with a Takase-arranged miscellany of Eric Dolphy compositions (“The Prophet,” “Serene,” as well as “Hat as well as Beard”); Schlippenbach’s extrapolation of W.C.. Handy’s “Way Down South Where The Blues Began;” as well as Willem Breuker’s semi-sweet take upon a Gordon Jenkins chestnut, “Goodbye.” Yet, a little of a many openly makeshift passages of a module start in a Dolphy apartment (Rutherford’s duet with drummer Paul Lovens harkens behind to their ’70s collaborations, whilst Parker’s unparalleled soprano square for one person is a covenant to a ongoing physical nature of his 30-year scrutiny of multiphonic textures).

Especially in a box of a sharp makeshift garb embellishments in a Handy piece, giveaway improvisations have been well-integrated in to a make up of a works.

Schlippenbach as well as Takase’s compositions additionally ring a far-reaching spectrum of approaches. A reprise of Schlippenbach’s skull-rattling “The Morlocks” is a sign of a pianist’s contributions to a appurtenance gun cultured of a German fashionable in a ’60s. His “Jackhammer,” however, is a program’s most appropriate car for racing, hard-edged, bop-inflected blowing, quite by altoist Eichi Hayashi as well as a vastly underrated tenor, Gerd Dudek. Takase’s “Shijo No Ai” intriguingly brackets a fresh common invention with an roughly florid, Evans-tinged chart. Schlippenbach as well as Takase have been a challenging composer/arranger/pianist/conductor tag-team; a Berlin Contemporary Jazz Orchestra is an glorious car for their formidable work.

_ By Bill Shoemaker (JazzTimes)

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