By Rui Eduardo Paes
In Rui Eduardo Paes website
"Editado em Lisboa, mas gravado em Córdoba com músicos sul-americanos, o chileno Éden Carrasco e o argentino Leonel Kaplan, “Moments of Falling Petals” é um dos discos mais bem conseguidos do japonês Tetuzi Akiyama que nos foi dado a ouvir. Alinhado com os princípios do reducionismo improvisado (utilização de silêncios, economia de sons, volume reduzido, substituição do fraseado pela construção de texturas), numa pausa das recentes investidas do guitarrista pelos blues abstractos e pelo psicadelismo rock, o que aqui encontramos é de uma beleza desarmante. A guitarra, acústica, soa por vezes a uma harpa e outras a um violoncelo. Os sopros têm uma perspectivação electrónica, embora de forma orgânica e até primária, importando mais a respiração e o sopro do que a nota e a articulação.
Ao longo da audição chegamos a recear que qualquer novo acontecimento destrua o mundo que foi construído, e é em constante surpresa que testemunhamos a capacidade dos três intervenientes para delicadamente o renovar. Akiyama é um dos protagonistas da cena onkyo de Tóquio, ao lado de figuras como Taku Sugimoto e Toshimaru Nakamura, conhecida precisamente pela sua serenidade (por vezes falsa, dado que a música pode ser especialmente intensa), mas também se tem distinguido em contextos mais “noisy”. De Carrasco chegam-nos poucas referências para além das de ser um membro do grupo de free rock La Kut e de ter colaborado com Jason Kahn, Norbert Moslang e Gunter Muller, enquanto Leonel Kaplan se tornou num dos protagonistas das novas tendências da improvisação internacional, ao lado dos melhores, o que lhe valeu já o convite de Dave Douglas para participar no Festival of New Trumpet Music."
sábado, 12 de dezembro de 2009
domingo, 8 de novembro de 2009
Moments Of Falling Petals review in Paris Transatlantic magazine
By Dan Warburton
In Paris Transatlantic , Autumn 2009
"The good old, bad old conservatory-trained composer in me is more drawn, I'll admit, to Moments Of Falling Petals, which finds Captain Akiyama back on acoustic guitar in the world of recognisable, even singable (yes!) pitches for a delicate and elegantly understated three-way conversation with alto saxophonist Éden Carrasco and trumpeter Leonel Kaplan. This could be a clue as to why I happen to find Akiyama such an intriguing musician – returning once again to the less-is-more world of Bar Aoyama and Off Site where he first made a name for himself, I'm struck by what I once described elsewhere (referring to an Arthur Doyle album, of all things) as "relaxed intensity". There were only two ways out of Off Site: either by playing even less – the Taku Sugimoto solution – or by playing more, which was Akiyama's strategy. (Toshi Nakamura can't decide which way to go, which is fine by me too..). There's an extraordinary tension to Sugimoto's work, both improvised and composed – I well recall him sweating, physically suffering to place those oh so few notes in just the right place in a concert with Radu Malfatti here a while back – while Akiyama in concert has never seemed to me to be in the throes of such an existential crisis. Can music be intense without necessarily being tense? I'd say it can, and Akiyama is a good example. Pursuing the comparison for a while, that Connors / Licht duo once more comes to mind, with Taku playing Connors, agonising over each sound, while Akiyama sits back (Licht positively slumps back) and lets the notes come – not that there are many more of them here than there used to be on echt Akiyama outings like Relator, or his wonderful duos with Jozef van Wissem, Proletarian Drift and Hymn for a Fallen Angel. There's a real sense of tonal – not in the traditional sense of course – interplay in this 33-minute piece, with Akiyama's delicate chordal threads and micro-melodies drawing Carrasco and Kaplan back into real pitch play (rare these days, that), which counterpoints their more "extended" techniques to great effect. It's glorious stuff, and strongly recommended. Same goes for the other two too – but you may want to prepare a secret tunnel out of your apartment if you want to play Omni at the volume it deserves.”
In Paris Transatlantic , Autumn 2009
"The good old, bad old conservatory-trained composer in me is more drawn, I'll admit, to Moments Of Falling Petals, which finds Captain Akiyama back on acoustic guitar in the world of recognisable, even singable (yes!) pitches for a delicate and elegantly understated three-way conversation with alto saxophonist Éden Carrasco and trumpeter Leonel Kaplan. This could be a clue as to why I happen to find Akiyama such an intriguing musician – returning once again to the less-is-more world of Bar Aoyama and Off Site where he first made a name for himself, I'm struck by what I once described elsewhere (referring to an Arthur Doyle album, of all things) as "relaxed intensity". There were only two ways out of Off Site: either by playing even less – the Taku Sugimoto solution – or by playing more, which was Akiyama's strategy. (Toshi Nakamura can't decide which way to go, which is fine by me too..). There's an extraordinary tension to Sugimoto's work, both improvised and composed – I well recall him sweating, physically suffering to place those oh so few notes in just the right place in a concert with Radu Malfatti here a while back – while Akiyama in concert has never seemed to me to be in the throes of such an existential crisis. Can music be intense without necessarily being tense? I'd say it can, and Akiyama is a good example. Pursuing the comparison for a while, that Connors / Licht duo once more comes to mind, with Taku playing Connors, agonising over each sound, while Akiyama sits back (Licht positively slumps back) and lets the notes come – not that there are many more of them here than there used to be on echt Akiyama outings like Relator, or his wonderful duos with Jozef van Wissem, Proletarian Drift and Hymn for a Fallen Angel. There's a real sense of tonal – not in the traditional sense of course – interplay in this 33-minute piece, with Akiyama's delicate chordal threads and micro-melodies drawing Carrasco and Kaplan back into real pitch play (rare these days, that), which counterpoints their more "extended" techniques to great effect. It's glorious stuff, and strongly recommended. Same goes for the other two too – but you may want to prepare a secret tunnel out of your apartment if you want to play Omni at the volume it deserves.”
segunda-feira, 10 de agosto de 2009
Dromos001 ACK - Moments Of Falling Petals
Dromos Records proudly announces the release of it’s first record, "Moments of Falling Petals", by Tetuzi Akiyama (acoustic guitar), Éden Carrasco (alto sax), and Leonel Kaplan (trumpet). The record documents a concert of the trio, recorded live at Sala Azucena Carmona, Real Teatro in Córdoba, Argentina.
Informed by the vast spectrum of languages connected to the sphere of free improvisation and electroacoustic music, each of the musicians establishes a dialog with the other, creating, layer after layer,a plains of a rare evocative power, slowly sculpting the molecules of sound and space that propagate trough time until they reach a new and original form.
Each cover is different and unique, and were all handmade and hand drawn by artist Joana Falhas.
Cd-R comes in a limited edition of 250 copies. all music by Tetuzi Akiyama, Éden Carrasco, Leonel Kaplan all Artwork & Packaging by Joana Falhas
domingo, 9 de agosto de 2009
Coming Up...Dromos001
Dromos-001 - Tetuzi Akiyama & Leonel Kaplan & Edén Carrasco - Moments Of Falling Petals
(click on image for better view)
segunda-feira, 16 de fevereiro de 2009
Welcome
Dromos Records is foremost a space open to cross-functional interaction and communion between artists.Making use of DIY strategies, we try to be not only a distribution method but also a point of merging and exposure, giving voice to artists that perform on the margins and at the same time establish a strong relationship between music and plastic arts.
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A Dromos Records é antes de tudo o mais um espaço aberto à comunião e à interacção multidisciplinar entre artistas. Fazendo uso de estratégias DIY pretendemos ser não apenas um meio de distribuição mas um ponto de confluência e exposição, dando voz a artistas e projectos a actuar nas margens e ao mesmo tempo estabelecendo uma ligação forte da música com as artes plásticas.
For more info & sound check our myspace page at: http://www.myspace.com/dromosrecords
-----------------------------------------------------------------------------------------
A Dromos Records é antes de tudo o mais um espaço aberto à comunião e à interacção multidisciplinar entre artistas. Fazendo uso de estratégias DIY pretendemos ser não apenas um meio de distribuição mas um ponto de confluência e exposição, dando voz a artistas e projectos a actuar nas margens e ao mesmo tempo estabelecendo uma ligação forte da música com as artes plásticas.
For more info & sound check our myspace page at: http://www.myspace.com/dromosrecords
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