AKI TAKASE JAPANIC — Forte (2024) FLAC (tracks) 24-96Hz

“Japanic” is such a clever name for pianist Aki Takase’s latest group incarnation. A plausible synonym for “Japanese” (Takase being Japanese by birth but domiciled in Berlin since 1988), it’s also a portmanteau that includes “panic” – an apt word for the frenetic playfulness of this album and its predecessor Thema Prima (2019).

As listeners, we typically want an album review to answer the questions “Is it any good?” and “What’s it like?” The answer to the former is “Yes, it’s great! Do listen to it.” The answer to the latter is trickier, but we get a clue from the line-up: Aki Takase (piano) Daniel Erdmann (tenor and soprano saxophones); Carlos Bica (double bass); Dag Magnus Narvesen (drums, percussion); and guest appearances from Nils Wogram (trombone), and pianist husband Alexander von Schlippenbach, with whom Takase has often duetted. So far, so conventional (although the spiky free jazz of a typical Takase/Schlippenbach duet is rarely conventional). What is unusual, though, is the addition of Vincent von Schlippenbach (Schlippenbach fils) on turntable.

Another clue to what this album is like is that one of Takase’s earliest collaborators (back in the seventies) was John Zorn. Listening to Forte reminded me of Zorn’s album Spillane (1987), in that both albums jump cut between different musical styles, and intersperse or overlay musical passages with sound effects. The final track of Spillane (“Forbidden Fruit”) provides an early example of turntablism and manipulation of voice samples, and this too is evident on Forte – but made contemporary in how Schlippenbach fils brings elements of hip-hop to the mix, for example in the rhythmic stutter of vocal samples on “Step Skip Stop”, which follows on from a piano solo reminiscent of a classical avant-garde composer such as Ligeti. The turntablism is so impressively integrated with the acoustic jazz elements that it’s guesswork whether the effects come from post-production manipulation or spontaneous improvisation with the rest of the band.

As for describing the musical styles on Forte, that’s where it gets tricky because there’s so much going on. For example, “Festa Magdelena” progresses from what sounds like water dripping in a cave combined with LP crackles, to sparse piano and subtle percussion, to ensemble playing of a folk-like tune, to mournful bass topped with fluttery soprano saxophone, continuing kaleidoscopically (kaleidophonically?) through various other styles and moods, including squealing free jazz and glitchy electronica, before a return to the folkish theme and a tight unison finish. And that’s just the first track.

There’s plenty of humour too. Take “Ma Non Troppo”, which starts as a comparatively conventional jazz ensemble piece but includes a comic interlude of musical anarchy, and prestissimo unison passages between piano and Daniel Erdmann’s soprano sax that feel like a riposte to the track’s title: “Not too much what? Speed? You mean slower than this?!” And the vitality and precision of Takase’s playing belie the fact that she’s 76 (yes, seventy-six) years old.

The sense of fun and adventure is liberally scattered throughout the album. “Japanic Macrokosmos” for example has all sorts of clever soundfoolery going on, including heavily processed tenor-sax tongue slaps (possibly), cosmic electronic bleeps like something from The Twilight Zone, furious drumming, an almost techno-like rhythm from turntablism and percussive clangs, and Monkish-like flurries on tenor sax and piano. Takase has said that Monk is a huge influence, and that’s easy to believe – although perhaps Monk as refracted in a funhouse mirror.

Given Takase’s free and experimental jazz credentials, widely displayed on this album and elsewhere in her discography, it’s slightly surprising that the closer is a relatively straight version of a standard published as early as 1930, “I’m Confessin’ (that I Love You)”. It’s a tune that’s been covered dozens of times, but given Nils Wogram’s wah-wah vocalised trombone and Takase’s Monkish piano, and a brief inclusion of vocal samples scratched and scuffed up like an old 78, I suspect that the performers Takase had in mind were Louis Armstrong and Monk. And given that as recently as this year Takase released an album of duets with saxophonist Erdmann called Ellington, Takase’s influences range across pretty much the entire history of jazz.

Overall, expect bracing, exciting, contemporary music spanning about a hundred years of jazz, and beyond. Is it music that’s easy to pigeonhole? No. Should you listen to it? Yes. ukjazznews
Tracklist :
1.    Festa Magdalena  9:11
Composed By – Aki Takase
2.    Step Skip Stop  5:42
Composed By – Aki Takase
3.    An Jeder Kreuzung Liegt Eine Erinnerung Begraben  4:03
Composed By – Daniel Erdmann
4.    Ma Non Troppo  4:17
Composed By – Aki Takase
5.    I Want To Know Sweet Music  1:31
Composed By – Aki Takase, Dag Magnus Narvesen
6.    Japanic Makrokosmos  6:45
Composed By – Daniel Erdmann
7.    Alinamin Drink  5:14
Composed By – Aki Takase
8.    Timeless Story  8:34
Composed By – Aki Takase, Alexander von Schlippenbach
9.    Woe The Row Of Foes  7:37
Composed By – Dag Magnus Narvesen
10.    I'm Confessin' (That I Love You)  3:13
Composed By – Chris Smith 
Credits : 
Double Bass – Carlos Bica
Drums, Percussion – Dag Magnus Narvesen
Guest, Piano – Alexander von Schlippenbach
Guest, Trombone – Nils Wogram
Piano – Aki Takase
Tenor Saxophone, Soprano Saxophone – Daniel Erdmann
Turntables [Turntable] – Vincent von Schlippenbach

ALEXANDER von SCHLIPPENBACH | AKI TAKASE — Live at Cafe Amores (2018) Chap Chap Series | FLAC (tracks+.cue), lossless

Tracklist :
1    Jackhammer 13:01
Composed By – Alexander von Schlippenbach
2    Na Na Na Is Das Der Weg 11:35
Composed By – Alexander von Schlippenbach
3    You Are What You Is 3:23
Composed By – Frank Zappa
4    Mingus Mix: Dukes Choice - Boogie Stop Shuffle 14:26
Composed By – Aki Takase, Charles Mingus
5    Misterioso - Evidence 12:33
Composed By – Thelonious Monk
6    Skippy 5:55
Composed By – Thelonious Monk
7    Lulu's Back In Town 3:06
Composed By – Harry Warren
8    The Morlocks 12:50
Composed By – Alexander von Schlippenbach
Credits :
Piano – Aki Takase, Alexander von Schlippenbach

ALEXANDER von SCHLIPPENBACH — Slow Pieces for Aki (2020) FLAC (tracks+.cue), lossless

Tracklist :
1    Haru No Yuki (Frühling Im Schnee)    2:49
2    Improvisation I    2:15
3    Torso    4:28
4    Improvisation II    1:46
5    Improvisation III    1:27
6    Tell You    2:36
7    Improvisation IV    2:18
8    Cleo    4:40
9    Improvisation V    3:01
10    Naniga Nandemo    2:46
11    Improvisation V    1:59
12    A-Blues    1:49
13    Blues B    2:31
14    Improvisation VII    1:14
15    I Told You    3:34
16    Improvisation VIII    1:26
17    Improvisation IX    2:21
18    Dydo    2:11
19    Improvisation X    1:13
20    Frage Nicht    2:41
21    Zycado    2:42
Credits :
Piano, Composed By – Alexander von Schlippenbach
Calligraphy – Aki Takase

PARKER / GUY / LYTTON · SCHLIPPENBACH TRIO — 2 X 3 = 5 (2001) APE (image+.cue), lossless

The title refers to the two trios of Parker/Schlippenbach/Lovens and Parker/Guy/Lytton, each of which groupings has performed on innumerable occasions, and some of which are documented on some extraordinary albums. Here, the two trios are united for one long, live piece, and the results are as good as to be expected. Considering that the piece is nearly 80 minutes, it is remarkable that Parker and colleagues are able to continuously maintain the listener's interest. This is a meeting of five like-minded, fully compatible, yet highly individual musical mavens who are capable of reaching extraordinary heights on their instruments. The use of two drummers might imply a certain fierceness that is simply not found here. The two Pauls (Lovens and Lytton) are each delicate performers, artists who never step on one another's toes, and who spur the music to sophisticated levels. Pianist Alexander von Schlippenbach and bassist Barry Guy, outstanding practitioners on their instruments, are in perfect harmony, as Schlippenbach's fingers glide across the piano keys with alarming rapidity, and Guy's bass performs in ways that must be heard to be believed. Parker, of course, is frenetic, with his usual blend of tricks on tenor and soprano saxes. While it is true that there is no new ground broken, this wonderful recording of the quintet should thrill Parker's legion of fans, and introduce others to his uniquely splendid approach. Steve Loewy  
Tracklist :
1    2X3=5    1:17:07
Credits :
Bass – Barry Guy
Drums – Paul Lovens, Paul Lytton
Music By – A. Schlippenbach, B. Guy, E. Parker, P. Lovens, P. Lytton
Piano – Alex von Schlippenbach
Saxophone [Saxophones] – Evan Parker

EVAN PARKER TRIO & PETER BRÖTZMANN TRIO - Bishop's Move (2004) FLAC (image+.cue), lossless

A happening. Not that these two heavyweight reedsmen had never shared a stage, but this was going to be a face-off, a clash between two of the hardest-working free improv trios on the circuit. On the left side of the stage: Evan Parker, with drummer Paul Lytton and pianist Alex von Schlippenbach, the latter filling in for bassist Barry Guy. On the right side: Peter Brötzmann and his trusty rhythm section, bassist William Parker and drummer Hamid Drake. These are two highly experienced and gifted trios, with different approaches (complementary ones, some will say). And what happened on-stage, as The Bishop's Move testifies, was a magical 75 minutes of relentless improvising, with a constant shift between open-ended sharing and thrust-and-parry dynamics. The single continuous piece begins with all six musicians on stage. Right out of the gate, the players hit an energy peak, eager to demonstrate that this meeting will not be for the weak. Things do quiet down afterwards, especially as players start walking off and coming back, sifting through a number of subgroupings, including the original two trios and a piano-plus-double-percussion segment. Parker displays his unmatched technique early on, while Brötzmann waits until 50 minutes in before taking the stage by storm and literally stealing the show, first with an inspired clarinet solo over Parker's bass and Drake's frantic djembe, then with a devastating sax segment as Drake moves back to the drumkit. Most supergroups don't live up to expectations, but this one delivers all the promises contained within its name. Compared to the laid-back performances found on the recent Parker/Schlippenbach/Lytton two-CD set released on Psi (America 2003, recorded during the same tour), The Bishop's Move is surprisingly high-energy. And all for the better. François Couture  
Tracklist :
1    The Bishop's Move    1:13:31
Credits :
Double Bass – William Parker
Drums, Djembe, Percussion – Hamid Drake
Drums, Percussion – Paul Lytton
Piano – Alex Von Schlippenbach
Tenor Saxophone, Soprano Saxophone – Evan Parker
Tenor Saxophone, Tárogató [Tarogato], Alto Clarinet – Peter Brötzmann

SAM RIVERS & ALEXANDER von SCHLIPPENBACH - Tangens (1998) FLAC (tracks+.cue), lossless

Recorded during the Total Music Meeting in 1997, this seemingly historic meeting between the legendary American avant jazzman Sam Rivers and Euro improv giant Alexander von Schlippenbach was anticipated to be a free jazz blowout. One hopes that expectations, though completely thwarted, were not dampened by the remarkable music that occurred between these two men. Rivers long ago ceased to be a "blower"; his music has increasingly been concerned with an idiosyncratic narrative quality that takes nothing away from an immediate encounter with musical language, but orders it is such a way that a system is developed revealing a kind of story that walks a line between musical impressionism and expressionism. With the possible exception of Irène Schweizer, von Schlippenbach is perhaps the most adaptable of the European improvisers. Playing the music of Bill Evans or his own spontaneously combustible compositions, von Schlippenbach's pianism changes color and shape at a moment's notice. The turbulences here are not gigantic; they flow into eruption and dissipate just as gradually. There are complex melodies at work in the chromatic suggestions Rivers makes. Von Schlippenbach, for his part in all this, takes Rivers' well-erected lyrical structures and gently breaks them down into elemental units in order for Rivers to build some other slightly towering yet wonderfully ornate creations. This is music that requires the patience of the players as well as listeners. Rivers has never been one to hurry through anything -- which is what frustrated Miles Davis so when Rivers toured with him -- but this is also what made his own recordings such as Fuchsia Swing Song and Streams so satisfying. Gradual discoveries are usually deep discoveries, and these two men must now know each other deeply on a musical level. This set transcends so much of what is currently on the scene and passes for improvisation: It expresses emotion, transfers it to listeners, and offers them places in the text -- of music -- to find themselves and consider their own, very necessary places in this communication. Tangens is tender, beautiful, and edifying music by two empathic giants.
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Tracklist :
1    Tangens Alpha    6:26
2    Tangens Beta    31:47
3    Tangens Gamma    14:58
4    Tangens Delta    7:08
5    Tangens Epsilon    9:48
Credits :
Piano, Composed By – Alexander von Schlippenbach
Tenor Saxophone, Soprano Saxophone, Flute, Composed By – Sam Rivers