Takanayagi, Masayuki - 1970 - Call In Question

Fierce, gutteral free jazz, spewing chunks and blocks of full-on cataclysm. A massive energy corralled and thrown by the frenetic playing of guitarist Masayuki Takayanagi. A cacophony of seemingly little purpose but with plenty of power behind the squealing, screeching, skittering, stuttering, and sociopathic siren calls. It may sound like a bunch of noise but there are bounds to this noise, a containment of pure human feeling within this near-perfect storm. Even when it paces itself its meandering seems sinister and ready to pounce. The rhythm section underpins and the reeds (and flute?) accentuate and scour your grey matter, but it's mostly up to Takayanagi to fry your synapses.

pure demolition far ahead from the time (1970(!)). Keiji Haino was born by the bowels of the Takayanagi's "Mass Projection" concept of guitar playing here. the transformation of a cool-jazz guitarrist to the noisiest guitarrist that the free-jazz ever met. neither Hendrix, Velvet or Stooges (even Haino)... they are a bunch of kids close to Takayanagi's destruction in "Call in Question" (other one i would recommend is "Mass Projection", made with Kaoru Abe). it is an real introspective journey to our most raw psyche.

1. Extraction (19'04)
2. Intermittent (13'15)
3. Excavation (21'08)

¡Aquí!

Ayler, Albert - 1965 - Spirits Rejoice

Recorded live at New York's Judson Hall in 1965, Spirits Rejoice is one of Albert Ayler's wildest, noisiest albums, partly because it's one of the very few that teams him with another saxophonist, altoist Charles Tyler. It's also one of the earliest recordings to feature Ayler's brother Don playing an amateurish but expressive trumpet, and the ensemble is further expanded by using bassists Henry Grimes and Gary Peacock together on three of the five tracks; plus, the rubato "Angels" finds Ayler interacting with Call Cobbs' harpsichord in an odd, twinkling evocation of the spiritual spheres. Aside from that more spacious reflection, most of the album is given over to furious ensemble interaction and hard-blowing solos that always place in-the-moment passion above standard jazz technique. Freed up by the presence of the trumpet and alto, Ayler's playing concentrates on the rich lower register of his horn and all the honks and growls that go with it; his already thick, huge tone has rarely seemed more monolithic. Spirits Rejoice also provides an opportunity to hear the sources of Ayler's simple, traditional melodies becoming more eclectic. The nearly 12-minute title track has a pronounced New Orleans marching band feel, switching between two themes reminiscent of a hymn and a hunting bugle call, and the brief "Holy Family" is downright R&B-flavored. "Prophet" touches on a different side of Ayler's old-time march influence, with machine-gun cracks and militaristic cadences from drummer Sunny Murray driving the raggedly energetic ensemble themes. For all its apparent chaos, Spirits Rejoice is often surprisingly pre-arranged -- witness all the careening harmony passages that accompany the theme statements, and the seamless transitions of the title track. Spirits Rejoice is proof that there was an underlying logic even to Ayler's most extreme moments, and that's why it remains a tremendously inspiring recording.

1 Spirits Rejoice Ayler 11:41
2 Holy Family Ayler 2:11
3 D. C. Ayler 8:00
4 Angels Ayler 5:30
5 Prophet Ayler 5:36

¡Aquí!

Ubzub - 2002 - Alien Manna For Sleeping Monkeys

¡Aquí!