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Masayuki Takayanagi & New Directions - Independence: Tread on Sure Ground (1970) [Japanese Edition 2007] (Re-up)

Posted By: gribovar
Masayuki Takayanagi & New Directions - Independence: Tread on Sure Ground (1970) [Japanese Edition 2007] (Re-up)

Masayuki Takayanagi & New Directions - Independence: Tread on Sure Ground (1970) [Japanese Edition 2007]
EAC Rip | FLAC (tracks+.cue+log) - 248 MB | MP3 CBR 320 kbps (LAME 3.93) - 106 MB | Covers - 45 MB
Genre: Avant-garde Jazz, Free Jazz | RAR 3% Rec. | Label: Tiliqua Records (TILAR-5008)

Legendary Japanese jazz guitarist Masayuki Takayanagi formed the New Directions trio in 1969, with Motoharu Yoshizawa on bass and cello and Yoshisaburo Toyozumi on percussion. Their first recordings together were published a year later on the original issue of this wonderful album. Takayanagi was prominent in the Japanese swing and bebop scenes from the 1950s onwards, but found a new lease of life in the uninhibited improv of New Directions, a platform he could use to divorce his playing not only from the conventional harmonics of jazz, but even the shackles of his own instrument, using violin bows and table-top guitars in the style of Keith Rowe…

Masayuki Takayanagi New Direction Unit - Axis/Another Revolvable Thing (2020)

Posted By: delpotro
Masayuki Takayanagi New Direction Unit - Axis/Another Revolvable Thing (2020)

Masayuki Takayanagi New Direction Unit - Axis/Another Revolvable Thing (2020)
WEB FLAC (tracks) - 538 Mb | MP3 CBR 320 kbps - 222 Mb | 01:36:41
Avant-Garde Jazz, Free Jazz | Label: Blank Forms Editions

Axis/Another Revolvable Thing is the second installment of Blank Forms’ archival reissues of the music of Japan’s eternal revolutionary Masayuki Takayanagi, following April is the cruellest month, a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo’s Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling “non-section music” after leaping beyond the confines of his prior descriptor “real jazz.”