Nobuki TakamenThree WishesSummit Records 594HHH1/2On the opening track to Three Wishes, NobukiTakamen’s fourth album as a leader, the guitaristserves up roller-coaster, angular melodies, playedwith care on a clear guitar, picking out one crispnote at a time, letting it ring out before movingto the next. He occasionally moves to a verticalapproach, playing short chordal phrases, but hemostly sticks to horizontal movement, his somewhatdisjunct playing pulling the song forward.The next tune, “Freddie’s Mood,” presents anentirely different Takamen. Heavily syncopatedfunk chords set the mood over a martial snarerhythm by drummer Akihito Yoshikawa. EvenTakamen’s solo is more liquid, with figures flowingtogether in short runs and fewer large leapsbetween the notes. He’s still the same player, ofcourse, but this different approach highlights hisreluctance to play in a singular style.He slows the mood down considerably on ahandful of tunes as well. “Underground ThemeSong,” after a funky solo bass intro, morphs into afragile tune based on soft chords and a quiet melody.“Greenwich Village Sometimes” has thesame overall delicate feeling to it, but stands asone of the two times piano is added to the mix.Takamen is best, and is likely most comfortable,in a simple trio setting, but the addition of anotherharmonic instrument adds a rich layer to thecompositions.One of the standouts on the album isTakamen’s arrangement of “Scarborough Fair,”which begins with haunting, ethereal chordsbefore evolving into a breakneck piece of swing.Just like “Scarborough,” his closing number,“Homeward Bound” begins as a hopeful ballad,then, seven minutes in, Takamen throws ina hard-rocking coda to give the song the twist heseems to add to every composition on the album.—Jon RossThree Wishes: A Long Way Ahead; Freddie’s Mood; UndergroundTheme Song; Jimi’s Swing; Greenwich Village Sometimes;Three Wishes; Scarborough Fair; Let’s Get Five; HomewardBound. (60:12)Personnel: Nobuki Takamen, guitar; Toshiyuki Tanahashi, bass;Naoki Aikawa, Akihito Yoshikawa, drums; Hitoshi Kanda, piano.Ordering info: nobukitakamen.com70 DOWNBEAT JUNE 2013
Beyond / By Peter margasakJohnCage’sLastingVisionThe year 2012 was the centennialof iconoclast John Cage’s birth,and the year brought forth a veritabledeluge of archival materialand new recordings of the composer’ssprawling compositionaloutput.One of the most fascinatingdocuments is a three-CD seriesthat chronicled Cage’s firstvisit to Japan in 1962—all of themusic, recorded during two concertsthat October, was previouslyunissued. Each of the threeseparately available volumes ofJohn Cage Shock (Em 1104;40:02 HHHH/Em 1105; 44:23John CageHHHH/Em 1106; 39:27 HHHH) features a singlebristling performance of one of his works (suchas the electronically ripping take on his “VariationsII,” on volume one) played by various combinationsof the composer himself, his long-time associateand pianist David Tudor, and some of their Japanesehosts—Toshi Ichiyanagi, Kenji Kobayashi anda very young Yoko Ono. Each title is rounded outby other contemporary works performed duringthe visit, from Stockhausen’s “Klavierstrücke X” (onvolume two) to Christian Wolff’s “Duo For Pianist& Violinist” (on volume one) to work by Ichiyanagiand fellow Japanese composer Toru Takemitsu. Cumulatively,they paint a vibrant picture of a musicalworld opening up (with graphic notation, aleatoricmusic, electronics), swallowing up oceans separatingthree continents with boundary-destroying art.It’s a rich artifact, especially since the music soundstotally fresh five decades later.Ordering info: forcedexposure.comTudor’s performance of Cage’s landmark early1951 experiment with chance procedures, MusicOf Changes (Hat Art 173; 44:34 HHHH),also sounds thoroughly contemporary. Recordedin Cologne, Germany, in 1956, the pianist’s readingbrings a bristling edge to one the composer’searliest efforts employing the I Ching. Nearly everydetail from pitch to note duration to tempo wasmapped out by using the book, but the final scoreleft nothing to chance (unlike later work that reliedon the performer to make decisions). It’s a knotty,difficult piece of music marked by randomly generatedbut meticulously played episodes, and fewcould or can match Tudor’s empathy and precision.Ordering info: hathut.comPianist Alexi Lubimov and singer NataliaPschenitschnikova both met Cage on his 1988 visitto the Soviet Union, where, according to the pianist’sliner notes, the composer participated in livelyconversations about food and foraging as muchas music. On As It Is (ECM 2268 476 4933; 71:31HHH1/2), they bypass the work he’d been creatingduring his visit in favor of 21 early pieces, most writtenbefore 1950. Included are numerous settingsfor the poetry of e.e. cummings and Gertrude Stein,meditative prepared piano pieces and several compositionswritten for the choreography of MerceCunningham. It’s a lovely, restrained collection, focusingboth on Cage’s lyric side and his interest inFar East sonorities.Ordering info: ecmrecords.comEtudes Australes (Wergo 6740; 261:54HHHH) was composed in 1974, with Cage in themidst or returning to conventional instruments, as afour-book piano study that used a collection of starmaps called the “Atlas Australis” as structural objectsand the I Ching to translate the positions of the constellationsin the Southern Hemisphere. He wrotethe exceedingly difficult music separately for rightand left hands, with chance procedures producingalternately jarring and gorgeous harmonies and jagged,challenging lines. Pianist Sabine Liebner bringsa dazzling clarity to this rarely performed epic.Ordering info: harmoniamundi.comCage’s own organization issued the doozy ofthem all with a lavish rendering of his preparedpiano masterpiece Sonatas And Interludes(John Cage Trust 433-2012; 63:17 HHHH)spread over three 45-rpm audiophile vinyl discs—it’s a limited edition of 433 copies. The piece isperformed nicely by Nurit Tilles—a veteran memberof Steve Reich’s ensemble—and while thereare other versions I prefer, she finds a pleasingmiddle ground between introspection and aggression.The records are housed in a glossy cardboardbox and packaged with a beautiful 40-page book that includes notes by Mark Szwedand photos of various objects used along withvintage instructions by the composer himself. DBOrdering info: forcedexposure.comross welserJUNE 2013 DOWNBEAT 71