Ftarri / Meenna

Takefumi Naoshima/Hirozumi Takeda/Utah Kawasaki/
Mitsuteru Takeuchi/Toshihiro Koike/Takahiro Kawaguchi/Yasuo Totsuka

Septet

meenna-333
Out July 29, 2007
Purchase price in Japan: 2,000 yen (tax not included)
(For purchase outside of Japan, prices vary.)


  1. (47:48)
  2. (19:48)

    mp3 excerpt 1: track 1
    mp3 excerpt 2: track 1
    mp3 excerpt 3: track 2

Takefumi Naoshima: mixing board
Hirozumi Takeda: guitar
Utah Kawasaki: guitar
Mitsuteru Takeuchi: flute
Toshihiro Koike: trombone
Takahiro Kawaguchi: remodeled counters
Yasuo Totsuka: compressor

Recorded by Masae Okura at Tanker, Tokyo, September 10, 2006
Mastered by Toshimaru Nakamura, Tokyo, December 16, 2006
Design by Yasuo Totsuka
Includes liner notes by Takefumi Naoshima (English | Japanese) and Toshiya Tsunoda (English | Japanese)


Group improvisation mixing acoustic and electric/electronic instruments. Although there are seven players, the music consists entirely of faint sounds and silences from beginning to end. This ambitious recording communicates the strong determination with which the artists confront music.

This CD is a document of a studio-recorded improvisation session. All seven musicians play extremely quietly. (They would probably play this way in a live performance, too.) So quietly that almost all of the "played" sounds are softer than the sounds resulting from the physical action of playing music--the touching of instruments, the rustling of clothes, etc. So quietly that outside noises which faintly penetrate into the sealed recording studio can be heard over the music. In this music it's extremely unclear what is going on. It's as if someone had secretly recorded the sound of office work. Sounds occur, but the musicians themselves may not be completely sure whether they were produced intentionally. This really is a curious document. It isn't the kind of playing that brings out the atmosphere of the performance venue. The focus here is on the softness, or near-inaudibility, of the sound. Very soft sounds do not linger, physically or psychologically. They contain too little energy to reverberate, and leave a weak impression because they tend not to remain in the listener's memory. This is the unique quality of quiet sound. So perhaps this is an attempt to look closely at quiet sound as an element of music or performance. It is certainly not the kind of music that attempts to elicit subtle listening--if it were, the background noises would not be offhandedly left in. Interestingly, though, the character of the music slowly emerges as we listen. And gradually we find that we are focusing on a fresh, new form of improvisation. (From the liner notes by Toshiya Tsunoda)


Last updated: July 31, 2007

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