Improvising Beings New Releases

Source: Improvising Beings.

François Tusques, Itaru Oki, Claude Parle, Isabel Juanpera, Le Chant Du Jubjub

François Tusques’ Ars Poetica, finally! Tusques’ ground-breaking Free Jazz was released half a century ago. His music has been in constant evolution ever since, creating a fascinating and varied landscape. Le Chant Du Jubjub (The Song Of The Jubjub) is a clever re-invention of Lewis Carroll’s poems: while hunting the proverbial Snark, Tusques and his aids, Isabel Juanpera on narration (and lead vocals on the hauntingly beautiful Ballade Des Parfums), Itaru Oki (trumpet, flugelhorn, flutes) and Claude Parle (accordion) will tell you all that you know (and mostly, everything that you don’t) about creation. A strong offering from François Tusques, revisiting old favorite themes from Dazibao and Topolitologie as well as featuring a rare venture into total improv.

Keiko Higuchi, Louis Inage, Masa Kawaguchi, Tatsuya Nakatani, Between Dream And Haze

Two years after Awai (w/ Yasumune Morishige), a year after the acclaimed Ephemeral As Petals on Utech, Keiko Higuchi delivers another strong collection of the standards you’ve never heard, or maybe as you’ve never heard them… Between Dream And Haze oozes electric, infectious, venimous energy, between darkness and velvet. A stellar cast surrounds here, Tatsuya Nakatani on drums and percussion, the fierce ambassador of Japanese improvisation who needs no introduction, Masami Kawaguchi on guitars, a stalwart of the Tokyo underground since the 1990s (check his numerous appearances on PSF Records, and more recently his New Rock Syndicate; if you think Acid Mothers Temple is all you need to know about psychedelic garage rock this side of the Pacific, you’re wrong!), and Louis Inage, majestic on electric bass (Majutsu No Niwa and Yakochu).

Other Matter (Michel Kristof and Julien Palomo), #1 (Probes)

Other Matter (Michel Kristof and Julien Palomo), #1 (Probes)
Other Matter’s latest effort is a digital album. Not that Improvising Beings suddenly gives up on physical recordings, but the sheer length of the work, over 10 hours of music, fits the new format perfectly. This is an album to question the listener’s relationship to music – the way he hears it, what place it really takes in his daily existence. Will you take the trip?