Reviews that mention Satoshi Takeishi

February 11, 2019

Colin Webster/Andrew Lisle/Otto Willberg

Static Garbled Dreams
Raw Tonk Records RT 036

Sean Conly

Hard Knocks

Clean Feed CF 472 CD

Bassist Sean Conly’s New York-based trio and the London trio of Colin Webster/Andrew Lisle/Otto Willberg point out how versatile in conception and application a simple saxophone, bass and drums line-up can be. Conly, who also plays with the likes of Kris Davis and Chad Taylor, recruited alto saxophonist Michaël Attias and drummer Satoshi Takeishi, who have been recording together since at least 2003, to help add flesh and bones to the framework of his sometime delicate and sometime rhythmic original compositions. Meanwhile alto saxophonist Webster, bassist Willberg and drummer Lisle on Static Garbled Dreams are part of a coterie of youngish British exploratory sound probers, who often work with fellow boundary stretchers like Dirk Serries and Mark Haslip. MORE

February 11, 2018

Gordon Grdina Quartet

Songlines SGL 1624-2

By Ken Waxman

Moving away from his earlier, more hushed and ethnically tinged chamber music, Vancouver guitarist/oudist Gordon Grdina enlists a trio of New Yorkers to toughen his sound while maintaining its fluidity. Inroads’ nine tracks find keyboardist Russ Losing frequently elaborating themes in double counterpoint with Grdina’s pointed strumming; clarinetist/alto saxophonist Oscar Noriega challenging the narratives with penetrating inflections, or spanning them with rumbling bass clarinet undercurrents; while drummer Satoshi Takeishi propels forwards the sometimes idiosyncratic rhythms. Although Losing’s electric piano splashes and Takeishi’s focused rebounds are extensively showcased on “Apocalympics” in speedy unison with near-flamenco guitar picking, their contributions throughout mostly solidify the group sound. MORE

May 3, 2017

Miya Masaoka

Triangle of Resistance
Innova Recordings 945.

By Ken Waxman

As much a personal as a musical challenge for kotoist/composer Miya Masaoka, the major portion of this CD is taken up by a suite interpreting the experiences of Masaoka’s mother, who at 13, along with most other Japanese Americans, was interned in detention camps for the duration of World War Two. Distinctive in this time of self-referential activities, Triangle of Resistance is also notable since the composer’s own contributions are sparse, leaving most of the heavy lifting to the other players. Additionally despite the use of some Oriental instruments the intention of the suite is innovation, not exotica. MORE

September 16, 2016


Live in Greenwich Village
Clean Feed CF 354 CD

Jean-Brice Godet Quartet


Fou Records FR-CD 16

Like a high-quality electronic product manufactured by the Panasonic Corporation, the career of alto saxophonist Michaël Attias has always involved being slightly ahead of his time. Israeli-born, the reedist followed what has now become a common career trajectory, by moving back-and-forth from the US to Paris, where he first recorded, before setting in New York in the 1990s. Since that point, despite Donald Trump and Brexit, globalization has become a reality in the music business, with the number of immigrant musicians who relocate to North America, especially New York, for a greater or shorter time swelling. Today many players on an Apple bandstand may not only be non-New Yorkers, but non-Americans. Live in Greenwich Village reflects this internationalism. Besides Attias, the cooperative Renku trio includes Japanese-born percussionist Satoshi Takeishi and bassist John Hébert, whose Cajun-Louisiana background is noted in the Gallic spelling of his surname. Each contributes to the compositional pool of this its third disc, recorded after 10 years together. MORE

November 26, 2015

Trio (MIT) Marlene

The Surface of an Object
Rudi Records RRJ1025

XY Quartet


Nusica.Org 05

Perhaps there were great sales on acoustic bass guitars in Italy a few years back. At least that’s may be one of the reasons that two compelling sets of small group improvisation recorded within a month of one another feature accomplished players on the uncommon – for Jazz at least – instrument. Like the gap between travelled immigrants and settled nationals however, the conceptions and undertaking of the sounds that define the XY Quartet and Trio (MIT) Marlene differ in more than personnel and track numbers. MORE

August 2, 2010

Michaël Attias

Renku in Coimbra
Clean Feed CF 162 CD

Oleś Brothers with Rob Brown

Live at SJC

Fenommedia Live Series FM 09-008

Double bass and drums power and patterns are the reason for the success of both these trio CDs which also feature – and in one case is lead by – an alto saxophonist. Nonetheless, these cohesive qualities would likely be present no matter who was the third partner.

Poland’s most notable rhythm section, twin brothers, bassist Marcin Oleś and drummer Bartłomiej “Brat” Oleś are a lot more than the Paul Chambers and Jimmy Cobb of Eastern Europe. Although their skills as close-knit accompanists have benefited musicians ranging from German woodwind player Theo Jörgensmann to American cellist Erik Friedlander, they also produce sessions and – as in this case – compose the music. Not only has Brat Oleś in particular supplied memorable tunes for this CD, but the two spur New York saxophonist Rob Brown to his most impressive soloing on record. Considering Brown travels in the company of players such as bassist William Parker and pianist Mathew Ship that’s high praise. MORE

December 17, 2009

Hans Tammen Third Eye Orchestra

Live At Roulette
Innova 225

Expanding his electro-acoustic expertise to a creation for large ensemble, on this CD German-born, New York-based endangered guitarist Han Tammen presents two mesmerizing suites from his 13-piece Third Eye Orchestra.

Apparently unfazed by the superstition about 13, Tammen doesn’t perform, but instead conducts and arranges in real time. Likewise ignoring the superstitious angle, some of Manhattan’s most accomplished and innovative musicians – and one ringer – handle with aplomb Tammen’s creation which calls for equal facility with improvisation and notated music, acoustic instrumental techniques and familiarity with electronic excursions. Although billed as two, six-part versions of the same piece – “Antecedent” and “Consequence” – it’s a tribute to all concerned that neither version mirrors the other. While the separately titled tracks exhibit certain homogeneity, soloists never eschew individuality even while blending with the others in section work or contrasting passages. MORE

October 2, 2006


Cryptogramophone CG 127

Chamber Quintet
Fenommedia FM 05 003

By Ken Waxman

Until about 15 years ago the chance of finding a cellist in an improvised music situation was as likely as discovering a banjo in a philharmonic situation. Occasionally bassists would double on the smaller instrument, but that was about it.

Radical changes occurred in the 1990s though and improv cello players are now as common as trombonists. Today, New York’s Erik Friedlander is the pre-eminent American improv cellist, with a C.V. that stretches from work in the Masada String Trio to gigs with Laurie Anderson and with pianist Sylvie Courvoisier. Friedlander’s long suit is his adaptability, and these CDs show off two facets of his skills. CHAMBER QUINTET is just that, a mixing of the cellist’s formalistic timbres, with Belgian Emmanuelle Somer’s oboe and English horn, American Michael Rabinowitz’s bassoon plus bass an drums, the later two instruments played by the highly-talented Oleœ brothers of Poland, who also wrote all 11 compositions in this recital. MORE

March 13, 2006


Child Real Eyes
Vidatone 5

Quintet (London) 2004
Leo Records CD LR 449

Novelist Christopher Isherwood titled one of his autobiographical volumes “My Guru and his Disciple” and it appears that the majority of musicians who have come into the orbit of multi-reedist Anthony Braxton have the same sentiments.

As one of Free Jazz’s most influential players, composers, orchestrators and, for more than two decades, an educator, guru Braxton has affected two or three generations of improvisers, most of whom take something unique from his teaching. Arguably the most important non-mainstream jazz pedagogue since pianist Lennie Tristano, Braxton’s disciples often play in his ensembles. Furthermore, in contrast to Tristanto, Braxton loves to record, to such an extent, that he can usually be called upon to second his former students on disc. So far he’s lent his talents to CDs featuring among others trumpeter Taylor Ho Bynum, accordion player Ted Reichmann, saxophonist Scott Rosenberg and Andre Vida, the reedist who leads CHILD REAL EYES. MORE

August 4, 2003


Cryptogramophone CG 118

Il Peso Delle Nuvole
Splasc (h) CDH 852.2

Building an improv band around a cello is no longer the novelty it would have been 10 years ago.

To give some examples: American expatriate Tristan Honsinger is all over European CDs whether they’re by big bands or small combos; Fred Lonberg-Holm seems to turn up on every second session recorded in Chicago; and Vancouver-based Peggy Lee has been a member of different-sized bands throughout North America and Europe. MORE

May 5, 2003


Extended Family
Tapestry 76004-2

Playscape PSR #JJ111601

Knowing you limitations and working within them can sometimes be a preferable method of creativity than letting your reach exceed your grasp. At least that’s what becomes clear listening to these two quartet discs, led by fine, but under-celebrated tenor saxophonists.

Denver-based Fred Hess, coordinator of jazz studies at Metropolitan Sate College, is the epitome of the journeyman reedman. Initially influenced by Lester Young, he modesty lists his “current saxophone heroes” as Joe Lovano, Rick Margitza, Bob Berg, Michael Brecker and the much younger Chris Potter. His background, which includes the formation of the Boulder Creative Music Ensemble with trumpeter Ron Miles, as well as work with everyone from ex-Cream drummer Ginger Baker, mainstream bassist Ray Brown and avant trumpeter Wadada Leo Smith, is easily the equivalent of those reedists. Plus his talents on tenor saxophone are equal if not superior to some of his “heroes”. MORE