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| 6.437 Ft
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| 1. | St. Louis Blues
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| 2. | Way Down South Where the Blues Began 8.15
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| 3. | Mobilat
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| 4. | Morning Star
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| 5. | Eine Drehorgel aus dem 21. Jahrhundert
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| 6. | Lulu
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| 7. | Wer kommt mehr vom Blues
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| 8. | St. Louis Blues
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| 9. | Nur da wo du bist da ist nichts
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| 10. | Memphis Blues
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| 11. | Jazz Ain&
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| 12. | Yellow Dog Blues
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Jazz / Hard Bop, Early American Blues, Avant-Garde Jazz
Recorded: July 29 / 30 / 31 2001, Studio Vagnnson
Aki Takase p
Rudi Mahall bcl
Fred Frith git
Nils Wogram tb
Paul Lovens dr
Recorded by: Hrolfur Vagnnson
Producer: Werner Aldinger
Cover Photo: Sven Paustian
Helmut Copak (inside)
Cover Design: HP Pitterle
Sometimes in a dream you come across a familiar street or a good friend, and they look somehow different. Yet you recognize them, you feel almost that you have had a glimpse of their essence. A minute shift or a slight turn of phrase add life, wit and sensuality to the familiar picture.
Those famous old melodies that suddenly surface through Aki Takase's music only to drift away again remind me of the wonderful images we see in a dream.
Yoko Tawada, translated by Ilse Zambonini
W. C. Handy (1873-1958), the "Father of the Blues," wrote more than 70 compositions many of which became evergreens. Never making a secret of his inspirational sources, Handy would frankly explain that he got his compositional ideas from listening to the people in the streets. His most popular tune, "St. Louis Blues," was written in 1913 and started Handy's own publishing house. For this composition Handy got inspiration from several sources, among them a woman in St. Louis who sang the blues while frying fish, a piano player in Memphis and the tango and habanera tunes that were quite fashionable at that time. Like in ragtime, the "St. Louis Blues" is composed of several parts. There is a 12-bar blues verse ("I hate to see the evening sun go down"), a 16-bar section with a Spanish tinge ("St. Louis Woman with her diamond rings"), and a 12-bar blues chorus ("Got the St. Louis blues, I'm blue as I can be"). Normally this composition is played in the form of AABC. While the three sections can also be combined in other ways, the habanera part (section B), probably a heritance of the Spanish-Creole tradition, is mostly used as a formal hinge within the overall form.
Aki Takase
Active Decades: '80s, '90s and '00s
Born: Jan 26, 1948 in Osaka, Japan
Genre: Jazz
Styles: Modern Creative, Post-Bop, Free Jazz, Avant-Garde Jazz, Free Improvisation
While remaining steeped in the musical traditions of her native Japan, pianist and composer Aki Takase emerged as one of the most versatile figures in contemporary jazz, her work running the gamut from conventional structures and harmonies to complete abstraction. Born in Osaka on January 26, 1948, and raised in Tokyo, she received her first piano lessons at the age of three, going on to study at Tohogakuen Music University. Influenced by the work of Ornette Coleman, John Coltrane, and Charles Mingus, Takase soon turned to improvisation, and in 1971 was regularly performing professionally; by the age of 25, she was already leading her own groups. In 1978, she first traveled to the U.S., and later recorded with Dave Liebman; in 1981, she also journeyed to Europe, where she and her trio played the Berlin Jazz Festival. By 1982, Takase was regularly in the studio, leading such dates as A.B.C. and Perdido. In New York, she recorded with artists including Sheila Jordan, Cecil McBee, and Bob Moses, and also delivered a much-acclaimed performance at the East-West Festival in Nuremburg. From 1988 to 1994, Takase regularly played in a duo with Maria Joao and maintained her busy festival schedule; during the mid-'90s, she also toured with Coltrane alumni Rashied Ali and Reggie Workman, founded a septet comprised of other Japanese musicians, composed for a string quartet, and continued to work as a solo performer (at times playing the koto, a traditional Chinese 17-string zither).
---Jason Ankeny, All Music Guide |
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