Jake Hertzog & Yishai Fisher: Stringscapes

It can't be easy to keep thinking of different places to go when one's career is already as eclectic as Jake Hertzog's, but he doesn't seem in any danger of running out of ideas. The guitarist has run an impressive gamut already, from the electric Pat Metheny-inspired fusion session Evolution (Buckyball, 2011) to the more straightforward jazz of Throwback (Zoho, 2013) and the conceptual solo outing Well Lit Shadow (Self Produced, 2016). Teaming up with classical guitarist Yishai Fisher for an all-acoustic expressionist work is really right in character—a step that's natural, inventive and completely unexpected. 

'Natural' is indeed the key word here. Stringscapes leans closest to Well Lit Shadow, in that it's based on painting musical pictures rather than playing 'songs' in any recognizable mode—but that's where any similarity to Hertzog's past works (or indeed anyone else's) ends. This is a series of multi-part suites themed around picturesque settings and landscapes. While the simplicity of the two-guitar format could potentially be limiting, these two turn it expansive instead: their respective backgrounds and string tones beautifully complement without any clash. 

Within such a bare-bones framework, the remaining variety comes from Hertzog's compositions themselves, each with a story or image behind its structure. "Oceans" starts with the pair bouncing from one not-really-formless motif to another with the suddenness of sloshing waves, for example, before they slow down to portray the quiet mystery of the lower depths. The lines of "Forest" overlap like endless layers of branches, complete with a few skittering taps to suggest wild creatures in the trees. "Arctic" moves from some surprisingly busy counterpoint (the descending notes meant to represent ice caves collapsing), before a sparse stretch that's calm and empty as the tundra. Hertzog and Fisher deliver their intimate recital in fluid unison with taste and eloquence. An affair for engagement over mere passive listening, Stringscapes spins these seemingly simple motifs into a sharply-crafted and evocative journey for the mind.

Track Listing: Forest 1 - Endless Trees; Forest 2 - Funeral in Green; Forest 3 - Leaves in the Dark; Arctic 1 - Stone Blue Veil; Arctic 2 - The Great White Space; Arctic 3 - Cold Life; Oceans 1 - Cascade; Oceans 2 - The Deep; Oceans 3 - Tides; Desert 1 - Dream Catcher; Dream 2 - Ghost of the Mine; Desert 3 - Where the Red Sand Lives.

Personnel: Jake Hertzog: steel-string guitar; Yishai Fisher: nylon-string guitar.

Title: Stringscapes: A Portrait of the World in Nylon & Steel | Year Released: 2018 | Record Label: Fret Monkey Records

Saburo K, Saitama, Japan.

Dine Doneff: Rousilvo

There is more to bassist and composer Dine Doneff's record Rousilvo than simply a blending of styles and genres and eras and approaches. Certainly among his many talents is his uncanny ability to blur the line between the avant-garde, free-improv, classical, world music and jazz. It's a maneuver he has perfected over the years as the leader of his adventurous projects or as a sideman musician in other bands. With this project, Doneff certainly expands on that aesthetic and dives deep into his past. 

Rousilvo is the Slavic name of a village of Doneff's birth in today's Northern Greece that is now known as Xanthogeia. The village is abandoned now as are many villages that were once populated by Macedonians in this region also known as Aegean Macedonia. Even though Doneff has resided in Germany for the past several years, he is a descendant of the Macedonian community that has survived years of series of ethnic cleansings and forced Hellenic assimilation of the Slavic population in Greece. Not only were Slavic names to cities and people changed but the territory Macedonia was forbidden for use. It's an ongoing clash and struggle that still has not been forgotten. Even today, on the eve of the historic agreement between Macedonia and Greece, the term Macedonia and its citizens still pose a problem which hopefully will resolve with this agreement. 

Effectively depicting the struggles of the Macedonians during that era presents a challenge for anyone, but Doneff has been able to channel his emotions into his skills as a sensitive and free-thinking composer. And for this album, he dives deep into his past and emotions in order to come out with music that is emotional, spiritual and panoramic. Rousilvo is like a musical drama with several suites with spacious, clean, disciplined arrangements and long, reflective, graceful and mournful improvised melodic lines. In between the compositions, he inserts elderly women singing acapella songs and laments which adds weight to this music. These were recorded on locations scattered throughout Northern Greece. Much of what he reconstructs is a picture of people's lives from a bygone era or that were either killed during the Civil War in Greece or have fled across the borders to run from the ethnic cleansing that ensued when the Civil War ended. That mournful feel is an elegy to the uprooted people, a part of his childhood memories. 

As a musician, Doneff's thrives on empathy. His musical inspirations have come in response to his experiences and memories. As a result, it follows that Doneff would seek out empathetic musicians and provide them with open-minded compositional vehicles that deliver myriad opportunities to share that emotional load. Rather than the standard supporting role, the musicians here have unusually lyrical, impressionistic contributions that seem to be as much a part of the narrative, thus advancing the overall moods and themes. 

This record is a debut release on the author's own label neRED which is strongly supported by the German record label ECM from Munich, both distribution and promotion-wise. The artwork is also done by Fotini Potamia who has also worked on ECM's recent cover art designs. All of this may also reveal why the production qualities on this record closely resemble this renowned label's own. 

Rousilvo stands up even if the listener is not aware of the subject matter, but knowing the backstory definitely helps. This work is Doneff's most personal project, and he has laid his soul bare. If in the end we are the sum of our experiences, then the work of the musicians is a reflection of the events that touch our lives. Rousilvo is a spiritual narrative that explores the depth and the vast range of human emotions.

Track Listing: Narrative; Penelopes Of Xanthogeia; Oblivion; Mirka; Natsko; Requiem; Aide Sl'ntse; Zaidi (Traditional Macedonian); Apatris; Kaimaktsalan; Implacable Grief; Song Of The Unquietness; 12 As A Story.

Personnel: Dine Doneff: double bass, tabla, guitar; Takis Farazis: piano, accordion; Kyriakos Tapakis: oud, mandola; Pantelis Stoikos: trumpet; Dimos Dimitriadis: alto saxophone, flute; Antonis Andreou: trombone; Kostas Anastasiadis: drums; Slava Pop'va-Evdoxia Georgiou: voice; Lizeta Kalimeri voice; Martha Mavroidi: voice; Lada Kandarjieva: soprano; Elena Ginina: soprano; Elitsa Dankova: mezzo; Irina Gotcheva: alto.

Title: Rousilvo | Year Released: 2018 | Record Label: Nered

Saburo K, Saitama, Japan.

The Nobuki Takamen Trio

Nobuki Takamen is, in all probability, the best jazz guitarist Japan has ever produced. Nowadays he lives in New Jersey but tours his homeland regularly. His playing is marked by good taste and sensitivity. He is a highly inventive guitarist, his runs and progressions never quite going where you expect them to go but always making perfect sense. 

He doesn't overburden his playing with technique, staying accessible to a wide range of listeners. He names his influences as Wes Montgomery, Grant Green, Pat Martino, George Van Eps, Jimi Hendrix and—somewhat strangely—Akira Takasaki, of the Japanese glam rock band Loudness. As usual, Takamen is accompanied on this, his seventh album, by fellow countrymen, Toshiyuki Tanahashi on bass and Naoki Aikawa, drums. 

Ten of Takamen's own compositions are featured. Mostly these are in honour of the countries visited on his last European tour. One of them—the Latin-tinged "A-Tico-Ta"—was named by his four-year-old daughter and features special guest Akhito Yoshikawa on percussion. It's highly attractive, light and airy, one of the best numbers on the CD. 

The album opens with a fast bop piece, "The Circle Game," on which Takamen goes to town, demonstrating his fabulous technique. His solo is followed by one from Aikawa on drums, backed by Tanahashi, before the song returns to its theme. It's followed by the wistful ballad, "Helsingin Taivas," Finnish for "Helsinki Sky," conjuring up summer nights when the sun never truly sets. 

"3AM" is a gentle up-tempo piece with a very catchy theme—at times there is almost a country feel to it. Takamen's solo is masterly, visiting all manner of places while never completely losing touch with the melody. 

"Wonderful Days" speaks for itself, the days concerned long and lazy—perhaps Scandinavian? Wes Montgomery's influence is to the fore, though without recourse to the master's trademark use of octaves. "Blues Alberta" is the album's only blues, laid-back but solid, featuring some fast runs by the leader in his solo, which is followed by one from Tanahashi, interspersed with tasteful drumming by Aikawa. 

Takamen's rock influences come out in "25," which is fast and (almost) flashy. "Piece For Peace" is very different, far more reverent and reminiscent of Oscar Peterson's civil rights anthem "Hymn To Freedom."

Track Listing: The Circle Game; Helsingin Taivas (Helsinki Sky); 3AM; Fox’s Tail; Wonderful Days; A-Tico-Ta ; Blues Alberta; Sjećanja za Pamćenje (Memories to Remember); 25; Piece for Peace.

Personnel: Nobuki Takamen: guitar; Toshiyuki Tanahashi: bass; Naoki Aikawa: drums; Akihito Yoshikawa: percussion (6).

Title: The Nobuki Takamen Trio | Year Released: 2018 | Record Label: Self Produced

Saburo K, Saitama, Japan.