Homage to a long-lost club – Live at SuperDeluxe.
A new album from Anglo-Norwegian trio The Geordie Approach, in a unique collaboration with Japanese koto-player Michiyo Yagi.
Live at SuperDeluxe is both a tribute to the long-lost venue which for many years constituted the hub of high-end Tokyo experimentalism, as well as a testament to the transnational ethos of improvised music. The three musicians of The Geordie Approach have long been drawn to the experimental, rustic, activist-run underground venues found in basements, lofts and abandoned factories scattered across our cities, and SuperDeluxe was one of their absolute favourites. One floor, audience close, dry, warm sound, and an excellent sound system, made for a magical night, only topped by the guest-appearance of virtuoso koto-player Michiyo Yagi.
Yagi has long been pushing the boundaries of the traditional koto – using electronics, free improvisation and collaborations across genres – and in this recording she plays like she was always part of the close-knit band. The interplay between them flows as a well-structured composition, ranging from acoustic solos and duos, to electronic mayhem and rhythmic ambience.
LP edition strictly limited to 275 copies.
Chris Sharkey – electronics
Ståle Birkeland – drums
Petter Frost Fadnes – alto saxophone, electronics
Michiyo Yagi – electric 21-string koto, 17-string bass koto, electronics
For this limited edition LP, Norwegian avant-trio The Geordie Approach are joined by Japanese electric koto virtuoso Yagi, who fits into the proceedings so seamlessly that you’d think she’s always been a member of the band. Recorded live at the nowclosed and much-missed home of Tokyo improv Live at SuperDeluxe captures the quartet in full flow. Of the two extended pieces that make up this record, the one on side two is by far the more interesting – it’s a 25 minute journey into the unknown , full of dynamic swells, percussive mayhem and intriguing sonics. Yagi is an astonishing player and the koto is an instrument that needs to be heard more often in jazz. – Kevin Whitlock, JAZZWISE
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