allaboutjazz.com
The former Yumi Hara Cawkwell is obviously intent on fashioning her own musical territory, if this and her previous Moonjune release —Dune(2008), as one half of a duo with the late bassist Hugh Hopper —are anything to go by. Her partner here is one-time Henry Cow member Geoff Leigh, whose concentration on the flute for a lot of the music presented here adds a layer of meaning to a shared aesthetic, one in which the meditative is kept at bay for all of the minimal nature of much of this music by an air of unease, as if both performers are acutely aware of the potential risks inherent in music-as-background.
On the opening title track this is only too apparent. The music seems to hang in the air, although the air it hangs in is seemingly fraught with implication, as though the duo's accommodation with the moment has come about only after intense negotiations.
With that in mind, "The Mountain Laughs" charts Leigh waxing as rhapsodically as he does at any point in the program over Hara's negligible keyboard modulations. It's as close to safe as anything here, but the intelligences at work ensure that the music never strays into the merely ambient.
Set against this, the mood of "Stones On The Beach" strikes that balance between the meditative and the unsettling with uncommon grace, its effect aided in no small part by Hara's vocal, in which she intones a lyric penned by Ujo Noguchi, set to music originally titled Ishohara Bushi.
Hara's meandering piano intro to "A Short Night" proves to be the harbinger of more music that flirts with the meditative, even though it turns out to be shot through with a kind of unease, avoiding the merely hypnotic. The duo's poise, more the result of a conflation of musical outlooks than a mere meeting of minds, ensures that the music holds the attention.
"Something About The Sky" underlines that point; the merely incantatory is kept at a distance, even while suggested by Hara's vocal intonations. For all of its aptitude for stasis, various indefinable qualities keep it from being so, even while a rein is kept on the piece's long tones. The result is music that is inscrutable in the distance it maintains between itself and language.
Geoff Leigh: flute, soprano sax, zither, percussion, nose flute, voice drone, electronics;
Yumi Hara: keyboards, vocals.
By Nic Jones
Published: January 17, 2010
Style: Electronica
Friday, January 22, 2010
Saturday, November 14, 2009
Review - Upstream
Dusted Magazine
Geoff Leigh and Yumi Hara - "Upstream"
The prolific Moonjune label drops this duo offering from Geoff Leigh and Yumi Hara, two veteran improvisers. It essentializes each musician’s current concerns, highlighting what each does best in the process.
Both are multi-instrumentalists, with Leigh’s virtuosity and timbral diversity evident all the way back to one-off projects such as Mousetrap and the debut albums by Henry Cow and Hatfield and the North. More recently, he’s comprised one half of the ambient-drone duo Ex-Wise Heads, not to mention having performed and recorded with the enigmatic but visceral Faust. Hara’s earlier efforts include a beautiful set of soundscapes with the late Hugh Hopper, also released by Moonjune, but she’s also a composer, teacher and researcher, her scholarly work encompassing rhythm, improvisation and psychology.
The murky depths of human emotion are plumbed from the first gestures on Upstream, but sometimes the evocations go beyond one emotive state. Hara’s crystalline keyboard lines are matched gorgeously by Leigh’s flute trills and breathy swells, the timbres inhabiting a unified space. The two instruments bend pitches symbiotically, coming together on certain notes with satisfying synchronicity. On “The Mountain Laughs,” Hara switches to an edgy organ, adding tention to her rough-hewn chords as Leigh explores echoing expanses with each flute flutter and shake. These are meditative explorations that, in the spirit of Coltrane, conjure Orientalist themes without necessarily being specific as to geographic region.
Everything changes on “The Strait,” the proceedings becoming harsher and often more dissonant as Leigh breaks out the scronky saxophone. His long-cultivated “New Thing” figures alter and repeat over Hara’s craggy piano. A similar sheen of raw processing covers Hara’s voice and percussion on “Stone of the Beach.” It’s almost as if the disc was programmed to lead slowly to this stark but complex collection of overtones and syllables. Hara’s vocal range is impressive, as she runs the gamut from whispers to full-boar ululations, Leigh aiding and abetting at every turn.
A listening or two reveals the disc to be a series of well-placed tableaus that form an arch, so that when “Return of the Sirens” is reached, there is a palpable sense of completion. The meditative textures of Upstream are regained, the album ending in the gentle vain that began it. While electronics are used throughout, they never eclipse the human element. The sense of a duo in full improvisational flight is maintained, joining virtuosity and invention in contributing to the disc’s success.
By Marc Medwin
Nov 13, 2009
Geoff Leigh and Yumi Hara - "Upstream"
The prolific Moonjune label drops this duo offering from Geoff Leigh and Yumi Hara, two veteran improvisers. It essentializes each musician’s current concerns, highlighting what each does best in the process.
Both are multi-instrumentalists, with Leigh’s virtuosity and timbral diversity evident all the way back to one-off projects such as Mousetrap and the debut albums by Henry Cow and Hatfield and the North. More recently, he’s comprised one half of the ambient-drone duo Ex-Wise Heads, not to mention having performed and recorded with the enigmatic but visceral Faust. Hara’s earlier efforts include a beautiful set of soundscapes with the late Hugh Hopper, also released by Moonjune, but she’s also a composer, teacher and researcher, her scholarly work encompassing rhythm, improvisation and psychology.
The murky depths of human emotion are plumbed from the first gestures on Upstream, but sometimes the evocations go beyond one emotive state. Hara’s crystalline keyboard lines are matched gorgeously by Leigh’s flute trills and breathy swells, the timbres inhabiting a unified space. The two instruments bend pitches symbiotically, coming together on certain notes with satisfying synchronicity. On “The Mountain Laughs,” Hara switches to an edgy organ, adding tention to her rough-hewn chords as Leigh explores echoing expanses with each flute flutter and shake. These are meditative explorations that, in the spirit of Coltrane, conjure Orientalist themes without necessarily being specific as to geographic region.
Everything changes on “The Strait,” the proceedings becoming harsher and often more dissonant as Leigh breaks out the scronky saxophone. His long-cultivated “New Thing” figures alter and repeat over Hara’s craggy piano. A similar sheen of raw processing covers Hara’s voice and percussion on “Stone of the Beach.” It’s almost as if the disc was programmed to lead slowly to this stark but complex collection of overtones and syllables. Hara’s vocal range is impressive, as she runs the gamut from whispers to full-boar ululations, Leigh aiding and abetting at every turn.
A listening or two reveals the disc to be a series of well-placed tableaus that form an arch, so that when “Return of the Sirens” is reached, there is a palpable sense of completion. The meditative textures of Upstream are regained, the album ending in the gentle vain that began it. While electronics are used throughout, they never eclipse the human element. The sense of a duo in full improvisational flight is maintained, joining virtuosity and invention in contributing to the disc’s success.
By Marc Medwin
Nov 13, 2009
Wednesday, November 11, 2009
Review - Upstream
Geoff Leigh & Yumi Hara - Upstream (CD, Moonjune, Progressive)
Upstream is an album aimed at listeners with an open mind. Geoff Leigh plays/uses a variety of things on this album including flute, soprano sax, zither, percussion, nose flute (?), voice drone, and electronics while Yumi Hara plays keyboards and sings. Leigh is probably best known as an early member of the British progressive band Henry Cow and also played in the bands Slapp Happy and Hatfield and the North. Hara was/is in the band Frank Chickens and also acts as a DJ under the name Anakonda. Anyone even slightly familiar with any of these other bands will have some idea of what to expect here which is...the unexpected. Upstream is a bizarre collection of tracks that go all over the place. Fans of the previously mentioned Henry Cow will find a lot to love here. Leigh still composes tunes that could almost fall into the modern classical category...but threads of popular music remain intertwined. Some of the tracks are more musical than others...while others are more experimental in nature. Yumi's strange dreamy vocals add a particularly odd element to these proceedings. Nine heady cuts including "Upstream," "Stone of the Beach," "Dolphin Chase," and "The Siren Returns."
Upstream is an album aimed at listeners with an open mind. Geoff Leigh plays/uses a variety of things on this album including flute, soprano sax, zither, percussion, nose flute (?), voice drone, and electronics while Yumi Hara plays keyboards and sings. Leigh is probably best known as an early member of the British progressive band Henry Cow and also played in the bands Slapp Happy and Hatfield and the North. Hara was/is in the band Frank Chickens and also acts as a DJ under the name Anakonda. Anyone even slightly familiar with any of these other bands will have some idea of what to expect here which is...the unexpected. Upstream is a bizarre collection of tracks that go all over the place. Fans of the previously mentioned Henry Cow will find a lot to love here. Leigh still composes tunes that could almost fall into the modern classical category...but threads of popular music remain intertwined. Some of the tracks are more musical than others...while others are more experimental in nature. Yumi's strange dreamy vocals add a particularly odd element to these proceedings. Nine heady cuts including "Upstream," "Stone of the Beach," "Dolphin Chase," and "The Siren Returns."
Sunday, November 08, 2009
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