Improvising drummer Yoshisaburo “Sabu” Toyozumi (b.1943) is known as a pioneer of the free scene in Japan, and the range of collaborations in Japan, the US and Europe is the stuff of legend: from Charles Mingus and Wadada Leo Smith to Derek Bailey, and a who’s who of the London scene – he was a frequent guest at John Russell’s annual Fete Quaqua. He had the distinction in 1971 of formally becoming the first non-American member of the Association for the Advancement of Creative Musicians (AACM). His links with European improvisers also run deep, and particularly with Misha Mengelberg whom he considers as his “guru”.
Mengelberg (1935-2017) was a prominent figure in the Dutch experimental jazz scene; he led the very influential ICP Orchestra, but also enjoyed playing in duos, especially with drummer Han Bennink, but also with key European improvisers such as Evan Parker and Peter Brötzmann.
This album, recorded in Shizuoka in 2000, and not previously released, has two long tracks, My guru, MM at just under 40 minutes, and tyeremakashi to forest of KEYAGU, at just under 20 minutes. On these two tracks the interaction between the two players features short percussive phrases on the piano that fit well with the drum patterns. The music is quirky and often witty – at one point the audience bursts out laughing. On my guru MM Toyozumi plays a long drum solo which acts as his tribute to Mengelberg. Teremakashi to forest of KEYAGU is the more dramatic of the two long tracks with several varying episodes including one where the two go into a marching rhythm.
Of the two shorter tracks, Song for AMY is a solo piano piece, dedicated to Mengelberg’s wife of fifty years, which presents a beautifully developed melodic improvisation, while off MINOR (sic) is a delightful romp through the Monk tune.
The album is issued on the impressive Lithuanian label No Business Records, a label that has specialised in bringing out unissued gems such as this one, or re-issuing important albums, for example by Sam Rivers, Jimmy Lyons and Arthur Blythe.
