1 Susabu 1
2 Susabu 2
3 Susabu 3
4 Susabu 4
5 Susabu 5
6 Susabu 6
7 Susabu 7
8 Susabu 8
9 Susabu 9
Totally awe-inspiring recordings by this 23 year old shakuhachi blower, released in an ultra limited run. Sabu ? although being young for one who can exerts such sounds from his shakuhachi in an utterly unique way ? is found to describe his playing as “Japanese old stone age style” and “noise shakuhachi”. This should already give you a hint at the sonic realms he set out to shred to pieces. His first solo effort, “Susabu” is a real tour de force. While confining himself to blowing only natural bamboo flutes without any superficial aids such as additional effects, Sabu rips through his instrument with a disemboweling force that brings to mind fellow howlers like Masayoshi Urabe, Abe Kaoru and Thomas Ankersmit to some extent. Although Sabu has not yet attained the grandeur and delicate touch of such masters like Watazumido, he nevertheless displays already the budding potential his talent beholds. “Susabu” consist out of 9 tracks, some of which are well balanced and meditative in its origin, while others rip through the dead space with the urge and power of a person cursed with a fire-breathing locomotive breath. Sabu however does not limit his sonic palette to the shakuhachi but includes ecstatic vocal outburst, growls, howls and hisses which explains to some extent his new approach to the sonic outcome of shakuhachi playing. A modern day master in the making, Sabu is someone to watch out for and this CD by him will definitely stun you with disbelief because he transcends the idea of what a solo shakuhachi recording should sound like. A major new player on the scene…..limited release so act fast.
Tiliqua Records
Two solo albums on the tiny Japanese label Subjective Spirit Sound contain some ofthe most remarkable shakuhachi playing I've heard in years. Sabu Orimo is a playerstill in his twenties, with a fine lineage: both his parents were musicians in Punkgroups. He studied shakuhachi with Atsuya Okuda and plays exclusively ji-nashi"hocchiku" flutes: large, natural bamboo with no lacquer or special treatment toaffect the sound. His concert posters proclaim "Noise Shakuhachi Solo Live", whilehis label describes him as playing "Japanese old stone age style".
Susabu consists of nine pieces all recorded on 28th March 2006. The opener is apassionate treatment of the honkyoku "San-an", full of hectic flurries, gasping andviolent stamping noises. It recalls the master Watazumido, but if anything is evenmore uninhibited and earthy. But Orimo's control is firm - he often swivels intosilence, and the piece closes with great calm after the storm. A version of "Koku" is meditative and beautifully paced. Here you can clearly discern Okuda's influence, andat seventeen minutes it's the same length as Okuda's own recording.
Orimo also plays the honkyoku "Sanya" and "Honte No Shirabe", but almost half of this album appears to be improvised. Susabu's title track is in two parts, between which Orimo probably needed to lie down in a darkened room. "Susabu Part 1" is afull-blooded outburst, culminating in an almighty thump. In "Part 2" Orimo snorts down the flute like a trumpet, and roars as if possessed. The recording equipment reels under the onslaught - this is a demented howling you expect more on a lo-fiPunk record. It's a shock, but somehow integrated into the story that Orimo istelling. His sound has such integrity that he can carry the listener with him; as with Albert Ayler’s saxophone, you feel that if he needs to extend his emotional range this wide, then so be it.
Susabu concludes with an extremely low-pitched and restrained track titled"Tsukiyo". In spite of all this, it's Ichion, Orimo's second album, recorded two weekslater, that is one of my favourite records of 2006. Four of the five tracks are playedon a long and low flute. Here what's remarkable is how little Orimo does and how good his timing is. Three minutes can be devoted to exploration of one quiet note.The outside world creeps in around the edges: on "Yure" we can hear it's pouring with rain. Five minutes in, Orimo makes his move. Gusts of wind whip through the bamboo, then he returns to stillness. These are extraordinary performances thatseem to dig deep into Japanese tradition.
The Wire
sold out visit Subjective Sound Spirit
try
thanks to redrichie who ripped this gem.
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