The Sea Trio - Live in Munich and Bonn (2024) [Hi-Res]

"These three men distill different generational and aesthetic information into set-long, completely free improvisation. Satoh’s playing is by turns lyrics and harmonically dense. Otomo’s slithering feedback and block-sized chunks of distortion dance on the edge of noise, even when volume is quite low. And the constant implications of motion in Turner’s drumming contain more rumble than pulse. And yet it coheres - the successful co-existance of these elements seems to be the point." (The Wire)

"No monolith, despite what many think, the field of improvised music is actually a synthesis of many sound genres. That’s what makes an admirable session like this fascinating and instructive. Classified under the free music rubric, the players on this two-CD set – one British two Japanese – who work with one another as well as other innovators – bring dissimilar concepts to the five live improvisations. Born in 1941, pianist Masahiko Satoh has composed and arranged music in many styles, but remains foremost a Jazz musician who has played with Albert Mangelsdorff and many others. Drummer Roger Turner, born in 1949, just slightly younger than the first generation of European free improvisers and has played with everyone from Axel Dörner to John Russell. As for 1959-born guitarist Otomo Yoshihide, besides working with acoustic improvisers like John Butcher, he’s also a tuntablist and involved in the noise, pop and electroacoustic scenes. Intersecting and blending their affiliations, the three create sounds that are alternately measured and processional or freeform. This collaborative strategy often dissolves into unexpected interludes of individual sound emphasis, than swiftly right itself back into mutual horizontal flow. Most vociferous are Yoshihide’s noise forays which frequently involved knob-twisting intensity, amped drones and strident flanges which seem to be projected with arco like slices. During the second concert there are sequences where the guitarist appears to be signal processing oscillations and cries at various pitches that are responded to with Turner’s tough shuffles. Meanwhile Satoh shifts from multi-fingered clipping through pedal-point thumps, two handed note stacking and reflective comping directed towards Bop-influenced cadences, This is especially noticeable on “About The Unrepeatable” and “Where it Lies” where the subsequent joint output become almost foot tapping. Unlike Yoshihide and Satoh, who always seem to be playing, Turner holds himself in check. Multiple instances of the guitarist’s showy slurred fingering and metallic stings or the pianist’s intense key pressure or dynamic narratives likely outnumber the drummer’s pulsations 10 to one. While he demonstrates he can crash and figuratively burn through ruffs, snacks and crunching rhythms at a furious pace if he chooses, Turner is more of a colorist than a combatant. He most commonly makes his point through cymbal clatter, lug loosening, single brush pings or drum top quivers. Another indication of the trio members’ skills are those few instances when they slow down for melodic interludes. Although not as obvious as Turner low-pressure interactions, instances where Satoh makes his points through key dusting or Yoshihide’s electrified strums leave a fuzzy aural afterimage played define these sessions as well. With five extended selections based around the collective improvisations of three expert improvisers, there’s much to savor on Live in Munich and Bonn by free music followers or those merely sound curious. (Ken Waxman, Jazzword)