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01. Midori Takada - Cutting Branches For A Temporary Shelter (In The Morning)
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02. Midori Takada - Cutting Branches For A Temporary Shelter (In The Night)
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ARTIST
TAKADA, MIDORI
TITLE
Cutting Branches For A Temporary Shelter
FORMAT
LP
LABEL
WRWTFWW RECORDS
CATALOG #
WRWTFWW 060LP
WRWTFWW 060LP
GENRE
EXPERIMENTAL
RELEASE DATE
7/8/2022
LP version. WRWTFWW Records and MEG Museum (Geneva) present the first new solo album by renowned Japanese percussionist
Midori Takada
in 23 years,
Cutting Branches For A Temporary Shelter
. Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum,
Cutting Branches For A Temporary Shelter
is Midori Takada's very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by
Paul F. Berliner
included on the famed 1973 album
The Soul of Mbira
. The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist. Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It's very rich." Includes in-depth liner notes that include an interview with Midori Takada, a point of view by Zimbabwean scholar, musician and activist
Forward Mazuruse
, and background information on the project by Isabel
Garcia Gomez
and
Madeleine Leclair
from MEG Museum. Artwork by celebrated Zimbabwean painter
Portia Zvavahera
.
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