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<title>sexta 28 Fev: concerto Tetuzi Akiyama</title>
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Sismógrafo: Tetuzi Akiyama
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<div style="text-align: center;"><strong style="font-size:12px; line-height:1.6em"><span style="font-family:courier new,courier,lucida sans typewriter,lucida typewriter,monospace"><span style="letter-spacing: 1px;">[PORTUGUÊS]</span></span></strong></div>
<br>
<br>
<span style="font-family: arial; letter-spacing: 1px; line-height: 20px;"><span><strong><em>Esta será a quarta visita de Akiyama ao Porto, a primeira em mais de 7 anos e uma oportunidade de rever um músico que tem vindo a tocar cada vez menos na Europa.<br>
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Lotação limitada a 40 lugares, apenas 24 ainda disponíveis. Bilhetes à venda no Sismógrafo (no horário habitual) ou no quiosque à entrada do edifício (segunda a sexta das 8:00 às 19:00). 5 EUR compra antecipada, 7 EUR na porta no dia do concerto, com direito a pulseira dourada exclusiva.</em></strong></span><br>
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Algures entre o motoqueiro do vasto deserto americano e o guerreiro samurai contido, o japonês Tetuzi Akiyama une, com a sua guitarra, os pontos de uma ligação improvável entre o blues do Sul dos EUA, a música improvisada electroacústica, o psicadelismo rock e algo não imediatamente nomeável da cultura japonesa. Do <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=9b101f05f2&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">quase-silêncio espectral</a> até ao <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=31b8471bb3&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">drone</a> em volume máximo, encontra-se na música de Akiyama uma essência textural que se sobrepõe às propriedades acústicas imediatas da guitarra e que habita o espaço entre cascatas de fragmentos de linhagens mais facilmente reconhecíveis do <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ac32110699&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">folk</a>, rock, <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=1501f9e74b&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">blues</a> e da <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=49d6bbaa7d&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">música improvisada</a>.<br>
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A busca de um <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=430384c269&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">primitivismo</a> que liga o músico directamente ao instrumento e suas <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=9bfe76c3db&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">múltiplas ressonâncias</a> é a narrativa da discografia de Akiyama, que em 30 anos conta com mais de 50 discos, 12 dos quais a solo. O início remonta ao final dos anos 80, com os grupos Madhar e Hykio String Quartet e as colaborações com os guitarristas Taku Sugimoto e Toshimaru Nakamura. Até ao primeiro álbum a solo, <em>Relator </em>em 2001 - os esboços iniciais dos blues tangidos por uma <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=630da18fcf&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">espada de samurai</a> – contribuiu para o nascimento do Onkyo, um estilo musical minimalista interessado na textura do ruído silencioso e ligado às sessões de improvisação na mítica <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=9fc9207b9d&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">galeria Off Site</a> em Tóquio (que serviram também de base à polinização cruzada entre a música improvisada do Ocidente e Oriente). Nos anos 00, a discografia foi crescendo exponencialmente, quer em improvisações a solo quer em parceria com outros músicos. A solo, os discos oscilam entre delicadas melodias de carácter pessoal que tanto sugerem ancestrais comuns à <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=aec911c207&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">pós-Takoma</a> de Jack Rose ou a Sir Richard Bishop como uma espécie de pré-linguagem do Mississípi ou de tradições pan-asiáticas (<em>Route 13 to the Gates of Hell</em> ou <em>Pre-Existence,</em> ambos de 2005) e abordagens mais livres e oblíquas focadas em <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=1d8bb30a4a&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">micro- e sobre-tons</a>, ecos fantasmáticos, silêncio e ruído (<em>Résophonie</em> de 2002 ou <em>Terrifying Street Trees</em> de 2006). Não podemos esquecer, claro, os <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=c92e468e31&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">drone-blues em alto volume</a> de <em>Don’t Forget to Boogie</em> (2003). Os álbuns colaborativos aconteceram mais frequentemente com guitarristas (Oren Ambarchi, Tom Carter, Alan Licht, Greg Malcolm, Michel Henritzi) e a música electrónica/electroacústica (Toshimaru Nakamura, Jason Kahn, Günter Müller, Hervé Boghossian, Utah Kawasaki). Participou também como instrumentista em discos de outros músicos como por exemplo Otomo Yoshihide (na sua <em>Portable</em> Orchestra de 2001, Ensemble Cathode de 2002 ou <em>Prisioner</em> de 2007) ou até em <em>Manafon</em> (2009) de David Sylvian.<br>
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A revista de música independente <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=30c2b3da70&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">The Wire</a> escreveu, em 2005, que Akiyama parecia estar a desafiar o título de guitarrista mais interessante do planeta – hipérbole ou não, é certo que o japonês tem uma sensibilidade e determinação metódica únicas e com a sua guitarra, acústica ou eléctrica, preparada ou despida, continua a traçar um caminho sem compromissos. </span>
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<strong><em><span style="font-family: arial; letter-spacing: 1px; line-height: 20px;">This will be Akiyama’s fourth visit to Porto, but the first in more than 7 years and it's a great opportunity to see/listen to a musician that has been playing in Europe less frequently each year.<br>
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Capacity limited to 40 people, only 24 seats still available. Tickets on sale at Sismógrafo (opening hours only) and at the kiosk at Sismógrafo’s building entrance (Mon to Sat, 8:00 to 19:00). Advanced purchase: 5 EUR; at the door: 7 EUR; entitled to an exclusive golden bracelet. </span></em></strong><br>
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<span style="font-family: arial; letter-spacing: 1px; line-height: 20px;">Somewhere between the motorbike rider of the vast American desert and the restrained samurai warrior, the japanese guitarist Tetuzi Akiyama, connects the dots of the improbable link between the US’ southern blues, electroacoustic improvisation, psychedelic rock and something not entirely definable of Japanese culture. From <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=f23819218d&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">spectral near-silence</a> to full-on <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=4fa7cb8a37&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">drone</a>, we find a textural essence in Akiyama’s music that is beyond the immediate acoustic properties of the guitar and inhabits the space between streams of more familiar lineages including <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ab53fd069d&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">folk</a>, rock, <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=e8754a4b0f&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">blues</a> and <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=e9f7411ccf&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">improvised music</a>.<br>
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The search for a <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=14a8c229a5&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">primitivism</a> that links the musician directly to the instrument and its <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=7eb944f458&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">multiple resonances</a> is the narrative throughout Akiyama’s discography which adds up to more than 50 records, 12 of which are solo recordings. The beginnings go back to the late 80s with the groups Madhar and Hykio String Quartet and the collaborations with guitarists Taku Sugimoto and Toshimaru Nakamura. Up to the first solo album, <em>Relator</em> from 2001 – the initial sketches of the <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=96c3764635&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">samurai sword</a> scrapped blues – he contributed to the birth of Onkyo, a minimalist musical style concerned with the texture of noisy silence and linked to the improvisation sessions at the mythical <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=9f52d95e60&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">Off Site gallery</a> in Tokyo (which also served as a base of cross-pollination between improvised music from the East and West). In the 00s, his album outings grew exponentially both with solo improvisations and collaborations with other musicians. Akiyama’s solo albums alternate between personal delicate melodies which suggest both a common ancestor of the <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=8deeab2f77&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">post-Takoma</a> of Jack Rose or Sir Richard Bishop as well as a kind of pre-Mississippi language or pan-Asiatic traditions (<em>Route 13 to the Gates of Hell</em> or <em>Pre-Existence,</em> both from 2005) and free-form and oblique approaches focused on <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=a380bc724d&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">micro- and over-tones</a>, phantasmatic echos, silence and noise (<em>Résophonie</em> from 2002 or <em>Terrifying Street Trees</em> from 2006). Let’s not forget, of course, the <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=330642c5b3&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">loud-as-hell drone-blues</a> from <em>Don’t Forget to Boogie</em> (2003). In collaborative albums he teamed up more frequently with guitarists (Oren Ambarchi, Tom Carter, Alan Licht, Greg Malcolm, Michel Henritzi) and electronic/electroacoustic musicians (Toshimaru Nakamura, Jason Kahn, Günter Müller, Hervé Boghossian, Utah Kawasaki). He also participated as an player in other musicians albums, for example, with Otomo Yoshihide (in his <em>Portable</em> Orchestra from 2001, Ensemble <em>Cathode</em> from 2002, the Masao Adachi’s Prisioner soundtrack from 2007) or in David Sylvian’s <em>Manafon</em> (2009).<br>
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Independent music magazine <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=3037041d63&e=0046895fa6" target="_self" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #ff0000;font-weight: normal;text-decoration: underline;">The Wire</a> wrote, in 2005, that Akiyama was “challenging for the <em>title</em> of most interesting <em>guitarist</em> on the planet” – hyperbolic or not, we’re certain that the Japanese possesses an unique sensibility and methodic determination and that with his guitar, acoustic or electric, prepared or bare-naked, he continues to open a route without compromises. </span>
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<span style="font-family: arial; letter-spacing: 1px; line-height: 20px;"><span style="font-family: arial; letter-spacing: 1px; line-height: 20px;"><span style="font-family: arial; letter-spacing: 1px; line-height: 20px;"><span style="font-family: arial; letter-spacing: 1px; line-height: 20px;"><span style="font-family: arial; letter-spacing: 1px; line-height: 20px;"> <span style="font-family: arial; letter-spacing: 1px; line-height: 20px;"> </span> </span></span></span></span> </span>
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