Bop Shop Records is extremely happy to welcome back an old friend, Japanese percussionist Tatsuya Nakatani. He’s been living in the U.S. for the past 20 years and has played with many musicians in a variety of genres. This will be the fifth time this extraordinary percussionist has played at the store. We first met him in 2003 when he was the dynamo behind Sabir Mateen’s fiery quintet, the Shapes, Textures And Sound Ensemble. But that didn’t prepare us for our next encounter when he appeared in 2006 at an amazing solo concert. His set up which included a trap drum set, gongs, cymbals, Tibetan bowls, and all manner of small percussive instruments was integrated into a remarkable 45 minute performance that left the small crowd that attended it nearly as drained as the performer. It is one of the legendary Bop Shop concerts. This was followed by an appearance the following year with his From Between Trio (with saxophonists Michel Doneda and Jack Wright), a set of intricate three-way improvisations. The last time he appeared here was in 2011 in another legendary Bop Shop concert with Eugene Chadbourne performing their unique brand of psychedelic country and western music. As you can see Nakatani’s range is extensive. Unfortunately we never got around to booking his bossa nova ensemble.
So, it’s been too long since he’s been here and we were glad when he got in touch with us about this tour. He’s on a long tour that will extend well into July. He’ll be appearing solo with his vast array of instruments in what promises to be an amazing night of music you won’t want to miss.
Tatsuya Nakatani (1970, Osaka) is a Japanese avant-garde sound artist and master percussionist. Based in the Truth or Consequences, New Mexico; he has released over 80 recordings and tours internationally. Performing solo, in collaboration, and with his Nakatani Gong Orchestra (NGO) project he plays over 100 concerts a year.
With his adapted Gong and handcrafted Kobo bow, Nakatani has developed his own unique instrumentation. A master of new sounds and extended technique; he sculpts a transformative, intense, expressive sound that engages improvised and experimental music while resisting genre. Central to his philosophy of sound is the concept of MA 間, which can be understood as the space or interval between perceptual events.