Label: AKP Recordings, 2024

Personnel - Dave Harrington: guitar, electronics; Max Jaffe: drums, sensory percussion, effects; Patrick Shiroishi: saxophones, bells, tambourine.

The trio co-led by guitarist Dave Harrington, drummer Max Jaffe, and saxophonist Patrick Shiroishi delivers deeply improvisatory yet subtly nuanced performances in their debut album, Speak, Moment. Comprising five collective improvisations recorded in a single afternoon, the album explores atmospheric sonic environments with intuition and spontaneity.

The album opens with the guard-down rubato balladry of “Staring Into the Imagination (of Your Face)”, whose wispy contemplative tone results from tranquil saxophone melodies with slightly dissonant slips and vibrato, ambient guitar, and coruscating brushwork with incidence on cymbals. At the end, we can hear an arpeggiated sax phrase that repeats with electronics in the background. “How to Draw Buildings” has Harrington assembling droning persistence, Eastern melodies, and rock experimentalist over Jaffe’s shamanic percussion. The sounds become weepier as the piece progresses.

“Dance of the White Shadow and Golden Kite” takes the form of a hypnotic elliptical dance with strange exoticism exuding from the rich timbres of the rhythm. There’s admirable saxophone work and effects here, and the overall picture transports us to some eclectic ECM albums by Jan Garbarek and Collin Walcott. Contrasting with the other pieces, “Ship Rock” channels the skronky guitarism of Sonny Sharrock, in a combination of shredding, staccato-infused electric guitar, fleet saxophone lines, and high-strung drumming.

The album concludes with “Return in 100 Years, the Colors Will be at Their Peak”, a foray into freer territory after walking a tightrope between Eastern and American sounds. Tidal guitar waves are pelted with distortion, the saxophone toggles between gravitation and compression, and the percussion mutates with elasticity. It ends with raspy droplets of guitar, while angular asymmetric saxophone lines fizz between the cracks.

Sharing a positive and open affiliation, this trio delves into charming ambiances with an impulse to disrupt the norms and redraw the lines.

Favorite Tracks:
02 - How to Draw Buildings ► 03 - Dance of the White Shadow and Golden Kite ► 05 - Return in 100 Years, the Colors Will Be at Their Peak

Label: Cacophonous Revival, 2020

Personnel - Patrick Shiroishi: alto and baritone saxophones; Dylan Fujioka: drums, percussion.

Although they’ve been playing together since 2013 in different contexts, West-coast saxophonist Patrick Shiroishi and drummer Dylan Fujioka have never released a collaborative duo album until now. Neba Neba is a three-track free jazz suite, in which the duo adopts their habitual take-no-prisoners approach. Shiroishi and Fujioka joined the post-rock band Upsilon Acrux in 2015, and more recently have collaborated with keyboardist Paco Casanova on Kage Cometa (FMR Records, 2018) as well as with multi-instrumentalist Vinny Golia and drummer Alex Cline on Borasisi (Astral Spirits, 2019).

“Lucky Boys” starts off with plain sax melodies floating atop limber percussion. While the saxophonist gradually extends his color range by incorporating glissandos, eccentric trills, and elliptical movements, the drummer injects zealous bass drum kicks in his lively activity. The improvisational interplay may vary from cogitative suspensions to fiercely intense rides, and every idea favors exploration and communication. Even in the sections where they operate in solo configuration, the clear language overrides demonstrative aesthetics. Prior to the conclusion, a predominant cymbal legato with variable flashes of intensity joins the droning quality of the alto sax before it glides into spiraling mode.

Whereas the previously described piece lasts for nearly 26 minutes, “Chorizo” clocks in at 29, validating improvisation as the driving force behind the duo’s actions. Launched with dry snare drum and eloquent, breathy alto sax phrases, this piece gains some nice, loose throb along the way. At a given moment, Shiroishi switches to baritone, extracting interesting deep sounds with occasional multiphonics while engaging in a strange dance with his mate. He returns to the alto for a powerful ending.

Although initially marked by the serene cascading effect of a rattling percussion and restrained saxophone playing, “Stray Dog” reaches its boiling point right before fainting permanently into quietude.

This is a bold sax-drums duet.

Favorite Tracks:
01 - Lucky Boys ► 03 - Chorizo