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CD
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RM 4186CD
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From Lawrence English: "There's two things I can tell you about Ueno Takashi, without reservation. The first is he knows the best coffee spots in Tokyo. I am the happy recipient of this knowledge. The second thing I can tell you is that he is someone for whom the guitar is a platform of exquisite promise. Ueno Takashi, who many of you would recognize as one half of the legendary unit Tenniscoats, is also responsible for an impressive series of solo guitar recordings which stake out a claim that tests the fringes of extended technique, harmonic relation and post-blues modes. His approach is simple; the guitar must lead and through allowing this he has unlocked a potential in the instrument that is entirely personal and profound. Arms, which collects together a series of recordings made during the past few years, is by far one of his most melodic and structured recordings. Here, using only the simplest of tools and techniques he crafts a suite of pieces that orbit one another with a gentle gravity. His playing is, at times, intensely delicate and at other moments more free and playful, but never careless. Ueno's way with the guitar is one attuned to 'what is needed,' and he seemingly shuns excess. While some might call this approach minimalist, his unique sense of time opens another reading which extends beyond those traditions. Arms is a complete universe within which we are invited to be. Ueno is your host, and guide here. Enjoy."
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CD
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RM 487CD
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"I confess to being in a state of ceaseless awe when it comes to Tokyo guitarist, Ueno Takashi. I have had the pleasure to know Ueno now for well over ten years. In that time he has remained a source of constant curiosity and surprise. Just when I think I have the man pegged, he throws out some unexpected musical gesture that completely catches me off guard. Whether it be his work with Saya in Tenniscoats, or his almost endless stream of solo releases, many of which exist in very short run editions, his music typifies a tireless desire to explore. Recently Ueno's curve ball has been his project Off Strings with Vice Japan, where he talks to leading Japanese guitarists. It's an incredible series of interviews, which I heartily recommend checking out. The results have been quite extraordinary and his session with Haino Keiji a personal favorite of mine. Yet another pleasant surprise from this maestro. Over the course of his previous solo recordings for Room40, Ueno has tested very reductive compositional approaches. Each of the records has created a precise and unique approach to guitar. Sui-Gin, his first solo for us, almost ten years old (2008), remains one of Room40's most individual sounding recordings. It's a collection of alien tones, uneasy yet beautiful. To this day I still can't quite imagine how he drew so much harmonic richness from such a limited palette; one instrument and one pedal. Smoke Under The Water, a title I can only assume maintains at least a little humor about it, is easily the most beautiful record Ueno has made in recent years. Here, the lushness of his playing meets head on with his minimalist compositional heart. This record bares a close attention to detail. That is not to say it is fussed over or seeking some kind of state of perfection. On the contrary this is a record about performance, about taking a beautiful compositional idea and seeking to document it with the life and breath that is so critical to solo instrumental works. I implore you to listen to one of Japan's true masters of his craft." --Lawrence English, October 2017
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CD
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RM 456CD
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"I think I have known Ueno Takashi for almost a decade now. If not that long, then certainly close. Over that time I've had the pleasure of performing with him and collaborating together on a number of recording projects for Tenniscoats. Ueno's work, both solo and with groups, spans an eclectic range of interests. I remember once sitting in his small studio and looking through an epic array of CDs he had lying around. It stretched over a vast array of musics from folk, pop, and bebop, through to noise, classical, and free improv. It was a glimpse into what fuels Ueno and ultimately what shapes his hunger to seek out new ways of approaching song, timbre, and, more importantly, his instrument. Since the first time we met, I have recognized one constant for Ueno: a restlessness of spirit that has resulted in some of the most profound guitar playing I have ever had the pleasure to hear. Ueno has found a way to make the guitar both familiar and alien at the same time. His playing has inspired me and a great many others. It continues to develop with a spirit of relentless harmony and acute individuality. On Variations of Weeds Ueno charts out a series of harmonic and timbral micro-universes for guitar. It's a record that has captivated me since the first time I had the pleasure to hear it. I am glad to be sharing this with you." --Lawrence English, November 2014
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