Masayuki Takayanagi New Direction -Call in Question ,LP,1970,Japan

Masayuki Takayanagi (1932), a veteran of Japanese jazz bands since the late 1950s, was one of the earliest noise guitar improvisers, and the first (with Keith Rowe) to use the table-top guitar. Flower Girl (1966) and The Smile I Love (Jinya, 1966) were recorded in 1966 by a quintet led by the guitarist. We Now Create (1969) was recorded by a quartet of guitar, percussion, trumpet and cello/bass. In 1969 Takayanagi formed his New Directions trio (initially Motoharu Yoshizawa on bass and cello, Yoshisaburo Toyozumi on percussion) that proceeded to record Independence (Union, 1970), recorded in 1969 and 1970, Call in Question (PSF, 1970), recorded in 1970 with the addition of Motoreru Takagi on sax, Free Form Suite (Three Blind Mice, 1972), credited to New Directions For The Arts with Kenji Mori on clarinet, flute and saxophone, April Is The Cruellest Month (1975), credited to New Direction Unit but still a quartet with Kenji Mori and a rhythm section, Eclipse (Sukra, 1975) and AxiS Another Revolable Thing (1975), all with the previous line-up.
Cool Jojo (1979) was credited to Second Concept (Kenji Kousei on piano and the usual rhythm section). The more traditional solo guitar album Lonely Woman (Vivid Sound, 1982) was a tribute to Tristano and Coleman. Pulsation (King, 1983) was a duet with percussionist Masahiko Togashi. Alternative (1983) and 850113 (1985) were credited to Angry Waves. Follow The Dream (King, 1984) was credited to Masahiko Togashi & His Improvisation Jazz Orchestra.
But he also recorded extremely cacophonous works outside the group. Action Direct (1985) contained three guitar solos. Experimental Performance (1986) was a duet with John Zorn. Reason for Being (1990) was a duet with trusted bassist Nobuyoshi Ino. Inanimate Nature (Jinya, 1991) contains four lengthy live solo improvisations. Three Improvised Variations on a Theme of Quadhafi (Jinya, 1991) contains three lengthy solo studio improvisations. El Pulso (1991) is a live collaboration with other guitarists.
He also recorded with saxophonist Kaoru Abe (who died of a drug overdose in 1978 at the age of 29): Kaitaiteki Koukan/ Deconstructive Communication, recorded live in 1970, Gradually Projection (1970), Mass Projection (1970).
Masayuki Takayanagi died in 1991.
taken from Scaruffi

REVIEWS

Fierce, gutteral free jazz, spewing chunks and blocks of full-on cataclysm. A massive energy corralled and thrown by the frenetic playing of guitarist Masayuki Takayanagi. A cacophony of seemingly little purpose but with plenty of power behind the squealing, screeching, skittering, stuttering, and sociopathic siren calls. It may sound like a bunch of noise but there are bounds to this noise, a containment of pure human feeling within this near-perfect storm. Even when it paces itself its meandering seems sinister and ready to pounce. The rhythm section underpins and the reeds (and flute?) accentuate and scour your grey matter, but it's mostly up to Takayanagi to fry your synapses.

pure demolition far ahead from the time (1970(!)). Keiji Haino was born by the bowels of the Takayanagi's "Mass Projection" concept of guitar playing here. the transformation of a cool-jazz guitarrist to the noisiest guitarrist that the free-jazz ever met. neither Hendrix, Velvet or Stooges (even Haino)... they are a bunch of kids close to Takayanagi's destruction in "Call in Question" (other one i would recommend is "Mass Projection", made with Kaoru Abe). it is an real introspective journey to our most raw psyche.

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