{"id":3488,"date":"2016-06-01T00:25:18","date_gmt":"2016-05-31T15:25:18","guid":{"rendered":"http:\/\/jazztokyo.org\/?p=3488"},"modified":"2017-01-07T17:05:15","modified_gmt":"2017-01-07T08:05:15","slug":"post-3488","status":"publish","type":"post","link":"https:\/\/jazztokyo.org\/reviews\/cd-dvd-review\/post-3488\/","title":{"rendered":"#1305 \u300ePeter van Huffel |Alex Maksymiw \/ KRONIX\u300f(2016: Challenge Record New Talent)"},"content":{"rendered":"

text by Kayo Fushiya \u4f0f\u8c37\u4f73\u4ee3<\/p>\n

KRONIX<\/p>\n

\"amazon_icon_link_3\"<\/a>
\nPeter van Huffel (alto sax)
\nAlex Maksymiw (guiter)<\/p>\n

1. The Charmer (2:48)
\n2. Excerpt Two (6:05)
\n3. Slow Burn (5:15)
\n4. Anyhow (4:15)
\n5. The Dreamer (5:02)
\n6. Petrichor (3:29)
\n7. Drift (6:07)
\n8. Happenstance (6:09)
\n9. Fuse (2:56)
\n10. Anyhow\/ Alternate Take (4:13)<\/p>\n

Total time: 46:19<\/p>\n

Tracks 1,5,6; by Alex Maksymiw
\nTracks 2,3,4,7,8,9,10 ;by Peter van Huffel<\/p>\n

Recorded at Maarweg Studio, Cologne on February 22nd, 2015
\nRecorded & mixed by Christian Heck
\nProduced by KRONIX
\nExective producer: Jordi Pujor<\/p>\n

\n<\/hr>\n

\u30d4\u30fc\u30bf\u30fc\u30fb\u30f4\u30a1\u30f3\u30fb\u30cf\u30c3\u30d5\u30a7\u30eb\u3068\u3044\u3048\u3070 \u300cGorila Mask\u300d\u3001\u30ed\u30c3\u30af\u30c6\u30a4\u30b9\u30c8\u6ea2\u308c\u308b\u30a2\u30ca\u30fc\u30ad\u30fc\u306a\u5486\u54ee\u304c\u3059\u3050\u3055\u307e\u601d\u3044\u3060\u3055\u308c\u308b\u304c\u3001\u30ae\u30bf\u30ea\u30b9\u30c8\u306e\u30a2\u30ec\u30c3\u30af\u30b9\u30fb\u30de\u30ad\u30b7\u30df\u30a5 (Alex Maksymiw) \u3068\u7d44\u3093\u3060\u3053\u306e\u30c7\u30e5\u30aa\u30a2\u30eb\u30d0\u30e0\u306f\u3001\u4e00\u898b\u305d\u306e\u5bfe\u6975\u306b\u3042\u308b\u304b\u306e\u3088\u3046\u306b\u898b\u3048\u308b\u3002\u30a2\u30eb\u30d0\u30e0\u5168\u4f53\u3092\u8986\u3046\u843d\u3061\u7740\u3044\u305f\u30e0\u30fc\u30c9\u306f\u3001\u81ea\u3089\u306e\u97f3\u3092\u78ba\u7acb\u3057\u305f\u8005\u305f\u3061\u306e\u4f59\u88d5\u306e\u73fe\u308c\u304b\u3002\u30f4\u30a1\u30f3\u30fb\u30cf\u30c3\u30d5\u30a7\u30eb\u306f\u6717\u3005\u3068\u3057\u305f\u3001\u7406\u5c48\u306c\u304d\u306e\u3044\u3044\u97f3\u3092\u51fa\u3059\u3002\u30de\u30af\u30b7\u30df\u30a5\u306e\u30ae\u30bf\u30fc\u306f\u3001\u78ba\u304b\u306a\u6280\u5de7\u306f\u3082\u3068\u3088\u308a\u3001\u9670\u5f71\u3084\u9759\u5bc2\u306b\u5bfe\u3059\u308b\u30bb\u30f3\u30b9\u306b\u92ed\u654f\u3055\u304c\u5149\u308a\u3001\u8c4a\u304b\u306a\u7a7a\u9593\u5851\u50cf\u529b\u3092\u898b\u305b\u308b\u3002\u5f93\u6765\u306b\u8fd1\u3044\u30b9\u30c8\u30ec\u30fc\u30c8\u30a2\u30d8\u30c3\u30c9\u306a\u30a4\u30f3\u30d7\u30ed\u3092\u582a\u80fd\u3067\u304d\u308b\u306e\u304c 2\u30c6\u30a4\u30af\u53ce\u9332\u3055\u308c\u305f <Anyhow>\u3002\u30ae\u30bf\u30fc\u306e\u30a8\u30ec\u30af\u30c8\u30ea\u30c3\u30af\u97f3\u304c\u30a2\u30eb\u30c8\u306e\u97f3\u8272\u3068\u89aa\u548c\u529b\u3092\u5897\u3057\u3064\u3064\u3001\u7206\u767a\u7684\u306a\u30e6\u30cb\u30be\u30f3\u3068\u306a\u3063\u3066\u30af\u30e9\u30a4\u30de\u30c3\u30af\u30b9\u306b\u7d50\u5b9f\u3059\u308b\u3055\u307e\u306f\u723d\u5feb\u3002\u5c0f\u7d30\u5de5\u3092\u524a\u304e\u843d\u3068\u3057\u305f\u30d7\u30ec\u30a4\u3060\u3051\u306b\u3001\u97f3\u697d\u306e\u5c4b\u53f0\u9aa8\u304c\u5426\u5fdc\u306b\u3082\u9732\u308f\u306b\u306a\u308b\u3002\u305d\u3046\u3057\u305f\u610f\u5473\u3067\u30b3\u30f3\u30dd\u30b8\u30b7\u30e7\u30f3\u3084\u30a2\u30ec\u30f3\u30b8\u306e\u7cbe\u7dfb\u3055\u3082\u8a3c\u660e\u3055\u308c\u305f\u306e\u304c\u672c\u4f5c\u3002\u97f3\u306e\u63a8\u79fb\u304c\u9ad8\u5bc6\u5ea6\u306b\u611f\u77e5\u3055\u308c\u308b\u305d\u306e\u97f3\u697d\u306e\u78c1\u529b\u306f\u3001\u8033\u89e6\u308a\u306e\u826f\u3055\u3092\u4fdd\u6301\u3057\u3064\u3064\u3082\u5f37\u70c8\u3067\u3042\u308b\u3002\uff08*\u6587\u4e2d\u656c\u79f0\u7565\u3000\u4f0f\u8c37\u4f73\u4ee3\uff09<\/p>\n

The mention of Peter van Huffel will remind many of \u201cGorilla Mask\u201d, instantly recalling anarchic sax yelling and flooding over with a touch of rock, but this album with the guitarist Alex Maksymiw is a softer beast and appears at first sight to be positioned at the opposite extreme. The calm mood blanketing the entire album is relaxed and shows two players enjoying their own established sound. Van Huffel produces a sonorous confident sound. Maksymiw\u2019s guitar playing and convincing technique with his shining sharp sense of depth and stillness shows us a rich spatial form. Straight-ahead improvisation, very close to van Huffel\u2019s usual style, can be fully enjoyed in \u201cAnyhow\u201d recorded as two takes(track 4 and 10). While the guitar\u2019s electric sound has an increasing affinity with the alto\u2019s tone color, they work to an explosive unison and come to fruition at the climax; this weaving flow is exhilarating. Their performance cuts to the bone, unavoidably exposing the skeletal framework of their music. In that sense, this album is proof of the finest composition and subtle arrangement. With its high density of sound transition, the magnetic attraction of the music is intense yet still pleasantly caresses the listener\u2019s ear.(Kayo Fushiya)<\/p>\n

\u300alinks\u300b
\nhttps:\/\/petervanhuffel.com\/<\/a>
\nhttp:\/\/www.alexandermaksymiw.com\/<\/a><\/p>\n

\u300aReview links\u300b
\nhttp:\/\/www.archive.jazztokyo.org\/five\/five951.html<\/a>
\nhttp:\/\/www.archive.jazztokyo.org\/five\/five1117.html<\/a>
\nhttp:\/\/www.archive.jazztokyo.org\/five\/five1118.html<\/a><\/p>\n

\"KRONIX;

KRONIX; Alexander Maksymiw (left) & Peter van Huffel
(right)
\u00a9Sophie Tassignon<\/figcaption><\/figure>\n
\"\u00a9David
\u00a9David Beecroft<\/figcaption><\/figure>\n
\"fushiya_cd_218_b-04\"
\u00a9Lena Ganssmann<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

\u30d4\u30fc\u30bf\u30fc\u30fb\u30f4\u30a1\u30f3\u30fb\u30cf\u30c3\u30d5\u30a7\u30eb\u3068\u3044\u3048\u3070 \u300cGorila Mask\u300d\u3001\u30ed\u30c3\u30af\u30c6\u30a4\u30b9\u30c8\u6ea2\u308c\u308b\u30a2\u30ca\u30fc\u30ad\u30fc\u306a\u5486\u54ee\u304c\u3059\u3050\u3055\u307e\u601d\u3044\u3060\u3055\u308c\u308b\u304c\u3001\u30ae\u30bf\u30ea\u30b9\u30c8\u306e\u30a2\u30ec\u30c3\u30af\u30b9\u30fb\u30de\u30ad\u30b7\u30df\u30a5 (Alex Maksymiw) \u3068\u7d44\u3093\u3060\u3053\u306e\u30c7\u30e5\u30aa\u30a2\u30eb\u30d0\u30e0\u306f\u3001\u4e00\u898b\u305d\u306e\u5bfe\u6975\u306b\u3042\u308b\u304b\u306e\u3088\u3046\u306b\u898b\u3048\u308b\u3002<\/p>\n","protected":false},"author":29,"featured_media":3491,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[7,260],"tags":[292],"class_list":["post-3488","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cd-dvd-review","category-no-218","tag-peter-van-huffelalex-maksymiw"],"jetpack_publicize_connections":[],"acf":[],"jetpack_featured_media_url":"https:\/\/jazztokyo.org\/wp-content\/uploads\/2016\/05\/fushiya-cd-218-b-01.jpg","jetpack_shortlink":"https:\/\/wp.me\/p7BMd5-Ug","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/posts\/3488","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/users\/29"}],"replies":[{"embeddable":true,"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/comments?post=3488"}],"version-history":[{"count":0,"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/posts\/3488\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/media\/3491"}],"wp:attachment":[{"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/media?parent=3488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/categories?post=3488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazztokyo.org\/wp-json\/wp\/v2\/tags?post=3488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}