Akio Suzuki (鈴木昭男) is a japanese artist born in North Korean Pyongyang (1941). At the age of four he moved to Japan, to a town called Aichi. He investigates places by constructing a topography of sound based on the principle of call and echo.
Performer – Akio Suzuki. Recorded By – Chihei Hatakeyama (tracks: 6), Ruari Cormack (tracks: 1 to 5). Tenor Saxophone, Soprano Saxophone – John Butcher. Tracks 1 to 5 reocrded on Arika "Resonant Spaces" Tour, Scotland & Orkney, June 2006. Track 6 recorded at Ftarri Festival, SuperDeluxe, Roppongi, Tokyo in November 2015.
Jumping and Standing 1984 (Lp). The Book Of Sounds (2 Lp). LPx2. Jumping and Standing 1984 (Lp). Matter and Life (Lp). Nord 1st album (2cd Remastered & Expanded E. 2xCD. Approximate Dates When The Sun Reaches Each Hour Of Right Ascens.
Running, Jumping, Standing Still is an album by blues artists "Spider" John Koerner and Willie Murphy, released in 1969. Koerner and Murphy performed folk and blues as a duo for five years. Murphy declined an offer to become a producer for Elektra
Akio Suzuki - Ancient Hill. Andy Stott - On Oath. Mauricio Kagel - Pandorasbox. Circular Keys - Eurogrand. Gazelle Twin - Belly Of The Beast. Cured Pink - As Enderie Nutual. Pale Earth - Sun Tribes. Myself with the grandmaster, Akio Suzuki, truly a gentlemen and a scholar of sound. From the album Boombana Echoes released by Winds Measure. SoundCloud ROOM40 akio suzuki analapos electronic human japan.
Photo by Hiromi Miyakita. Built in Kyotango city in Japan, the work was victim to disputes with cattle farm employees. Space In The Sun, Suzuki says, was inspired by Debussy’s La Mer. I thought Debussy was sitting in front of the sea for a day, he explains, but I had never done such things before. I never used time like that before.
Akio Suzuki is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a "quester after sound and space" that he has received the most attention from artists in many fields. Suzuki's journey as an artist began in 1963 with a performance at Nagoya station, in which he threw a bucket full of junk down a staircase. During the sixties, Suzuki's sense of playfulness led him to undertake a series of Self-Study Events, where he explored the processes of "throwing" and "following", taking the natural world as his collaborator. The experiences he gained in these events led him in the seventies to invent an echo instrument he named Analapos. The instrument's structure resembles that of two mirrors facing each other, reflecting into infinity.
The applause following the introduction of Akio Suzuki at his first Toronto performance since 1984 quickly died down to reveal an echo emerging from the concert-hall seats. It was a consistent pattering-not a true echo but a sonic answer to the applause. The source of the sound came from Suzuki, who was sitting humbly in the front row, tapping together two stones in his hands. Suzuki has one Analapos that he holds horizontally like an alpine horn to sing through, and a pair that are suspended vertically by a stand, so he can drum on the cylinder lids and the seven-foot spring suspended between them. The metal spring in between the two cylinders amplifies Suzuki’s voice and percussive hits to the cylinders, creating a rich and beguiling reverberation.
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