**to be released in late July, very limited, secure a copy now** Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo’s Shinjuku district, the two volumes showcase Takayanagi in deep pursuit of what he began calling “non-section music” after leaping beyond the confines of his prior descriptor “real jazz.” The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi’s spacious “gradually projection” and explosively virulent “mass projection” concepts across six pieces, titled Fragments I - VI and split between the two LPs.

As part of his liner notes for Part 1 (newly translated for this edition), noted Japanese free jazz critic Teruto Soejima wrote: "New Direction Unit performances always emit the smell of blood. Fresh blood, never blood that is old or crusted. This is not the desiccated shell of music, it’s sound through which pumps the blood of living human beings. Blood that seethes, that flows and counterflows, that blazes, runs, rises and congeals, blood that vomits and spurts. Vivid, scarlet blood. The ultimate beauty that Takayanagi aims at, is it not the color of this blood? Blood calls out to blood. For these four musicians, playing together means feasting on each other’s blood. It is also a summon- ing to a secret blood oath, to the creation of solidarity with the audience. In the moment, truly, the situation and beauty are instanta- neously unified. To borrow the title of a movie by Kōji Wakamatsu: blood is redder than the sun."

Masayuki “Jojo” Takayanagi (1932-1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority’s “Free Form Guitar” in 1969 and promptly turned his back on the jazz scene by which he was beloved, going as far as to call his former peers and admirers “a bunch of losers” in the press. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide, but even at its most limitless hurdling Takayanagi’s playing is propelled by the dexterous grasp of his foundations, to which he paid tribute with elegant takes on flamenco and Ornette Coleman’s Lonely Woman. In the autumn of his life, Takayanagi’s solo Action Direct performances made him one of the first guitarists, alongside but independent of Keith Rowe, to use tabletop guitar for pure noise improvisation.