Japanese Jazz 1950s–1980s [listen to 和ジャズ・ディスク・ガイド」

barabara sounds sez:

Just change my name to Taro Urashima…

And, for my local friends: 大変お待たせしました…

Yes, here we go again, back from a long siesta — and kicking back into the groove with a j-jazz comp that emerged earlier this year. It's a sampler, a taster to whet your appetite, especially for those who have got their hands onto the essential primer on the j-jazz golden age (in Japanese it's called Wa-jazz Disc Guide). But you don't have to have the book in front of you to recognize the quality of the cuts here: there are some out-and-out gems.

Starting right from the get-go with the opening cut from Toshiko Akiyoshi, and then through Watanabe and Hino (a track off the classic Hi-Nology album when he followed Miles into electric territory) to Kiyoshi Sugimoto's moody Babylonia Winds, there are plenty of pearls to be dug up here. Check out some of those lesser-known artists, like Takeshi Inomata & Sound L.T.D.; or the cut by Toshiyuki Miyama & His New Herd.

Now go track down those albums (and there are a few hints in those links)…

a journalist sez:
Most of the tracks… are from albums that are highly sought after by DJs and record collectors the world over (with some going for very high prices). A lot of the albums either haven't been reissued, or have only reappeared as limited editions. So for any jazz fans who have neither the time or budget to track down the originals, this compilation is a great shortcut as well as a opportunity for beginners to dip into the rich sounds of this country's past.

Samurai Era — 15 lost grooves from the land of the rising sun

barabara sounds sez:

Another compilation, but this time highlighting the wealth of homegrown jazz talent that has emerged at this end of the planet. Despite the subtitle, few of the 15 tracks here are actually "lost" — and weren't even in 1999 when this album came out. In fact a number of them were/became club standards, not least Teruo Nakamura's TBM classic Umma Be Me (which is of course by Hubert Eaves, was recorded in NYC and features all US jazzmen apart from Nakamura himself, which hardly makes it "from the land of the rising sun").

And there lies both the weakness and strength of this collection: it's aimed at those discovering j-jazz through the clubs. Nothing wrong there at all. I just fast-forward/program out the overly-slick numbers by Zerosen and Imada — yes, and Hino-san too (sad to say) — to get to the core nuggets. From the chilled opening track by Isao Suzuki to Kawaguchi with Art Blakey to the percussive gems by Ponta Murakami and Shiraki's Stereo Drums, there's plenty to groove on here. 

Best of the lot? Most times round, my vote goes to Poo-Sun Kikuchi's La Moca Está Domingo, from Wishes/Kochi, his brilliant album on East Wind (Hino is in stellar form here, happily). But don't sleep on the curiosities: Masayoshi Takanaka's Star Wars Samba and Pecker's strangely named Dr. Dr. Humanity – yes that's for real: try googling it ;-)... Now there's one that really was lost from sight!

Hino-Kikuchi Duo - Edges

barabara sounds sez:

It's about time I posted this, the companion piece to my earlier post (back in November) of Counter Current. I'm not sure why I've held it back till now. Maybe because it's sparer, less 'straightforward' — I'm tempted to say edgy, but that would give the wrong impression — it demands more attention and grabs you in a rather different place. But it's not because I like it any less.

Even though it was recorded during the same sessions as Counter Current, this is a very different album. As you can tell, it's just the two of them, Terumasa Hino and Masabumi Kikuchi, just trumpet and piano, sometimes together other times exploring out there on their own. Curiously, the cover art is in bold color, whereas the sleeve for Counter Current is sumi ink on washi white — but Edges is by far the more monochromatic in its soundscapes. Here's a nice review from All About Jazz, says it better than I can...

AAJ (Andrey Henkin) sez:

The similarities between two new releases by Japanese legends Terumasa Hino and Masabumi Kikuchi are obvious. Both were recorded within the same two weeks at the same studio. Both share broadly painted abstract covers on their appealing LP-style gatefold sleeves. Both are mostly originals by the pair, including two versions of two pieces book ending each disc. Even the aesthetics, despite the first being a duet and the other a quintet, have something in common. Palpably companion pieces, for all their similarities, these are distinct albums. But one thing they both contain is possibly the most surprising. Though continuing a partnership begun decades ago, the albums don't demonstrate an expected easy comfort; that is their strength.

Edges is an uncommon duet between an unusual pairing. Piano and trumpet inhabit a similar tonal range so any counterpoint is of a subtler breed. The eight pieces, including the two takes of the title track that begin and end the album, are aural representations of the album artwork: painted in bold expressionistic strokes. What is fascinating though is the tangible sense of tension. When one listens to a duet, breezy dialogue or spirited agreements are usually the expectation. Hino and Kikuchi are obviously old friends but ones who seem to have little in common. When their careers began, they were closer in spirit; the intervening years have separated them. They are like adults who are friends because they grew up next to each other. This turns Edges into a session whose appeal is in its agitation. Each author has his pieces dominated by the other musician and the solo pieces are almost exhalations. "I Fall In Love Too Easily," the album's only standard, exemplifies this ironic relationship.

personnel:

Terumasa Hino: trumpet; Masabumi Kikuchi: piano.

tracks:

Edges (ver. 1); Is It?; Alone, Alone And Alone; Can't Describe; I Fall In Love Too Easily; Dad, I Miss You (trumpet solo); My Kinda Yesterday (piano solo);

Edges (ver. 2)

Hino-Kikuchi Quartet - Counter Current

barabara sounds sez:

Two of the finest jazzmen from Japan's golden age of modal/fusion/free exploration. And they're still laying it down. Unlike some of their contemporaries (Sadao W. springs to mind immediately), these guys still have plenty to say. This album was one of two they cut in 2007 — this one a quintet format; the other (Edges) a duo. Both are now hard to lay hands on even here, and can cost a pretty penny in the rest of the world.

All About Jazz sez:

Counter Current brings the pair together with a multi-generational trio to explore another set of originals, this time almost exclusively by Kikuchi. The effect is that of strangers on a long train ride trying to find out what they have in common but amiably engaging in disagreements along the way. Hino is more muted, allowing more room for the cultured musings of Michael Attias' alto (who also contributes one piece). And Kikuchi forms part of a remarkably porous rhythm section, Thomas Morgan's Charlie Haden-esque bass gently overlaying Paul Motian's drums, like a bullfrog jumping languidly from lily pad to lily pad on a still pond. Though the instrumentation is typically modern, the feeling is not overly cerebral. Counter Current, like Edges, is an apt name for this beguiling document.

Tracks:

J.L.L. (ver.1); Sky Over Rain Forest; Blue in Yellow (for Mark Rothko); Misery on the Hudson; Making the Elephant Run (ver. 1); Making the Elephant Run (ver. 2); J.L.L. (ver.2).

Personnel:

Terumasa Hino: trumpet; Masabumi Kikuchi: piano; Michael Attias: alto sax; Thomas Morgan; bass; Paul Motian: drums.

For earlier work by these two guys, head over to the inestimable Orgy in Rhythm, where you will find Bacoso has posted a good number of their classic older albums.

And Katonah recently posted another, the brilliant Wishes, at his equally excellent Private Press.

Essential listening!