Backing Vocals – Ullanda McCullough, Vivian Cherry, Yvonne Lewis
Congas, Percussion – Sue Evans
Drums – Victor Louis
Bass – Marcus Miller
Bass – T.M. Stevens
Electric Guitar – Jeff Laton
Piano, Clavinet, Synthesizer – Onaje Allan Gumbs
Piano, Synthesizer – Kenny Kirkland
Trumpet, Saxophone – Carter Jefferson
Trumpet, Synthesizer – Shunzo Ohno
Recorded at Electric Lady Studio, N.Y., May 20-19, 1979.
One of the best Japanese trumpeters of the 70s – heard here in a great set of fusion that mixes his solo talents with a whole host of great American players too! The set was recorded in Electric Lady at the end of the 70s – and also features some great tenor and soprano sax from Carter Jefferson, keyboards from Kenny Kirkland, bass from Marcus Miller, and piano from Onaje Allan Gumbs – all working at a level that's almost tighter and more funky than most of their other records of the time! Ohno also plays a bit of mini moog next to his trumpet – giving some cuts an added electric punch – and a few spots feature work from a vocal trio with Vivian Cherry and Ullanda McCullough too.
Recorded at Vanguard Studio, NYC, July 13&15, 1975
Born in Gifu Prefecture, Ohno found his musical calling at 13, beginning with his training on the trombone. By 19, he was Japan’s top jazz trumpeter.
Spanning five decades, Ohno’s fascinating career is a story of boundless talent and dogged determination, marked by seemingly insurmountable setbacks.
He had a chance meeting with bandleader Art Blakey, who invited him on a tour with the Messengers in Japan. At Blakey’s suggestion, he moved to New York City in 1974 to pursue his dream.
“When I told my mother and father in high school I was going to become a jazz musician, they said, ‘Oh God, a jazz musician! All they’re about is drinking, women and drugs. Forget it!’ ” recalls Ohno, who lives with his family in Westchester County, a suburb of New York City, in a recent interview with Kyodo News during his tour of Japan. “But I told my father, ‘I’m not that type of musician. I want to be a great, pure artist.’ ”
After getting his break with Blakey, Ohno turned his energies to Afro-Cuban jazz and recorded on the Grammy-Award winning album “Machito and His Salsa Big Band” in 1983. With master arranger and composure Gil Evans, who became a lifetime mentor, he played on the 1988 Grammy Award-winning recording “Live at Sweet Basil.”
He reached even loftier heights on a return to Japan with Super Sounds, a group that included jazz legends Herbie Hancock, Wayne Shorter and Larry Coryell.
But Ohno came hurtling back to Earth when he suffered serious injuries in a car accident in 1988.
His lips and teeth permanently damaged, Ohno says he immediately rejected the opinion of his doctors that he might never play again. But it meant a long road to recovery as well as finding a new way to play his instrument.
The second punch came in 1996. Ohno was diagnosed with aggressive fourth stage throat cancer. It was all but a death sentence. His doctors said that if he survived, playing the trumpet was again out of the question.
He underwent radical surgeries and radiation treatments for the next five years — a process in which 125 muscle structures, including tendons and nerves, had to be removed from his face, neck and shoulders. With no lip support, the battle to play began anew.
Ohno says because of the formidable circumstances he has faced he has gained a fresh perspective on how to reach the pinnacle other musicians might take for granted.
He is the first jazz musician to win the International Songwriting Competition’s grand prize for his composition of “Musashi,” inspired by 17th century samurai swordsman Miyamoto Musashi. He is also the only Japanese native to have won.
Ohno, who is also helping to raise donations for people affected by the Nepal earthquake, has done several benefit concerts under the banner “Hope and Courage for Japan.”
He arranged a performance to raise donations with other jazz musicians at a local school auditorium in Chappaqua, New York, on May 1, 2011. Since then, he has visited shelters, temporary housing, junior high schools and high schools in northeastern Japan twice a year to encourage communities through his music.
Recorded February 20, 21 and March 6, 1975 at The Basement Recording Studio Inc., New York
Something’s Comming is the second headlining album by Japanese jazz trumpeter Shunzo Ohno, released in 1975 on East Wind. Most reissues of the title correct the spelling of the word “coming.”
I got this one to check out guitarist Reggie Lucas in another electric jazz-fusion setting. The recording date is February and March 1975, shortly after Lucas appeared with Miles Davis on Agharta. The leader Ohno seems best known for his tune Bubbles which appeared on Norman Connors You are my starship LP (1977).
This is the first, and harder edged of two fusion LPs that Ohno recorded in New York for the Japanese East Wind label. The overall sound quality is clear and punchy, with Don Pate on bass and Roy Haynes drums well up in the mix. The bass playing is a highlight, the drumming tight and funky.
The title track kicks in nicely with a very funky bass line over which Ohno states his melodic theme. The problem is that Cedric Lawson starts to chop out an incessant rhythm on clavinet that dominates the mix for the next 5 minutes, going nowhere. He finally stops (loud cheers), only to re-appear make loud squiggly noises on synth. I begin to see why Miles Davis sacked him in 1972. At 8.30 minutes Lucas drops a hint by introducing some nice descending chords, soon joined by Ohno. This ushers in a more spacious section similar to some of the quieter interludes in Miles electric. Back to the main theme and groove at 10.30. 12.20 floating closing section 13.00 fade with nice bass work.
Track 2 'You dig that' powers in with a tight punchy groove and has a better balance between the players. Lucas plays some nice jazz chords towards the fade out.
Track 3 features organ and synth textures over which Ohno solos. Reminds me of some Terje Rypdal ECM material, stately and sombre..
Track 4 'But its not so' has a stealthy groove and some spooky textures, similar to contemporary work by Eddie Henderson. Lucas adds some angular comping,but only moves to centre stage in the closing section. His short solo leads nicely back into the main riff.
There are some excellent sections on this LP where all the players are all tuned in to each other, some tasty grooves and atmospheric textures. However it could have been better, especially on the title track if the keyborad noodling had been edited down and Reggie Lucas encouraged to step forward earlier instead of near the fade out.
Trumpeter Shunzo Ohno's style is clearly influenced by Miles Davis on this spacy funk-jazz fusion album. He travels back in a sonic journey somewhere between "Get up with it" (80%) and Eddie Henderson's "Realization" (20%), though in a more lyrical presentation. A view at the cast could make enthusiasts of "electric aera" Miles curious. Reggie Lucas on guitar and Cedric Lawson on keys. Besides them Masabumi Kikuchi (organ), Ron Pate (bass) and the fabulous Roy Haynes on drums.
Live Recording of "Sadao Watanabe Recital" on October 19, 1976 at Yubin Chokin Hall, Tokyo
A great live set from Sadao Watanabe – one that shows the wealth of influences he'd been drawing on, from post-Coltrane spirituality, to African-oriented rhythms, to a slight bit of funk! The group's great – with Watanabe on flute, alto, and soprano sax, Takehiro Honda on Fender Rhodes and piano, Kazumi Watanabe on guitar, plus added bass, trombone, and percussion – and we especially like Honda's keyboards, which make any session like this an instant treat! The album's got a warm, soulful feeling, but a sharper edge than most of Watanabe's smoother work of the time
A record that's slightly later than Sadao Watanabe's classic period on Takt and Columbia Records – but a great album with some really wonderful moments, and one that shows him continuing to evolve as a musician! The set was recorded live in Tokyo in 1975, and it features Watanabe working with a group that includes Isao Suzuki on bass, Yshiaki Masuo on guitar, and Takehiro Honda on piano. The four tracks are all long, with some of the searching Coltrane-ish playing that Watanabe brought to his earlier Sony albums, but they've also got a fair bit of the warmth he was reaching for during the 70s – combining elements of world jazz styles into a mode that really pushed his work on alto and flute.
A surprising title – given that Sadao Watanabe was really stretching out a lot in the early 70s – but a fitting one too, as the set's a nice back-to-basics date from the amazing Japanese saxophonist! Sadao's working here with the Great Jazz Trio of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums – a swingingly solid combo who really make things cook, even in a small space – sounding almost better here when topped by Watanabe's sharp-edged alto lines than on their own albums of the time! Sadao also plays a bit of flute, which is really a treat!
Recorded live at Yubin-Chokin Hall. Tokyo, September 20,1974
A fantastic live set of spiritual soulful post-Coltrane jazz! The great reed player Sadao Watanabe is playing here with a group that includes some of the best Japanese jazz musicians of the past 30 years -- Takehiro Honda, Terumasa Hino, Motohiko Hino, and Isao Suzuki, among others. The "Africa" in the title might imply a more rootsy recording -- but the continent is represented mostly in spirit, and in the additional hard percussion that punctuates a number of tracks on the set. The real strength, though, is in the jazz playing -- which is hard and focused, with none of the indulgences that crept into some of the Japanese players' work at this time. Truly one of the greatest Sadao Watanabe albums ever -- and with 2LPs worth of excellent material!
06. Aftermath The Fourth Movement Children Of The Fire 5:45
07. Anita's Dance 2:53
Alto Saxophone, Soprano Saxophone, Flute – David Sanborn
Baritone Saxophone, Bass Clarinet – Howard Johnson
Celesta, Timpani, Congas, Cowbell – Sue Evans
Drums – Tony Williams (tracks: A1, A3 to B4)
Drums – Bruce Ditmas (tracks: A2)
Electric Bass – Herb Bushler (tracks: A1, A3 to B4)
Electric Bass – Paul Metzke (tracks: A2)
Electric Guitar – Ryo Kawasaki
French Horn – John Clark
French Horn – Pete Levin
French Horn – Peter Gordon
Percussion [Vibes], Marimba, Chimes, Gong, Drum – Warren Smith
Percussion, Tabla, Cuica – Bruce Ditmas
Piano, Electric Piano, Percussion – Gil Evans
Steel Guitar, Synthesizer [Drums], Bells – Joe Gallivan
Synthesizer – Paul Metzke
Synthesizer, Organ – David Horowitz
Synthesizer, Organ – Pete Levin
Synthesizer, Piccolo Flute – Tom Malone
Tenor Saxophone, Flute – Billy Harper
Tenor Saxophone, Flute – George Adams
Trombone – Joe Daley, Tom Malone
Trumpet, Flugelhorn – Ernie Royal
Flugelhorn – Lew Soloff
Trumpet, Koto, Vocals – Hannibal Marvin Peterson
Tuba – Bob Stewart (tracks: A1 to B1, B4)
Tuba – Howard Johnson
Tuba – Joe Daley (tracks: B2, B3)
Tuba – Tom Malone
This CD reissue of Gil Evans' There Comes a Time differs greatly from the original LP of the same name. Not only are there three previously unreleased performances ("Joy Spring," "So Long," and "Buzzard Variation"), but "The Meaning of the Blues" has been expanded from six minutes to 20, and two numbers, "Little Wing" and "Aftermath the Fourth Movement/Children of the Fire," have been dropped (the former was reissued on Evans' Jimi Hendrix tribute album) and the remaining four tracks were re-edited and remixed under Evans' direction. So in reality, this 1987 CD was really a "new" record when it came out. The remake of "King Porter Stomp," with altoist David Sanborn in Cannonball Adderley's spot, is a classic. The "new" version of "The Meaning of the Blues" is memorable, and overall the music (which also has solos by Billy Harper and George Adams on tenors, along with trumpeter Lew Soloff) is quite rewarding, it's a creative big band fusion that expertly mixes together acoustic and electric instruments. This was one of Gil Evans' last truly great sets.
Fifteen years or so after the arrangements for Miles Davis and his own Out of the Cool album, Gil Evans' music shows continuities but also marked differences with his earlier work. The differences: with the electric bass, the electric guitars and synthesisers, Evans has been electrocuted: electric noise permeates this album; secondly, in the albums with Davis, Evans' music always seemed arranged, completely and utterly arranged, there was one one sensibility controlling the orchestra and the music could almost be considered as a series of duets between Evans and Miles Davis - now the control has been loosened, Evans has become more of a leader, a director, rather than the arranger controlling every note: it feels as though the charts have been put away: the result is a sense of roughness, at times almost of chaos, much of the music being a thick, untidy, messy noise. The couple of shorter tracks seem little more than ideas for future projects (although Anita's Dance in almost three minutes long - Louis Armstrong or Charlie Parker could use the same time to record a piece of music that revolutionised the form); then there are three middle sized tracks: Evans's arrangement of Jimmy Hendrix's Little Wing (on a review of Hendrix I pondered how good a singer he was, compared to Hannibal Peterson's vocals here he was superb), Jelly Roll Morton's King Porter Stomp (interesting to compare this with Evans's late 1950s recording of this tune: but this version suffers through Dave Sanborn's slightly frantic alto playing, which doesn't compare well with Cannonball Adderley's playing on the earlier recording) and, best of all, Hannibal Peterson's Children of the Fire. But it is the two long tracks - There Comes a Time and The Meaning of the Blues - that this album is at its best. One of the advantages of the CD reissue is that there is a fuller version of The Meaning of the Blues (while I can't help thinking that the 16 minute There Comes a Time could have done with some pruning, the simple and constant bass line becoming very tedious after a while). These two tracks (and the long bonus track on the CD: So Long) remind me of Miles Davis's music around the Big Fun time: they are big, impressive, but seem to float along, lacking any great sense of purpose: it's like walking across a broad plain where the views are impressive but you are not sure if there is anything up ahead. The two tenor players, Billy Harper and George Adams, are the most impressive musicians; but guitarist Ryo Kawasaki is perhaps the most representative, his playing has at times an earthy, grimy, primordial feel, but at other times it just seems a muddy muddle that confuses the sound into a brown mud pie.
The Gil Evans Orchestra Plays the Music of Jimi Hendrix
01. Angel 04:09
02. Crosstown Traffic 06:34
03. Medley 11:30
Castles Made From Sand
Foxy Lady
04. Up From The Skies 10:39
05. 1983--A Merman I Should Turn To Be 07:29
06. Voodoo Chile 05:03
07. Gypsy Eyes 03:44
08. Little Wing 06:34
09. Angel (alt tk) 04:07
10. Castles Made Of Sand (alt tk) 05:04
11. Up From The Skies (alt tk) 10:12
12. Gypsy Eyes (alt tk) 03:23
Arrangements, Conductor Gil Evans
Trumpet: Marvin "Hannibal" Peterson
Trumpet: Lew Soloff
Horn: Peter Gordon
Horn, Synthesizer: Pete Levin
Trombone: Tom Malone
Bass Clarinet, Tuba: Howard Johnson (tubist, etc.)
Saxophone: David Sanborn
Reeds: Billy Harper
Reeds: Trevor Koehler
Keyboards: Dave Horowitz
Guitar: Keith Loving
Guitar: John Abercrombie
Guitar: Ryo Kawasaki
Bass: Michael Moore
Bass: Don Pate
Drums: Bruce Ditmas
Percussion: Warren Smith
Percussion: Sue Evans
Trumpet: Ernie Royal
Horn: Jon Clarke
Trombone, Tuba: Joe Daley
Tuba: Bob Stewart
Reeds: George Adams (saxophonist)
Bass: Herb Bushler
Bass: Paul Metzke
Drums: Tony Williams
Percussion: Joe Gallivan
These recordings occurred during a pivotal period in Gil Evans' career. In the early 1970s, Evans formed a new orchestra and took interest in incorporating the electric guitar with this ensemble. Evans' wife suggested he listen to Jimi Hendrix, who was newly established on the music scene at that time. Evans was so impressed, he setup a meeting with Jimi to discuss him fronting the new ensemble. Jimi was excited about the project. Unfortunately, Jimi died in September 1970, just prior to this meeting. Evans decided to carry forward with his original plans in an alternate way.
This is the basic history of this release. All arrangements are penned by Evans and this is his ensemble at the time, sans Jimi. Some will enjoy it while others will hate it. I, for one, am glad to see Evans having proceeded to produce a disc honoring Jimi's songwriting talents. Frank Zappa informed Hendrix' management, early in Jimi's career, that, in his opinion, they should hire others to focus on developing Jimi's songwriting ideas. This never happened, but in this instance, Evans is one of the first to take Jimi's ideas and do something truly unique with them. For that, I applaud his effort.
This release holds a certain amount of historical significance. Whether or not you'll like it is for you to decide. It's unique and represents a switch in gears for Evans, but it's not something the masses will embrace.
This CD reissue (which adds additional material to the original LP program) is much more successful than one might have expected. Jimi Hendrix was scheduled to record with Gil Evans' orchestra, but died before the session could take place. A few years later, Evans explored ten of Hendrix's compositions with his unique 19-piece unit, an orchestra that included two French horns; the tuba of Howard Johnson; three guitars; two basses; two percussionists; and such soloists as altoist David Sanborn, trumpeter Hannibal Marvin Peterson, Billy Harper on tenor, and guitarists Ryo Kawasaki and John Abercrombie. Evans' arrangements uplift many of Hendrix's more blues-oriented compositions and create a memorable set that is rock-oriented, but retains the improvisation and personality of jazz. [This album was re-released in 2002 on the Bluebird label with four bonus tracks from the same sessions.]
Out of all the myriad of tribute albums dedicated to Jimi Hendrix, this would have to be the most authentic and genuine. Evans and Hendrix had spoken on numerous occasions about working together, Jimi having even asked the legendary jazz arranger to teach him how to read and write music, thus liberating the guitarist from the burden of having to record everything on tape. But their friendship might never have happened were it not for producer Alan Douglas, who had been discussing with Gil the possibility of him and Jimi collaborating. He explained it thus: "I was recording Jimi at the time, and Miles was always around, always talking to Jimi. Jimi's music took people outside of anticipated structure, and consequently everybody thought they could adapt it to jazz. I played all the Miles and Gil stuff for him. We knew Gil was crazy about Jimi's music through Miles—Miles kept telling Jimi that Gil would love to talk to him." And so they did.
Rehearsals with Evans' orchestra were scheduled to take place at the end of September, after Hendrix's return from his European tour, followed by a performance at Carnegie Hall, then an album consisting of Evans' arrangements of Hendrix compositions, with Hendrix himself as the principle soloist. Tragically, Jimi died in London on the 18th of that month, however Gil never gave up on his ambition to release an LP based on the original project both he and Jimi had discussed in 1970.
Throughout Evans' arrangements are respectful, without taking too much away from the original compositions. No less than 19 musicians contribute (along with Evans himself): two saxophonists (David Sanborn and Billy Harper, on alto and tenor respectively), two French horns, three guitars (John Abercrombie, Ryo Kawasaki and Keith Loving), two bass players, two percussionists, one trumpeter, along with tuba, synthesizers, flugelhorns, piano, vibraphone and a long list of other instruments. Obviously, Evans was determined not to skimp when it came to making the record.
Synthesizer – Phil Clendeninn (tracks: A1, B1, B2)
Saxophone – Sam Morrison (tracks: A1, A2, B1, B2)
Recorded March 8, 9, 1976 at Electric Lady Studios, NYC.
A real classic from Japanese guitarist Ryo Kawasaki – a sweet batch of Japanese fusion tracks, with lots of nice work on guitar, keyboards, and reeds! Like a lot of Ryo's other albums from the time, the record blends together jazzy riffing with some smoother R&B touches – but still manages to keep things nice and hard overall, especially on the best tracks – a vibe that's more CTI than some of the later Japanese fusion of the 70s!
Piano, Clavinet, Synthesizer, Synthesizer – Phil Clendeninn
Guitar – Ryo Kawasaki
Producer – Kiyoshi Itoh, Yasohachi Itoh
Recorded July 12, 1975 at Vanguard Studio, NYC.
Excellent early work from guitarist Ryo Kawasaki – a set that's got a leaner, meaner feel than some of his more polished later work – at a level that really lets Kawasaki shine throughout! The vibe is maybe a bit like CTI, but looser and more free – with wonderful colors and tones from Kawasaki as he finds his way on the album through a surprising range of styles.
Tenor Saxophone, Soprano Saxophone, Flute – Sam Morrison
Born in Japan in 1947, Ryo had a long and stellar career recording and releasing music up until his passing on 13 April 2020, in Tallinn, Estonia. Ryo is one of the pioneers of the jazz fusion genre, with the Japanese jazz fusion / funk sound becoming extremely influential within the 80s UK club scene and amongst its DJs. His track 'Trinkets & Things' became a bonafide underground classic. In the US he worked with some of the greats of jazz, such as Elvin Jones, Chico Hamilton and Bobbi Humphrey, to name but a few. A forward-thinking and ever-evolving musician, Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states.
'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smokey, beat-down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener ‘Raisins’, with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend.
One of the few American releases by this legendary Japanese fusion artist – and a pretty funky little record as well! Ryo Kawasaki plays lead guitar and the very cool "string synthesizer" on the set – making for a sweet mix of electric grooves that has some really great spacey touches! Tracks have a core funky base at the bottom – grooving in a mode that's tight, but never too slick – and which allows just the right amount of space to make the album work in equal parts electric jazz and funky fusion.
Recorded July 7 [side B] & 9 [side A], 1975 at Vanguard Studio, N.Y.
One of the greatest sessions ever recorded by Ronnie Mathews – an excellent soul jazz pianist who's working here in a mode that's similar to that of Kenny Barron, Cedar Walton, or other 70s lyrical giants! Mathews' touch on the keys is incredible – at one moment extremely sensitive and pensive, at another racing forward with a searing searching spirituality that's driven on by the bass of Yoshio Suzuki and the drums of Louis Hayes – a great rhythm duo who really help give the record a very special, unique feel.
Soprano Saxophone, Piccolo Flute, Flute – Jerome Richardson
Tenor Saxophone, Flute – Buddy Collette, Bobby Bryant Jr.
Trumpet, Flugelhorn – Bobby Bryant
Recorded March 6, 1975 at Sunset-Highland Recording Studios T. T. G. inc., L. A.
One of the last sessions Oliver Nelson ever recorded – a genius batch of work recorded for the Japanese East Wind label, and maybe one of his greatest albums ever! The set's a wonderful link between the sophisticated large group sounds that Nelson did for Impulse Records in the 60s, and some of the more expansive styles he was trying out on the Flying Dutchman imprint in the 70s – a batch of work that both has that sense of majesty that Nelson could command at his best, but which still retains an earthy vibe overall. The group is great – with soulful work from Bobby Bryant on trumpet, Jerome Richardson on soprano sax and flute, Buddy Collette on tenor and flute, and Jack Nimitz on baritone – and the rhythm section has some great Fender Rhodes from Mike Wofford, given more push from the electric bass of Chuck Dominico, and some open-ended drum work from Shelly Manne.
This LP contains Oliver Nelson's final recording as a leader, cut just seven months before his premature death. Happily Nelson (on alto) is well-featured with a nonet, playing four of his compositions (including "Stolen Moments" and "Yearnin'") along with versions of "St. Thomas," Neal Hefti's "Midnight Blue" and a very brief "Straight No Chaser." In addition to Nelson, the group includes trumpeter Bobby Bryant, Jerome Richardson on soprano and flute, three other saxophonists and keyboardist Mike Wofford. A fine finish to a much-too-brief life.
01. Slewfoot 3:04 02. Tender Years 4:26 03. The Barefoot Song 9:42 Survival Themes 04. Season Of The Monsoon 6:05 05. Faces Of Fortune 3:48 06. Tabarca 4:56 07. Electric Reflection 8:08
Bass – Anthony Jackson, Michael Henderson Congas, Percussion – James Mtume Drums – Howard King Electric Piano, Clavinet, Synthesizer – Hubert Eaves Guitar – Reggie Lucas Tenor Saxophone – John Stubblefield Trombone – Clifford Adams Trumpet – Joe Gardnen
Recorded July 29, 1975
This is one of a handful of LPs by Miles Davis alumni recorded for the Japanese East / West label soon after the 1973-75 electric group was disbanded due to Miles’s health problems. In partnership with Mtume, Lucas moved on to a successful career in song writing, production and session work.
Compared to his work with Miles the material here on first impression seems a bit lightweight. Side one begins well the funky jam Slewfoot, which also appears on Norman Conners eponymous LP. Next up Tender Years featuring light airy jazz guitar phrases from Lucas backed by dense piano and over-sweetened synth accompaniment provided by Hubert Eaves. The rest of side one is filled by the 9.30 The Barefoot Song. This one is anchored around an electric piano ostinato by Eaves over which Lucas plays an extended jazz-rock solo. Apart from a nice 2 minute drum and bass break down there is no development. Overall the effect is like incidental music for a film, or some of the more laid back instrumental music from the Issac Hayes soundtrack to Shaft.
Side two is a suite of pieces with the collective title of Survival Themes. This side is more interesting and sounds like outtakes from a contemporary Miles Davis recording. In effect they feature Lucas and Mtume creating atmospheric, ambient soundscapes that could have been part of the next Miles LP if it had been recorded. There are 4 distinct themes, which unfortunately all run together as one long 22 minute track on the cd. Seasons of the Monsoon is medium paced with a flamenco feel. Over a soft chiming arpeggio Lucas multi-tracks a Santana-like legato lead. There is no beat, just Mtume adding some shaker and conga percussion. The 2 middle sections: Faces of fortune and Tabarca are slower and more reflective. The final section Electric Reflection is much heavier, an extended solo in the mode of Jimi Hendrix using loud distortion, phasing and panning. Behind this Mtume creates a simmering stew of heavily EFX processed rhythm box and percussion textures similar to his work on Agharta/Pangea. This could have been much better if Lucas had in places paused his playing or been faded down in the mix because Mtume’s fascinating sound-scapes and textures are mostly buried in the mix behind Lucas’s overlong take on (something like) Star Spangled Banner.
Overall this will dissappoint electric Miles fans hoping for more edgy funk-rock guitar a la Agharta. For students of the Miles electric sound, side two highlights the contribution that Lucas (and Mtume) made to the ambient interludes on Agharta/Pangea. With better mixing and editing the Survival Themes suite could have been much better - oh well.
Recorded at Onkio Haus, Tokyo on April 14, 15, 1976 and at Phonogram Studio, Tokyo on June 9, 14, 1976.
A killer set of electric keyboards – with a groove that stretches from wigged-out Herbie Hancock to the laidback style of Bob James on CTI! Mikio Masuda plays a range of different instruments – from Fender Rhodes to Clavinet, Yamaha organ, ARP, and mini-Korg – and the group behind him includes guitar, bass, drums, soprano sax, and lots of percussion – all jamming together on the fiercest tracks like a full-on version of The Headhunters! Tracks are all long, and the album's proof that Japan was turning out some amazing electric jazz albums in the 70s – real classics that stand with the best from America at the time.
Recorded June 9, 12, 1974 at Victor Studio, Tokyo.
"Pinocchio" is credited to Masuda on the label, but is clearly the Wayne Shorter composition found on Miles Davis' Nefertiti. Amazing that he has the gall to claim that one.
A majestic set of spiritual jazz numbers – performed by a core trio of Japanese pianist Miko Masuda, bassist Tsutomu Okada, and drummer Motohiko Hino – with guest performances by Terumasa Hino on trumpet, Takao Uematsu on tenor, and Hideo Miyata on flute! The added horns really push the album strongly past the usual trio style of the time – and it's clear that all players are drawing lots of inspiration from the post-Coltrane generation in the US – using new freedoms to really express themselves in their music, yet never going to far outside in their pursuit of a soulful sound. The tracks are all long and soaring, with some really great rhythms.
A brilliant set from Japanese pianist Masabumi Kikuchi – two long, leaping, loping tracks that almost feel like some of McCoy Tyner's best work! Kikuchi plays acoustic piano, and the group's a quartet with Terumasa Hino on trumpet, Koshuke Mine on tenor, Eric Gravatt on drums, and Juni Booth playing some really wonderful bass. Booth's bass leads the tracks with a soulful quality that you don't always hear on Kikuchi's other work – really giving the record a strongly-rooted vibe, while the musicians are still free to really open up and explore. The album's tracks, "East Wind" and "Green Dance", are both excellent examples of the soulful freedoms allowed in the Japanese scene of the 70s – side-long numbers that are different both from contemporary performances on both the US and European scenes of the period.
Piano, Electric Piano, Organ, Synthesizer, Biwa – Masabumi Kikuchi
Soprano Saxophone, Fiute – Dave Liebman
Soprano Saxophone, Tenor Saxophone – Steve Grossman
Trumpet, Percussion – Terumasa Hino
An excellent mid 70s Japanese fusion set, led by the Gil Evans protege Masabumi Kikuchi -- with a very similar group to the one on his awesome Susto LP! The vibe isn't quite as funky on this outing -- in fact it's a bit more reminiscent of Miles' spacey electric explorations -- though there are some pretty hard groovin' moments should definitely appeal to fans of funky fusion.
Masabumi "Poo" Kikuchi was a Japanese jazz pianist of legendary stature with a vast discography that ran the gamut from straight-up post-bop and vanguard classical to fusion recordings, solo synthesizer dates, and even digital dub. He toured and recorded with artists as diverse as Sonny Rollins, Lionel Hampton, Terumasa Hino, Sadao Watanabe, and drummer Paul Motian, among others.
Kikuchi was born in Tokyo in October of 1939. He studied music at the Tokyo Art College High School and, upon graduating, immediately formed his own trio. Soon after, he won a spot in Hampton's Japanese touring band. He made his recording debut as a jazz pianist in 1963 on Toshiko Akiyoshi and Charlie Mariano's East & West. Kikuchi played piano on composer Toru Takemitsu's score for ..., a film by Masahiro Shinoda. In 1966 he appeared with Watanabe on the saxophonist's Jazz & Bossa recording, along with iconic drummer Masahiko Togashi. The year 1967 proved to be a prolific one in Kikuchi's career: not only did he appear on no less than five albums recorded with Watanabe and Mariano, but he also appeared with Japan's Swing All Stars. In 1968, along with session work, he and trumpeter Hino formed the Hino-Kikuchi Quintet and recorded their self-titled debut; the album received national acclaim. Around this time, the pianist also entered a contest for overseas musicians sponsored by Down Beat magazine. He won a full scholarship to the Berklee College of Music in the United States. Before leaving for Berklee, Kikuchi played piano for Rollins during his Japanese tour. The pianist returned to Japan in 1969. In 1970 he was part of Peacock's group on the seminal Eastward album. Kikuchi formed his own sextet right after, and recorded Matrix in 1970; it was the first recording under his own name to see international distribution and is one of his classics. Poo-Sun, which was influenced by the sounds coming from Miles Davis' group of the same period, was issued the same year. All told, Kikuchi's sextet recorded a total of seven albums in 1970, two in collaboration with Watanabe's band. He also appeared on Hozan Yamamoto's Silver World with Peacock.
Between 1970 and 1979, Kikuchi was prolific as both a recording artist and as a sideman and featured guest. He recorded and toured with Gil Evans, Mal Waldron, Joe Henderson, Elvin Jones, and Peacock, and cut two duet albums with Togashi, the truly enigmatic Japanese vanguard jazz recordings Poesy = The Man Who Keeps Washing His Hands (1971) and Song for Myself (1974). His own non-sextet dates from the '70s included the enigmatic A Short Story for Image Hairpin Circus (1972), East Wind (1974), Wishes/Kochi (from 1976, featuring members of Davis' group including Reggie Lucas, Steve Grossman, Mtume, Dave Liebman, and Al Foster), and the solo But Not for Me (1978). Kikuchi had become friends with Davis earlier in the decade. He was one of the musicians whom the trumpeter kept in touch with during his retirement, and the two recorded an album together in 1978 that has never been released. Listen to the Silence: Live at the Public Center (New York, 1980) The '80s were a period of experimentation, musical discovery, and new directions for Kikuchi. In 1980, he was the pianist on the Gil Evans Orchestra's Listen to the Silence: Live at the Public Theater. He followed this with two electric recordings that are considered essential parts of his catalog, Susto (1980) and One-Way Traveler (1981). He also appeared on Hino's Daydream (1980) and the global hit Double Rainbow (1981). Kikuchi recorded eight themed solo synthesizer records between 1984 and 1986. He also cut the solo acoustic piano date Attached in 1989. Tethered Moon: First Meeting In 1990, Kikuchi released the Bill Laswell-produced Dreamachine. The other players included Bernie Worrell, Nicky Skopelitis, Bootsy Collins, and Aiyb Dieng. This was also the year that his collaboration with Motian and Peacock began in the group Tethered Moon. Their debut offering was appropriately titled First Meeting. In 1991 Kikuchi recorded another duet with Togashi, entitled Concerto, and a self-titled offering with Tethered Moon. In all, Tethered Moon would issue five albums during the '90s, among them tributes to the music of Jimi Hendrix, Edith Piaf, and Kurt Weill. Kikuchi also cut Miles Mode/P.M.P. with Motian and Marc Johnson (1993), two trio albums with Togashi and Peacock, and Triple Helix with Hino, Togashi, and James Genus (1993). The pianist also released two solo piano standards offerings, After Hours (1994) and Love Song (1995). Also in 1995, the Hino-Kikuchi Quintet would reunite for two albums, Acoustic Boogie and Moment. In 1996 he recorded another solo standards date, Possessed. Despite his wildly busy composing, recording, and touring schedules, Kikuchi was still trying out new forms. He cut another electric full-length entitled Raw Material #1 in 1996, conceived by producer Mitsumasa Yabuki with members of Laswell's stable as well as Brooklyn session players. Three remix EPs followed.
Kikuchi welcomed the advent of the 21st century with a piano duet album with Takeshi Shibuya entitled Tandem in 2000, followed immediately by Melancholy Girl, a solo piano album that featured him playing live in a French-style Japanese restaurant! He also cut three critically albums with his Slash Trio in 2001 and 2002 before reuniting with Tethered Moon for Experiencing Tosca in 2004 and touring the globe. He was part of the Paul Motian Trio 2000 + Two recordings Live at the Village Vanguard, Vol. 1 and Vol. 2, along with Chris Potter, Greg Osby, and Mat Maneri in 2007 and 2008, respectively. In 2009 Kikuchi formed a new trio with Motian and bassist Thomas Morgan. They recorded the album Sunrise, produced by Manfred Eicher; it was released in the spring of 2012. Kikuchi died on July 6, 2015 after an extended illness.
I discovered this one via Discogs in my search for work by members of the Miles Davis electric group of 1972-75. Featuring most of Miles’s rhythm section: Al Foster, Reggie Lucas and Mtume, this one recorded in August 1976 really feels like a continuation of the electric Miles spirit. Only Michael Henderson is missing. Although not the same, Anthony Jackson is a good replacement, playing some intricate fills and variations in active interplay with his fellow musicians. This is also excellent jazz-fusion both in the genre sense and as meeting place between Japanese and Afro-American music. Miles already had embraced African and Indian music adding a pan-global element to his personal take on fusion. This LP was hosted by the Japanese East Wind label but recorded in New York.
The leaders of this session are 2 Japanese. Masabumi Kikuchi composed all the music and plays multiple keyboards. Terumasa Hino steps into Miles shoes with some excellent solos using wah-wah and echo effects. Miles was ailing in 1975, but Terumasa is able to deliver a clearer more melodic sound and greater fluency over longer solos, so this really expands on the legacy of the electric band.
The first track Auroral Flare begins with a 4 minute rendition of Gagaku music from the Japanese imperial court, before transforming into jazz fusion. Next up Carribean Blue, with a samba feel is centred on a repeating bass ostinato. La Moca esta dormindo is an atmospheric piece with a hint of Maisha in its cadences and suspenseful pauses. Pacific Hushes has a more severe mood, a piano led piece with affinities to ECM chamber jazz. Overall the LP has a similar feel to Eddie Henderson’s fusion work with the Herbie Hancock’s Mwandishi band musicians.
Track 5 Electric Ephemeron that has the closest resemblance to the Miles electric group. Indeed the rhythm team that Miles had been coaching here spring back into action like a well oiled music machine. Over a rocking, bluesy riff Reggie Lucas performs some angular choppy comping just like in Calypso Frelimo. The rhythm surges forward acting as a launchpad for a series of exciting solos and duets. Fans of Agharta will love this (even without Pete Cosey). A sudden tape splice jumps from this still boiling rhythm into the final track Alone an ambient, reflective homage to Little Church from Live Evil.
Of the Miles sidemen it is Al Foster who is most impressive on this LP. This is partly because his kit is recorded better, without the constantly splashing hi hat sounds that for many listeners muddy the production of nearly all his studio work with Miles from 1972-75. Here Foster is the heartbeat of the group. Miles alumni Dave Liebman and Steve Grossman also contribute on occasional solos.
A real standout in the mid 70s Japanese jazz scene – one of a few excellent albums by Isao Suzuki, a jazz cello player who could work well in a variety of settings! This album's got Isao grooving with some slight electric touches – working with Japanese players that include Kazumi Watanabe on guitar and Fumio Karashi on Fender Rhodes, plus rhythm by the American team of Sam Jones on bass and Billy Higgins on drums – which balances things out nicely. The record's got an extended groover called "Hip Dancin" that's really nice – warm and gentle, but with a lot of soul, and moving at a good little pace!
Dollar Brand playing solo – but with a vibrancy that hardly makes you miss the other instruments at all! Most of the record features solo piano, but there's also a bit of bamboo flute as well – leading off the set and establishing this great organic vibe to the whole thing, which is then followed by Brand's long-spun, completely hypnotic lines on piano! The recording quality is wonderful – very clear and strong, and quite resonant too – and the set features two side-long long suites – "Africa" and "Reflection" – with shorter passages that move through the warm range of moods you'd find in Brand's other strong work from the time.
Recorded live December 23, 1974 at "Pit Inn", Tokyo.
A wonderful album from the great Cedar Walton trio that featured Sam Jones on bass and Billy Higgins on drums – a really beautiful group of musicians who completely transformed the sound of the piano trio in the 70s! The group played together often in the 70s, and they've never sounded better than on an album like this – freely soulful and dancing, with Walton in firm command of his talents – sometimes coming on with the strength of his early 60s material, but always
opening up with a more exploratory vibe too. Walton worked often in this mode for the decades that followed this set – but this Japanese album is almost the start of that great legacy, and still one of the best from this group!
