Kochi - 1976 - Wishes

Kochi

1976

Wishes

01. Auroral Flare 13:34

02. Caribbean Blue 8:42

03. La Mocha Está Dormindo 5:33

04. Pacific Hushes 11:08

05. Electric Ephemeron 11:12

06. Alone 2:43

Congas – M'tume

Drums – Al Foster

Electric Bass – Anthony Jackson

Electric Guitar – Reggie Lucas

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.