Norio Maeda - 1971 - Shadow Of The Highway

01. Shadow of the Highway - First Suspicion
02. The Woman Who Was Waiting - The First Trap
03. Shadow of the Highway - Main Theme
04. Mysterious Woman - Trap!?
05. Waiting Woman - Main Theme
06. Shadow of the Highway - Challenge to the Trap
07. The Unlucky Woman - Namiko's Memories
08. Mysterious Woman - Main Theme
09. Shadows on the Highway - In Search of the Enemy
10. The Unlucky Woman - Main Theme
11. Waiting Woman - Variation
12. Shadow of the Highway - Sad Ending

A Groovy Ride Through the Shadows: Norio Maeda's 1971 album Shadow of the Highway

Ah, "Shadow of the Highway" – the 1971 original soundtrack to the Japanese road movie 3000 Kiro no Wana (that's "3000 Kilometers of Trap" for those not fluent in cinematic intrigue). This album is like stumbling upon a vintage muscle car in a junkyard: it might look unassuming at first, but fire it up, and you're in for a high-octane jazz-funk adventure that'll have you swerving through musical twists faster than a getaway driver dodging potholes. Composed by the legendary Norio Maeda, it's a cine-jazz gem that's groovy, dramatic, and occasionally as mysterious as a foggy freeway at midnight. Let's break it down with some humor, because why take a highway seriously when you can jazz it up?

Norio Maeda: The Piano Wizard Who Outran Time

Norio Maeda (born December 6, 1934, in Osaka, Japan, and sadly departed November 25, 2018, in Tokyo) was a jazz pianist, composer, arranger, and conductor who basically treated the keyboard like his personal speedway. Self-taught from a young age – thanks to his music-reading dad who probably just wanted some peace and quiet – Maeda zoomed into the jazz scene without formal lessons, proving that sometimes the best education is just noodling around until you strike gold. He became prolific in the Japanese music world, scoring films like Asphalt Girl (1964) and Crusher Joe: The Movie (1983), while leading groups like the Norio Maeda Trio +2. Think of him as the Japanese equivalent of a jazz superhero: by day, arranging for big bands; by night, composing soundtracks that make you feel like you're in a spy thriller. If Maeda were a car, he'd be a sleek Toyota Celica – reliable, stylish, and always ready to rev up the drama. No wonder he lived to 83; his music kept the engine running smooth.

The Hidden Lanes of 70s Japanese Cine-Jazz

Ah, albums like "Shadow of the Highway" – these are the unsung heroes of the record crate digger's world, the kind of releases that make vinyl hunters feel like Indiana Jones unearthing a lost ark (or at least a lost acetate). Back in the 70s, Japanese jazz soundtracks were booming, blending cinematic orchestration with funky jazz vibes, often for road movies or thrillers that echoed American New Cinema hits like Vanishing Point. They're groovy, experimental, and heavy on Latin percussion, making you wonder if the composers were secretly sipping piña coladas while scoring chase scenes. But here's the punchline: these gems were often pressed in limited runs, gathering dust in attics until reissues (like the recent 2024/2025 vinyl drops from labels like Victor Entertainment) bring them back to life. They're not just music; they're time capsules of cool – the sort that make modern playlists feel like traffic jams. If you're into Jiro Inagaki or Yosuke Yamashita's funky explorations, this is your lane. Just don't blame me if you start wearing aviator shades indoors after listening.

Full Lineup of Musicians: The Shadowy Ensemble

Unfortunately, like the plot twists in the film itself, the full musician credits for "Shadow of the Highway" are a bit elusive – perhaps they were too busy dodging musical traps to sign autographs. What we do know is that Norio Maeda is the star of the show: he composed, arranged, and played piano with the elegance of a driver hugging curves at 100 km/h. The album features a small to mid-sized jazz combo, heavy on cinematic flair and Latin percussion, including:

• Piano: Norio Maeda (the maestro himself, tickling keys like they're about to confess secrets).
• Vibraphone: Unnamed virtuoso (dashing forward with flair, adding that shimmering, highway-mirage vibe).
• Trumpet: Anonymous blower (charging in with bold, dramatic blasts – think car horns in a symphony).
• Tenor Saxophone: Mystery reed player (swooping through melodies like a low-flying eagle over asphalt).
• Bass: Shadowy plucker (keeping the groove grounded, preventing the whole thing from veering off-road).
• Drums and Latin Percussion: Enigmatic rhythm section (pounding away with congas and shakers, turning every track into a percussive pursuit).

No full names are widely documented in sources like Discogs or reissue notes, which adds to the album's mystique – as if the musicians were undercover agents in Maeda's jazz espionage ring. It's a tight ensemble, probably drawn from his regular collaborators, delivering that high-standard Japanese jazz punch. Any help compiling a list of musicians involved would be really cool!

Buckle Up for the Ride

With 12 tracks clocking in at about 37 minutes, this album is a compact thrill ride – short enough for a commute, deep enough to get lost in. It's all instrumental, fusing jazz-rock with orchestral drama, and often feels like a sonic road trip through suspicion, chases, and melancholy. I'll use Romanized titles for clarity (with English translations where apt).

1. Highway no Kage ~ Daiichi no Giwaku (Shadow of the Highway ~ First Suspicion) – Kicks off with tentative piano tinkles and subtle percussion, like Maeda's whispering, "Hey, is that a trap up ahead?" It's short and shadowy, building paranoia with vibes that shimmer like heat off pavement. This track is the musical equivalent of checking your rearview mirror for ninjas – subtle, but you'll be hooked.
2. Matteita Onna ~ Daiichi no Wana (Waiting Woman ~ First Trap) – A sneaky build-up with bass slinking in, evoking a mysterious femme fatale. The tenor sax creeps like a plot twist. Short but punchy, setting the trap theme. If this were a date, it'd be the one where she says, "I have a surprise" – and it's not cake.
3. Highway no Kage ~ Main Theme (Shadow of the Highway ~ Main Theme) (the epic centerpiece) – The album's heart-pounder! Maeda's piano races alongside trumpet fanfares and driving drums, with Latin rhythms pushing like accelerator pedals. Groovy and expansive, it's pure road-movie adrenaline. Funny take: This is what plays in your head when you're late for work and pretend you're in a heist film. Killer stuff – literally, if you're speeding.
4. Nazo no Onna ~ Wana!? (Mysterious Woman ~ Trap!?) – Enigmatic vibes dominate, with sax weaving through uncertainty. It's tense, like spotting a hitchhiker who's too well-dressed. Humor: The "?" in the title says it all – this track gaslights you into doubting your own groove.
5. Matteita Onna ~ Main Theme (Waiting Woman ~ Main Theme) – A variation on the femme fatale motif, blending melancholy piano with subtle orchestration. Smoother than the opener, but still trap-laden. She's waiting, alright – probably for you to fall into her jazz web. Spider-Woman, eat your heart out.
6. Highway no Kage ~ Wana eno Chousen (Shadow of the Highway ~ Challenge to the Trap) – Up-tempo charge with percussion frenzy and bold horns. Feels like confronting the villain head-on. Funny: This is Maeda saying, "Trap? Hold my sake" – and then soloing over it like a boss.
7. Sachiusu no Onna ~ Namiko no Tsuioku (Unfortunate Woman ~ Namiko's Recollection)  – A poignant shift to ballad territory, with vibraphone adding ethereal sadness. Piano reflects like rearview memories. Poor Namiko – this track's so melancholic, it'll have you reminiscing about traffic jams you never had.
8. Nazo no Onna ~ Main Theme (Mysterious Woman ~ Main Theme) – Deeper dive into mystery, with layered sax and piano interplay. Builds suspense without rushing. If the woman was mysterious before, now she's enigmatic enough to star in her own spy novel – complete with jazz footnotes.
9. Highway no Kage ~ Teki wo Motomete (Shadow of the Highway ~ Seeking the Enemy) – Aggressive grooves with trumpet leading the hunt. Drums pound like tires on gravel. This is the "where's Waldo?" of jazz tracks – but Waldo's the bad guy, and he's hiding in the bassline.
10. Sachiusu no Onna ~ Main Theme (Unfortunate Woman ~ Main Theme) – Expands on track 7's sorrow, adding orchestral swells for emotional depth. Vibes glisten like tears on windshield. So unfortunate, it'll make you hug your steering wheel and promise to drive safer.
11. Matteita Onna ~ Variation (Waiting Woman ~ Variation) – Funkier take on the waiting motif, with Latin percussion injecting energy. A fresh spin on familiar themes. She's still waiting, but now with a disco ball – because even traps need variety.
12. Highway no Kage ~ Kanashii Ketsumatsu (Shadow of the Highway ~ Sad Ending) – Fades out with reflective piano and fading horns, wrapping the drama in bittersweet resolution. The perfect closer – like reaching the end of the road and realizing you forgot your wallet. Poignant, but you'll want to loop back to track 1.

A Must for Jazz Road Warriors

"Shadow of the Highway" is a 5/5 masterpiece of 70s Japanese jazz – lively, cinematic, and groovier than a French film score on steroids. Maeda's compositions fuse hard-driving energy with subtle drama, making it perfect for imaginary car chases or just vibing out. It's not just a soundtrack; it's a mood enhancer that'll have you scanning horizons for shadows (or snacks). If you're new to this era, dive in – but watch out for traps. They're musical, and they're addictive.