Tokyo Jazz Notes

Marcos Pin Factor E-Reset - Barbanza

2013-05-15T00:16:00.002+09:00

Label: Free Code Jazz
Released: October 2012

Guitarist Marcos Pin has selected a big band format for his seventh release, Barbanza, with a decatet performing under the name Factor E-Reset. Six of the seven tunes featured are Pin compositions inspired by the part of Spain where he currently resides, the Barbanza peninsula. Whereas the obvious references to Spain in jazz have come through the Chick Corea composition of the same name or Miles Davis and Gil Evans' Sketches of Spain, the music on Barbanza is more influenced by the larger ensembles of mid-twentieth century American jazz.

Bagueera's Dilemma gets things under way, a gentle but powerful tune that swings nicely with impressive vibes and tenor sax solos. It's a tune full of style and sophistication that gives a nod to history yet at the same time sounding fresh and contemporary, and it serves as a perfect start to the set.

The album's only cover, a version of Coltrane's Moment's Notice, is delivered in a straight-ahead style that refers back to some of the classic sounds of the late fifties. San Finx is another tune that recalls that era, with its energetic walking bass and an infectious swinging rhythm. It's one of the few tracks where Pin puts himself in the spotlight with a lengthy solo and stands out as one of the catchiest tunes on the set.

Where Are They? is another strong track, with its insistent main riff over a fairly laid back rhythm, while Bico de Mar is an altogether quieter and sparser tune that could almost be incidental music from a movie soundtrack. An atmospheric tune built around the bass, it's something you'll want to revisit time and again.

The closing tune, Escarbote's Blues, stands apart from the rest of the set, with the tune shifting from swinging blues to more abstract improvisation and back again.

Stylishly and confidently executed, Barbanza is a delightful big band set and well worth checking out.

The Tokyo Jazz Notes Dozen #34 - May 2013

2013-05-13T00:08:00.003+09:00

This month's dozen features half a dozen brand new Japanese jazz tunes (plus another classic) as well as some gems from Europe as well as Glasper/Dille-esque number from Jaleel Shaw. All top stuff. Enjoy!

Jazzy Conversation - Soil & "Pimp" Sessions X Rhymester (from Jazzy Conversation single on Victor Entertainment 2013)
衝動の粒子 (Particles of Impulse) - Fox Capture Plan (from Trinity on Playwright 2013)
Creation - Jazz Collective (from Prelude on Octave/Jazz Collective 2013)
Brainwork - Ai Kuwabara Trio Project (from The Sixth Sense on EWE 2013)
The Understanding - Jaleel Shaw (from The Soundtrack Of Things To Come on Changu Records 2013)
Wave - Tom Trio (from Tom Trio on ILK 2012)
Og Bolgen Slog Mod Salten Strand (And The Wave Curled Up On The Briny Beach) - Klokkelblomst (from Klokkelblomst on ILK 2013)
The Boomers - Shun Ishiwaka Trio (from The Boomers - Live at Body & Soul on 500Records 2013)
At Once - Scarlet Maud (from Master Mind on QulQul Label 2013)
Round Town - LTC + Mark Turner (from Hikmet on Via Veneto Jazz 2005)
San Finx - Marcos Pin Factor E-Reset (from Barbanza on Freecode 2012)
Watarase - Takeo Moriyama (from Listen to 和ジャズ・ディスク・ガイド on Think! Records 2013)

The Tokyo Jazz Notes Dozen #34 - May 2013 by Tokyojazznotes on Mixcloud

Fox Capture Plan - Trinity

2013-05-10T23:23:00.002+09:00

Label: Playwright
Released: April 2013

Last Autumn saw Fox Capture Plan arrive on the scene with their debut mini-album Flexible. Half a year later, and in the wake of a series of positive reviews both from inside Japan and overseas, the trio return with their first full album, Trinity.

The trio, led by Ryo Kishimoto (aka Melten from Jabberloop), play their own brand of modern jazz-rock, mixing elements of post-rock and contemporary jazz sounds a la GoGo Penguin or the Neil Cowley Trio with big piano chords, catchy hooks and a thumping rhythm section.

Trinity delivers on the promise indicated by last year's mini-album, with a strong, confident set of tunes. Composition duties are shared between Kishimoto and bassist Hidehiro Kawai, and the set includes a nice balance of aggressive uptempo tracks, some more melodic mid-tempo tunes and a couple of slower numbers.

The album's lead tune 衝動の粒子(which translates as 'The Particle of Impulse') kicks off with its infectious main piano refrain which is then accompanied by a 4/4 beat from the rhythm section. Halfway through the mood shifts to a more hypnotic loop-type club beat with Kishimoto bashing out a flurry of notes on the keyboard and then moving into a brief but impressive piano solo before a return to the main riff. The trio here mix the club beats and killer melody effortlessly in the same way indigo jam unit do.

Reincarnation and Trinity are mid-tempo tracks led by their strong piano riffs. It's these melodies that really carry these tunes and mak them stand out in the set.

Exceed The Limit and Dark Matter see the band rocking out in a more aggressive tone, with the latter notable for its tight drumming and manic keyboards.

While the cover of Oasis' Wonderwall and the ballad Good Night are both less than essential, they don't however detract from the album as a whole.

Trinity is a decent ful debut well worth investigating for anyone who has an interest in the interface between jazz and post-rock.

Soil & "Pimp" Sessions x Rhymester - Jazzy Converstion

2013-05-07T01:00:00.003+09:00

Label: Victor Entertainment
Released: April 2013

This year marks the tenth anniversary of the current Soil & "Pimp" Sessions line-up, and to commemorate this landmark, the purveyors of so-called Death Jazz have teamed up with hip-hop trio Rhymester to record the single Jazzy Conversation.

"This is a journey into jazz" declares agitator Shacho at the opening of the tune, before the swinging rhythm kicks off leading into a classic Soil & "Pimp" punchy horn riff. The difference here is that the six-piece band is joined by Rhymester, with the two MCs delivering the rhymes and the DJ adding a layer of scratches and beats over the jazzy beat.

Jazzy Conversation is a typical Soil & "Pimp" Sessions tune with its mix of catchy hook, jazz sensibilities and aggression, a celebration of their trademark sound rather than an exploration of new territory. After a relatively long lay-off, however, it's a welcome return.

Ai Kuwabara Trio Project - The Sixth Sense

2013-04-25T00:22:00.000+09:00

Label: EWE Records
Released: April 2013

Ai Kuwabara made a splash towards the end of last year with her debut album, From Here To There, an album packed with energetic tunes that marked the arrival of a talented new composer and performer.

Just six months later, Ai Kuwabara Trio Project return with a follow-up album, The Sixth Sense. A concept album based on the theme of intuition, it features nine tracks that explore different moods and ideas in a musical experiment that tries to relate to the modern world. As on her debut album. Kuwabara's compositions feature a blend of subtle melodies and aggressive beats. At times there are shades of E.S.T. or Michel Petrucciani or her compatriot Hiromi, though essentially Kuwabara has her own distinct voice and clearly a lot of ideas.

Blending contemporary jazz with elements of rock and fusion sounds, the album is full of variety. The short but sweet Intuition ~ your sixth sense ~ begins and ends with an insanely catchy pop-rock main hook and synthesised vocals that sandwiches mid-section of improvisational work from Kuwabara.

By contrast Lost "Ability" starts out in a much more serene fashion, with an exquisite melody. The tune develops steadily with some great piano solo work building to a thunderous finale from Shintaro Imamura on drums.

Later in the set, Augury, Waves, Dive! is an out and out contemporary jazz tune that recalls some of Re-Trick's finer tunes and bassist Yusuke Morita puts in an impressively dextrous solo.

Brainwork is modern jazz rock at its finest, with some almost prog-rock like synths in place. Part of the opening phrase to this tune is revisited in the closing track, Laboratory, where the various different ingredients that inspired the whole album come together in some kind of alchemist's experiment. A piece of music that changes tempo and direction several times over the course of its five minute duration, it represents an inspired finale to what is a superbly crafted album.

While From Here To There was an impressive debut, with The Sixth Sense, Ai Kuwabara has exceeded that with a very strong set of original tunes that marks her out as one of the brightest new talents on the Japanese jazz scene. Undoubtedly one of the albums of the year.

Tomasz Dąbrowski - Tom Trio

2013-04-15T00:53:00.000+09:00

Label: ILK Music
Released: September 2012

Tom Trio is the first session that Polish trumpeter Tomasz Dąbrowski has worked on as a leader. Veteran of many of numerous recordings as a sideman, the 28 year-old, who has been working in Denmark for the last four years has teamed up with Nils Bo Davidsen and Anders Hogensen for an album of tunes from in a not-so-common trumpet trio set up.

The piano-less jazz ensemble tends to create a lot of space and freedom, whether it's a sax trio or a trumpet trio, and the music on Tom Trio is no exception. The emphasis is very much on improvisation and free jazz, but at the same time, Dąbrowski has an ear for a melody, making for a powerful set of tunes.

The eleven tracks featured on the album are all composed by Dąbrowski including the infectious Wave, which starts out with some cacophonous drums and heavy bass, before the main trumpet melody kicks in. A hard-hitting number it rolls over everything in its wake, leaving a lasting impression on the listener.

After Jam starts out with the main riff played in a low ponderous fashion, gradually building up momentum before melting into a middle passage of solos and general improv, with the main melody returning for the final minute or so in aggressive climax.

Cph Talk is a loosely-structured number, with the bass underpinning the whole things allowing trumpet and drums to explore unexpected territory. It's far from being the most accesible track on the album, but its originality is, however, highly seductive.

By contrast the track that follows, the short but sweet European 46, is perhaps the most conventional tune on offer, though equally as good as everything else here. From there it's into This Way Up, which starts out with an extended bass solo, and when the tune really kicks in, it's somewhat reminiscent of some of the freer work from Japanese trumpeter Shinpei Ruike.

Refreshhingly original from start to finish, reflecting the very best of northern European improvisational jazz, Tom Trio is a stunning debut and highly recommended.

Tres-Men - Tres-Men

2013-04-11T00:50:00.000+09:00

Label: Playwright
Released: April 2013

The latest signing to the relatively new Playwright label is Tres-Men, a trio made up of members of quasimode, Blu-Swing and Milford Sound. Together with various guest musicians, they play dance music heavily influenced by jazz, Latin and Brazilian sounds. Their self-titled debut album features covers of half a dozen rare groove classics all served up in a modern Japanese club jazz style.

The album opens with Why, originally recorded by Sergio Mendes & The New Brasil 77, with label mates Orange Pekoe guesting. The uplifting summery Brazilian feel to this arrangement combined with Tomoko Nagashima's sublime vocals means this tune has is likely to go down well in clubs and could well have crossover potential.

Other vocal tracks include versions of Lighthouse's Latin rock anthem One Fine Morning, with vocals from Saigenji, and Madeline Bell's That's What Friends Are For, again with Tomoko Nagashima. Both are creditable covers, but don't transcend the originals in the way that Why does. Having said that, however, they are likely to go down well with the Japanese crowd, sounding both catchy and fresh.

The other three tunes are instrumentals starting with Mass Production's 1977 instrumental disco smash Cosmic Lust, which is brought right up to date as an urban Japanese dance number, as is the version of the Ted Coleman Band's Samba De and Catch Up's Sister Jane.

The alternation of vocal and instrumental tracks gives the impression that the album is actually a collection of three singles. It doesn't end there, however, as Yusuke Nakamura provides remixes of both One Fine Morning and That's What Friends Are For.

Tres-Men is a decent debut full of club tunes that has the potential to do well beyond Japan. Practically impossible to listen to without at the very least tapping your foot. Infectious stuff.

The Tokyo Jazz Notes Dozen #33 - April 2013

2013-04-08T10:01:00.001+09:00

This month's dozen starts off with a couple of tunes from the archives taking in some spiritual grooves, as well as a hard bop piano trio number from Toshiko Akiyoshi. Then it's back to the present day with new tunes Soren Gemmer, Eldar Djangirov and Rafiq Bhatia as well as tracks from the debut albums from Yuki Futami Trio and Tres Men. Enjoy ...

The Call - Sahib Shihab (from Spiritual Jazz 4: Americans In Europe on Jazzman Records 2012)

Vaya Mulatto - Stone Alliance (from Stone Alliance on 3D 2005 reissue)

Bootsie's Lament - Oneness of Juju (from Space Jungle Luv on SHOUT! Productions 2013)

The March - Toshiko Akiyoshi (from Listen to 和ジャズ・ディスク・ガイド on Think! Records 2013)

Southern Island - Yuki Futami Trio (from Banzai Oscar on T-Toc Records 2013)

At First - Soren Gemmer (from At First on ILK Records 2013)

Morning Call - Eldar Djangirov (from Breakthrough on Agate/Motema 2013)

Art For Life - Makoto Kuriya (from Art For Life on Pony Canyon 2011)

Try - Rafiq Bhatia (from Yes It Will on Spectral Life 2012)

Freeness Part 2 - The Heliocentrics (from 13 Degrees Of Reality on NowAgain 2013)

Morphine - The Sign Of Four (from Hammer, Stirrup & Anvil on Jazzman Records 2013)

Sister Jane - Tres Men (from Tres Men on Playwright 2013)

The Tokyo Jazz Notes Dozen #33 ~ April 2013 by Tokyojazznotes on Mixcloud

V.A. - Spiritual Jazz 4: Americans In Europe

2013-04-01T23:36:00.001+09:00

Label: Jazzman Records
Released: March 2013

Having taken a look at the underground American scene, and then an in-depth look at the European scene, the fourth installment in Jazzman Records' Spiritual Jazz series takes a look at recordings made by American artists in Europe. This 21-track double CD (or triple LP) collection features some big names, though these particular recordings come from hard to find albums that have mostly never been reissued.

Studie Nr1 fur 12-saitige Gitarre from Swiss guitarist Pierre Cavalli with Sahib Shihab guesting on flute kicks off proceedings. A trippy blues number, it's Shihab's flute playing that really makes this tune stand out. This mix of American and European musicians as well as a mix of styles characterises a lot of the music on this collection.

Jazz Rule sees pianist Hampton Hawes teaming up with British saxophonist Johnny Hawksworth on what is a very catchy swinging tune, and as good as this is, it's only part of the warm-up to what is on the whole an amazing collection.

Drummer Clarence Peters leads an amazing quartet on Born & Shake, previously only available on privately pressed album released in France. From there it's on to The Call, a spiritual number in jazz waltz time from Sahib Shihab, Sun Ra's quirky but infectious Enlightment and Albert Ayler's stunning version of Summertime.

The spirit of John Coltrane infuses many of the tracks included on this set, and Billy Gault's magical Mode For Trane directly cites his influence.

Other standout tunes include the classic Five, Four And Three by Lee Konitz and Ol by the Noah Howard Group, as well as the two epic 18-minute plus tracks that complete the collection ~ The Creators from the Bobby Hutcherson & Harold Land Sextet, and Springtime from Eric Dolphy.

The first three volumes in this series have all been outstanding compilations, but it could just be that Spiritual Jazz 4: Americans In Europe is the best of the lot. Essential listening.

V.A. - Record Kicks 10th

2013-03-25T23:49:00.000+09:00

Label: Record Kicks
Released: March 2013

Since the emergence of Napster and other file-sharing services at the turn of the century, the news media has published numerous stories about the decline in music sales and the crisis the music industry is facing. In amongst all the doom and gloom, however, there are some success stories involving small independent labels that have started up in a difficult market and found success in an increasingly tough market. Labels such as Jazzman Records and Soundway have established a solid reputation for good compilations and reissues of rarities from the world of jazz and soul in the case of the former, and global grooves for the latter. Tru Thoughts and Freestyle Records, on the other hand, have focused more on new original releases from artists covering a wide range of styles rooted in black or dance-related music.

Another label that emerged in the early noughties that has also built up a solid reputation is the Milan-based imprint Record Kicks. Founded by Nicolo Pozzoli (aka Nick Record Kicks), the label focuses on both vintage and modern black sounds, with many releases playing funk, soul, afrobeat and so on, via its Soul Shaker and Let's Boogaloo compilation series as well as original singles and albums. To celebrate a decade of existence, the label's latest release is Record Kicks 10th, a 21-track compilation that features some of the high points from the back catalogue in addition to a number of exclusive new tracks.

Kicking off with Hannah Williams & The Tastemakers' kickin' cover of Barbara Lynn's I'm A Good Woman, the collection also features a whole selection of winners, including the Northern Soul grooves of Don't Judge A Book By Its Cover by The Hawk featuring Little Hannah Collins, and the heavenly Your Love Is Mine from The New Mastersounds featuring Corinne Bailey Rae.

The jazz dance crowd will be pleased to see the inclusion of Much More from the Milano Jazz-Dance Combo with Colonel Red on vocals as well as Scaramunga from Ray Harris & The Fusion Experience.

Throw in a couple of exclusive tracks from the likes of The Baker Brothers, Third Coast Kings, Nick Pride & The Pimptones and The Liberators and it all adds up to a great collection of tunes to celebrate the label's first ten years. Worth checking out.

Miguel Rodriguez - Miguel Rodriguez

2013-03-25T00:23:00.000+09:00

Label: Dox Records
Released: February 2013

Originally from Madrid, but now resident in the Netherlands after graduation from the Amsterdam Conservatory, pianist Miguel Rodriguez plays his own version of jazz that incorporates Latin or flamenco influences. For his self-titled debut album, Rodriguez is backed over the nine tracks by Italians Luciano Poli on bass and Francesco de Rubeis on drums and percussionist Miguel Hirosi and flamenco singer Maria Marin from Spain.

The album gets under way with Secret Ways, an upbeat slice of straight ahead piano jazz with a killer hook. Tangos (de canela y miel), on the other hand, has much more of a Latin influence, percussion leading the tune in before piano and bass come in playing in a flamenco style. The main melody is played on both piano and melodica, and then, a couple of minutes into the tune, Maria Marin enters on vocals. It's a delightful composition that effortlessly blends jazz, Latin and flamenco, and there is a melodica and percussion reprise (Miel y Canela) later on in the set.

The flamenco influence continues on the instrumental GG, with Rodriguez hands flying over the keyboard with the dexterity of a tocaores. The Fats Waller tune The Jitterbug Waltz is also given a flamenco arrangement which works really well, breathing new life into the standard.

Another tune that stands out is the contemporary piano jazz sound of Two In One, switching to an uptempo Latin vibe for the coda.

A confident debut from a musician with his own clear sound, Miguel Rodriguez is well worth checking out.

Miguel Rodríguez by Miguel Rodríguez

Wayne Shorter Quartet - Without A Net

2013-03-18T21:30:00.000+09:00

Label: Blue Note
Released: February 2013

Having been part of one of the most celebrated line-ups of Art Blakey & The Jazz Messengers, a core member of what's referred to as Miles Davis's second great quintet, and then a founding member (with Joe Zawinul) of the fusion band Weather Report, in addition to a significant body of solo releases, it's safe to say that Wayne Shorter's place in the pantheon of all-time jazz greats is assured.

The saxophonist will be 80 this year, and while many other artists may have been tempted by retirement or continue to tour playing a selection of their greatest hits, Shorther continues to explore new territory with his music. Without A Net is his first release since Beyond The Sound Barrier back in 2005 and it sees him back on Blue Note for the first time since 1970's Odyssey of Iska.

Like its predecessor, Without A Net is a collection of live performances backed by Danilo Perez on piano, John Patitucci on bass and Brian Blade on drums. The recordings for this album, with the exception of one track, were made in 2011 on the quartet's European tour and show the band on fine form.

The album opens with a major rework of Orbits, originally records back in the sixties with Miles Davis for the Miles Smiles album, and covered in recent years by Naruyoshi Kikuchi Dub Sextet. This new interpretation is much darker in its mood with Perez opening the number playing parts of the main melody with his left hand creating a sense of menace. Patitucci echoes the melody on bass before Shorter enters on soprano sax and the tune really takes off with each Shorter, Perez and Blade enjoying the freedom to improvise at different stages.

The other selection from Shorter's back catalogue is a version of Weather Report's Plaza Real, a track that he also recorded with Naruyoshi Kikuchi on the latter's La Pensée Sauvage album back in 2006. Here the 80s synth-fusion tune is reinterpreted in a totally acoustic arrangement, yet every bit as magical as the original.

The rest of the set features new Shorter compositions, plus one cover. Starry Night starts out as a piano-led ballad that gradually builds into more of an improvisational piece with a dramatic climax. This is then followed by S.S. Golden Mean, which starts with a phrase quoted from the mambo classic Manteca. The main melody is played on the piano with Shorter's soprano sax dancing around over the top.

Where S.S. Golden Mean is playful, Myrhh is three minutes of improvisation built around lumbering bass and left hand keys while Blade and Shorter really go to town.

At the heart of the album is the 23-minute epic Pegasus, recorded at the Walt Disney Concert Hall in Los Angeles with the Imani Winds. Starting out as a gentle melodic piece, the tune then changes direction for the first time with the rhythm section playing a pulsing beat over which Shorter leads the tune. It's a tune that takes you by surprise more than once and you simply do not know what to expect next.

The only cover on the album is a version of an old Fred Astaire tune, Flying Down To Rio, which has a delightfully sunny feel to it, though is barely recognisable from the original song.

Zero Gravity To The 10th Power and (The Notes) Unidentified Flying Objects close the album and are full of spontaneity and invention. The first of the two tracks in particular is very satisyfing and underlines just how good the understanding is between each of the members of this quartet.

If you walk the tightrope Without A Net, then there's nothing to catch you if you make the slightest slip. The Wayne Shorter Quartet play with such composure and confidence, however, you just know they're going to put a foot wrong.

In an age when much has been written about whether jazz as a genre has exhausted its options, this album is evidence that there is still plenty of new territory to be explored. No doubt this album will feature is many a jazz writer's end of year lists. SImply awesome.

Tokyo residents will be lucky enough to catch the quartet in action this weekend as they play two nights at Shibuya Hikarie as part of Tokyo Jazz Week 2013.

Till Brönner - Till Brönner

2013-03-18T00:04:00.001+09:00

Label:Verve
Released: November 2012

German trumpeter Till Brönner's career to date has seen him tackle a variety of different musical styles. Starting out playing bebop and fusion style jazz, he has also ventured into the world of movie soundtracks and pop, trying his hand at singing as well as playing his horn. This combined with his movie star looks has turned Brönner into something of a poster boy for European jazz ~ a bit like a latter day Chet Baker without the damage.

His latest album, self-titled, is a tribute to the slick fusion sound of CTI Records, the label set up by Creed Taylor after leaving Verve, Brönner's current label. With the assistance of reeds player Magnus Lindgren and keyboard player Roberto Di Gioia, Brönner and his band deliver a very tight and slick set of soulful jazz fusion tunes that clearly evoke the distinctive CTI sound.

Will Of Nature, the opener, is a kind of meeting of hard bop and spacey sounds, with the frontline delivering a main vamp reminiscent of a classic 60s Blue Note session, yet Di Gioia's Fender Rhodes and the soft bassline send the tune tripping into outer space.

Among the original tunes there are a few covers scattered here and there, including a slickly executed yet brief version of Freddie Hubbard's Gibraltar. This is followed by the Larry Goldings composition Pegasus, which is transformed from a Hammond-driven number to a laid-back cosmic groove to great effect. The version of Condor, on the other hand, is pretty faithful to Dave Grusin's original soundtrack music.

Another track worthy of a mention is the funky workout of Wacky Wes, which like the opener is a blend of sixties hard bop and seventies fusion. The whole album is slickly produced though there are a couple of tracks that glide by without making much of an impression.

The production on Till Brönner is simply amazing, and the combination of the frontline and Di Gioia's Fender Rhodes creates a very warm and rich sound. Possibly Brönner's finest album to date.

quasimode - Soul Delivery Live ~ Shibuya AX

2013-03-17T00:25:00.000+09:00

Label: Blue Note
Released: March 2013

Soul Delivery Live ~ Shibuya AX is the 11th album release in total from quasimode, and their second live album, since their first release in 2006. A pretty prolific run by anyone's standards in this day and age, with possibly indigo jam unit being the only other band constantly recording original material on the Japanese jazz scene that can match that kind of output.

One thing you can guarantee with quasimode is that they are always good value live, playing a slick and entertaining shows, and this albums shows them at the top of their game. This gig was the climax of the Soul Delivery Tour played to promote their most recent studio album Soul Cookin', so it's little surprise that half of the tunes featured on this set come from that album.

As ever with their big gigs, the quartet is backed here by a four-piece brass section, referred to here as brassmode, and there are also some guest vocal appearances on a couple of tracks.

The album opens with the classic The Man From Nagpur, one of the band's feel-good tunes that always goes down well on stage. The blast from the horn section at the start of the tune is energising regardless of how many times you've heard it.

From the past the band then fast forward to the present with a couple of more recent tracks, starting with the jazz-funk of Another Sky and then moving on to Febre Samba with its Brazilian overtones. This latter track was one of the high points on Soul Cookin', and while it sounds good live here, it has the misfortune to precede Ipe Amerelo, from their debut album Oneself-Likeness, which is simply one of the best tracks they have ever recorded, and it's clearly a high point of this set too.

Leaving Town is another recent track and the smooth groove recalls the CTI sound of the early seventies that translates well to the live stage. The centrepiece of the set as far as the new tunes are concerned, has to be Still In The Night, expanded here to over eleven minutes allowing plenty of space for pianist Yusuke Hirado to improvise.

The finale of the set is given over to a couple of Dan Hartman tunes, namely Vertigo and Relight My Fire with Mika Arisaka on vocals as the band go into to showbiz overdrive, with a boogaloo finish in the form of El Paso Twist.

Soul Delivery Live is a worthy partner to their last live album, Straight To The Land Of Freedom, and shows a band that can always deliver a great live show.

Søren Gemmer - At First

2013-03-15T00:40:00.000+09:00

Label: ILK
Released: February 2013

For a number of years now, northern Europe has been something of a fertile ground for new jazz talent playing various different styles from the more conventional hard bop rooted sound to contemporary improvisationed tunes. One of the latest artists to emerge from this area is Danish pianist Søren Gemmer. His debut release, At First, offers ten originals, with Gemmer fronting a quartet of Per Møllehøj on guitar, Tapani Toivanen (from the Joona Haavisto Trio) on bass and Andreas Fryland on drums.

The music on At First shows the influence of modern classical music as well as contemporary jazz and the result is a beautiful, yet restrained piece of work. Russians, the opening tune, starts with a head-nodding beat played with brushes before the main piano riff comes in and guitar and bass join in turn. It's a tune that has a sombre mood to it yet somehow manages to feel uplifting at the same time.

It sets the tone perfectly for the rest of the album, with tracks like Chords, Stay Silent and the title track At First worthy of special mention. Chords starts off gently, but as the tune develops, there is plenty of space for improvisation from both Møllehøj and Gemmer.

In the press release, Gemmer mentions that Stay Silent is a tribute to Prokofiev's Visions Fugitives No.1. A beautiful piece of music, its full, rich melody is something that draws the listener back again and again.

Kicking off with the rhythm and cymbals, At First is something of a stop-start piece, one moment swinging along nicely as Møllehøj improvises on guitar and then slowing right down with some meandering piano over Fryland's beat.

Masterful from start to finish, At First is an album that grows in strength with repeated listens and marks the arrival of a new talent.

Gregory Porter @Blue Note Tokyo 06/03/13

2013-03-12T19:32:00.000+09:00

Since the release of his debut album Water in 2010, Gregory Porter's star has been steadily in the ascendant, with audiences around the world flocking to his shows and both his debut and his sophomore release, Be Good, securing Grammy nominations.

Last week (finally) saw his first appearances in Japan, with two shows at the Blue Note mid-week and two more at the Cotton Club on Friday.

The second set at the Blue Note saw him take to the stage donned in his familiar hat and backed by his regular band of Chip Crawford on piano, Aaron James on bass, Emanuel Harrold on drums, and Yosuke Sato on alto sax.

The show started with some selections from Be Good, including Painted On Canvas, Mother's Song, the title track and On My Way To Harlem, with Porter's hand claps warming the crowd up perfectly. This was followed by a rendition of the standard Bye Bye Blackbird and then a couple of tracks from Water, starting with the amazing extended spiritual workout of Wisdom, and the ballad Illusion.

The tempo picked up again for Work Song, which really got everyone swinging and clapping along. After a rendition of I Fall In Love Too Easily, it was time for the close of the show, which, of course, was a storming (though somewhat shortened) delivery of the song that catapulted him to fame, 1960 What?

Back on stage for an encore of The Way You Want To Live, the band then left the stage to rapturous applause. It was a long wait, but Gregory Porter's first appearances in Japan seem to have been very weel-received. No doubt he'll be back before too long.

Tres Men - 3

2013-03-04T00:53:00.001+09:00

Label: Playwright
Released: February 2013

Playwright is a label that has emerged in the last year or two as a big player in the club jazz scene, signing artists such as Immigrant's Bossa Band, Orange Pekoe, bohemianvoodoo and Fox Capture Plan. The latest signing to the label is Tres Men, a trio consisting of percussionist Takahiro "Matzz" Matsuoko from quasimode, keyboard player Yusuke Nakamura from Blu-Swing and DJ/Programmer Yoshijiro Sakurai from Milford Sound. Together with some guest musicians they play a hybrid mix of jazz, latin, Brazilian and club sounds that is very dance floor-friendly.

Their first release, 3, is a limited edition three track CD single introducing the band ahead of their debut album, which is due out in April. The lead track is Why, a cover of a tune recorded by Sergio Mendes & the New Brasil '77. While the original version had a distinct disco feel to it, ironically Tres Men's interpretation, featuring Tomoko Nagashima on vocals and Kazuma Fujimoto on guitar from Orange Pekoe as well as a horn section, has much more of a Brazilian beat. The combination of Nagashima's vocals and upbeat dance rhythms make it a definite winner with clear club potential.

This is followed by a version of Sister Jane, an instrumental orginally recorded by Catch Up, the German band who gave us Onkel Joe. Sister Jane is from their less celebrated second album and is here versioned in all its disco glory. The final track on the CD is The Blue Boogie Remix of Why, which gives the tune a bit of a soulful feel, a little reminiscent of the club years of Everything But The Girl.

On this evidence, Tres Men's debut album is going to be something to look forward to. Unashamedly visiting the clubbier end of the jazz genre, 3 is a single worth looking out for, though with only 100 copies pressed, it won't be around for long.

The Tokyo Jazz Notes Dozen #32 - March 2013

2013-03-02T01:24:00.001+09:00

Another twelve killer tunes lined up for you in this month's dozen, including a couple of obscure tunes from the past in addition to some brand new music from the world over. Enjoy! ... and don't forget to support the artists by buying from a legitimate source.

Orbits - Wayne Shorter Quartet (from Without A Net on Blue Note 2013)

Ashie - The Lightmen (from A Collection Of Progressive & Independent Jazz 45s 1968-75 on Jazzman 2010)

El Dia Perfecto - Mark de Clive-Lowe & the Rotterdam Jazz Orchestra (from Take The Space Trane on Tur Thoughts 2013)

Afra Jum [Alternate take] - Francisco Mora Catlett (from Deep Enough Vol. 1 on Shout! 2012)

Negro en Sol Menor - Dogliotti (from Movers on VampiSoul 2007)

Colours - Nia Andrews (from Colours EP on Nia Andrews 2013)

Fanfares - GoGo Penguin (from Fanfares on Gondwana Records 2012)

New Love - mabanua feat. Nicholas Ryan Gant (from Only The Facts on Origami Productions 2012)

Ooh Monseigneur - Tatham, Mensah, Lord & Ranks (from Tatham, Mensah, Lord & Ranks on 2000Black 2012)

Why - Tres Men (from 3 on Playwright 2013)

Pin Pan Pon -Yoshiaki Kayano (from This Is The Life EP on Delicatessen Recordings 2013)

DNA (Deoxyribonucleic Acid) - Jazz Collective (from Prelude EP on Jazz Collective 2013)

The Tokyo Jazz Notes Dozen #32 - March 2013 by Tokyojazznotes on Mixcloud

GoGo Penguin - Fanfares

2013-02-26T01:08:00.000+09:00

Label: Gondwana Records
Released: November 2012

There are plenty of piano trios playing around the world, but maybe not many with a name as distinctive as GoGo Penguin. Unusual band names are two-a-penny here in Japan (Soil & "Pimp" Sessions and Fox Capture Plan are just a couple of examples from the jazz scene), but GoGo Penguin are from the UK, or Manchester to be more precise. Having graduated from the Royal Northern College of Music, they were promptly signed to trumpeter Matthew Halsall's Gondwana Records label, leading to their debut release Fanfares.

The album opens with Seven Sons Of Bjorn a tribute to the late Esbjorn Svensson, whose trio e.s.t. has served as a major musical influence on the band. A powerful and energetic tune which sets out the pattern for the whole album in that the trio really play together rather than the bass and drums forming the backing for the pianist as come sometimes happen with piano trios.

Last Words is underpinned by three repeated notes on the piano from Chris Illingworth, giving the whole thing something of a hypnotic feel, with some superb drums from Rob Turner with the melody alternating between Illingworth's piano and some throbbing bass from Grant Russell. Things slow down for the more pensive and introspective Unconditional, with Illingworth's piano leading over some soft bass and brush drums.

The title track is a suitably powerful tune that strays into the rockier end of jazz and is similar to the kind of sound that Fox Capture Plan in Japan are trying to achieve. This is followed by I Am That, a majestic tune held together by the main piano riff, allowing Turner and Russell plenty of freedom on bass and drums.

Akasthesia opens with an amazing bass solo from Russell. The drums then come in gradually, and Illingworth doesn't pick up the main melody from Russell until beyond the half-way point of the tune, allowing the bassist then to explore even further. The closing tune, Hf, is a more aggressive tune all round and a fitting finale to the album.

Fanfares is a confident and assured debut album from a band who look to have a bright future. The question I want to ask is when can we see GoGo Penguin in Japan?

Jazz Collective - Prelude EP

2013-02-24T11:38:00.001+09:00

Label: Jazz Collective
Released: February 2013

Jazz Collective's self-titled debut album was definitely one of the high points of last year, and with their second album, Prelude, due in April, the digital-only Prelude EP is a hint of what we can look forward to on the new album.

DNA (Deoxyribonucleic Acid) is a clear descendant of the tunes on the first album and has strands of jazz, club music and downtempo sounds with some restrained sax and trombone and Fender Rhodes over some tight drums and an unrelenting bass line.

Prelude has all the hallmarks of a Jazz Collective classic, starting out with some Latin-esque keyboard before the horn section kicks in with the main riff. The tune has a somewhat stop-start rhythm yet maintains something of a Brazilian feel to it.

A great single that augurs well for the album in the spring.

Yoshiaki Kayano - This Is The Life

2013-02-22T22:00:00.003+09:00

Label: Delicatessen Recordings
Released: February 2013

It's been a quiet start to the year as far as Japanese jazz releases are concerned, but now, in the second half of February, we're starting to see some new releases come through.

This Is The Life is the first new release from trumpeter Yoshiaki Kayano since the spacey vibes of Cosmology back in 2010. Since that album, Kayano has changed direction musically, with his interest in surfing and ukeleles bringing a more organic feel to his jazz.

This Is The Life is a digital-only single on the Delicatessen Recordings label featuring two new songs. The lead track is Pin Pan Pon, a bright uplifting tune that with the acoustic guitar electric piano and percussion backing giving the tune a very warm feeling. The main melody is fairly simple, but infectious nevertheless and it's easy to imagine a beachside party while listening.

The other track on the single is Feel, a smoother more downtempo number that doesn't quite scale the same heights as the lead track, but once again it has a mellow, relaxed vibe.

A decent single, which will hopefully be paving the way for a full album. Check out the video below for an acoustic live rendition of Pin Pan Pon.

Mark de Clive-Lowe & The Rotterdam Jazz Orchestra - Take The Space Trane

2013-02-20T01:33:00.002+09:00

Label: Tru Thoughts
Released: February 2013

Ground-breaking keyboard wizard Mark de Clive-Lowe has, to date, enjoyed a career that has taken him all over the world, from his native New Zealand to a spell in Japan, a stint in London and then on to the west coast of the States, where he currently resides. His latest project brings him back to Europe, more specifically to the Netherlands, working with the Rotterdam Jazz Orchestra in an ambitious beats meets big band project.

Recorded back in 2009 and now finally seeing the light of day, Take the Space Trance features eight tracks, some previously recorded by MdCL, others written specially for this project and a new interpretation of a standard made famous by Duke Ellington, with Johan Plomp arranging the tunes for the big band.

Heavy beats mark the intro of Relax ... Unwind, before the horn section kicks in, with a couple of impressive sax solos along the way. What is clear from the start is that both MdCL and the RJO had a superb understanding when performing this set, with the orchestras drum and bass blending perfectly with the electronic beats.

At first Blues For Six, a de Clive-Lowe composition for this project, sounds like a standard big band blues tune, but as the track progresses, the electronic drums and synths come to the fore, adding something of a cosmic vibe to the tune. Continuing with the new tunes, Filthy Fingers is a stomper of a tune with a superb trumpet solo from Rob van de Wouw. Originally written for van de Wouw's solo album Tunnelvision, the track works wonderfully with an expanded horn section.

The standard Caravan is given a contemporary arrangement and the casual listener could be forgiven for thinking the tune had originally been written as a broken beats number. It's a tune that has stood the test of time, yet here it is given a completely new lease of life.

The next few songs are reinterpretations of tracks previously recorded by Mark de Clive-Lowe, starting out with a version of Money (Don't Let It Catch Ya), a warning against the perils of consumer society originally recorded as part of The Politik project with Bembe Segue.

This is followed by a track from the Six Degrees album, El Dia Perfecto, a classic nu-jazz tune with a very strong melody that suits the big band set up perfectly, with Rob van de Wouw again featuring on a fine trumpet solo.

Things slow down a bit for Heaven, from the Tide's Arising album, a downtempo number with the horns playing the melody originally sung by Bembe Segue the trumpet solo ths time from Rik Mol.

The album closes with the title track, an uptempo cosmic big band number that pays tribute to the music of John Coltrane and McCoy Tyner. de Clive-Lowe lays down the heavy beats and the RJO horn section have acres of space to experiment to great effect.

In an age where many record labels are playing it safe and releasing what they think will be flavour of the day, Take The Space Trane is a breath of fresh air. My hat is duly doffed to Tru Thoughts for having the conviction to support truly innovative music. The world needs more adventurous and creative artists such as these as well as labels to support them. An album not to be missed.

Read Mark de Clive-Lowe's own blog entry for more on the making of this album.

Auteur Jazz - Cunning Album

2013-02-17T17:24:00.000+09:00

Label: Inpartmaint/KHY Suomen Misiikki DY
Released: November 2012

Sextet Auteur Jazz, led by sax player Antti Hynninen, first caught the attention of audiences outside their native Finland with their debut album, Aphorisms, released back in 2009 on Ricky-Tick. A couple of years on the band are back, on a new label, with a follow-up release titled Cunning Album.

Continuing in the spirit of their debut album, Cunning Album is chock full of swinging tunes and a couple of moody tunes that sound as though they should be from film noir soundtracks, a concept further enhanced by the images on the cover.

Thundering tom-toms and percussion mark the start of Cunning Peddler, the opening track, an adrenaline-fuelled swinging dance number. The short but sweet Shivers & Slivers is another in a similar vein.

Other high points on the set include Ode To Mac Boland, that recalls the sound of Sahib Shahib and the Clarke-Boland Big Band, and Najgo (Pt2), a reprise of a tune that featured on Aphorisms, and the spiritual vibes of Tangier.

Cunning Album sees Auteur Jazz ploughing the same furrow as on their debut, with similarly pleasing results. An enjoyable listen.

Jose James - No Beginning No End

2013-02-10T23:05:00.001+09:00

Label: Blue Note
Released: January 2013

It's been almost three years since the amazing Blackmagic album, but Jose James hasn't been sitting on his laurels. Far from it. The last couple of years has since James playing gigs the world over, releasing the odd single, and all the while putting together No Beginning No End, an album that was completely self-produced and self-financed and then presented to Don Was at Blue Note as a fait accompli.

The eleven tracks that make up the album see Jose James citing various different influences, from jazz to seventies soul and the neo-soul vibe of D'Angelo's Voodoo and Erykah Badu's Mama's Gun, and putting them all together on what is a warm, timeless album that eschews easy categorisation.

Backed by musicians such as Pino Palladino, Robert Glasper, Chris Dave, Kris Bowers, Corey King, Takuya Kuroda, Richard Spaven and Grant Windsor in addition to gust vocal performances from Emily King and Hindi Zahra, you just know the music is going to be sublime.

Sword + Gun, featuring Hindi Zahra on guest vocals, stands apart from the rest of the set both in terms its musical style and its lyrical content. With rhythms that reference African music, it's an anti-war song that hopes to use its seductive powers of persuasion as opposed to an angry tirade.

The rest of the set is generally more introspective, telling tales of love lost and love found and self-doubt, with James' voice alternating between velvety whispered tones and a confident baritone.

It's All Over Your Body, the opening track, is a sultry number that evokes the vibe of D'Angelo's classic album Voodoo, with the horn section of Takuya Kuroda and Corey King adding extra warmth. Another track in a similar vein is Make It Right, a wonderful meeting of neo soul and jazz.

Trouble, previously released as a single, is a classic slice of soul with Fender Rhodes, Hammond and horns giving the song amazing depth and warmth. This is followed by Vanguard, an ultra hip minimalist track with backing from Robert Glasper, Pino Palladino and Chris Dave that gives a nod to J Dilla.

Singer-songwriter Emily King joins James for a couple of tunes, first as writer on the acoustic soul of Come To My Door, a welcome olive branch to a former love, and duetting on the ballad Heaven On The Ground.

A flawless album from start to finish, No Beginning No End is a confident set from an artist who has a very clear vision of where he wants to go with his music. Part of the wave of musicians who are forging a new musical direction by blending jazz, soul and hip-hop influences, this latest album by Jose James is highly likely to feature on year end lists.

Andrea Balducci - Bloom

2013-02-06T11:43:00.001+09:00

Label: Schema Records
Released: October 2012

Having found success with vocal releases from baritone crooner Mario Biondi, Schema Records now introduce vocalist Andrea Balducci to the world with his debut album release Bloom.

He's in fine company on the recording, with Timo Lassy, Jukka Eskola and Teppo Makynen from The Five Corners Quintet and Italian big hitters Gaetano Partipilo, Luca Mannutza and Pietro Ciancaglini in the band.

The set features eleven tracks, ten tunes (with one featured in an extra swing version), that dip into the soulful sound of the sixties. The execution is slick throughout as you would expect from Schema, and you can imagine this being picked up by coffee shop chains for in-store airplay, though there's no escaping that this is a distinctly average album. The high points include a version of the oft-covered Little Anthony & The Imperials classic Hurt So Bad and the Classics IV tune Spooky, but the rest of the set is largely forgettable.

With Bloom, it seems as though Schema are hoping to emulate the success of pop-jazz singers like Michael Buble or Jamie Callum, though on the whole the album comes up short.