Monday, 12 October 2020

Yasuaki Shimizu ‎– Kakashi (1983)

Genre: Electronic, Jazz
Format: CD, Vinyl
Label: Better Days, Palto Flats, WRWTFWWR

1.   Suiren = 睡 蓮
2.   Kakashi = 案山子
3.   Kono Yoni Yomeri (Sono 1) = このように詠めり(その 1)
4.   Semi Tori No Hi = セミ取りの日
5.   Kono Yoni Yomeri (Sono 2) = このように詠めり(その 1)
6.   Yume Dewa = 夢では
7.   Umi No Ue Kara = 海の上から
8.   Utsukushiki Tennen = 美しき天然

Producer – Aki Ikuta, Yasuaki Shimizu
Marimba – Masanori Sasaji 
Trumpet – Donpei Kanezak
Balafon, Wind Chimes – Engawa
Bass – Aki Ikuta, Morio Watanabe
Cello – Mitsuru Orikasa, Tomio Yajima
Drums, Bass Drum, Percussion – Hideo Yamaki
French Horn – Koji Yamaguchi, Koji Yamaguchi 
Guitar – Aki Ikuta, Takayuki Hijikata
Vocals, Saxophone, Clarinet, Flute, Trumpet, Piano, Mallets, Drums, Percussion, Charango, Electronics, Tape, Toys, Noises – Yasuaki Shimizu

Japanese saxophonist-composer Yasuaki Shimizu has an eclectic resume that looks like it belongs to several different artists. He has rearranged the music of Bach for tenor saxophone and accompanied everyone from jazz singer Helen Merrill to Deee-Lite’s Towa Tei and “Twin Peaks” chanteuse Julee Cruise. His 1982 album Kakashi counts among its influences Miles Davis and Albert Ayler, but filtered through such a distinct personality that you would be hard pressed to name the inspiration unless it was pointed out. Thanks to Palto Flats, the album has been reissued for the first time outside Japan. With its charming cover illustration of a playful house cat ready to pounce, it’s a delightfully wide-ranging playground of timbres directed by a voracious musical omnivore.

Shimizu’s early work leaned toward straightforward jazz fusion on such albums as Get You (1978) and Far East Express (1979). But in 1980, after he formed the experimental rock group Mariah (whose album Utakata No Hibi, also reissued by Palto Flats, we reviewed here) he began to put his jazz chops to wildly different ends.

This is an artist who will borrow elements of all and any genres and transform it into something all his own. “Suiren” opens the album with a sampled loop that suggests an electronic meow before quickly launching into an easy-going martial rhythm that backs up a brass sample of a classical melody. Shimizu enters on tenor saxophone, its deep soulful tone seeming to run counter to everything else in the track, and then modest vocals and a percussive chiming melody join. This all happens in a little over four and a half minutes, with elements returning and coming back in, and if it all sounds disjointed, it’s somehow not. Like the feline creature caught on the album cover, it may bristle its fur and make unexpected leaps onto the dinner table, stare into space as if at nothing and then just as enigmatically run off into the night. And you can’t stop watching it.

The title track follows in a gentler mood, with a dreamy marimba and minimal rhythms that distantly evoke Japanese folk, setting up a foundation for brassy jazz figures and dissonant background fills; Shimizu’s tenor solo is restrained, conjuring a smoky club ballad in an unfamiliar setting.

Shimizu isn’t the only player here, but he wields his mates like they’re extensions of his one-man band of surprises. “Koni Yoni Yomeri (Sono 1)” starts with a sampled, distorted trumpet loop with somber synth washes adding background texture before a dramatic piano line subtly shifts the tone. “Semi Tori No Hi” builds around a soothing vocal loop and a minimal drum figure that sets up a central brass figure inspired by Albert Ayler, but this is more soothing than anything the alto sax iconoclast ever came up with.

On any given track, Kakashi is likely to shift from ambient to jazz to Japanese folk to some hybrid impossible to label, and that is part of the joy of such music. You can hear the artist’s exuberance in his rhythmic, melodic search. Sometimes, he even pauses the eclectic button for a moment of reflection: “Koni Yoni Yomeri (Sono 2)” is a meditative bass clarinet solo, accompanied only by the soft sound of chirping crickets. Shimizu’s frequent shifts are not always seamless, and this isn’t quite as strong an album as Utakata No Hibi, but anyone curious about the Japanese underground music of the ‘80s needs to hear it.
Pat Padua / Spectrum Culture

Hermeto Pascoal & Grupo Vice Versa ‎– Viajando Com O Som (The Lost '76 Vice-Versa Studio Session) (2017)

Genre: Jazz, Latin
Format: CD, Vinyl
Label: Far Out Recordings

1.   Dança Do Pajé
2.   Mavumvavumpefoco
3.   Natal (Tema Das Flutas)
4.   Casinha Pequenina

Bass – Zeca Assumpção
Drums, Percussion, Voice – Zé Eduardo Nazario
Electric Piano – Lelo Nazario
Electric Piano, Flute, Voice – Hermeto Pascoal
Guitar – Toninho Horta
Saxophone, Flute – Mauro Senise, Raul Mascarenhas
Tenor Saxophone, Flute – Nivaldo Ornelas
Vocals – Aleuda Chaves
Produced By – Hermeto Pascoal 

Whether it’s true or apocryphal, Miles Davis’ alleged description of Hermeto Pascoal as “the most impressive musician in the world” (sometimes altered to “one of the most important”) has served the ultra-eccentric Brazilian multi-instrumentalist well. Davis used Pascoal on three tracks on 1971’s Live-Evil; that credit, plus the quote, has guaranteed that the visually striking artist, who’s long been a hero at home, would always have somewhat of a following in the international jazz community. And here we are, 47 years later, ready for more.

Pascoal is now 81, sports a mane of wild white hair and beard to match, and is still active. But Viajando Com O Som dates from just five years after his one-off with Miles. The backstory dictates that the music herein was cut in two days and the master tape subsequently lost. It’s now resurfaced and good thing that it has—it’s quite a find.

Unlike other Pascoal works, the instrumentation utilized on the 1976 session isn’t especially colorful (he’s fond of using toys, found objects, etc.). Here we simply have the leader sticking to conventional electric piano and flute, accompanied by a rhythm section, a few more flutes, some saxophones, a second piano, percussion and guitarist Toninho Horta, the only player other than Pascoal to enjoy a high-profile reputation worldwide.

While not dissimilar to much other mid-’70s jazz, Viajando Com O Som, with its preponderance of jingling bells, funky bottom, trilling flutes, psychedelic meanderings, free intrusions, squawking horns and maniacal chants, is unapologetically experimental throughout. “Casinha Pequenina,” especially, the 26-plus-minute finale, borrows liberally from the aforementioned Mr. Davis’ own polyrhythmic, Afro-centric work of the period, only to break down into joyful percussive chaos in its final minutes. You may ask yourself what that was that you just heard. Then you’ll want to hear it again.
Jeff Tamarkin / JazzTimes