Natsuki Tamura | Satoko Fujii | Muku | Libra Records
The music of Tamura and Fujii moves in many directions. With Muku, the duo has created one of its loveliest and most engaging recordings to date. — Dan McClenaghan Continue reading
Fujii ( Satoko )
Satoko Fujii Orchestra | South Wind | Libra Records
The alternating Fujii/Tamura pieces are complex frameworks from which she is able to invoke dynamic sound ranges. Fujii opens the gates to permit a considerable amount of collective improvisation while still maintaining control of the reins by injecting stellar ensemble statements on top. ― Frank Rubolino, Cadence Continue reading
Natsuki Tamura Quartet | Exit | Libra Records
Typical Japanese sentiments sprinkled here and there are as impressive as, or sometimes more impressive than, the exoticism of artists of the underground scenes of Chicago and Niels Petter Molvaer. ― Takehiro Oshizuka, Musee
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Natsuki Tamura | Satoko Fujii | How Many? | Libra Records
If you turn up the volume and attune your antennae to the tonal and textural subtleties of Natsuki Tamura’s trumpet and Satoko Fujii’s piano, you’ll hear a rare breed of mood-derived propulsion. — Sam Prestianni, Jazziz Continue reading
Satoko Fujii Trio | Illusion Suite | Libra Records
Pianist Satoko Fujii leads with a powerful forces that captivates. Accessible for traditional bebop as well as avant garde listeners, her music stirs the imagination . . . A highly energetic pianist, a rollicking acoustic bassist, and a versatile drummer join forces on Illusion Suite to combine jazz’s tradition with leading-edge ideas. ― Jim Santella, All About Jazz Continue reading
Satoko Fujii | Indication | Libra Records
It’s a particularly encouraging to hear a pianist of her generation who is possesed of such a mature concept of space-it’s one thing to use space, and quite another to use it interestingly…This is a most artfully-done endeavor. — Chris Kelsey, Cadence. Continue reading
Satoko Fujii | Something About Water | featuring Paul Bley | Libra Records
Combines two piano voices in subtle, quiet interplay. The music has a crystalline spareness about it, the two players so intertwined it sounds almost like one voice. There is a floating lyricism to the music…like delicate dance…sheer beauty.” — Michael Rosenstein, Cadence Continue reading
Larry Ochs Sax & Drumming Core | Stone Shift | RogueArt Jazz
For me form precedes function. If I can’t see the big picture, that universe of sound within which a given piece will come to life, it is hard to organize the internal details. The great thing about the Sax & Drumming Core experience is that I have four special forms developed for this band. So I actually get to write pieces similar to other ones I’ve already penned, just like a jazz band-leader who works with “the changes.”! It’s cool, and it really helps to get to the center of the music and probe and evolve. — Larry Ochs, quotation from the liner notes Continue reading
Satoko Fujii ma-do Quartet | Desert Ship | Not Two Records
4 ½-stars…. Satoko Fujii. She and her band are the perfect synthesis of modern music, going beyond jazz, integrating anything from classical over folk and traditional music, with jazz, free improvisation and avant-garde, but then pushing it all over the edge. This enables her to explore composition/improvisation with a musical richness which is given to few…. The last piece’s title, “Vapor Trail” is a good descriptive of the music, which comes as a kind of soothing finale, when catharsis has been reached, a moment of acceptance, of resignation, of awe for the beauty that arises after the violence, the fire has died down, after the sun has set. Brilliant!” ― Stef Gijssels, Free Jazz Continue reading
Satoko Fujii Quartet | Zephyros | Not Two Records
The Satoko Fujii Quartet makes full use of their characteristic musical density and speediness. Satoko Fujii’s powerful left hand, Takeharu Hayakawa’s fat, distorted and rolling electric bass sound, busy but extremely solid drumming of Tatsuya Yoshida and Tamura Natsuki’s trumpet conveying linear power and lyricism altogether pump out impending groove which is maximized by the slick and radical mixing technique incorporating compression and reverberation.” ― Koji Murai, Swing Journal Continue reading