When John Zorn turned 50, he got the brilliant idea of releasing a kazillion records to celebrate the occasion. Satoko Fujii has also reached that age now. Congratulations! There is nothing she needs to copy from John Zorn, except for her to release a kazillion CDs to celebrate the occasion. And as a wish, well, that her CDs get better known, but that will come with time. By 2087 for sure. You can bet on it. –Stef Continue reading
This CD “Forever” is the fifth album released by Gato Libre and sadly, the final one by the group in its original lineup. Bassist Norikatsu Koreyasu suddely passed away in September 2011. No doubt he is out there somewhere, making a fool of himself even as he makes great music. Gato Libre started as a duo consisting of Koreyasu and me. In venues like Knuttel House in Kappabashi, Tokyo, we explored the radical combination of trumpet and bass as we attempted to make music that was unaffected, not necessarily dramatic, but plaintive and maybe a bit mysterious. Later we added guitar and accordion and began performing under the name Gato Libre. But when I fist pictured playing in a duo with a bassist, someone with a deep, compelling siund and a broad musical vision, I immediately thought of Koreyasu. — Natsuki Tamura Continue reading
All three Gato Libre albums covers feature a black cat, and “kuro” in Japanese means not only black, but also the blackest black imaginable, and also, according to Tamura, the name of a cat that is “the boss of stray cats.” Gentle and soothing, this closing, title tune, acts both as the bookend to the opening “Sunny Spot,” and a summation of Gato Libre’s aesthetic. Kuro fills the heart while bringing tears to the eyes. — Budd Kopman Continue reading
It’s no easy task keeping track of the bands under the baton of pianist Satoko Fujii. The prolific avant-garde artist from Japan leads numerous ensembles, including four distinct big bands and multiple quartets and trios, in addition to co-leading duo outings with her husband, trumpeter Natsuki Tamura, very notably on the marvelous Chun (Libra, 2008). She seems to put together at least one new ensemble per year, and in 2011 it’s Kaze, a quartet featuring her musical soul mate Tamura, and a pair of adventurous cohorts, French drummer Peter Orins and trumpeter Christian Pruvost. Dan McClenaghan Continue reading
If you’re looking for toe-tapping pipe-and-slipper jazz forget about Clouds (Libra) by the Japanese husband-and-wife team of Natsuki Tamura and Satoko Fujii. This free-improv session for trumpet and piano is beautifully played and recorded, and recalls the monumental Kenny Wheeler/Paul Bley duets. Tamura has worked to develop a highly personal sound, employing various new techniques and tonal resources, including growls, flutters, squirts and split tones. On the opening atmospheric “Cirrus,” Fujii plays prepared piano and reaches inside to pluck and strum the strings. She and Tamura end up speaking a private language, a kind of musical word salad. It’s mysterious, haunting and startling, and these two know how to play the space between the notes. The 16-minute “Cumulonimbus” is spare and sensitive, with dramatic gestures, spontaneous shifts and dynamic contrasts. Some of this music has a tonal center, even if there is no real key. “Stratus” features long tones played by solo trumpet, while “Cirrocumulus” is stately solo piano. The ominous “Stratocumulus,” with its rolling thunder in the bottom register, is like a storm coming in from across the lake. — Larry Appelbaum Continue reading
Pianist Satoko Fujii’s latest CD starts out with a droning chant from drummer Tatsuya Yoshida that sounds like some bizarre ancient ritual honoring the god Vulcan, after whom the CD is titled. After four minutes, though, the quartet kicks into a Spanish-like vamp that starts hammering the anvil of free jazz with wild abandon. Well, the label “free jazz” fits this quartet only in part, a better term might be “intense jazz.” Most structures are abandoned. Most listeners will find there are few obvious, clear melodies at the start. Indeed, on several cuts, it feels as if the recording started mid-jam. But that’s good, very good, since all the unbound energy allows wondrously experimental forms to emerge out of the chaos. The quartet spares us all the predictable fluffing around that usually distracts from getting right to the molten core of creative impulse. — Michael Pronko Continue reading
Fujii’s compositions are all interesting. Her wildness is often mistakenly related to “free” music, but the world she creates is the result of the natural fermentation of her imagination. She doesn’t just follow the conventional manner. People should realize the importance of her attitude… ― Kazutomi Aoki, Jazz Life Continue reading
Natsuki Tamura stimulates the memories of “Bitches Brew” through his cool performances. In fact, his concept of selecting sounds to draw the pictures of the new world and constructing the whole piece out of the sounds in a melting pot created by the members without knowing where they are headed has something in common with that of Miles the king. ― Yoshiyuki Kitazato, Ombasya Continue reading
Another brilliant document in the growing discography of one of today’s most important composers, Chun is a stellar document by two musicians whose sensitive interplay knows no bounds. — Troy Collins, All About Jazz Continue reading
Top 10 for 2005… An indefinable droning mishmash of sounds that feels like a young universe struggling to swirl itself into a semblance of order. ― Dan McClenaghan, All About Jazz Continue reading