日: 2021年2月17日

富澤えいちの執筆担当記事の紹介です。

Masamoto Takano “All My Tomorrows

Born in 1955, saxophonist Masamitsu Takano, aka Masa Takano, has released his first album in 10 years, a quartet-style album with a piano trio, recorded in two live sets of six songs each. In the first set, Takano’s straight tenor-saxophone without any external flavors was enjoyed mainly with his originals, and in the second set, the program was rich in variations, from Nascimento’s “Travesia” to “Snow Falling Town,” and numbers by Stevie Wonder and Jobim. The program was rich in variety. This is a work with a structure that can be said to be unique to the year 2020, when live performances have become a distant memory. I’m looking forward to the “tomorrow” when I can replay this album live.
Eichi Tomizawa

高野正幹イースト・クエスト・クァルテット『オール・マイ・トゥモローズ』をAmazonでチェック！

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富澤えいちの執筆担当記事の紹介です。

Yuko Takenaka, “Polka Dots Notes”.

Yuko Takenaka’s debut album, “Polkadots Note,” is a collection of her original compositions and album title, “Polkadots,” which means polka dots in Japanese. Polkadots” in the title of the album and the original song means polka dots, which apparently represents her goal notebook (the pattern on the cover), but it is the “academic” element that embodies the musical inspiration she has learned and experienced so far. It may be a symbol that reflects her “academic” nature, which embodies the musical inspiration she has learned and experienced. As a type of musician who is more interested in the beauty of musical composition than emotional melody, I look forward to his future activities. This is a duo that I feel is on the verge of going beyond salon jazz.
Eichi Tomizawa

竹中優子『ポルカドッツ・ノート』をAmazonでチェック！
 

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富澤えいちの執筆担当記事の紹介です。

A collection of works that expresses the drummer’s emotional landscape in his original compositions.

The third album by Kazuki Yamashita, an up-and-coming drummer born in 1978, features Eiji Nakayama on bass guitar, bringing his distinctive style and individual playing style together to create a more complete work. Nakayama played in Elvin Jones’ Jazz Machine (1982-83), in a duo with Don Friedman (1986-1990), in a duo with Richard Davis (1990), and in Roland Hanna’s Chamber Jazz Trio (1990) and duo (1991-2002). Yamashita’s drumming has a strong image of a straight-ahead style of playing, and his drumming, which he calls “master” and admires, has a similar power style of scrambling toward the goal line, or a more aggressive style. If you know that Yamashita studied drumming under Hiroshi Yamazaki, you might imagine a spiritual style of playing. Of course, there are many solos throughout the song, but they are not meant to be a “competition of skills”, but rather a presentation of each member’s interpretation of the song based on a shared image of the song. The melody does not collapse even in the development part. This album, which is made up of originals, is the result of the leader’s conviction and skill, as well as encounters with members who understand this.
Eichi Tomizawa

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