A high-energy, modal/spiritual, face-melter of a jazz record that packs a mighty wallop. Fans of McCoy Tyner’s early 70s Milestone records will go bonkers over this. Kohsuke Mine handles both tenor and soprano sax and is the composer of all five mid-to-long tracks on ‘Daguri’. He’s joined by Hideo Miyata (tenor sax), Fumio Itabashi (piano), Hideaki Mochizuki (bass) and Hiroshi Murakami (drums). The opening track is molten intensity, as the saxes and piano intertwine and build the tension, somehow digging the groove deeper while soaring higher. They dare one another to keep up and the challenge is accepted as each peak is reached and transcended. The drum and piano work throughout moves from intricate to manic to hyperactive—the first track alone will leave you breathless and reaching for another coffee. But the instrumental verbosity never steps on the tunefulness…groove, swing, and virtuosity co-exist in ideal proportions on every track. There’s only one tune, “Self Contradiction” that’s on the downtempo side. Otherwise, you should set the gearshift for the high gear of your soul! The title track appeared on the compilation J-Jazz Vol 2 which came out last year, but the full LP is very much worth seeking out. A bit of a tough pull on vinyl, but it is available across the digital spectrum and also received a CD reissue recently so it’s around. Lethal, but who ever said great jazz was safe?
The latest release in the BBE J Jazz Masterclass series has dropped on vinyl, CD, and across the digital spectrum, and it’s a stone-cold, hard-bop killer. As only 100 copies of ‘Stop Over’ were pressed back in 1976, the rarity/reputation of this Japanese quintet’s performance had traveled to many more ears than the music itself. So this is a very welcome reissue, done to the usual high standards of this series overseen by Tony Higgins and Mike Peden. The two LPs are cut at 45RPM for optimal sound, and my ears say “mission accomplished.” Here and there, it seems the original recording does emphasize the drums, though not in an off-putting way, and I’d say if anything the occasional ride cymbal at the fore only ramps up the intensity. The terrific liner notes by @the_jazz_dad will tell you all you ever wanted to know about how this record was made, and there’s also a new essay from pianist Toshiyuki Sekine which provides a firsthand narrative that provides additional context, presenting a complete picture of that moment in time. It makes for great reading, and the immersion of a good essay in a gatefold cover is a particular joy that…well, you either know it or you don’t. The songs include Bobby Hutcherson’s “Little B’s Poem,” Danny Zeitlin’s “Carole’s Garden,” Todd Dameron’s “Soultrane,” and Cedar Walton’s “Turquoise Twice”; along with the Sasaki original ‘Stop Over’ (which made its first appearance on last years J-Jazz Vol 2 collection, also from). The quintet is Noriyasu Watanabe-alto sax, Hideto Sasaki-trumpet, Toshiyuki Sekine-piano, Kei Narita-bass, and Takaski Kurosaki-drums. If you dig the sound of Art Blakey’s Jazz Messengers when they’re firing on all cylinders, this’ll blow you away. All of the BBE J-Jazz compilations and the Masterclass Series have been eye/ear-opening, and wildly satisfying—recommended to all, jazz newbies and experts will find lots to love here. Here’s hoping the series will continue