Yonin Bayashi Ishoku Sokuhatsu {erebus Records Ercd025} (1974)

This Tokyo quartet began in 1970 as 'San-Nin' (the trio), with Kasutoshi Morizono on guitar and vocals, Kazuo Nakamura o bass and vocals, and Daiji Okai on drums. In early 1971, they were joined by keyboard player Hidemi Sakashita, and thereafter took the name Yonin-Bayashi, which is old Japanese for 'quartet. The band's first gig was at the Satsuki-Sai (May Festival) at Tokyo University, on May 1971. Yonin-Bayashi released several LPs during the 1970s, one of which - Ishoku-Sokuhatsu - is at number 48 in Japrocksampler's Top 50. This album is considered one of the most important ones in Japanese old school of prog rock, because has virtuosic performance and above all some great ideas on it, even are only 5 pieces.

This Tokyo quartet began in 1970 as 'San-Nin' (the trio), with Kasutoshi Morizono on guitar and vocals, Kazuo Nakamura o bass and vocals, and Daiji Okai on drums. In early 1971, they were joined by keyboard player Hidemi Sakashita, and thereafter took the name Yonin-Bayashi, which is old Japanese for 'quartet. The band's first gig was at the Satsuki-Sai (May Festival) at Tokyo University, on May 1971. Yonin-Bayashi released several LPs during the 1970s, one of which - Ishoku-Sokuhatsu - is at number 48 in Japrocksampler's Top 50. This album is considered one of the most important ones in Japanese old school of prog rock, because has virtuosic performance and above all some great ideas on it, even are only 5 pieces.

This Tokyo quartet began in 1970 as 'San-Nin' (the trio), with Kasutoshi Morizono on guitar and vocals, Kazuo Nakamura o bass and vocals, and Daiji Okai on drums. In early 1971, they were joined by keyboard player Hidemi Sakashita, and thereafter took the name Yonin-Bayashi, which is old Japanese for 'quartet. The band's first gig was at the Satsuki-Sai (May Festival) at Tokyo University, on May 1971. Yonin-Bayashi released several LPs during the 1970s, one of which - Ishoku-Sokuhatsu - is at number 48 in Japrocksampler's Top 50. This album is considered one of the most important ones in Japanese old school of prog rock, because has virtuosic performance and above all some great ideas on it, even are only 5 pieces.