Reissue with the latest DSD remastering. Comes with liner notes. A really beautiful chapter in the career of reedman Sadao Watanabe – a batch of mostly original compositions, as you might guess from the title – and a double-length record that really showed an evolution of his talents! The sound is often highly lyrical – with Watanabe blowing alto, soprano sax, and flute in modes that are clearly informed by his bossa nova recordings of the late 60s, but which also spring forth in even more complicated styles – with echoes of French soundtracks, European jazz, and other sweet styles of the time. The group's a small one – with Yoshiaki Masuo on guitar, Kazuo Yashiro on acoustic piano and Fender Rhodes, Masabumi Kikuchi on piano, Yoshio Suzuki on bass, and Fumio Watanabe on drums.
This LP gave listeners a good sampling of mid-1970s Pat Martino. The distinctive yet flexible guitarist teams up with Gil Goldstein (who sticks here to acoustic piano), the great bassist Richard Davis, and drummer Billy Hart. Martino plays more standards than usual (four out of six songs, including "Days of Wine and Roses" and "Blue Bossa"), and, of his two originals, "Three Base Hit" has the spirit and fire of bop. An excellent outing.
Reissue with the latest DSD remastering. Comes with liner notes. One of the hippest albums ever recorded by bassist Gary Peacock – one of his rare Japanese-only sessions, and a date that beautifully mixes his bass with acoustic and electric piano from Masabumi Kikuchi! The sound is often somewhat dark – building up slowly from the bottom on long, contemplative lines from Peacock's bass – as Kikuchi fills things in with some slightly sharp edges, but never too much so. The rest of the group features twin drums from Masahiko Togashi and Hiroshi Murakami – although each player drops out for a number apiece. Titles are all originals by Gary – and include "Hollows", "Bonsho", "Ishi", "Voice From The Past", "Requiem", and "Ae Ay".
Reissue with the latest DSD remastering. Comes with liner notes. Sadao Watanabe Quartet for CBS Sony Japan from 1975. Sadao Watanabe (as,fl,sn) , Takehiro Honda (p) , Osamu Kawakami (b) , Shinji Mori (ds). Recorded at Montreux this powerful acoustic quartet session continues to reflects the African influences prevalent in Watanabes mid 70s sets "Mabali Africa" & "Kenya Ya Africa ". Over 5 original compositions Watanabe blows long and hard his playing a million miles from the fusion fluff he was to churn out in later years while Takehiro Honda nearly steals the show with his thunderous piano runs and vamps.
Reissue with the latest DSD remastering. Comes with liner notes. 1. I believe this was Makoto's 3rd album (something like that) and when it came out, I was expecting some more inventive Makoto magic–> but I was surprised to learn / hear that this was standard jazz material and I totally loved it. 2. This was produced before trio jazz stuff came back into fashion (ie prior to Chick's Acoustic Band and around the time of Keith Jarrett's trio… I think Keith had his first live trio album around this time). Anyway, the trio work is great, the song selection is classic, this is a no brainer for anyone who appreciates good / classic standard jazz.
One of the most striking mid 70s sessions from Japanese trumpeter Terumasa Hino – an extended suite of tracks performed by a very hip group that includes Mtume on congas and percussion, Cecil McBee on bass, and Motohiko Hino on drums! The approach here is almost in a mid 70s spiritual soul jazz mode – with lots of spare percussion and bass work at the beginning, building in mood and meaning as the set goes on and things heat up. Hino plays trumpet and percussion, and all players vocalize at parts of the performance – chanting along with the tunes in a way that really adds a soulful undercurrent to the record.
Reissue with the latest DSD remastering. Comes with liner notes. One of the more obscure albums by this great reedman – recorded live, and with a loose feel that really points towards his changes to come in the 70s! The album's got a lively vibe that's quite a change from some of Watanabe's albums from a few years before – longer tracks, lots of new ideas, and a style that's really stretching out – yet never too far outside too.