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Jazz Articles about Natsuki Tamura
Satoko Fujii Quartet: Dog Days Of Summer
by Vincenzo Roggero
Satoko Fujii e il suo quartetto non hanno certo bisogno di presentazione. Presenza imprescindibile negli ultimi quarant'anni di musica creativa, ma si potrebbe dire di musica tout court, musicista dalla produzione discografica inesauribile--ha pubblicato come leader o co-leader più di cento dischi --la pianista, compositrice, band leader giapponese ripropone il format del quartetto che nel 2001, pubblicando Vulcan, aveva inaugurato il nuovo millennio con la forza d'urto di un ciclone. Diciotto anni dopo Bacchus--la loro ultima registrazione risalente al 2007--lo ...
Continue ReadingNatsuki Tamura, Satoko Fujii, Ramon Lopez: Yama Kawa Umi
by Alberto Bazzurro
Il batterista franco-spagnolo Ramon Lopez, uno dei più personali della scena avant, specificatamente in quel suo approccio che definiremmo “tellurico" all'elemento percussivo, senza per questo mai esondare, si inserisce--si innesta, meglio ancora--su un duo d'arte e di vita largamente collaudato come quello formato da Satoko Fujii e Natsuki Tamura, generando un dialogo a tre voci decisamente sui generis, per la libertà che lo informa, a partire dal modo in cui vengono ribaltate le usuali gerarchie esistenti fra i tre strumenti ...
Continue ReadingKeiji Haino / Natsuki Tamura: What Happened There?
by Mark Corroto
Unexpected one-off collaborations in creative music have often thrilled and captivated listeners, yielding results as unpredictable as they are unforgettable. Consider Embraced (Pablo Live, 1978) by Cecil Taylor and Mary Lou Williams, the genre-spanning brilliance of Duke Ellington & John Coltrane (Impulse!, 1963), or the boundary-pushing sonic landscapes of My Life in the Bush of Ghosts by Brian Eno and David Byrne. The avant-garde met turntablism in Guitar, Drums 'n' Bass (Avant, 1996), an experimental collision between Derek Bailey and ...
Continue ReadingNatsuki Tamura / Satoko Fujii / Ramon Lopez: Yama Kawa Umi
by Dan McClenaghan
In a nearly thirty-year career, Satoko Fujii (pianist, bandleader, composer, provocateur, sonic experimenter in the first degree) has shown herself to be one of the most daring and uncompromising artists in music. In a way, she is like Thelonious Monk in that--upon an initial experience with Monk's music (and Fujii's)--the uninitiated may not know quite what to make of what they are hearing, because neither of these artists follows a rule book. They were/are themselves. Best advice to those unfamiliar: ...
Continue ReadingSatoko Fujii: Dog Days Of Summer
by John Sharpe
With its aggressively pushy opener, full of attitude, the reunion of Japanese pianist Satoko Fujii's Quartet, last heard on Bacchus (MZCO, 2007), seems to be asking: “well, did you miss us?" Certainly there is no missing the foursome on Dog Days Of Summer, completed by regular partner Natsuki Tamura on trumpet, along with the snarling electric bass of Hayakawa Takeharu and the bombastic drums of Tatsuya Yoshida of progressive rock duo Ruins fame. Although the PR material ...
Continue ReadingKira Kira: Kira Kira Live
by Glenn Astarita
Kira Kira, a Japanese avant-garde ensemble has been at the forefront of improvisational music since 2017. Their name, translating to “glittering" or “shining" in Japanese, fittingly reflects the radiant quality of their sonic explorations. The ensemble includes an all-star lineup: trumpeter Natsuki Tamura, pianist Satoko Fujii, keyboardist Alister Spence and drummer Tatsuya Yoshida. Together, they blend semi-structured jazz with shades of other genres, creating a sound that is as frenzied and bustling as it is introspective and exhilarating. The album ...
Continue ReadingNatsuki Tamura / Satoko Fujii: Aloft
by John Sharpe
By the time of its ninth release a band might be struggling to produce something new. Not so the Japanese wife-and-husband duo of pianist Satoko Fujii and trumpeter Natsuki Tamura. They reap the benefits of a long association while sidestepping potential downsides to keep things fresh and unpredictable. While previous albums have often featured the compositions of one or both, on Aloft they dispense with charts altogether and trust in their instincts. That trust is amply repaid. It ...
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