Sinsuki Fujieda Group: Fukushima

Sinsuke Fujieda's straightforward jazz album Fukushima offers up some enjoyable and tantalizing moments but ultimately suffers from repetitive arrangements and the limited range of his side musicians. Jazz is a music that rewards experimentation and adventure, but on Fujieda's nine compositions, he and his band stick with a "been there, done that" approach that by the album's end seems threadbare.

Fujieda plays tenor and soprano saxophones, flute and clarinet. His explorations on the four instruments reveal a professional competence that at times sparkles. Joining him are Fumiko Takeshita (violin), Shinichi Ttsukamoto (piano), Shigeru Kato (bass), Kensaku Osumi (drums), and Daisuke Alkhaly (percussion).

His most adventurous effort is on the opening (and title) cut "Fukushima," where he plays hot with a bit of dissonance (think John Coltrane), helped along by Tsukamoto's modal chords and some expressive Alkhaly percussion and Osumi's drum work. He exhibits a similar free form with his opening and breaks on "Float in Oriental Spring," with its safari-esque rhythmic development.  Takeshita, who joins Fujieda and Tsukamoto in carrying the lion's share of the solo work on the album, offers up a beautiful line in support. Tsukamoto adds his modal fingerings to the mix.

But after the first two numbers, things begin to falter. "Silent Night" is marred by Kato's repetitive bass motif. The ballad "Nobody Knows" brings Osumi's rimshots to the forefront, detracting from the gentle phrases developed by Fujieda and Tsukamoto. His rimshots are also slightly irritating on the waltz "Horize."  Then there's more tiring repetition on the percolating "Perspective," despite its jaunty melody.

Not all is disappointment, though. Take "Abstraction Jazz Mode."  Here, the modal emphasis and Alkhaly's percussion add an exotic atmosphere to the proceedings. While it too stumbles under repetition, Takeshita's solo on the piece soars, and Tsukamoto gives his fingers a workout.

Those who enjoy basic chord changes and straight rhythm with minimal variation may find this album satisfying. For those who want zing with their zang, who want jazz to live on the edge rather than walking down the center line, the music of Fukushima is more half empty than full.