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Listening to the new release by Japanese trumpeter Natsuki Tamura's Quartet reminds me of the line Roy Scheider delivered in the movie Jaws when he gets his first glimpse at the great white shark he is pursuing. In a deadpan look of shock, he utters, “we have to get a bigger boat.”
Perhaps a larger concert hall or noise attenuates are the order of the day. Tamura, a talented trumpeter has produced several noteworthy solo projects (check out White & Blue with drummer Jim Black) and collaborations with his wife, pianist Satoko Fujii. This wall-of-sound session was forecast in prior discs under Fujii’s names, including Vulcan and Minerva, released last year on the Japanese label Libra.
Tamura takes the energy of those electric fusion/funk discs and applies a tidal wave of punk aesthetic via synthesizer and guitar. In what might be her first appearance on synths, Satoko Fujii abandons her nimble fingered Paul Bley coaching for power chords. Like Vulcan this music cannot be played low, it begs for volume.
In the tradition of bands like The Ruins, Blind Idiot God, Painkiller, and Massacre, Tamura’s quartet opts for thundering rock drumming to power this shock and awe session. Takaaki Masuko, a New England Conservatory graduate, complies saturating the affair. Tamura’s amplified metal trumpet is enough to scare Miles of the stage at the Fillmore with his raging hardcore.
With the turn of this new century, electronic terror music is satisfying on both visceral and cerebral levels.
I love jazz because it mixes intellect and emotion in a very spontaneous way.
I was first exposed to jazz by liberating a Coltrane and a Pharoah Sanders record from a friend in NYC and listening to them over and over until I got it.
My advice to new listeners is you have to take the time to listen to some jazz tunes a number of times until it starts to make sense.