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Jazz Articles about Masabumi Kikuchi

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Interview

Producer Sun Chung: Always Listening for a Story

Read "Producer Sun Chung: Always Listening for a Story" reviewed by Tyran Grillo


On April 28, 2021, a quiet masterpiece marked the end of an era--and the beginning of another. Hanamichi was to be the last studio recording of Japanese pianist Masabumi Kikuchi, who died in 2015, two years after its creation. And yet, while its sweeter overtones struck balance in the bitterness of his absence, the album marked the birth of Red Hook Records, an independent label run by producer Sun Chung. Kikuchi's uncanny ability to tell a story was an organic ...

Album Review

Masabumi Kikuchi: Hanamichi — The Final Studio Recording

Read "Hanamichi — The Final Studio Recording" reviewed by Neri Pollastri


Esce postumo, a inaugurare l'etichetta Red Hook, questo album in solitudine del grande pianista giapponese Masabumi Kikuchi, che molti ricorderanno per le collaborazioni con Gary Peacock (epica quella del 1971, Voices) e Paul Motian, su tutte il formidabile e geniale trio Tethered Moon. Registrato nel 2013, due anni prima della sua scomparsa, il lavoro vede il pianista—allora settantatreenne e già fortemente sofferente e debilitato—misurarsi con uno Steinway su cinque brani: un'improvvisazione, delle quali era maestro, una sua composizione e tre ...

5
Multiple Reviews

Solo Pianists from Japan

Read "Solo Pianists from Japan" reviewed by Jerome Wilson


These are two recent solo piano releases from Japanese players. One is the latest dispatch from a prolific musician. The other is a farewell statement from a deceased artist. Satoko Fujii Hazuki Libra 2021 Satoko Fujii has been amazingly prolific in the last few years, releasing a bevy of recordings in all sort of configurations, from solo piano and duets with her husband, trumpeter Natsuki Tamura, to various small groups and ...

4
Album Review

Masabumi Kikuchi: Hanamichi The Final Studio Recording

Read "Hanamichi  The Final Studio Recording" reviewed by Pierre Giroux


Masabumi Kikuchi is not the kind of jazz pianist who just strikes the keys to produce a sound. He has a Zen-like approach to the instrument by making it an extension of himself, and thus both constructs and hears the music produced as a different form factor. There are and were other contemporary pianists such as Bill Evans, Denny Zeitlin and the late Canadian classical pianist Glenn Gould, musicians who perhaps may fit into this category, but Kikuchi was a ...

15
Album Review

Masabumi Kikuchi: Black Orpheus

Read "Black Orpheus" reviewed by Dan McClenaghan


Black Orpheus, the solo piano CD from Japanese-born pianist Masabumi Kikuchi, may be the starkest, loneliest music in the world. Masabumi Kikuchi (1939-2015) was a versatile, if ultimately idiosyncratic artist. Early in his career he worked with a panoply of mainstream music makers, everyone from drummer Elvin Jones, to producer arranger Gil Evans, tenor saxophonist Joe Henderson and pianist/composer Mal Waldron. But he proved--from 1990 on--too individualistic, a musician with no technique (or so he said), who never ...

12
Extended Analysis

Masabumi Kikuchi / Ben Street / Thomas Morgan / Kresten Osgood

Read "Masabumi Kikuchi / Ben Street / Thomas Morgan / Kresten Osgood" reviewed by Jakob Baekgaard


The German poet, philosopher and literary critic Karl Wilhelm Friedrich von Schlegel (1772-1829) had an affinity for the fragment as an art form and in his Athenaeumsfragment 206, he wrote about it, saying that: “[a] fragment, like a small work of art, has to be entirely isolated from the surrounding world and be complete in itself like a hedgehog." Like a true Romantic poet, Schlegel saw the unique potential of the fragment as something that could point ...

1
Album Review

Masabumi Kikuchi Trio: Sunrise

Read "Sunrise" reviewed by AAJ Italy Staff


Ad un primo ascolto di Sunrise ci si potrebbe domandare quanto in questa musica diafana, reticente e sospesa sia dovuto alla scrittura e quanto all'improvvisazione. Poi, anche leggendo le informazioni del libretto, si comprende che si tratta di improvvisazione collettiva, ma sempre indirizzata dal leader verso un pensoso e malinconico progredire, verso un ascolto reciproco quasi telepatico, sotto la soglia di un'intenzione ritmicamente motoria o melodicamente accattivante, verso un intreccio minuto in cui il non detto, i silenzi, gli accenni ...


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