There is no doubt that out of the four big bands that Japanese composer and pianist Satoko Fujii leads, Orchestra Nagoya is the wildest one. It is also the fastest and the loudest one. It may feel like being hit by a huge adrenalin shot while listening to Sanrei, the orchestra's third release; but rest assured this powerful demonstration does not lack detailed and precise arrangements.
The orchestra was masterminded by Fujii, who opts only for the conductor role with this wild beast, and Nagoya-based guitarist Yshuhiro Usui. This 16-member big band, which also features Fujii partner and trumpeter Natsuki Tamura as well as tenor saxophonist Kenichi Matsumoto from Fujii's Tokyo Orchestra , was recorded live at the Tokuzo club in Nagoya in September 2007.
The orchestra blasts off with a tight and muscular rock beat on "Gokaku," penned by Tamura and led by Usui, electric bassist Atsutomo Ishigaki and drummer Hisamine Kondo. After setting the uncompromising and slamming beat, the brass section joins and expands the sonic possibilities of the infectious theme; but it still sticks to the beat, even through a wild vocal passage.
Usui's following "Eaves" sounds as if it is referencing seminal European big bands such as Alexander von Schlippenbach's Globe Unity or Barry Guy's orchestras, with its complex harmonic structures and brass section collective improvisation. But Orchestra Nagoya prefers a faster, rockier laneas much as other great Japanese ensembles such as the Shibusa Shirazu Orchestra or Kazutoki Umezu KIKI bands do.
"Blueprint," which was debuted by the New York version of Fujii's orchestra on Blueprint (NatSat, 2004), highlights a comic vocal arrangement of all members, dadaist in its spirit, before returning to the athletic galloping mode.
"Kondo Star," named after the drummer, begins with spare ceremonial percussion by Kondo. With his added gibberish vocals, the tune slowly morphs into tour-de-force drumming, while the other members of the orchestra attempt to ornament and comment on his sudden turns and inventions.
Usui's "Shogetsu" features a distinctly funky bass module, which serves as a platform for improvisations by members of the brass section, with an impressive solo by tubaist Tatsuki Yoshino. Tamura's "Sankaku" features a clever and surrealistic arrangement that confronts members of the brass section with the rhythm section, and includes an outstanding solo from baritone saxophonist Yoshiyuki Hirao. "Sanrei," which is also featured on the New York Orchestra's Summer Suite (Libra, 2008), slowly revolves around Ishigaki's thumping bass of and Usui's bluesy guitar lines, before gaining volition and volume with a cathartic coda.
Sanrei is impressive in its power, intensity, inventiveness and overall fun-loving spirit.
I love jazz because next to my kids, it's the love of my life.
I was first exposed to jazz by Joe Rico from a tiny station in Niagara Falls in 1954 when I was 13.
The best show I ever attended was Maynard Ferguson who blew the roof off Massey Hall in the late 50s.
My advice to new listeners is to listen to everything you can and then listen again.