Ryo fukui scenery5/7/2023 ![]() ![]() Rescued from obscurity by a newly-minted sister imprint of We Release Whatever The Fuck We Want (suggested subtitle: ‘but we only want to release Japanese records’) called We Release Jazz (lol) this pressing looks and sounds amazing. Once upon a time, this record was a secret weapon of j-jazz enthusiasts, but after people got hipped to it being sampled by the likes of Roni Size and Knxwledge over the years, original copies have crossed that inevitable $300 threshold. If the first five tunes pass your jazz snob checklist, consider the lone original composition “Scenery:” calm, calculated, but dripping with soul. One of the finest moments on offer is a cover of j-jazz contemporary Hideo Ichikawa’s avant-garde “Early Summer,” first recorded just two years prior - Ryo’s huge chords, Denpo’s insane handling of the bass and a jaw-dropping drum solo from Toshinori are quite literally soundtracking our early summer over here. Check out their dextrous take of “It Could Happen To You,” or the incredibly moving rendition of Trane’s “I Want To Talk About You.” This recording of “Autumn Leaves” might be the definitive version for our ears. On Ryo Fukui’s debut session as a bandleader, he tackles a handful of standards, making them sound humongous despite playing in the pared-down trio format ‘longside Satoshi Denpo on bass and Toshinori Fukui on skins. While American players were being swept into the splintered spirtual jazz, fusion and jazz-funk scenes in the 70s, Japanese players stayed busy perfecting and combing over the harmonic possibilities of post-bop and modal jazz. After releasing the outstanding Scenery and Mellow Dream back to back, Ryo Fukui worked on developing his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing 2 live albums. The vast sea of J-Jazz can be hard to navigate, but this is as good a place as any to start. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. Though Fukui remains calm in some arrangements, he switches gears on frenetic, seemingly improvised pieces like “Early Summer,” a fitting apex for the album.Cartridge Headshells / Alignment / Cleaners In the track “Early Summer,” his transition between chill melodies and slapping chord progressions culminates in a grand three minute solo, mirroring a lot of the grandiosity found in both Evans and Coltrane’s repertoire. Fukui ’s style is immediately reminiscent of Bill Evans, and his modality recalls to life the masterpieces of the John Coltrane Quartet. The drums are thunderous, but at the same time expertly restrained, and his keyboard has an air of both swing and finesse.Įven in his original arrangements, the giants of jazz piano are channeled through the sounds of Scenery. While “Autumn Leaves” is an oft-used piece for beginner jazz musicians to acquaint themselves with jazz harmony, Fukui still manages to create something original out of an otherwise rudimentary piece of music, adding an upbeat cadence and flair throughout the song. His rework of “Autumn Leaves” contains an eclectic, soulful introduction before he breaks into the slow, subdued jazz standard. The earnest performance of his youthful days shakes the emotions of the listener. His fresh and delicate playing has attracted many listeners, and his first album, Scenery, has been highly acclaimed worldwide.Fukui, who started playing piano at the age of 22, recorded this album at the age of 28. In Scenery, Fukui provides listeners a refreshing take on some jazz classics, like “Willow Weep For Me,” “Autumn Leaves” and “I Want To Talk About You.” While he relies on the works of other musicians, he has an undoubtedly unique take on every song. Ryo Fukui is a famous pianist born in Hokkaido. Artists are free to stitch together a variety of styles and sounds effortlessly, affording them a significant level of creativity and improvisation. Jazz’s liberating nature separates it from other genres of music. When listening to Scenery, it’s hard not to think about the countless other potential works of art that the Western musical zeitgeist has failed to account for. Ryo Fukui had all the material to make a similar impression on the world of jazz with the modal masterpiece that is 1976 ’s Scenery, but among some of music ’ s biggest injustices, the lack of a global stage for musicians of Fukui’s ilk is one of the most unfortunate. Duke Ellington showed us the wonder and joy to be had with a big orchestra. ryo fukui has very distinct phrasing, and this trio captures a very distinct, nice sound. ![]() Louis Armstrong helped us find fun in swing. Thelonious Monk taught us the beauty of improvisation. ![]()
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