沖至(tp,fl)トリオ～翠川敬基(b)、田中保積(ds)に藤川義明(as,fl)が加わったJazz Spot Combo（福岡市）における１９７５年１２月７日の貴重なライヴ録音を収録。

Itaru Oki - trumpet, flute
Yoshiaki Fujikawa - alto saxophone, flute
Keiki Midorikawa - bass
Hozumi Tanaka - drums

CD

• Improvised and composed by Itaru Oki, Yoshiaki Fujikawa, Keiki Midorikawa and Hozumi Tanaka
• Recorded live on the 7th December, 1975 at JAZZ SPOT COMBO, Fukuoka City, Japan by　Heihachiro Arita  有田平八郎 (cassette tape)
• Mastered by Arūnas Zujus at MAMAstudios
• Design by Oskaras Anosovas
• Cover photo by Tatsuo Minami
• Booklet photos by Tatsuo Minami and Heihachiro Arita
• Liner noto by Akira Saito
• Produced by Danas Mikailionis and Takeo Suetomi (Chap Chap Records)
• Release cordinator - Kenny Inaoka (Jazz Tokyo)
• Co-producer - Valerij Anosov

CD販売中！

LPは完売。sold out

Salt Peanutsのレヴューはこちら。

Jazz Tokyoのレヴューはこちらとこちら。

Jazz and Bluesのレヴューはこちら。

The Whole Noteのレヴューはこちら。

All about jazzののレヴューはこちら。

Free Jazz Collectiveのレヴューはこちら。

撮影：南達雄/Tatsuo Minami

Free Form,Free Jazzより。

Live at Jazz Spot Combo 1975  ****

Itaru Oki Quartet

NoBusiness Records

Morto um ano atrás, o trompetista Itaru Oki (1941-2020) foi um dos pioneiros do free jazz no Japão, tendo participado de dezenas de álbuns, em aproximadas cinco décadas de carreira. Ainda em meados dos anos 70, se mudou para a França, mas nunca se afastou da cena japonesa, tendo sempre mantido parcerias com nomes locais e deixado registros com figuras centrais de seu país, como Masahiko Sato, Sabu Toyozumi e Otomo Yoshihide. Esta gravação agora resgatada vem de seus tempos iniciais, tendo sido feita em dezembro de 1975 no clube Jazz Spot, em Fukuoka. Em quarteto, Oki é acompanhado pelos seus principais parceiros de então, Keiki Modorikawa (baixo) e Hozumi Tanaka (bateria), aos quais se soma o sax alto de Yoshiaki Fujikawa. Oki, conhecido em sua trajetória por gostar de projetar/tocar trompetes de diferentes formatos, aqui aparece no seu instrumento regular, além de tocar flauta em alguns momentos do concerto. A saborosa  apresentação que agora podemos ouvir em competente remasterização mostra um pouco do quanto a música de Oki era vibrante, com seu sopro quente e profundo, que podia tanto soar lírico (como em "Combo Session 3") como trazer seus parceiros para um campo mais energy (ouçam "Combo Session 5", especialmente a partir dos cinco minutos). São cerca de 70 minutos de música, vivo free jazz dividido em cinco faixas que nos deixam nostálgicos para rememorar outras trabalhos do trompetista.

Ken Waxman - The Whole Note

Although arriving from a dissimilar tradition, free-form experiments were common in 1960s Japan with several avant-garde ensembles throughout the country. One player who tried for more international renown was trumpeter Itaru Oki (1941-2020). He relocated to France in 1974 and was soon playing with locals. Occasionally he returned to gig in Japan, and Live at Jazz Spot Combo 1975 (NoBusiness NBCD 143 nobusinessrecords.com) reproduces one of those visits. Playing with drummer Hozumi Tanaka who was part of his Japanese trio, bassist Keiki Midorikawa and, crucially, alto saxophonist/flutist Yoshiaki Fujikawa, Oki’s quartet roams

through five themes and improvisations. The trumpeter’s truculent flutters

set the pace with speedy arabesques in counterpoint to slithery flute flutters.

While keeping the exposition horizontal, the trumpeter prolongs intensity with triplets and half-valve effects. Backed by sul tasto bass string rubs and percussion slaps, Fujikawa is even more assertive beginning with Combo Session 2, where initial saxophon concordance with trumpet puffs soon dissolves into strangled reed cries and irregular vibrations. Dragging an emotional response from Oki, both horns are soon exfoliating the narrative, seconded by cymbal shivers. But the four stay rooted enough in jazz to

recap the head after cycling through theme variations. These opposing strategies are refined throughout the rest of this live set. But no matter how often the saxophonist expresses extended techniques such as doits and spetrofluctuation, linear expression prevents aural discomfort. In fact, the concluding Combo Session 5 could be termed a free jazz ballad.

While Oki’s tonal delineation includes higher pitches and more note

expansion than a standard exposition, at points he appears to be channelling You Don’t Know What Love Is. That is, until Midorikawa’s power pumps,Tanaka’s clapping ruffs and the saxophonist’s stentorian whistles and snarls turn brass output to plunger emphasis leading to a stimulating rhythmic interlude. With trumpet flutters descending and reed trills ascending a unison climax is reached.

Live at Jazz Spot Combo 1975 -

Catfish Records

★日本のフリー派トランペットの先駆者の一人(関西での活動を経て1960年代初頭に東京へ拠点を移し、更に1974年以降は仏パリを本拠として活動した)であった鬼才：沖至(1941年兵庫県神戸市須磨区生まれ、2020年フランスのパリで死去)の、本盤は、1975年12月、フランスから一時的に帰国して翠川敬基(b)＆田中保積(ds)の盟友二人と再会、更に藤川義明(as,fl)を加えたカルテットを率いて、福岡市のジャズ・スポット:「コンボ」で公演を行なった折の未発表ライヴ音源(カセットテープ)を初アルバム化した発掘作品。

★鋭いキレや張りを呈しながら眩い閃光とドス黒い濃厚な暗影とを同時に放つかのようなトランペットの、轟然とした圧倒的破裂力=張り裂け感をこれでもかと爆発させて唸り、叫ぶ、異形で奇怪だが根底には旨口のスピリチュアリティを揺るぎなく息づかせた熱く激しい咆哮が屈強に、決然と繰り出されて鮮度も抜群の凄味溢れる壮快エキサイティングこの上なき華を成し、
一方、フリーキー・トーン交じりでシュール&アブストラクトそしてアナーキーな大立ち回りの暴れぶりを見せるアルトや、結構爽やかに涼風をそよ吹かせるが如き情魂こもったフルート、ピーヒョロピーヒョロピイピイピイ!と渾身の力を込めてノイジーに鳴きわめく笛、シャープ&メタリックに卓抜な精確巧緻さをもって一撃必殺っぽくシャキーン!と斬り込みを仕掛け、空を切り刻んでいたかと思えば、一転して加熱沸騰的に荒々しくヤバげなスイング疾走を決め込んだりもする変幻自在のドラム、幾分か控えめに的確なグルーヴ感を醸成する反面、怪異で不気味なホラー・テイストの表出にも冴えた妙味を発揮するウネり効きまくりのベース、辺りの活躍も各々しっかり鮮烈に魅力を際立たせた、全編ただならぬハイテンションさの悔いなき完全燃焼熱演が横溢してスカッと昂揚させてくれる、誠に濃密な敢闘内容。

★スピリチュアル系フリー・ジャズの一典型を示した、生々しいスリルやサスペンスとこってり濃い情念的味わい満点の奔放苛烈なインプロ奮戦!、が毅然として精悍軒昂に展開され、気力も充実しきった溌溂にして自在なワイルドネス&旨味ほとばしる沖(tp,笛)の、刻々と多彩に表情・筆致を違えてゆく中々ドラマツルギーにも長けたメリハリある大攻勢が、全体を通じてとりわけズバ抜けた鮮麗なる冴えを、キレを見せている(トランペットも無論素晴らしいが、変化球的に適所で挿入されるちょっとアブノーマルな笛ブロウのインパクトがまた強烈!)他、「危ない通り魔」風に獰猛&ヴァイオレントな大暴れの吠えっぷりで追い上げてくる藤川(as,fl)の強靭この上ない爆走や、タフネスみなぎったエキサイトしまくり・煽り立てまくりな田中(ds)の猛襲、なども只事でない盛り上がりを示して、一瞬たりともペースは緩まず清新気分のまま最後まで一気にイカせてくれる。降参。