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Bob Powers New albums from Pacific Moon, based in Tokyo, contain a distinctive added attraction. Every jewel case contains several incense sticks, which come in handy when a buyer of their CDs wants to make listening a total experience.
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Formed in 1998, Pacific Moon has one principal thought in mind. They want their musicians to be heard by an international audience. If that means sacrificing total authenticity and making an album that wont frighten away listeners in countries other than Japan and China, that's what's done.
The result in their two latest releases shows that shaping Asian sounds for other countries doesnt harm the authenticity of the music.
I've reviewed past releases on the Pacific Moon label, and I've enjoyed them immensely. The two new entries take Chinese and Japanese music and shape them into an aural experience thats worth hearing.
"Asian Blossoms" features Tokyo-born Missa Johnouchi, a veteran of the classical piano, supported by four Chinese female artists, who perform on traditional Oriental instruments, while Johnouchi plays the piano. The performers often exchange ancient Chinese instruments for the modern European accompaniment of piano, keyboards, guitar, bass, percussion and strings. The blend is stunning in its seeming complexity, overwhelming in its ability to create emotional responses by its listeners. [NOTE: For RealAudio samples of this music, follow this link. -- Ed.]
This album can be used in several ways. By just sitting down and devoting complete attention, the melodies will stir memories and touch the listener down deep. Employed as background music at a party or while working on a home project, "Asian Blossoms" should soothe and ease ones cares. Perhaps, it could substitute for a double dose of Prozac, without any side effects other than a desire to want more.
The other new disc is "Lullaby," in which Mizuyo Komiya performs an enchanting program on the 25-string koto. It was the most famous of Chinese classical instruments, originally conceived in China some 2200 years ago. The koto arrived in Japan around the 5th century and was used mainly in court.
The modern koto is 180 cm long and 35cm wide. Made of paulowniawood, its placed horizontally on the ground or on a small table. Its played by plucking the strings with the thumb and first two fingers of the right hand, which are fitted with ivory attachments. The left hand can be used to alter the pitch or ornament the sound of each string by pressing or manipulating the strings on the other side of each bridge.
Komiya's performance on the koto is accompanied by keyboards played by Kiyoshi Yoshida and Kazumasa Yoshioka.
The album takes a different stance than "Asian Blossoms," since the intent seems to be concentrated on fashioning a program of calmness, beauty, and tenderness. [NOTE: For RealAudio samples of this music, follow this link. -- Ed.]
Jazzs Steve Wilson Cooks
Maestro/pianist Chick Corea, bless his genius soul, has always hired members for his various groups on the basis of their chops, not the fact that they boast famous names.Steve Wilson has played with Corea's crack band, Origin, and now Wilson's come up with his second album, issued by Corea's Stretch Records.
"Passages" pays tribute to those who have left our midst in the past year or so, including Nat Adderley, Joe Williams, Lester Bowie, Gene Harris, Charlie Byrd and Grover Washington Jr.
Besides coming up with an album that pays homage to these great people, Wilson wanted to show off his efforts at developing his personal sound, which can be the hardest task to achieve. Wilson hasn't quite gotten there, where a listener can say, "Oh, yeah, that's Steve Wilson; I'd know him anywhere."
No, not quite, but he's close to his target. Playing alto and tenor saxophones as well as a mean flute, Wilson demonstrates a level of ability that's more than impressive. It's downright stunning at times. The critics have been listening, as Wilson has received admiring reviews from Down Beat, the Chicago Tribune, the New York Times, and others.
According to his biography, the native Virginian has no plans to leave Origin anytime soon. But, he says, "The real purpose of being a musician, I feel, is to develop your own voice, then leave a unique legacy."
Don't be surprised if Steve Wilson becomes the "next thing" in today's blooming jazz market. He has paid his dues, he definitely has the chops, and he's seemingly a sure bet.
No, Thank You
Finally this week, there's a strange new release from the usually reliable folks at Arbors Records. (Recently I wrote about the terrific new Eddie Higgins solo piano album, "Time on My Hands.")"Scott Robinson Plays C-Melody Saxophone: Melody from the Sky" receives my vote as the worst idea so far in the year 2000.
The C-melody sax had a short stand in popularity during the 1920s, then mercifully faded away. For no good reason I can think of, the dreadful C-Melody returns in an expensively produced package. Besides the jazz musicians (seven of them), a string quartet appears on three tracks.
I've always thought the sound of the C-melody was one of the yuckiest in the music world. This album by veteran musician Scott Robinson does nothing to change my mind.
COMING ATTRACTION: Phil DeGreg, whose debut album "The Green Gate," attracted favorable comments a while ago, has returned with a much improved, enjoyable CD called "Whirl Away." I'll review it and other goodies in next week's column. Don't forget to stop by!
