´…je connais qui besogne ou chome…´
The voice of the piano exerted by women in the avant-garde jazz is full of ideas and imagination, so spring floral colors does. They are not under the shadow of any icon (They prefer to leave them still in their posterity). I see them as humble as malicious with the blinding show and wisely intuitive in the development of her sound aesthetics. Her mention is only present as fleeting ray in the vast dome male-dominated musical scene. ´´Double Take´´ (2000),with orchestra, and´´Minerva´´ (2002) quartet ,allowed me, many years ago, to taste the sound nature of pianist and composer Satoko Fuji, in formats as varied but equally dazzling stylistic conception. After a decade, she returns to seduce with´´Spring Storm´´ and her new trio, with Todd Nicholson on bass and Takashi Itanion percussion and drums.
So other pianists have also their particular ( Myra Meldford,as example, in natural symbiosis with her trio and Marylin Crispell is subtly intoxicating), Satoko Fuji has a strange and fervent magic style, as goddess Isis, weaves the threads between outsude and inside, between image and real. Threads sound,of course,intertwining emotions, invigorating amazement. Her music is the mirror of their world and those we touch jazzand art in general in dazzling warmth chaotic force. Appreciating the musical moments of this production,highlighting a general peculiarity of this work is to give rhythmic different faces to each of the topics, I mean, two or more sides of a single song, perhaps as a prologue or introduction.
In the initial piece which gives name to the work, ´´Spring Storm´´ first part is joyous melancholy,sober in piano and economic resources in the interpretation, deep into minimalism Trio,tacking the subject itself.Arise piano lines giving a transparent crystal phrases melodic aesthetic beautiful on its bill,with cymbals enlarging the soundscape sober.This introduction gives rise,later,to exercise its personality with a free vital piano rags,Glass breaking their bondage to deliver bouquets of explosions,eruption lyricism organized a musical envelope technique. ´´Convection´´bass shows its verbal pulsation,accompanied by the natural echo percussion and piano accents hatching their seriousness, whipping the tune to other atmospheres.
Piano is the phrase 'harassing' the percussive action, expanding and enriching the nuances of the subject libertarians, with rhythmic changes and piano as ancestral voice call, as a sign tease. Is it a seducing provocation to trance? ´´Fuki´´, liberating force, improvisation-free by the time his fearless spectator. The roughness melodic bass, gives descriptive rhythmically dense shade, while the piano distills organic pulse. It's where lessons of musical maturity emerge. Something like an implosion snatching spiritual ecstasy. Instrumental timbres that expose his ideas seizure. ´´Whirlwind´´ is a song in her melodic youth, fresh, luxuriant in his speech, propelling himself with energetic sound.
Again that feeling of being in a number of suites that amalgamate the whole work,sound micro-stories linked by the trail piano,brimming with ideas, at precise moments of transparent melody. ´´Maebure´´ classically expressionist shown: bowed bass prints its tragedy, throwing expectation, joining piano wisely in the recursive use of strings, strengthening the sound scenery contained, darkly lit. To end, the tune ´´Tremble´´ the piano takes its minimalism, with a stage where the drummer is stealthy, and with integrity,as bass, rounding the topic in their intimate sobriety.
Satoko Fuji and her New Trío at ´´Spring Storm´´ offers a varied sound map of images, of emotional beauty spots without conventions or concessions.Then arises the pressing question: Do musical reporters forget , consciously pompous and energetic and creative presence of women´s conception both compositional and interpretive?Who can take these reins to name the women in her artistic work? To the Dionysian ditirambos support me in this noble task.
Gustavo Bustamante Mesa Julio 3 2013
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