Fumi Tomita: Yokai: Songs Of The Japanese Supernatural
Despite the fashion for Japanese horror films a few years ago, most Westerners have little knowledge about Japanese myths and legends. Fumi Tomita’s album gives us an interesting crash-course on some of the traditions of Nippon as well as a set of robust, swinging hard-bop with guitar and saxophone in lead roles.
Daija seems an amiable sort of monster, represented by a sprightly dance-like piece, despite his absence of legs, whilst Kitsune the fox is an elegant presence, more reserved apart from a busy drum solo. Betobeto has an initially confident strut that evokes the feeling that someone might be following you so you’d better step up the pace. Princess Wakana was apparently a magician and her music has a sinuous grace, with flute and guitar floating atmospherically. Kiyamori was a ruthless 13th-century samurai. The music seems to describe his determination and political skill rather than his dictatorial and cruel treatment of opponents. Amabikorg was a sea demon believed to ward off plagues. Beasts Galore introduces a bop bustle that soon settles into a parade of lively solos and trading of fours, with agile playing from all. Okiku was a young girl thrown down a well to her death for breaking some precious plates and her ghost returned to take revenge. The music mainly suggests regret for her unfair treatment but ends with hints of her revenge. The final track suggests a rather well-behaved event until Clements cuts loose on soprano, Ennis adds to the intensity and Tomita and Feldman wade in to build an exciting finale.
Whilst the background information does help to better understand where the compositions are “coming from” it is not essential to the enjoyment and appreciation of the music, which is engaging and stimulating, with admirable, engaging and involving playing from each member of the quartet, both in ensembles and solos.
Discography
Daija (Monster Snake); Kitsune (The Fox); Betobeto San; Wakana-Hime (Princess Wakana); Kiyomori; Amabiko (Sea Lad); Tenju Zakushi Emaki (Beast Galore); Okiku; Hyakki Yagyo (Night Parade Of 100 Demons (49.33)
Carl Clements (ss, ts, f) Jason Ennis (g); Fumi Tomita (b) Gary Feldman (d). Northfire Studios, Amhurst, Massachusetts, 15-16 August 2025.
OA2 Records 22259
Cannonball Adderley: Sophisticated Swing
This is another of Waxtime’s series of handsomely presented limited edition reissues of hard-bop era gems. Pressed on 180-gram vinyl, packed in sturdy cardboard facsimiles of the original sleeves you get the original sleeve notes plus notes written for this issue. The music’s pretty good too.
Three of the tunes were composed by Gene Wright, plus one co-written with Nat Adderley, and the original notes refer to him as a valuable sideman in several West Coast bands. The following year he joined Dave Brubeck’s quartet, one of the most commercially successful jazz groups of all time. This success offended the jazz purists/snobs and Cannonball sinned similarly with a bestseller or two. He nurtured new talent such as Charles Lloyd, whose own band would later also offend with its popularity. From 1957 until 1959 he was a member of the Miles Davis Sextet when it recorded Milestones and Kind Of Blue, holding his own splendidly in the company of giants Davis and John Coltrane.
The album kicks off with a bustling composition by Nat, prompting driving solos by the brothers. Miss Jackie’s Delight is more loose-limbed but the playing is still full of soul. It’s already clear that the band can combine stylishness and soul with panache and conviction. They change gear for Cannon’s elegant feature, Spring Is Here, then Tribute To Brownie pays proper homage to Clifford Brown, with Cannon soloing first in bebop mode.
Spectacular challenges the speed-limit and spotlights its composers, Nat C and Jones. Exciting stuff, and the momentum is kept up with another Nat composition, Jeannie, again featuring Jones prominently. The venerable Stella is a piano feature and gets a somewhat melodramatic introduction before Mance’s thoughtful solo. Wright’s composition Eddie McLin peps up the pace again and feature’s one of Nat’s best outings.
Another Wright piece, Cobweb, stirs things up again and prompts some surefooted playing from the horns and a busy drum solo. The uptempo version of the Gershwins’ A Foggy Day is a bonus track from the same sessions that was not included on the original LP, but it is well-worth having. Mance, Jones and Cobb provide sterling support of course: there’s good reason why they cropped up in so many excellent bands. The album presents hard bop at its finest and well deserves its return to the catalogue.
Discography
Another Kind Of Soul; Miss Jackie’s Delight; Spring Is Here; Tribute To Brownie (17.14) – Spectacular; Jeannie; Stella By Starlight; Eddie McLin; CobWeb; A Foggy Day (22.35)
Nat Adderley (t); Julian “Cannonball” Adderley (as); Junior Mance (p); Sam Jones (b); Jimmy Cobb (d). New York, 6, 8 and 11 February 1957.
WaxTime 771671
