MASAHIKO SATOH
Avant-Garde Jazz / Third Stream / Post Bop / Classic Fusion / Jazz Soundtracks / Progressive Big Band • Japan

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Born in Tokyo, in 1941, Masahiko Satoh's earliest influences came from Olivier Messiaen and Yuji Takahashi, although the pianist earned his living playing in various jazz combos in Japan, Europe and the USA throughout the late 1950s and early 1960s. Between 1966 and '68, the young Satoh studied at California's Berkeley Music School, after which his trio won the prestigious 1969 Swing Journal Award for their debut album PALLADIUM. Soon after, Satoh composed the ELECTRUM material for Ishikawa's Count Buffaloes, then arranged and played piano on the Columbia Records LP PERSPECTIVE by the ever experimental Toshiyuki Miyami & the New Herd Orchestra. For his next trio LP DEFORMATION, recorded in concert at Tokyo's Sankei Hall, Satoh asked his musicians to respond to a reel-to-reel tape recorder playing segments of the New Herd's woodwind section, and things started to get interesting. A pure solo jazz LP HOLOGRAPHY came next, but the read more...
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MASAHIKO SATOH Discography

MASAHIKO SATOH albums / top albums

.. Album Cover 0.00 | 0 ratings
Palladium
Avant-Garde Jazz 1969
.. Album Cover 0.00 | 0 ratings
Switched on East-Electronic Japan
Avant-Garde Jazz 1971
.. Album Cover 3.48 | 2 ratings
Amalgamation
Avant-Garde Jazz 1971
.. Album Cover 3.00 | 1 ratings
Pianology (with Wolfgang Dauner)
Avant-Garde Jazz 1971
.. Album Cover 0.00 | 0 ratings
Transformation
Avant-Garde Jazz 1971
.. Album Cover 3.50 | 1 ratings
Samadhi: Masahiko Meets Gary
Avant-Garde Jazz 1972
.. Album Cover 4.00 | 1 ratings
Dema
Avant-Garde Jazz 1973
.. Album Cover 0.00 | 0 ratings
Belladonna (Colonna Sonora Originale Del Film)
Jazz Soundtracks 1975
.. Album Cover 0.00 | 0 ratings
Yǔn - Solo Piano-2
Third Stream 1976
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那由陀現成 (Nayutagenjo)
Progressive Big Band 1976
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マグノリアの木 (Magunoria no Ki)
Avant-Garde Jazz 1977
.. Album Cover 0.00 | 0 ratings
Pavane Lachrymae
Avant-Garde Jazz 1978
.. Album Cover 0.00 | 0 ratings
All-in, All-Out
Classic Fusion 1979
.. Album Cover 0.00 | 0 ratings
Alexander Scriabin
Third Stream 1979
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Satoh Masahiko & Medical Sugar Bank (MSB)
Avant-Garde Jazz 1980
.. Album Cover 0.00 | 0 ratings
SATOH Masahiko & Medical Sugar Bank: MSB Two
Avant-Garde Jazz 1980
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Chagall Blue
Avant-Garde Jazz 1980
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Pop Color
Avant-Garde Jazz 1982
.. Album Cover 0.00 | 0 ratings
Brink
Avant-Garde Jazz 1983
.. Album Cover 4.00 | 1 ratings
As If
Classic Fusion 1985
.. Album Cover 3.07 | 2 ratings
Amorphism
Classic Fusion 1985
.. Album Cover 0.00 | 0 ratings
Piano Works
Third Stream 1993
.. Album Cover 0.00 | 0 ratings
Final Fantasy: Legend of the Crystals Wind and Fire Chapter
Jazz Soundtracks 1994
.. Album Cover 3.50 | 1 ratings
Ton - Klami : Paramggod
Avant-Garde Jazz 1995
.. Album Cover 0.00 | 0 ratings
Reflections
Avant-Garde Jazz 1997
.. Album Cover 0.00 | 0 ratings
Morning Delusion
Avant-Garde Jazz 1998
.. Album Cover 0.00 | 0 ratings
Liberissimo
Avant-Garde Jazz 1999
.. Album Cover 0.00 | 0 ratings
Plectrum
Avant-Garde Jazz 2000
.. Album Cover 0.00 | 0 ratings
Nagi
Avant-Garde Jazz 2001
.. Album Cover 0.00 | 0 ratings
Masahiko Plays Masahiko
Avant-Garde Jazz 2003
.. Album Cover 0.00 | 0 ratings
Masahiko Plays Masahiko #2
Avant-Garde Jazz 2003
.. Album Cover 0.00 | 0 ratings
Masahiko plays Masahiko #3
Avant-Garde Jazz 2005
.. Album Cover 0.00 | 0 ratings
Masahiko Plays Masahiko/Origin
Avant-Garde Jazz 2006
.. Album Cover 0.00 | 0 ratings
Nyozegamon
Avant-Garde Jazz 2007
.. Album Cover 0.00 | 0 ratings
Rocking Chair
Post Bop 2007
.. Album Cover 0.00 | 0 ratings
My Wonderful Life : Togashi Masahiko Ballad Collection
Avant-Garde Jazz 2009
.. Album Cover 0.00 | 0 ratings
Haou Gigaku : Based on Bach
Third Stream 2009
.. Album Cover 0.00 | 0 ratings
Edo Gigaku
Avant-Garde Jazz 2011

MASAHIKO SATOH EPs & splits

.. Album Cover 0.00 | 0 ratings
Twilight Monologues
Avant-Garde Jazz 1984

MASAHIKO SATOH live albums

.. Album Cover 0.00 | 0 ratings
Deformation
Avant-Garde Jazz 1969
.. Album Cover 0.00 | 0 ratings
Holography
Avant-Garde Jazz 1970
.. Album Cover 0.00 | 0 ratings
Penetration
Avant-Garde Jazz 1971
.. Album Cover 0.00 | 0 ratings
Trinity (with Peter Warren & Pierre Favre)
Avant-Garde Jazz 1971
.. Album Cover 0.00 | 0 ratings
Piano Duo (with Yosuke Yamashita)
Avant-Garde Jazz 1974
.. Album Cover 0.00 | 0 ratings
Kwan-Ji-Zai - Solo Piano
Third Stream 1976
.. Album Cover 3.00 | 1 ratings
Multi-Spheroid Solo Piano vol.3
Third Stream 1976
.. Album Cover 0.00 | 0 ratings
Apostrophe
Avant-Garde Jazz 1982
.. Album Cover 0.00 | 0 ratings
Double Exposure: Complete
Classic Fusion 1988
.. Album Cover 0.00 | 0 ratings
Randooga: Select Live Under The Sky '90
Classic Fusion 1990
.. Album Cover 3.00 | 1 ratings
Ton - Klami : In Moers
Avant-Garde Jazz 1993
.. Album Cover 0.00 | 0 ratings
Signature: Live at the Egg Farm (with Joëlle Léandre & Yuji Takahashi)
Avant-Garde Jazz 2002
.. Album Cover 0.00 | 0 ratings
Live At Moers
Avant-Garde Jazz 2005
.. Album Cover 0.00 | 0 ratings
Forte : Piano Duo Live at Studio F
Post Bop 2007
.. Album Cover 0.00 | 0 ratings
Nouvelle Cuisine live at "Studio F"
Post Bop 2009
.. Album Cover 0.00 | 0 ratings
Afterimages
Avant-Garde Jazz 2010
.. Album Cover 0.00 | 0 ratings
Summer Night
Post Bop 2010
.. Album Cover 0.00 | 0 ratings
Isomer
Post Bop 2010
.. Album Cover 0.00 | 0 ratings
Apostrophe - Solo Live At Moers Jazz Festival 1982
Avant-Garde Jazz 2011
.. Album Cover 0.00 | 0 ratings
Live At Pit-Inn '98
Post Bop 2012
.. Album Cover 0.00 | 0 ratings
Crossing Orbits (Live at Pit-inn '90)
Avant-Garde Jazz 2012
.. Album Cover 0.00 | 0 ratings
Masahiko Satoh & Paal Nilssen-Love: Spring Snow
Avant-Garde Jazz 2014

MASAHIKO SATOH demos, promos, fans club and other releases (no bootlegs)

MASAHIKO SATOH boxset & compilations

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MASAHIKO SATOH Reviews

MASAHIKO SATOH Ton - Klami : Paramggod

Album · 1995 · Avant-Garde Jazz
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snobb
Three years after their debut at the German Moers Festival (recorded and released in Japan in 1993), the Ton-Klami trio returned to the studio to record their first (and only) studio album. The same line-up (Japanese avant-garde legend pianist Masahiko Satoh, leading Korean reedist Kang Tae Hwan and lesser known Japanese percussionist Midori Takada) are improved here on three songs with New York downtown unorthodox reedist Ned Rothenberg (on alto sax and bass clarinet).

Ton Klami generally play the same music they presented on their debut album, just here on "Paramggod" it sounds more mature with better interplay - and a much improved recorded sound. In the early stages of Japanese jazz, one of the more important (philosophical) problems was whether Japan could have its own unique take on jazz, or would they just be copying Western artists. Besides percussionist Masahiko Togashi, pianist Masahiko Satoh was one of the first Japanese artists who was trying to find a specific Japanese way of playing jazz. In the mid 70s, a lot of those experiments were quite formal, but here on this album, one can hear that Japanese (or being more correct - Far Eastern) jazz exists with no doubt. Thanks to the very original Tae Hwan and his sax improvisations (very "out", cool and dzen, at the same time being very close to Western free jazz traditions), this trio's music sounds as unique as you can only imagine, a true Asian take on free jazz. Satoh himself plays in his usual manner, combining European (German) technocratic/teutonic piano sounds with some Japanese meditative atmosphere.

Guest reedist Ned Rothenberg's participation on three compositions gives some additional attractiveness, fortunately his improvs are ascetic and fit well with the main trio's building atmospheres.

One of better Satoh albums from the 90s, it's just a pity the Ton-Klami trio didn't recorded more music after this release.

MASAHIKO SATOH Ton - Klami : In Moers

Live album · 1993 · Avant-Garde Jazz
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snobb
After some more or less successful fusion releases and a series of neoclassical piano albums released during the late 70s and 80s, Japanese early avant-garde jazz legend Masahiko Satoh returned back to his roots in the early 90s, forming Ton-Klami trio with Korean reeds player Kang Tae Hwan and lesser known Japanese percussionist Midori Takada.

The trio's debut album is their live recordings from the Moers Festival in Germany 1991, released that same year by Nippon Crown in Japan. Without a doubt, besides Satoh, the other interesting musician on this recording is Tae Hwan (playing exclusively alto sax here). Korea isn't a jazz friendly country even now, in the early 90s there were very few musicians playing jazz there at all. Reedist Kang Tae Hwan is probably the best known of them all, at least outside of the country. His sax sound is very different from any Western sax player, dry and very "out", strongly influenced by East-Asian musical traditions and Buddhist culture. At the same time, he is a real free jazz musician without overt sounds from other music.

Masahiko Satoh is known for his cold, technical piano playing. Here on this album he is even more formal, combining "teutonic" free improvisation with academic musicianship. Percussionist Midori Takada is obviously in the supporting role to the two leaders, who don't always interplay successfully. It's even more strange that here in this live recording, in fact all concert long, Satoh and Tae Kwan exchange with each other on solos almost without having a common ground for their music.

A few years later this trio will release their next album, a studio one this time, with guest New York reedist Ned Rothenberg, who demonstrates a much better communication and really better realized potential. Still, on "In Moers", they demonstrate some raw ideas more than real musicianship.

For Tae Kwan though, this collaboration was an important step towards his quite successful international solo career.

MASAHIKO SATOH Multi-Spheroid Solo Piano vol.3

Live album · 1976 · Third Stream
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snobb
After excellent collaborative avant-fusion album "Dema" and live piano duet with Yamashita (both recorded in 1973), Masahiko Satoh remained silent for almost three years. It was a strange time on Japanese jazz scene - after free and experimental jazz glorious years (1969-1973)situation radically changed - some artists switched towards growing popularity of fusion, others - to pop-jazz. Most experimental musicians were generally out of place - short-lived Japanese funk-jazz still didn't come, jazz avant-garde dramatically lost popularity and time for brutal avant-rock, Japanese main experimental scene for upcoming years, will come after some years only.

Masahiko returned back to his experiments with piano and electronic devices, influenced by his collaboration with Wolfgang Dauner. To say truth, in series of three solo piano albums Satoh released in 1976 only one, third one contains electronic effects. Two first are just real solo piano albums and contains minimalist neo-academic compositions with just few touches of jazz improvisation (and lot of "negative space" - silence elements). Third album in series is subtitled "MultiSpheroid" and contains use of ring modulators and synthesizers, but in very limited dozes,mostly filling with light noise pauses between piano sound. Comparing with two previous series' albums,third is slightly more experimental and expressive (still borderline but sounds more "jazzy" in moments). One album-long suite,divided into two parts(because of two sides of original vinyl album).Rarity for Satoh music collectors.

MASAHIKO SATOH Dema

Album · 1973 · Avant-Garde Jazz
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snobb
"Dema"("Rumours") is Masahiko Satoh composed album's title,based on Yasutaka Tsutsui novel of the same name (not band's name as it sometimes stated).

Actually, there are two whole bands, participated on recording - Kohsuke Ichihara All Stars and Masahiko Satoh Garan-doh. Resulting music is dark,spacey and quirky. In fact, "Dema" is great example of Japanese experimental jazz apogee: the year is 1973 and you can hear all most progressive musical ideas of the time mixed in one on this album. Based most probably on Miles Davis "Bitches Brew" influences, both bands playing simultaneously bring music stream as far as towards space rock,free jazz and psychedelic fusion. Heavy guitars, lots of keyboards, electronic effects - and knotted jazzy rhythms plus fragility of free jazz sax improvs, quite a risky mix realized here surprisingly successfully.

It's interesting that the album was released by major label CBS Sony - it shows that even they saw potential in such kind of music in early 70s. Reissued on CD in 2007 by Super Fuji Discs this album is easier accessible now. Excellent example of advanced Japanese jazz from its most innovative era, recommended for any fan of experimental fusion, avant-rock and must have release for Japanese jazz lovers.

MASAHIKO SATOH Pianology (with Wolfgang Dauner)

Album · 1971 · Avant-Garde Jazz
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snobb
Masahiko Satoh's fourth album is a duet with German pianist and composer Wolfgang Dauner. Dauner is one of very early European avant-garde jazz pianists, and he recorded the first free jazz album in Germany back in 1964. Dauner played with Eberhard Weber and Jean-Luc Ponty, and in the late 60s, he experimented with choral music. Being a passionate innovator and experimenter, in 1970 he discovered electronic devices and started using them in his music. He experimented with ring-modulated Hohner clavinets and pianos and recorded several albums for ECM. During his Japanese tour in spring 1971, he met one of the most advanced Japanese pianists of that time, Masahiko Satoh.

The five compositions on this album were recorded in Tokyo in March 1971, but were not released until that autumn. It's interesting that a few months later, Masahiko Satoh will record and release (on the same label Express/Toshiba) his best known, and in some sense, legendary album " Amalgamation" - an eclectic mix of musical genres and sounds, which was probably influenced by his earlier collaboration with Dauner.

"Pianology", released soon after "Amalgamation", wasn't as strong in comparison, and stayed in its shade for decades. "Pianology" is a collection of free form classical and jazz piano duo improvs, spiced with ring modulator sounds. Quite bland in its compositions, this album's main value is its revolutionary (for the time) use of electronic devices in jazz, which is only interesting in a technical way, rather than musical, at least on this release.

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