STANCE TONGUE

Fusion • Japan
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小金坂栄造(Eizo Koganezaka) Born in Nagoya, 1987. Eizo Koganezaka started playing the guitar at the age of fourteen, and started his musical activities at the age of fifteen, forming his own band. At seventeen, he began to study musical technique centered around jazz and music theory in earnest, from a Jazz guitarist. Building up his musical experience in various genres such as Jazz、Blues、Funk、Soul/R&B、Rock and Pops, by performing in bands, sessions and as a support musician at live concerts, Eizo began his professional music career in 2008. In the same year, Eizo joined the instrumental band “Act Kadenza”,centered around the music of the tsugaru shamisen. Upon the release of their album, he performed in a Japanese nationwide tour, appeared on Japanese television and radio and also performed overseas in Hawaii on a seven day concert tour. Eizo currently takes an active part in both major and indie artists concerts and recordings, in addition to his read more...
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STANCE TONGUE Our album cover 4.00 | 1 ratings
Our
Fusion 2019

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STANCE TONGUE Stance Tongue album cover 0.00 | 0 ratings
Stance Tongue
Fusion 2017

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STANCE TONGUE Our

Album · 2019 · Fusion
Cover art Buy this album from MMA partners
DamoXt7942
Foundation is everything. Sounds like STANCE TONGUE's second creation "Our" mentions these words via the nine tracks by the quintet, let me say at first. A Nagoya-oriented jazz / funk quintet STANCE TONGUE were founded in 2014 featuring five individual talented musicians each of whom has different musical basis and taste from the others, but they can be merged, unified, harmonized, and completely crystallized as a perfect sound collective in this album (and maybe on stage, I've not attended yet though). Every tone via their instruments gets synchronized together and knocks our mind door step by step. Without any eccentricity nor oddness, the five gemstones polish themselves to brilliant gems through modest but steady play technique.

Keyboard-based beautiful lines here and there created by Hiroaki are wonderful, as if we lay down in a flowergarden. In "Freeway" it's crazy fascinating that fantastic saxophone vibes and percussive drumming are chasing after each other. Yumi's saxophone play should colourize their entire soundscape, it's apparent. Eizo's complicated guitar phrases in "No. 179" (means what?) is great indeed but no exaggeration nor bombast around him ... what an importance. Needless to say, the rhythm section - Nobukazu's drumming and Atsutomo's bass play - keeps supporting the whole sound atmosphere as a ground basis. The two fundamental players especially the bassist have no grandeur nor extraordinariness, but they make themselves behave as a backbone of the quintet ... yikes, their strict pay in a supportive, modest manner should be quite tougher than under the spotlight.

In any situation or under any circumstance, we can enjoy their sincere play.

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