Keishiro Maki
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Registered more than 2 years ago · Last visit 5 days ago

Favorite Jazz Artists

All Reviews/Ratings

20 reviews/ratings
ARBETE OCH FRITID - Arbete Och Fritid Jazz Related Rock | review permalink
NEW TROLLS ATOMIC SYSTEM - Tempi Dispari (as New Trolls) Fusion | review permalink
E.D.F. - Live At Kozagawa Hard Bop | review permalink
YUUKAI KENCHIKU - Trinoctivm Jazz Related Rock | review permalink
BERNARD VITET - La Guêpe Avant-Garde Jazz | review permalink
TAKU YABUKI - Modern World Symphony Fusion | review permalink
NEXT ORDER - Live-Intensified Jazz Related Rock | review permalink
NEXT ORDER - The End Of The Beginning Jazz Related Rock | review permalink
MAGNUM TRIO - Magnum Trio Third Stream | review permalink
ALBERT AYLER - New York Eye & Ear Control (with Cherry/Tchicai/Rudd/Peacock/Murray) Avant-Garde Jazz | review permalink
YUJI MUTO & MIEKO SAKAI - Reflection Jazz Related Improv/Composition | review permalink
STANCE TONGUE - Our Fusion | review permalink
KEHELL - Galileo Fusion | review permalink
TAKE TAKE - Take Take Post-Fusion Contemporary | review permalink
RYOKO ONO - Undine Eclectic Fusion | review permalink
YUUKAI KENCHIKU - Yuukai Kenchiku II Jazz Related Rock | review permalink
TAKAYUKI KAWAMURA - Ballads Hard Bop | review permalink
RARA AVIS IN TERRIS - Au Crépuscule Du Temps Jazz Related Rock | review permalink
YUJI MUTO & MAKO KIMATA - Fission Jazz Related Improv/Composition | review permalink
A-MUSIK - E Ku Iroju Jazz Related Improv/Composition | review permalink

Jazz Genre Nb. Rated Avg. rating
1 Jazz Related Rock 6 3.92
2 Fusion 4 4.00
3 Jazz Related Improv/Composition 3 3.33
4 Hard Bop 2 3.75
5 Avant-Garde Jazz 2 4.00
6 Eclectic Fusion 1 3.50
7 Post-Fusion Contemporary 1 3.50
8 Third Stream 1 4.00

Latest Albums Reviews


Live album · 2020 · Jazz Related Improv/Composition
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"Fission" was released in May 2020 as the second shot of Yuji's improvisation series, in collaboration with a female metalcore drummer Mako KIMATA. Each of them has already been renowned as a session musician in other metal / jazz / avantgarde units as you know, and you have definitely been looking forward to such a instrumental battle between the two talented artists. Wondering where two eccentric originality would go ... if they could be united or not. An everlasting amazement will end up with this brilliant stuff.

The first track "Killer Hornet" kicks you away from the real world, along with Yuji's deep, heavy, explosive but sincere, polite guitar play and Mako's eccentric, complicated, strict drumming. An improvised magnificence is perfectly concordant with another play. Let me say at first, this superb session was live upon stage, actually. "Killer Hornet 2" gets more impressive and innovative. The middle part full of melodic cores and dramatic drumming is kinda killer. You can easily suppose such a powerful, complex stuff could not be played at one stretch without breathing.

On the contrary, the second one "Fission Improvisation" gets started with Yuji's quiet, gentle, but eccentric guitar phrases. Sounds like his guitar might give a speak to the audience in front of him, and Mako's drumming be supportive of Yuji's attempt to be a poet, especially the former part of this track. However, the latter stage is crazy ectopic and dissected. Their excessive play reminds you slightly of Behold ... The Arctopus, in spite of the fact they are only two.

In "A World Inside A Dew Drop" Mako's percussion play fills your brain with percussive dew drops. A gorgeous, beautiful tune really ... happy to imagine the audience listened to this one with tremendous emotion. The last "20-6", that I don't know the real meaning of, is quite relaxing. Apparent is such an expression the two instrumental atmosphere got merged and crystallized completely. You can feel aftereffects of comfort, after being knocked out by their bombastic plays.

An evaluation for improvisational creations should owe a lot to how technical and completely harmonized. In this sense, their works are great indeed. On the other hand, quite difficult to find and get to so-called sound innovation via such material. All the same, this album is fantastic.


Album · 2019 · Fusion
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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.


EP · 2019 · Jazz Related Improv/Composition
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You cannot avoid Yuji's phantasmagoric guitar expression and Mieko's drumming in a full-minded manner. This newest call titled "Reflection" created by a super duo Yuji and Mieko was performed and recorded upon stage via an improvised gig. Quite amazing to know the reason the two brilliant artists can get perfectly harmonized and crystallized under such an improvisational situation, and you can realize each player should completely understand the other one, simultaneously tense atmosphere at a gig, in collaboration with the enthusiastic audience.

The first titled track is kinda great touch. Slow, gentle guitar stream in the beginning gives you massive expectation. Percussive, dramatic, and sometimes assertive drumming drives you crazy. Their synchronized battle of play sounds like a dragon flying up to the heaven. Through the second "Desert Yellow" you can hear sorta tough circumstance upon a desert along Yuji's crazy heavy guitar explosions, and something shining via Mieko's strict but heartwarming drumming and percussion play. Colourful sound diversity can be noticed, according to Yuji's guitar sounds inspired by rock, jazz, metal, and so on.

The last and the longest one "The Beginning" can be recognized as one of the most primitive improvisational chasing for the duo. Here is definite flexibility-flooded sound appearance. Speedy, fire-flamed musical crosstalks, dramatic phases like a moonshine, deep, heavy interactive performances will remind you of Eiliff's "Close Encounters With Their Third One". Musically "alternative" should be here for them, let me say. But at the same time simply enjoyable. It's a pity I could not attend their fantastic gig ... wish I could have peered and contemplated their super-artistic play.

And let me say too ... the sleeve is quite fantastic too!

ALBERT AYLER New York Eye & Ear Control (with Cherry/Tchicai/Rudd/Peacock/Murray)

Album · 1966 · Avant-Garde Jazz
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A magnificent heated session in New York by six jazz giants.

This was the first free jazz album I've purchased, and my enthusiasm for this album upon my first listening in a whisky bar (thanks to Shinichi for your fantastic suggestion) made myself grab the brilliant session album out. Avantgarde free jazz with enjoying great whisky ... but their impression was too strong and too splendid for me to remember the taste of whisky actually. What a passion around the sextet ... the brass section featuring John TCHICAI (alto saxophone), Don CHERRY (trumpet), Roswell RUDD (trombone), and Albert AYLER (tenor saxophone) is battling, chasing with each other. Along with incredible sound power created by every brass instrument, upon bombastic soundgarden brilliant sparks are thrown off here and there. And yes, their massive identities should be strictly supported by the two synchronizers - aka the rhythm section Gary PEACOCK (bass) and Sonny MURRAY (drums) ... their rhythm basis is improvised and at the same time intriguing and impressive. It's no strange if any of them go ahead or strike directly. Every giant is exactly a giant, without any suspicion.

Listening to this album has notified me that I sincerely love avantgarde jazz or avantgarde rock.


Album · 2013 · Third Stream
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MAGNUM TRIO were founded as a flute ensemble trio by Jun'ichiro TAKU, Yuya KANDA, and Kazuhiro KAJIWARA in 2006, their university (Tokyo Univ. Of Arts, Japan) days. Got renowned with their marvelous flute techniques and unique original play styles, and got appreciated not only in Japan but all over the world. In 2013 they’ve released the eponymous debut album in collaboration with Yuiko YASUDA (piano) on their own. This "Magnum Trio" must let us enjoy their flute variations, funky tunes, and as a result, playing flute itself definitely.

"EyEris Waves", a track suitable for the opening of this album, sounds like fresh, cool atmosphere with complex air turbulence represented utterly with superb flute technique and multi-dimensional sound combinations. Their breath creation reminds us directly of breath by nature ... that can called also as their "human nature". Avantgarde piano play by Yuiko is another fantastic dreammare too. "Samurai Blow", exhibited in a woodwinds competition in UK, can be claimed as their masterpiece. They notify the audience of Japanese woodwinds (Shakuhachi) aka Japanese soul along with a large amount of sound variations via Western woodwinds called "flute". I'm sure there would be their magnificent intention to control breath, finger, and flute itself. Exactly originated Japanese social solidarity (called "Wa") has been launched via their systemic bodies. On the other hand, they show us East-European texture flooded with percussive blows upon the following track "Variations On Bulgaria", contrary to the previous ones. Persistent repetitive sound footprints might confuse us I guess, and the confusion in front of us should kick us away into a bulky yogurt cup. Oh what a sour.

Anyway, "Clock A Larm", characterized with brilliantly high-tone, rhythmical flute voices and pleasant tune phrases, should be needed as an alarm clock for us Magnumers (please ignore Jun's snore lol). Very easy for us to hum, isn't it? Another curiosity can gush out just when we listen to "Recollection Merry-Go-Round". IMHO suppose they'd play this stuff only with a head (top) woodwind, correct? Incredible technique and concentration needed. The sixth track "Highland Park" is the name of a Scotch distillery established on the North side in Orkney Island. I love Highland Park Single Malt Whisky, featuring peaty smokey topnote, ground / earthy flavour, and deep salty taste. This song fantastically shows flavour of ground / earth, smoke, and Bourbon / Sherry barrel. Would they visit Orkney previously? Very vivid the impression is. Jun-ichiro, btw, says he compose tunes with enjoying Highland Park 12 Years Old (on his blog), and it's fun how he shoot a creation if he could enjoy the whisky bottled more formerly (actually, deeper and earthier and esterier).

Yuiko's classical piano is splendidly beautiful in "Guilaume Lekau : Piano Quartet in B minor", where sounds like the three flutists would stand and play behind her completely (no? :P). Cannot shout "gemmy" enough, even if I did hundreds of times. On the contrary, suggest "Magnum Arab" be one of the jazziest pieces of all upon their library. Mysterious, religious veils around Arab world we can feel here and there, and at the same time, we can get immersed in their mysterious, wondrous play styles as well. The last "Magnum Bee" sounds like a bee flies around and around, very quickly and very smoothly, with loud buzz. But we feel not annoying but delightful via such a speed flute guru. Oh they might shout loudly "Hi there!" and let us keep opening the mouth forever.

Yikes. What a splendid work this debut creation was. Wish the mixing of this album could be better (cannot get deeper, louder sound explosion like Magnum, their title!), but we can say this creation can propose us their extreme, incredible flute techniques and delightful tunes. Enjoy!

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