ITARU OKI 沖至 — Paris-OHRAI (review)

ITARU OKI 沖至 — Paris-OHRAI album cover Live album · 2001 · Avant-Garde Jazz Buy this album from MMA partners
3.5/5 ·
snobb
Differently from many late 60s Japanese free jazz scene leaders,who came as yesterday's students (usually after musical studies in US) and had no deeper jazz roots, trumpeter Itaru Oki started playing jazz as teenager in dixieland and later in bop bands.So even if his big scene's debut occurred on the wave of Japanese free jazz revolution in late 60s,his music remained influenced by trad jazz for decades.

Being a member of two leading Japanese avant-garde musicians pianist Masahiko Satoh and drummer Masahiko Togashi bands (among others),Oki played around Japan and on few European tours.More important,in 1974 he relocated to Paris where he stayed for decades being one of the most "European" of Japanese jazz musicians (probably,beside of pianist Aki Takase).In late 70s he became a member of Alan Silva's Celestion Communications Orchestra,participated on recordings of "The Shout - Portrait For A Small Woman"(1979,Sun Records)and "Desert Mirage"(1982,IACP). His other regular musical partner became German clarinetist Michel Pilz.

In the beginning of new millennium,after series albums as a leader(recorded in Europe and Japan both,but released as rule on Japanese labels),Oki returns to free jazz quartet with Michel Pilz and free jazz dream rhythm session - Alan Silva on acoustic bass and former Albert Ayler trio drummer (played on "Spiritual Unity",one of the best free jazz album ever)Sunny Murray. Nothing's strange that quartet's music recall Ayler's songs - Oki's dixieland roots,marching orchestra's rhythms and general small town fest's atmosphere are all what Ayler bring to free jazz. Still there are some important differences - Oki's trumpet differently from Ayler's sax sounds softer,warmer and more lyrical and whole band's music is better framed being very free inside.

Recorded in Paris' club,not all album is that "Aylerish". It contains some characteristic more modern Japanese jazz meditative songs with ethnic elements (sounding surprisingly alive because of muscular rhythm section),quite complex dramatic and groovy compositions, influenced by European chamber music(with great Pilz's bass clarinet) and closes with "Météore" - almost "Pete And The Wolf"-like narrative instruments' dialogue,still surprisingly tuneful.

Released in Japan only on tiny Ohrai label, this album passed almost unnoticed and it's a shame - great artists plays modern music rooted in tradition here, it must to be heard.

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