Iridescent Clouds : All about Jazz : 2016: James Nadal
There is an atmospheric element which Japanese musicians inherently weave throughout their compositions, giving their music a singular dimension which is readily identifiable. Acknowledged for her trademark lyricism, pianist Taeko Kunishima reflects upon the wonders of nature on Iridescent Clouds, offering elegant improvised passages encased in a meditative concept.
Accompanied again by Clive Bell, recognized master of the shakuhachi flute, and secured by the steady bass of Paul Moylan, the ensemble is augmented by percussionist Camilo Tirado. Additional exotic gradations are presented by Hibiki Ichikawa on the traditional three stringed Tsugaru shamisen. The utilization of field recordings by Jeremy Hawkins serves as a backdrop, the record flowing along its conceptual course.
The trickling of water opens "Blue Clouds," creating the sensation of a peaceful sojourn along a stream, lost in rapture. The piece has its moments of thoughtful flotation, as piano and flute drift towards the clouds. There is the distant chatter of passing people in the buoyant "In Search Of Time Lost," Kunishima carefully spacing her piano voicings to depict pensive hesitation while lost in a crowd.
Bell shines on "Iridescent Seashell," conjuring up the native uguisu bird. This Japanese Bush Warbler's recorded chirping interacts with the piano, a fascinating representation on the wonders of nature set to music. "Secrets," features Kunishima on solo piano, her instinctive classical inclinations taking over this tender composition. The bass sets the course in "Lighthouse In Winter," while Bell sends his flute out as a beacon, over the sea, into the mysterious night, waves gently splashing below.
"Oak Tree Leaf Rustles In My Mind," has shades of an Indian raga, set up by the cadenced tablas of Tirado, and bass bowing of Moylan. The suspension returns with "Everything Is In The Air," melodic passages drifting past the bamboo; Bell switching to the khene (Thai mouth organ) for a gypsy meets Zen moment of enlightenment. They close with "Volcanic Rocks," an Eastern melody played in western time, highlighted with high flying flute inflections and bursts, the journey ends on a rocky cliff, overlooking the valley below.
Taeko Kunishima was raised on Beethoven and Mozart, discovering jazz, she experimented with surrealistic improvisational options available in jazz harmony over her last three releases as leader. This fourth record proceeds along the same transcendent course she follows in her intellectual compositions and arrangements, maintaining her Japanese heritage of spiritual quest. While many artists attempt to seek personal redemption through music, by her particular mellow and evocative manner, Kunishima is already there.
Pianist Taeko Kunishima's third record, Late Autumn, is an exciting work full of intriguing compositions, diverse instrumentation and top-notch performances. Any one or two of these attributes, as manifested on this album, would be enough to carry the day, but the presence of all three makes for a must-hear release.
Kunishima's compositional skill is substantial, and it is a missed opportunity to listen to these pieces in only a casual way. The songs veer from moments of very straight-ahead, contemporary jazz in the vein of, say, Aaron Goldberg, into an assortment of surprising time changes and seductive melodies. These are not self-indulgent, gimmicky displays of ability, and the experimentation is never at the expense of accessibility. Kunishima has written nine highly original and exceptional songs.
While there are seven instrumentalists credited on this album, the core of the ensemble is a quartet. Several layers of texture are built upon the foundation of Kunishima, trumpeter Sean Corby, bassist Paul Moylan and drummer Maxwell Hallett, including a variety of percussion sounds from David Ross and ethereal shakuhachi (Japanese flute) work from Clive Bell, who also produced the set. While the instruments are all acoustic, there is tasteful and effective sound processing at several points (specifically applied to Corby's trumpet) as well as jangly, off-kilter prepared piano from Kunishima on "Rain Sketch." None of the sonic colorings are overdone or sound misplaced, instead contributing atmospherics at the service of the compositions.
The engineering and musicians make great use of the sonic palette at their disposal, but the real pleasure is derived from the performance execution. The playing is tight and syncopated where the music calls for it, displaying a lilting swing on "Promise," with its bouncy bass melody and hand clap accents. The band also plays out and psychedelic—with ease and seeming pleasure, given how often they go there. The one vocal track, featuring Rio Roberts, is more than just straightforward; the melody is quirky—pretty, but oddly and rewardingly disjointed at moments. Just another point of intrigue amongst many; all of these musicians deliver exactly what is appropriate when called upon.
To date, Taeko Kunishima's live work has been focused in the UK, Germany and Japan. This thoroughly modern and captivating record may be one to help her break through to a more global audience, including casual jazz fans looking for something new but also the aficionado in need of uncharted terrain to explore. Taeko Kunishima's Late Autumn is the perfect storm of repertoire, arrangements and players, with something for everyone.Pianist Taeko Kunishima's third record, Late Autumn, is an exciting work full of intriguing compositions, diverse instrumentation and top-notch performances. Any one or two of these attributes, as manifested on this album, would be enough to carry the day, but the presence of all three makes for a must-hear release.
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