IN THE NEWS

 

NATSUKI TAMURA

 

 

gAs for trumpeter Natsuki Tamura – call him a sky-writer.h Jim Macnie, The Village Voice

 

gTamurafs tone is Miles-ian, his concept the aural equivalent of a lighted sparkler in the hands of a rambunctious child.h — Chris Kelsey, JazzTimes

 

gTamura has an especially wide vocabulary of sounds, ranging from comic, muted gurgling to soulful harmonics – and these are just the sounds he achieves through blowing the instrument. At one point he added an eerie counterpoint to Fujiifs sensitive explorations by dragging the trumpetfs bell across the floor, a play that contrasted his often very pure tone and considered musicality.h  — Rob Adams, The Glasgow Herald

 

gProof that improvised music can be emotionally engaging as well as ear ticklingcImagine Don Cherry woke up one morning, found he'd joined an avant goth-rock band and was booked to score an Italian horror movie. It might be an unlikely scenario, but it goes some way to describing this magnificent sprawl of a record from Natsuki Tamurac a deeply compelling listen." — Peter Marsh, BBC

 

gThe wife-husband team from Japan was simply brilliantc Though their work has a fair amount of compositional structure, it consistently reveals a wide-open and unpredictable nature that makes its performance a thrilling ride for the listener.h — Steve Feeney, Portland Press Herald

 

gDuring their duo set, the pianist and trumpeter explored a stunning variety of individual instrumental timbres and attacks and interwoven textures and moods.  Stylistically spanning a spectrum of musical history that includes trumpeters Clifford Brown, Miles Davis, Lester Bowie, and Toshinori Kondoch  — Derk Richardson, San Francisco Bay Guardian

 

gDuring their duo set [at the SFAlt Festival], the pianist and trumpeter explored a stunning variety of individual instrumental timbres and attacks and interwoven textures and moods.  Stylistically spanning a spectrum of musical history that includes trumpeters Clifford Brown, Miles Davis, Lester Bowie, and Toshinori Kondoch — Derk Richardson, San Francisco Bay Guardian

 

Tamurafs muscular compositions  . . . build to dynamic heights as they convey a spirit of adventure.h — Frank Rubolino, Cadence

 


IN THE NEWS

 

Natsuki Tamura: Gato LibreNomad (2006)

 

 

gNomad, the second full-length from Natsuki Tamura and co., is nothing if not elegant. Combining trumpet, guitar, accordion and bass, Gato Libre creates an all-acoustic sound that is both austere and, to borrow a song title from Nomad, as warm as Barcelona in June.h — Brent Burton, JazzTimes

 

gThe trumpeter Natsuki Tamura, who composes all the material, is the real star, his ghostly, poetic sound filling the air with great beauty.h — Philip Johnson, The Independent

 

gThe sleevenotes explain how "Gato Libre" means "Stray (literally free) Cat", which avoids people's attention, and the band consciously aim at a cooler ethos, though Tamura's trumpet is lyrically beautiful and commandingc  It suggests the wandering though European cities which these itinerant musicians regularly undertake.  Krakow, Glasgow, Paris, Barcelona and Madrid are included, and there's a suggestion of forms such as flamenco, tango, Scottish folk reels and Viennese waltz, and also reggae and blues.  The effect is intriguing because these genres are filtered – inevitably and subtly – through a Japanese sensibility. — Andy Hamilton, The Wire

 

gNomad contains some of the most breathtakingly lyrical music in recent memory.  Trumpeter Natsuki Tamura has a thorough command of brass technique and elsewhere has proved to be a true innovator in extended techniques, keeping the flame lit by the masters of avant-garde trumpet burning brightly.  Gato Libre displays another facet of his musical personalityc The beauty and expressive depth of Tamurafs impressions is immediately captivating.   —Bill Barton, All About Jazz Seattle

 

 gNatsuki Tamura, the extraordinary Japanese trumpeter, gives a very personal response to European folk musicsc Though there are elements of flamenco, French musette, Celtic dance and Middle European shadings in these spare eevocationsf of sundry cities, this is Tamurafs music; his huge, mournful sound and sparse phrasing are consistently expressivec the album is full of striking playingh — Ray Comiskey, The Irish Times

 

gFirst of all, you will be impressed by the distance in which Tamurafs trumpet can project its sound (toward the utmost ends of the earth, in this case). With this album, you could pleasantly feel as if his trumpet would blow you away to an unknown placec. They are mysterious guides for a spiritual labyrinth.h –You Nakagawa, Swing Journal

 

gNatsuki Tamura and Satoko Fujii are two of the most daring improvisers in jazz. Their music blasts through unfettered, a brimful of heated animation. But daring can take other courses, and so it is with Gato Libre, Tamurafs quartetc Tamura wrote this music based on the folk idioms of European countries. He gets into the pith of each, never losing site of the core, to come up with entrancing and captivating compositions. The impact becomes all the more striking through the arrangements, which draw the listener into the translucent fold of the musicc A well-crafted and endearing recording.h — Jerry DfSouza, All About Jazz

 

 

 


IN THE NEWS

 

Junk Box (with SatokoFujii and John Hollenbeck): Fragment (2006)

 

 

JJA 2006 Top 10 —Jerry DfSouza

 

CODA Top Ten of 2006 — Bill Barton

 

CD Journal 2006: Best 5 CDs —Manabu Yuasa

 

gJapanfs top husband-and-wife avant-jazz partnership has teamed up with drummer Hollenbeck to for a new trio devoted to the art of gcom-improh, or composed improvisation. Taking pianist Fujiifs partially arranged themes as the springboard for wildly inventive extemporizations, this album bursts with ideas – touching on cerebral, Braxton-esque pseudo classicism; boisterous, AACM-style free-jazz; scenic improv atmospherics; and even the humorous, post-modern genre-bending of Hollenbeckfs Claudia Quintet. Fujiifs left hand is the driving force, pumping out deep, ominous and urgent ostinatos, over which Tamura spits out gloriously rude Lester Bowie-like snorts, lows like a herd of robotic cattle or makes like a wheezy howler monkey. Hollenbeckfs quietly intense, one minute building a swelling energy pulse, the next laying down a twitchy electro-groove, or – on the hilarious eYour Neighborsf – breaking into incongruously upfront rock bashing, mingling with Fujiifs wry snippets of Mendelssohn to conjure up the music-loving neighbors from hell. Cool and clever.h — Daniel Spicer, Jazzwise

 

gIt must be a daunting job to be the third wheel in a trio with the likes of Satoko Fujii and Natsuki Tamurac both are inventive composers leading numerous bands with diverse approaches and each is often in the otherfs groups. Theyfve got a commonality it would seemingly be hard to step in onc Percussionist John Hollenbeck rises to it, though, and the couple has smarts enough to let the trio be a groupc Fujiifs prepared piano and Hollenbeck and Tamurafs quiet extended technique become an organic whole, sounding oddly electronic at times although the group is billed as being acoustic only. What makes what might otherwise have been an unbalanced trio work is that Hollenbeck, too, is an imaginative and subtle composer. He doesnft try to stand out, at times disappearing altogether to allow Fujiifs compositions to show through. And they do.h — Kurt Gottschalk, All About Jazz, New York

 

gTamura employs a wide range of expressive trumpet effects and at times his gruff, brassy tone suggests Bubber Miley as much as it does Miles Davisc I found Fragment to be a satisfying album and worthy of attention by those listeners who donft require tonality, 32 bar tunes or 4x4 swing to enjoy their jazz.h —David Kane, Cadence

 

g[Fujii] pounds out thick piano chords, while sidekick Natsuki Tamurafs surly trumpet adds tension and growl, and drummer John Hollenbeck referees.h — Tom Hull, The Village Voice

 

gTen compositions by pianist Satoko Fujii, performed with trumpeter Natsuki Tamura and ubiquitous percussionist John Hollenbeck. Like Aki Takase, Fujii is an aggressively explosive pianist. The sheer power of her attack is one of the more surprising aspects of this music. Tamurafs approach is well-suited to it – a tough, lashing and declamatory stylec Hollenbeck is characteristically thoughtful and subtle in method and means, steering clear of obvious ways to punctuate or embellish this forceful music, introducing unexpected colorings and crafty shifts of tempoc a sense of bristling energy demanding release is never far away.h — Julian Crowley, The Wire

 

Satoko Fujii Fragment (with Tamura and John Hollenbeck)                                                                   -2-

 

gTruly, this is one of the worldfs most interesting piano trios.h— Kazue Yokoi, Improvised Music from Japan

 

gThere is interplay filled with immediacy and sense of humorcThis is true jazz filled with dreams and hopes.h — Shiro Matsuo, Music Magazine

 

gThe mother of invention left these three ambitiously minded modern jazz stalwarts to pursue matters within a multidirectional discourse. On Fragment, trumpeter Natsuki Tamura entangles an organic sound with trickery and creativity, without any noticeable use of electronicsc Tamura abets pianist Satoko Fujiifs newly fashioned gcom-improvh concept: composed improvisation. And with percussionist John Hollenbeck injecting radiance, timbre and crunching backbeats, the trio revels within semi-structural components. As a trumpeter, Tamura can sometimes sound like hefs plugged in because of his oscillating notes and mechanized soundscapesc Invention accelerates at full-throttle speed on Fragment when the trio combines intellectual permissiveness with a loose-groove gait. Required listening.h —Glenn Astarita, All About Jazz

 

gJunk Box was new to us but its members are familiar on the free jazz scene. [All] are well-known avant garde musicians and they gel well as a trioc Overall, we found this session to be more than just free improvisation; it made sense.h — D. Oscar Groomes, Ofs Place Jazz Newsletter

 

gA bird chirps a tentative melody over the gentle percussion of plinking raindrops in the beginning of the opening cut on Fragment, gA Dream in the Dawn.h Trumpeter Natsuki Tamura supplies the avian input; Satoko Fujiifs piano is the rainc As always, with the Fujii/Tamura teaming, suspended expectations are a mustc The music on Fragment is a result of what Fujii calls eComposed Improvisation,f an approach that doesnft use traditional improvisation, but rather words and some graphic notation to direct the music-making. The result is at once familiar—to those acquainted with the Fujii/Tamura universe – and also quite novel. Trumpeter Tamura is, well, himself-which means youfll never know whatfs coming next, be it bird chirps, noise reminiscent of a dentistfs drill (eGetting Lost on a Snowy Dayf) or the warbling of a drunken opera diva, which evolves into a (forgive me) fluttery fart (eYour Neighborsf). Fujii is also predictably unpredictable, gentle and pensive one second, frantic and fractured the next, while Hollenbeck slips his multi-hued percussion into the mix with a remarkable finesse. Fragment moves the Fujii/Tamura vision ahead another step.h — Dan McClenaghan, All About Jazz

 

gWhen three creative musicians get together to think outside the box, anything can happenc Part composition and part collective improvisation, [Fujiifs] musical pieces are written out in graphic form instead of the usual notation. Composed improvisation means that direction is given, but the artists have plenty of freedom to make spur-of-the-moment choices, which places their goals squarely in the center of jazzfs definition. When trumpeter Natsuki Tamura introduces kissing sounds to eAt Intersection, on a Rainy Day,f he implies a relaxed position. Tension builds, as the rainy day in traffic becomes weary. eYour Neighborsf finds Tamura imitating an emergency vehicle. Or is it? cFujii and her trio take on the world and release impressions that can be interpreted and way you like. The program comes with many pleasant surprises and calls for repeated listening. Both accessible - containing a few rhythmic grooves - and challenging the listener with deep material that requires sorting, Fragment comes highly recommended.h —Jim Santella, All About Jazz

 

gJapanese pianist Satoko Fujiifs new improvisational trio, Junk Box, features the talents of her husband, trumpeter Natsuki Tamura, and an extraordinary percussionist, John Hollenbeck. Fujiifs diverse, open-ended compositions veer from AACM-inspired textural explorations to violent, free rhythmic exchanges, making Fragment full of surprisesc [an] intimate and rewarding setting.h — Troy Collins, All About Jazz

IN THE NEWS

 

Satoko Fujii/Natsuki Tamura Duo: In Krakow, In November (2006)

 

gIn Krakow, In November was recordedc well, in Krakow (Poland) in November 2005. It was a studio session recorded for Radio Krakow. For the occasion, the duo elected to revisit a cross-section of their European folk-influenced pieces, mostly borrowing from the repertoire of the Satoko Fujii Four, Natsuki Tamura Quartet, and Tamurafs Gato Libre. In general, the session has the quietness and prettiness of the latter projectfs albums, even in the usually raucous numbers such as eExplorerf (previously known as an all-out electrified romp) and eNinepinf (a staple of the Fujii Trio's live set). Each song has carefully been re-thought as a piano/trumpet duo -- even the pieces from Gato Libre's two CDs undergo a substantial transformation. In Krakow, In November offers a lulling evening listen, somewhere between Satie (eStrange Village,f and eMorning Mistf) and Lennie Tristano (eInori,fbreathtaking). The approach may be of the less-is-more vein, but the music turns out to be heavy with feeling. In Krakow, In November is a natural follow-up purchase for those who have been seduced by Gato Libre.h — François Couture, All Music Guide

 

gThe husband and wife team of Natsuki Tamura and Satoko Fujii continues to make giant strides in bringing avant-garde jazz to a wider audience. Their creative adventures recall the excitement wrought by AACM members such as Lester Bowie and Muhal Richard Abrams. Extending their reach around the world, the creative couple forcefully demonstrates what can happen when you let your musical ideas run freecSeveral of the selections from this 2005 duo session ring familiar from their earlier albumsc With their free, creative spirits on fire, however, we get no reruns. Every interpretation comes as a brand new entity, at once fully explosive and rich with lyricism. At times, Fujiifs percussive piano reaches down low and comes up with thundering chords that shout and cry. Similarly, Tamurafs mournful trumpet can fly high or low in search of his next surprise. Oftentimes, they both issue plaintive moans that sing like angels on highc As with most art of great quality, the creative music of Fujii and Tamura carries a wide range of impressionsc This one can be enjoyed by all.h — Jim Santella, All About Jazz

 

gFor their fans, the compositions are familiarc Here, though, they achieve new heights of expressionc Melody and introspection are the keys to In Krakow. The title-track offers a haunting East European vision, with Tamura's playing showing a melancholy power reminiscent of Miles Davis's Lift To The Scaffold.  eMorning Mistf is another Gato Libre piece, which here achieves a rapt impressionism. The album closes with eInorif, luminous and reflective.h  — Andy Hamilton, The Wire

 

gListening to In Krakow in November might make you think that a European influence has tamed the avant approach of pianist Satoko Fujii and trumpeter Natsuki Tamura. This set, along with two recent releases by Tamurafs Gato Libre group—featuring Fujii on accordion—are tinted by their explorations of European folk and classical formsc But this is less a taming than a revisitation of an intimacy the artists have explored previously, and individually, on records lke Fujiifs Sketches (NatSat, 2004) and Tamurafs Ko Ko Ko Ke (NatSat, 2004). In Krakow in November is a duo outing with just piano and trumpet, unadorned. Melody takes center stage, showcasing both Tamurafs and Fujiifs strengths—which can be overshadowed in their larger ensemble or electric work—in that aspect of soundc All of these tracks have been recorded before by various other ensembles by Fujii and Tamura. With just the two instruments on this disc, we hear more of the pure essence of the compositions, revealing an engaging playfulness and often serene introspection, mixed with some of the characteristic Fujii/Tamura intensity.h — Dan McClenaghan, All About Jazz

 

 

IN THE NEWS

 

Natsuki Tamura: Gato Libre - Strange Village (2005)

 

Top 10 CDs of 2005 — Randy McElligott, CHUO FM 89

 

gc a stunning departure from the artistfs typically intense, off-kilter stylec Lyrical and dynamic are the operative words, as the lead trumpet lines on the title track make clear with their south-of-the-border coupling of tenderness and passionc this extraordinary set ranks at the top of Tamurafs distinguished discography.h

 — Sam Prestianni, Jazziz

 

gc a record of surprisingly soft and lyrical beauty that at times borders on flat-out impressionism.h  — Rick Anderson, Notes

 

gIn his most accessible album yet, Tamura explores a range of folk-like themes and ensemble textures that resonate more with the Europe of the Balkans than Japan. Therefs a limpid simplicity, almost naivety, to his and the groupfs approach that draws the listener in, economically evoking the diverse moods and images suggested by the titles of his compositionsc Throughout hefs revealed as a remarkable trumpeter, individual, lyrical and dramatic. Gato Libre seems perfect for this aspect of Tamurafs varied musical personality.h — Ray Comiskey, The Irish Times

 

gCapturing the essence of folk music, Natsuki Tamura creates an acoustic session on Strange Village that lets him tell the stories vividly and completelyc Each tale comes with rounded textures that belie humble surroundingsc Gato Librefs free association over timeless textural territory gives this highly recommended album a warm embrace. Tamurafs open trumpet seals it. His quartet has found a formula that connects the music of our ancestors with the freedom that we enjoy in the freedom that we enjoy in todayfs modern society.h — Jim Santella, All About Jazz

 

gc The sound is introspective and tranquil, with European folk music shadings – accordion, bass, and acoustic guitar floating behind a relaxed, round-toned trumpetc The atmosphere is lyrical and subduedc With Strange Village Tamura and the quartet have crafted a gorgeously straightforward – albeit mysterious and slightly surreal – sound. This musical journey proves his most accessible set to date.h — Dan McClenaghan, All About Jazz

 

gIfm as much a sucker for a good CD cover as any, and Natsuki Tamurafs airy quartet, Gato Libre, has a simply enchanting painting of a marvelous black cat posing as they will at the foot of an old stone stairwayc Intriguing, and so is the music. Tamurafs slowly unraveling trumpet lines color the long-held accordion tones of Satoko Fujii, Kazuhiko Tsumurafs Spanish guitar, and Norikatsu Koreyasifs acoustic bass. Strange Village is very meditative, sly, and almost of an Eastern European folky atmosphere. I found myself thinking of the circuitous routes through a strange village which a cat might takec Itfs been a while since I heard something this different.h — Kenneth Egbert, Jazz Now


Natsuki Tamura Strange Village                                                                                                      - 2 -

 

 

gEvery so often a record comes along from an established artist that makes one reassess his or her accomplishments. The initial document from the Japanese quartet Gato Libre is such a releasec While the majority of the music swims the seas of tranquility, the quartet does kick up sand every so oftenc At first blush, this record might be considered too saccharine for many tastes, but it is rich in its melodic aims and surprisingly captivating. Indeed, Strange Village is proof that Tamura and Fujii and truly multi-dimensional artists. —Dennis González. One Final Note

 

gNow we can officially say there are two Natsuki Tamuras. The one playing angular jazz-rock or ferocious free improv (see Hada Hada or In the Tank) and the one writing simple melodies of stunning beauty (witness Ko Ko Ko Ke Ke Ke and this album). How the two of them live in the same body and breathe through the same trumpet might remain a mysteryc Tamurafs tunes owe a lot to Erik Satie, and gMorning Misth and gStrange Villageh could be never-before heard gGymnopediesh or gGnossiennesh cross-pollinated with New Tango and just a touch of Eastern European folk musicc Despite the impressive lineup, Strange Village is all about ensemble playing. Tamurafs compositions rely on tightness and balance between each part, something the quartet achieves effortlesslyc Pure delight.h —François Couture, All Music Guide

 


IN THE NEWS

 

 

Natsuki Tamura In the Tank (2005)

 

Top 10 for 2005, — Dan McClenaghan, All About Jazz

 

gAn indefinable droning mishmash of sounds that feels like a young universe struggling to swirl itself into a semblance of order.h — Dan McClenaghan, All About Jazz

 

 gThink AMM meets blues guitar meets 1970s Miles Davis and you get some idea of the discfs flavor: a slow-moving panorama for the ears, where sounds are systematically added, repeated, refined, and replaced in turn.h — Nate Dorward, Cadence

 

 gReally one 68-minute improv, the CD is divided into four tracks that should be listened to as a whole. Mixing the trumpeterfs bravura expressiveness and the techniques of the two guitarists who can replicate bass and percussion timbres, this is no laid-back jam session. It does have a particular shape however, with introductory passages and an elongated coda, both linked with the individualist playing of Tamura. Instructively, with all the dissonant, near-ghostly tones exhibited, In the Tank also implies traditional Japanese texturesc at several juncturesc this impressive, ever-shifting performance suggests a repeat should soon be in order.h — Ken Waxman, Jazz Weekly

 

 gGuitarists Takayuki Kato and Elliot Sharp are front and centre in this beautifully recorded four-track free improv session. Katofs cornucopia of altered and looped sounds give his cohorts a sonic landscape in which to let loose. Pianist/composer Fujiic is a wellspring of rhythmic motifs that act as a catalyst, by turns prodding, pulling, and pummeling. Trumpeter Tamurac splurts, splats, arcs and angles, deftly weaving his bell-like clear tome into the tapestry pf electronic soundsc In the Tank is a recorded document that bears up under repeated listenings. g — Glen Hall, Exclaim Magazine

 

 gc the colors of Tamurafs soundscape are more saturating than overpowering, which makes the occasional veering into pensive melody all the more effective. Still, this is challenging music.            — Point of Departure  (online music journal)

 

 gc [a] challenging exploration of dissonance, microtonality and space.h — John Stevenson, ejazznews

 

 gIn a drifting and amorphous way, the sound on In the Tank feels as elemental as a delta bluesc But much like some of Miles Davisf output in the late seventies the question of exactly which instrument is making what sound hovers over the proceedingsc through the interludes of rock structures, blues shadings, jazz moments, and classical electro sound washes, a feeling of underlying structure and detached watching-the-events-from-above serenity remains. Itfs best to suspend expectations here – that can be said for just about everything Tamura is involved inch — Dan McClenaghan, All About Jazz

 

 gcThe range of effects and speed of transition are breathtaking: between the first haunted scratches, and the final withered exhalations this triumphant electro-acoustic adventure never settles in any idiom for more than a moment, and never becomes boringc Astonishingly, this is the first meeting between downtown New York icon, [Elliott] Sharp, and these three mainstays of the Japanese free scene. Letfs hope itfs not the last.h — Daniel Spicer, Jazzwise


IN THE NEWS

 

 

Natsuki Tamura Quartet Exit (2004)

 

gExit is for the listener with the adventurous ear, a brilliantly executed set with a neon glow.h  — Dan McClenaghan, All About Jazz

 

"The music of Tamura on this album is very ambiguous in a good sense.  One doubts if there is any composition.  Actually, that doesnft matter and he rather takes advantage of such an anxiety and just lets his sound soar into the sky." — CD Journal

 

gThis is a very adventurous release, one of the most interesting combinations of jazz and electronics Ifve heard.h — Jon Davis, Exposé

 

gThere is considerable freedom exhibited by all four artists; each in turn contributes a plethora of exotic, barrier shaking effects to give the performance its otherworldly flavor. Boundaries keep being pushed with contributions such as this.h — Frank Rubolino, Cadence

 

gThere are wonderful moments of meditative silence – such as those at the beginning of gEliminateh – as well as many long stretches of high-volume intensity.h — Marc Medwin, Bagatellen.com

 

"Tamura controls the tone of his trumpet at will and he probably has entered the territory that no one has ever explored.  Tamura utilizes a lot of different effective devices but creates his music in an area that is completely isolated from the realm that Miles pioneered." — Masahiro Imai, Musen to Jikken

 

 gThe quartetfs music . . . develops organically from within this framework, and can go anywhere from off-kilter funk, to atmospheric soundscaping, to understated contrapuntal interplay . . . great playing, and lots of musical risk-taking.h — Dave Wayne, Jazz Weekly

 

 gTamurafs quartet succeeds in introducing new energy into improvised music . . . his latest dreamscape adventure remains for the truly creative soul in search of something altogether new.h     — Jim Santella. All About Jazz

 

"Typical Japanese sentiments sprinkled here and there are as impressive as, or sometimes more impressive than, the exoticism of artists of the underground scenes of Chicago and Niels Petter Molvaer." — Takehiro Oshizuka, Musee

 


IN THE NEWS

 

 

Natsuki Tamura Ko Ko Ko Ke (2004)

 

gA highly serene, peaceful, intimate journey through the art of melody and play.  Natsuki Tamura alternates between simple melodic statements interpreted as if he was murmuring them to your ear and nonsense vocal sections sounding somewhere between plainsong and sound poetrych            — François Couture, All Music Guide

 

gYoufll never fit trumpeter Natsuki Tamura into any pre-fab category. He creates his own, then pulls you into them with himcOn Ko Ko Ko Ke he settles into a subdued sound, prayer-like throughout.h  — Dan McClenaghan, All About Jazz

 

"Tamura usually blows extremely hard but here he slows down all the way through.  Yes, he is a trumpeter blessed with beautiful sound in the mid to low registers, and a slow song is really a good vehicle for that beauty.h — Kiyoshi Tsunami, Swing Journal

 

 gThis is the second solo disc from the excellent Tamura, who has played often with his wife, pianist Satoko Fujii, and has been patiently constructing a voice poised midway between a sweet, warm, Booker Little-influenced sound and a restless, spittle-filled approach that may be indebted to mischief makers like Lester Bowie and Herb Robertson.h — Jason Bivins, Cadence

 

gcA stunning example of another facet of Tamurafs workc The absolute purity of sound has the most immediate impact, his unembellished lines sing with a flawless resonance that is completely arresting.h — Paul Donnelly, ejazznews.com

 

"Tamurafs trumpet quickly evaporates my efatigue I feel when I think about jazz and its listenersf.     Ko Ko Ko Ke stimulates my imagination in various ways." — Manabu Yuasa, Studio Voice

 

"It was not until quite recently that I finally managed to find the way to follow the extraordinarily unpredictable music created by Tamurafs unique sensitivityc he seems now to enjoy conversations with himself softly and sparsely in the mood of pastoral melancholyc it could be interpreted that he is, in this crystal-clean atmosphere, trying to return slowly and calmly to the origin of Japan."             — Tatsuya Negate, Jazz Life

 

gHis mournful trumpet tone is unique.  His interpretations are always musically correct.  The listener does not have to cope with distractionsc Tamura has been influenced by a lifetime of exposure to traditional folk songs, as well as to modern musical concepts.  With Ko Ko Ko Ke, he lets both branches flow into one river — a river of creativity.h — Jim Santella, All About Jazz

 

gListening is like witnessing the negotiation of a gentle, polyglot ritual invaded occasionally by surreal strangeness. The CD cover bears eerie, blurred images of a figure walking from darkness toward a brightly lit room: the impression of both imagery and music is somewhat reminiscent of a gnomic scene from a David Lynch film. Though Ko Ko Ko Ke might be interpreted as a study in what is innate and what is instrumental, ultimately this singular music refuses to be reduced to the purely rational.h — Colin Buttimer, Jazzwise


Natsuki Tamura Ko Ko Ko Ke                                                                                                         - 2 –

 

 

gcTamura shrewdly creates a sound world that while completely his own also hints at the mythological and musical folklore of Asian and European culturesc. With nothing but his voice and trumpet, Tamura comes up with a persona no less self-contained than that of early, wandering bluesmen like Robert Johnson or Charlie Patton.h — Ken Waxman, Jazzweekly

 

gThe liner notes compare it to ean artifact from another worldf and Ifd second that motion heartily. The sound sources consist of Tamurafs trumpet and voice. When he sings, it is in no known language – the syllables of the title are an example. A meditative mood pervades the whole thing, and the melodies tend toward minimal simplicity, like Buddhist chants from an alien planet. Great attention envelops every detail, from the breathing to the tone and vibrato.h — Jon Davis, Exposé

 


IN THE NEWS

 

 

Natsuki Tamura Hada Hada (2003)

 

"Trumpeter Natsuki Tamura is a noisemaker, but a close listen to Hada Hada, his new disc, shows that there is much color and texture in his aural barrage." — K. Leander Williams, Time Out New York

 

"Natsuki Tamura is a trumpet performer whose brilliance as a composer continues to develop into eclectic dimensions of imaginative creations.  Natsuki Tamura gives the jazz-listening audience a fine showcase of spontaneous improvisation, group interplay, world jazz themes, Japanese folk melody, and contemporary free jazz in Hada Hadac Natsuki Tamura at his finest.  Topnotch quartet performances, invigorating sounds and intimate surreal journeys await the jazz listening audience." — Lee Prosser, JazzReview.com

 

"Imagine Don Cherry woke up one morning, found he'd joined an avant goth-rock band and was booked to score an Italian horror movie. It might be an unlikely scenario, but it goes some way to describing this magnificent sprawl of a record from Japanese trumpeter Natsuki Tamurac Hada Hada is a deeply compelling listen." — Peter Marsh, BBC

 

"It's obvious that Tamura was going for something different with this releasec Hada Hada is a success." — Robert Iannapollo, Signal To Noise

 

"This collaboration between trumpeter Natsuki Tamura and his wife, keyboardist Satoko Fujii, is a rolling storm of sound, often beautiful but never placidc The music doesn't swing, it stomps."              — Phil Freeman, Wire

 

gOne weird and otherworldly noise-fest.h  — Stuart Kremsky, Journal of the International Association of Jazz Record Collectors

 

"Tamura takes the energy of those electric fusion/funk discs and applies a tidal wave of punk aesthetic via synthesizer and guitarc Like Vulcan this music begs for volumec Tamura's amplified metal trumpet is enough to scare Miles off the stage at the Fillmore with his raging hardcorec satisfying on both visceral and cerebral levels." — Mark Corrotto, All About Jazz

 

"Tamura is a fine jazz trumpeter, as well c This disc is a mad wash of Takayuki Kato's guitar and Fujii on synthesizer and trumpet delay with a hard bottom end, something like the vicious jazz of John Zorn's PainKillerc" — Kurt Gottschalk, Squidsear

 

"Part of life's soundtrack over the past few weeks has been the work of Tamura and his partner, the pianist Satoko Fujii, with various collaborators.  An entirely life-enhancing experience. Now there is another slice of their prolific output to bring joy to the earsc It is without doubt one of the most exhilarating examples of electric jazz, if that's an adequate term, I've come across this year."               — Paul Donnelly, ejazznews.com

 

"The stormy album in monstrous in sound, demanding to be played at full volumec"                          — Tom Schulte, Outsight, Ink 19


Natsuki Tamura Hada Hada                                                                                                            - 2 -

 

 

"This sounds like the end of the universe.  Or maybe it's the beginningc As a musician he (Tamura) is nothing if not adventurous.  His arsenal includes pain-wracked squeals and unearthly moans, but he is also capable of lyrical beauty and straight-ahead chopsc it pays to listen again, with a bit of volume, pleasec compelling." — Dan McClenaghan, All About Jazz

 

"If you wish to hear something completely over the top, this disc's for you.  Grade 8 (out of 10)."          — Mike Ryan, Boston Herald

 

"I've been a fan of Tamura's horn antics for many years nowc this CD is the most energetic "out" grouping I've ever heard him doc This is some of the most original playing we have ever heard; it gets a MOST HIGHLY RECOMMENDED." — Dick Metcalf, Improvijazzation Nation

 

"Jazz trumpeter Natsuki Tamura leads his space age, jazz-fusion quartet into an affair marked by echoing EFX, brash soloing, and numerous cosmic meltdownsc The quartet signals in notions what Miles was doing back in the early '70s with his electric, jazz/funk/rock fusion bands.  Yet, this outing is a bit more 'out there.'  Tamura has designed a highly entertaining, and neurotically enacted musical jamboree." — Glenn Astarita, JazzReview.com

 

"Natsuki Tamura stimulates the memories of gBitches Brewh through his cool performances. In fact, his concept of selecting sounds to draw the pictures of the new world and constructing the whole piece out of the sounds in a melting pot created by the members without knowing where they are headed has something in common with that of Miles the king." — Yoshiyuki Kitazato, Ombasya

 

"A sinister but at the same time refreshing album. The important thing is that the sinister mood is not

a vague creation of something like just a feeling, but a well-balanced, solid construction.h

— Kazutomi Aoki, CD Journal

 

"Recorded in a public bath on Venus (if I am allowed to use such metaphor). Very refreshing pieces of music that are complete opposites of crafty ideas." — Shiro Matsuo, Music Magazine

 

 


IN THE NEWS

 

 

Natsuki Tamura/ Satoko Fujii Clouds (2002)

 

Top 10 CDs of 2002, William Minor, Coda

 

Top 10 CDs of 2002, Mike Chamberlain, Coda

 

"Clouds is playful and quiet, making dramatic use of space.h — Steve Greenlee, Boston Globe

 

"Music seems to be the food of love for Tamura and Fujiic They are in harmony on this one as well, even thought most of it is free flowing and fueled by the tempest of their imaginations."                      — Jerry D'Souza, Coda Magazine

 

gThis free-improv session for trumpet and piano is beautifully played and recorded, and recalls the monumental Kenny Wheeler/Paul Bley duets.  Tamura has worked to develop highly personal sound, employing various new techniques and tonal resources, including growls, flutters, squirts and split tonesc Itfs mysterious, haunting and startling, and these two know how to play the space between the notes.h — Larry Appelbaum, JazzTimes

 

 gIf you are a fan of the enduring spirit of jazz—inspiration through improvisation—this disc is for you.h — Michael Ryan, Boston Herald

 

gca half-dozen beautiful compositions as protean and rarefied as their names imply.  Trumpeter Tamura is fascinating, playing in a style similar to Greg Kelley or Axel Dornerc This is extremely beautiful music, defined by its intelligence and risk.h — Jason Bivins, Cadence

 

 gTrumpeter Tamura has been leaping off artistic ledges for some time, developing a highly vocalized language of whispers, smooches and growls.  This approach comes to maturity here, with his dedication to intuition and spontaneity blooming into a poignant, cohesive aestheticc Grade A.h      — Martin Wisckol, Orange County Register

 

"This time Tamura doesn't only utilize the special way of playing which he is good at, but also gives us chances to taste his unique tone and enjoy his vast and beautiful world of improvisation."             Mark Rappaport, Music Magazine

 

"Their performance is free from any conventional style and they are not hastening to form a conclusion.  It is based on the trust in each other which is achieved through years of collaboration.  This is a lush duo."  — Yoshiyuki Kitazato, Ombasha

 

"On this album the two seem to draw images on a canvas that they come up with in the moment.  They exchange sounds created through well-honed senses which thrill the listeners."                           — Toshiaki Uemura, CD Journal

 

gClouds is a far-out but easily approachable disc.h — Steve Koenig, All About Jazz New York

 


Natsuki Tamura/ Satoko Fujii Clouds                                                                                             - 2 -

 

gClouds is an exceptional collection of creative jazz works featuring the best of Fujii and Tamura.h   — Lee Prosser, JazzReview.com

 

 "The balance of fast and slow motion in this soundscape is marvelous and it is attractive enough to capture the listeners' hearts within the first few seconds.  Even with the sparse notes they are able to let the listeners create their own images, which characterize this piece of work admirably.  The album is therefore dense in every part and the listeners will never get bored even with a lengthy, more-than-10-minute tune."Satoshi Kojima, Strange Days

 

 gIn the realm of the senses two imaginations entwine.  From that first fertile fabric comes sounds that elevate, startle and thrill.h — Jerry DfSouza, All About Jazz

 

gTamura too contains multitudes.  He can use mouthpiece spittle and duck calls, yet in the same piece, switch to an improvised Dixieland riff; none of it for show, all integral to the particular piece hefs playing.h — Steve Koenig, All About Jazz, New York

 

gPerforming at the peak of his instrumentfs range, Tamura holds the reverberating tone for at least 30-seconds, turning himself into the melismatic approximation of a country blues singerc Other effects that appear range from Tamura seemingly metamorphosing his horn into a fanfare-playing bugle, a raspberry-expelling air raid siren and, with a bucket mute, a repository of reconstructed jungle band soundsch — Ken Waxman, Jazz Weekly

 

gThroughout the interplay is exquisite; Fujii and Tamura offer unsentimental beauty, space, silence and humourc Proof that improvised music can be emotionally engaging as well as ear tickling, Fujii and Tamura give us six clouds, all with a solid silver lining.h — Peter Marsh, BBC

 

gTamura mumbles, grunts, plays the mouthpiece of the trumpet alone, and uses mute, mouth, and saliva noisesc The playing is marvelous and the complicity exemplary.h                                                          — François Couture, All Music Guide

 

gNatsuki Tamura is a horn player who doesnft just mindlessly wail on his instrument but uses it to extract chunks of his fragmented mind, in the process bringing to the trumpet what Kirk and Anderson brought to the flute: a surreal garbled vocal intrusion.  Utilizing the shrill clipped mouthpiece pointillistics of Hassel, the clackety insect trills of Braxton, Kirky glossolalia, a generous dose of his own bizarre catalogue, and even occasionally losing his mind entirely and blowing straight and laconic, Tamura wastes not one second on this entire discc a very high quality venture beautifully blending fractured mainstream with fringe-abstract.h — Marc S. Tucker, Exposé

 

 gNatsuki Tamurafs trumpet at times sounds like anything but – here a didgeridoo, there a massive foghorn, other times the call of some unknown and perhaps menacing animalc. Avant-garde jazz has a rich history of less-is-more duets – John Coltrane and Rashid Ali, Cecil Taylor and Max Roach, and Bill Laswell and Peter Brotzman to name but a few.  Tamura and Fujii are a welcome addition to this lineage.h — Ted Kane, JazzReview.com

 


IN THE NEWS

 

 

Natsuki Tamura White & Blue (1999)

 

"Writer's Choice 2000: Top 10 CDs" — Jerry D'Souza, Coda

 

gSatchmo sang through his trumpet and Tamura also seems to try to create a style which doesn't necessarily isolate the playing of his instrument from the uttering of his own voice.h                           — Yoshiyuki Kitazato, Ombasha

 

"A trumpeter and two drummers might not be your usual trio format, but this threesome makes it work.  Percussionists Jim Black and Aaron Alexander rumble, rattle, tap and scrape along on Tamura's expressive journeys across sonic landscapes not found on most maps."                                — S.D.  Feeney, Face Magazine

 

"What is most striking is not simply the high level of interaction, but the sense of sound as ceremony." — Stuart Broomer, Coda

 

"Acting as a creative concerto, this piece works as a whole, and requires a complete listen."                — Michael G. Nastos, All Music Guide

 

"Adventurous listeners should...turn their ears to 'White & Blue'... Tamura has added his name to those anything-for-a-sound improvisers like Evan Parker and Derek Bailey."                                                      — Ken Waxman, Jazz Weekly

 

"On this CD [Tamura] tackles the duo format with a fine percussionist and clearly presents his extraordinary sense of rhythm.  He also seems to cherish the rhythmic sense that is characteristic of Japanese language.  In his performance, I hear something in common with Joruri (the music of Bunraku) or Japanese traditional folk or dance music." — Toyoki Okajima, Jazz Critique

 

"Relying on a minimalist instrumentation (trumpet, sundry percussion and drums), composer Natsuki Tamura is interested in filling space not only with free jazz excursions but also with textural sound bytesc this disc will appeal to free jazz enthusiasts." — Jeff Melton, Exposé

 


IN THE NEWS

 

 

Natsuki Tamura A Song for Jyaki  (1998)

 

"Writer's Choice 1998: Top 10 CDs" — Benjamin Franklin V, Coda

 

gCommunicative, surprisingly so for a solo trumpet outing, and along with How Many? and South Wind, is a compelling addition to a genuinely innovative record labelfs output... Miles is evoked, as well as some extraordinary bass clarinetesque sonorities, on the echo chamber that is the reverberating eBlackholef... eFamily of Molef contains almost hard-boppish flourishes that Freddie Hubbard would be proud of... The final piece eMy Folk Songf combines the luminous beauty of eYan-Sadof with the Lester Bowie-esque/computer playing scales effects of ePracticef to mournful mesmerizing effect.h  — Stephen C. Middleton, Wire

 

hA fabulous set of hiccuping leaps, drones and post-bop trumpet hi-jinx.  Tamura goes from growling lows to fluid, free solo runs and echoes not only Don Cherry's slurring anti-virtuosic chops but also Kenny Wheeler's piercing high wire fullness.h — Andy Bartlett, Coda

 

hHis performance comes from the origin of expression, has great melody and is very lively.  What makes his music most attractive is its cheerfulness and spirit.h — Swing Journal

 

hThis CD seems more like a self-portrait with a trumpet rather than Free Jazz.h  — Yujin Naito, Jazz Life

 

gAnyone complaining about the lack of gsomething differenth hasnft heard the music of Japanese pianist Satoko Fujii and her husband Natsuki Tamura.  Their sounds are a potent mix of passion and calculated madness, with Tamurafs plaintive horn cry somewhere between a blast and a bleat.  On A Song for Jyaki, Tamura initiates a solo statement that is in the great tradition of original musical storytellers...his music magically captures the sounds of nature...h — Rick Marx, Jazz Central Station

 

gA solo trumpet album might seem a daunting walk for most players — bereft of any underpinnings, any backdrop, and support from other musicians.  But Japanese improviser Natsuki Tamura is a bold and innovative improviser, unafraid of the challenge.  A Song For Jyaki is a chance for Tamura to follow his muse, whether itfs emotive bleating, lonely melodicism or outright comical efforts... Recommended.h — James Lien, CMJ

 

gTamura shows chops that would make Louis Armstrong jealous...Recommended for those who canft do without a little improv.h — Dick Metcalf, Improvijazzation Nation

 

"Brilliantly articulated, brassy lines that reveal roots in the work of Brown, Morgan and Hubbard." — Stuart Broomer, Coda

 

gStar trumpeter Natsuki Tamura proves daring with rare fingerings, creative and adventurous, playing the compositions of his wife, Satoko Fujii.h — Jack Burke, The Wax Works

 


IN THE NEWS

 

 

Natsuki Tamura /Satoko Fujii How Many? (1997)

 

"Tamura's trumpet caterwauls through the opening tune 'Akumu', and on 'Lightning Attack,' the first bleat of his trumpet literally frightened me.  Fujii serves as the ideal foil, with an intuitive sense of when to underscore or contrast Tamura's blowing.  Their music catches you unaware, creating tension and intrigue." — Marcela Breton, JazzTimes

 

"Fujii is above all a lyrical player, concerned not so much with momentum but with color, texture, and melody.  Her playing exudes vulnerability and spontaneity, even as it possesses a great vitality.  Tamura's is a similar sensibility.  Though his playing is clearly and primarily jazz-based, he draws upon a variety of sources; the style evinces a certain familiarity with contemporary classical techniques... Together Tamura and Fujii construct perfect little structures; their collaboration is balanced, astute, and very musical.  A lovely album."

— Chris Kelsey, Cadence

 

"Reflective of human moods... It's an improv excursion you won't soon write off... stimulating and challenging... I found it to be a quite intriguing listen.  Recommended."  — Rotcod Zzaj, Improvijazzation Nation

 

"Creating their own new jazz, trumpeter Natsuki Tamura and Satoko Fujii, piano, treat us to 14 pieces of much merit, free-flow improvisation, too." — Jack Burke, Waxworks

 

"An intriguing, if unsettling musical adventure... The blowing is free and robust, with an emphasis on maximum expressiveness by both players, in the tradition of the 1960s free jazz movement and its disciples.  Fujii draws on European impressionists and the classical avant-garde as well as improvisational mentors like Cecil Taylor, Don Pullen, and Paul Bley... Tamura is an insane trumpet player...he is in exclusive company. Lester Bowie, Leo Smith and Ornette (on trumpet) are among those who have sailed into these uncharted waters.  Weird, subterranean, hilarious, wickedly creative music." — Michael J. Williams, American Reporter

 

gTamura develops his solos with smears and slurred phrases that lead up to eruptive outbursts on his horn. He is a natural foil for Fujii, possessing the similar bent for musical combativeness. The trumpeter displays a far-reaching range; he takes his instrument to precarious heights and to burrowing depthsc Fujii and Tamura speak as one on this excellent matching of kindred spirits.h   — Frank Rubolino, Cadence

 


IN THE NEWS

 

Satoko Fujii Four featuring Natsuki Tamura: When We Were There (2006)

 

gSatoko Fujii creates tone poems on When We Were There, which her quartet uses as stepping stones to enter a world of improvised jazz. Each member, an experienced veteran, turns it loose with unexpected surprises at every cornerc The dissonance and consonance of her pieces overlap, so youfre not sure whether the next phrase will proceed with lyrical charms or eerie nightmaresc There are pleasant surprises everywherec Throughout this series of improvisations on a variety of thematic material, each of the four musicians expresses through both standard and unique principals. Trumpeter Tamura squeezes notes from his horn through mellow encounters and forceful group therapy. Bassist Mark Dresser plucks and bows  low-down and ultra-high harmonics. Drummer Jim Black explores textures that can be found everywhere but are seldom employedc This one comes highly recommended.h — Jim Santella, All About Jazz

 

gSatoko Fujii is an innovative and fearless pianist who loves rough and tumble free jazz as much as she enjoys composing softer and more lyrical piecesc Mark Dresser and Jim Black are a wonderful rhythm section, and her husband, trumpeter Natsuki Tamura, knows how to spin a canny web as a soloist and as a support horn. The way this group navigates the difficult 15-minute closing piece, titled gA Diversionh is awe-inspiring.h — Matt Cibula, Global Rhythm

 

Satoko Fujii Quartet featuring Natsuki Tamura: Zephyros (2004)

 

"This, the third amazing release from the ever incredible pianist, composer and multi-bandleader Satoko Fujii with her husband and ace trumpeter Natsuki TamuracNatsuki plays a long and exciting trumpet solo that just keeps going as the rest of the quartet push higher and higherc. Once more Satoko Fujii's outstanding quartet delivers!"  — Downtown Music Gallery

 


 

Satoko Fujii Quartet featuring Natsuki Tamura: Minerva (2003)

 

"An awesome recording." — Andy Hamilton, The Wire

 

 gThis new quartet endeavor is amazingc Opening with Natsukifs eTatsu Take,f the quartet explodes right from the first note – tight, ferocious, complex Zappa or Ruins-like intricate stop-on-a-dime composing and playingc Satokofs Quartet at their best.h — Downtown Music Gallery

 

"Tamura can triple tongue with a Lee Morgan-like vigor and spit out pistol-cracking notes with the best of them, while Fujii's high intensity, syncopated tremolos suggest a highly strung Bill Evans or Paul Bleyc Both CDs provide many more -- and newer -- reasons to follow closely anything the two create." — Ken Waxman, Jazz Weekly

 

"Natsuki Tamura's trumpet has some of the stark, melancholy lyricism of Miles, the bristling rage of late 60s Freddie Hubbard and a dollop of the extended techniques of W. Leo Smith and Lester Bowie." — Mark Keresman, JazzReview.com

 

"Tamura's 'Wakerasuka' shows that there is room for humor in improvised music as the orchestra punctuate some eloquent soloing with raucous shoutingcTheirs is an impassioned approach to free jazz allied with certain rock sensibilities. It works. Try it." — Paul Donnelly, ejazznews.com

 

 gTamura has a bravura sound on the horn, with wondrous facility and articulation at all tempos, and a musical sense of humor reminiscent of the late Lester Bowiec offers a fresh approach to improvised and music and features some outstanding solo work by both Fujii and Tamura. Adventuresome and rewarding.h – Stuart Kremsky, Journal of the International Association of Jazz Record Collectors

 

 gNatsuki Tamura, who shows a rare kind of sharpness while always maintaining an open atmosphere, is an extremely valuable trumpeter.h — Shiro Matsuo, Music Magazine

 

"Opening with the funky Tamura-written number gTatsu Takeh, Tamura's punctuated and pursuing effects open the door for Fujii to explore counter rhythms, and odd drum beatsc A synergy full of electricityc great recording." — Randy McElligott, JazzReview.com

 

gThis was the first time I heard Natsuki Tamura. He, unlike other trumpeters, has his own sound and style that reveal hardly any influence from Miles Davis.h — Hiromi Wada, Stereo Sound

 

 gOne of the most exciting aspects of this collaboration, perhaps the source for its edge, is the presence and blending of these contrasting styles. In particular, the wife/husband teamwork and their negotiation of different approaches, with Fujii tending to favor uncompromising flights and explosive chord clusters, while Tamura pursues a lyrical, melodic approachc  The quartet is a surprisingly cohesive, yet unpredictable unitc unbridled energy and an infectious unpredictabilityc vibrant and furious.h — Jay Collins, Cadence

 

 


Satoko Fujii Minerva, featuring Natsuki Tamura                                                              - 2 -

 

gThe space metamorphoses variously and opens up our imagination, centering on Tamurafs trumpet that, as usual, projects the sound straightforwardly." — Kazutomi Aoki, CD Journal

 

"Since the mid-90s, pianist Satoko Fujii and trumpeter (and husband) Natsuki Tamura have released a series of albums that have been challenging and diversec All of these recordings have pointed to two musicians with solid command of their instruments and explorative musical naturesc With Minerva this group has found its voice." — Robert Iannapollo, Signal To Noise

 

"Yoshida and Hayakawa practically dare Fujii and her trumpet-playing husband, Natsuki Tamura, to deal with it. They respond firmly but with sensitivity, and this is the contrast that gives Minerva its electric temperament." — Aaron Steinberg, JazzTimes

 

gSatoko Fujii made a powerful impression with her combination of classical training, improvising experiments, and remarkable empathy with her trumpeter husband Natsuki Tamura (when she came to Britain)c Tamurafs mournful whoops and sighs build into free-jazz scuttles and flurries, and some exquisite slow reveries from the leader confirm how personally she extends the language of contemporary improvisation out of jazz roots.h  — John Fordham, The Guardian (London)

 


 

Satoko Fujii Orchestra East Before the Dawn featuring Natsuki Tamura (2003)

 

"Power, exuberance, fierce soloingc a trumpet that sounds like a badger with its foot caught in a steel trap, creaming in front of relatively mainstream harmonicsc an absolutely essential listen for anyone interested in the future of jazz." — Dan McClenaghan, All About Jazz

 

Satoko Fujii Quartet Vulcan featuring Natsuki Tamura (2001)

 

2001 Best Album  — Music Magazine

 

#4 in Swing Journalfs 2001Japanese Jazz Awards

 

TOP 5 CDs of 2001. gVulcan expresses the zeitgeist of an as yet unhatched, extraordinary era.h         — Michael J. Williams, The American Reporter

 

 gIn this high-energy setting, Mr. Tamurafs style is quite effectivec His solo style is pretty raw, full of trills, rips, lip slurs, falls and bent notes, along with short spurts of fast notes.  His energy reminds me a little of Hannibal Marvin Petersonch — Rick Helzer, Jazz Improv

 

"The sensibility here is aggressive to the point of primitive, with a raw, larger-than-life recorded presence for the drums and bass. The otherworldly vocal wailing that introduces "The Sun in a Moonlight Night" is both a warning and an invitation to the intriguing asymmetrical structures and virtuoso playing on this set." — Bill Bennett, JazzTimes

 

 

4/07