Swinging Tangerine

 

We are finally learning to appreciate the genius of Oscar Peterson. Here he is swinging one of our favorite standards from the 1940s, "Tangerine" by Victor L. Schertzinger. One can almost hear, for a second, "Tea For Two." 

Ryo Fukui's Mellow Dream

Mellow Dream is quite similar to Scenery, though it was not released until several decades after being recorded in 1977 (according to this). On the 'banging' opener, the Fukui trio again sounds reminiscent of Bill Evans and McCoy Tyner (but with some Bud and perhaps a hint of Horace Silver). The bassist's extended solo reminded me of Scott LaFaro, further cementing the ties between Fukui and the best trio of Evans. The second number, "My Foolish Heart," a standard and appropriately taken at a relaxed pace, is not as moving or interesting as other standards tackled by Fukui. 

Fortunately, "Baron Potato Blues" picks up where "My Foolish Heart" left off, bringing some bluesy funk to the show. Sure, it's a simple blues that's almost obligatory on any jazz number, but it's swinging, the bassist is very audible, and Fukui's mastery of the blues form is showcased in his solo. On this number, he reminds me of Tyner again, mostly for his block chord-like accompaniment of himself. Regardless, it's a jam-packed adventure where the blues, that most essential of the roots in African American music, is a form for expressing not only the deepest melancholy, but triumphant joy. 

"What's New" takes us into familiar standard material. Fukui's soul-searching piano, with the drummer's excellent accompaniment, feels like a wave on the sea, rolling back and forth over a gentle bass. The highlight is without a doubt the melodic solo taken by the bassist, again recalling Scott LaFaro's work with Evans but far too short. "Horizon" goes into more interesting territory with a modal groove, emphatic drumming, and Fukui's almost ancient-sounding theme pounded on the piano keys. Stuff like this recalls the 1960s McCoy Tyner-Coltrane collaborations which fused spirituals, blues and jazz with an ethos of universal spirituality or ecumenism (which often entailed looking to the past and foreign for a 'grand' sound). "Horizon" does this quite well, including some busy drumwork that recalls the not-quite Latin but polyrhythmic and hectic style of Jones, another key component of the success of Coltrane's 1960s output (prior to him dumping Tyner for his wife, Alice). 

Like Tyner, the roots (blues) appear in Fukui's solo while glissandos and flies at breakneck speed. The bassist deserves brownie points for keeping it all together with such quick plucking. The drummer even gets a solo, almost melodically while utilizing as much of the drumset as possible, though nothing quite like my boy Max Roach. Last but certainly not least, "My Funny Valentine" is approached with the gentleness of a slight breeze while walking at the park as Fukui does a piano solo rendition. Its sparseness actually contributes to the emotional drama of the standard's message, in a way that vocalist Sarah Vaughan perhaps best achieved.

Though not as strong or packing as much of a punch as Scenery, this is certainly excellent evidence of the longevity of jazz piano-led trios. The last track, another version of "Early Summer," takes things to their proper soulful modal groove conclusion. Alas, if only this guy had more albums or recordings. I need to consume more jazz from all corners of the world. 

Ryo Fukui's Scenery

Ornette Coleman has taught us that beauty is a rare thing. Nothing could be truer given the general ugliness that surrounds us in the world. Thus, with honor and love, I present you Ryo Fukui's Scenery, a stunning reminder that some of the best jazz comes from outside the US. Fukui's style is immediately reminiscent of McCoy Tyner, Bill Evans, and Bud Powell, three American jazz pianist giants, the second and last recording some of the finest (in my opinion at least) jazz trio recordings of the bop and post-bop eras. With his modal base, Fukui sounds eerily similar to Evans and Tyner in some key ways, particularly sharing an almost spiritual majesty and power in his music with Tyner (listen to "Early Summer" and you might see what I mean). 

Like Evans, however, Fukui is a master of standards, providing some fresh takes on classic gems such as "Willow Weep For Me" (I haven't heard such a bluesy and fun rendition of that song since hearing Lady Day's somewhat melancholy yet bluesy rendition) or "I Want To Talk About You." Although I suppose there is nothing characteristically or explicitly "Japanese," Fukui's music shows the Japanese mastery and comprehension of the jazz idiom. Indeed, the magic of jazz is how inherently universal and emancipatory jazz can be: it incorporates various traditions and styles of music, fuses it together seamlessly, and gives space for creativity and free expression through improvisation. 

Indeed, Fukui is willing to take that freedom train in his interpretations of standards. His take on "Autumn Leaves," for instance, has its own utterly unique, funky introduction, reminiscent of the time Davis and Adderley added their own soulful intro to the same standard on Somethin' Else. In addition, the prominence of the drums, though usually more restrained and not afforded solo space (except that thunderous burst on "Early Summer"), shows how adept the trio's jazz skills are. In fact, he almost sounds like Elvin Jones! They keep it swinging while completely bypassing the limitations of swing, allowing Fukui to soar on those ivories, gliding his hands along the keyboard. 

Beauty is a rare thing, so bask in the pulchritude. The album is arranged quite well, divided into various uptempo and modal jams, midtempo contemplative pieces, and an accurately titled closer, "Scenery," which successfully conjures an atmosphere of thick smoke, dimmed lights, and delight.