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.