By Don Phipps
Blurts, blats, exhortations – dissonant abstractions – precise harmonics – these are the elements that make up Shishiodoshi, an album that captures a live performance by Kaze and guest artist Koichi Makigami at La Malterie, an artist and musician workspace and performance center located in Lille, France. Kaze is a quartet made up of Christian Pruvost and Natsuki Tamura (trumpets), Satoko Fujii (piano) and Peter Orins (drums). Here they’re joined by Koichi Makigami, who adds his voice, trumpet, and shakuhachi (Japanese flute) to the mix.
There are three improvisations, all experimental in nature. The most successful of these is “Inspiration 2.” Birdlike radio wave sounds open the number. The band slowly joins in – in a kind of staggered entrance. The effect? Music that seems at once both connected and disconnected. The music builds – think a rising sun (not unlike the opening to Debussy’s “La Mer.”). Orin’s polyrhythmic drumming creates a backdrop that gives way to brushwork accompanied by breathing through the trumpet mouthpieces – an odd pairing for sure. Then the vocals take over, with a mouthy slapstick expression that suggests snoring, indigestion, baby cooing, stomach rumbles, squeaks, and hums. The musicians interweave trumpet notes, piano splashes, and voice squeals together before Fujii’s piano solo emerges with chordal intensity – her use of the pedal creating a sonic effect which adds to her work on the strings inside the piano. The trumpets enter again – racing along like thoroughbreds. The band ends with a dronish unison, as if disparate sound can be neatly tied together.
“Make A Change” offers up an expressive mix of piano rolls and free trumpet blowing. Fujii adds some dark elements and Orin uses rimshots and other techniques to add to the milieu. Most notable is the Lester Bowie-like trumpet drawls. The music is very free flowing at times, with lightning runs and a hint of formalism. Koichi groans like a constipated weightlifter. The music shifts about and winds up in a muted fury.
“Shishiodoshi” is more playful than the other two numbers. Koichi’s voicings are comic, with Donald Duck rasps and cartoonish effects. In fact, several voices are heard, like madness expressed, the id unleashed. Fujii creates a rhythm while the trumpets whine, hoot, and holler above. Orin brings his full trap set to bear as Fujii smashes the keys. It winds down in odd fashion with cat-like meow sounds.
While one can appreciate the various blinding curves and tunnels the improvisations navigate, Shishiodoshi, in the end, is a bit tedious – almost too much of a good thing. There is substantial variety, but the phrasing feels duplicative and a bit contrived. There’s nothing wrong with a good romp, but one might hope for more purpose. That said, for those with adventurous ears, this album is worth a listen.
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