Satoko Fujii Orchestra Tokyo
Satoko Fujii: conductor/composer; Kunihiro Izumi: alto sax; Sachi Hayasaka: soprano sax, alto sax; Kenichi Matsumoto: tenor sax; Ryuichi Yoshida: baritone sax; Natsuki Tamura: trumpet; Yosihito Fukumoto: trumpet; Takao Watanabe: trumpet; Yusaku Shirotani: trumpet; Haguregumo Nagamatsu: trombone; Yasuyuki Takahashi: trombone; Toshihiro Koiki: trombone;Toshiki Nagata: bass; Akira Harikoshi: drums; Christian Pruvost: trumpet; Peter Orins: drums
Of Satoko Fujii’s five orchestras (Tokyo, Nagoya, Kobe, New York and Berlin), Orchestra Tokyo might display the best balance between composition and improvisation. Whereas Orchestra New York, in particular, has leaned heavily in the direction of showcasing individual talent, perhaps because of the collection of all-stars she has in her band, Orchestra Tokyo provides some compelling evidence why Ms. Fujii has been called “the Ellington of the avant-garde.”
Knowing this, I listened to the opening of 2014, the lengthy first track on the album, with some growing trepidation as a trumpet (Tamura I believe) led off with an exploration of extended techniques that eventually wore out its welcome. However, at about the ten-minute mark, things really got underway and from there the listener is treated to an experience that continually shifts between composed sections and improvised ones, with varying degrees of dark and light. Christian Pruvost and Peter Orins, members of her small group Kaze, are on board for this album and they integrate seamlessly.
Peace is dedicated to the late Kelly Churko, the guitarist associated with the noise genre and who played on Orchestra Tokyo’s previous release, Zakopane. Throughout the album you hear sadness, anguish, anger and some grudging hope. Peace resolves with the closing Beguine Nummer Eins, which mixes majesty with folk-like simplicity, resulting in a melody that will stay with you. Not quite peace, but at least a sense of hopeful resignation.