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 East Wind Pot

 2006 "East Wind Pot"
                  
 Track list:                    

    1. Dr. Bloodmoney                 7:00
    2. Whom I Loved in My Childhood  12:06
    3. Minotaurus                     6:48
    4. Blue Monday                    5:05
    5. L'Aiquile Creuce               9:09
    6. April Dancer                   8:34

 Line up:

 - Yuko Tsuchiya - keyboards & piano
 - Daisuka Yamasaki - wind instruments
 - Yoshiyuki Sakurai - bass
 - Eiichi Tsuchiya - drums

 Musea FGBG-4636
 Poseidon PRF-032

 --

 Prolusion.

 EAST WIND POT is a new pot in the kitchen of Japan's Progressive, though
 the band's founder keyboardist Yuko Tsuchiya (ex-Theta) isn't a novice on
 the scene.

 Analysis.

 It sometimes happens that the content of the so-called supporting material
 enclosed with a CD strongly conflict with the actual state of affairs.
 Here is just such a case. In the press kit, the music of East Wind Pot is
 described as something between pure jazz and jazz-fusion with some hints
 of Prog in the style of Weather Report, Brand X and Chick Corea. With no
 fear of being upbraided for being too self-confident:-), I assert that
 this statement is quite groundless. No pure jazz here. The points of
 comparisons are altogether useless. Well, the distinct originality of the
 music in conjunction with its pronounced progressiveness, raised to the
 power of the musicians' competence in composition coupled with their
 mastery in the performance department, is the only virtue of East Wind
 Pot's eponymous debut album. But who would dispute this virtue's
 all-embracing nature? Even that little cluster of the Prog audience who
 mistakenly consider Jazz-Fusion to be a non-progressive genre might feel
 comfortable listening to this recording, at least for the most part. I
 will explain. I think only Blue Monday (which is the shortest track here)
 may evoke non-recognition in some Prog Rock lovers, due to its closeness
 to orthodox Jazz Rock, whose typical features, such as syncopated
 movements with unison solos and some sketchiness in theme-formation,
 evince themselves quite often here. The relatively long drum solo on April
 Dancer makes even me somewhat nervous, though just because it divides this
 fully coherent and logically evolving composition - elegantly sliding
 right between Art-Rock and Jazz-Fusion - into two parts instead of
 concluding it, for instance. That said, precisely half of the compositions
 here are as if expressly (why not just so, on the other hand?) designed to
 eliminate the distinction between a symphonic and improvisational harmony,
 most if not all of the soloing parts being composed. The other two pieces
 placed in the service of this kind deed are Dr. Bloodmoney and L'Aiquile
 Creuce, although these bring a distinct chamber sense in addition, as
 they're abundant in acoustic textures, which are woven by the piano,
 saxophone, clarinet, oboe and some other woodwinds. Organ and bass are the
 only electric instruments involved here, while drums and percussion are
 also acoustic, as well as everywhere else on the album. The 12-minute Whom
 I Loved in My Childhood starts off with the long Classical-like prelude,
 reveals elements of Classical music in future too, and is the richest in
 symphonic colors in general. It's full of genuine melodic beauty, though
 to my personal taste, the events develop somewhat smoother than was
 necessary. My favorite composition, Minotaurus, is the least melodic, plus
 it's not devoid of some essential asymmetric constructions. The music is
 in a state of constant evolution and is often harsh and angry, perfectly
 fitting the piece's title. When playing organ, Tsuchiya actively presses
 down on the Distortion pedal, eliciting sounds resembling meaty guitar
 riffs, though the composition is too manifold to describe it in its
 entirety. I'll better content myself with the notion that it's just
 brilliant, to my understanding.

 Conclusion.

 I think the conclusion should be somewhat generalized, like this: "East
 Wind Pot" is an excellent work of Jazz-Fusion that might appeal to those
 who like a strong symphonic flavoring to their music. Yes, the merging of
 styles is part of what I find especially enjoyable about this album.
 Recommended with no sexual:-) or age limitations. In fact, I could have
 managed without a smile here, as I know quite a few ambassadresses of the
 fair sex who are sick of listening to anything but progressive music.

 [[url=http://www.progressor.net/review/east_wind_pot_2006.html]http://www.progressor.net/review/east_wind_pot_2006.html[/url]]