Well, Terminal Passage, who regularly uploads music to YouTube that I either really like, or at least find interesting, came up trumps with this.
I was researching the drummers of Casiopea, and Murakami was listed: ‘Occasionally appeared as a second drummer for the band in a few of their live performances’, in the ‘77-79 period! So, around the time of the groups transition from their first drummer, to Sasaki, whose playing I adore.
This album gets a relatively low score, of three and a half stars, purely on listenability. It’s very interesting, being pretty experimental, and perhaps technically deserves a higher rating. It’s also very very interesting from a drummer’s perspective, with some incredible playing. But, it’s not an entirely easy or pleasant listen!
The cover artwork, however, is a very pleasing and delightful surprise, appealing to me massively aesthetically. That gets five – or poss’ even the rare but coveted six – stars from me. Fantastic!
Intent at his work/playing, ‘Ponta’ looks like a major dude in his fair-isle sweater and jumbo earphones!
As it currently stands this post is just a ‘heads up’, to myself, as much as anyone else. No doubt as I listen to it more – I’ve only had a cursory listen so far – I’ll fill in on the musical content a bit more here.
LATER…
Well… it’s now very late in the day, and I’ve listened more closely to the first four tracks, which would’ve comprised side one, in vinyl days of yore. It sounds like it’s mostly just keys and drums; Ponta along with Jon Fukamachi. If there are other musicians I don’t know who they are!
Musically it’s pretty gonzo! Veering all over the map, with a big nod to funky jazz fusion, but in a decidedly odd and unusual vein. Track one, Dance Of Paranoia, moves between a funky clavinet feel, with busy drums, segments that are driven by acoustic piano bass lines, and some outright weirdly composed stuff. It also features some unusual scoops or dips in volume. Very obviously deliberate, and highly unusual!
Contact Point, track two, sounds like it has electric bass. And is – relative to much of the album – quite straightforward, if still a bit quirky. There are shades of disco space funk in this one. Absolute Space takes the spacey soundscapes vibe and goes much more deeply and freely into it, although the abundant earthy percussion tethers things, with some Airto like organic percussion.
The ballistic yet super tight drumming of Quadriga, track four, is the first instance of something both musically interesting, and also somewhat to my tastes. Up till now, there’s been much to enjoy, but scattered throughout a real kaleidoscopic scattershot mix of stuff, much of which doesn’t float my boat.
But, even here, Ponta oscillates pretty wildly, between driving groove based sections, and much freer segments. This track really is a tour de force of drumming and percussion skills. In places it’s like the kind of weird modern ‘classical’ composed music you hear percussionists performing on Young Musician of the Year. Music by musicians for musicians! Poss’ of very limited appeal to non-musos?
As a drummer, musician and ‘artist’, I can really appreciate the artistry of the whole album, even when it doesn’t necessarily ‘do it’ for me. But with Quadriga I can totally enter the spirit of it. As it’s so intensely rhythmic. Definitely my favourite track so far. But maybe tomorrow, and ‘side two’, will change that?
