Thursday, January 21, 2066

The place to report broken links and request stuff!


Howdy people...


October 1, 2016 Update:

Sorry for being absent for a while, part of it was due to a very nice Indian Summer and discovering a new beach about 2 clicks from home. So now that I have worked up a bit of a tan, I am happy to inform you all that I am back, tons of stuff ready to post, And that I finally resolved the situation of my faulty hard drive and got myself a nice new 8  tb server for the house, Spent most time this week transferring from the Data DVD's I had as backup (It takes a while and a shitload of discs to back up 6tb)... Once this is done I will close shop for a little while as far as new posts go and concentrate on reuploading all the dead links, It will be much easier having it all on one drive than to have to sift thru a gazillion backup DVD's... wish me luck and happy music hunting y'all... o yeah! and Shanah Tova to my Jewish friends around the world!

From now on lets use this sticky post for all requests and re-post notices, So that I can keep better track of it, and get stuff done... Thanks a lot!

When notifying about a dead link, please include te link to the actual post, because that would make my work a lot faster (And I mean  A LOT). Thanks in advance to all the dudes and dudettes helping out!



Thanks a lot for all the encouraging messages and anonymous goodies! (I really appreciate it).

Sunday, June 25, 2017

Terumasa Hino - 1973 - Taro Mood

Terumasa Hino 
1973 
Taro Mood


01. Alone, Alone And Alone 14:25
02. Taro's Mood 12:35
03. Predawn 25:30

Cd Reissue:

101. Alone, Alone And Alone 14:17
102. Taro's Mood 12:47
103. Black Daffodil 12:33
104. Predawn 25:32

201. Stella By Starlight 7:47
202. Cycle Circle 13:57
203. Lullaby 6:35

Bass – Yoshio Ikeda
Congas – Yuji Imamura
Drums – Motohiko Hino
Piano – Mikio Masuda
Trumpet – Terumasa Hino

Recorded live at the jazzclub Domicile in Münich, June 29th 1973.


Born in 1942 in Tokyo, Terumasa Hino made his professional debut in 1955. After the great success of his album "Hi-nology" (1969) he performed at the Berliner Jazztage in 1971 and at many other festivals before moving to New York in 1975. Today Hino is a lving legend and the most famous national jazz musician in Japan. Once an editor of Miles Davis transcriptions, his powerful playing in the 70s and his "large, brilliant tone" (Grove Dictionary) have often been compared to Miles Davis' 60s style. "Taro's Mood" is a fiery, high-energy live document of freestyle hardbop that also allows moments of surprising lyricism. Including four bonus tracks, this edition gives a much broader picture of Hino's music than the original LP vinyl could.

One of the first great non-Japanese recordings by trumpeter Terumasa Hino – a smoking little live set from Germany, done at a time when Hino was working at the height of his youthful powers! The mode here is stretched out and open – never too outside, but very exploratory – in the direction that Hino took quite strongly on his Japanese albums as the 70s approached, but performed here in a style that's even more organic than those records. The group is all Japanese – with Motohiko Hino on drums and Mikio Masuda on piano – and added conga at the bottom of the backings almost gives the record an early 70s Impulse Records sort of feel – nice and spiritual, and plenty soulful!

Terumasa Hino Quintet - 1973 - Live!

Terumasa Hino Quintet
1973
Live!



01. Stella By Starlight 12:08
02. Sweet Lullaby 7:20
03. Be And Know 28:25

Bass – Yoshio Ikeda
Drums – Motohiko Hino
Percussion, Congas – Yuji Imamura
Piano – Mikio Masuda
Trumpet, Producer – Terumasa Hino

Recorded live in The Recital on June 2, 1973.


First side is a bit lame, but side two is a monster 28 minute modal/spiritual jam.


Terumasa Hino - 1973 - Journey Into My Mind

Terumasa Hino 
1973 
Journey Into My Mind



01. Oriental Dance
02. My Funny Valentine
03. Thanks Toko
04. Rêve Provencale
05. Sky
06. Open Vision

Bass – Tsutomu Okada
Drums – Motohiko Hino
Flute, Saxophone – Hideo Miyata
Piano – Mikio Masuda
Saxophone – Hidefumi Toki
Tenor Saxophone – Takao Uematsu
Trombone – Shigeharu Mukai
Trumpet – Terumasa Hino

Recorded December 20, 1973 at Iino Hall except Oriental Dance recorded December 19, 1973 at Mouri Studio.


Mal Waldron - Terumasa Hino - 1972 - Reminicent Suite

Mal Waldron - Terumasa Hino 
1972
Reminicent Suite


01. Reminicent Suite 23:41
Dig It Deep Down Baby
Echoes
Once More With Feeling
02. Black Forest 18:35

Bass – Isao Suzuki
Drums – Motohiko Hino
Percussion – Uzi Imamura
Piano – Mal Waldron
Tenor Saxophone – Takao Uematsu
Trumpet – Terumasa Hino

Recorded on 14th August, 1972 at Victor Studio, Tokyo, Japan.


Waldron sits in with Terumasa Hino's 72 quintet (taking the piano chair of Mikio Masuda) for this magnificent recording featuring two epic cuts spanning a side a piece with composing credits split between Waldron and Hino.Something of an obscurity even to Waldron fans this has never seen a vinyl or cd reissue even in Japan which is a great pity as its a phenomenal lp.
"Reminicent Suite" is by Waldron and opens with a typical hammered down solo piano theme rapidly picked up by the rest of the quintet which is then comprehensively shredded,mangled and spat out until around 15 minutes when the vamp slides into a beautiful coda creating a more reflective mood for some lyrical work by Hino, Uematsu and Waldron who then bring the track to a close with a brief restatement of the theme.
"Black Forest" is a churning 6/8 styled naningo the soloists darting out from the thickets of percussion with Waldron battering the cyclical motif into submission.Hino and Uematsu drop rip roaring solos followed by Waldron and then its over to Motohiko Hino and Suzuki before back into the theme for conclusion.
Breathtaking stuff

Terumasa Hino Sextet - 1972 - Fuji

Terumasa Hino Sextet 
1972 
Fuji


01. Be And Know 14:23
02. Reaction 14:41
03. Fuji 17:43
04. A Child Is Born 9:28

Bass – Yoshio Ikeda
Drums – Motohiko Hino
Electric Piano – Mikio Masuda
Guitar – Kiyoshi Sugimoto
Tenor Saxophone – Takao Uematsu
Trumpet – Terumasa Hino

Recorded Mar. 8, 1972



Excellent modal spiritual jazz a la Pharaoh Sanders etc. Great stuff

Terumasa Hino - 1971 - Vibrations

Terumasa Hino 
1971 
Vibrations


01 Into The Heaven 13:14
02 I'm An Old Cowhand 6:36
03 Crackling 3:20
04 Ph-Ph-T 11:35
05 Dig It 3:00


Bass – Peter Warren
Drums – Pierre Favre
Tenor Saxophone [Tenorsax] – Heinz Sauer
Trumpet – Terumasa Hino

 Audio-Studio Berlin. November 7, 1971


Terumasa Hino Quintet - 1971 - Peace And Love

Terumasa Hino Quintet
1971
Peace And Love


01. Gongen
02. Peace And Love

Reggie Workman, bass
Motohiko Hino, drums
Kiyoshi Sugimoto, guitar
Teruo Nakamura, percussion
Hideo Ichikawa, piano
Terumasa Hino, trumpet

Recorded at TSC Japan on 29 September and 1 October 1970


Some elegant and mellow jazz from prominent Japanese trumpeter Terumasa Hino. Here we have two long tracks, one flowing and one more subdued, with some beautiful instrumentation and composition throughout. Dig it smooth cool cats

Terumasa Hino Quintet ‎- 1971 - Love Nature

Terumasa Hino Quintet 
1971 
Love Nature


01. Each Other
02. Love Nature
03. Sister Mayumi

Gary Bartz, alto saxophone
Reggie Workman, bass
Eric Gravatt, drums
Kiyoshi Sugimoto, electric guitar
Terumasa Hino, trumpet

Recorded at Obe Studio, Teaneck, New Jersey on 31 March '71



Joe Henderson And Kikuchi, Hino - 1971 - In Concert

Joe Henderson And Kikuchi, Hino 
1971 
In Concert


01. Sunrise In Tokyo 12:26
02. So What 11:40
03. Get Magic Again 19:54

Alto Saxophone, Soprano Saxophone – Kousuke Mine
Bass – Yoshio Suzuki
Drums – Hiroshi Murakami, Yoshiyuki Nakamura
Piano, Electric Piano – Masabumi Kikuchi
Tenor Saxophone – Joe Henderson
Trumpet – Terumasa Hino

Recorded in "Tokyo Toshi Center Hall", Tokyo, Japan, August 5, 1971


Recorded at the Tokyo Toshi Center Hall, Tokyo, Japan, on August 5, 1971, this live set features Henderson with an incredible line up of Japanese young lions.The session took place the day after Henderson's appearance at the Junk Club, Tokyo, for the recording of 'Joe Henderson In Japan' on the Milestone label and is something of a different beast.
"Sunrise In Tokyo" kicks us off with a terrific head and solos from the three major protagonists while "So What" is taken at a rapid tempo and again showcases the big three from the lp title."Get Magic Again" is a more abstract piece moving into New Thing territory with great piano from Kikuchi who penned the title.
An excellent album – and one of Joe Henderson's boldest sets from the early 70s! The record features Joe working with a hip group of young Japanese players that includes Terumasa Hino on trumpet and Masabumi Kikuchi on piano and electric piano – and the sextet format of the session stretches way past Joe's other Japanese recording from the time, which was issued in the US on Milestone. This one features very long tracks, with tremendous intensity from both the group and Joe, who's got a real edginess to his playing here. 

Terumasa Hino - 1971 - Hino At The Berlin Jazz Festival '71

Terumasa Hino 
1971
Hino At The Berlin Jazz Festival '71



01. Birth Of Action 18:29
02. Cycle Circle 12:51
03. Ode To Workman 17:32
04. Alone, Alone And Alone 7:33

Bass – Yoshio Ikeda
Drums – Motohiko Hino
Guitar – Kiyoshi Sugimoto
Tenor Saxophone – Takao Uematsu
Trumpet – Terumasa Hino

Recorded live at The Berlin Jazz Festival Nov. 6, 1971.


Long considered a jazz legend and Japan’s foremost trumpeter, Terumasa Hino has played with almost all the jazz heavyweights throughout the past half century, from Gil Evans and Elvin Jones to Herbie Hancock and Chick Corea. His musical references have been Freddie Hubbard and Miles Davis.

All the albums that Terumasa Hino has released in the 70's (starting with the legendary Hi - Nology, 69) are highly recommended for lovers of spiritual jazz and koozmigroov.

“Hino at Berlin Jazz Festival ’71” is pure power. It was released by Victor Japan on 1971 and by Catalyst Records on 77. It includes four long tracks. The absence of keyboards gives prominence to the guitar player (Kiyoshi Sugimoto). Terumasa Hino is great, as always. The rest of the quintet is: Motohinko Hino (Terumasa brother) on drums, Yoshio Ikeda on bass and Takao Uematsu on tenor saxophone. Highly recommended! All killer No filler.

More Terumasa Hino, here's a favourite, unbelievably out of print, by Hino's touring quintet of the early 70's, incredibly inventive unit , stradling freeish post Bop, Fusion you name it..
Of note specifically is some remarkably free shredding by guitarist Kyoshi Sugimoto,(Taku Sugimoto's father) who steals the show here, for me , along with Hino's folksy vocal tone and incendiary attack...

Cycle Circle, on side one has a lurching ominousness that's very similar territory to K.Komeda's Astigmatic.

Terumasa Hino Meets Reggie Workman - 1971 - A Part

Terumasa Hino Meets Reggie Workman 
1971
A Part



01.  A Part
02. Ode To Workman
03. Be And Know

Reggie Workman, bass
Yuji Imamura, congas
Motohiko Hino, drums
Kiyoshi Sugimoto, guitar
Hideo Ichikawa, piano, electric piano
Takao Uematsu, tenor saxophone, bass clarinet
Terumasa Hino, trumpet, flugelhorn


Recorded at T.S.C. Japan on 1 & 8 November and 3 December, 1970.


Terumasa Hino Quintet - 1970 - Into The Heaven

Terumasa Hino Quintet
1970 
Into The Heaven 


01. Into The Heaven 20:15
02. Feeling Blue As You Are Feel 12:52
03. Circus 3:02

Bass – Kunimitsu Inaba
Drums – Motohiko Hino
Flugelhorn, Trumpet – Terumasa Hino
Piano – Hiromasa Suzuki
Tenor Saxophone – Takeru Muraoka

Recorded at Tokyo Studio Center
Feb. 5. 1970


This is a lovely jazz LP by japanese trumpeter Terumasa Hino and his Quintet from 1970. Into The Heaven is a very groovy hard bop album, one of my all time favorite jazz albums (there is a nice reissue of the album from 2000 available). Dig it!

Friday, June 23, 2017

Everything Is Everything - 1970 - Just Flash In The Cosmic Pan

Everything Is Everything
1970 
Just Flash In The Cosmic Pan



01. In To The Heaven
02. Jun's Dreams
03. Just Flash In The Cosmic Pan

Dave Liebman, soprano & tenor saxophone
Steve Grossman, soprano & tenor saxophone
Lanny Fields, bass
Teruo Nakamura, bass
Mike Garson, piano
Reggie Workman, bass
John Carbone, bass
Randy Brecker, trumpet
Joe Bonner, electric piano
John Abercrombie, guitar
Lenny White, drums
Steve Jackson, percussion
Yosuke Tonoki, percussion, flute

Recorded on 15 June 1970


An album so rare that I could not find an entry for it at either Rateyourmusic or Discogs... Maybe I'm doing something wrong... Japanese label and producer, and doing a tune by Terumasa Hino...

Any info would be really appreciated!

Group Everything Everything Everything - 1970 - Hino's Journey To Air

Group Everything Everything Everything 
1970
Hino's Journey To Air



01 Journey To Air 1
02 Journey To Air 2

Terumasa Hino, trumpet, flugelhorn
Gary Pribec, alto saxophone
Pete Yellin, alto Saxophone, flute
Dave Holland, bass
Lanny Fields, bass
Teruo Nakamura, bass
Bobby Moses, drums
Motohiko Hino, drums, handclaps
Mike Garson, piano, electric piano
Dave Liebman, alto & tenor Saxophone
Steve Grossman, alto & tenor Saxophone, flute
Olu Dara, trumpet

Recorded at Upsurge Studio, New York City, March 1970.




Trumpeter Terumasa Hino, the first candidate for best Japanese jazz trumpeter ever,is known quite well outside of his home country,mostly by his Miles Davis-influenced fusion albums. It's less known that during early 70s he was involved in free jazz movement, and almost unknown that during his first ever visit to New York in 1970 he recorded one-shot project's "Group Everything Everything Everything" album (released exclusively in Japan though).

I have no idea if Terumasa has been influenced by Alan Silva "Luna Surface" radical album, recorded and released some month prior to "Group Everything..." session, if not than probably very similar idea just flew somewhere around in that creative and electrified air of late 60s-early 70s. Silva in Paris formed 11-piece band (participating as violinist/conductor) and let musicians to play whatever they want,all at once. Resulted two-sides long track "From Luna Surface" presented kind of organized chaos,collective unframed and uncontrolled improvisation,reflecting creative freedom of the time and having it's own (non-conventional) beauty. 

Terumasa Hino formed in New York 12-piece Japanese-British-American band (with Dave Holland on bass,sax players Dave Liebman and Steve Grossman among others)and recorded two-sides long free-improvised composition "Journey To Air" - electro-acoustic tsunami with lot of personal soloing. If Silva's work was more about unlimited freedom, Terumasa's music is better organized,contains more tunes and virtuosic solos and aesthetically is closer to contemporary classic avant-garde than Silva's destructive anarchistic no-wave.

The future of both above mentioned albums are polar different - French BYG-released "Luna Surface" became a cult album (what as rule means everyone heard about it but almost no-one heard the music itself),Japanese-only album "Hino's Journey To Air" became a collectable rarity(in late 70s it was re-released as Terumasa Hino's solo album of the same title)."Luna Surface" was first, "Journey To Air" sounds better - those who like the former most probably will really enjoy the later.

P.S. It's interesting that part of the project musicians three months later recorded another similar album (this time as "Everything Is Everything" band,another excellent line-up including guitarist John Abercrombie,bassist Reggie Workman,trumpeter Randy Brecker and drummer Lenny White besides of Liebman/Grossman duo from initial project). Japanese only release as well.

Thursday, June 22, 2017

Terumasa Hino - 1970 - Alone Together

Terumasa Hino 
1970 
Alone Together




01. Introduction - Alone Together
02. Satsuki
03. Make Left

Steve Grossman, alto & soprano saxophone
Richard Davis, bass, electric bass
Motohiko Hino, drums
Harold Mabern, piano, electric piano
Terumasa Hino, trumpet, flugelhorn

Recorded at "Sound Media" Studio, New York, April 6-7, 1970



One of the leading Japanese trumpeter Terumasa Hino (often titled "Japanese Miles Davis") differently from many co-patriots started his musical career not from short-lived but extremely popular free-jazz of late 60s.His first recordings were all hard bop (including album release in US in 1968 - quite a rare case for the time). In early 70s his music became heavily influenced by Miles Davis first fusion works.

"Alone Together" is one of Terumasa's five studio albums, released in 1970 (very successful year for Hino). Three long compositions (between nine and almost eighteen minutes long)represent very eclectic proto-fusion, kind of Davis "Miles In The Sky", but freer and more kaleidoscopic version.

If Miles genres evolution often being revolutionary has strong systematic logic, Terumasa's music here sounds more like chaotic bag full of colored glasses. Bassist Richard Davis (who played on Dolphy's "Out To Lunch!") is deeply hard-bop rooted musician who doesn't afraid playing free though. Pianist Harold Mabern is more comfortable with post-bop or even soul jazz, sax player Steve Grossman is Miles Davis fusion band's musician of the time. Terumasa's brother Motohiko Hino,who is generally great drummer,on this album is another destructive factor,blasting heavy rock-influenced strokes as he would be a God of thunder. This far not subtle drumming is stated in a front of sound mix what is most probably a fashion of the day but it often destroys initial beauty of musical pieces.

Changing styles from fusion to hard-bop to free to post-bop and closing fusion again on same long composition doesn't work all that well. Separate few minutes parts are often quite great if not too original, but chaotic travel over the genres builds potpourri-like feeling in moments. It should be noticed that Terumasa playing itself is quite great, he's less passionate trumpeter than Davis,but freer what let him find his own accents. Still all band of skilled but too different musicians where almost each member sees his mission a bit different from the rest of team, sounds undirected. Still enthusiastic atmosphere of that time and Terumasa's strong playing save music from being uninteresting or boring. 

After few months Terumasa Hino will step to his next, even more adventurous period, playing freer and more advanced music, "Alone Together" stays his transitional work still interesting for his fans and probably for listeners who enjoy Japanese jazz from early 70s.

Terumasa Hino Quintet - 1969 - Hi-Nology

Terumasa Hino Quintet 
1969 
Hi-Nology



01. Like Miles 9:54
02. Electric Zoo 12:30
03. Hi-Nology 14:29
04. Dupe 7:02

Drums – Motohiko Hino
Electric Bass – Kunimitsu Inaba
Electric Piano – Hiromasa Suzuki
Tenor Saxophone – Takeru Muraoka
Trumpet – Terumasa Hino

Recorded at Yamaha Hall, Ginza on July 31, 1969



One of the most unforgettable japanese rare groove masterpiece released under the New Stream In Jazz catalogue For Nippon Columbia Takt Jazz Series. Recorded at the Yamaha Hall in Ginza, Hi-Nology is performed by the greatest japanese trumpeter & his fabulous first quintet featuring Takeru Muraoka, Kunimitsu Inaba, Hiromasa Suzuki plus his brother Motohiko. Hi-Nology is without a doubt, the expression of a Terumasa Hino at the top of his play, inspired by the Miles Davis' work (which is never too far), who indeed, during the same year recorded In A Silent Way, which will launch the electrification in Jazz, and therefore, opening the fusion period. Titles include the Davis' tribute, Like Miles, the Free Jazz of Electric Zoo, Hi-Nology and the Avant Garde Dupe, all composed by Terumasa Hino except Electric Zoo by Takeru Muraoka. 

Long considered a jazz legend and Japan’s foremost trumpeter, Terumasa Hino has played with almost all the jazz heavyweights throughout the past half century, from Gil Evans and Elvin Jones to Herbie Hancock and Chick Corea. Born in Tokyo in 1942, Hino made his professional debut at the tender age of thirteen, drawing his main inspiration from Freddie Hubbard and Miles Davis.

For the first few years of his career, Hino was something of an opportunist, even jumping open Japan’s early ‘60s eleki bandwagon with the cash-in LP TRUMPET IN BLUEJEANS. However, his fiery temperament and ‘large brilliant tone’, as The Grove Dictionary of Jazz termed it saw Hino’s late ‘60s work increase both in output and quality, and his 1969 Columbia LP HI-NOLOGY as The Terumasa Hino Quintet was extremely successful commercially.

Japanese leading trumpet player Terumasa Hino's "Hi-Nology" is his most commercially successful album and in fact his start to international fame.Released in 1969,it was one of the very first fusion album recorded by country's artists and released in Japan.Sometimes described as "Miles Davis undone step" in reality it isn't that.

Terumasa Hino started as mainstream jazz trumpeter and in 1968 switched from hard bop to more modern post-bop forming Hino-Kikuchi Quintet with pianist Masabumi Kikuchi. Their debut,recorded same year,was released in 1969 only, and few month later Terumasa Hino releases "Hi-Nology" with same band,just with different pianist (acoustic pianist Kikuchi has been changed with Hiromasa Suzuki on electric piano).The concept of electric fusion was just in the air around, and Hino was obviously heavily influenced by Davis re-tuning his quintet for playing more advanced sound.But if Miles very soon brewed jazz improvisation with psychedelic rock jamming,Terumasa stayed deeply rooted in mainstream jazz building his fusion on boppish basis.Miles concentrated his interest on textures against form, Hino demonstrates perfectly framed and structured songs in mainstream jazz tradition. 

Released on the peak of fusion "revolutionary" popularity, this album was a true success between both yesterday's jazz adepts searching for new sound and part of rock fans,since very jazzy by its nature album's compositions were not so different from tuneful well-structured rock songs (thanks to thunder-like Motohiko Hino drumming Hi-Nology sounds not all that different from some rock albums of the time).

So,representing just a different (and generally more conservative by its nature) leg of just-born fusion comparing with Miles Davis music of the moment, Hino's quintet plays music which has born under Davis influence. The real reason why it sometimes sounds more advanced is that that hard-bop rooted Hino is more open to another huge moment's influence - free jazz. Miles was known by his negative point of view towards free jazz (what not always means his music isn't influenced by it), Terumasa Hino saw free jazz as part of his music (even if in reality Hino's music as rule is never such free as Miles'). As a result on "Hi-Nology" one can find lot of freer soloing which don't change basic structure but add lot of fashionable free jazz arrangements hardly possible in Miles music. Miles has been never interested in flirting with free jazz, and because of that Hino music for some ears sounds as "Miles undone next step brewing fusion and free jazz". I believe if Miles would be interested to make this step his music would sound much freer.

"Hi-Nology" stays one of the best early Japanese fusion album and start of commercial success for Terumasa Hino. Besides of few other country scene's similar releases it built the basis for plenteous and influential J-fusion movement some years later.

Hino=Kikuchi Quintet - 1969 - Hino=Kikuchi Quintet

Hino=Kikuchi Quintet 
1969 
Hino=Kikuchi Quintet



01. Tender Passion 9:16
02. Ideal Portrait 5:59
03. Long Trip 9:12
04. H. G. And Pretty 7:30


Bass – Kunimitsu Inaba
Drums – Motohiko Hino
Piano – Masabumi Kikuchi
Tenor Saxophone – Takeru Muraoka
Trumpet – Terumasa Hino

Recorded 8.22, 8.30, 1968



Terrific modal - hard bop session from the two leaders who would go on to blaze the electric jazz trail in Japan.This session sounds heavily influenced by the classic Miles Davis Quintet of the mid sixties although the four compositions are all originals by Kikuchi.Great heads and arrangements open up leaving plenty of space for exploratory soloing from Hino,Kikuchi and Muraoka supported by the supple rhythm section of Motohiko Hino and Kunimitsu Inaba.
All Killer No Filler!

Hino-Kikuchi Quintet was a short-lived project founded by two future leading artists of Japanese jazz pianist Masabumi Kikuchi and trumpeter Terumasa Hino. Current all-Japanese line up recorded and released only one album ("Hino=Kikuchi Quintet" is stated on cover as a confirmation of co-leading). In mid 90's the band will be reunited for live gig with Greg Osby on sax and different rhythm section, in 2007 Hino and Kikuchi will release two more collaborative albums as co-leaders, but generally speaking "Hino=Kikuchi Quintet" will always mean this only released recording in such important for development of jazz year of 1968.

Both Terumasa Hino and Masabumi Kikuchi were Miles-influenced musicians introducing his kind of jazz to Japanese listeners. Trumpeter Hino already released some hard bop albums,but this work became to him the transition to more complex modal jazz.

Four Kikuchi originals sound exactly as if they are recorded under fresh impression of Miles band with Hancock,or better to say - close to Hancock's own albums, recorded in late 60s (before Mwandishi). Rhythm section is still conservative and anchors advanced Hino & Kikuchi's mainstream jazz building strict repetitive hard bop rhythm basis. Quite well played, tunes aren't memorable at all and main interest is exactly how both Kikuchi and Hino are leaving hard bop searching their new identities in more modern sound of upcoming era.

It's interesting that right after this release Kikuchi will switch to even more new Miles Davis influence - much more revolutionary fusion (and will become this genre leading pianist in Japan), Terumasa Hino future music will split between fusion and mainstream jazz. He will become leading Japanese jazz trumpeter very soon as well. 

"Hino=Kikuchi Quintet" stays an important evidence where both them are started, and quite nice listening itself till nowadays

Terumasa Hino and His Group - 1968 - Feelin' Good

Terumasa Hino and His Group
1968 
Feelin' Good



01. Mississippi Dip
02. Feeling Good
03. And Satisfy
04. Trust Me Now
05. The Magilla
06. Lucy In The Sky With Diamonds


Masabumi Kikuchi - piano
Takeru Muraoka - tenor saxophone
Takeshi Aoki, Hiroshi Suzuki - trombone
Yoshiaki Masuo, Toru Konishi - guitar
Motohiko Hino - drums
Kunimitsu Inaba - bass
Kaoru Chiba - flugelhorn
Jake - alto saxophone
Hiroshi Okazaki - baritone saxophone
Akira Miyazawa - flute
Fumio Watanabe - percussion


Recorded at Teichiku Kaikan Studio, June 4, 12, 1968




Born 25 October 1942, Tokyo, Japan. Following, more or less literally, in the footsteps of his trumpet-playing, tap-dancing father, Hino learned to tap at the age of four, and took up the trumpet when he was nine years old. He taught himself the principles of jazz improvisation by transcribing solos by Miles Davis (from whom, no doubt, he learned his conviction about the importance of space), Louis Armstrong, John Coltrane, Clifford Brown, Lee Morgan and Freddie Hubbard. He began playing publicly in American army clubs in 1955 in Japan, then joined Hiroshi Watanabe and Takao Kusagaya, but his first major job was with the Hideo Shiraki Quintet, where he stayed from 1965-69. During 1964/5 he had led his own group, and left Shiraki at the end of the decade in order to lead his own band full-time. In 1974 he worked with Masabumi Kikuchi, then in June 1975 he went to the USA and worked with Joachim Kuhn (1975), Gil Evans, Jackie McLean and Ken McIntyre (1976), Hal Galper (1977), Carlos Garnett (1977), Sam Jones (1978), Elvin Jones (1982) and Dave Liebman, as well as continuing to lead his own group, the band which John Scofield credits as moving him from fusion to jazz. By then Hino was dividing his time equally between the USA and Japan. He plays trumpet and flgelhorn with a mellow fire, and his fame in Europe continues to grow almost matching his reputation in Japan and the USA. He toured Europe with Eddie Harris in November 1990, and was reunited with Kikuchi for a rhythmic 1996 recording session featuring alto saxophonist Greg Osby. 

A big band work by Terumasa Hino that Kikuchi Masaaki arranged. Famous musicians from the past participate in the event and create a magnificent sound. Personally I am puzzled by the lack of thrilling and slightly different from expectation. 

This work is made up of three sets, Hino = Kikuchi Quintet only for B - 1, Others are organized in 12 people, organized in 15 orchestras. I wonder what he says, especially when it comes to a big formation I feel like a popular orchestra rather than a jazz like that feeling. Perhaps A - 1 that ends with a fade - out has embraced such a feeling that it seems to be used for TV dramas in the Showa 50 's. The title song A-2 is cool. The goodness of the song is shining while playing it. A-3 is a funky number. Tenor Muraoka built solo can be enjoyed. From the implication that there is a feeling of strangeness in the Big Band, the Quintet of B - 1 which becomes a small organization can be most emotionally transferred. Following the dark theme, straight-blown Hinotel's trumpet solo feels like the light that shines in the darkness. The unique riff is impressive and gives this work a more presence. B-2, B-3 are back in the orchestra. B-3 is the Beatles song. Well .... 

Perhaps most of the songs played in Furuban are strong R & B taste, there are things of age as well. It probably does not suit the skin which contains jazz-rock like elements, probably. But I can not say that I am not good at that kind of music in the first place, I'm listening once in a while, I think that it is the most likely cause that there was a divergence in the shape of the big band that we are hoping for Hinotel. I wanted you to arrange more jazz and want the trumpet to be blown up nicely and wonderfully. 

Terumasa Hino Quartet - 1967 - Alone, Alone and Alone

Terumasa Hino Quartet 
1967
Alone, Alone and Alone



01. Alone, Alone аnd Alone (Terumasa Hino) 07:34
02. Soulful (Terumasa Hino) 10:39
03. Summertime  (George Gershwin) 07:41
04. Downswing (Terumasa Hino)  03:14
05. B-Lunch (Terumasa Hino) 08:08

Terumasa Hino - Trumpet
Yuji Ohno - Piano
Kunimitsu Inaba - Bass
Motohiko Hino - Drums

Recorded at Teichikukaikan Studio, Nov. 16, 17 1967



Long considered a jazz legend and Japan’s foremost trumpeter, Terumasa Hino has played with almost all the jazz heavyweights throughout the past half century, from Gil Evans and Elvin Jones to Herbie Hancock and Chick Corea. Born in Tokyo in 1942, Hino made hgis professional debut at the tender age of thirteen, drawing his main inspiration from Freddie Hubbard and Miles Davis. For the first few years of his career, Hino was something of an opportunist, even jumping open Japan’s early ‘60s eleki bandwagon with the cash-in LP TRUMPET IN BLUEJEANS. However, his fiery temperament and ‘large brilliant tone’, as The Grove Dictionary of Jazz termed it saw Hino’s late ‘60s work increase both in output and quality, and his 1969 Columbia LP HI-NOLOGY was extremely successful commercially. Hino celebrated the new decade with the LP JOURNEY TO AIR, a hugely inventive disc taken up by the single title track, itself split into two sections ‘Part 1 – Gongen’; and ‘Part 2 – Peace & Love’. JOURNEY TO AIR also introduced future Miles Davis sax player Dave Liebman, while the LP’s European success enabled Hino to play at the Berliner Jazztage in 1971. Thereafter, he released the LPs VIBRATIONS and LOVE NATURE in rapid succession, whilst working concurrently as an editor of Miles Davis transcriptions. In June 1973, The Terumasa Hino Quintet released two amazing live LPs recorded on different continents. The LP LIVE! was recorded in Tokyo on June 2nd and released on the hip Three Blind Mice label, whilst TARO’S MOOD was captured in Munich, at The Domicile Jazzclub, and released on Germany’s Enja label. Both records were hugely raw and intoxicating by virtue of their long drawn out tracks, extreme percussive overload - supplied on both occasions by drummer Motohiko Hino and master percussionist Yuji Imamura – and Hino’s ability to stretch out from straight ahead melody to charging elephant cacophony. Indeed, the 25-minutes of ‘Predawn’ (which takes up all of side two of TARO’S MOOD) and the 28-and-a-half minutes of ‘Be And Know’ (which takes up the whole of side two of LIVE!) are two of my all time favourite pieces of Japanese music. Hino thereafter dropped the quintet, returning to the recoprding studio, in January 1975, for the epic sound of SPEAK TO LONELINESS. Again opting for one side long track and two slightly shorter affairs, the LP introduced a bigger, more brass orientated sound. Later in ’75, Hino moved to New York, where he worked with arranger Gil Evans Elvin Jones and Dave Liebman. His 1977 LP MAY DANCE was released on the Japanese Flying Disk label, and featured ex-Miles Davis stars Ron Carter on bass and Tony Williams on drums, plus legendary guitarist John Scofield. The music became a little typical of his New York environment until 1981’s Columbia LP DOUBLE RAINBOW, which appeared to be a a very successful homage to Miles’ lost 1975 funkathon period. Indeed, the fifteen minute opener, Masabumi Kikuchi’s ‘Merry-Go-Round’ opts for an AGARTHA-type atonal funk vibe, Kikuchi’s own organ intro highly reminiscent of Miles’ claw-handed voodoo take on Sly Stone’s sould keyboards. Moreover, Kiyoshi Itoh’s mixing style also apes many of the mix ideas that Teo Macero introduced to Miles Davis LPs. Thereafter, Hino returned to Japan to live and work throughout the ‘80s

Terumasa Hino is probably the best and the most famous Japanese jazz trumpeter, one of Japan's finest jazz giant influenced by Miles Davis (his american counterpart) & the Fumio 'Satchmo' Nanri's legacy (trumpeter who played with Louis Amstrong). Hino had the opportunity to work with Sadao Watanabe and others Jazz masters such as Joe Henderson, Elvin Jones, Gil Evans or Jackie McLean. From 1967 to 1970, he played regularly with this formation based on Kunimitsu Inaba and his young brother Motohiko, whose Alone, Alone And Alone is their first recording and also the first jazz album released under his own name, recorded in 1967 but released in 1970. After a interlude with Masabumi Kikuchi (Hino=Kikuchi Quintet - 1968), the group takes its final form featuring saxophonist Takeru Muraoka and the new pianist Hiromasa Suzuki who replaced Yuji Ohno. Titles include Cool Jazz songs as the introducing & Downswing, other superb gems as the brilliant Soulful, demonstrating his great trumpet skill, a variation of George Gershwin' Summertime played in the modal style & B-Lunch. All tracks composed & arranged by Terumasa Hino.

Wednesday, June 21, 2017

Yuji Imamura & Air - 1977 - Air

Yuji Imamura & Air
1977 
Air




01. Air Part I 19:30
02. Air Part II 18:10

Congas, Tabla, Tabla [Amplified], Percussion – Yuji Imamura
Drums [Yamaha], Tambourine, Cowbell, Percussion – Hiroshi Murakami
Electric Bass [With Echo Chamber, Para Pedal & Pedal Flanger] – Nobuyoshi Ino
Electric Guitar, Kalimba [Sanza], , Electronics [Hawk Echo Machine] – Renkichi Hayashi
Flute, Saxophone, Sho, Voice, Synthesizer, Percussion, Electronics [Radio] – Yasuo Shimura

Recorded at Epicurus Studio, Tokyo on April 12 & 20, 1977.




Two side long tracks clearly influenced by the deep funk groove of mid 70s Miles Davis albums like "Dark Magus", "Agharta", and "Pangaea". No trumpet, but the saxophone is instead treated to sound similar. Much more flute and spaced out than classic Miles, but still plenty of wah wah guitar and dual percussion to get down with. A few jazzers from Japan were highly influenced by Miles Davis, and percussionist Imamura is one of the finest emulators I've heard to date.

Percussionist Yuji Imamura is a nominal leader of the group called Air, which had been formed shortly before this recording, but he says in the Japanese liner notes that the group is completely democratic and everyone participates in the same footing.

This album was recorded in two days, and the two tracks included were performed "live" in the studio with no editing or overdubs. And these are completely free collective improvisations - they did not have anything written down and just started playing. The only constraint was the time limit of about 19 minutes for each track to be cut on a side of an LP. The unique group sound was achieved by the use of various instruments by each musician, including electric instruments and effects.

Miho Kei & Jazz Eleven - 1971 - Kokezaru Kumikyoku

Miho Kei & Jazz Eleven 
1971 
Kokezaru Kumikyoku



01. ざる [Mizaru]
02. 聞かざる [Kikazaru]
03. 言わざる [Iwazaru]
04. 杵 [Kine]
05. 能面 [Nomen]

Drums – Akira Ishikawa, Takeshi Inomata
Electric Bass – Yasuo Arakawa
Electric Guitar – Ryo Kawasaki
Electric Piano, Harpsichord – Masahiko Sato
Koto – Suma No Arashi
Percussion [Tsuzumi] – Kikutada Katada
Shakuhachi – Minoru Muraoka
Soprano Saxophone, Tenor Saxophone, Flute [Indian Flute] – Takeru Muraoka
Trumpet – Takehisa Suzuki
Vocals – Mutsumi Masuda

Originally released on Victor Company Of Japan, Ltd. (MCA Records) in 1971.

Limited 500 press, with a serial number.


An obscure jazz psych rarity from 1971 Japan with a heavyweight line up of the finest musicians who would go on to shape the country's jazz scene during the the 70's and beyond. Soundtrack composer Keitaro Miho (who doesn't actually play on the project) put together this sophisticated cocktail of jazz and radical psychedelia with traditional Japanese instruments , avant-garde vocal sketches and film music.Very highly recommended.

Masaru Imada Quartet - 1970 - Now!!

Masaru Imada Quartet 
1970 
Now!!




01. Nostalgia 10:09
02. Alter 8:41
03. Gehi Dorian 9:56
04. The Shadow Of The Castle 9:49


Bass – Takashi Mizuhashi
Drums – Masahiko Ozu
Tenor Saxophone, Soprano Saxophone – Ichiro Mimori
Piano – Masaru Imada

Recorded August 10 & 11, 1970 at AOI Studio, Tokyo.





Now!! by Masaru Imada was the second album released by the fledgling Three Blind Mice, and the pianist's first leader album for the label.

Side 1 gets us under way in languid late-night mood, with Nostalgia, a stately ballad that gives Mimori a chance to open up on tenor. Next up is Alter, which opens with the spotlight on Ozu and Mizuhashi before developing into free exploration with plenty more good work by Mimori. But it's Side 2 that really delivers, two fantastic tracks, the mighty modal Gehi Dorian, which really cuts loose with a righteous groove. To close Imada and his crew dial it back a bit, and go out in lyrical style with The Shadow.

All four tunes are Imada's original compositions. The two slow numbers -- "Nostalgia" and "The Shadow of the Castle" show his lyrical, "quiet but emotional," qualities. "Alter" is an adventurous tune whose focus is on free improvisation while "Gehi Dorian" is a modal composition as the title suggests.

Essential Japanese Jazz album recorded for the TBM japanese jazz label, the second as a leader by organist/pianist Masaru Imada featuring Ichiro Mimori, Takashi 'Gon' Mizuhashi & Masahiko Ozu. Masaru Imada is one of these Japanese Jazz masters involved in various "figurehead" groups of the Japanese Jazz, at the dawn of the 70s. Masaru played in particular, in the Takeshi Inomata's West Liners (alongside Ichiro Mimori), the Tadayuki Harada's group, but was best known as a member of Jiro Inagaki & The Soul Media ; later he also evolved in the Bingo Miki & Inner Galaxy Orchestra. Takashi Mizuhashi was sideman for Sadao Watanabe, George Otsuka, Isao Suzuki, Terumasa Hino and also member of the legendaries George Kawaguchi Big 4 & Kosuke Mine Quintet. The tracklist consist on four original compositions arranged by Masaru Imada including Modal Jazz & free improvisations.

The Beatles - 1968 - Kinfauns: The Acoustic White Album

The Beatles
1968 
Kinfauns: The Acoustic White Album



01. Sexy Sadie
02. Rocky Raccoon
03. Polythene Pam
04. Mean Mr. Mustard
05. Piggies
06. The Continuing Story Of Bungalow Bill
07. Junk
08. What's The New Mary Jane
09. Blackbird
10. Everybody's Got Something To Hide Except For Me And My Monkey
11. While My Guitar Gently Weeps
12. Glass Onion
13. Back In The USSR
14. Happiness Is A Warm Gun
15. Not Guilty
16. Dear Prudence
17. Honey Pie
18. Yer Blues
19. Mother Nature's Son
20. Child Of Nature
21. I'm So Tired
22. Ob-La-Di, Ob-La-Da
23. Cry Baby Cry
24. Circles
25. Julia
26. Sour Milk Sea
27. Revolution

Recorded At – Kinfauns
Recorded By – George

Kinfauns was George’s comfortable little one-story house in Esher, outside of London. It was there that the Beatles gathered sometime during May 20-29 of 1968, using George’s four-track Ampex reel-to-reel to tape acoustic group demos of the many songs they’d written while at the Maharishi’s ashram in Rishikesh, India. 

Text on back of sleeve:

During their stay at the Maharishi’s ashram in Rishikesh, India in the early spring of 1968, the Beatles had written an unprecedented number of new songs. While late April and early May were busily spent launching Apple, the first sessions for their new LP were looming.

All these acoustic group demos were recorded sometime during May 20-29, 1968, when all four Beatles gathered at Kinfauns, George’s comfortable little one-story house Esher, not far outside of London. Derek Taylor’s name is mentioned during the sessions, and he may have been running 
George’s four-track Ampex reel-to-reel, on which these historic performances were preserved.



The precise date is unknown, but towards the end of May 1968 The Beatles met at Kinfauns, George Harrison's bungalow in Esher, Surrey. There they recorded demo versions of a number of songs written in India, 19 of which later appeared on the White Album.

The 27 songs believed to have been taped at Kinfauns were recorded on Harrison's Ampex four-track reel-to-reel tape recorder. They were mostly grouped together by the composer of each song, although John Lennon's songs were more scattered across the day. They were most likely taped in this order:

Cry Baby Cry - with a different intro and ending from the album version
Child Of Nature - unreleased, but later became Jealous Guy
The Continuing Story Of Bungalow Bill - the other Beatles make animal noises
I'm So Tired - with a slightly different spoken passage
Yer Blues - John Lennon is 'insecure' rather than 'suicidal'
Everybody's Got Something To Hide... - far less frenetic than the studio version
What's The New Mary Jane - included on Anthology 3
Revolution 1 - lacks the 'you say you'll change the constitution' verse
While My Guitar Gently Weeps - with different lyrics in places
Circles - unreleased by The Beatles
Sour Milk Sea - unreleased by The Beatles
Not Guilty - studio version included on Anthology 3
Piggies - rather than 'eat their bacon', the piggies 'cut their pork chops'
Julia - in a higher key and with the verses in a different order
Blackbird - with a double-tracked vocal, no break, a slightly slower tempo
Rocky Raccoon - shorter, without the opening and final verses
Back In The USSR - lacks the final verse
Honey Pie - released on Anthology 3, with the final verse edited out
Mother Nature's Son - without the guitar intro of the studio version
Ob-La-Di, Ob-La-Da - with a double-tracked vocal from Paul McCartney
Junk - included on Anthology 3
Dear Prudence - with a spoken ending and double-tracked vocals
Sexy Sadie -
Happiness Is A Warm Gun - lacks the intro and the final section
Mean Mr Mustard - his sister is called Shirley, not Pam
Polythene Pam - slightly different chords; 'well it's a little absurd but...'; the verses are repeated
Glass Onion - with double-tracked gobbledygook from Lennon

Most of the recordings were widely bootlegged, although the release of Anthology 3 resulted in previously-unheard demos of the four final songs. The seven Kinfauns demos included on Anthology 3 - licensed to Apple by George Harrison - were also of a better quality than the bootlegs.

It is possible that not all of the demos were recorded at Kinfauns, and it has been speculated that some were recorded alone by the songs' composers. Alternatively, previously-made recordings may have been brought to Harrison's house for overdubbing, but, again, this is far from clear.

Of the songs unreleased by The Beatles in 1968, perhaps the best known is Child Of Nature. This was inspired by a Maharishi Mahesh Yogi lecture, and was lyrically similar to Mother Nature's Son. Lennon later reused the melody for 1971's Jealous Guy.

What's The New Mary Jane was based around a nursery rhyme-style melody, and in the studio became one of Lennon's first avant garde compositions. It remained unreleased until Anthology 3, despite Lennon's various attempts to have it released by The Beatles or the Plastic Ono Band.

Two of Lennon's songs, Mean Mr Mustard and Polythene Pam, were held back until 1969's Abbey Road, when they became part of the 'long medley'.

Just one of Paul McCartney's songs - Junk - was unreleased by The Beatles, although they returned to it during the Get Back sessions in early 1969. It eventually found a home on McCartney's first solo album.

Harrison fared less well, with three of the five demos failing to be included on the White Album. A studio version of Not Guilty should have appeared on that record, although it was eventually included on Anthology 3. Circles, meanwhile, wasn't issued until Harrison's 1982 solo album Gone Troppo.

Sour Milk Sea was given to Apple recording artist Jackie Lomax. It was his debut single later in 1968, produced by Harrison with McCartney on bass and Ringo Starr on drums.

It isn't known whether any of The Beatles' wives or girlfriends were present, although a female voice may be discernible on Revolution 1. Mal Evans and Derek Taylor are also addressed by the group on the bootleg recordings, and may have contributed.

The demo songs were mono mixed by Harrison, with copies given to each Beatle. The general public first heard them in the late 1980s as part of the Lost Lennon Tapes radio series, and 23 had entered general circulation by the early 1990s.

"I just realized that I've got a really good bootleg tape - demos we made at my house on an Ampex 4-track during The White Album."
George Harrison
Musician magazine, early 1990s

Work began on the album on 30 May at EMI Studios, Abbey Road.

"We are going in with clear heads and hoping for the best. We had hoped this time to do a lot of rehearsing before we reached the studios rather than rehearse actually on the instruments but, as it happens, all we got was one day."
Paul McCartney, 1968






In late May of 1968, the Beatles gathered at George Harrison’s home, Kinfauns, in the London suburb of Esher, to make rough demos of material under consideration for The White Album. There really isn’t any other parallel in the unreleased Beatles catalog for the 27 known recordings that resulted. At no other time, to our knowledge, did the Beatles so methodically rehearse and make demos for an upcoming album outside of EMI’s studios. And there’s no other set of tapes that show the Beatles, as a group, making demos for a large batch of songs in a mostly acoustic setup. Although it doesn’t include every song that made it onto The White Album (but does include a few songs that didn’t make the cut), this is very much like hearing “The White Album Unplugged,” even if the “unplugged” concept didn’t really exist in those days. While seven of the tracks would eventually ?nd release on Anthology 3, the great majority of them still lie unheard by the mass audience. Aside from their hundreds of hours of unissued rehearsals and studio outtakes from the Get Back/Let It Be sessions in January 1969, it’s the largest body of unreleased work to be recorded by the band in one gulp. It’s far more enjoyable than the Get Back outtakes, though, and it could be argued that these home demos—as rough and imperfect as they are—constitute the most interesting and, yes, fun chapter of all in the unreleased Beatles canon.

    It’s still something of a mystery as to what led the group to be recording this set of demos in the ?rst place. Certainly it was an interesting, exciting, and in many ways tense juncture in the Beatles’ career. They and their wives (and Paul’s ?ancée) had just completed their lengthy sojourn in Rishikesh, India, to study transcendental meditation with the Maharishi. The plan had been to complete an eight-week course with their new guru, and such was their enthusiasm for TM that there was even thought of staying longer should the spirit move them, release schedules and business pressures be damned. But the trip had ended in disarray. Ringo left after ten days, unhappy about the spicy food and the absence of his children. Paul left after a few weeks, not especially disappointed with the Maharishi or meditation, but not feeling like there was any urgent need to pursue the matter further. John and George departed in mid-April shortly before the course was due to ?nish under cloudy circumstances, the Maharishi having come under suspicion of making sexual overtures to one of the students. 
    
    Upon their return to the Western world, the Beatles were immediately immersed back in the world of high-powered hype and the very tensions they’d traveled to India to escape. Their Apple Records music and business empire was just rolling up to its serious launch, and in mid-May Lennon and McCartney made a hectic trip to New York to publicize it, with mixed results. Just days after returning to London, Lennon began an affair with Yoko Ono, in turn immediately bringing his marriage to Cynthia Powell to an end. The very day John and Yoko consummated their romantic relationship, they also recorded the ?rst of their avant-garde albums, Two Virgins—beginning an artistic and personal collaboration that would do much to pull Lennon out of the Beatles’ orbit, and much to destroy the internal harmony that had kept the band together. For his part, McCartney (though of?cially still engaged to Jane Asher) had met with his future wife Linda Eastman in New York. With all the personal and business complications weighing upon them, it’s something of a wonder that they even managed to ?nd the time to demo several dozen songs in late May.

    Yet, as George Harrison told the press at the time, they had about 35 songs in the running already for the next album—which, he mused, might be a double album, or even a triple. (By the time of the press screening of Yellow Submarine on July 8, George’s estimate had risen to 40, ten of them being his own compositions.) For the time spent in Rishikesh had yielded what might have been an unexpected bonus. Free for the ?rst time in years from the distractions of the media and fans, the group had found the weeks in India especially productive for songwriting. Furthermore, as they had only their acoustic guitars with them for instrumentation, much of their compositions had a folkier, less electric base than what they’d usually devised in the past. 

    “While the Beatles and I were in India they wrote the White Album songs,” recalled Donovan, who was also on the Maharishi’s meditation course in Rishikesh, in an interview with the author. “It was obvious The White Album would have a distinctive acoustic and lyrical vibe. Paul, John, George, and I all had our acoustic guitars with us. George would later say that my music greatly in?uenced The White Album. I played all my styles, and the Beatles were exposed to weeks of Donovan. John was in?uenced to write romantic fantasy lyrics on the two songs he wrote, ‘Julia’ and ‘Dear Prudence,’ after my teaching him my ?nger-style guitar method. He was a fast learner.” Jazz and new age musician Paul Horn, also in Rishikesh on the meditation course, has theorized that the meditation study itself helped spur and shape the group’s songwriting in India. “You ?nd out more about yourself on deeper levels, when you’re meditating,” he said in Steve Turner’s A Hard Day’s Write: The Stories Behind Every Beatles’ Song. “Look how proli?c they were in such a relatively short time. They were in the Himalayas away from the pressures and away from the telephone. When you get too involved with life, it suppresses your creativity. When you’re able to be quiet, it starts coming up.” 

    It’s worth recounting this backdrop to the White Album demos in some detail, as it might explain to some degree both why the Beatles decided to record them, and why they recorded them the way they did. It could be that, for all their staggering productivity between 1962 and 1967, at no other time did they have such a backlog of material ready for recording, especially now that Harrison was writing more than ever. It may also be that, having written much if not all of the material in informal, acoustic circumstances in India, they felt most comfortable doing “work-in-progress” versions outside of EMI’s studios, in a low-pressure home environment, using mostly acoustic instruments. Why George’s home was chosen isn’t clear; more Beatles-business-related meetings tended to take place at Paul McCartney’s house than anywhere else, as Paul (unlike the others) lived in London itself, just a few minutes’ walk from Abbey Road Studios. Perhaps it was felt that meeting in a busy area of London wouldn’t have the mellow atmosphere the songs seemed to call for. John’s house (where he and Paul had often met to work on songs) might have been off-limits given the breakup of his marriage at the time. Cynthia Lennon had just returned from a trip to discover John and Yoko together a few days before, and having the Beatles over on top of that might have been too much to even consider. Or it might have been as simple a matter as Harrison having the best home taping equipment.

    Whatever the state of the Beatles’ nerves when they recorded their demos on Harrison’s Ampex 4-track machine, they certainly don’t sound anxious or distracted. In fact, the performances have a remarkably carefree, jolly quality, almost as if it’s a camp?re sing-along and song- swapping session rather than the initial work on the most eagerly anticipated  album of 1968. Unpredictable, joyous whoops punctuate the proceedings, as well as ensemble backup vocals and all manner of crack-up asides and spontaneous scatting, often but not always from the mouth of John Lennon. Far from just laying down the tapes as a work aid, the Beatles are quite obviously having fun—having a blast, actually. Maybe the group, and particularly Lennon, welcomed these quasi-sessions as a safe haven of sorts from the hassles of the outside world, their music being the one thing they always guarded as inviolable.

    It is possible that these songs weren’t entirely, or even mostly, recorded at George’s house at all, or recorded as a group in some or many instances. Though the seven tracks that appear on Anthology 3 are all noted as originating from Esher in the liner notes, some feel it unlikely that all of the recording for the nearly 30 demos was done at George’s home. It’s been theorized, not without reason, that some or many of the songs could have been recorded by Lennon, McCartney, and  Harrison individually. As another possibility, the songs could have been largely recorded as solo works, and then brought to George’s house for both the songwriter of a speci?c tune and other members to add overdubs (which would have been easily done on a 4-track recorder). As these recordings weren’t subject to EMI’s usual detailed record keeping, however, it’s unlikely it will ever be de?nitely sorted out what was recorded when and where.

    Ultimately, “only” 19 of the 27 songs known to exist from these sessions found a place on The White Album in a re-recorded studio version. For all their wealth of available titles, the Beatles weren’t quite yet done with the writing for the upcoming album. Eleven of the tracks on The White Album have no Kinfauns counterparts, including “Helter Skelter,” “Long, Long, Long,” “Martha My Dear,” “Birthday,” “Savoy Truf?e,” “Wild Honey Pie,” “Revolution 9,” “Good Night,” “I Will,” “Why Don’t We Do It in the Road,” and “Don’t Pass Me By”—several of which are among The White Album’s more popular numbers. On the other hand, the tapes do give us the chance to hear no fewer than eight songs that did not ?nd a place on The White Album and half a dozen that the Beatles would not release at all before breaking up, though all of them except one (“Sour Milk Sea”) would appear on some post-Beatles compilation or solo Beatle release. The ?delity is on the crude side (though it’s way better on the seven tracks included on Anthology 3), the arrangements rudimentary, and the timing of the voices and the instruments sometimes slightly off, especially when some of the overdubbed tracks get out of sync with each other. The tapes are also rather skewed toward songs for which John Lennon was the primary or sole composer; he was the force behind 15 of the tunes (with Paul McCartney tallying a mere seven, and George Harrison ?ve). Yet they’re a hugely enjoyable listen and quite different in tone than The White Album, though it would be a mistake to say they’re just as good as that ?nished product. 

    Naturally, the most intriguing items are those the Beatles didn’t see ?t to record for a release while an active unit. The best of them is “I’m Just a Child of Nature,” which Lennon would rework for “Jealous Guy” on his second proper solo album, 1971’s Imagine. In this early state, the lyrics are quite different, and quite a bit more in?uenced by Rishikesh than Yoko, as the opening line about the road to Rishikesh makes clear. It’s something of a Lennon counterpart to McCartney’s “Mother Nature’s Son,” John sounding at his most pastoral and peaceful, though he typically punctures the mood by drawing out the last line of the second verse with a jokey vibrato that makes one question just how sincere his back-to-nature crusade might have been. As to why it didn’t make it onto The White Album, maybe it was felt to be too lyrically close to “Mother Nature’s Son,” or maybe John thought it was too naive, particularly in the company of such Lennonesque, realist screeds as “Yer Blues” and “Revolution.” As to why it didn’t make it onto Anthology 3, maybe there would have been a squabble over the songwriting credits—should it have been considered a Lennon solo composition, a joint Lennon-McCartney credit, or had the parties concerned forgotten exactly where the credit should go? Anyway, Lennon at least knew not to let a good melody go to waste, even if it took him three years to resuscitate it for “Jealous Guy.” (Note that while this number is usually titled “Child of Nature” on bootlegs, John himself referred to it as “I’m Just a Child of Nature” in his 1980 Playboy interview.) 

    The other Lennon song never to make it onto a pre-breakup Beatles album, “What’s the New Mary Jane,” is the source of much controversy among fans. Certainly it’s one of the most minimal and discordant songs in the Lennon-McCartney catalog, and one of the most inscrutably eccentric. It would indeed be recorded in a studio version for The White Album, with a whole gallery of rattling percussion and echo effects, though the track was omitted from the running order at the last minute. It’s sometimes thought to be the Beatles song (other than “Revolution 9”) that most strongly bears Yoko Ono’s avant-garde in?uence. But if that’s true, Ono’s in?uence must have been immediately ingested, as this gentler, less elaborate version from (at the latest) just a few days after they became a couple proves. Many will ?nd this surreal tune—with its singalong (if not terribly catchy) series of faux Indian-Anglo non sequiturs in the verses, leading to the even more nonsensical non sequitur of the chorus, lamenting what a shame Mary Jane had a pain at the party—more palatable in this arrangement than in the studio outtake that surfaced on Anthology 3. It’s still not much of a song, however, even if it’s a kinda cool example of Lennon’s Goonish humor coming stronger to the fore than it did on almost any other Beatles recording. The Beatles certainly sound like they’re taking the mickey out of themselves on the near-falsettos of the chorus, especially when the song dissolves into a near-anarchic mix of voices on the fade. It is, incidentally, the only version in which you’ll hear the title actually mentioned, as John does in the  improvised-sounding spoken parts at the end. 

    The only McCartney song from the demos not to make it onto a regular Beatles album was “Junk” (titled “Sing-along Junk” on some bootlegs), which Paul would redo for his ?rst solo album, 1970’s  McCartney. He and the Beatles made the right decision in passing it over—it’s a pleasant, slight, and inconsequential folky song about nothing in particular, more like an off-the-cuff lullaby than a fully baked tune. Note, incidentally, that the remix included on Anthology 3 is actually missing some vocal parts heard on the bootlegged version that were probably ironed out for some unknown reason when Anthology 3 was prepared for release. As another oddity, on Anthology 3 the songwriting credit reads “McCartney” rather than “Lennon-McCartney,” probably since it had already been copyrighted to Paul alone when it appeared on McCartney. 

    Harrison fared far worse than Lennon or McCartney in the leftover department, as no fewer than three of the ?ve songs he offered for consideration failed to ?nd a place on The White Album—in spite of his seeming generosity in letting the Beatles use his home and tape machine for the sessions in the ?rst place. The strongest of the three was “Not Guilty,” his defensive rebuttal to criticisms of his own brand of counterculture, here presented in a much less tense arrangement than the more forceful one he’d devise when it was cut (in numerous different takes) at the White Album sessions. While “Circles” isn’t as good a song, it’s a pretty neat, if droning, re?ection of Harrison’s more somber spiritual sensibilities. Its instrumentation is supplied not by guitar, but by an eerie organ that seems to have been dragged out of a dusty, disused church closet. Harrison would re-record it much, much later for his 1982 solo album Gone Troppo, though it’s this earlier arrangement, for all its primitivism, that exerts by far the greater fascination. While the last of these Harrisongs, “Sour Milk Sea,” is far more uplifting and uptempo in mood than either of the other two (and a rare showcase for extended falsetto in a lead Harrison vocal), in all honesty it’s a pretty insigni?cant, easygoing, slightly bluesy rock song, the lyrics unfortunately delivered in muf?ed ?delity on the available recording. George himself later admitted the song only took about ten minutes to write. This tune too would eventually ?nd a home, not on a Beatles or Harrison solo album, but on Jackie Lomax’s 1968 solo debut single, released on Apple and produced by George, with Paul on bass and Ringo on drums. 

    The only two other home White Album demos not to make the grade for the 1968 double LP were “Mean Mr. Mustard” and “Polythene Pam,” both of which were of course revived in 1969 for the side two Abbey Road medley. It wasn’t until Anthology 3 that these were even known to exist, and it came as quite a shock to even Beatles experts to ?nd that these songs had been written and demoed as far back as May 1968, over a year before Abbey Road’s release (though George had speci?cally remembered them being penned in India in a late-1969 interview). They’re pretty close in feel to the Abbey Road versions too, other than being acoustic, though “Mean Mr. Mustard” does leap into a brief, basic blues-rock bridge that was wisely excised when it was redone the following year, and refers to Mustard’s sister as “Shirley,” not “Pam.” “Polythene Pam,” too, has a very slightly different, more sour chord progression at the end of its verses, as well as some different lyrics. 
So that leaves 19 tracks that are in essence early home acoustic demo versions of songs that actually made it onto The White Album. Only four of these—“Glass Onion,” “Happiness Is a Warm Gun,” “Piggies,” and “Honey Pie”—would be rescued for Anthology 3, the rest only surfacing on bootleg thus far. Are they much different from the White Album versions, and are they worth hearing?

    The answer is an emphatic yes, even if you’re not a nutty completist for this sort of thing. True, some of the songs—particularly the slower and folkier ones, like “Blackbird,” “Cry, Baby, Cry,” “Rocky Raccoon,” “Julia,” “Mother Nature’s Son,” and “The Continuing Story of Bungalow Bill”—are pretty close to The White Album save for the absence of fuller arrangements. Yet others are noticeably to radically different. Lyric changes abound, from the almost invisibly minor to the nearly extensive. Starting with the most amusing major lyric change, you haven’t lived until you’ve heard the fadeout on “Dear Prudence,” which follows the recorded version pretty closely until Lennon launches into a satirical spoken mini-monologue: “Who was to know that [suppressed giggle] sooner or later she was to go completely berserk in the care of Maharishi Mahesh Yogi. All the people around were very worried about the girl, because she was going insane. So we sang to her.” So there you have a more direct explanation of what exactly “Dear Prudence” is about than you’ll ?nd in the song itself, though the Beatles were wise to make the lyrics more universal by excising this literal explanation. Running a close second is another spoken bit near the end of “I’m So Tired,” where John slowly and rhythmically deadpans, “When I hold you in your [sic] arms, when you show each one of your charms, I wonder should I get up and go to the funny farm?” Some particularly great background whooping graces that track, where it’s hard to believe the guys aren’t having a whale of a time. 

    As for some more interesting remaining cuts, “Back in the U.S.S.R.” has a gloriously funky, down-home feel, McCartney referring here to an “awful” ?ight rather than a “dreadful” one—a minor variation to be sure, but an example of how no detail is too small to escape the masters as they ?nish their work. Paul also leans really hard into some of his “R”s when singing “U.S.S.R.,” almost as if he’s making fun of an American accent; the bridge has more jovial doo wopisms than the studio take; and the fade bene?ts from some delightful high scatting. “Revolution,” too, is a real highlight of the entire Beatles unreleased discography, where the “party” or “camp?re” feel reaches its peak, with a clap-along beat, sing-along harmonies, scatted high-harmony verse, and overall giddiness that’s far lighter and more joyous than the (itself highly estimable) down ’n’ dirty version that ended up on the ?ip side of “Hey Jude.” Like “Back in the U.S.S.R.,” it’s another recording where a slight Beach Boys in?uence can be detected, even if that would all but vanish by the time the two different Beatles versions of the song were released (on The White Album and the B-side of “Hey Jude”). “Piggies,” too, is very different from the White Album version, soaked in gentleness and played entirely on guitars (with whistling rather than sung words taking up one obviously incomplete verse), as opposed to the far more acerbic studio arrangement, where strings and harpsichord gave it a hard kick in the backside. And here the piggies clutch their forks and knives to cut their pork chops, instead of eating their bacon—another wise lyric substitution, when it ?nally came time to record it at EMI down the road. 

    “Honey Pie” is not so much different as incomplete, some wordless humming and scatting taking the place of words that McCartney would ?ll in by the time it was recorded for real. (The Anthology 3 version, incidentally, is severely edited, cutting out about 35 seconds from the song’s middle.) In an even sketchier state is “Happiness Is a Warm Gun,” af?icted by false starts and stops, missing the ?nal doo woppy section, and obviously not really ready for consumption, Lennon getting stuck in repetitions of the phrase about Mother Superior jumping the gun. The lyrics to “Glass Onion” aren’t in ?nal form either, though it’s entertaining to hear John plugging some nonsense syllables into some of the lines, and dramatically dragging the rhythm in the ?nal verse. Considering the un?nished state of all three of these songs, it’s odd indeed that they were all chosen for Anthology 3, when so many other far more polished numbers for the session were presumably available. Of course, several of the other songs were still in an un?nished state as well—“Cry Baby Cry” lacks its intro, “Rocky Raccoon” its opening and closing verses, and “Back in the U.S.S.R.” its ?nal verse, while “Julia” changes the order of the lyrics, goes into some whistling at the end, and is played in a higher key to boot.

    “Gentleness” is an almost unavoidable byword when discussing these demos, and “Yer Blues” is another instance where the approach is more laidback, easygoing, and rootsy than the one employed for The White Album. It’s not necessarily a better approach, but it’s a very refreshing and different one, particularly after you’ve heard The White Album a thousand times. (Note also how at this stage John is merely “insecure” rather than “suicidal.”) This is also true of “Everybody’s Got Something to Hide Except Me and My Monkey,” which sounds friendlier and less vicious here, though the verse has a more skeletal melody that would be improved upon by the time the Beatles got down to work on it at EMI a month later. Dig also how Lennon repeats “take it easy” on the long, long outro ad in?nitum before lapsing into lascivious “make it, make it, make it” as the track collapses to a halt. Speaking of collapsing, “Sexy Sadie” almost seems to run out of gas when it comes to the fade, lacking the long instrumental coda that would ?nish it off on The White Album. “While My Guitar Gently Weeps,” the only Harrison song here other than “Piggies” to get a hearing on The White Album, is suffused with the same ghostly organ as the one heard on “Circles,” giving it an almost funereal quality. The lyrics would undergo some revision by the time the ?nal version was recorded at EMI—at this point, most noticeably, it declares “the problems you sow are the troubles you’re reaping” in the ?rst verse.

    And what was Ringo’s role in these sessions? There’s certainly no full drum set in evidence, and no percussion at all on some tracks. What percussion there is tends to be handclaps, thumps (on guitars and furniture, perhaps), and the odd tambourine and miscellaneous rattle. What’s more, there was no demo made of “Don’t Pass Me By,” his sole composition on The White Album (and, in fact, the ?rst song wholly written by Starr to be recorded by the Beatles). Is it possible he didn’t attend these sessions, leaving the work to principal songwriters John, Paul, or George? One also wonders whether Yoko Ono was in attendance, as she certainly was at almost all of the Beatles’ of?cial Abbey Road sessions from this point onward, occasionally even contributing an eccentric vocal snippet (as she did on “The Continuing Story of Bungalow Bill,” “What’s the New Mary Jane,” and “Revolution 9”). Certainly one of the distant background voices on some of the more fully harmonized Kinfauns demos, like “Revolution,” could be Yoko’s, or, for that matter, another non-Beatle who was part of the group’s inner circle, like George’s wife, Patti. Both roadie/personal assistant Mal Evans and publicist Derek Taylor are addressed at various points, and it’s possible they added to the clamor in low-key fashions as well.

    After they were completed, the tracks were mixed to mono by George, with John, Paul, and Ringo each getting copies of this reduction tape. Their existence remained unsuspected by Beatles fans until some of the demos ?rst found radio broadcast in the late ’80s as part of “The Lost Lennon Tapes” series, John’s copy of a tape with much of the material having been found in his archives. These Lennon-dominated tracks and a few others quickly found their way onto bootleg, and as welcome as those were, the focus on Lennon songs exclusively gave listeners an unbalanced portrait of those sessions, which included so many additional compositions from McCartney and Harrison. Twenty-two of the tracks ?nally circulated in the early ’90s as part of the Unsurpassed Demos bootleg, with other subsequent bootlegs offering slightly longer versions. 

    That seemed to be the last word on the matter, except that in 1996, seven Kinfauns recordings—four of them never previously bootlegged— appeared on Anthology 3. As these had far better sound than anything heard on illegitimate CDs, that naturally led to speculation that the entire body of 27 tracks existed in much better ?delity than what had been previously available on bootleg. And, naturally, it engendered speculation that if four Kinfauns demos suddenly popped up out of nowhere, there might be yet more where those came from. Some even wondered if Apple were deliberately taunting the bootleggers by selecting material that had never made it out in any form, when there were so many other, previously circulated Kinfauns recordings they could have chosen instead. 

    Following that line of investigation, it’s known that the tape of Kinfauns material found in John Lennon’s archives contains the songs from the Unsurpassed Demos bootleg on side A, and versions (identi?ed as “White Album demos”) of “Cry Baby Cry,” “I’m Just a Child of Nature,” “Yer Blues,” Everybody’s Got Something to Hide Except Me and My Monkey,” “What’s the New Mary Jane,” “Revolution,” “While My Guitar Gently Weeps,” and “Piggies” on side B. These could just be the same versions as the much-bootlegged ones heard on side A—or they could be yet different versions of the same numbers, also recorded as part of the Kinfauns sessions (or even from an entirely different source). 
The absence of the four previously unbooted tracks that surfaced on Anthology 3 (“Happiness Is a Warm Gun,” “Mean Mr. Mustard,” “Polythene Pam,” and “Glass Onion”) from this Lennon archive tape in turn adds ammunition to the speculation that those four recordings might not have been part of the Kinfauns batch at all. 

    Several years before the Anthology series got on track, Harrison told Musician magazine, “I just realized that I’ve got a really good bootleg tape—demos we made at my house on an Ampex 4-track during The White Album.” Harrison’s tacit stamp of approval raised hopes that the entire set might ?nd of?cial release, particularly as it was George, and not EMI or the other Beatles, who owned the copyright on these recordings; when seven were used on Anthology 3, the small print noted that all of them had been licensed to Apple from Harrison. George’s death in 2001 perhaps complicates the matter, however, and though his estate presumably still controls the material, as of 2006 its appearance seems as far away as ever. That’s unfortunate, because a thorough compilation of all 27 (or more, if they exist) Kinfauns demos, with the best available ?delity and cleaned-up sound, would be a solid contender for the best collection of (largely) unreleased Beatles material that could be envisioned at this point.