Thursday, June 22, 2017

Terumasa Hino - 1970 - Alone Together

Terumasa Hino 
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 

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 
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
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 
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.