As I was saying in the Red Buddha review, many of Stomu's better albums are crying out for a Cd release and this is one of them, along with the East Wind album. It's actually difficult to believe the Japanese never did anything regarding one of their most experimental and best-regarded countrymen. Graced with a "prog" artwork, this gatefold album is probably the proggiest of all his albums (and a bloody lengthy one at that both asides clocking over the 25 minutes each), and maybe his jazziest as well. By 73, Stomu had left Paris and the experimental theatre scene and had relocated to London, where he will act as a catalyst are his person and help out a few new musicians get their career started (Pert, Boyle) as well as work with established stars like Winwood, Hopper. The album also bears the name of Floating Music, which might be the Stomu's backing formation's name, but this is unclear to me, the same way East Wind is as well. Anyway, Floating Music will become Yamash'ta's songwriting copyright name.
The 18 minutes Poker Dice is a stunning slow developing splendid electric piano-driven piece that also features a fuzz organ, thousands of percussions, and a groovy groove. Most artistes would've been content filling their album with Poker Dice alone, but Stomu unleashes another 8-mins+ Keep In Lane track, which is closer to straight jazz and free jazz than the usual jazz-rock, that unfortunately fails to match the other track's perfection.
The flipside also has two tracks, but recorded live in London early 72, the first of which is one rare non- Yamash'ta composition, the 13-mins Xingu, future Brand X drummer penning this one. Starts out in free-jazz mode, before settling down to a very calm moment, slowly rebuilding the track through successive addition of instruments. The track reaches two or three climaxes, but thankfully never reaching the chaotic state of the opening minute of this track. The 12-mins One Way starts on a space whispering, where Stomu's vibraphone will take the lead (neither Moerlen, nor Greenslade style) but he will go mad on other percussion instruments as well. A complete freak-out, stunning track, slowly dying on Thompson's flute death throes. Great stuff.
With Edge and Freedom, Stomu reached the progressive apex of his of his career, while his higher profile Go project would get him much more attention from the public. Stomu's album in the vinyl format should still be available on the second-hand market at reasonable price, as they've never been collectibles. http://www.progarchives.com
Ямашта родился в Киото, старой столице Японии, в 1947 году. Его отец, дирижер оркестра киотской филармонии, передал свой энтузиазм сыну, который в юном возрасте поступил в местную музыкальную академию. В 13 лет он играет на перкуссии в оркестре отца, пробует сочинять музыку и преуспевает в этом занятии настолько, что приглашается сочинить музыкальное сопровождение к двум фильмам Акиро Куросавы: Yojimbo и Sanjiro.
Вскоре он отправляется в Америку пополнять свое образование и усваивать западные музыкальные влияния. Не порывает связей с кинематографом - вместе с Питером Максвеллом Дэвисом работает над саундтреком к фильму Кена Рассела "Дьяволы" и исполняет музыкальную тему для "Образов" Роберта Олтмена.
Заслужив признание в качестве замечательного перкуссиониста у самых строгих ценителей, начинает заниматься роковой музыкой. Выступает на концертах с трехчленной джаз-роковой группой Suntreader и записывает с ней альбом (1).
Затем Ямашта, сопровождаемый восторгами публики, гастролирует по Европе и Америке с группой сопровождения The Red Buddah Theatre. Участвует в суперсессионных проектах со Стиви Уинвудом и Майком Шрайвом по записи дисков (9) и (11).
Разносторонний музыкант, Ямашта не чурался самых разнообразных идей. Музыку его трудно отнести к какому-либо жанру. Временами склоняясь к откровенному року, порой воспаряя к пинкфлойдовской музыке сфер, он часто включает в свои творения (не без влияния ли жены-скрипачки?) элементы классической музыки. С достойным похвалы чувством вкуса он комбинирует элементы западных и восточных музыкальных культур без доминирования одной из них. Центр тяжести его перформанса лежит в сочетании визуального и акустического начал.
В 80-е годы Ямашта вернулся к концертам классической музыки, однако продолжал записывать музыку в духе космического "нью-эйдж" на фирме Celestial Harmonies. http://www.agharta.net
CD1 - FLOATING MUSIC:
Track Listing: 1. Poker Dice 17:55 2. Keep in Lane 8:38 3. Xingu 13:09 4. One Way 11:58
The Band: Stomu Yamash'ta / Keyboards, Percusion, multi instruments Morris Pert / Drums, Prcussion Powel / bass on 3 and 4 Thompson / Organ, Piano, sax Plant / Bass on 1 and 2 Robinson / Piano on 1 White Ooffe / Trombone on 2 Harris / Trumpet on 2
CD2 - MAN FROM THE EAST:
Track Listing: 1. Sunrise 2.50 2. My Little Friend 4.00 3. What a Way to Live in Modern Times 10.00 4. Mountain Pass 3.35 5. Mandala 11.35 6. Memory of Hiroshima 8.40 7. Mountain Pass 8. Freedom is Frightening (Bonus) 9. Rolling Nuns (Bonus)
The Band: Stomu Yamash'ta: various percussion Morris Pert: drums and percussion Peter Robinson: electric piano Alyn Ross: bass guitar Gary Boyle: guitar on Mountain Pass Rohin Thompson soprano saxophone Mountain Pass The musicians on What a Way to Live in Modern Times and Mandala: Hisako Yamash'ta violin and shamisen Joji Hirota claves and vocal Hideo Funamoto: triangle , cowbells and assorted percussion Shiro Murata: flute Yoshio Taeira: piano Goro Kunii vocal Mikako Takeshita: laughter Maggie Newlands: organ Phil Plant: bass guitar
