Whether singing in English on four tracks or Japanese on five tracks, Ishikawa’s voice is crystal clear and up front in the mix, directly conveying her skill and emotional power storytelling through song. The album works to maintain interest with arrangements and compositions influenced by jazz, pop, rock, Latin, musicals, and classic songwriters such as Stevie Wonder and Freddie Mercury.

As for jazz covers, the album opens with the refreshing “It Might as Well Be Spring” and the ballad “Angel Eyes”, performed here with an enticingly sultry nightclub vibe. The cute throwback “Goody-Goody” takes the role of a traditional swing jazz tune embellished with Japanese bamboo flute, and the exciting title track “Fever” is played with uptempo verve and abandon. The Japanese pop hit “Hanamizuki” is also covered, a well-known 2004 song from Japan used in an acclaimed movie by the same name and popular in karaoke rooms.

In addition to jazz, Trigraph also features five of their well-crafted original compositions: the sweetly tender “Appreciation”, the passionate “Akanegumo”, the restful “Etude for Shakuhachi and Guitar”, the ballad “Eternal Snow”, and the grand and swelling “Barau”.

Audio and Video

• Trigraph performing the title track “Fever” live:

• Trigraph performing the Cyndi Lauper hit “Time After Time”, opening with a live-looped shakuhachi intro:

• Excerpt from track #1: “It Might As Well Be Spring”

The core band is made up of guitar, trumpet, fretless electric bass, and drums, with guest keyboard on three tracks adding a warm bluesy sound for extra soul. While much of the music is built around a fusion jazz/rock mood which runs through the album, the dial also moves to include smooth jazz sounds, evocative jazz waltzes, and pop, including a rendition of “Blackbird” by The Beatles. One track, “Loplop”, comes closest to pure bop guitar with a fast swing beat and walking bass, where Matsuo plays quick jazzy lines in the style of guitarists such as Tal Farlow and Pat Martino.

Bonanza’s jazz/fusion side is displayed best on the track “Wicked Wind”, an 11-plus minute jam which boils with energy and echoes the electric fusion periods of Miles Davis and Herbie Hancock to some extent. With developed excitement on extended trumpet and guitar solos played over a rousing bass and drum riff, and including a drum feature near the end, one almost expects to hear a crowd’s roar after the final note is played. In fact, a second alternate take of this song is included near the end of the album, a welcome encore of this satisfying set piece.

All the musician shine with visceral playing and a clean sound, with solos, duos, and group features arranged among the songs. Adding to the variations in mood are Matsuo’s use of acoustic and electric guitar selected to suit the material, as well as trumpeter Keisuke Nakamura alternating between trumpet, flugelhorn, and even adding real-time delay, wah-wah, and distortion effects to his horn at several dramatic moments. As for the indefatigable rhythm section, the impressively twisty lines from bassist Ryoji Orihara move with glissando slides, deep pops, and high ringing harmonic tones, and add a lot to the music along with the tight patterns and quick reactions from drummer Yasushi Fukumori, who uses the complete set to great effect with brilliant dynamics and incredible playing.

Audio and Video

• Bonanza performing “Loplop” live, the seventh track on this album:

• Excerpt from track #4: “Wicked Wind”

The longer tracks #2 “Lion’s Empire”, #4 “Absinthe”, and #8 “Jungle City” showcase these characteristics best and build on Fukui’s trademark creativity. Her song craft is as sweet as ever and includes catchy melodies and transitions, joyful rhythms, and groovy riffs used to great dramatic effect.

The album’s opening and closing tracks are quieter tunes where the mood is set by Fukui’s melodic and graceful piano playing. She opens with the gentle prelude #1 “Komorebi”, and closes with the relaxing, softly rocking lullaby #10 “Undertone”. This softer touch also appears on the soulful mid-album track #6 “ODE”.

In between these two bookends, the music is a stimulating blend of vividly electric songs, funky bass and drum grooves, and expressive piano riffs. Throughout, there is also a fun and mischievous nature that can be subtly felt in the performance and the production.

For example, at one point, a 30-second riff and drum feature is curiously inserted among the tracks (#3 “Guiliana7”). In a similarly unconventional way, three other short tracks (#5 “Eccentric Blues No. 1”, #7 “Eccentric Blues No. 2”, and #9 “Eccentric Blues No. 3”) are dropped in nonconsecutively and essentially form a multi-movement piece, a loose-yet-composed groovy jam interwoven among the other songs on the album.

On Amizm, Yasushi Fukumori’s hyper drumming and Yoshihito “P” Koizumi’s smooth and popping bass lines, together with Ami’s variety of keyboard sounds, go a long way in influencing the overall sound compared to Fukui’s other albums and trio formations: A spicy and intense dish served between her other richly sweet and delicious offerings.

Obi Notes

(A translation of the album description on the obi.)

It’s been about three years since the previous release Urban Clutter. The newly-formed group “Amizm” has released their long-awaited new album. Listeners will be captivated by their colorful pop worldview which combines wild strength with heartwarming sounds.

Audio and Video

• Preview of Amizm live performance for Sound Olympic:

• Amizm live performance for Sound Olympic:

• Excerpt from track #4: “Absinthe”

Much of the music builds on strong rhythms and bassline hooks (credit given to Kudo and Fukumori, whose brightness and expert rhythms fit the music perfectly), over which catchy melodies soar.

Throughout the album, surprises and discoveries often surface – bonus interludes, doubled-up lines, coordinated syncopation, even some voice and handclaps - compositional embellishments that demonstrate Fukui’s dedication to careful songwriting which pleases the listener. The result: lush music that grooves with fun, pure and simple.

Audio and Video

• Live performance of the last track, “Burn Red”:

• Excerpt from track #6: “ニュー・ジャーニー (New Journey)”

This album consists of well-written original compositions with a few covers thrown in (Freddie Hubbard, Herbie Hancock, Quincy Jones). Overall, this is an excellent debut with a variety of moods, tempos, and exciting solos showcasing some premium J Jazz from the current crop of musicians.

Audio and Video

• Live performance of track #4 “Round Table”:

• Excerpt from track #1: “SPEED HARASSMENT”