RED BUDDHA THEATRE: THE MAN FROM THE EAST

The derivation and the fashion of music in the flow that shifts in the latter the 60's in the 70's have power not to exist at the present age. Genre of music and expression method. And, the expression that the musician should tell is indeed various. Even if the music character of Jazz and Fusion is unconsciously considered, the flow might be different in music at that time by the country. If the width of the genre is expanded, classics and POP, etc. are more various the expression. The flow that derives by music at that time is indeed various. Extension of width from music including influence from Pink Floyd and Beatles and them. Or, if any genre was seen, uniting music in ethno etc. might have been hidden.

It might be difficult to apply it if simply fixing the genre in a single phrase listens to this work. It is a point with the flow of the derivation in music. And, the thought of the Orient is a uniting point in POP and Jazz. It is guessed that it is true that they were made to have the work of Beatles and John Coltrane in a certain kind of thought. If it dares to fix the genre of ethno etc. though the realization of the music that is not simply fixed the genre in such a flow but is done to thought and the expression as one of the expression methods feeling that it is inevitable is various in music, this album remarkably surely expresses them.

His activity as the player of the percussion instrument was admitted at early time. His creation might have been continuous though it did not stay in the home country and competing of foreign countries with the symphony orchestra and the familiarity to musical instruments were considered of the revolution. The thought in the West that he shot has the part where how it is reflected in an overseas listener cannot be understood. However, I think that the music that he does is surely in the thought of the Orient, Jazz or the flow of ethno if only this work is said. Of course, I was going to refrain the fixation of the genre with this album. They might be often of course in other musicians. However, thought and the expression that incessantly flows to outskirts of the creation that he does will be able to be discovered through this album.

The method of expressing music as a Japanese appears everywhere. They are made an embodiment by the culture of the tradition of Japan and music. Thought of we Japanese' Orients. And, traditional music will be represented by the music that is called "Minyo". Those elements are being built everywhere also by this album. Point to have built in thought and culture of the Orient over whole volume while expressing those elements with percussion instrument. And, the point to have expanded width through Jazz and the filter of ethno. And, the point given to the listener when avant-garde's element has gone out inevitably, too. They are exactly expressed by this album. Music of Japanese culture and tradition. Or, I think that he has already put on music as some expressions and a dance and a ceremonial element are made to succeed. Those elements are expressed in the title of the tune. The fact that understands from this work should dare to be an expression that projects in the history of his music.

I only own three of Stomu's albums but The Man from the East stands out for me. It meshes traditional Japanese sounds and Jazz with more 'western' instruments, usually with fine results. As a collection of music, I find it tighter and more focused than Go, and think that it possess a wider sonic palette when compared to Floating Music.

These differences are no doubt influenced by the fact that the album serves as a soundtrack to a live show from the 'Red Buddha Theatre' touring Europe in 1972/3 (though only two tracks are recorded live, in Paris, the others are studio cuts) and so the listener hears mostly instrumental music that is meant to be set to a performance. It makes for a lively 'A' side backed with a sombre, and at times, disconcerting 'B' side.

Opening the album is Scoop, one of the more upbeat tracks, with electric guitar, electric piano and horns creating a festive sound, whereas Ana Orori is more percussive with nimble flute playing throughout. Especially effective in the later half of the album is the haunting violin that builds Memory of Hiroshima to a rousing brass fanfare, before the beautiful Mountain Pass finishes things up with its hypnotic soprano saxophone lines. It makes for a soothing end to an album that has some wild moments.

Less effective for me, possibly due to the nature of a recording meant to support a theatre performance, are the live tracks; 'What a Way to Live in Modern Times' and 'Mandala.' Here melody takes a backseat to storytelling, though some frenetic soloing and vocal work is employed in these tracks.

Probably for fans who lean toward a jazz/rock sound, but with traditional eastern elements, rather than say, a symphonic sound, overall, this is a great album that gets a lot of time in my player. Coloured as it is with Stomu's distinctive percussive touches and his skill in melding instruments from the east and west, it has definitely inspired me to hunt down his follow up, Freedom is Frightening.

Note: My pressing, the Raven CD issue from Australia (which includes Floating Music) lists the tracks as below:

1. Scoop 2:59 2. Ana Orori 3:12 3. What a Way to Live in Modern Times 9:19 4. My Little Partner 4:01 5. Mandala 12:58 6. Memory of Hiroshima 8:43 7. Mountain Pass 3:45

Track picks: Ana Orori, Memory of Hiroshima, Mountain Pass

I write this as a preface to the review of Go (1976). I recently listened to Go Sessions 2-CD (including Go, the live album and Go Too) and this album, which music was made for a Japanese theatre production in 1972. I'm not surprised to see only two reviews on this one, but I'm most surprised of the fact that its rating was slightly higher than of Go's. For me it's obvious that whereas Go is at least a 4-star album, The Man from the East left me almost completely cold. I actually didn't even bother to listen to all the tracks til the end but used the skip button instead. (The more music I've heard in my life, the less I believe in the saying "it grows on you", ie. lerning to enjoy something I didn't enjoy at all in the first listen. But I believe this is one of those albums that NEEDS several listenings to get into - if you feel the need to get into it; I don't.) This is too avant-garde for my taste, not much of a melody for starters. I guess the music was very important part of the theatre production and worked powerfully, but for pure listening this is not, in my opinion.

The music is built on traditional Japanese sounds, though there are e.g. percussionist Morris Pert and Peter Robinson on electric piano involved. The music is mostly percussion-centred. My wife thought of a jungle as I played the CD. There wasn't, I suppose, any "ordinary" singing but some track featured something like tribal chant. The liner notes spoke of Hiroshima tragedy (the theme of the play?). So it's quite appropriate that the music isn't easy either. I did enjoy one track which had a beautiful sad melody and less percussion. Without that exception I would have rudely rated this one star (concerning my personal reception only), but two stars will be OK. This is not necessarily "poor" music in the objective sense, but at least for me it didn't work without the context.