COME TO THE EDGE: FLOATING MUSIC

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.

Stomu Yamash'ta is a Japanese composer and multi-instrumentalist who's specialty is vibes, percussion and keyboards. He moved to France in the early seventies and recorded one album before moving to the UK where he recorded most of his seventies albums. On this particular album we get a couple of future BRAND X members in Morris Pert and Peter Robinson, in fact the only track not composed by Stomu is the song "Xingu" which Pert created. Man I've enjoyed this recording so much, it's a it of a grower but the combination of percussion, vibes and electric piano just hits the spot for me.

"Poker Dice" opens with what sounds like chimes as vibes and experimental sounds help out. This is very laid back to begin with. Then the bass joins in after 2 1/2 minutes as electric piano and vibes help out. Drums follow but it's still laid back until it turns louder before 5 minutes. Nice. A change after 6 1/2 minutes as a new soundscape of bass, electric piano and vibes take over, drums too as it builds. Lots of intricate sounds here. It sounds like the theme for "Mission Impossible" after 12 minutes. A change after 14 minutes as drums, percussion, electric piano and growly sounds lead the way. "Keep In Lane" is different from the rest of the songs as we get these crazy vocal expressions to start before the horns(sax, trumpet & trombone) come in blasting while the drums and vibes support. This is jazzy with plenty of horns and busy drum work. Some dissonant horns too as the bass throbs and the drums pound. Check it out after 4 minutes! Those crazy vocal expressions are back around 8 minutes to the end.

The final two tracks were recorded live at the Queen Elizabeth Hall in London, January 10th 1972. 'Xingu" hits the ground running with random drum patterns and avant horns. Quite experimental until it all stops before a minute and electric piano echoes as percussion and faint sounds help out. The bass before 2 1/2 minutes is impressive then the keys kick in with a full sound before 3 minutes. Drums and percussion dominate 5 minutes in as the electric piano stops for now. The previous soundscape returns after 6 minutes, this is so bright and uplifting. It's just a pleasure the rest of the way especially the distorted keys. Insanity before 12 1/2 minutes to the end. "One Way" is led by flute and relaxed percussion early on then it calms right down around 4 minutes as vibes and percussion lead the way. Check out the bass 6 1/2 minutes in. It's getting intense a minute later with all those percussion sounds. It calms down again and the flute returns around 10 minutes as it stays mellow to the end.

A very solid 4 stars, in fact this was a pleasure.