GENSHI-KYODOTAI (PRIMITIVE COMMUNITY)

This was a huge project actually with seven percussionists, a Hammond organ, guitar, bass, trumpet and of course YOKOTA rockin' the house with his flute and other woodwinds. Initially only pressed with 300 copies, the album's cult status has allowed it find a 2011 reissue on the Think! label therefore much more affordable than the massive price the albums were going for before. The album featured eight tracks, originally titled in the Japanese language but Romanized since. The album itself is completely instrumental except for some spoken, shrieked and shouted vocals from time to time.

PRIMITIVE COMMUNITY may be a lot of things but PRIMITIVE is not one of them. This is some seriously cool avant-jazz mixed with progressive rock and perfectly fits into the psychedelic timeline of the late 1960s / early 1970s. Offering a transcendental type of musical motif which gets the album included in the world of raga rock although there are no Indian influences whatsoever, the album rather relies on a variety of bass led grooves and an army of tribal percussion to craft a festive vibe. Add some occasional acid guitar fuzz and a few bluesy licks along with some Hammond organ heft and it's easy to comprehend on a single listen why this album has held up well after fifty years.

In many ways this album reminds me of a more experimental Santana especially from the 'Caravanserai' era with tight-knit percussive grooves accented by psychedelic rock teased out into more progressive arenas as well as jamming sessions. The difference is of course that PRIMITIVE COMMUNITY featured more jazz sounds with an ambitious trumpet player as well as the folk elements delivered by the incessant flute runs. TOSHIAKI played not only alto and bass flutes but also added the subtle sounds of the piccolo and recorder. The rich percussive session featured not only a rock drummer but several ethnic percussive instruments although no taiko drumming despite being a Japanese group.

There's little to indicate that this project emerged from Japan as it truly sounds like a mix of American avant-jazz mixed with European prog. The album drifts from jazz dominant motifs to drum and bass led rock. At moments when the band breaks into spiritual chants such as on 'Hare Krishna' it starts to sound a bit like a religious sermon but these brief moments give a glimpse into the inner workings of the music which the jazz and rock parts build upon until unrecognizable. Overall this is a highly sophisticated yet enjoyable musical experience that is celebratory in nature and delivers a nice balance of accessible hooks but isn't afraid to go for the experimental jugular either. Early Japanese experimental rock may not be as well known as Western releases but PRIMITIVE COMMUNITY is certainly stands out as one of the better underground releases of the era.

Just like "Amalgamation" by Soundbreakers, GENSHI-KYODOTAI (PRIMITIVE COMMUNITY) have given the first loud / eccentric shout upon their eponymous album. As for me, cannot forget the moment I met and listen to this album for the first time. Not simply avant-garde jazz nor ethnic music, but definitely experimental psychedelia blended with avant-garde jazz and tribal percussion, they can be considered. And yes, let me say that they had completed such an unbelievable Neues for early 70s music scene, not only in Japan but also all over the world.

Exactly we can hear kaleidoscopic caricatures fusile with madness and sacredness, especially in the masterpiece / first explosion "Kinjirareta Gishiki (A Forbidden Ritual)" where they shoot kinda muddy inferno and solemn pentangle at the same time, with funky shouts, hypnotic percussion with ethnicity, and crazy flute attacks ... all should be in the Community and build this Primitive up, easily I guess.

In the second tune "Akuma No Namida (Tears Of Satan)" Toshiaki's sharp-edged flute guillotines (might mean "Satan") drop swiftly down and holy percussion gems (like "Tears") glimmer fuzzily ... obviously there is symmetry among the representatives in this track (and the title of this song). "Hari Krishna" reminds me some traditional Japanese psychedelic progressive pioneers like Hiro Yanagida or Kuni Kawachi (both were pretty familiar with Toshiaki actually). On the contrary, "Black Narcissus" is very stable for us ... sounds comfortable, safe and sound for us, with smooth flute waves upon soft, cool percussion ground

Anyway, always wondering if "Savanna" might, like the first masterpiece "A Forbidden Ceremony" already mentioned, get quite influenced by Orient-based garagey Krautrock combos like Siloah, Blumen Des Exotischen Eises, or Anima ... Nah GENSHI-KYODOTAI had released this album in 1971, just the same time as the outfits above had done. This mysterious flavour should perfectly be their originality, identity (or one of joint projects with Masahiko Sato / Soundbreakers). Very amazing and incredible indeed.

Let me notify every progressive rock freak all over the world that a terrific Japanese ensemble released such a terrific creation in 1971. Ultra-highly recommended.