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Currently the rediscovery of long forgotten Japanese electronic, jazz and new age music is at a peak like never before, but although many re-issues already flood the record stores around the world: the large, diverse musical culture of Japan still has some gems in store that are really missing.
Japanese bass player, new-age and ambient musician Motohiko Hamase is one of the newer discoveries. In the 70s Hamase was part of Isao Suzuki Sextett, where he played with legends like pianist Tsuyoshi Yamamoto or fusion guitar maverick Kazumi Watanabe.
In the 1980’s Hamase began to slowly drift away from jazz and drowned himself and his musical vision into new-age, ambient and experimental electronic spheres, in which he incorporated his funky meditative way of playing the bass above airy sounds and arrangements.
His first solo album “Intaglio” was not only a milestone of Japanese new-age ambient, it was also fresh sonic journey in jazz that does not sound like jazz at all. Now Studio Mule is happy to announce the re-recording of his gem from 1986, an enchanted, majestic opus as likely to arrest and beguile as much now as it did then.
First issued by the Japanese label Shi Zen, the record had a decent success in Japan and by some overseas fans of music from the far east. With seven haunting, stylistically hard to pigeonhole compositions Hamase drifts around new-age worlds with howling wind sounds, gently bass picking and discreet drums, that sometimes remind the listener on the power of Japanese taiko percussions. also, propulsive fourth-world-grooves call the tune and all composition avoid a foreseeable structure. at large his albums seem to be improvised and yet all is deeply composed.
Matt says: For me, the uneducated, this sounds like Steve Reich meets Iasos on a houseboat moored at Lake Kawaguchi (Mount Fuji). Totally captivating and transportive and with a rich musical tapestry. Full marks!
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