Satoshi Denpo’s bass playing lounges around Fukui creates the foundation for most of these songs with his left hand carving out the rhythms and modes of the music, but Denpo adds a tranquil element to it all, a sort of lazy elegance. Still, it’s fun to talk to old-school Jazz cats who flip on the opening track “It Could Happen to You” and have them wondering “where has this been all my life?” The Fukui trio is deeply indebted to the American style of playing, covering old standards from the states with well-crafted flourishes. had been replaced by Led Zeppelin, and even today few albums from Japan make a dent in the American consciousness. Time and place probably had something to do with Scenery flying so low under the radar. Scenery is one of those hidden gems that brings up the question: “why wasn’t this huge?” It’s a smooth jazz record in the channel of Bill Evans, with Fukui’s dexterous playing creating some of the most vibrant and pastoral music of the ‘70s. Because I found Ryo Fukui through Youtube. In that time that Youtube took from me, I could have written the next great American novel, traveled the world, started a family, but all is forgiven. The site is a time sink that has drained years of my life away as I’ve clicked from recommended video to recommended video. Though Fukui remains calm in some arrangements, he switches gears on frenetic, seemingly improvised pieces like “Early Summer,” a fitting apex for the album.The number of hours I’ve wasted surfing through Youtube is uncountable. In the track “Early Summer,” his transition between chill melodies and slapping chord progressions culminates in a grand three minute solo, mirroring a lot of the grandiosity found in both Evans and Coltrane’s repertoire. Fukui ’s style is immediately reminiscent of Bill Evans, and his modality recalls to life the masterpieces of the John Coltrane Quartet. The drums are thunderous, but at the same time expertly restrained, and his keyboard has an air of both swing and finesse.Įven in his original arrangements, the giants of jazz piano are channeled through the sounds of Scenery. While “Autumn Leaves” is an oft-used piece for beginner jazz musicians to acquaint themselves with jazz harmony, Fukui still manages to create something original out of an otherwise rudimentary piece of music, adding an upbeat cadence and flair throughout the song. His rework of “Autumn Leaves” contains an eclectic, soulful introduction before he breaks into the slow, subdued jazz standard. In Scenery, Fukui provides listeners a refreshing take on some jazz classics, like “Willow Weep For Me,” “Autumn Leaves” and “I Want To Talk About You.” While he relies on the works of other musicians, he has an undoubtedly unique take on every song. Artists are free to stitch together a variety of styles and sounds effortlessly, affording them a significant level of creativity and improvisation. ![]() Jazz’s liberating nature separates it from other genres of music. When listening to Scenery, it’s hard not to think about the countless other potential works of art that the Western musical zeitgeist has failed to account for. Ryo Fukui had all the material to make a similar impression on the world of jazz with the modal masterpiece that is 1976 ’s Scenery, but among some of music ’ s biggest injustices, the lack of a global stage for musicians of Fukui’s ilk is one of the most unfortunate. Duke Ellington showed us the wonder and joy to be had with a big orchestra. ![]() Louis Armstrong helped us find fun in swing. ![]() ![]() Thelonious Monk taught us the beauty of improvisation.
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