In various configurations, from solo to duo to orchestra, pianist Satoko Fujii has amassed a prodigious and voluminous output, hitting the 100-album mark in 2022, and that’s only counting her work as a leader. Amongst all that achieving is the output of the Satoko Fujii Quartet alongside trumpeter Natsuki Tamura, bassist Takeharu Hayakawa, and drummer Tatsuya Yoshida. Jazz-rock is the group’s specialty, avant-garde friendly in its explorations as it avoids leaning too heavily into familiar aspects of fusion. After a long dormant stretch, they have reconvened for studio record number six, Dog Days of Summer, available on CD and digital September 13 through Libra Records.
When a band resumes activity after a lengthy break, it is often discovered that the spark of interactive creativity, i.e. the “magic,” is gone. The reasons vary, but a recurring issue is a desire, frequently unconscious, to recapture something comparable to what came before rather than breaking free of expectations in the true spirit of what made the endeavor worthwhile in the first place.
To be sure, the reunion blues are a rock-centric malady, but as the Satoko Fujii Quartet is a jazz-rock affair, and one that has returned to recording after a considerable layoff, the scenario applies. Of course, the opposing sides of the hyphen in the band’s formal hybrid are fairly pinpointed as avant-jazz and art rock, but the dangers of diminishing returns are still relevant.
Fujii is on the record as disinclined to recreate the Quartet’s earlier sounds. But understanding that saying and doing aren’t the same thing, Fujii’s aim is true, as Dog Days of Summer expands upon the band’s prior brilliance, establishing fresh possibilities from a familiar framework. Like many successful recommencements, Fujii and crew got back into the groove through live performance, playing first at the Shinuku Pit Inn in Tokyo and following with a four-city tour of Japan. Then, to the studio, as this album was recorded on April 8 of this year.
The compositions are all Fujii’s. “Not Together” begins with roughly a minute’s worth of tandem exclamations, essentially a non-traditional “head,” that’s delivered with precision before spilling out into an avant-jazz tangle; it’s abstract but with angular aspects retained. Yoshida’s drums are appropriately rock thunderous (understandable as a co-founder of Ruins), and Hayakawa’s distorted low-end bass acquires some six-string-like qualities. Fujii is clanging and banging with utter relish and after Tamura fully lets loose there’s a magnificent collective explosion and then a return to the opening theme.
“Haro wo Matsu” begins in duet mode, Hayakawa a bit reminiscent of Mike Watt as Fujii blends the lyrical with Taylor-like percussive runs and then a huge crescendo before signaling a full band structural shift, Tamura rolling in with a few melodies and a sweet solo that just might please fans of Morgan and Hubbard, all while keeping any smoothness in check. Later, after a gorgeous eruption of freedom, Yoshida throws down a massive drum solo that formulates visions of the band headlining Madison Square Garden decked out in jumpsuits and headbands. It’s really quite cool.
After beginning with some sharp and multifaceted ensemble play (another expert head from Fujii), “Metropolitan Expressway” segues into a series of fluidly connected mini spotlights on the instrumental prowess individual player. It swaggers a bit without tipping overboard into an ego puddle. It’s far too playful for that. The segment with Tamura with mute in hand blowing over top of Yoshida’s rhythmic rumble is very Downtown NYC/Knitting Factory in feel.
“A Parcel for You” begins and ends with Tamura soaring atop a statement of refined rock thud. In between, there are alternating bass-drum and trumpet-piano duos. Hayakawa’s low-end gruffness might trigger a nod of approval from a Sunn0))) fan. Tamura and Fujii’s portions hit like excepts from a lost (and fictitious) duo session that Taylor and Raphe Malik cut for Soul Note.
Confident and adventurous as it swings between relaxed passages and bursts of intensity, “Circle Dance” also spreads out to encompass everything this unit does well; crack ensemble play, elevated technique, imaginative soloing, and deft writing. “Low” is quite the barnburner, both structurally and especially in terms of soloing at its most muscular.
But most importantly, Satoko Fujii’s quartet is lithe in their expressiveness, casting aside the cumbersome and the lumbering. Dog Days of Summer concludes with the title track, an exquisite serving of jazz rock rumble with a few likable fusion-esque flourishes and even hints of ’70s Euro prog. Altogether, the album extends this band’s impeccable track record by staying focused upon making it new.
GRADED ON A CURVE:
A
