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even if she’s enjoying solo piano or main one in every of her quite a lot of colossal ensembles, the pianist and composer Satoko Fujii will tug you towards the particulars.
The leader of a dizzying array of ensembles both huge and small, Fujii is arguably essentially the most prolific pianist in jazz — if also among the most underrecognized. For the reason that the 1990s, she has launched near 100 albums, on the whole via her personal Libra information label. Two years ago, celebrating her 60th birthday, a milestone known as “kanreki” in japanese tradition, she put out a new album each and every month, including both solo piano and big-band works.
Fujii says that she seems to hear song all over the place, and she feels challenged to channel the sensations of the realm as at once as she can. “This doubtless sounds odd, however when I compose I believe like the tune is already there — we simply didn’t note,” she noted in a fresh interview from her home in Kobe, Japan. “I suppose like I’m simply trying to find whatever that turned into hidden, but this is already there.” The sound of an airplane overhead, an overheard dialog, even the rustling of trees can provide a spark.
without entry to gigs, jam classes or a recording studio right through pandemic lockdown, she felt herself fitting unmoored. On walks around Kobe, she changed into touched via the uncanny nervousness of the atmosphere, but she and her husband, the trumpeter Natsuki Tamura, had no person else to play with. “everything changed into canceled,” she noted. “I felt like: Who am I?”
She determined to outfit her tiny piano room, which barely suits her cherished Steinway grand, with a house-studio setup. Then she persisted writing and recording and releasing tune, at a good faster clip than earlier than.
throughout all of Fujii’s work, contradictions come into stability; though her tune is abstract and infrequently wild, each and every aspect shimmers with readability. In cases massive and small, her soft consideration to element is equaled by her ability to convey massive breadth and textural latitude. Being attentive to her, visual-paintings metaphors develop into tempting: These works are as advanced and detail-pushed as, say, a Mark Bradford canvas, and simply as big in scale.
due to the fact that the birth of quarantine she has posted neatly over a dozen albums to her Bandcamp web page. They encompass “Prickly Pear Cactus,” a trio disc that she and Tamura made with the digital musician Ikue Mori, trading sound information via e-mail and building step by step on one one more’s work; “past,” a collection of serene duets with the vibraphonist Taiko Saito; and a solo-piano album, “Hazuki,” attainable on CD this Friday, featuring compositions Fujii wrote in the early months of quarantine.
Writing with the aid of electronic mail, Mori pointed out she had began participating with Fujii a couple of years ago, after having heard from other musicians on the scene a few pianist with a “dynamic and different fashion.” The “Prickly Pear Cactus” venture had allowed them to collaborate at an unhurried pace. “This time, taking our time playing and dealing on the details, was an ideal condition for each of us,” Mori pointed out.
Born in Tokyo, Fujii was obsessed by using music from her early childhood, but she didn’t automatically excel at it. She remembers that classical piano didn’t come readily, and a few instructors were much less supportive than others. As an adolescent, she said, one classical trainer told her: “in case you simply keep taking part in, in the event you get to be my age, like 70, you’d be a great piano player. Any one will also be a good piano player. Simply retain enjoying.”
We can’t always choose the music life plays for us but we can choose how we dance poster
That might sound like faint compliment, nevertheless it steeled Fujii’s unravel. Speakme by means of video interview final month, she changed into vibrant-eyed and brief to chuckle. But she described herself as a restless spirit, saying she feels at ease only when developing.