A Magical, Mysterious Masterpiece by Satoko Fujii and Taiko Saito
Pianist Satoko Fujii has made more good albums than just about anyone alive. Part of that is because she’s made more albums than just about anyone alive – over ninety as a bandleader or co-leader. There is no one with more infinite gravitas livened by a surprisingly devious sense of humor. Her latest album, Beyond is one of her most rivetingly evocative and marks the debut of yet another new project, Futari, a duo with vibraphonist Taiko Saito streaming at Bandcamp.
These songs are on the long, quiet and extremely spacious side. Fujii typically takes centerstage but not always. Her sound world has expanded considerably, to an otherworldly rapture in the last couple of years. The one here is akin to an eclipse, equal parts dark and celestial. Often it’s hard to tell who’s playing what, enhancing the mystery.
The opening number, Molecular has a subtly tremoloing vibraphone drone punctuated by whispery rustles and eerily microtonal, rhythmically chiming prepared piano, like a mobile in the breeze wafting from the great beyond. In the second track, Proliferation, a murky drone filters in and then gives way to squirrelly noises and surreal hints of a boogie before Saito fires off liltingly Lynchian phrases over Fujii’s gathering storm.
Echoey long-tone vibraphone drifts through the mix in Todokani Tegami as Fujii colors it with a haunting austerity, leading up to an absolutely macabre music-box theme. The album’s title track rises from barely perceptible whispers to spare bell-like piano accents, Saito’s microtones a chill little breeze under the door.
On the Road is not a jazz poetry piece (sorry, couldn’t resist) – it’s a moody, modal tableau with a tight, steady interweave of allusively Arabic tonalities and an ending tacked on that’s way too good to spoil. To steal a title from the John Cale book, the calmer moments of Mizube could be called Fragments of a Rainy Season.
A shockingly straightforward, Lynchian waltz quickly gives way to Messiaenic insistence and eventual fullscale freakout, then back, in Ame No Ato. Saito’s chromatics lingering above Fujii’s steady, phantasmagorical chords in Mobius Loop are a red-neon treat; thunder and an after-the-rain chill ensue.
The two return to ambience punctuated by bell-like accents to close the record on a vast, meditative note with Spectrum. Saito’s strengths as a listener and an elegant orchestrator deserve a bandmate as focused as Fujii, whose extemporaneous tunesmithing gets pushed to new levels here. It’s awfully early in the year to be speculating about the best album of 2021, but there’s nothing that’s been released so far that can touch the sheer magic of this one.