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Osamu Moriyama :: Invisible
by Ron Sagye La Rue
Despite the title "Invisible" Osamu Moriyama's guitar playing is anything but...on this CD! All nine of the songs are by Moriyama he alternates between acoustic and electric guitar. Jane Wang double bass&piano;Scott Goulding drums round out the trio. The set opens with "OPEN THE BAROQUE" on electric guitar; Osamu amply demonstrates he has chops!
With lightning fast legato runs he also gets a rolling continuous effect, like when a pianist uses the sustain pedal. His sound is quite clear,concise and his technique is flawless. Enabling Osamu to create fiercely rapid lines, that less capable guitarists could not. Bassist Wang can really be heard on this piece(throught out CD),I like her sound and the way she constructs her solo, somewhat reminiscent of Charlie Haden.
Goulding gives excellent support. DEPRESSION on the contrary is not depressing acoustic guitar is employed and Wang's on piano. This stately duet is a nice contrast to BAROQUE Osamu is gentle here while Wang gives chordal support. Some music should be heard and less spoken about this is one!
URBAN MARCH finds Osamu back on electric and sounds like a round not a march! His playing is good but on this one bassist Wang takes the honors.Her performance is unbelievable! Even though the solo is only 27 seconds long,it is a masterpiece! Of construction and design so touching deeply,Wangs execution,concept and delivery are superb. She knows how to build a solo. In the old days('40's-'50's)those in the know used to say "he knows how to come in" meaning how to build a solo after another has completed his/hers. Wang does that very well! Not too many young musicians now-a-days know how to do this. Jang Wang is one that does!! Also Osamu feeds chords a just the right time and place during Wang's solo. The only other bassists that come to mind who've done this on CD are Gary Peacock and Richard Davis. SO FRAGILE is an acoustic guitar duet Osamu accompaning Osamu(overdubbing) one guitar surely has nylon strings adding to the pieces subtleness.
published 25.05.2005© 2005 jazz news :: home page