Yosuke Onuma (小沼ようすけ ) “Summer Madness” (Sony) 2002
Yosuke Onuma’s second CD, recorded in August and September, will satisfy fans of his first CD and bring him even more. Onuma is here at work again with his two best mates--Yuta Kaneko on keyboards and Hidenobu “Kalta” Otsuki on drums. These three play together in Tokyo’s live houses regularly under different names, Aquapit or as leaders on their own, so they know each other well. Though the recording’s under Onuma’s name, it’s really a trio. Their drum-organ-guitar format plays together naturally and intuitively, moving from ballads to funk with ease.
Their blend of songs is especially well done, with fast-paced bop to keep the blood flowing and smooth originals from Onuma to chill out. Onuma’s originals sound strong even when set in between tunes from Herbie Hancock, the Isley Brothers, Prince and Ornette Coleman. His writing is more sophisticated than on the first release. My own preference is for the faster tunes, which really rocket along with a funky, good-time roughness. The slower songs are reflective, but a couple have just a bit too much varnish. Mid-way through the release, though, it balances out. The inclusion of “By The Way” by the Red Hot Chili Peppers, opens the door back up to wild funk, with their sometime saxman Ken Ota delivers a burning solo and great backing horn lines.
Other standout tracks are their cover of Ornette Coleman’s “Ramblin’” with incredible solos by all three players. They obviously want to establish their jazz credibility with this tune and definitely do just that. “HGM” is a lovely original from Onuma with the trio working a deep, cool groove that shows how tight they really are. The diversity of approaches feels a little uneven at times, as if they are trying to do too many different things. By exploring different directions they offer a little something for everyone. More for the funk and bop fans would have made a more energetic overall release, though.
The biggest difference between this CD and the last, though, is the depth of soloing. Their improvised lines are much more developed and confident than on the first release. The slower ballads have an careful, considered lyricism to the solos. They’ve obviously gained experience since their last release, and it shows. They add myriad small, subtle colorings and textures to the songs as well, rather than just taking the chords as they are, they mold and shape the tune in their own voices.