Seiji Tada the Most "re:mark" (Ragmania) 2007
Seiji Tada – Saxophones, Flute
Akira Ishii – Piano
Shin Kamimura – Bass
Masahiko Osaka – Drums
Jem – Lyrics and Poetry Reading
The latest recording by Seiji Tada's the Most is his most mature work to date, and one of the best Japanese jazz releases of the year. This aptly titled CD marks, or maybe re-marks, a real leap in level from the quartet's earlier releases. Their first two recordings relied on youthful energy and their close interaction, while the third recording rested on interesting compositions and careful planning. This fourth CD, though, is where they put all that behind them and just play without having to think or concentrate or overdo anything. It all comes naturally.
The opening title track bounces off the starting line with a deep, grooving bass line and nifty drum work from Osaka, who wrote the tune. Midway, the lead rhythm shifts to a cooler bop drive that really lets Tada and Ishii solo to their heart's content. On first listen, it seems like this will be the most fully realized song, but all the others are at an equally sophisticated and musically developed level, one after the other, with variation and solo time aplenty.
"B Trane," also by Osaka, gives Tada time to really stretch a bit further out. His sax playing sounds relaxed and content, as if much closer to the heart of the melodies. "Royo y Negro" brings in some mid-song lyrics in Spanish, with poetry reading and a choral chant over a Latin rhythm. Before and after the vocals, the tune kicks with a deep Latin groove. Everyone is clearly enjoying themselves on every tune, but this Latin one really lets loose.
Tada switches to flute for Ishii's "Boulogne," a fresh, clean melody as pretty as the area of France itself. The switch time on "Tarjeta Amarilla" by Kamimura, starts and stops in unexpected, interesting ways. The boisterous bluesy feeling finds all four playing with the rhythm together, no one quite knowing where the others will start and stop, but enjoying the unexpectedness.
"Contrail" is calm and easygoing, contemplative without having to prove anything. The melodies and solos meander like a lazy afternoon, with a looseness that finds depth more easily than if looking for it. "Loose Shuffle" is funky and bluesy before breaking open into freer passages that contrast nicely with the locked-in shuffle rhythm and blues-ing around. These two songs in particular seem to well up from the depths of their being. This collective spontaneity shows again why this recording is another level of jazz altogether.
On the closing song, the quartet raises Osaka's original "Second Half" to an anthem, the take-out bars, which could have gone on for a long, glorious time. Wait for the tenth hidden track, too, it's a real hard bopper. Among the many great jazz groups in Tokyo, the Most is one of the fullest and richest. The group's name shows just what they give to the music.