Hiroshi Yoshino Mongoloiders “Naitara Mizuumi”

"Naitara Mizuumi"

(Ohrai) 2002

Hiroshi Yoshino: Acoustic bass

Eiichi Hayashi: Alto and Soprano Sax

Takayuki Katoh: Guitar

Shota Koyama: Drums     

Far from the rough, harsh attack of free jazz, Mongoloiders have defied my expectations and released an introspective and engaging set of very unusual tunes. through most of the tunes, the tone is like a lullabye, soothing and gentle. This seems surprising due to the band member’s wild proclivities in other settings. They play here with a dedication and focus on creating a rich variety of textures that brings together many diverse influences. Their cleverly chosen and arranged songs are open enough to allow their jazz skills to go to work while never losing the earthy appeal of the songs.

“Tsombon Tuukraitai Khuren” is a Mongolian folk song that seems to noodle around in a desultory way. Their arrangement is in no great hurry to get anywhere, which makes it an interesting opener, and a very lovely one. “Romaria” by the great Brazilian musician Texeria Renato, is heartbreakingly lovely. The musicians capture the mournfulness of the original and let their musical tears flow. They each take solos, but it’s hard to hear when exactly, since all the textures and lines flow smoothly into a continuum. The band works as a band, instead of drawing attention to themselves.

African pianist Abdula Ibrahim’s “Nelson Mandela” is given an upbeat, funky treatment that gives saxophonist Hayashi plenty of room to stretch out into his full strength as an improviser. Yoshino also takes a long, exploratory solo that lopes along like a jeep on a country road, never losing the African rhythm underneath and enjoying the roughness of the ride.

Latin musician Ariel Ramirez’s ballad “Alfonsina y el Mar” is given a swaying beat and delicate handling showing off Katoh’s acoustic guitar playing. His Latin chops are exquisite, and a long ways from his raucous, electric samples that he often delivers in other groups. He adds a softness, lightness and clarity with his acoustic guitar here. “Myu-tan,” an  original by Yoshino, moves into a cross-blending of ethnic, folk, Latin and jazz. It’s a beautiful piece that gives everyone in the band a chance to shine, but especially drummer Koyama, who picks up the unusual folk rhythms and works them into intricate temporal shapes.

In short, the CD covers a lot of territory, and all of it interesting. The music is challenging at times, but resolves into a coherent vision of jazz’s potential to combine with other musical forms. It’s not just an experimental blend that was a clever idea, but overall comes together as a polished, natural whole that is delightful.