Tomoki Takahashi Group

Aketa no Mise
December29, 2004

Tomoki Takahashi--saxophone
Kazuhiko Tsumura--guitar
Nobuyuki Komatsu--drums
Tomoyuki Shima--bass

Takahashi's group has achieved that all-too-rare comfort of being truly a group. That comfort translates into tight, potent jazz that sounds better and better each time they play. What most impresses is not only how good they sound together, but also their sense of not rushing. Call it maturity, but many groups, when starting up together, or when just playing together after a long absence, tend to race along too fast, forcing the music too hard and missing directions in solos. Takahashi's group has none of that, and the feeling of unforced, non-anxious playing is a great pleasure.

In addition to their easy-going pace, the quartet creates a roomy, spacious feeling to their ensemble. Tsumura's guitar, of course, lets in lots of room that a piano would not, but the Komatsu's drums and Shima's bass also rest confidently in their own corners. The result is a huge interior space that is lean, open and sleek. Unlike many groups, who tend to bunch up in the middle of the sound, the quartet members all have a clear, strong sense of place that encourages and creates a fascinating tension with the others, whether on lively blues or cool ballads.

The rhythm section sounds fresh and right to the point. They are driving, but still branch out for added textures. Takahashi always allows them plenty of solo time, and they both buckle down tightly
into constructive expressions that create friction, creative friction, with the guitar and sax.  The quartet has nearly the perfect balance.

Tsumura's guitar has an unadorned sound that hits with the same direct punch as Takahashi's tone. The guitar is neither too full of amp-driven sound, nor does he simply ride along on the electric effects; Instead, his tone is crisp and clear, whether soloing or comping, with interesting, not-always-just-jazz chops. His soloing lines start from tight focused patterns that swirl and move from the tonal center in fascinating directions.

It's Takahashi's long, lean, unforced lines that form the focus of this quartet. He constructs his solos with an architectural approach, but a natural one. At the end of every solo, you want him to keep on constructing more and more. His tone has plenty of "dirt" but also plenty of nuance. This may be partially the result of a different way of breathing, but a high level of emotive expression seems to have entered the quartet's sound as it has eased into its own natural pace. Takahashi's improvised notes are never predictable, but hit with a slightly weird uncertainty at times that always resolves into robust, full-throated power.     

The evening was dedicated to Elvin Jones, the inspiration for the group's most recent recording, "Blues for Elvin." Jones could not have asked for a better musical honor than this tight quartet jamming away at Aketa no Mise in late December.