HIDEO OYAMA QUARTET 大山日出男カルテット
Someday, ShinjukuJune 8, 2016
Hideo Oyama 大山日出男—alto saxophone
Yutaka Shiina 椎名豊—piano
Yuhei Honkawa 本川悠平—bass
Masanori Ando 安藤正則—drums
Hideo Oyama is one of those seemingly unassuming sax players who start out playing with obvious impressive technique, but end up blowing you away with solo after solo by the end of the second set. Unlike most Japanese groups, he comes out swinging from the first beat. The quartet started out with a hard-swinging number that let everyone open up and dig into great exchanges with drummer Ando, whose nimble style fit perfectly with the rest of the band. Following that with the Jimmy Van Heusen ballad, “Like Someone in Love,” the band synced into each other and fully loosened up their chops for the evening ahead.
The band did a fantastic, funky re-arranged version of “Watermelon Man,” with pianist Shiina really cutting loose. Their version ranged from free flourishes to bop to funk with equal force, balance and taste, making a great song even greater. Heading back into calmer waters, Oyama re-arranged a piece from Erik Satie that included lovely Middle Eastern and Greek modal playing. It was lovely and exotic. The first set ended with a fast bop-like piece that Oyama had yet to give a title to, since he had just penned it. The high-energy drum solo from Ando clinched the set.
The second set kicked off with an interesting version of a Showa-era hit, “Gin-iro no Michi.” The song was well arranged by Oyama, and a strange reminder that so many gorgeous melodies from Japanese pop music go untreated by jazz musicians. Perhaps not enough can mine such a melody for jazz value hidden inside. “Jeannine” by Duke Pearson, also nicely rearranged to fit the band and Oyama’s playing, had a tricky rhythm that swung hard, but was central to what Oyama and Shiina had to say about it. “In Case You Missed It” was taken at a very fast tempo, with thick, rolling drums and a harder swing from everyone in the quartet. Shiina tore the song open with an especially fleet-fingered solo, while Oyama preceded and answered him with a long, interesting take on the classic hard bop number.
Oyama, of course, is front and center in his own band. While he gives plenty of time to the other members to solo, his way of combining pristine tone and technique with meticulously fluid solos was especially captivating. He’s one of those rare sax players whose technique and improvising are perfectly matched, each one driving the other in harmony and thoughtfulness. With Oyama’s composing and arranging skills, as well as the force of his presence as leader, this quartet played two full super-satisfying sets of jazz.