Satoshi Inoue Trio at Body and Soul
September 10, 2024
Satoshi Inoue – guitar
Pat Glynn – bass
Gene Jackson – drums
Though it was still hot and humid in Tokyo, master guitarist Satoshi Inoue chose tunes related to autumn, of which there are a surprisingly large number in the jazz canon. Whatever tunes Inoue would have called would have been just as impressive under his consummate technique and fantastic soloing. He had two great supporters, Glynn and Jackson, who were “my dream team,” as Inoue said during the break. The trio took off for a beautiful evening of straight-ahead guitar jazz.
“September in the Rain” got Inoue’s trio working hard. It’s a lovely song that Inoue worked through almost like a warmup, his fingers running an almost piano-like cover of the fretboard. Referencing George Shearing’s version of the song in his intro, Inoue’s playing was just getting started.
“’Tis Autumn” was taken at a quick tempo with single-line runs and complex chording. Inoue’s phrasing is always surprising and satisfying in equal measure. Glynn took an extended solo with Inoue’s support and Jackson’s heartbeat-steady drumming. The trio was locked together.
“Autumn Nocturne” added another melancholy melody, as calm and reflective as any softly serenading reed or horn version. Inoue continued to impress not just with his command of the guitar but also with his gentle command. He’s not out to flashily astonish listeners. He impresses by focusing on melody and harmony, not his own skill. He may not mind being a guitarist’s guitarist, but he still thinks of listeners first.
Glynn weighed in on “Autumn Serenade” with an extended, fluid solo that showed his impressive technique. Like Inoue, he enjoys going deep into a song and pulling out the beautiful melodies inside. Like Inoue, Glynn had a deep feeling for these autumn numbers. An original from Inoue, “Abril,” closed out the first set with Brazilian samba elegance that had plenty of room for a heady drum solo from Jackson.
“Autumn Leaves” is perhaps the most famous of the autumn-themed songs of the evening, and all three musicians delivered it with sleek depth. If the word “autumn” is getting old in this review, it wasn’t getting old in the music. Each tune resonated with the others and felt as fresh as the first fallen leaves. “Autumn in New York” was played with a Latin rhythm and more amazing chording from Inoue and another compelling solo from Glynn.
“Akatombo,” the Japanese folk song about dragonflies at the end of summer, allowed Glynn to show off his lovely arco bass playing. It fit elegantly into Inoue’s lush guitar and let Inoue push into snatches of “Concerto de Aranjuez” and then back again. “Indian Summer,” an older number played initially by Tommy Dorsey in 1919, now a jazz standard, was especially lovely. “September Song” was the perfect encore.
At the end of two complete sets of autumn songs, the audience was ready for two more. Or winter, spring, or summer! The thematic unity of the songs came together in interesting ways, but Inoue could have chosen any standards and been just as impressive. His guitar style owes a lot to the classic jazz guitarists, many of whom he met and played with while in the U.S. But he has a unique approach that is all his own. The trio was a perfect match, a classic guitar trio that fits any season and any repertoire.
