Hex

Album review

Hex is the self-titled debut offering by the electro-acoustic clubjazz project led by Toshio Matsuura, formerly of the United Future Organization. After paying close attention to the way jazz musicians -- not only on the scene in his native Japan, but also in the United States and in Europe -- began using hip-hop samples and rhythms and urban R&B melodies, he enlisted a slew of musicians and a recording engineer to meld the sounds of jazz itself to electronic music. The other players in this ensemble include "Soil & Pimp" Sessions' drummer Midorin, Berklee College of Music graduate, composer, arranger, producer & DJ Kan Sano on various keyboards & programming, Shikou Ito on piano (formerly of Quiet Jazz Special Unit), and all-star session bassist Yoshihito P. Koizumi. Recording engineer zAk rounds out the ensemble. There are certainly precedents for the music here, but none of them fit precisely. Sleepwalker is an obvious starting point, but so are Kyoto Jazz Massive, U.F.O., and, to a lesser degree, Quasimode. The opening dance number "Jazzstep" prominently features Midorin and Koizumi, who interlock on a series of knotty but breezy grooves, is a clear standout. "Uncensored Love Transmission," with its ambient traces and breezy loops, is another. "Tropicalia 14" weds electronics, bossa, and samba to soulful post-bop. Though the instrumental cuts deliver the groove quotient, it's the vocal numbers that really get it. The reading of Horace Silver's "The Tokyo Blues" is a stone-cold killer, thanks to the great Ed Motta lending his voice. Another version entitled "The Osaka Blues" is delivered beautifully with Japanese lyrics by Yoshie Nakano. "Hello to the Wind," with Grey Reverend fronting the band, is a fine number too. As debut offerings go, this is tasteful, ambitious, and well-executed. The Japanese division of Blue Note Records found themselves a winner with Hex.

© Thom Jurek /TiVo