IN THE NEWS
“As for trumpeter Natsuki Tamura – call him a sky-writer.” Jim Macnie,
The Village Voice
“This is extremely beautiful music, defined by its intelligence and
risk.” ― Jason Bivins, Cadence
“Proof that improvised music can be emotionally engaging as well as ear
tickling…Imagine Don Cherry woke up one morning, found he'd joined an
avant goth-rock band and was booked to score an Italian horror movie.
It might be an unlikely scenario, but it goes some way to describing
this magnificent sprawl of a record from Natsuki Tamura… a deeply
compelling listen." ― Peter Marsh, BBC
“His playing evokes the great trumpeter explorers of the seventies –
Miles Davis, Don Cherry and Mongezi Feza – yet he would never be
mistaken for any of them.” ― Brent Burton, Jazz Times
“My favorite trumpet player in the world is Natsuki Tamura.” ― Miho
Watanabe, Ele-King
“…Tamura’s trumpet is lyrically beautiful and commanding.” ― Andy
Hamilton, Wire
“…sounds that elevate, startle and thrill.” ― Jerry D’Souza, All About
Jazz
“Tamura has an especially wide vocabulary of sounds, ranging from
comic, muted gurgling to soulful harmonics – and these are just the
sounds he achieves through blowing the instrument.” ― Rob Adams, The
Glasgow Herald
“…wondrous facility and articulation at all tempos, and a musical sense
of humor reminiscent of the late Lester Bowie… a fresh approach to
improvised music… Adventuresome and rewarding.” – Stuart Kremsky, IAJRC
Journal
“Trumpeter Natsuki Tamura, who composes all the material, is the real
star, his ghostly, poetic sound filling the air with great beauty.” ―
Philip Johnson, The Independent (UK)
“This collaboration… is a rolling storm of sound. The music
doesn't swing, it stomps.” ― Phil Freeman, The Wire
“Now we can officially say there are two Natsuki Tamuras: The one
playing angular jazz-rock or ferocious free improv and the one writing
simple melodies of stunning beauty. How the two of them live in the
same body and breathe through the same trumpet might remain a mystery…
Pure delight.” ― François Couture, All Music Guide
“…a remarkable trumpeter, individual, lyrical and dramatic. Gato Libre
seems perfect for this aspect of Tamura’s varied musical personality.”
― Ray Comiskey, The Irish Times
“Stylistically spanning a spectrum of musical history that includes
trumpeters Clifford Brown, Miles Davis, Lester Bowie, and Toshinori
Kondo.” ― Derk Richardson, San Francisco Bay Guardian
“Tamura controls the tone of his trumpet at will and he has entered
territory that no one has ever explored.” ― Masahiro Imai, Musen to
Jikken
“Natsuki Tamura is unquestionably one of the most adventurous trumpet
players on the scene today. Yet the musical partner of pianist Satoko
Fujii is very much part of a long lineage of free-spirited trumpeters,
encompassing the likes of Freddie Keppard, Bubber Miley and Rex
Stewart, and more contemporary stylists such as Don Cherry, Lester
Bowie, Bill Dixon and Leo Smith.” ― Marc Chenard, Coda
“With nothing but his voice and trumpet, Tamura comes up with a persona
no less self-contained than that of early, wandering bluesmen like
Robert Johnson or Charlie Patton.” ― Ken Waxman, Jazzweekly
“…mysterious, haunting and startling.” ― Larry Appelbaum, JazzTimes
“Tamura, on trumpet, is also a fantastic voice. He plays the instrument
sensuously, focusing on sound and tone rather than just on pitches. At
times he sounded like a crying baby, and at times his trumpet sounded
so fierce and loud that it made the audience shift in their seats.” ―
Adam Kinner, The Gazette (Montreal)
“Tamura’s trumpet soared with quiet melodies that rose above his
accompaniment with majesty and poise….His solos amounted to
conversations between artist and audience.” ― Jim Santella, All About
Jazz
Tamura’s CDs have consistently been voted as among the Top 10 of the
Year by critics.
NATSUKI TAMURA SOLO
Ko Ko Ko Ke (2004)
“A highly serene, peaceful, intimate journey through the art of melody
and play. Natsuki Tamura alternates between simple melodic
statements interpreted as if he was murmuring them to your ear and
nonsense vocal sections sounding somewhere between plainsong and sound
poetry…” ― François Couture, All Music Guide
“You’ll never fit trumpeter Natsuki Tamura into any pre-fab category.
He creates his own, then pulls you into them with him…On Ko Ko Ko Ke he
settles into a subdued sound, prayer-like throughout.” ― Dan
McClenaghan, All About Jazz
"Tamura usually blows extremely hard but here he slows down all the way
through. Yes, he is a trumpeter blessed with beautiful sound in
the mid to low registers, and a slow song is really a good vehicle for
that beauty.” ― Kiyoshi Tsunami, Swing Journal
“This is the second solo disc from the excellent Tamura, who has played
often with his wife, pianist Satoko Fujii, and has been patiently
constructing a voice poised midway between a sweet, warm, Booker
Little-influenced sound and a restless, spittle-filled approach that
may be indebted to mischief makers like Lester Bowie and Herb
Robertson.” ― Jason Bivins, Cadence
“…A stunning example of another facet of Tamura’s work… The absolute
purity of sound has the most immediate impact, his unembellished lines
sing with a flawless resonance that is completely arresting.” ― Paul
Donnelly, ejazznews.com
"Tamura’s trumpet quickly evaporates my ‘fatigue I feel when I think
about jazz and its listeners’. Ko Ko Ko Ke stimulates my imagination in
various ways." ― Manabu Yuasa, Studio Voice
"It was not until quite recently that I finally managed to find the way
to follow the extraordinarily unpredictable music created by Tamura’s
unique sensitivity… he seems now to enjoy conversations with himself
softly and sparsely in the mood of pastoral melancholy… it could be
interpreted that he is, in this crystal-clean atmosphere, trying to
return slowly and calmly to the origin of Japan." ― Tatsuya Nagato,
Jazz Life
“His mournful trumpet tone is unique. His interpretations are
always musically correct. The listener does not have to cope with
distractions… Tamura has been influenced by a lifetime of exposure to
traditional folk songs, as well as to modern musical concepts.
With Ko Ko Ko Ke, he lets both branches flow into one river ― a river
of creativity.” ― Jim Santella, All About Jazz
“Listening is like witnessing the negotiation of a gentle, polyglot
ritual invaded occasionally by surreal strangeness. The CD cover bears
eerie, blurred images of a figure walking from darkness toward a
brightly lit room: the impression of both imagery and music is somewhat
reminiscent of a gnomic scene from a David Lynch film. Though Ko Ko Ko
Ke might be interpreted as a study in what is innate and what is
instrumental, ultimately this singular music refuses to be reduced to
the purely rational.” ― Colin Buttimer, Jazzwise
“…Tamura shrewdly creates a sound world that while completely his
own also hints at the mythological and musical folklore of Asian and
European cultures…. With nothing but his voice and trumpet, Tamura
comes up with a persona no less self-contained than that of early,
wandering bluesmen like Robert Johnson or Charlie Patton.” ― Ken
Waxman, Jazzweekly
“The liner notes compare it to ‘an artifact from another world’ and I’d
second that motion heartily. The sound sources consist of Tamura’s
trumpet and voice. When he sings, it is in no known language – the
syllables of the title are an example. A meditative mood pervades the
whole thing, and the melodies tend toward minimal simplicity, like
Buddhist chants from an alien planet. Great attention envelops every
detail, from the breathing to the tone and vibrato.” ― Jon Davis,
Exposé
A Song for Jyaki (1998)
"Writer's Choice 1998: Top 10 CDs" ― Benjamin Franklin, Coda
“Communicative, surprisingly so for a solo trumpet outing, and
along with How Many? and South Wind, is a compelling addition to a
genuinely innovative record label’s output... Miles is evoked, as well
as some extraordinary bass clarinetesque sonorities, on the echo
chamber that is the reverberating ‘Blackhole’... ‘Family of Mole’
contains almost hard-boppish flourishes that Freddie Hubbard would be
proud of... The final piece ‘My Folk Song’ combines the luminous beauty
of ‘Yan-Sado’ with the Lester Bowie-esque/computer playing scales
effects of ‘Practice’ to mournful mesmerizing effect.” ― Stephen
C. Middleton, Wire
”A fabulous set of hiccuping leaps, drones and post-bop trumpet
hi-jinx. Tamura goes from growling lows to fluid, free solo runs
and echoes not only Don Cherry's slurring anti-virtuosic chops but also
Kenny Wheeler's piercing high wire fullness.” ― Andy Bartlett, Coda
”His performance comes from the origin of expression, has great melody
and is very lively. What makes his music most attractive is its
cheerfulness and spirit.” ― Swing Journal
”This CD seems more like a self-portrait with a trumpet rather than
Free Jazz.” ― Yujin Naito, Jazz Life
“Anyone complaining about the lack of “something different” hasn’t
heard the music of Japanese pianist Satoko Fujii and her husband
Natsuki Tamura. Their sounds are a potent mix of passion and
calculated madness, with Tamura’s plaintive horn cry somewhere between
a blast and a bleat. On A Song for Jyaki, Tamura initiates a solo
statement that is in the great tradition of original musical
storytellers...his music magically captures the sounds of nature...” ―
Rick Marx, Jazz Central Station
“A solo trumpet album might seem a daunting walk for most players ―
bereft of any underpinnings, any backdrop, and support from other
musicians. But Japanese improviser Natsuki Tamura is a bold and
innovative improviser, unafraid of the challenge. A Song For
Jyaki is a chance for Tamura to follow his muse, whether it’s emotive
bleating, lonely melodicism or outright comical efforts...
Recommended.” ― James Lien, CMJ
“Tamura shows chops that would make Louis Armstrong
jealous...Recommended for those who can’t do without a little improv.”
― Dick Metcalf, Improvijazzation Nation
"Brilliantly articulated, brassy lines that reveal roots in the work of
Brown, Morgan and Hubbard." ― Stuart Broomer, Coda
“Star trumpeter Natsuki Tamura proves daring with rare fingerings,
creative and adventurous, playing the compositions of his wife, Satoko
Fujii.” ― Jack Burke, The Wax Works
10/10
DUO
Live
“Our picks for the best of the fest… Though she needed a stool
extension to sit at the keyboard properly, her musical presence is
anything but small. She has a way of pulling the most powerful and
expressive sounds out of the piano… And the pair is better than the sum
of its parts. Intuition and communication like that is rare.”
― Adam Kinner, The Gazette (Montreal)
“…the duos with Tamura explore a variety of moods with the most
delicate of textures.” ― Mike Chamberlain, Ottawa Express
“This is music loaded with playful musical dialog and melodic,
polyrhythmic exchanges… Augmented here by the wildly-creative Fujii,
one of the most original voices on her instrument, and the
equally-compelling Tamura, this special performance will feature both
familiar and unfamiliar musical dialects presented in a concert like
none other.” ― Earshot
“…they’ll be joined by two of Japan’s most adventurous and celebrated
jazz musicians, Satoko Fujii on synthesizer and trumpeter Natsuki
Tamura.” ― Andrew Gilbert, Contra Costa Times
“She’s an abstract expressionist who uses clusters – intimate
fingerings – and manages to find rhythmic motifs in free playing. She
lands at the Metropol, Saturday, with her husband, trumpeter Natsuki
Tamura. Together they engage in rewarding give-and-take exchanges.” ―
Los Angeles City Beat
“Tonight at Jazz at the Bistro, it’s an evening of international avant
garde jazz from pianist Satoko Fujii and trumpeter Natsuki Tamura.” ―
St. Louis Jazz Notes
“…the addition of keyboardist Satoko Fujii and trumpeter Natsuki Tamura
broadens the scope considerably. This is a crew who can confidently
move from extremely minimalist high-note suspensions to
dynamically-composed freedom-riffing, even during the course of a
single composition.”
― Martin Longley, The Stirrer
“Tamura and Fujii’s ability to fit into any musical scene is really
something. Their musical backbone is upright, but they play by ear like
nomads.” ― Mariko Okayama, Jazz Tokyo
“Tamura and Fujii’s music never decreases in power, even though I have
heard them many times.”
― Manabu Yuasa, Zipang News
“It was 1997 when Natsuki Tamura and Satoko Fujii moved back from
America. Since then the two have been breathing fresh life into their
music. Fujii’s scores jump across jazz and rock to ethno and all
others. Astonishment is still alive.” ― Masahiko Yuh, Asahi Newspaper
“Using every inch of her piano’s keyboards and every nuance of his
trumpet’s capabilities, Satoko Fujii and Natsuki Tamura appeared at
Café Metropol in Los Angeles to begin an extended tour in the name of
avant-garde jazz… The duo shared their creative ideas through two
extended sets for a rapt audience.”
― Jim Santella, All About Jazz
“She lands at the Metropol, Saturday, with her husband, trumpeter
Natsuki Tamura. Together they engage in rewarding give-and-take
exchanges.” ― Los Angeles City Beat
“These are two clearly creative and hyper-productive musicians
who must never sleep!” ― Robert Iannapollo, All About Jazz
“Fujii and Tamura have honed their empathetic rapport in a variety of
settings over the past decade.” ― Troy Collins, All About Jazz
Chun (2008)
Honorable Mention ― Jazz Consumer Guide, The Village Voice
Best CD of the Year ⎯ Wayne Zade, Jazz Tokyo
2008 Top 10 ― Dan McClenaghan, All About Jazz
Must Have for 2008 ― Vallejonocturno
List of Excellent New Music ⎯ Free Jazz (Japan)
Must Have ― Stef, Free Jazz
“**** Fujii’s orchestral technique, clear chromatic lines and “prepared
piano” devices contrast effectively with Tamura’s arsenal of extended
techniques which he executes with a warm, vocalized tone throughout the
trumpet’s full range.” ― Ted Panken, DownBeat
“Husband and wife duets, his trumpet warm and supportive, her piano
stark and brash.”
― Tom Hull, The Village Voice
“Chun features the husband and wife in a program composed by Fujii that
allows them to interact and let loose.”― Richard Kamins, Hartford
Courant
“The music of Chun is adventurous, rigorous, and thoroughly engrossing.
It's another irresistible outing by Fujii and Tamura.” ⎯ Stuart
Kremsky, The IAJRC Journal
“Trumpeter Natsuki Tamura and pianist Satoko Fujii work in a variety of
ensemble configurations, but their duet discs are particularly
enriching listening experiences.” ― Dan McClenaghan, All About Jazz
“Another brilliant document in the growing discography of one of
today’s most important composers, Chun is a stellar document by two
musicians whose sensitive interplay knows no bounds.”
⎯ Troy Collins, All About Jazz
“What sets this apart from a lot of modern ‘energy music’ is the
obvious fact that Tamura and Fujii are also engaged in an exercise in
very deep listening. Musical thoughts come together as they construct a
pulsing wall of sound, then attempt to smash it to bits.” ⎯ Mark
Saleski, Jazz.com
“When Satoko holds the pedal down, we hear layers of shimmering chords
and feel like we are at the bottom of the ocean. On ‘Infrared,’ the duo
swirls quick lines of notes around one another mischievously. There is
a consistent connection of spirits here as both musicians work
perfectly together… Chun is yet another gem from the wonderful
Fujii/Tamura team.” ⎯ Bruce Lee Gallanter, Downtown Music Gallery
“In which Fujii gets in touch with her Yoko Ono side and expresses
herself through her long running improv duo finding her piano working
out against a trumpet as the two play, push, cajole and lock horns
throughout.”
― Chris Spector, Midwest Record
“Perhaps because they’re involved in so many other projects, when they
come back to the duo, it still sounds fresh and inventive… There’s a
lot of textural variety in these tracks as well… an almost telepathic
communication between these two when they are in a duet situation.” ―
Robert Iannapollo, All About Jazz
“Fujii’s music is a delicious mix of opposites: melody and pure sounds,
intense energy and calm introspection, audible flowing structure and
freedom, to name a few. There is joy, fearlessness and not a little
humor in her performances, allowing them to be approached from any
number of angles; she pours herself completely into every note… Chun
opens up another viewpoint into the highly creative world of Satoko
Fujii and Natsuki Tamura.” ⎯ Budd Kopman, All About Jazz
“Fujii is as creative as ever with her compositions. The dynamics and
pace hit extremes and the melodies are very challenging.” ⎯ D.
Oscar Groomes, O’s Place
In Krakow, In November (2006)
New and Noteworthy ― Jazziz
Top Ten of the Year ― Bill Barton, Coda
Honorable Mention ― Tom Hull, Jazz Consumer Guide, The Village Voice
Top Duo Recordings 2007 ― David Adler, Lerterland
“There is a whiff of sorrow or nostalgia in this music, but it is not
at all dark; with every listening, new flavors emerge.” ― Shiro Matsuo,
Music Magazine
“Very intelligent music… I would go out and hear them.” ― Donald Byrd,
Opening Chorus, Jazz Times
“For their fans, the compositions are familiar… Here, however, they
achieve new heights of expression. Melody and introspection are the
keys to In Krakow. The title-track offers a haunting East European
vision, with Tamura's playing showing a melancholy power reminiscent of
Miles Davis's Lift To The Scaffold. ‘Morning Mist’ is another Gato
Libre piece, which here achieves a rapt impressionism. The album closes
with ‘Inori’, luminous and reflective. Though her standards are
high, there's something about this album's affecting intensity that
puts it in the category of Fujii's very finest recordings.” ―
Andy Hamilton, The Wire
“Tamura and Fujii reflect an even stronger Buddhist interest in
creating stillness while moving with rhythm… it clearly points to new
possibilities. Could there be in the performances by Tamura and Fujii
some hints of new ways to reach the suppressed emotional buttons of our
digital times? It seems likely.”
― Chuck Graham, Tucson Citizen
“…this is perhaps the nicest trumpet/piano duet album I’ve heard. Fujii
and Tamura are partners, musically and personally, and it shows in this
charming and well-balanced set. I don’t intend to single out any
particular pieces – they’re all beautifully constructed themes that
allow both players to improvise freely and with great skill and poise…
It matches elegance with authority and artfulness with a capacity to
seduce the listener… An album that will continue to unfold its
pleasures.” ― Duncan Heining, Jazzwise
“The husband and wife team of Natsuki Tamura and Satoko Fujii continues
to make giant strides in bringing avant-garde jazz to a wider audience.
Their creative adventures recall the excitement wrought by AACM members
such as Lester Bowie and Muhal Richard Abrams… Every interpretation
comes as a brand new entity, at once fully explosive and rich with
lyricism. Oftentimes, they both issue plaintive moans that sing like
angels on high. It’s up the listener to capture the essence with open
ears. This one can be enjoyed by all.”
― Jim Santella, All About Jazz
“For the occasion, the duo elected to revisit a cross-section of their
European folk-influenced pieces. Each song has carefully been
re-thought as a piano/trumpet duet... In Krakow, In November offers a
lulling evening listen, somewhere between Satie (‘Strange Village,’ and
‘Morning Mist’) and Lennie Tristano (‘Inori,’ breathtaking). The
approach may be of the less-is-more vein, but the music turns out to be
heavy with feeling. In Krakow, In November is a natural follow-up
purchase for those who have been seduced by Gato Libre.”
― François Couture, All Music Guide
“No matter their surroundings, from large scale big band sessions and
aggressive, electronic, rock-influenced ensembles to intimate acoustic
recordings like this one, they demonstrate a wealth of conversational
acumen. Recorded at the radio studios of Radio Krakow, the married duo
is captured up closer and personal, every subtle nuance caught on tape.
In this unadorned, acoustic setting, Fujii and Tamura’s sublime
interaction and loquacious dialogue embodies near telepathic
perfection.” ― Troy Collins, Cadence
“In Krakow, In November is a duo outing with just piano and trumpet,
unadorned. Melody takes center stage, showcasing both Tamura’s and
Fujii’s strengths… With just the two instruments on this disc, we hear
more of the pure essence of the compositions, revealing an engaging
playfulness and often serene introspection, mixed with some of the
characteristic Fujii/Tamura intensity.” ― Dan McClenaghan, All About
Jazz
“Incessant touring schedules and a recorded output that rivals label
contracts of the ‘60s can make the almost incessantly productive duo of
Satoko Fujii and Natsuki Tamura hard to keep up with. As such their
duets can be seen as annual reports, an updating of where their various
spokes are pointing. In Krakow, In November is a strong showing of
their recent interests…. Fujii and Tamura play beautifully together.” ―
Kurt Gottschalk, All About Jazz New York
“This one keeps growing on me… solidly built, powerful music.” ― Tom
Hull, On the Web
“The spouses Satoko Fujii and Natsuki Tamura do it again: and how! This
CD is wonderful from beginning to end… This is modern jazz of the
highest level, played by a couple that has an intimate musical
relationship and perfect mastering of their instruments. Fantastic!” ―
Stef, Free Jazz
“The program features five Tamura originals and three by Fujii. The
latter has begun to receive the widespread acclaim she so justly
deserves for her compositions; Tamura is past-due for similar plaudits.
Intimate, lyrical and passionate, In Krakow, In November is a
must-hear.” ― Bill Barton, Coda
“Pianist Satoko Fujii and trumpeter Natsuki Tamura make a fine team.
They are back together for the first time in five years exploring tunes
that were earlier recorded by their quartet projects. Fujii and Tamura
bring a fresh perspective to each, divined by their ability to move
past the obvious and pick up the unusual, which makes the CD a
worthwhile listening experience.” ― Jerry D’Souza, All About Jazz
“For those listeners not familiar with Fujii’s or Tamura’s music, In
Krakow, In November could be the perfect introduction. Many pieces have
a distinctly classical feel and clear harmony and structure, along with
others that are quite free.” ― Budd Kopman, All About Jazz
“We were able to appreciate the tones and feeling of each note with the
more open soundstage of these two accomplished musicians.” ― D. Oscar
Groomes, O’s Place
Clouds (2002)
Top 10 CDs of 2002, William Minor, Coda
Top 10 CDs of 2002, Mike Chamberlain, Coda
“This free-improv session for trumpet and piano is beautifully played
and recorded, and recalls the monumental Kenny Wheeler/Paul Bley
duets. Tamura has worked to develop highly personal sound,
employing various new techniques and tonal resources, including growls,
flutters, squirts and split tones… It’s mysterious, haunting and
startling, and these two know how to play the space between the notes.”
― Larry Appelbaum, JazzTimes
“Satoko Fujii’s creativity is mind-blowing. Her piano can sound as wild
and fiery as Cecil Taylor’s, and it can sound as meditative as Ran
Blake’s. Yet, really, she sounds like no one else… ‘Clouds is playful
and quiet, making dramatic use of space.” ― Steve Greenlee, Boston Globe
“Throughout the interplay is exquisite; Fujii and Tamura offer
unsentimental beauty, space, silence and humour… Proof that improvised
music can be emotionally engaging as well as ear tickling, Fujii and
Tamura give us six clouds, all with a solid silver lining.” ― Peter
Marsh, BBC
“Music seems to be the food of love for Tamura and Fujii… They are in
harmony on this one as well, even thought most of it is free flowing
and fueled by the tempest of their imaginations.” ― Jerry D'Souza, Coda
“If you are a fan of the enduring spirit of jazz―inspiration through
improvisation―this disc is for you.”
― Michael Ryan, Boston Herald.
“…a half-dozen beautiful compositions as protean and rarefied as their
names imply. Trumpeter Tamura is fascinating, playing in a style
similar to Greg Kelley or Axel Dorner, while Fujii uses her prodigious
classical chops in tasteful ways, working at the extremes of dynamics,
space and pitch… This is extremely beautiful music, defined by its
intelligence and risk.” ― Jason Bivins, Cadence
“The encounter is at once intimate and abstract, threaded with an
understated lyricism that helps lift the music to an uncharted peak of
improvisation and interaction. Grade: A.” ― Martin Wisckol,
Orange County Register
“Their performance is free from any conventional style and they are not
hastening to form a conclusion. It is based on the trust they
have in each other, which is achieved through years of
collaboration. This is a lush duo.” ― Yoshiyuki Kitazato,
Ombasha
“… outwardly calm and beautiful, the music unfolds to reveal a complex
and often turbulent structure within… Avant-garde jazz has a rich
history of less-is-more duets – John Coltrane and Rashid Ali, Cecil
Taylor and Max Roach, and Bill Laswell and Peter Brotzman to name but a
few. Tamura and Fujii are a welcome addition to this lineage.” ―
Ted Kane, JazzReview.com
“On this album the two seem to draw images on a canvas that they create
in the moment. They exchange sounds created through well-honed
senses which thrill the listeners.” ― Toshiaki Uemura, CD Journal
“The balance of fast and slow motion in this soundscape is marvelous
and it is attractive enough to capture the listeners' hearts within the
first few seconds. Even with a sparseness of notes they are able
to let the listeners create their own images, which characterize this
piece of work admirably. The album is therefore dense in every
part and the listeners will never get bored even with a lengthy,
more-than-10-minute tune.” ― Satoshi Kojima, Strange Days
“Every Fujii appearance, live or on disc, challenges her skills in a
new context… One of Fujii’s strengths is her sense of ease; she can
write and perform in many styles… Clouds is a far-out but easily
approachable disc.” ― Steve Koenig, All About Jazz New York
“Clouds is an exceptional collection of creative jazz works
featuring the best of Fujii and Tamura.” ― Lee Prosser, JazzReview.com
“In the realm of the senses two imaginations entwine. From that
first fertile fabric comes sounds that elevate, startle and thrill.” ―
Jerry D’Souza, All About Jazz
“…every once in a while, one comes along that knocks your ears off… a
very high quality venture beautifully blending fractured mainstream
with fringe-abstract.” ― Marc S. Tucker, Exposé
“The playing is marvelous and the complicity exemplary.” ― François
Couture, All Music Guide
How Many? (1997)
“Tamura's trumpet caterwauls through the opening tune... Fujii
serves as the ideal foil, with an intuitive sense of when to underscore
or contrast Tamura's blowing. Their music catches you unaware, creating
tension and intrigue.” ― Marcela Breton, JazzTimes
“If you turn up the volume and attune your antennae to the tonal and
textural subtleties of Natsuki Tamura's trumpet and Satoko Fujii's
piano, you'll hear a rare breed of mood-derived propulsion... Fujii's
solo, 'Kaleidoscope,' recalls her delicate but salient lyricism...” ―
Sam Prestianni, Jazziz
“Fujii is above all a lyrical player, concerned not so much with
momentum but with color, texture, and melody. Her playing exudes
vulnerability and spontaneity, even as it possesses a great vitality.
Tamura's is a similar sensibility. Though his playing is clearly and
primarily jazz-based, he draws upon a variety of sources; he style
evinces a certain familiarity with contemporary classical techniques...
Together Tamura and Fujii construct perfect little structures; their
collaboration is balanced, astute, and very musical. A lovely album.” ―
Chris Kelsey, Cadence
“Anyone complaining about the lack of "something different" hasn't
heard the music of Japanese pianist Satoko Fujii and her husband
Natsuki Tamura. Their sounds are a potent mix of passion and calculated
madness...Satoko...plays a percussive piano that first brings to mind
Paul Bley (with whom she's recorded extensively, including the 1996
session, Something About Water)...”― Rick Marx, Jazz Central Station
“Reflective of human moods... It's an improv excursion you won't soon
write off... stimulating and challenging... a quite intriguing listen.
Recommended.” ― Dick Metcalf, Improvijazzation Nation
“Creating their own new jazz, trumpeter Natsuki Tamura and Satoko
Fujii, piano, treat us to 14 pieces of much merit, free-flow
improvisation, too.” ― Jack Burke, Waxworks
“An intriguing, if unsettling musical adventure... The blowing is free
and robust, with an emphasis on maximum expressiveness by both players,
in the tradition of the 1960s free jazz movement and its disciples.
Fujii draws on European impressionists and the classical avant-garde as
well as improvisational mentors like Cecil Taylor, Don Pullen, and Paul
Bley... Tamura is an insane trumpet player... Weird, subterranean,
hilarious, wickedly creative music.” ― Michael J. Williams, American
Reporter
“She approaches the instrument with an assertive hand and commanding
determination, reeking havoc with her volatile infusions of thunder and
lightening. Without notice, she shifts gears, changes direction, and
sketches lovely ballad-oriented free sequences… The music dovetails
between extremes, generating thrilling emotional surges that shatter
when Fujii allows the passages to freefall to subdued levels of
placidity.” ― Frank Rubolino, Cadence
NATSUKI TAMURA QUARTET
Exit (2004)
“Exit is for the listener with the adventurous ear, a brilliantly
executed set with a neon glow.”
― Dan McClenaghan, All About Jazz
"The music of Tamura on this album is very ambiguous in a good
sense. One doubts if there is any composition. Actually,
that doesn’t matter and he rather takes advantage of such an anxiety
and just lets his sound soar into the sky." ― CD Journal
“This is a very adventurous release, one of the most interesting
combinations of jazz and electronics I’ve heard.” ― Jon Davis, Exposé
“There is considerable freedom exhibited by all four artists; each in
turn contributes a plethora of exotic, barrier shaking effects to give
the performance its otherworldly flavor. Boundaries keep being pushed
with contributions such as this.” ― Frank Rubolino, Cadence
“There are wonderful moments of meditative silence – such as those at
the beginning of “Eliminate” – as well as many long stretches of
high-volume intensity.” ― Marc Medwin, Bagatellen.com
"Tamura controls the tone of his trumpet at will and he probably has
entered the territory that no one has ever explored. Tamura
utilizes a lot of different effective devices but creates his music in
an area that is completely isolated from the realm that Miles
pioneered." ― Masahiro Imai, Musen to Jikken
“The quartet’s music . . . develops organically from within this
framework, and can go anywhere from off-kilter funk, to atmospheric
soundscaping, to understated contrapuntal interplay . . . great
playing, and lots of musical risk-taking.” ― Dave Wayne, Jazz Weekly
“Tamura’s quartet succeeds in introducing new energy into
improvised music . . . his latest dreamscape adventure remains for the
truly creative soul in search of something altogether
new.” ― Jim Santella. All About Jazz
“Typical Japanese sentiments sprinkled here and there are as impressive
as, or sometimes more impressive than, the exoticism of artists of the
underground scenes of Chicago and Niels Petter Molvaer." ― Takehiro
Oshizuka, Musee
Hada Hada (2003)
"Trumpeter Natsuki Tamura is a noisemaker, but a close listen to Hada
Hada, his new disc, shows that there is much color and texture in his
aural barrage." ― K. Leander Williams, Time Out New York
"Natsuki Tamura is a trumpet performer whose brilliance as a composer
continues to develop into eclectic dimensions of imaginative
creations. Natsuki Tamura gives the jazz-listening audience a
fine showcase of spontaneous improvisation, group interplay, world jazz
themes, Japanese folk melody, and contemporary free jazz in Hada Hada…
Natsuki Tamura at his finest. Topnotch quartet performances,
invigorating sounds and intimate surreal journeys await the jazz
listening audience." ― Lee Prosser, JazzReview.com
"Imagine Don Cherry woke up one morning, found he'd joined an avant
goth-rock band and was booked to score an Italian horror movie. It
might be an unlikely scenario, but it goes some way to describing this
magnificent sprawl of a record from Japanese trumpeter Natsuki Tamura…
Hada Hada is a deeply compelling listen." ― Peter Marsh, BBC
"It's obvious that Tamura was going for something different with this
release… Hada Hada is a success."
― Robert Iannapollo, Signal To Noise
"This collaboration between trumpeter Natsuki Tamura and his wife,
keyboardist Satoko Fujii, is a rolling storm of sound, often beautiful
but never placid… The music doesn't swing, it stomps." ― Phil Freeman,
Wire
“One weird and otherworldly noise-fest.” ― Stuart Kremsky,
Journal of the International Association of Jazz Record Collectors
"Tamura takes the energy of those electric fusion/funk discs and
applies a tidal wave of punk aesthetic via synthesizer and guitar… Like
Vulcan this music begs for volume… Tamura's amplified metal trumpet is
enough to scare Miles off the stage at the Fillmore with his raging
hardcore… satisfying on both visceral and cerebral levels." ― Mark
Corrotto, All About Jazz
"Tamura is a fine jazz trumpeter, as well … This disc is a mad wash of
Takayuki Kato's guitar and Fujii on synthesizer and trumpet delay with
a hard bottom end, something like the vicious jazz of John Zorn's
PainKiller…" ― Kurt Gottschalk, Squidsear
"Part of life's soundtrack over the past few weeks has been the work of
Tamura and his partner, the pianist Satoko Fujii, with various
collaborators. An entirely life-enhancing experience. Now there
is another slice of their prolific output to bring joy to the ears… It
is without doubt one of the most exhilarating examples of electric
jazz, if that's an adequate term, I've come across this year." ― Paul
Donnelly, ejazznews.com
"The stormy album in monstrous in sound, demanding to be played at full
volume…" ― Tom Schulte, Outsight, Ink 19
"This sounds like the end of the universe. Or maybe it's the
beginning… As a musician he (Tamura) is nothing if not
adventurous. His arsenal includes pain-wracked squeals and
unearthly moans, but he is also capable of lyrical beauty and
straight-ahead chops… it pays to listen again, with a bit of volume,
please… compelling." ― Dan McClenaghan, All About Jazz
"If you wish to hear something completely over the top, this disc's for
you. Grade 8 (out of
10)." ― Mike
Ryan, Boston Herald
"I've been a fan of Tamura's horn antics for many years now… this CD is
the most energetic "out" grouping I've ever heard him do… This is some
of the most original playing we have ever heard; it gets a MOST HIGHLY
RECOMMENDED." ― Dick Metcalf, Improvijazzation Nation
"Jazz trumpeter Natsuki Tamura leads his space age, jazz-fusion quartet
into an affair marked by echoing EFX, brash soloing, and numerous
cosmic meltdowns… The quartet signals in notions what Miles was doing
back in the early '70s with his electric, jazz/funk/rock fusion
bands. Yet, this outing is a bit more 'out there.' Tamura
has designed a highly entertaining, and neurotically enacted musical
jamboree." ― Glenn Astarita, JazzReview.com
"Natsuki Tamura stimulates the memories of “Bitches Brew” through his
cool performances. In fact, his concept of selecting sounds to draw the
pictures of the new world and constructing the whole piece out of the
sounds in a melting pot created by the members without knowing where
they are headed has something in common with that of Miles the king." ―
Yoshiyuki Kitazato, Ombasya
"A sinister but at the same time refreshing album. The important thing
is that the sinister mood is not
a vague creation of something like just a feeling, but a well-balanced,
solid construction.”
― Kazutomi Aoki, CD Journal
"Recorded in a public bath on Venus (if I am allowed to use such
metaphor). Very refreshing pieces of music that are complete opposites
of crafty ideas." ― Shiro Matsuo, Music Magazine
GATO LIBRE
Forever (2012)
One of the Best CDs of 2012 ― Jazz Tokyo Editor's Choice
Best of 2012 ― John Payne, Bluefat
Best Notable Instrumental Releases of 2012 ― W. Royal Stokes
#1 Top 10 Releases of 2012 ― James Hale, Jazz Chronicles
Best Releases of 2012 ― Dan McClenaghan, All About Jazz
Top Jazz CDs of 2012 ―WMUA, Ken Irwin
Top 10 Releases of 2012 ― Ken Weiss, Rhapsody Critics Poll
Top 10 Releases of 2012 ― Michael Coyle, WRCU & Rhapsody Critics Poll
Top Albums for 2012 ― S. Victor Aaron, Something Else! Review
Pete’s Pick of 2012 ― Pete Butchers, Jazz Today (UK)
“Landscape that the music portrays is entirely mysterious and profound.” ---Satoshi Kojima, Strange Days
“4.5 stars…the eight Tamura pieces on
Forever…are filled with wistful bowed bass, bright guitar, and spectral
accordion chords…” – James Hale, DownBeat
“At times, Forever recalls the work of…Erik
Satie and Bela Bartok, French bal-musette, Gypsy jazz, and 1980s
Belgian darkwave…of Art Zoyd and Univers Zero…these resemblances, it
must be stressed, are completely unintentional.” – Dave Wayne, All
About Jazz
“…[Forever] is constantly evocative
of long lost days…in the fall looking out the window at a nature scene
and wishing we were outdoors instead of cooped-up inside.” – Bruce Lee
Gallanter, Downtown Music Gallery
“…a beautiful landscape… space, timbre and above all, feeling… rife with conviction.” ― Marc Medwin, New York City Jazz Record
“The group’s music sounds like a stroll
along a long-lost cobblestoned street...creating something that’s not
easily attached to any particular time or locale.” – James Heflin,
Valley Advocate
“The sound is light and delicate, the
atmosphere calm and meditative. Forever finds the group’s interplay
more focused and refined, more song-like and lyrical.” – Dan
McClenaghan, All About Jazz
“The indefatigable duo brings a sense of exploration and lyricism to everything they do.” – Jazz Inside
“…composition and improvisation seem to
melt into one…interaction, affinity, creativity , and intense listening
are what make their music work.” – Amy Duncan, Jazz History Online
“They remain eclectic, creative, and
dynamic…Forever has more rounded edges and a sense of calm that is
inviting.” – D. Oscar Groomes, O’s Place Jazz Newsletter
“The sublime musicianship is not limited
only to individual solos but it also runs strong in the ensemble
work…the languid and melancholic title track is a pair of diaphanous
dialogues on a hot Andalucían summer afternoon.” – Hrayr Attarian, All
About Jazz
“With Gato Libre in general, Tamura’s
exploration of the complete song has really reached some remarkable
heights. Forever is no different.” ― Jordan Richardson, Something Else
Reviews
“……neither jazz nor folk, music that
strikes a surprising balance between emotion and distanciation.” –
Francois Couture, Monsieur Délire
“…of all the jazz groups in Japan, I think
Gato Libre stands right at the top of the heap.” ― Dick Metcalf,
Improvijazzation Nation
“…for the seekers of beyond the musical
horizon, these albums…will stimulate, confuse, anger, and beguile you.”
– John M. Peters, theborderland.co.uk
“A strong sense of lyrical intensity
coupled with a vivid imagination push the ensemble to perhaps its
creative apex.” – Brent Black, Critical Jazz
“Art jazz all the way for those that like a challenge in their listening.” – Chris Spector, Midwest Record
“The band’s soft melancholy touch of
European traditions, with a little Eastern mystery added to it, sounds
recognizable and simple and sweet at the same time.” – Stef Gijssels,
The Free Jazz Collective
“…the musicians provide us with sublime
moments, while showing us the versatility of accordion, guitars, bass,
and trumpet as they play these instruments outside the box.” – The
Whole Music Experience
“The music played by this enigmatic quartet
is definitely jazz but is hard to pigeonhole…bass and acoustic guitar
are also very prominent and work well in tandem, often their lines
intertwining with the guitar adding a delicate folksier touch to the
sound.” – Sea of Tranquility
“They engage in a series of
compositions…that sound rather folk-like (not necessarily specifically
Japanese folk, but folk in a wider sense) and sometimes with a touch of
minimalist mesmeric repetition.” – Gapplegate Music Review
Shiro (2010)
“A very fine set. Tamura is clearly emerging as one of the finest
contemporary musicians and writers to emerge from Japan. His
ability to conjure vivid colors and creates almost palpable textures on
his horn is rapidly making for a new legend.” ― Raul d’Gama Rose, All
About Jazz
“Gato Libre has a unique sound, and the playing is rich and
soulful, making this free cat a special pleasure. Definitely
recommended.” ― Stuart Kremsky, The IAJRC Journal
“This is certainly the most consistent and varied Gato Libre disc thus
far….” ― Marc Medwin, Cadence Magazine
“A highly melodic, occasionally haunting set that draws on folk as well
as jazz, played by a trumpet, accordion, guitar and bass quartet.” ―
Jazz Journal
“Tamura has produced sets as disparate as the electric sizzling Exit,
the gentle and incantory solo disc Ko Ko Ko Ke, the radioactive Hada
Hada and, with Gato Libre, a string of European folk musings including
Shiro… Tamura’s career has largely been about dissolving musical
boundaries. With Gato Libre and Shiro, the trumpeter extends his
reach even deeper into the prettiest, most accessible of his
endeavors.” ― Dan McClenaghan, All About Jazz
“… one of the best albums of the year, one that will resonate equally
well with fans of Balkan and gypsy music as well as adventurous rock
and jazz people.” ― Alan Young, Lucid Culture
“Playing in the Lester Bowie mode, he creates a very personal jazz
statement, largely with just his trumpet voice front and center.” ―
Chris Spector, Midwest Record
“Tamura’s compositions and his lead horn form the centerpiece of this
album. He weaves melodies that retain a classic majesty even when
they are stark, and within this mellow setting, he nevertheless inserts
ideas that grab your attention. Shira is a Latin-flavored avant
garde jazz that soothes, not confronts, and offers a unique melding of
differing styles. Tamura proves once again why he has earned a
reputation in improvised music circles as a top trumpeter, bandleader
and composer.” ― Victor Aaron, Something Else Reviews
“4-stars. The music of Tamura and Gato Libre is sometimes
surprising, often intense and always inventive… The sound is a
combination of European folk, improvisational free jazz and expressive
soundscapes.” ― Mike Reynolds, MuzikReviews.com
“Tamura calls it a noise band, and we say it is good noise! They
play five of his original compositions starting with the title track
that could easily serve as a score for a horror film… IT is one of the
more intriguing free sessions that we’ve heard this year.” ― D. Oscar
Groomes, O’s Place Jazz Magazine
Kuro (2008)
Top 5 Instrumental Music CD ⎯ Manabu Yuasa, CD Journal
Honorable Mention ― Jazz Consumer Guide, The Village Voice
“Kuro fills the heart, while bringing tears to the eyes.” ― All About
Jazz, Budd Kopman
“Their music seems to emanate from many different parts of the planet
and yet from none of them. I hear tango, flamenco, Eastern European
folk melodies – all sorts of things – and yet no one song is a tango,
is flamenco. This is what makes Kuro so attractive. It all sounds so
familiar – Spanish? Italian? – and somehow you can’t place its
origins.” ⎯ Steve Greenlee, Jazz Times
“Perhaps it’s the combination of Fujii’s accordion – which she plays
exclusively here – and Kazuhiko Tsumura’s guitar, or the dance-like
pacing of several of Tamura’s seven compositions, but Kuro sounds like
it was made by a French or Eastern European band.” ― James Hale,
DownBeat
“They play music in a world filled with restrictions, conditions, and
inconveniences. But they take the situation and turn it on its head,
and play calmly like a “free cat” that slips through tough situations
to live his own life.” ― Miho Watanabe, Ele-King
“With his Gato Libre quartet, trumpeter Natsuki Tamura has succeeded in
establishing a unique (and charming) group sound that still allows
enough play room to avoid repetition…Kuro has its own character…proof
that Gato Libre is not just a passing fancy for Tamura or his zen
vehicle to escape the hustle and bustle of the modern jazz world, but a
viable artistic proposition rooted in simplicity and beauty.” ―
Francois Couture, All Music.com
“…the music matters, and it is excellent. While lyrical overall, it is
also demanding in parts, though never too much so. Primarily, the music
has a gypsy /flamenco feel, with some avant-garde touches. This is the
most rewarding music I have heard during the first half of 2008.” ―
Benjamin Franklin, Cashbox Magazine
“Tamura’s compositions range around and through many forms… If you
enjoy any of these influences, it makes Gato Libre a recording you must
go out and find.” ― Phillip McNally, Cadence
“Natusuki Tamura’s avant-folk quartet, with Kazuhiko Tsumura’s tart
guitar and Satoko Fujii’s swaying accordion.” ― Tom Hull, The Village
Voice
“As the name of the band, ‘free cat’ suggests, they are a capricious,
cosmopolitan brigade whose moves can never be anticipated.” ⎯
Shinya Matsuyama, CD Journal
“Tamura’s trumpet sound reaches far away and the music takes the
listener into a labyrinth.”
― Yoh Nakagawa, Mainichi Newspaper
“The listener’s ears are attracted to their reliable, sure musical
technique. Their original aesthetic remains strong.” ⎯ CD Journal
“Wryly humorous and romantically elegant, Kuro is a unique pleasure for
enterprising listeners.”
⎯ Mark Keresman, Icon
“This is one of the best records I’ve heard of recent vintage, and I
cannot recommend it more highly!”
⎯ Mikey IQ Jones, Downtown Music Gallery
“The exquisite melodies by Tamura melt and mix melancholy and
humor and convey the air of a stateless harbor town… Tamura’s trumpet
always sounds unsatisfied. The cat is like a painter, but never plays
up to patrons. The music that seems like others but can never be found
in others must have been born from the sigh and the laughter of the
musicians who spend day and night in music.” ⎯ Manabu
Yuasa, Studio Voice
“Kuro seems largely intent in showing a varying picture of
Tamura’s musical scope… This is a curious album, offering a varied menu
of musical ports of call from around the world, and is not afraid to
display the group’s affinity for free jazz.” ⎯ Michael P.
Gladstone, All About Jazz
“I find Kuro bracing.” ― Jason Bivins, Signal To Noise
“Here he (Tamura) shows a gentler side, one that ministers to a warm,
happy, fuzzy feeling with melodies that are downright lovely… Kuro is
another impressive release from Gato Libre.” ― Jerrry D’Souza, All
About Jazz
“With his Gato Libre quartet, trumpeter Natsuki Tamura has succeeded in
establishing a unique (and charming) group sound that still allows
enough room to avoid repetition… This third album is proof that Gato
Libre is not just a passing fancy for Tamura or his zen vehicle to
escape the hustle and bustle of the modern jazz world, but a viable
artistic proposition rooted in simplicity and beauty.” ― Francois
Couture, All Music Guide
“Though the members of Gato Libre continue to play in other groups and
each of them have been bandleaders of their own troupes, there is
something very refined and special that happens when the members of
Gato Libre come together. Kuro is a testament to that beauty.” ― Susan
Frances, Jazzreview.com
“From jazz and folk elements, his modern world traveler’s approach to
sound, and the band’s particular instrumentation, Tamura has fashioned
yet another in a seemingly endless flow of successful and varied
releases.” ― Stuart Kremsky, IAJRC Journal
“By mixing a seriousness of purpose with a floating rhythmic lightness
and sound, and adding a good bit of humor, Tamura allows his music to
be accessible, almost danceable, and yet rewarding intellectual
investigation… Kuro fills the heart while bringing tears to the eyes.”
― Budd Kopman, All About Jazz
“Ironic or not, the music oozes charm.” ― Art Lange, Point of Departure
“The records keep getting better.” ― Kurt Gottschalk, All About Jazz
New York
“Fujii foregoes her piano to play accordion, which gives this group a
bit of a European folk flair. I had passed on this earlier, but found
it misfiled, put it on before I could look it up, and suddenly found
myself hooked.”
⎯ Tom Hull, Tom Hull.com
“…so full of body/spirit that it captures me from the opener to the
title track at the end of the album.”
― Dick Metcalf, Improvijazzation Nation
“This program is a highly accurate musical depiction of a series of
events. It is yet another mode of free jazz emanating from Japan.” ― D.
Oscar Groomes, O’s Place
Nomad (2006)
2006 Top Pick ― Publisher’s Pick, All About Jazz
2007 Critics’ Top 10: New Releases ― Alain Drouot, JazzHouse/Jazz
Journalists Association
“Tamura has been working his colors into Fujii’s chaotic canvasses all
along; here, his impression flowers.”
― Tom Hull, The Village Voice Jazz Consumer Guide
“Nomad, Gato Libre’s second record, is even more gorgeous than the
first...” ―Kurt Gottschalk, All About Jazz
“Natsuki Tamura, the extraordinary Japanese trumpeter, gives a very
personal response to European folk musics with this second album from
Gato Libre, his quartet with his wife Satoko Fujii (now on accordion),
Kazuhiko Tsumura (guitar) and Norikatsu Koreyasu (bass). This is
Tamura’s music; his huge, mournful sound and sparse phrasing are
consistently expressive, with Fujii’s equally un-showy accordion adding
texture and colour to each performance, and Tsumura and Koreyasu deftly
used… the album is full of striking playing.”
― Ray Comiskey, Irish Times
“Nomad, the second full length from trumpeter Natsuki Tamura and co.,
is nothing if not elegant. Combining trumpet, guitar, accordion and
bass, Gato Libre creates an all-acoustic sound that is both austere
and, to borrow a song title from Nomad, as warm as Barcelona in June…
Tamura, of course, gets much of the solo space. His playing evokes the
great trumpeter-explorers of the seventies – Miles Davis, Don Cherry
and Mongezi Feza – yet he would never be mistaken for any of them.” ―
Brent Burton, Jazz Times
“It might be churlish to say that Fujii and Tamura’s new ensemble Gato
Libre is their answer to Dave Douglas’ Charms of the Night Sky. The
languid pace, mournful lyricism, and the trumpet/accordion tandem are
certainly elements the two groups hold in common.” ― Jason Bivins,
Cadence
“The trumpeter Natsuki Tamura, who composes all the material, is the
real star, his ghostly, poetic sound filling the air with great
beauty.” ― Philip Johnson, The Independent (London, UK)
“For the most part Nomad succeeds in capturing individual cities’
eccentricities while wandering in unmapped territory.” ― Bruce Miller,
Global Rhythm
“Every one of the Quartet’s players understand each other’s wants and
needs and works on those. This is not about the “me”, this is about
“you” session turns into a lyrical concerto. While Tamura’s trumpet
sounds more majestically bold than ever before, guitarist Tsumura picks
wildly through flamenco and dramatic blues and folk shifts. Bassist
Koreyasu is afforded a great bounce-off opportunity as he plays some
lovely passages with the guitarist. Fujii’s accordion sounds are
mesmerizing in their clarity of purpose and purity of intent.”
― Tom Sekowski, Gaz-Eta
“The sleeve notes say Gato Libre means “Stray (literally free) Cat”,
and the group consciously aim at a cooler ethos, though Tamura’s
trumpet is lyrically beautiful and commanding.” ― Andy Hamilton, Wire
“Nomad contains some of the most breathtakingly lyrical music in recent
memory. Trumpeter Natsuki Tamura has a thorough command of brass
technique and elsewhere has proved to be a true innovator in extended
techniques, keeping the flame lit by the masters of avant-garde trumpet
burning brightly… The beauty of expressive depth of Tamura’s
impressions is immediately captivating.” ― Bill Barton, All About Jazz,
Seattle
“Natsuki Tamura and Satoko Fujii are two of the most fearless
improvisers in jazz… Tamura wrote this music based on the folk idioms
of European countries. He gets in to the pith of each, never losing
sight of the core, to come up with entrancing and captivating
compositions. The impact becomes all the more striking through the
arrangements, which draw the listener into the transcendent fold of the
music.”
― Jerry D’Souza, All About Jazz
“First of all, you will be impressed by the distance in which Tamura’s
trumpet can project its sound (toward the utmost ends of the earth, in
this case). With this album, you could pleasantly feel as if his
trumpet would blow you away to an unknown place…. They are mysterious
guides for a spiritual labyrinth.” –You Nakagawa, Swing Journal
“Natsuki Tamura’s lyrical and subdued Gato Libre group wanders like a
nomad through various parts of the world, capturing the essence of folk
music and interpreting it through a jazz frame of reference. It’s
beautiful, acoustic music, and it’s evidence of the trumpeter’s
creative power. This is impressionism at its best… Accordion, acoustic
guitar and acoustic bass make perfect companions for a program of folk
music interpreted by creative people. Gato Libre’s session is not only
easy on the ears, it’s a refreshing trip that challenges the intellect
and asks for repeated listening.” ― Jim Santella, All About Jazz
“Nomad carries on in the same vein as its predecessor – dreamy and
mysterious, gentle and straightforward, but with more assurance and a
finer focus, featuring some of Tamura’s most lyrical and beautiful
trumpet playing… It is impossible to say where Tamura will wander next,
but it’ll be well worth following this musical nomad, wherever that
might be.” ― Dan McClenaghan, All About Jazz
Strange Village (2005)
Top 10 CDs of 2005 ― Randy McElligott, CHUO FM 89
“… a stunning departure from the artist’s typically intense, off-kilter
style… Lyrical and dynamic are the operative words, as the lead trumpet
lines on the title track make clear with their south-of-the-border
coupling of tenderness and passion… this extraordinary set ranks at the
top of Tamura’s distinguished discography.”
― Sam Prestianni, Jazziz
“… a record of surprisingly soft and lyrical beauty that at times
borders on flat-out impressionism.” ― Rick Anderson, Notes
“In his most accessible album yet, Tamura explores a range of folk-like
themes and ensemble textures that resonate more with the Europe of the
Balkans than Japan. There’s a limpid simplicity, almost naivety, to his
and the group’s approach that draws the listener in, economically
evoking the diverse moods and images suggested by the titles of his
compositions… Throughout he’s revealed as a remarkable trumpeter,
individual, lyrical and dramatic. Gato Libre seems perfect for this
aspect of Tamura’s varied musical personality.” ― Ray Comiskey, The
Irish Times
“Now we can officially say there are two Natsuki Tamuras. The one
playing angular jazz-rock or ferocious free improv (see Hada Hada or In
the Tank) and the one writing simple melodies of stunning beauty
(witness Ko Ko Ko Ke Ke Ke and this album). How the two of them live in
the same body and breathe through the same trumpet might remain a
mystery… Tamura’s tunes owe a lot to Erik Satie, and “Morning Mist” and
“Strange Village” could be never-before heard “Gymnopedies” or
“Gnossiennes” cross-pollinated with New Tango and just a touch of
Eastern European folk music… Despite the impressive lineup, Strange
Village is all about ensemble playing. Tamura’s compositions rely on
tightness and balance between each part, something the quartet achieves
effortlessly… Pure delight.” ―François Couture, All Music Guide
“In a fresh state of mind I could meet with their sound that
carried some organic feel that would gently embrace the emptiness in my
heart. And I was surprisingly impressed how perfectly the title
Gato Libre fit with this album.” ― Eichi Tomizawa, Jazz Life
“There are moments in which the music sounds idyllic, and there are
other moments in which it seems like a soundtrack of a horror
movie. They have a lot of sources to draw from…their performance
is high level and the well-controlled sound of the trumpet is
especially impressive. There are unexpected improvisations or
trades and I find these moments pretty interesting because I feel as if
I am seeing iron hands in velvet gloves.” ― Tomohiro Nakayama, Swing
Journal
“With Strange Village Tamura and the quartet have crafted a
gorgeously straightforward – albeit mysterious and slightly surreal –
sound. This musical journey proves his most accessible set to date.” ―
Dan McClenaghan, All About Jazz
“I’m as much a sucker for a good CD cover as any, and Natsuki Tamura’s
airy quartet, Gato Libre, has a simply enchanting painting of a
marvelous black cat posing as they will at the foot of an old stone
stairway… Intriguing, and so is the music. Tamura’s slowly unraveling
trumpet lines color the long-held accordion tones of Satoko Fujii,
Kazuhiko Tsumura’s Spanish guitar, and Norikatsu Koreyasu's acoustic
bass. Strange Village is very meditative, sly, and almost of an Eastern
European folky atmosphere. I found myself thinking of the circuitous
routes through a strange village which a cat might take… It’s been a
while since I heard something this different.” ― Kenneth Egbert, Jazz
Now
“Every so often a record comes along from an established artist that
makes one reassess his or her accomplishments. The initial document
from the Japanese quartet Gato Libre is such a release… While the
majority of the music swims the seas of tranquility, the quartet does
kick up sand every so often… At first blush, this record might be
considered too saccharine for many tastes, but it is rich in its
melodic aims and surprisingly captivating. Indeed, Strange Village is
proof that Tamura and Fujii and truly multi-dimensional artists.
―Dennis González. One Final Note
“Capturing the essence of folk music, Natsuki Tamura creates an
acoustic session on Strange Village that lets him tell the stories
vividly and completely… Each tale comes with rounded textures that
belie humble surroundings… Gato Libre’s free association over timeless
textural territory gives this highly recommended album a warm embrace.
Tamura’s open trumpet seals it. His quartet has found a formula that
connects the music of our ancestors with the freedom that we enjoy in
the freedom that we enjoy in today’s modern society.” ― Jim Santella,
All About Jazz
NATSUKI TAMURA: FIRST MEETING
Cut the Rope (2010)
“And then we have Cut the Rope, the craziest (and best) of the batch.
The quartet, called First Meeting, includes drummer Tatsuhisa Yamamoto
and electric guitarist Kelly Churko, who buzzes and scrapes when he
isn’t playing chords. It’s a noisy, free, impatient album, and ranks
among Fujii and Tamura’s most accomplished.” ― Steve Greenlee, Boston
Globe
“Cut the Rope is a wild ride through five genuinely noisy and trippy
soundscapes…. This crew will keep you happy as you wonder where they’re
headed next.” ― Stuart Kremsky, The IAJRC Journal
“Suppose 70s Lou Reed met up with 70s Miles Davis and the two of them
decided to have a live board game. The crème of the Japanese jazz
progressive underground team up here….” ― Chris Spector, Midwest Record
“Trumpeter Natsuki Taura creates a vast expanse of sound on Cut
the Rope… This is a short, eventful set, expertly construed by Tamura,
where brilliant sound collages are erected with architectural expertise
and a subtle elegance…. a sonic journey full of surprises.” ― Raul
d’Gama Rose, All About Jazz
“…devotees of noise and vigorous free jazz around the world would
find this hard to walk away from.” ― Alan Young, Lucid Culture
“Revel in the sparse but intricate textures of ‘Headwaters’ in which
Fujii draws gorgeous Cagean textures from inside the piano; the bells
and their long decays set everything else in stark relief.
Tamura’s low-register gutturals are equally effective. The title track
seethes and snarls, somehow retaining welcome transparency as the wall
of noise rises and thickens.” ― Marc Medwin, Cadence
“The title track is wild and unrelenting noise, evolving from utter
chaos towards an increasing intensity of such a level that it becomes
strangely compelling… this duality between attraction and repulsion,
between familiarity and utterly new sonic experience works well… Weird,
strange things happen here, but they are worth listening to… It is
great stuff for people with very open ears. Keep listening!” ― Stef
Gijssels, Free Jazz
“The four take on five Tamura compositions that are highly fragmented
experiments in alien intonations: Tamura wails, snarls and blurts,
Churko scratches and skitters, Fujii alternately rains down scary notes
and makes chime noises. Yamamoto uses seemingly every piece of object
near him to rattle on. The composite sound confronts preconceptions
about what music is and using these musicians' advanced artistry to
work off of base instincts….For some forward-thinking artists, taking
chances is part of their overall musical approach. For First Meeting,
taking chances is the overall approach. And on Cut The Rope, they
manage to land on their feet every time.” ― Victor Aaron, Something
Else!
“Voilà, FIRST MEETING…between Impro noise and JapaNoise… at the edge of
dreams, the trumpets always pressing alarm actually creates a free
space for the more delicate... musical geniuses, silver whirring,
brightly blinking and languishing. Insanity!” ― Bad Alchemy
“…turn the traditional jazz quartet format on its head.” ― Jazzwise
NATSUKI TAMURA WITH DRUMMERS JIM BLACK &
AARON ALEXANDER
White & Blue (1999)
"Writer's Choice 2000: Top 10 CDs" ― Jerry D'Souza, Coda
“Satchmo sang through his trumpet and Tamura also seems to try to
create a style which doesn't necessarily isolate the playing of his
instrument from the uttering of his own voice.” ― Yoshiyuki Kitazato,
Ombasha
"A trumpeter and two drummers might not be your usual trio format, but
this threesome makes it work. Percussionists Jim Black and Aaron
Alexander rumble, rattle, tap and scrape along on Tamura's expressive
journeys across sonic landscapes not found on most maps." ― S.D.
Feeney, Face Magazine
"What is most striking is not simply the high level of interaction, but
the sense of sound as ceremony."
― Stuart Broomer, Coda
"Acting as a creative concerto, this piece works as a whole, and
requires a complete listen." ― Michael G. Nastos, All Music Guide
"Adventurous listeners should...turn their ears to 'White &
Blue'... Tamura has added his name to those anything-for-a-sound
improvisers like Evan Parker and Derek Bailey." ― Ken Waxman, Jazz
Weekly
"On this CD [Tamura] tackles the duo format with a fine percussionist
and clearly presents his extraordinary sense of rhythm. He also
seems to cherish the rhythmic sense that is characteristic of Japanese
language. In his performance, I hear something in common with
Joruri (the music of Bunraku) or Japanese traditional folk or dance
music." ― Toyoki Okajima, Jazz Critique
"Relying on a minimalist instrumentation (trumpet, sundry percussion
and drums), composer Natsuki Tamura is interested in filling space not
only with free jazz excursions but also with textural sound bytes… this
disc will appeal to free jazz enthusiasts." ― Jeff Melton, Exposé
Natsuki Tamura with Elliot Sharp, Takayuki
Kato, Dareya
In the Tank (2005)
“Top 10 for 2005…An indefinable droning mishmash of sounds that
feels like a young universe struggling to swirl itself into a semblance
of order.” ― Dan McClenaghan, All About Jazz
“Think AMM meets blues guitar meets 1970s Miles Davis and you get some
idea of the disc’s flavor: a slow-moving panorama for the ears, where
sounds are systematically added, repeated, refined, and replaced in
turn.” ― Nate Dorward, Cadence
“…The range of effects and speed of transition are breathtaking:
between the first haunted scratches, and the final withered exhalations
this triumphant electro-acoustic adventure never settles in any idiom
for more than a moment, and never becomes boring… Astonishingly, this
is the first meeting between downtown New York icon, [Elliott] Sharp,
and these three mainstays of the Japanese free scene. Let’s hope it’s
not the last.” ― Daniel Spicer, Jazzwise
“Really one 68-minute improv, the CD is divided into four tracks that
should be listened to as a whole. Mixing the trumpeter’s bravura
expressiveness and the techniques of the two guitarists who can
replicate bass and percussion timbres, this is no laid-back jam
session. It does have a particular shape however, with introductory
passages and an elongated coda, both linked with the individualist
playing of Tamura. Instructively, with all the dissonant, near-ghostly
tones exhibited, In the Tank also implies traditional Japanese
textures… at several junctures… this impressive, ever-shifting
performance suggests a repeat should soon be in order.” ― Ken Waxman,
Jazz Weekly
“Guitarists Takayuki Kato and Elliot Sharp are front and centre
in this beautifully recorded four-track free improv session. Kato’s
cornucopia of altered and looped sounds give his cohorts a sonic
landscape in which to let loose. Pianist/composer Fujii… is a
wellspring of rhythmic motifs that act as a catalyst, by turns
prodding, pulling, and pummeling. Trumpeter Tamura… splurts, splats,
arcs and angles, deftly weaving his bell-like clear tome into the
tapestry pf electronic sounds… In the Tank is a recorded document that
bears up under repeated listenings. “ ― Glen Hall, Exclaim Magazine
“… the colors of Tamura’s soundscape are more saturating than
overpowering, which makes the occasional veering into pensive melody
all the more effective. Still, this is challenging music. ― Point of
Departure (online music journal)
“… [a] challenging exploration of dissonance, microtonality and
space.” ― John Stevenson, ejazznews
“In a drifting and amorphous way, the sound on In the Tank feels
as elemental as a delta blues… But much like some of Miles Davis’
output in the late seventies the question of exactly which instrument
is making what sound hovers over the proceedings… through the
interludes of rock structures, blues shadings, jazz moments, and
classical electro sound washes, a feeling of underlying structure and
detached watching-the-events-from-above serenity remains. It’s best to
suspend expectations here – that can be said for just about everything
Tamura is involved in…” ― Dan McClenaghan, All About Jazz
10/10
Reviews
Duo --- Natsuki Tamura(tp),
Gato Libre --- Natsuki Tamura(tp), Dareya(acc), Kazuhiko
Tsumura(g), Norikatsu Koreyasu(b)
First Meeting --- Natsuki Tamura(tp), Dareya(p), Kelly Churko(g),
Tatsuhisa Yamamoto(d)
Concert review
Gato Libre….Tamura’s trumpet sound that reaches far away and the music
that cannot name which country’s take the listener away to labyrinth.”
First Meeting by noise improvisation has got Nels Cline as a guest from
America. Fujii’s beautiful piano sound that has strength stands out
between men’s self-assertion exchange.”
In any case, Tamura and Fujii’s ability that can fit in any scene must
be really something. Their musical backbone is upright but they play by
ear like nomad.”
---Mariko Okayama, Jazz Tokyo
CD “Shiro”
“Even Tamura plays simple melody, it doesn’t sound like easy listening
music that only cares listeners’ taste because it comes through his
real musician’s ears….Since the melody is so simple he uses a lot of
complicating ornament that cannot be heard from ordinary trumpet play.
Once you follow his simple line that plays melancholic melody, you
would convince how he is excellent with melisma. Probably his unique
improvisation diction was born from out of it. This is the one
listeners can be satisfied with its depth of the instrumental sound.”
---Yoshiyuki Kitazato, omba
“My favorite trumpet player in the world is Natsuki Tamura….I am
totally satisfied with his play without listening to other trumpet
players….
His play sounds some times very holy like Koran other times like gag
like comedy, some times very technical other times very low and husky
like trombone sound, but never bothers other voices. It is very stoic
but is also no strain. In the same era, and in Tokyo, it is miracle to
meet such his voice that has extreme two ends….
“Gato Libre” means free cat. It is not easy to use the word, “free” in
such an era. I am sure they don’t get “real free” (if there is
something like it). They play music in this world where we all live
that has a lot of restriction, conditions, and inconvenient. But they
take the situation and turn it on its head, and play calmly like “free
cat” that slips through the tough situation and live their own lives.
….the quiet melody and ensemble that is born from this band sounds very
earnestly. The band sounds nostalgic and healing on the first sight,
but the other hand it sounds one of the most critical music in the
world to me.”
---Miho Watanabe, Ele-King
CD “Cut The Rope”
“Their created space became the illusion that exceed the
dimension and stick the listeners’ brain stem.”
---Eichi Tomizawa, Jazz Life
“Their experienced ability can be listened. ….it is real human
dialog, not a complete inorganic space, not a consecutive screaming,
not extreme tension. It is fun 65 minutes that takes joyful air.”
---Shiro Matsuo, Musicmagazine
“The drumming that surges like tsunami and Avant-Garde electric guitar
fit unexpectedly. Fujii plays impressive refrain, and Tamura’s
thunderous trumpet cuts in.”
---Seiichiro Matsunaga, CD Journal
“Their play changes instantly as planned is like a looking at
kaleidoscope. Their music structured mainly by rhythm floats and
immediately disappears in sea of noise. ….by their new sense that
create elastic noise sound the music is open not only to the direction
of free improvisation, and it is so fresh.”
---Yoshiyuki Kitazato, omba