1954 - Toshiko's Piano

WHAT NYMITH SAYS

Toshiko Akiyoshi (born 1929) was discovered by Oscar Peterson on a tour of Japan. Peterson was so impressed by her piano playing, he handed over his rhythm section and got her a recording contract. That's a pretty clear indication, I believe. The girl was dynamite. Her first album, Toshiko's Piano, was recorded in November 1953, made it to America, went out of print and remained lost until, quoth AllMusic, "a Japanese collector provided a copy of the original disc as source material for this 24-bit Japanese CD reissue." The Japanese release is known as The Amazing Toshiko Akiyoshi, and it's all that's available but thank God it is available.

The first time I listened to Toshiko's Piano I got nothing out of it, not being a jazz aficionado. I don't have an ear for it and could distinguish no melodies, just a great deal of speedy piano playing blending into a bop soup. It takes work to gain an appreciation of this album, but it is more than worth it. My advice is to listen to it every day (housework provides a great opportunity to fit it in, since it's 24 minutes in all) until the songs begin to differentiate themselves. Once they've done that you can sit back and enjoy the syncopation.

I earlier described Bird & Diz as an excellent introduction to bop jazz for the beginner but Toshiko trumps it and I believe (or hope, as the theory applies to myself) that once you've developed a liking for this, the door is open. It is energetic and complex, but has a gentler sound than you'd expect as it features no brass instruments (no fear of squawk, in other words). Toshiko is backed by Ray Brown on bass, Herb Ellis on guitar and J.C. Heard on drums.

The two standout tracks sit right next to each other. 'Shadrach' is so fast-paced it almost boogies - not what you'd expect from jazz of any kind, but with its herky-jerky rhythm it definitely qualifies as the most exciting moment on the record. Best of all, it just stops. Just ends without warning. Fantastic.

Then there's 'Solidado,' which on your first listen is likely to be the only song to make a lasting impression, slowing down for a swaying, moody, mildly exotic number. She also does a leisurely run through 'Gone With the Wind' and an appropriately lost, tragic variation on 'Laura' that works to perfection as a closer. These provide a breather to an otherwise unstoppably excited torrent of an album. The pace hardly lets up and there are no weak links. I've heard it near ten times the last few weeks and it doesn't get old.

Perhaps the only flaw is the muddy recording quality but given the circumstances and the loss of the master tapes, this is entirely forgiveable. Two years hence, Toshiko became the first Japanese student at Berklee College of Music in Boston and took her recording career to America. If you want to develop a taste for jazz extending beyond Time Out, she's a necessary listen and belongs in your music collection. I was nonplussed on my first listen, but now it's one of my favourite discoveries from this chronological project.

WHAT TICHARU SAYS

The charm of this recording takes hold with the first notes and never lets go. It's grungy for one thing, like a natural warm tube distortion so it sounds very "rock" but hey obviously this is jazz, but very forward looking jazz. Kind of wild jazz, jazz piano to be specific and the pianist is full of fire! Japanese fire. The blend of styles fast and manic. Toshiko changes directions at breakneck speeds and she seems able to command her left and right hand to play in completely different genres to the extent I wonder she isn't two different people but no, I've seen the video clips, her hands really move that way. Amazing! You'll want this record for sure.