Free Jazz Is For Lovers

Terumasa Hino
Double Rainbow
Columbia : 1981

Terumasa Hino, cornet; Steve Grossman, soprano sax; Masabumi Kikuchi, keyboards, arrangement; Herbie Hancock, Fender Rhodes; Kenny Kirkland, Fender Rhodes; Mark Gray, Fender Rhodes; Lou Volpe, guitar; Butch Campbell, guitar; Anthony Jackson, bass; Harvey Mason, drums; Don Alias, congas, percussion; Airto Moreira, percussion; Manolo Badrena, percussion.ã??

You may think: Free Jazz and Valentine’s Day. Not exactly a match made in heaven. But hey, there’s more than one way to get busy and more than one type of music to get you in the mood.

You may think: Okay, but is this really going to get the job done? But listen up, it’s got more Fender Rhodes keyboards — producers of some very suave and sexy tones — per square inch of music than anything this side of Steely Dan. So give it a chance.

You may think: This song is so damn funky that it wouldn’t sound out of place on the dance floor. And you’re right. The song’s first half acts out a freaky strobe-lit club seduction while the second half starts to slowly get filthy. For those of you on the prowl, here’s your soundtrack.

You may think: There’s no good fusion after 1975. And generally you’re right, but nobody passed the word to Hino, a terrific Japanese trumpeter and cornettist who assembled a ridiculously talented crew well past fusion’s prime and created a record that sounds like it hails more from 1973, feeding off of whatever Eddie Henderson was dining out on at the time.

You may think: This track is the same sort of cosmic/disco/electro jazz as Julian Priester’s “Love, Love.” So is the love theme here just a coincidence? Or is it a Valentine’s conspiracy? Â

You may think: Hino…Hino…didn’t he record a couple of albums with his drummer brother, the late Motohiko Hino, in the early 1990s that raided the Rolling Stones and Led Zeppelin songbooks?

You may think: Kikuchi? Kikuchi!

You may think we don’t love you: but we do.

Category Terumasa Hino

16 Responses to Free Jazz Is For Lovers

  1. Yeah – Thanks for posting this Terumasa track! I’ve never heard this record before, but I might have to find it now. Hino is a great player capable of playing in many different styles. Other albums of his worth checking out are: Taro’s Mood (pretty out stuff actually), May Dance (with Scofield, Ron Carter, and Tony Williams), and Live in Warsaw (a straight ahead affair – real nice). I’d like to hear those Stones and Zeppelin records. Anyone know what Hino is doing now?

  2. Fantastic! Just fantastic. Thanks for this.

  3. thanks! ‘s’ok.
    Toshinori Kondo still runs with the electro trumpet fueled fusion torch.
    didn’t Terumasu run with the globe unity orch at some point? i may be mixed up. i didn’t realize he did any mainstream [columbia?] stuff. hmmm. if i see mainstream, i tend to turn away and keep hunting. i must be misssing out on the goods. heh heh heh. i’ll play whatever you post though. it’s fun here. i like it. all my new friends. 8>]
    gotta say Harvey Mason sounds real good on this. Anthony Jackson? solid. Herbie H. ? uhhhhh………. far from inspired. what a sur-PRISE!!!!!!!
    a Hermeto special soon maybe ? i want a lot dont i.
    i saw some KILLER Hermeto stuff and Egberto Gismonte stuff on the video post websites recently. like wow , man. crazy.
    also , if u like Beatnik/hipster coolness, you need to watch ‘bucket of blood’ , the 1958 film by Roger Corman. hipness beyond coolness. now there’s a jazz masterpiece 4 ya , ahead of its time. certainly the hippest / funniest film of the 50s, maybe.

  4. The Kikuchi name drop further demonstrates how y’all so totally get it. That’s him, lasciviously rubbing his keyboard digitalia across the entirety of the track. Given the blatant pop fusion of Double Rainbow’s immediate predecessors (City Connection and Daydream) and successor (New York Times), it’s clear that this one owes much of its success to the provocations of Masabumi Kikuchi. I consider Double Rainbow– terrible album jacket, BTW, google-image it for yourselves– as part of a trio that includes Kikuchi’s Susto and One-Way Traveler. All three have similar personnel and are chock full of the classic avant-space-groove aesthetic that rendered them as fatal anomalies for their era. After these records were released, Kikuchi evidently dropped out of the jazz world for the remainder of the decade, producing a series of electronic music albums. I’ve yet to hear the 2CD set that commemorated his return in the late 80s with the All-Night, All-Right, Off-White Boogie Band. If anyone can hook me up with a copy, man, I’d be SERIOUSLY GRATEFUL.

    Kikuchi’s influence on Gil Evans– the two co-arranged Double Rainbow– also deserves mention. Kikuchi contributed to and produced Gil’s Public Theater albums, which were arguably the latter’s finest recorded moments of the 80s. And their 1972 eponymous collaboration on Philips Japan is likely my fave of all Gil Evans sides. So yeah, colour me biased.

    Apologies for the thread hijack but hey, y’all started it. And yes, Lee, you’re mixing up Hino with Kondo.

  5. That picture’s kind of creepy…

  6. Doug – you are so right about the DOUBLE RAINBOW album cover. a serious contender for one of the worst of all time. one sidelong glance would be enough to keep it off your turntable for a decade, easy. and thanks for the kikuchi shout out.

    And speaking of images… godoggo, the picture comes from Wong Kar Wai’s IN THE MOOD FOR LOVE. now that you mention it, it is a little creepy! but the movie as a whole is so insanely sensual that my memory of the film colors how i see the still. even the wallpaper in the movie could make you swoon…

  7. It’s unrelated to this post, but I think you and many of your readers might really enjoy this amazing blog I just discovered (I didn’t see it on your roll, but I might have missed it) – they’ve got all of this unreleased Sun Ra stuff, amazing Indian and African stuff and rare dub as well.

  8. When I saw the subject of this post I just knew I’d be reading an erudite comment contribution from Mr Doug W! I’m going to have to go find this CD now and listen to it for the first time in quite a few years. Weirdly, I quite like that album cover, I think it’s the pinkness and the funny font. This is such a weirdly anomalous record. I wonder how the players must have felt, having departed these shores some years before, probably thinking they’d never return. The utter clarity of the recording was something I recall having problems with. If you’re posting about this album (which I’d quibble isn’t exactly free jazz as it’s commonly perceived), I guess it’s only a matter of time before you tackle the late jazz rock of Paul Schutze’s two Phantom City outings? It’s free jazz. It’s out of print. It’s just waiting for a second look…

  9. Colin, there’s a distinct irony in my having to double-check the meaning of “erudite.” I’ll second the vote for Phantom City, even if its mention in this thread threatens to further confuse the Hino / Kondo thing.

  10. completely unrelated to this post…

    Abe! Abe! (a vote for)

  11. thanks for the clarity doug, but i wasn’t mixed up. i was just shorthanding my half assed reply to paragraph 4 in the post [assumption fusion dead after 1975] see? i leave words out.
    Kondo is a bit more… uh .. edgy? his website used to have free concert vids to watch.
    i like em both tho. i didn’t mean to confuse them, but i hope there are some who go to see one ,expecting the other, and get hip. confusion is good.
    thanks for the link Poncho!

  12. hmmm. now i’m not sure . do you mean i’m mixed up about who was in the Globe Unity orch?

  13. Yeah, Lee, it was your Globe Unity Orchestra mention. That was definitely Kondo.

  14. this one reminded me of “hornets” by herbie h (sextant)… and i suppose any number of other things, but it seemed to get far less edgy as it went on… interesting to hear that stuff like that was still around in 1981 tho’…

    … wong kar wai has really taken the whole “every frame is a work of art” cinematographic approach to a new level… but my god his stuff puts me to sleep :(

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