![]() ![]() Fukui ’s style is immediately reminiscent of Bill Evans, and his modality recalls to life the masterpieces of the John Coltrane Quartet. The drums are thunderous, but at the same time expertly restrained, and his keyboard has an air of both swing and finesse.Įven in his original arrangements, the giants of jazz piano are channeled through the sounds of Scenery. While “Autumn Leaves” is an oft-used piece for beginner jazz musicians to acquaint themselves with jazz harmony, Fukui still manages to create something original out of an otherwise rudimentary piece of music, adding an upbeat cadence and flair throughout the song. His rework of “Autumn Leaves” contains an eclectic, soulful introduction before he breaks into the slow, subdued jazz standard. In Scenery, Fukui provides listeners a refreshing take on some jazz classics, like “Willow Weep For Me,” “Autumn Leaves” and “I Want To Talk About You.” While he relies on the works of other musicians, he has an undoubtedly unique take on every song. ![]() Artists are free to stitch together a variety of styles and sounds effortlessly, affording them a significant level of creativity and improvisation. Jazz’s liberating nature separates it from other genres of music. When listening to Scenery, it’s hard not to think about the countless other potential works of art that the Western musical zeitgeist has failed to account for. Ryo Fukui had all the material to make a similar impression on the world of jazz with the modal masterpiece that is 1976 ’s Scenery, but among some of music ’ s biggest injustices, the lack of a global stage for musicians of Fukui’s ilk is one of the most unfortunate. Duke Ellington showed us the wonder and joy to be had with a big orchestra. Louis Armstrong helped us find fun in swing. Thelonious Monk taught us the beauty of improvisation. ![]()
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