|
|
|
|
|
|
|
|
|
|
|
LP
|
|
HE 70005LP
|
One of the rarest albums ever from the mighty Masahiko Satoh, a composer and arranger, as well as a key figure in the avantgarde music from Japan. Originally issued on Japan Columbia in 1970, the two sides of very free piano show a sensitivity that's really amazing -- still moments of freedom that reflect Satoh's connection to the avant-garde of the time, interwoven with his own sense of cosmic creation, in ways that are similar to his later projects.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
FKSP 021EP
|
Not content with liberating what many consider the rarest soundtrack on both the cut-throat Italian and Japanese collectors' markets (with the repress of the music to Eiichi Yamamoto's erotic-historic Pinky anime psych cinematic feature Belladonna Of Sadness), Finders Keepers Records return to the composer Masahiko Sato's bottomless well in an attempt to retrieve the elixir which enticed us in the first place. From a clutch of thirteen lost cues which never appeared on the mythical Italian-only soundtrack album, this limited 45rpm single finally combines the two elusive freak fuzz tracks aficionados unanimously agree to be the finest themes to feature on the film. Encompassing virtually all of the free jazz and screaming psych signatures found on Masahiko's own albums and collaborations, such as Amalgamation, Yamataifu and Rumour (all recorded around the same era), these two tracks also hear Sato experimenting with hard rock rhythms and Afro rock aesthetics devised to enhance the flamboyant and erratic folkloric storyboard of the film. Not scared to deploy radical 1970s studio devices like guitar fuzz pedals and keyboard ring modulators Masahiko literally pulls out all the stops with his organs, synths and pianos to deeply coat artist Kuni Fukai's most eye-popping scenes with his own sonic equivalent of hallucinogenic face melting mayhem. Complete with rhythm players and soloists from his associated bands The New Herd and The Soundbreakers these two tracks alone draw comparisons with the likes of Wolfgang Dauner and will certainly strike similarities to Miles Davis' Filmore/Bitches Brew period, but never without his own distinct Japanese jazz flavor, thus placing these tracks alongside other rare and unreleased psychedelic recordings such as J. A. Caesars music for the films of Shuji Terayama and Toshi Ichiyanagi and April Fools music for Yoshishige Yoshida's Eros Plus Massacre. Continued comparisons to Alain Goraguer's animation soundtrack for La Planete Sauvage can be attributed to Sato's use of Rhodes electric pianos, but as one of the first three people to import a Moog synthesizer to Japan (a key player on the collectable Electro Keyboard Orchestra), Sato's tracks on this 45 successfully convey his wash of electro enhanced layered noise that illustrates the films pivotal plague scene in which Fukai paints an unforgiving black sea over the world to avenge the honor of the films traumatized leading protagonist.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MITSUKO 004LP
|
2020 repress. A golden era gem from the master himself, Masahiko Satoh, presented by Mitsuko & Svetlana Records. Archival reissue of long-lost treasure from genius pianist and composer whose resume includes hundreds of legendary albums and collaborations with Midori Takada -- Lunar Cruise and Ton-Klami) among many others. Very rare soundtrack of a nine-episode suspense drama that aired on TV in 1969 and 1970. Filled with exquisite jazz, soul-jazz, folk-jazz, and mystery-jazz, plus groovy affairs, classical moods, and '70s flair. Highly recommended to Japanese jazz collectors, soundtrack collectors, Masahiko Sato collectors, lovers of rare gems and wearers of vintage trench coats.Originally released in November 1970 as an LP on Toho Records (BL-1001). All compositions and arrangements by Masahiko Sato. Personnel: Masahiko Sato - piano, keyboard; Yoshiko Goto - vocal; Kiyoshi Sugimoto - guitar; Kunimitsu Inaba - bass; Yasuo Arakawa - bass; Akira Ishikawa - drums. Edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FKR 079LP
|
2023 repress. "There was a time when the strength of a musician's vision transcended all labels; here is a chance to dip into that pool again, and emerge not just refreshed, but alive again with the sense that we all can live in that world again, but most importantly raise the flag for excellence. Fantastic." --Jim O'Rourke
An unholy grail of near-mythical status is finally now available in the form of this first-ever reissue. Masahiko Sato composed this elusive, sensual, psychedelic free jazz score for the stunning 1973 Japanese witchcraft animation Belladonna of Sadness (Kanashimi no Belladonna) directed by Eiichi Yamamoto. Since the mid-2000s, Belladonna of Sadness has risen from the ashes and now shines brighter than ever. Now, on the eve of its third or fourth global DVD release in 2015, fans no longer have to settle for third-generation VHS telecine dubs or stuff their wish-lists into the hands of lucky friends visiting Tokyo. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers, and other creative types along the way. Original copies of the soundtrack, however, are much less likely to rear their heads, with prices literally doubling each time the original stock copies swap hands among the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, originally released by the Italian Cinevox label in 1975, has extra credentials. Finders Keepers Records and Sato himself agreed that this record should finally be liberated among those who know the magic words. With the decision to keep this album "strictly Sato," a track from the original release has been removed -- the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana -- which in all honesty is very much detached from Sato's psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Sato's wife at the time, Chinatsu Nakayama, including the track titled "TBFS," which only appears on the master tapes and never actually made it onto the theatrical cut of the film (though the theme is briefly alluded to, with different instrumentation, in a cut-scene available on the German DVD release). This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in film music, jazz, and avant-garde composition.
|