Takesi Inomata and Sound Unlimited: Innocent Canon (Cindelic Records)
Reissue on Cinedelic where Takesi Inomata, a prolific drummer who began playing in jazz groups at the age of 16, steps out of those genreic confines with the revolving door ensemble Sound Limited.
Not unlike other storied musicians who had worked in the jazz idiom and by the late 1960s-early 70s decided to branch out; Inomata & Sound Limited incorporate a heady rock, funk and psychedelic mix on Innocent Canon.
From the liner notes: the title Innocent Canon “is particularly intriguing to analyze in relation to this concept of the fluidity of music” and there is definitely fluidity, not only in the genre mixing but also and more expressly in the heavy grooves they create. That this was all done as an improvised session in studio is incredible and speaks to the fact that these are clearly skilled players and arrangers (narrator Noriaki Kanoh had not performed with Sound Limited prior to this studio session!) This is not clattering & blasting improv—the sound is definitely of the period though doesn’t fall into the trappings of jazz funk lite. Tracks adeptly move between wah-wah & fuzz heavy rock (“Introduction”) to funky rolling bass holding down the groove for horns & keyboards (“Toy (Child & I)”). The guitar riffs and bright horn arrangements really stand out; though none of these musicians are slouches. There is a lot to hear in these grooves and audio is lovely as it’s taken from the original master tapes.
—Rich Mudge
Reissue on Cinedelic where Takesi Inomata, a prolific drummer who began playing in jazz groups at the age of 16, steps out of those genreic confines with the revolving door ensemble Sound Limited.
Not unlike other storied musicians who had worked in the jazz idiom and by the late 1960s-early 70s decided to branch out; Inomata & Sound Limited incorporate a heady rock, funk and psychedelic mix on Innocent Canon.
From the liner notes: the title Innocent Canon “is particularly intriguing to analyze in relation to this concept of the fluidity of music” and there is definitely fluidity, not only in the genre mixing but also and more expressly in the heavy grooves they create. That this was all done as an improvised session in studio is incredible and speaks to the fact that these are clearly skilled players and arrangers (narrator Noriaki Kanoh had not performed with Sound Limited prior to this studio session!) This is not clattering & blasting improv—the sound is definitely of the period though doesn’t fall into the trappings of jazz funk lite. Tracks adeptly move between wah-wah & fuzz heavy rock (“Introduction”) to funky rolling bass holding down the groove for horns & keyboards (“Toy (Child & I)”). The guitar riffs and bright horn arrangements really stand out; though none of these musicians are slouches. There is a lot to hear in these grooves and audio is lovely as it’s taken from the original master tapes.
—Rich Mudge
Reissue on Cinedelic where Takesi Inomata, a prolific drummer who began playing in jazz groups at the age of 16, steps out of those genreic confines with the revolving door ensemble Sound Limited.
Not unlike other storied musicians who had worked in the jazz idiom and by the late 1960s-early 70s decided to branch out; Inomata & Sound Limited incorporate a heady rock, funk and psychedelic mix on Innocent Canon.
From the liner notes: the title Innocent Canon “is particularly intriguing to analyze in relation to this concept of the fluidity of music” and there is definitely fluidity, not only in the genre mixing but also and more expressly in the heavy grooves they create. That this was all done as an improvised session in studio is incredible and speaks to the fact that these are clearly skilled players and arrangers (narrator Noriaki Kanoh had not performed with Sound Limited prior to this studio session!) This is not clattering & blasting improv—the sound is definitely of the period though doesn’t fall into the trappings of jazz funk lite. Tracks adeptly move between wah-wah & fuzz heavy rock (“Introduction”) to funky rolling bass holding down the groove for horns & keyboards (“Toy (Child & I)”). The guitar riffs and bright horn arrangements really stand out; though none of these musicians are slouches. There is a lot to hear in these grooves and audio is lovely as it’s taken from the original master tapes.
—Rich Mudge