BLACK ORPHEUS (Remastered) Isao Suzuki Trio

• 1 Manha De Carnaval 11:11
• 2 Angel Eyes 08:11
• 3 Who Can I Turn To? 08:12
• 4 In A Sentimental Mood 05:46
• 5 Blues 05:57
• Total Runtime 39:17

Info for BLACK ORPHEUS (Remastered)

Isao Suzuki, Tsuyoshi Yamamoto and Donald Bailey deliver a majestic performance including the addictive, crisp groove of Manha De Carnaval. This is a powerful piano trio masterpiece!

Few albums in the Japanese jazz canon carry the weight and warmth of Isao Suzuki Trio's Black Orpheus. Recorded in a single session on February 20, 1976, at Aoi Studio in Tokyo and originally issued on the revered Three Blind Mice label as TBM-63, the album stands as one of the most intimate and emotionally direct statements of the era. Produced by Takeshi Fujii and engineered by Yoshihiko Kannari, the recording captures a room sound of exceptional transparency — every pluck of Suzuki's bass and cello resonating with physical presence, every touch of Yamamoto's keys hanging in the air with natural decay.

What sets Black Orpheus apart is its insistence on the bassist as melodic voice. Isao Suzuki leads not from the background but from the front, deploying his pizzicato cello with the authority of a horn player, weaving through standards and bossa nova themes with lyrical ease. The programme opens with a sprawling, groove-laden reading of Manhã de Carnaval — the title theme of Marcel Camus's 1959 film — before moving through a carefully chosen sequence of standards: Angel Eyes, Who Can I Turn To, and In a Sentimental Mood, each given ample space to breathe. Tsuyoshi Yamamoto's command of both acoustic piano and Fender Rhodes adds a soulful, electric dimension, while American drummer Donald Bailey — a longtime associate of Jimmy Smith — anchors the trio with impeccable swing and sensitivity. The closing Blues, penned by Yamamoto himself, brings the session to a warm, unhurried conclusion.

Isao Suzuki, double bass
Tsuyoshi Yamamoto, piano
Donald Bailey, drums

Digitally remastered

Isao Suzuki
was born on January 2, 1933, in Tokyo. He attended a Louis Armstrong All Stars concert in December 1953, an experience that shaped his decision to pursue jazz. In 1956, Suzuki began his professional career playing double bass on United States military bases in Tokyo. He developed foundational skills in bebop while performing with prominent Japanese musicians including Sadao Watanabe, Hidehiko Matsumoto, and Shotaro Moriyasu. From 1965 to 1969, Suzuki led his own ensemble and consolidated his position as a bandleader within Tokyo’s developing jazz scene. Suzuki moved to New York City in 1969 and spent two transformative years immersed in the jazz circuit. He recorded and performed as a sideman with Charles Mingus, Thelonious Monk, Ella Fitzgerald, Ron Carter, Jim Hall, and Paul Desmond. Suzuki also spent approximately one year with Art Blakey’s Jazz Messengers, an experience he credited as formative to his understanding of jazz discipline. He returned to Japan in 1971 after Art Blakey’s arrest at a Canadian airport ended the engagement. Upon returning to Japan, Suzuki became a catalyzing force in Japanese jazz and signed with Three Blind Mice Records. His breakthrough album “Blow Up” (1973) featured drummer George Otsuka, pianist Kunihiko Sugano, and bassist Takashi Mizuhashi. The album won the Jazz of Japan Award and Swing Journal’s Jazz Disc Award. Suzuki showcased distinctive mastery of both double bass and cello, employing pizzicato lines and unconventional techniques including scratched cello and found percussion on tracks such as “Aqua Marine.” This established Three Blind Mice’s audiophile engineering standard and became a cornerstone of Japanese modern jazz. During the 1970s, he led a prolific recording career across multiple labels, releasing over 47 albums that decade. Key albums included “Blue City” (1974) with pianist Kunihiko Sugano and guitarist Kazumi Watanabe, and “Black Orpheus” (1976), a trio with pianist Tsuyoshi Yamamoto. Suzuki’s later work demonstrated remarkable stylistic range and instrumental mastery. He expanded his palette to include piccolo bass and continued leading ensembles while collaborating with international artists. His 1986 album “Approach” featured percussionist Masahiko Togashi, keyboardist Hideo Ichikawa, and guitarist Akira Shiomoto. On “Self-Portrait” (1980), Suzuki performed on over 20 instruments, underscoring his versatility across diverse jazz contexts. He opened a jazz club in Osaka in 1987. Suzuki received the Fumio Nanri Prize in 2008 in recognition of his contributions to Japanese jazz. He died on March 8, 2022, in Kawasaki at age 89 from COVID-19.

This album contains no booklet.