Cun Cun Revival...

Paul Winter And The Consort
1969
Something In The Wind

01. Love Theme From Romeo And Juliet3:21
02. Cantata 1274:27
03. Mr. Bojangles3:54
04. The Indians1:32
05. Poorvi (Free Improvisation On Poorvi Raga)4:40
06. Jenny2:37
07. Everybody's Talkin'2:36
08. Theodora Is Dozing2:57
09. Le Tombeau De Couperin2:40
10. My Hourse Knows The Way3:33
11. Ayre On A G-String2:28
12. Point, Counterpoint4:30
13. Famous Pirate2:52

THE WINTER CONSORT
Paul Winter: Sax
Paul McCandless: English Horn
Richard Bock: Cello
Virgil Scott: Alto Flute
Steve Booker: Drums
John Beal: Bass

FRIENDS OF THE CONSORT
Gene Bertoncini: Classical Guitar
Karl Herreshoff: Baroque Lute
Paul Prestopino: Steel-Strings Guitar
John Stauber: Classical Guitar
Sam Brown: Classical & 12 Strings Guitar
Chuck Green: Tap Dancer
Hal McKinney: Voice

Something In the Wind is the second of Paul Winter Consort's albums on A&M (SP 4207)--the first was The Winter Consort (SP 4170)-- both before the David Darling and Ralph Towner days. 1969. Thankfully, I have all the A&M lps. The first two never made it to cd, and apparently there are few lp copies. As an Old Guy I get to see all the musics I loved and enjoyed drifting off into the mists even though technology exists to retain them. There are two Bach pieces: Cantata 127 and Ayre On a G-String. Also, Ravel's Le Tombeau de Couperin and Charles Ives' The Indians. And, period piece that it is, Fred Neil's Everybody's Talkin' and Love Theme From Romeo and Juliet by Nina Rota. The personnel on this record included Paul McCandless who played with the Consort for years and went on to Oregon with Towner et al. One of my favorite songs here is My Horse Knows the Way by Sam Brown. There are a couple of more challenging listens: Point, Counterpoint and Poorvi. The album was produced by Paul Stookey (Peter, Paul & Mary) and Paul Winter. The Paul Winter Consort is heading into its sixth decade--it is interesting to see where they started. I'll admit that in today's Go Big mentality this record is somewhat quaint and quiet--that's why I still like it.

Being their 2nd album, it doesn't seem to totally fit the arc the group later took. Their first album was called The Winter Consort, and it already had the signature Paul Winter/PWC 'sound'. This one, while mostly serene and beautiful, doesn't. It is more like an easy-listening cover of the popular songs of the time, with some splendid classical pieces and a couple more experimental/world-type explorations thrown in (but they seem tentative to me, whereas the first album was bolder). Still beautiful, still totally worth having in your collection - But, not the music you might anticipate if you're an 'early' Paul Winter /Consort fan. It's almost as if they got a little unsure of themselves before boldly heading down their eventual paths.

I popped my (new used) Paul Winter Consort record on the stereo again after playing this a couple times, and there is a definite difference in the energy and focus. It's almost like this isn't quite making the statement. Maybe it's a matter of being such a fan - A fresh set of ears with no expectations might really love this smooth, more subdued sound - love it with no reservations.

With all that said, is it worth it? Absolutely! Something in the Wind is definitely worth having in your sound library, and I am pleased as punch to now have a perfect, excellent-quality used one to listen to again at last - because, neither this or the excellent PW/PWC, has been issued on CD

The Winter Consort
1970
Road

01. Icarus4:30
02. Fantasy, Fugue & Ghost Beads7:05
1Fantasy
2Fugue
3Ghost Beads
03. Um Abrace (A Big Hug)4:20
04. Ave Maria Stella - Andromeda8:14
1Ave Maria Stella
2Andromeda
05. General Pudson's Entrance5:50
06. Come To Your Senses6:41
07. Requiem7:30
08. Africanus Brasileiras Americanus8:10
1Kalagala Ebwembe
2Asa Branca (White Wing)

Paul Winter - Sax
David Darling - Cello
Ralph Towner - Classical and 12-String Guitar
Paul McCandless - Oboe, English Horn
Collin Walcott - Tabla, Conga, Surdos, Traps, Tambourine
Glen Moore - Bass

Recorded in concerts at Royce Hall, U.C.L.A.; Kilbourn Hall, Eastman School of Music, Rochester, NY; Whiskey a Go Go, Hollywood.

Paul Winter, a pioneer in playing world music and what would become new age, is a bit underrated as a talent scout. This version of his Winter Consort consists of cellist David Darling (a future ECM star) and four musicians who would soon break away to form Oregon: guitarist Ralph Towner, Paul McCandless (heard here on oboe and English horn), bassist Glen Moore, and Colin Walcott on tabla and percussion. With what was arguably his finest group on this CD reissue, Paul Winter takes some fine spots on alto and soprano and leads the colorful folk-oriented ensembles. It is a pity he could not have kept this band together longer.

Paul Winter / Winter Consort
1972
Icarus

01. Icarus3:02
02. Ode To A Fillmore Dressing Room5:32
03. The Silence Of A Candle3:22
04. Sunwheel4:52
05. Juniper Bear3:10
06. Whole Earth Chant7:42
07. All The Mornings Bring3:48
08. Chehalis And Other Voices5:26
09. Minuit3:06

THE CONSORT
Paul Winter - soprano sax, vocals
David Darling - cello, vocals
Paul McCandless - oboe, English horn, contrabass Sarrusophone, vocals
Ralph Towner - classical guitar, 12-string guitar, piano, Regal, bush organ, vocals
Herb Bushler - bass
Collin Walcott - conga, tabla, mridangam, surdos, traps, kettledrums, bass marimba, sitar

FRIENDS OF THE CONSORT
Andrew Tracey - resonator guitar, voice ('Minuit')
Billy Cobham - traps ('Sunwheel', 'Whole Earth Chant')
Milt Holland - Ghanaian percussion ('Whole Earth Chant')
Larry Atamanuik - traps ('Icarus')
Barry Altschul - random percussion ('Chehalis and Other Voices') Janet Johnson, Paul Stookey, Bob Milstein - voices ('Minuit')

This 1972 classic captures saxophonist Paul Winter and his ensemble at the height of their improvisational powers. Winter was one of the first artists to incorporate such exotic instruments as the sitar and tabla into his music and the result was memorable chamber jazz-folk played in the wonderfully experimental, post-hippie way only Winter and his merry band could. The title track, one of guitarist Ralph Towner's compositions, became famous for its pensive melody and soaring soprano sax. "Whole Earth Chant" is a piece that foreshadows New Age artists like Loreena McKennitt with its echoing tribal drums interwoven with ominous distorted guitar. And "Minuit" downright borders on what today some would call world music--it features a choir of voices singing a simple, sauntering melody taken from a Guinean folk song. Classic early '70s Winter.

This superb album was not widely known in the seventies in my part of the world, yet these brilliant musicians captivated me with this wonderful music played almost entirely with acoustic instruments, & I have never tired of this album. To this day I do not know anything of their backgrounds, or their previous & later works. My appreciation of this record has remained pure & simple. This work is dated 1972, a year of shining musical inspirations.

When we think of acoustic, we tend to picture acoustic guitars, but just look at the line-up of instruments. Soprano saxophone,cello,oboe,English horn,contrabass Sarrusophone,classical guitar,12-string guitar,Regal,bush organ,Fender bass,conga,tabla,mridangam,surdos,traps,kettledrums,bass marimba,sitar,resonator guitar,& Ghanaian percussion.

The first track titled "Icarus" immediately carries the listener aloft on the air currents & has him/her sailing amongst clouds. One doesn't really come down again until the final track of this album. Next a track with a peculiar title "Ode to a Fillmore Dressing Room" has the unusual combination of sitar,classical guitar,& jazz bass playing in harmony, with tabla drums also,a remarkable performance. Then a simple but deep song with piano accompaniment,"The Silence of a Candle" reflects one man's journey within himself, followed by more soaring sensation from tracks with titles such as "Sunwheel","Whole Earth Chant",& "All the Mornings Bring".

I find the use of soprano sax,oboe,& cello as lead instruments rather refreshing in a music market dominated by electric rock.

The album ends with a truly beautiful West African folk song "Minuit", which just might remain in your head,& in your heart, for evermore. For me this music always seems like a celebration of the Earth, of Nature, & of Humanity. What more can one say? If you seek just one album of acoustic instrumental music for your collection,"Icarus" may very well fulfill that need wonderfully.

Eyes Of Blue
1968
Crossroads Of Time

01. Crossroads of Time 5:00
02. Never Care 3:18
03. I'll Be Your Friend 3:48
04. 7 + 7 Is 2:32
05. Prodigal Son 5:27
06. Largo 3:14
07. Love Is the Law 5:16
08. Yesterday 4:22
09. I Wonder Why 3:13
10. World of Emotion 2:48
11. Inspiration for a New Day 3:09

Ritchie Francis (guitar),
Gary Pickford Hopkins (vocals),
Phil Ryan (keyboards),
Windham Rees (drums),
Ray Williams (bass),
R. Bennett (bass),
Jign Weathers (drums).

By rights, The Eyes of Blue should have an exalted place in the pantheon of art-rock and progressive rock bands. They were around before almost all of them, and doing film work and making music in a jazz-rock fusion idiom before the latter had been understood, and they were signed to two major labels in succession, Deram and Mercury. Instead, except for drummer John Weathers, who later joined Gentle Giant, The Eyes Of Blue are scarcely remembered at all. The Eyes of Blue started out as a jazz and rhythm-and-blues oriented outfit (Graham Bond wrote the notes for their first album), doing songs in that vein as well as less well suited material such as "Yesterday." The group was initially signed to Decca's progressive rock imprint Deram Records, and cut a series of excellent but neglected singles, and then moved to Mercury, where they concentrated on albums, enjoying greatest musical if not commercial success. They were taken seriously enough to collaborate with Quincy Jones on the score of the movie Toy Grabbers, and the group actually managed to appear in the movie Connecting Rooms. Their early strength lay in r&b-based material, including Bond's "Love Is The Law,""Crossroads of Time," and "7 and 7 Is," but even on their first album The Eyes of Blue showed some Eastern influences Their second album had some tracks off of the first film score as well as one Graham Bond song, but is more experimental, with extended instrumental passages and some classical music influences. In late 1968, The Eyes of Blue backed Buzzy Linhart on a self-titled album. The Eyes of Blue rated a supporting act spot at the Marquee Club in London in 1969, but the group's days were numbered, given the lack of their success as a recording outfit. Phil Ryan later played in Man, and John Weathers joined Pete Brown and Piblokto! on the Harvest label, before jumping to Gentle Giant.

The Eyes debut album 'Crossroads Of Time' was eventually released early in 1969. It included two Graham Bond R&B songs (Bond also wrote the sleevenotes) 'Love Is The Law' and 'Crossroads Of Time' which was especially written for the band. It also included an interesting version of Love's '7 + 7 Is' while The Beatles''Yesterday' is given a treatment suggesting something of a jazz hymn. Ritchie Francis claimed the remaining songs of which 'Inspiration For A New Day' is noteworthy and 'Prodigal Son', which features some psychedelic guitar work from Ray 'Taff' Williams. 'Largo' is an arrangement of the Handel piece by Ritchie Francis and he claimed this was indicative of the way the group were going.

Following on from their earlier collaboration with Buzzy Linhart, the Eyes also worked with Quincy Jones when they contributed to the unreleased 'Toy Grabbers' film score. Later they also appeared in the film 'Connecting Rooms' as well as playing on the soundtrack, but the film wasn't given a general release in the UK.

The Eyes of Blue's debut album is a rather typical bottom-drawer late-'60s psychedelic effort, going over much of the musical map without charting new territory or doing especially interesting songs. Chunks of British harmony pop, soul, trendy Eastern-tinged psychedelia, and early progressive classical-dipped melodies and arrangements all bump around in the mix, though they don't cohere too memorably. The Welsh group did have a more organ-based sound than many of their U.K. peers, and the band's keyboardist, Phil Ryan, has admitted that Graham Bond was a big influence on his style on this album. Bond's input wasn't limited to this; he also wrote two of the songs, "Crossroads of Time" and "Love Is the Law" (though they were credited to "D. Stewart," aka his girlfriend, Diane Stewart), both of which Bond himself would record slightly later on his 1969 album Love Is the Law. The Eyes of Blue's version of "Love Is the Law" sounds more like the early Bee Gees than Graham Bond, though it's actually one of the better songs on the record. "Crossroads of Time" is likewise one of the relative highlights, starting off with an atomic explosion and Phantom of the Opera organ, though its lyrics are pretty blatant hippie sloganeering. It's an indictment of the weakness of the group's original material (by guitarist Ritchie Francis) that the most notable other track is one of the most eccentric covers of the Beatles'"Yesterday" you'll hear, arranged to sound almost like a classical hymn.

Eyes Of Blue
1969
In Fields Of Ardath

01. Merry Go Round
02. The Light We See
03. Souvenirs (Tribute To Django)
04. Ardath
05. Spanish Blues
06. Door (The Child That Is Born On The Sabbath Day)
07. Little Bird
08. After The War
09. Extra Hour
10. Chances

Ray BennettBass
Melvyn DaviesGuitar
Rick FrancisGuitar
Ritchie FrancisBass, Piano, Vocals
Gary Pickford-HopkinsGuitar, Vocals
Wyndham ReesVocals
Phil RyanKeyboards, Organ, Piano
John WeathersDrums, Vocals
Raymond "Taff" WilliamsGuitar

Formed in Neath, Wales, Eyes of Blue initial line up consisted of guitarist Ritchie Francis, singer Gary Pickford-Hopkins, keyboardist Phil Ryan, drummer Wyndham Rees, and bassist Ray Williams. The quintet apparently started out as a soul-oriented cover band, eventually attracting the attention of Decca’s progressive-oriented DERAM label, which signed them to a recording contract and releasing a pair of hard-to-find singles:

- 1966’s ‘Heart Trouble’ b/w ‘Up and Down’ (DERAM catalog number DM 106)

- 1967’s ‘Supermarket Full of Cans’ b/w ‘Don’t Ask Me’ (DERAM catalog number DRM 114).

The band’s big break came when Mercury’s London based A&R man Lou Reizner played one of the group’s tapes for American producer Quincy Jones. Jones was in London starting work on a score for the film “The Toy Grabbers” (renamed “Mother” when released in the States). Deciding he needed a more contemporary sound for the movie, he subsequently recruited the band to help score the film. The resulting publicity led Mercury to sign them, resulting in the release of 1968’s “The Crossroads of Time”.

Following another movie project; they scored music for “Connecting Rooms” and even had a brief role in the film, they returned to the studio for the second album.

Following a series of personnel changes that saw Rees and Williams replaced by drummer John Weathers and bassist Ray Bennett, the band released 1969’s “In Fields of Ardath”. Produced by Reizner (Quincy Jones furnished the liner notes), the album was apparently meant as a concept piece, the title track and several of the songs built around the theme of reincarnation. To quote the liner notes:

“The title of the album stems from the interest of Eyes of Blue in the supernatural and the occult. Ardath is the title of a book by Marie Corelli published in 1897. The theme of the novel is based on the story of reincarnation. According to the book the field of Ardath is located near the ruined city of Babylon. Corelli’s characters find evidence for this presumed location in the Book of Esdras.”

Featuring a mixture of covers and original material, material like ‘Ardath’ and ‘Door (The Child That Is Born On the Sabbath Day)’ found the band exploring a more progressive and keyboard dominated sound. Not particularly focused, this time around they attempted to broaden their horizons adding a host of influences including country-rock (‘Chances’), English blues (‘After the War’), pop (‘Little Bird’), and even a scratchy tribute to jazz guitarist Django Renhard (‘Souvenirs (Tribute To Django)’). As lead vocalist Pickford-Hopkins raspy voice remained an acquired taste, though to be perfectly honest, he was frequently all but drown out by the elaborate arrangements. While nowhere near as much fun as the debut, the collection wasn’t a complete wash out. Perhaps not a big surprise, they were at their best when sticking with more mainstream rock oriented material – in this case ‘The Light We See’ (featuring a killer backward guitar solo), their cover of Graham Bond’s ‘Spanish Blues’, and the closing instrumental ‘Apache ‘69’ (with some nice Francis lead guitar) serving as the LP highlights. Elsewhere the leadoff track ‘Merry Go Round’ was lifted from their earlier “Toy-Grabbers” soundtrack. Pleasant but hardly a forgotten classic. ..

Wyndham Rees was eased out of the Eyes Of Blue before the spring of 1969, having reputedly contributed little to the band. He was present during most of the Chappell Studios early recording sessions for the group's second album 'In Fields Of Ardath' but was gone by the time they gravitated to more modern eight-track facilities. It was released in November and is generally regarded as the more successful and 'progressive' of the two albums released under the Eyes Of Blue name. Quincy Jones supplied the sleevenotes this time, and commented; "All the ethnic qualities which I had recalled about the people of Wales were manifest in that tape. There was a native sensuality in their playing. Eyes Of Blue was musically curious." The record has also been described as having "Pop, R&B jazz, classical, psychedelic and Eastern influences." A fair sprinkling one must admit.

Ritchie Francis
1971
Song Bird

01. Song Bird (7:05)
02. Dizzy Sycamore (4:53)
03. I'm Not Alone (4:40)
04. It Will Last (4:17)
05. My Music (1:48)
06. Don't You Ask Me Why (5:03)
07. There's A Time (8:03)
08. Yet To Come (6:07)
09. Friends (4:01)
10. You're Never Gonna Make It (4:21)
11. To Follow You (3:26)

Ritchie Francis: Piano, Vocals
Mike Kellie: Drums
Barry Morgan: Drums
Will Malone: Drums
Paul Curtis: Bass
John Rostill: Bass
Taff Williams: Guitar
Jim Sullivan: Guitar

Moonlyte
1974
Better Late Than Never

01. Better Late Than Never 3:03
02. Magic Stencils 6:15
03. Stone Phase 5:04
04. Redemption 3:06
05. In Memory Of One Who Left6:19
06. Mr. Amor Se Apago 3:24
07. Nina 4:28
08. Hasta Luego Amor 3:42
09. Sentado Junto Al Mar 2:50
10. Funky Epilog

Miguel Fanego (keyboards),
José Battle (bass),
Pedro Pino (guitar),
José Luis Toledo (vocals, percussion),
Juan Merida (vocals),
Juan Soto (percussion),
Edgar González (drums),
Frank Garcîa (drums),
Juan González (drums),
Felix Toledo (drums),
Enrique García (drums),
Frank Schuckert (saxophone),
Manuel Diaz (saxophone),
Félix Marrero (saxophone)

Also Known As:
The Moonlytes, The Moonlights, Los Moonlights

The band had traditional instruments (guitar, bass, drums, organ) plus horn section and latin percussion. On their album, Better Late Than Never released in 1974, they recorded Spanish Boleros (ballads) as well as rock which at the time was very funky

Talent oozes from this group. Sounds of Santana, Chicago, Pink Floyd, et. al on side 1 and last song of side 2. Spanish ballads on the rest of side 2. Horn section (sax, trumpet) is superb, strings (fuzz/wahwah) as well as keyboard (Hammond sound) are "out-a-site", percussion blends in gracefully. Band is composed of Cuban musicians from North Hudson County (Union City, West New York) in New Jersey, who attended high schools such as Union Hill High School and Emerson High School in Union City, New Jersey. They played many gigs over a 6 year period throughout Norther Jersey (1969 through 1974).

There's a Facebook page (see Fans of Moonlyte or just search for Moonlyte ) where two of it's original members can be seen and a ton of pictures and newspaper clips.

Funk oddity that has power to put a smile on faces for Santana lovers with a few songs in it, there are some nice moments and overall a good atmosphere, makes this album need to be remembered

Masayoshi Takanaka
1976
Seychelles

01. Oh! Tengo Suerte4:14
02. トーキョーレギー4:20
03. 蜃気楼の島へ3:37
04. 憧れのセーシェル諸島6:07
05. Funkee Mah-Chan5:00
06. サヨナラ...... Fuji さん4:27
07. バードアイランド急行3:43
08. Tropic Birds8:49

Bass – Tsugutoshi Gotoh
Chorus – Yosui Inoue
Drums, Percussion – Tatsuo Hayashi
Keyboards – Hiroshi Imai
Lead Vocals, Chorus – Tan Tan
Percussion – Motoya Hamaguchi, Nobuo Saitoh
Guitar, Lead Vocals – Masayoshi Takanaka
Saxophone – Jake H. Concepcion

I know very little about this album except for the relation with Sadistic Mika Band and Flied Egg, One of our visitors requested the album, so here it is. I hope someone can share some info on the guy with the rest of us.

Teruo Nakamura
1973
Unicorn

01. Unicorn Lady5:12
02. Understanding7:32
03. Some Other Blues5:39
04. Umma Be Me6:08
05. New Moon8:21
06. Derrick's Dance9:12

Recorded May 18 & June 8, 1973 at Sound Ideas Studio, New York, USA.

Bass, Electric Bass – Teruo Nakamura
Congas – Alvern Bunn (tracks: 1, 5, 6)
Cover – Atsuko Shibata
Drums – Al Mouzon (tracks: 2 to 4), Lenny White (tracks: 1, 5, 6)
Electric Piano – George Cables (tracks: 1, 5, 6), Hubert Eaves III (tracks: 3, 4)
Percussion – Keiji Kishida (tracks: 1, 2, 4 to 6), Ronald Jackson (tracks: 4)
Piano – Hubert Eaves III (tracks: 2), John Miller (3)
Soprano Saxophone – Steve Grossman (tracks: 1)
Trumpet – Charles Sullivan (tracks: 5, 6)
Vocals – Sandi Hewitt

Unicorn was bassist Teruo Nakamura's first date as a leader. Recorded and issued in Japan on the legendary Three Blind Mice imprint in 1973, Nakamura had been working in New York since 1964. He'd done a lot of hardscrabble work before 1969 when he landed the gig as bassist in Roy Haynes' fine group of the time. During that year he formed a band with Steve Grossman and Lenny White, who both appear here. This is an interesting date because it is equally divided between very electric fusion tracks and more modal acoustic numbers. Grossman plays on all but one cut; White appears on three. Other players include Alphonse Mouzon on three cuts (instead of White), George Cables on Rhodes, John Miller on acoustic piano, a young percussionist named Ronald Jackson (born Ronald Shannon Jackson), pianist Hubert Eaves III (later of D Train fame), trumpeter Charles Sullivan, vocalist Sandy Hewitt (on Eaves'"Understanding" and "Umma Be Me"). Nakamura plays acoustic upright bass on four tracks and electric on two others. The music is very much of its time, and though it is a session players gig, with rotating lineups, there is plenty of fire here. Grossman had already done his stint with Miles Davis and is in fine form on soprano (especially on the opening title cut), and tenor on John Coltrane's "Some Other Blues." White and Mouzon are both outstanding, so the drum chair is killer throughout, no matter who's playing, and Cables' Rhodes work on the Trane cut and "Derrick's Dance," written by Miller, is stellar. Nakamura, for his part, is more than an able bassist; he leads by guiding the rhythm and not standing out as a soloist.

Teruo Nakamura
1976
Rising Sun

01. Rising Sun4:05
02. Cat7:18
03. Morning Mist / Steppin' With Lord9:30
04. Red Shoes3:04
05. Precious One6:40
06. Sweet Pea & Collard Greens7:12

Priscilla BaskervilleVocals
Art GoreDrums, Tambourine
Steve GrossmanSax (Tenor)
Onaje Allan GumbsPiano (Electric)
Sandi HewittVocals
Carter JeffersonSax (Soprano)
Shiro MoriGuitar
John MosleyTrumpet
Teruo NakamuraBass, Guitar
Bob NelomsPiano (Electric)
James SideyVocals
Dr. Lonnie SmithSynthesizer
Harry WhitakerPiano

Based in New York since 1964, Teruo Nakamura is a japanese producer, multi-instrumentalist & jazz bassist, mainly known as a great performer of Fusion Jazz. Recorded at A&R Studio, New York City, Rising Sun is his second studio album as a leader featuring the distinguished guest, the organist Dr Lonnie Smith !! Teruo has recruited for the nonce, some prestigious local musicians such as Steve Grossman, Carter Jefferson or Harry Whitaker, all members of his 'The Rising Sun Band', formed with the guitarist Shiro Mori. Rising Sun is a typical album of Jazz Funk played in the pure Herbie Hancock or Headhunters style, including samba beats (Rising Sun), electronic grooves (Red Shoes) & even reggae flavor with Sweet Pea & Collard Greens.

Akira Ishikawa Count Buffalo Jazz And Rock Band
1970
Bakishinba - Memories Of Africa

01. Sandstorm
02. Sunrise
03. Flamingo
04. African Deer
05. Bakishinba
06. Mirage
07. Blue Soul

Akira Ishikawa_drums & african percussion
Kiyoshi Sugimoto_electric guitar
Isao Eto_electric bass
Hirosama Suzuki_keyboards
Norio Maeda_organ
Takeru Muraoka_tenor sax
Masami Kawahara_latin percussion

Great drummer & bandleader, Akira Ishikawa featuring his Count Buffalo band who were prolific on the japanese Jazz Rock scene of the late 60s and early 70s. He was also a member of the legendary japanese quintet the Freedom Unity with Hiromasa Suzuki and Takeru Muraoka. Akira explores African rhythms and creates an intelligent fusion of Jazz, Soul and Rock as evidenced the 'African Deer' suite, all in collaboration of two great arrangers, Norio Maeda & Hiromasa Suzuki. This 'African' orientation will reach its apogee with cult album, 'Unganda', released in 1972. Titles include Sandstorm & Sunrise composed by M. Yoshino, Flamingo & African Deer by Norio Maeda, Bakishinba, Mirage & Blue Soul by Hiromasa Suzuki. All tracks arranged by Norio Maeda & Hiromasa Suzuki.

Solid Afro inspired funky jazz set from Ishikawa & Co . Seven original compositions from Maeda , Suzuki & Yoshino make for a good listen and ensure this is one of the most consistent Count Buffalo albums…..

Ishikawa is a jazz percussionist with a long career, being active since the mid 50’s. He was bandleader for the Japanese version of ‘Hair’. Ishikawa has often worked with Masahiko Satoh [see below], who also features in the Count Buffalos band at some points. What might be their first album was credited to Count Buffalo & the Jazz Rock Band – ‘Soul & Rock’ [Denon, 1969] – and is pretty straight stuff. ‘Electrum’ [Victor, 1970], credited to Akira Ishikawa & Count Buffalos, featured jazz rock and free jazz composed by Satoh; if you like the fusion of that era, you will probably agree this is a pretty good album with great playing. ‘Bakishinba - Memories of Africa’ [Polydor, 1970], credited to Akira Ishikawa Count Buffalo Jazz and Rock Band, came next; the music is mostly fairly predictable, but very well done, laid-back electric jazz rock. The nearly-11 minute title track has more freewheeling intensity, and is a highlight of the album for me, the whole of which starts out a little bland but improves in creativity as it goes on. Despite this, it never gets that far out, unlike the remarkable follow-up album ‘Uganda’. ‘Bakishinba’ has been reissued on CD by USM Japan, in a gatefold mini-LP sleeve with a fold-out poster of Ishikawa [and Japanese liner notes on the other side]. After this, Ishikawa went to Uganda and absorbed the native music, bringing home new experience and numerous African percussion instruments to add to his sonic palette. The result, co-composed with Takeru Muraoka [who had played with Terumasa Hino was ‘Uganda (Africa Rock No Yoake [‘Dawn of African Rock’])’ [Toshiba-EMI, 1972], which has been referred to incorrectly with the band name being Uganda. Oddly, it was also influenced by Tony Williams’ Lifetime. Around half the album is African-styled percussion from Ishikawa and Larry Sunaga, with guitarist Kimio Mizutani [see below] and bassist Hideaki Chihara [ex-Adams] joining in the rest of the time for some primal acid rock jams. People usually comment on the fuzz guitar work, but to my ears although the playing is excellent the fuzz is very mild compared to the occasional distorted bass guitar explosions [at least it sounds like bass to me, and I’m a bass player too]. One song even has some brief moments that sound like Egg! It has been reissued on LP by Shadoks, reputedly a bootleg, and has recently been reissued legally on CD by Tiliqua, from the master tapes and with excellent liner notes. This reissue also comes in a miniature box that replicates the original packaging.

Akira Ishikawa & Count Buffalos
1970
Electrum

01. Electrum20:56
02. Revulsion7:36
03. Speak Under My Breath5:37
04. The Eyebrow7:08

Masaoki Terakawa: Bass
Akira Ishikawa: Drums
Kiyoshi Sugimoto: Guitars
Hiromasa Suzuki: Keyboards
Masahiko Satoh: Piano
Takeru Muraoka: Sax

Recorded on July 20 and August 4, 1970.

In 1970, they released an album of extremely accomplished but very conventional Burt Bacharach covers. Then, in the same year, they dropped this monster. There are parts of the structure that echo the earliest Mothers Of Invention albums but really this is hyped up jazz with a funk heart. The musicianship is truly jaw-dropping.

A really far-reaching and dynamic little set from Japanese drummer Akira Ishikawa and his Count Buffalos group – one that definitely lives up to the promise of its Electrum title! As you might guess from a word like that, the sound here is relatively electric – served up with electric piano, clavinet, guitar, and electric bass – all in a style that's a lot more relaxed and open than some of the group's other work, almost in the best mode of spacier electric jazz from the US at the same time. Tracks are all quite long, and spun out in really evocative ways – dipping, turning, and cascading with a lot of soulfully searching energy.

It took THIRTY SIX years before anybody thought to repress this ... seriously, what is wrong with people?

Akira Ishikawa & Count Buffalo
1972
Uganda

01. 動物達と夜明け [Wanyama Na Mapambazuko]
02. 求愛 [Na Tu Penda Sana]
03. 戦い [Vita]
04. ピグミー [Pigmy]

Ishikawa Akira: drums, percussion
Kimio Mizutani: electric guitar
Larry Sunaga: percussion
Chihara Hideaki (=Takebe Hideaki, from Adams): bass.

Akira Ishikawa had a mission. He wanted to find the eternal now of rhythm. After a mind-blowing trip to Africa in 1970, the Japanese percussionist had a goal — true Afro-delic Acid Rock. He hooked up with composer Muroaka Takeru and this album was born in 1971. Awash in minimalist percussion — at times sounding like a field recording of a commune or some street performers — the album devolves into primitive heavy acid rock and throbbing seriousness. Ishikawa's intense personal vision and mission is no record-collector curiosity. This beauty deserves our attention.

Long known to collectors of bizarre Japanese psychedelic/heavy rock (see Cope, Julian), Uganda became something of a mystery and a holy grail. The album screams, too. It stumbles into that same primal early rock, excuse me, RAWK place that bands like Leaf Hound, The Edgar Broughton Band, and Australia's Buffalo ended up. In fact, this record comes off like a recording of the jam sessions that led to the riffs and beats of the James Gang's "Funk #49" but without all that familiarity from FM radio. Famed guitarist Mizutani Kimio trades monster licks with rambling percussion, an impressive drum kit (Ishikawa) and lots of moaning and throb.

The opening cut "Wanyamana Mapambazuko" will attract the most attention. It's utter heaviness will recall the stomping feet of Flower Travelling Band's Satori or even the Groundhogs' monstrous Split. The layers of percussion unsettle and make the walls wiggle. They evoke the sound of long dead gods in old amplifiers and fingers rubbing on hide

If you like wah, this record will blow you away. Kimio Mizutani is essentially Japan's version of early 70s Peter Green, but without any of the subtlety. I can see so many similarities. Both this album and Peter Green's 1970 record have the two most consistent and heaviest tracks as the opening and closing tracks, while the the inner tracks have a few great moments buried in long, guitar-less percussion jams (which reminds me, the last minute of "Na Tu Penda Sana" has some absolutely psychotic fuzz noise after warming you up with 8 minutes of tribal drumming). Both have a really strong bass player with a nice and thick fuzz tone. And although this last part is only a superficial similarity, Peter Green did coincidentally release "Uganda Woman" in the same year. So the problem is basically the same as Green's solo debut (not enough guitar), other than that it's a brilliant record. Actually, I do have to admit that Vita is a bit disappointing.

Akira Ishikawa
1975
Back to Rhythm

01. I've Got To Use My Imagination
02. Bongo Rock
03. Do It Til You're Satisfied
04. Hey Jude
05. El Condor Pasa
06. Pick Up The Pieces
07. Love Is The Answer
08. I Shot The Sheriff
09. Let's Start
10. Boogie On Raggae Woman

Masao Suzuki: Baritone Sax
Masaoki Terakawa: Bass
Akira Ishikawa: Drums, Percussion, Vocals
Kiyoshi Sugimoto: Guitar
Takao Naoi: Guitar
Tsuneo Matsumoto: Guitar
Larry Sunaga: Percussion
Hiromasa Suzuki: Synthesizer
Takeru Muraoka: Tenor Saxophone
Eiji Arakawa: Trombone
Koji Hatori: Trumpet

Recorded January 13, 15, 16 and 20, 1975.

A Jazz Funk album which closing the African period of Akira Ishikawa, always surrounded by his fabulous Count Buffalos featuring Kiyoshi Sugimoto, Takeru Muraoka, Larry Sunaga plus arranger Hiromasa Suzuki. Titles include Pop covers from The Beatles to Simon & Garfunkel, classics of Funk as the Do It Til You're Satisfied of the BT' Express or the Boogie On Reggae Woman by Stevie Wonder, a groovy variation of Pick Up The Pieces by the Average White Band (played like James Brown), I Shot The Sheriff (from the Eric Clapton version), Bongo Rock (Incredible Bongo Band) and the Fela Kuti's Let's Start. All tracks arranged by Hiromasa Suzuki.

After falling in love with Assagai's VERY unusual cover/Highlife reinterpretation of Hey Jude in the Yoruba language (and later putting it on one of my lists), I then find myself today combing through my Pile 'o Jazz, stumble across a couple Ishikawa records I haven't gone through yet, throw this on, and find myself listening to the very same Hey Jude cover. Not Ishikawa covering The Beatles' Hey Jude. This is Ishikawa covering Assagai covering Hey Jude. He's even singing the lyrics in Yoruba.

I legitimately got paranoid for about five seconds that I was in a dream. It seemed way too surreal to be right. Assagai's debut didn't sell well at all. Copies of the original US, UK and Canada Vertigo LPs aren't mega-ultra-rare, but they're not cheap. So I had to convince myself that a guy who was better known for gimmicky combinations of African percussion and Japanese free jazz... bought a Highlife album that sold like herpes-flavored pickles... and then covered THAT version

Akira Ishikawa & His Count Buffalos
1976
Get Up!

01. Get Up!
02. Discharge
03. Heated Point
04. Painted Paradise
05. Stone River
06. Minor Jump

Recorded at Victor Studios on August 4-20, 1975.

Alto Saxophone, Soprano Saxophone, Flute – Masao Suzuki
Bass – Masaoki Terakawa
Drums – Akira Ishikawa
Electric Piano – Hideo Ichikawa
Electric Piano, Synthesizer – Hiromasa Suzuki
Guitar – Takao Naoi
Percussion – Rally Sunaga
Tenor Saxophone, Soprano Saxophone, Flute – Takeru Muraoka
Trombone – Eiji Arai
Trumpet – Koji Hatori

Akira Ishikawa his long time friend the pianist & arranger, Hiromasa ‘Colgen’ Suzuki, in a joint project of Fusion Jazz Funk such as played the Weather Report, featuring the Count Buffalo band. Titles include only original tracks specially composed for this album by Suzuki, except The Heated Point & Painted Paradise respectively recorded for Electro Keyboard Orchestra & Jiro Inagaki’s Funky Stuff albums, both released in 1974. All tracks arranged by Hiromasa Suzuki…………..

Akira Ishikawa was born in Yokosuka in 1934. He played with Akira Miyazawa’s Modern All Stars; and later with Toshiyuki Miyama and his New Herd (in its early days), then left to form his own band The Gentures (try this on YouTube), which later gave birth to Count Buffalos. He was hugely influenced by African rhythms after visiting East Africa in the 1970. Hence the albums Uganda: Dawn of African Rock (more here) and then Bakishinba.

Besides working as a session musician and also on TV (he takes the blame for this theme tune for an NHK kids show), he spent a lot of time working on projects to benefit African kids). In the 1990s he founded the music club Piga Piga in Ebisu, which hosted some of the best live African sounds in Tokyo. He later moved back to live in Kenya, which is where he died in 2002

Rinsyoe Kida, Akira Ishikawa & His Count Buffalos
1973
Tsugaru Jongara Bushi - Drum & Tsugaru Jamisen

01. 津軽じょんがら節
02. 花笠音頭
03. 津軽たんと節
04. 秋田おばこ
05. 相馬盆唄
06. 十三の砂山
07. ソーラン節
08. 津軽よされ節
09. 真室川音頭
10. 津軽小原節
11. どんぱん節
12. 津軽あいや節

Masaoki Terakawa: Bass
Akira Ishikawa: Drums
Hideo Ichikawa: Piano
Takeru Muraoka: Saxophone
Rinsyoe Kida: Shamisen
Koji Hatori: Trumpet

japanese title: 津軽じょんがら節　ドラム＆津軽三味線
(津軽三味線) 木田林松栄
(ドラムス) 石川晶とカウント・バッファローズ

Shamisen never sounded so groovy before – thanks to excellent work from Akira Ishikawa & His Count Buffalos – who are working here at their funky 70s best! The album mixes great sounds from Count Buffalos with the solo talents of Rinsoye Kida on shamisen – the traditional Japanese three-stringed instrument that's usually used in much more conservative settings – but which is recorded here in a style that's right up front in the mix, and able to step out nicely in front of the fuller, groovier backings from Ishikawa and his group! Given the nature of the instrument, the style is quite different than some other jazz albums from the time that try to mix with Japanese folkloric styles – maybe a bit like Dorothy Ashby on the koto, but more striking overall.

Bingo Miki, Tatsuya Takahashi & Tokyo Union
1977
Scandinavian Suite

01. Midnight Sunrise7:10
02. Sketches Of Munch7:20
03. The Legend Of Garbo6:33
04. Andersen Fantasia7:20
05. Sibelius' Testament5:10
06. Children At Play6:24

Recorded May, 15 & 22 1977. at Epicurus Studio Tokyo

Alto Saxophone [1st] – Keiji Hori
Alto Saxophone [3rd] – Hiroshi Yaginuma
Baritone Saxophone [5th] – Takemi Ishikane
Bass – Yoshinori Ishida
Bass Trombone [4th] – Kenichi Sudare
Drums – Kazuhiro Ebisawa
Guitar – Kenichi Araya, Takao Naoi
Tenor Saxophone [2nd] – Tatsuya Takahashi
Percussion – Yuji Imamura
Piano – Masahiro Kanayama
Synthesizer – Mickey Yoshino
Tenor Saxophone [4th] – Seiji Inoue
Trombone [1st] – Eijiro Miyazaki
Trombone [2nd] – Kiyotaka Uchida
Trombone [3rd] – Koichi Okada
Trumpet [1st] – Yoshifumi Tada
Trumpet [2nd] – Hiroshi Abiko
Trumpet [3rd] – Motoharu Suzuki
Trumpet [4th] – Tomokazu Saio

Japanese composer, arranger and tenor saxophonist Bingo Miki studied at Berklee School of Music and with the famed composer George Russell before he went back to Japan and started working for Tatsuya Takahashi and The Tokyo Union. Although he was still young and virtually unknown, the Three Blind Mice producer Takeshi Fujii was deeply impressed by Miki's talent and comissioned a suite for a recording project to celebrate the label's seventh anniversary.

Big band pyrotechnics by the 20-piece Tokyo Union. This is no sleepy Scandinavian voyage, more a groovy collection of orchestra and electronics in the shape of six varied stormers written by legendary Japanese bandsman Bingo Miki and perhaps a little more accessable and funky then some of the big band outings released under his own name around the same period.

Familiar orchestral colours are melded with more progressive and funky arrangements and styles of the period culminating with the monstrous cop-show theme sounding "Children At Play". A surprising and original jazz album that's a pleasure from start to finish.

The result was the six-part Scandinavian Suite, the inspiration for which was drawn in part by Miki's experience when he had spent 10 months in Finland, and this ambitious and magnificent recording that stands now as a landmark in the history of orchestral jazz in Japan. Mostly modal compositions and prominent use of synthesizers and electric guitars reflect the time (1977). The performance and recording are equally as brilliant as the composition itself.

Bingo Miki & Inner Galaxy Orchestra
1978
Back To The Sea

01. Back To The Sea (Prologue)9:34
02. Swingin' On The Horizon5:54
03. When Waves Sing3:51
04. Natural Flow7:01
05. Merman's Dance9:44
06. Back To The Sea (Epilogue)2:23

Recorded at Epicurus studio, Tokyo, Japan on June 20, 27, 28 & 29 1978.

Acoustic Guitar, Electric Guitar – Masatsugu Matsumoto
Alto Saxophone, Tenor Saxophone, Clarinet – Kenji Mori
Bass Guitar – Yukinori Narishige (tracks: A1, A2, B2, B3)
Bass Trombone – Sumio Okada (tracks: B1, B2), Yoshio Oikawa (tracks: A1 to A3, B3)
Bassoon – Josuke Ohata
Clarinet, Soprano Saxophone, Alto Saxophone – Masao Suzuki
Double Bass – Mitsuaki Furuno (tracks: A2, A3, B1)
Drums – Takuji Kusumoto, Yoshiyuki Nakamura
Electric Piano, Clavinet – Himiko Kikuchi
Flute, Piccolo Flute, Alto Flute – Yukihiko Nishizawa
French Horn – Hiroyuki Minami
Oboe – Masakazu Ishibashi
Percussion – Tetsuya Furutani
Piano [Yamaha] – Masaru Imada
Synthesizer [Arp Odyssey, Mini Moog, Pro-soloist, Solina] – Masayuki Nakatomi
Tenor Saxophone, Flute – Hidehiko Matsumoto
Trombone – Michio Kagiwada, Osamu Shiomura
Trumpet – Hitoshi Yokoyama, Kenji Nakazawa, Kenji Yoshida
Trumpet, Flugelhorn – Hiroshi Abiko, Hitoshi Okano
Tuba – Shuhei Kubo

THREE BLIND MICE Record Production "Seaside invitation" released as a 100-page commemorative album. A novel orchestral jazz masterpiece by Toshigo Miki such as Slow Ballad "NATURAL FLOW" featuring Akuta Masaru's Acoustech piano in full story, A1's Vocal Ver by Nakamoto Mari singing.

Back To The Sea is a project to the cinematic concept created by Bingo Miki and recorded on the cult label Three Blind Mice (equivalent of CTI records in Japan). It performed by a large Big Band based on 28 musicians gathered in three sections (brass, reeds & rhythm), including some Japanese Jazz Giants as Hidehiko Matsumoto, Masao Suzuki, Kenji Mori, Masaru Imada or Himiko Kikuchi. On Back To The Sea (Epilogue), note the presence of famous pop/jazz vocalist Mari Nakamoto who recorded Unforgetable! (1973) & Little Girl Blue (1974) with the Shoji Yokouchi Trio on the same label. At Montreux Jazz Festival in 1979, The Inner Galaxy Orchestra was surrounded by trumpetist Jon Faddis, trombonist Bob Brookmeyer, guitarist Joe Beck and bassist Richard Davis. The project mix Contempory Jazz tracks & Fusion Jazz Funk all arranged, composed and conducted by Bingo Miki.

Bingo Miki & Inner Galaxy Orchestra
1979
Montreux Cyclone

01. Old Sunshine
02. Cyclone From East
03. In The Summer Shadow
04. Pitter Pat
05. Zylvia
06. The First Love Song
07. Alcazar
08. Merman's Dance
09. Sibelius' Testament

Recorded Live on July 11 1979 at Casino, Montreux.

Bingo Miki, leader, arranger
Kenji Yoshida, trumpet
Hiroshi Abiko, trumpet
Kenji Nakazawa, trumpet
Hitoshi Yokoyama, trumpet
Tetsuo Sato, trumpet, flugelhorn
Michio Kagiwada, trombone
Osamu Shiomura, trombone
Hideo Iguchi, trombone
Yoshio Oikawa, bass trombone
Shuhei Kubo, tuba
Hiroyuki Minami, French horn
Yukihiko Nishizawa, flute, piccolo
Masakazu Ishibashi, oboe
Jusuke Ohata, fagot
Masao Suzuki, alto sax, clarinet
Hidehiko Matsumoto, tenor,flute
Kosei Kikuchi, alto, tenor, soprano sax
Masaru Imada, piano
Himiko Kikuchi, keyboards
Mitsuaki Furuno, bass
Yukinori Narishige, electric bass
Masatsuga Matsumoto, electric guitar
Tetsuya Furutani, percussion
Yoshiyuki Nakamura, drums.

Special Guests:
Bob Brookmeyer, trombone
John Faddis, trumpet, piccolo
Richard Davis, bass
Joe Beck, guitar.

Sometimes it pays to be lucky. After searching in vain for a couple of hard–to–find albums from the mid–’70s by Tokyo–based Toshiyuki Miyama’s New Herd (see August big–band reviews), I went to the source — the affable Tee Fujii, proprietor of Three Blind Mice Records. Of course, he replied, he would be happy to send copies of both albums. And, he added, he would ship a third disc as well — Montreux Cyclone by Bingo Miki and the Inner Galaxy Orchestra. Terrific, I thought. That’s exactly what I need; an album of “otherworldly” music by another Sun Ra clone. How wrong can one be? Wrong enough, in this case, to offer Tee an apology for doubting him, and to inform whoever is reading this that not only is the 25–member Inner Galaxy Orchestra unlike Sun Ra or any other body in that firmament, it is an absolutely spectacular straight–ahead big band in the Basie/Herman/Kenton tradition performing (in concert at Montreux) superlative compositions and arrangements by Miki, Richard Davis, Jon Faddis, Bob Brookmeyer and Don Sebesky (Davis, Faddis and Brookmeyer sit in with the ensemble on their respective charts, while guitarist Joe Beck is showcased on Sebesky’s “Alcazar”). The album opens with Miki’s fabulous three–part suite, “Montreux Cyclone,” which encompasses impressive solos by flugel Hiroshi Abiko on Part 1 (“Old Sunshine”), drummer Yoshiyuki Nakamura, percussionist Tetsuya Furutani and tenor/flutist “Sleepy” Matsumato on Part 2 (“Cyclone from the East”) and pianist Masaru Imada on Part 3 (“In the Summer Shadow”). Matsumoto, on flute, mirrors closely the singular mannerisms of the legendary Rahsaan Roland Kirk. Track 4, “Pitter Pat,” is a chops–testing showcase for bassist Davis, while trumpeter Faddis steps front and center (and into the stratosphere) on his sumptuous ballad–cum–blazer, “Zylvia.” If Faddis is in top–notch form (and make no mistake, he is), valve trombonist Brookmeyer is equally sharp and masterful on “The First Love Song” (when he plays in the pocket, as he does here, Brookmeyer has few peers). After Beck’s dazzling voyage on “Alcazar,” Miki ends the concert with two more of his noteworthy compositions, “Merman’s Dance” (from the suite “Back to the Sea”) and a magnificent finale that almost succeeds in lowering everything that preceded it to the status of an hors d’oeuvre — an ultra–modern Jazz version of Jean Sibelius’ classic tone poem, “Finlandia,” enhanced by galvanizing ensemble passages and crisp solos by Nakamura, trumpeter Kenji Yoshida and clarinetist Masao Suzuki. Batten down the hatches; this Cyclone is a monster whose awesome intensity and power can blow you away.

Bingo Miki & Inner Galaxy Orchestra
1980
The Eve

01. Future Legacy
02. North Field
03. Arie's Apology
04. Romanesque
05. Past Reflection
06. Purple Cloud Hills
07. Look Back In Anger
08. The Moon And Six Pence

Acoustic Guitar, Electric Guitar – Masatsugu Matsumoto
Bass Guitar – Makoto Saito
Bass Trombone – Yoshio Oikawa
Clarinet [Soprano], Bass Clarinet, Soprano Saxophone, Alto Saxophone – Masao Suzuki
Double Bass – Yukinori Narushige
Drums – Hajime Ishimatsu, Kanya Kazama
Flugelhorn – Hiroyuki Minami
Flute [Soprano, Bass, Piccolo] – Yukihiko Nishizawa
Keyboards – Hiroshi Matsumoto
Percussion – Masato Kawase, Tetsuya Furutani
Piano – Himiko Kikuchi
Soprano Saxophone, Alto Saxophone, Flute, Clarinet – Hisashi Yoshinaga
Tenor Saxophone, Alto Saxophone, Flute, Piccolo Flute – Akita Miyazawa
Tenor Saxophone, Flute – Kosei Kikuchi
Trombone – Hitomi Uchida, Michio Kagiwada, Toshinobu Iwasaki
Trumpet, Flugelhorn – Hiroshi Abiko, Kenji Nakazawa, Kenji Yoshida, Masanobu Takei, Tetsuo Sato
Tuba – Shuhei Kubo
Vocals – Mari Nakamoto

Recorded at Iruma City Hall, Saitama, Japan on 10-11th of July 1980.

Paul Winter And The Consort - 1969 - Something In The Wind

The Winter Consort - 1970 - Road

Paul Winter / Winter Consort - 1972 - Icarus

Eyes Of Blue - 1968 - Crossroads Of Time

Eyes Of Blue - 1969 - In Fields Of Ardath

Ritchie Francis - 1971 - Song Bird

Moonlyte - 1974 - Better Late Than Never

Masayoshi Takanaka - 1976 - Seychelles

Teruo Nakamura - 1973 - Unicorn

Teruo Nakamura - 1976 - Rising Sun

Akira Ishikawa Count Buffalo Jazz And Rock Band - 1970 - Bakishinba - Memories Of Africa

Akira Ishikawa & Count Buffalos - 1970 - Electrum

Akira Ishikawa & Count Buffalo - 1972 - Uganda

Akira Ishikawa - 1975 - Back to Rhythm

Akira Ishikawa & His Count Buffalos - 1976 - Get Up!

Rinsyoe Kida, Akira Ishikawa & His Count Buffalos - 1973 - Tsugaru Jongara Bushi - Drum & Tsugaru Jamisen

Bingo Miki, Tatsuya Takahashi & Tokyo Union - 1977 - Scandinavian Suite

Bingo Miki & Inner Galaxy Orchestra - 1978 - Back To The Sea

Bingo Miki & Inner Galaxy Orchestra - 1979 - Montreux Cyclone

Bingo Miki & Inner Galaxy Orchestra - 1980 - The Eve