After four years with only an
Elis Regina tribute record to slake the thirst of fans, jazz fusion double act
orange pekoe have finally returned with an original work. Seventh album
Oriental Jazz Mode is an ambitious one, which combines North African and Asian musical styles with their trademark Latin and jazz, and was released on the 23rd of October.
Despite the claims that it's a mix of the Oriental and the exotic, this album actually contains more classic jazz tunes than their previous couple of albums, which were much more skewed towards a Latin sound. Intro track
A Seed Of Love does demonstrate this, even though it is embellished with plenty of world music touches. At its heart is a glorious jazz melody with plenty of swing and panache. It has the classic double bass, brass and piano combination, some sparkling solos and even some odd moments tense with espionage and intrigue. Singer and lyricist
Nagashima Tomoko's vocals are strong and vibrant as usual. Middle-Eastern Asian strings and percussion slot in seamlessly around the more typical instruments, manipulated into perfect harmony by guitarist and arranger
Fujimoto Kazuma. The sound is actually quite similar to themes heard in his solo works. It's a magnificent set up for the rest of the album.
There are more examples of slower-paced jazz than of the upbeat type of the opener.
Tsuki no kobune is a calming piece of soft jazz waltz. With delicate brushed drums and brilliantly smooth trumpets behind her,
Tomoko delivers what must be her best vocal performance to date - like liquid velvet, her beautiful tones evoke the age of Astaire and Rogers with absolute refinement.
Foggy Star is similarly soft but has a bit more bop and bounce.
Kazuma shows off some inspired acoustic guitar improvisation here. Acoustic track
A New Song takes in elements of rhythm and blues for a mellow experience that's the most mainstream-sounding on the collection. If played with a non-acoustic set up instead, it wouldn't be out of place on any pop album.
The "Oriental" aspect of this release is more than evident in certain tracks. The gentle hush of
Kaze no kioku transports the listener to a starry, desert night with its characterful Asian drum beat and lulling harmonies. African beats enhance the dreamy
SIRIUS no inu, a fantastical journey into the unknown. The darkly mystical
Toudai, filled with minor chords and sliding Arabic violin, is the most intriguing track on the album. The superbly written
Desert Dance is the perfect balance of jazz funk, samba rhythm and Arabic complexity that makes it zing with the liveliness and spices of a bustling souk.
The duo return to their noted Latin style for the cheerful
FLOWER, which is the most typical of their style as heard in previous works. Written for their collaboration with ethical beauty company THE BODY SHOP, it is a bright and rhythmic carnival track that fully celebrates life.
Kazuma's unceasing, complicated Latin guitar playing deserves special laudits for lifting the arrangement from good to masterful.
It appears that quality is always worth waiting for, and
Oriental Jazz Mode is certainly an example of that. The underrated band have worked hard to give us something new and compelling whilst still being unmistakeably
orange pekoe.
Tomoko seems to have spent the four-year gap honing her already impressive voice to excel in the vocal department.
Kazuma remains unequalled in his ability to produce the most accomplished and unique compositions in their genre, and even all of modern Japanese music. The only complaint about the album as a whole would be the lack of more energetic songs, as it is dominated by more subdued offerings. However it can't be doubted that what is there is pure class. Hopefully the duo won't keep us waiting so long next time for a follow up.
You can see the full length music video for
FLOWER below.
