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October 1, 2016 Update:

Sorry for being absent for a while, part of it was due to a very nice Indian Summer and discovering a new beach about 2 clicks from home. So now that I have worked up a bit of a tan, I am happy to inform you all that I am back, tons of stuff ready to post, And that I finally resolved the situation of my faulty hard drive and got myself a nice new 8  tb server for the house, Spent most time this week transferring from the Data DVD's I had as backup (It takes a while and a shitload of discs to back up 6tb)... Once this is done I will close shop for a little while as far as new posts go and concentrate on reuploading all the dead links, It will be much easier having it all on one drive than to have to sift thru a gazillion backup DVD's... wish me luck and happy music hunting y'all... o yeah! and Shanah Tova to my Jewish friends around the world!

From now on lets use this sticky post for all requests and re-post notices, So that I can keep better track of it, and get stuff done... Thanks a lot!

When notifying about a dead link, please include te link to the actual post, because that would make my work a lot faster (And I mean  A LOT). Thanks in advance to all the dudes and dudettes helping out!

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Motohiko Hino Quartet + 1 - 1976 - Ryuhyo - Sailing Ice

Motohiko Hino Quartet + 1
1976
Ryuhyo - Sailing Ice

01. Ryuhyo - Sailing Ice
02. Soul Trane
03. New Moon


Bass – Nobuyoshi Ino
Drums – Motohiko Hino
Guitar – Kazumi Watanabe
Tenor Saxophone – Masabumi Yamaguchi
Tenor Saxophone, Alto Saxophone – Yasuaki Shimizu

Recorded on February 7, 1976 at Nemuro Shimin Kaikan.

CD contains two bonus tracks which were not included in the original LP, and all tracks are arranged in the order they were played. This is a powerful and exciting set of modal and post-bop jazz. Recommended!

A record with a really beautiful title – and a sound that definitely lives up to the "Sailing Ice" on the cover! The music is very much in the best post-Coltrane mode – played by a group led by the great Japanese drummer Motohiko Hino, and featuring Mabumi Yamaguchi on tenor and Yasuaki Shimizu on soprano and tenor – two reed players who really express themselves with a great sense of spirituality, and lots of searching energy throughout. The tracks are mostly originals (save for a version of "Soultrane") – served up in freewheeling modal grooves, and peppered with sharp, soulful solos that search out bold new territory, but which never get too free and sloppy. The set was recorded live, but the recording quality is excellent 

Motohiko Hino Quartet - 1975 - Toko Motohiko Hino Quartet At Nemu Jazz Inn

Motohiko Hino Quartet
1975
Toko Motohiko Hino Quartet At Nemu Jazz Inn

01. You Make Me So Sad 16:33
02. Olive's Step 10:02
03. Endless Way 16:46

Bass – Isao Suzuki
Drums – Motohiko Hino
Electric Guitar – Kazumi Watanabe
Keyboards – Mikio Masuda

Recorded on July 20, 1975 at Nemu no Sato

A concert (captured very well ) from late 70s recorded in Japan, homeland of the drummer/leader. Slightly fusion-y styled jazz...at the core of it's electrified free-ish hard bop with great dynamics and energy from all but specially Hino & Kazumi Watanabe (who you would not believe it's the same guitarist from many 80's albums as here he's got a completely biting tone and jazzier approach to his playing). Hot-cha! This reminded me of some of the jazzier moments of fusion greats like Area from Italy, some of the hot early CMP albums by Mark Naussef, and the best albums from Larry Coryell...yet these guys manage to come up with their own brand of high-voltage jazz that was so popular in the 70s...and one immediately understands why when listening to a great album like this one! Recommended.

This is one of the many great electric jazz albums from Japan from the 70s, but it's notable because it's a lesser known album from that already lesser known scene and it's a total smoker that you probably aren't aware of, but should be. This was originally released in 1975 and has been a real rarity until this recent reissue and when this CD disappears, it will be a real rarity again!

This was recorded live by a quartet of Katsumi Watanabe-guitar, Mikio Masuda-electric piano & organ, Isao Suzuki-bass and Motohiko Hino-drums.

This has some attractive themes, but the emphasis is on the group interplay and the incredible stretching out these themes and these musicians afford the music to do. 

It reminds me of some of Larry Coryell's earliest and best electric work, but with a better rest of the band than the Eleventh House (sorry, Eleventh House fans!) and also a bit of Isotope. If you dig that free-ish, jammy, early period of exploratory electric jazz, this will curl your toes in a happy frenzy. Highly recommended!

Motohiko Hino - 1971 - First Album

Motohiko Hino 
1971
First Album

01. Gingerbread Boy 14:52
02. Into The Heaven 5:11
03. Introduction - Mine Tune 20:40

Alto Saxophone – Kohsuke Mine
Bass, Electric Bass – Yoshio Ikeda
Drums – Motohiko Hino
Piano, Electric Piano – Hideo Ichikawa
Tenor Saxophone – Takao Uematsu

Recorded at Tokyo Studio Center on September 6, 7 & 8, 1970.

Hino’s father was a musician and dancer, and Motohiko became a tap dancer before taking up the drums when he was 10 (his brother Terumasa Hino is a notable trumpeter). Hino turned professional when he was 17 and from 1972 won, yearly, the Swing Journal polls as Japan’s top drummer. Hino moved to New York in 1978, and during a short stay played in JoAnne Brackeen’s trio. 

He subsequently worked with artists such as Joe Henderson, Jean-Luc Ponty, Sonny Rollins, and Hugh Masekela, while also recording several sessions as a leader. Sailing Stone and It’s There, recorded in 1991 and 1993 respectively, saw Hino mixing originals with versions of songs by the Rolling Stones and Led Zeppelin. Hino, who died of cancer in 1999, had a sharp, dynamic drumming style which reflected the playing of his two favourites, Tony Williams and Elvin Jones.

Terumasa Hino - 1981 - Double Rainbow

Terumasa Hino
1981 
Double Rainbow

01. Merry-Go-Round 14:46
02. Cherry Hill Angel 8:06
03. Yellow Jacket 4:42
04. Miwa Yama 6:21
05. Aboriginal 12:24


Bass – Anthony Jackson, Hervey Mason
Cornet – Terumasa Hino
Drums – Lenny White
Keyboards – Herbie Hancock, Kenny Kirkland, Masabumi Kikuchi
Percussion – Airto Moreira
Saxophone – Steve Grossman


Recorded and Mixed at Sound Ideas Studios, New York City in February and March, 1981 except Herbie Hancock parts on Merry-Go-Round recorded at The Automatt, San Francisco on February 24, 1981 by Leslie Jones

1st thing. Don't let your son design your record sleeve. Especially if he can't focus a camera.

Beautiful work from trumpeter Terumasa Hino – an early 80s date that was issued in the US, but one that's got as much bold power and freewheeling soul as his Japanese releases from a decade before! The album's surprisingly open for the time – not in the slicker mode that Columbia was hitting as they crossed over some of their 70s fusion players, but in spacious territory that has Hino blowing cornet, in larger arrangements from keyboardist Masabumi Kikuchi and Gil Evans – the latter of whom seems to contribute a strong sense of color and tone to the album! 

Terumasa Hino - 1980 - Daydream

Terumasa Hino 
1980 
Daydream

01. Still Be Bop 6:25
02. Late Summer 6:04
03. Sweeter & Sweeter 5:51
04. La Hora Azul 2:21
05. Antigua Boy 6:45
06. Gently 6:45
07. Goin' Fo The Gold 7:31

Alto Saxophone, Flute, Piccolo Flute – George Young
Backing Vocals – Janice Pendarvis (tracks: B2), Lani Groves (tracks: A3), Luther Vandross (tracks: B2), Yvonne Lewis (tracks: A3, B2)
Baritone Saxophone – Howard Johnson (3)
Bass – Anthony Jackson (tracks: A1-A3, B1-B3)
Bass Trombone – David Taylor
Cello – Charles McCracken, Jonathan Abramowitz
Cornet – Terumasa Hino (tracks: A1, A3-B-3)
Drums – Steve Gadd (tracks: A1-A3, B1-B3)
Flugelhorn – Terumasa Hino (tracks: A2)
Guitar – John Tropea (tracks: A1, A3, B1-B3)
Keyboards – Bob James (tracks: A2), Masabumi Kikuchi (tracks: A4)
Lead Vocals – Janice Pendarvis (tracks: A3), Lani Groves (tracks: B2)
Piano – Leon Pendarvis (tracks: A1, A3, B1-B3)
Saxophone – Dave Liebman (tracks: A1, B1)
Steel Drums – Freddie Harris (tracks: B1)
Synthesizer – Ed Walsh (tracks: A1, A3, B1, B3)
Tenor Saxophone, Flute – Michael Brecker
Trombone – Tom Malone
Trumpet, Flugelhorn – Jon Faddis, Marvin Stamm
Viola – Alfred Brown, Herbert Sorkin, Lamar Alsop
Violin – Barry Finclair, Charles Libove, Jan Mullen, John Pintavalle, Joseph Rabushka, Marvin Morgenstern, Max Allen

A great fusion set from this legendary Japanese trumpeter – one that has Terumas Hino stepping over to work in America – with a sound that's almost as if he'd decided to record an album for the CTI label at the time! Arrangements here are by keyboardist Leon Pendervis – who heads up an all-star lineup that includes Bob James on more keyboards, John Tropea on guitar, Steve Gadd on drums, and both Michael Brecker and Dave Liebman on reeds – all working in a warmly soulful groove that even includes a bit of occasional vocals from Lani Groves and Luther Vandross! Hino was great in his 60s soul years, and during his spiritual moments of the early 70s – and he's equally wonderful here, in a nicely different setting

Terumasa Hino - 1979 - City Connection

Terumasa Hino 
1979
City Connection

01. Hino's Reggae 8:10
02. Stay In My Waking Heart 4:32
03. City Connection 6:38
04. Send Me Your Feelings 4:35
05. High Tide-Manhattan Ecstasy 6:59
06. Samba De-La Cruz 2:46
07. Blue Smiles (Tribute To Blue Mitchell) 7:32

Acoustic Guitar, Electric Guitar – David Spinozza
Alto Saxophone, Flute – David Tofani
Baritone Saxophone, Flute [Alto] – Ronnie Cuber
Bass – Anthony Jackson
Cello – Charles McCracken, Jonathan Abramowitz
Concertmaster, Violin – David Nadien
Congas, Percussion, Voice – Nana
Contractor – David Nadien, Marvin Stamm
Cornet – Terumasa Hino
Drums – Howard King
Electric Piano [Rhodes], Piano [Acoustic] – Harry Whitaker, L. Leon Pendarvis
Flugelhorn – Marvin Stamm, Randy Brecker, Terumasa Hino
Handclaps – Harry Whitaker, Nan*, Terumasa Hino
Soprano Saxophone, Flute [Alto] – Dave Liebman
Tenor Saxophone, Flute – Harold Vick
Trombone – David Bargeron, Wayne Andre
Trumpet – Marvin Stamm, Randy Brecker
Viola – Al Brown, Emanuel Vardi
Violin – Charles Libove, Gerald Tarack, Harry Cykman, Lewis Eley, Marvin Morgenstern, Max Ellen, Richard Sortomme
Vocals – Janice Pendarvis, Lani Groves

Recorded and Mixed at A&R Recording Studios, New York City in July, 1979.

Smooth funky fusion from Terumasa Hino – an artist who's moving past the more freewheeling sounds of his early years – into a New York groove that really fits the taxi image on the cover! The set has Hino taking a page from some of his more electric contemporaries on the Japanese scene – working with American musicians, in a blend of soul and jazz that adds one more feather to Terumasa's very large musical cap! The album features arrangements and keyboard work from Leon Pendarvis, who did a lot of great uptempo soul in the 70s – plus some especially nice work from Harry Whitaker, who'd worked on some of Roy Ayers' best records – and overall, the sound is similar to Ayers' albums at the time – with a jazz base at the core, some tighter soul-based arrangements, and just a bit of vocals to warm up the sound. 

Terumasa Hino - 1977 - May Dance

Terumasa Hino 
1977
May Dance

01. Wind Blows Your Skin 7:12
02. The Wild Lady 8:43
03. Big Celebration 8:12
04. Free Land 9:27
05. Moss On The Rock 6:24
06. Lovin' May 3:52

Acoustic Bass – Ron Carter
Drums – Tony Williams
Electric Guitar – John Scofield
Trumpet – Terumasa Hino

Recorded May 7, 1977 at Vanguard Studio, NYC.

The 1970s were dark days for people who didn't think Miles Davis' 'Bitches Brew' was the next great thing. All the venues that used to hire jazz musicians brought in DJs, the Playboy Clubs folded faster than they'd opened, and generally Rock & Roll, Country Western and Disco took over.

I'm not gong to dis everything that came out of that, and by the 1980s Miles was making cross over music (with Sco, for that matter) that I like.

But the post-bop tradition lived on in Europe and Japan (where it still sort of does, though generally in a tamer form I've heard referred to as 'Euro-Jazz.'

Sco did some great recordings int he 1970s, some as bandleader with such greats as Hal Galper and Richie Beirach backing him up. The down side to those albums is he basically approached the guitar exclusively as if it were a horn.

Scofield may have been the first guitarist to really grasp the Coltrane/Shorter/Henderson concepts, but the guitar is a polyphonic instrument, and using it strictly for single-note playing seems to me kind of like playing the piano with one finger.

Which is a long way to go to the 'why' I rank this as one of the very best recordings Sco made in the pre-Miles days. There is no piano, just a solid accompaniment from Carter & Williams (of course), and Hino's great playing (maybe the first trumpet player after Woddy Shaw and Freddie Hubbard to develop some new bebop vocabulary), and besides his fluid blowing, Sco comps.

Yes, that's right. He comps. I know, he's done it on other albums, but here he functions in the most pianistic, which is to say polyphonic way, you'll almost ever find him.

Couple this with Hal Galper's album 'Ivory Forest' which has Sco doing a harmonized solo arrangement of 'Ruby, My Dear,' and you don't have to leave the house for a week or two. You can just listen to these albums over and over...

Terumasa Hino - 1977 - Hip Seagull

Terumasa Hino 
1977 
Hip Seagull

01. Hip Seagull 16:01
02. This Planet Is Ours 6:54
03. Fall 6:28
04. Life Trip 7:35

Double Bass [Acoustic], Electric Bass [Fender] – Clint Houston
Drums – George Ohtsuka (tracks: B1 to B3), Motohiko Hino (tracks: A1)
Guitar – John Scofield
Percussion, Congas, Voice – M'tume
Piano [Acoustic], Electric Piano [Fender Rhodes] – Mikio Masuda
Tenor Saxophone, Soprano Saxophone – Kohsuke Mine
Trumpet – Terumasa Hino
Vocals – Kimiko Kasai (tracks: B2), Tawatha (tracks: B1)

Recorded August 10, 11, 1977 at Victor Studios, Tokyo and December 15, 1977 at Sound Ideas Studio, NYC.

Terumasa Hino is one of Japan's most well-known jazz trumpeters, and has a long and illustrious career that has seen him play with a huge array of different musicians both here and in the US. His 1977 album Hip Seagull has now been re-issued on CD in Japan, and it's  one of the most popular reissues of the past month. With some great Fender Rhodes and Fender bass accompaniment and some ethereal vocals from Tawatha and Kimiko Kasai, the album has a wonderful electric but spiritual vibe.

The sixteen-minute title track that was the first side of the original album is a Hino composition which starts softly and slowly and then gradually builds into a classic slow funk groove that is up there with some of the classic Miles or Freddie tunes of the era. The rest of the album is made up of three tunes, This Planet Is Ours and Fall, both great spiritual tunes and Life Trip, a superb jazz samba tune. Definitely worth getting.

Terumasa Hino - 1976 - Hogiuta

Terumasa Hino 
1976 
Hogiuta

01. Gyohkoh 4:17
02. Hohjoh 5:11
03. Yuhwa 4:13
04. Hogiuta 4:23
05. Yuhkyu 1:39
06. The Good People 15:05
07. Conclusion 6:43

Bass – Cecil McBee
Congas – M´tume
Drums – Motohiko Hino
Flugelhorn – Terumasa Hino
Percussion – James M'tume, Motohiko Hino, Terumasa Hino
Trumpet – Terumasa Hino
Voice – Cecil McBee, James Mtume, Motohiko Hino, Terumasa Hino

Recorded May 18,19 and 23, 1976 at Vanguard Studio, NYC

One of the most striking mid 70s sessions from Japanese trumpeter Terumasa Hino – an extended suite of tracks performed by a very hip group that includes Mtume on congas and percussion, Cecil McBee on bass, and Motohiko Hino on drums! The approach here is almost in a mid 70s spiritual soul jazz mode – with lots of spare percussion and bass work at the beginning, building in mood and meaning as the set goes on and things heat up. Hino plays trumpet and percussion, and all players vocalize at parts of the performance – chanting along with the tunes in a way that really adds a soulful undercurrent to the record.

Terumasa Hino - 1975 - Speak to Loneliness

Terumasa Hino 
1975
Speak to Loneliness

01.  Speak To Loneliness
02. Little Lovers
03. Hi-nology

Tsutomu Okada, bass
Motohiko Hino, drums
Fumio Itabashi, piano
Hideo Miyata. soprano and tenor saxophone
Terumasa Hino, trumpet
Kiyoshi Sugimoto, guitar
Guilherme Franco, percussion
Suetoshi Shimizu, tenor saxophone
Shigeharu Mukai, trombone
Yuhji Imamura, percussion

Recorded January 15, 1975 at PSC Recording Studiol, Tokyo.

A classic set from Japanese trumpeter Terumasa Hino – and a record that's filled with long, open-ended tracks that rank with his best work of the time! Hino's got all the boldness of his best early years here – none of the smoother sounds that marked some of his albums in the US, and a very spacious approach to trumpet that's clearly inspired by Miles and Freddie Hubbard, but which has all the sharp tones that we love in Hino's work too. The instrumentation is mostly non-electric, but there's an undercurrent of fusion-based ideas – with a lot of free-wheeling solos, and lots of space to open up 

Terumasa Hino - 1975 - Live In Concert

Terumasa Hino 
1975 
Live In Concert

01. Logical Mystery 23:39
02. In The Darkness 11:23
03. 'Round About Midnight 11:05

Alto Saxophone – Sadao Watanabe
Bass – Tsutomu Okada
Congas – Yuhij Imamura
Drums – Motohiko Hino
Electric Bass – Akira Okazawa
Electric Piano – Fumio Itabashi
Guitar – Kiyoshi Sugimoto
Percussion – Masahiko Togashi
Tenor Saxophone – Hideo Miyata
Trombone – Shigeharu Mukai
Trumpet, Flugelhorn – Terumasa Hino


Live recorded on April 14, 1975 at Yuhbinchokin Hall, Tokyo, Japan.

Terumasa Hino - 1974 - Into Eternity

Terumasa Hino 
1974 
Into Eternity

01. Mr Happiness
02. Song For Bumiji
03. Ode To Workman
04. Mickey's Trip
05. Horizon
06. Eastern Egg
07. Kaze
08. Cycle Circle
09. Midnight

Terumasa Hino-trumpet
Hideo Miyata-soprano
Mikio Masuda-piano
Tsutomu Okada-bass
Motohiko Hino-bass
Isao Suzuki-bass (ode to workman)
Yuhji Inamaru-congas (ode to workman)

This is an album that continues to confound a genre label, and avoids sounding out-dated. This is a monumental J-jazz work that can be compared to the "Live in Berlin" album. However the power and creativity here are unmatched by far. This album has definite claims on being one of the first Japanese Spiritual jazz epics. When it came out, Hino's preference for high note scales was compared to those of Hannibal; for example, in the opening track, 'Mr. Happiness': Hino rocks! The mood shifts into a McCoy Tyner-like feeling with the piano modal-aurgasmic orgy by Masuda-san on 'Song for Bumiji'; it does not get any better than this. This track has low-down, subdued introspective, if not karma-dredging, hypnotic pulse to it. Can you hear the subtle Afro-spiritual vibe here? While, these are not black musicians, the spiritual groove could not be darker.

In the Reggie Workman tribute, 'Ode to Workman', Uematsu-sensei smokes the tenor with some snarly-tarlyish modal vibes. The horn section clearly are unafraid of a challenge and show their muscles on the undisputed masterpiece of this album, which has the underlying premise of the three horns are set loose quicker than any Baskerville hounds from a Sherlock Holmes thriller! As an unabashed sax fanatic, this number will grab your soul; twist it, stroke it, titillating your senses as your pulse quickens with each solo. When I met with Poo-sun and Hino-san earlier this year, this album was brought up as one of the more commented pieces of work. Hino-san said his management company continually receives requests from the UK and the States for a reissue; what you guys do not have enough spiritual jazz as it is?! Anyhow, moving on. . .'Mickie's Trip' presents the mastery and finesse of Masuda-san on 'dem ivories; turn down the lights and hold your cup of favourite poison tightly as you experience the Japanese spiritual astral travels.

The second disk has the group continuing to show off their diverse talent by moving into some J-rock/J-funk nuances on the smoldering 'Horizon' with a very snazzy modal intro complete with tinges of an Afro/Far East beat in the background. Do not miss Uematsu-san's extremely impressive and lengthy solo. They further stamp this impression deeper on 'Eastern Egg' with its 'hot 'n cold' J-rock groove. Make no mistake this is the J-rock that blazed the trails for all of later crap-ass mutilations which many know as 'J-fusion or J-rock'. I think it was typical of Kikuchi, Honda and Hino-san in their early work to play with the flow of their albums, from fast to slow tempos, from modal to hard bop. Indeed, 'Kaze' ('Wind') is clearly a meditative spiritual number that allows for some breathing space after the previous track's quick tempo. The last two tracks of the album close up with some free-ish, exploratory and improvisational paths. 'Midnight' is simply an exercise in the use of silence or pauses and is built around some tight playing ¨C as if to say, "that is how our jazz is meant to be". This classic album is superb in the variety of tracks, the balancing of cool and hot tones that are cleverly splashed across their musical canvas with exquisite taste. 

Terumasa Hino - 1973 - Taro Mood

Terumasa Hino 
1973 
Taro Mood

01. Alone, Alone And Alone 14:25
02. Taro's Mood 12:35
03. Predawn 25:30

Cd Reissue:

101. Alone, Alone And Alone 14:17
102. Taro's Mood 12:47
103. Black Daffodil 12:33
104. Predawn 25:32

201. Stella By Starlight 7:47
202. Cycle Circle 13:57
203. Lullaby 6:35

Bass – Yoshio Ikeda
Congas – Yuji Imamura
Drums – Motohiko Hino
Piano – Mikio Masuda
Trumpet – Terumasa Hino

Recorded live at the jazzclub Domicile in Münich, June 29th 1973.

Born in 1942 in Tokyo, Terumasa Hino made his professional debut in 1955. After the great success of his album "Hi-nology" (1969) he performed at the Berliner Jazztage in 1971 and at many other festivals before moving to New York in 1975. Today Hino is a lving legend and the most famous national jazz musician in Japan. Once an editor of Miles Davis transcriptions, his powerful playing in the 70s and his "large, brilliant tone" (Grove Dictionary) have often been compared to Miles Davis' 60s style. "Taro's Mood" is a fiery, high-energy live document of freestyle hardbop that also allows moments of surprising lyricism. Including four bonus tracks, this edition gives a much broader picture of Hino's music than the original LP vinyl could.

One of the first great non-Japanese recordings by trumpeter Terumasa Hino – a smoking little live set from Germany, done at a time when Hino was working at the height of his youthful powers! The mode here is stretched out and open – never too outside, but very exploratory – in the direction that Hino took quite strongly on his Japanese albums as the 70s approached, but performed here in a style that's even more organic than those records. The group is all Japanese – with Motohiko Hino on drums and Mikio Masuda on piano – and added conga at the bottom of the backings almost gives the record an early 70s Impulse Records sort of feel – nice and spiritual, and plenty soulful!

Terumasa Hino Quintet - 1973 - Live!

Terumasa Hino Quintet
1973
Live!

01. Stella By Starlight 12:08
02. Sweet Lullaby 7:20
03. Be And Know 28:25

Bass – Yoshio Ikeda
Drums – Motohiko Hino
Percussion, Congas – Yuji Imamura
Piano – Mikio Masuda
Trumpet, Producer – Terumasa Hino

Recorded live in The Recital on June 2, 1973.

First side is a bit lame, but side two is a monster 28 minute modal/spiritual jam.

Terumasa Hino - 1973 - Journey Into My Mind

Terumasa Hino 
1973 
Journey Into My Mind

01. Oriental Dance
02. My Funny Valentine
03. Thanks Toko
04. Rêve Provencale
05. Sky
06. Open Vision

Bass – Tsutomu Okada
Drums – Motohiko Hino
Flute, Saxophone – Hideo Miyata
Piano – Mikio Masuda
Saxophone – Hidefumi Toki
Tenor Saxophone – Takao Uematsu
Trombone – Shigeharu Mukai
Trumpet – Terumasa Hino

Recorded December 20, 1973 at Iino Hall except Oriental Dance recorded December 19, 1973 at Mouri Studio.

Mal Waldron - Terumasa Hino - 1972 - Reminicent Suite

Mal Waldron - Terumasa Hino 
1972
Reminicent Suite

01. Reminicent Suite 23:41
Dig It Deep Down Baby
Echoes
Once More With Feeling
02. Black Forest 18:35

Bass – Isao Suzuki
Drums – Motohiko Hino
Percussion – Uzi Imamura
Piano – Mal Waldron
Tenor Saxophone – Takao Uematsu
Trumpet – Terumasa Hino

Recorded on 14th August, 1972 at Victor Studio, Tokyo, Japan.

Waldron sits in with Terumasa Hino's 72 quintet (taking the piano chair of Mikio Masuda) for this magnificent recording featuring two epic cuts spanning a side a piece with composing credits split between Waldron and Hino.Something of an obscurity even to Waldron fans this has never seen a vinyl or cd reissue even in Japan which is a great pity as its a phenomenal lp.

"Reminicent Suite" is by Waldron and opens with a typical hammered down solo piano theme rapidly picked up by the rest of the quintet which is then comprehensively shredded,mangled and spat out until around 15 minutes when the vamp slides into a beautiful coda creating a more reflective mood for some lyrical work by Hino, Uematsu and Waldron who then bring the track to a close with a brief restatement of the theme.

"Black Forest" is a churning 6/8 styled naningo the soloists darting out from the thickets of percussion with Waldron battering the cyclical motif into submission.Hino and Uematsu drop rip roaring solos followed by Waldron and then its over to Motohiko Hino and Suzuki before back into the theme for conclusion.

Breathtaking stuff

Terumasa Hino Sextet - 1972 - Fuji

Terumasa Hino Sextet 
1972 
Fuji

01. Be And Know 14:23
02. Reaction 14:41
03. Fuji 17:43
04. A Child Is Born 9:28

Bass – Yoshio Ikeda
Drums – Motohiko Hino
Electric Piano – Mikio Masuda
Guitar – Kiyoshi Sugimoto
Tenor Saxophone – Takao Uematsu
Trumpet – Terumasa Hino

Recorded Mar. 8, 1972

Excellent modal spiritual jazz a la Pharaoh Sanders etc. Great stuff

Terumasa Hino - 1971 - Vibrations

Terumasa Hino 
1971 
Vibrations

01 Into The Heaven 13:14
02 I'm An Old Cowhand 6:36
03 Crackling 3:20
04 Ph-Ph-T 11:35
05 Dig It 3:00


Bass – Peter Warren
Drums – Pierre Favre
Tenor Saxophone [Tenorsax] – Heinz Sauer
Trumpet – Terumasa Hino

 Audio-Studio Berlin. November 7, 1971

Terumasa Hino Quintet - 1971 - Peace And Love

Terumasa Hino Quintet
1971
Peace And Love

01. Gongen
02. Peace And Love

Reggie Workman, bass
Motohiko Hino, drums
Kiyoshi Sugimoto, guitar
Teruo Nakamura, percussion
Hideo Ichikawa, piano
Terumasa Hino, trumpet

Recorded at TSC Japan on 29 September and 1 October 1970

Some elegant and mellow jazz from prominent Japanese trumpeter Terumasa Hino. Here we have two long tracks, one flowing and one more subdued, with some beautiful instrumentation and composition throughout. Dig it smooth cool cats

Terumasa Hino Quintet ‎- 1971 - Love Nature

Terumasa Hino Quintet 
1971 
Love Nature

01. Each Other
02. Love Nature
03. Sister Mayumi

Gary Bartz, alto saxophone
Reggie Workman, bass
Eric Gravatt, drums
Kiyoshi Sugimoto, electric guitar
Terumasa Hino, trumpet

Recorded at Obe Studio, Teaneck, New Jersey on 31 March '71

Joe Henderson And Kikuchi, Hino - 1971 - In Concert

Joe Henderson And Kikuchi, Hino 
1971 
In Concert

01. Sunrise In Tokyo 12:26
02. So What 11:40
03. Get Magic Again 19:54

Alto Saxophone, Soprano Saxophone – Kousuke Mine
Bass – Yoshio Suzuki
Drums – Hiroshi Murakami, Yoshiyuki Nakamura
Piano, Electric Piano – Masabumi Kikuchi
Tenor Saxophone – Joe Henderson
Trumpet – Terumasa Hino

Recorded in "Tokyo Toshi Center Hall", Tokyo, Japan, August 5, 1971

Recorded at the Tokyo Toshi Center Hall, Tokyo, Japan, on August 5, 1971, this live set features Henderson with an incredible line up of Japanese young lions.The session took place the day after Henderson's appearance at the Junk Club, Tokyo, for the recording of 'Joe Henderson In Japan' on the Milestone label and is something of a different beast.

"Sunrise In Tokyo" kicks us off with a terrific head and solos from the three major protagonists while "So What" is taken at a rapid tempo and again showcases the big three from the lp title."Get Magic Again" is a more abstract piece moving into New Thing territory with great piano from Kikuchi who penned the title.

An excellent album – and one of Joe Henderson's boldest sets from the early 70s! The record features Joe working with a hip group of young Japanese players that includes Terumasa Hino on trumpet and Masabumi Kikuchi on piano and electric piano – and the sextet format of the session stretches way past Joe's other Japanese recording from the time, which was issued in the US on Milestone. This one features very long tracks, with tremendous intensity from both the group and Joe, who's got a real edginess to his playing here. 

Terumasa Hino - 1971 - Hino At The Berlin Jazz Festival '71

Terumasa Hino 
1971
Hino At The Berlin Jazz Festival '71

01. Birth Of Action 18:29
02. Cycle Circle 12:51
03. Ode To Workman 17:32
04. Alone, Alone And Alone 7:33

Bass – Yoshio Ikeda
Drums – Motohiko Hino
Guitar – Kiyoshi Sugimoto
Tenor Saxophone – Takao Uematsu
Trumpet – Terumasa Hino

Recorded live at The Berlin Jazz Festival Nov. 6, 1971.

Long considered a jazz legend and Japan’s foremost trumpeter, Terumasa Hino has played with almost all the jazz heavyweights throughout the past half century, from Gil Evans and Elvin Jones to Herbie Hancock and Chick Corea. His musical references have been Freddie Hubbard and Miles Davis.

All the albums that Terumasa Hino has released in the 70's (starting with the legendary Hi - Nology, 69) are highly recommended for lovers of spiritual jazz and koozmigroov.

“Hino at Berlin Jazz Festival ’71” is pure power. It was released by Victor Japan on 1971 and by Catalyst Records on 77. It includes four long tracks. The absence of keyboards gives prominence to the guitar player (Kiyoshi Sugimoto). Terumasa Hino is great, as always. The rest of the quintet is: Motohinko Hino (Terumasa brother) on drums, Yoshio Ikeda on bass and Takao Uematsu on tenor saxophone. Highly recommended! All killer No filler.

More Terumasa Hino, here's a favourite, unbelievably out of print, by Hino's touring quintet of the early 70's, incredibly inventive unit , stradling freeish post Bop, Fusion you name it..

Of note specifically is some remarkably free shredding by guitarist Kyoshi Sugimoto,(Taku Sugimoto's father) who steals the show here, for me , along with Hino's folksy vocal tone and incendiary attack...

Cycle Circle, on side one has a lurching ominousness that's very similar territory to K.Komeda's Astigmatic.

Terumasa Hino Meets Reggie Workman - 1971 - A Part

Terumasa Hino Meets Reggie Workman 
1971
A Part

01.  A Part
02. Ode To Workman
03. Be And Know

Reggie Workman, bass
Yuji Imamura, congas
Motohiko Hino, drums
Kiyoshi Sugimoto, guitar
Hideo Ichikawa, piano, electric piano
Takao Uematsu, tenor saxophone, bass clarinet
Terumasa Hino, trumpet, flugelhorn


Recorded at T.S.C. Japan on 1 & 8 November and 3 December, 1970.

Terumasa Hino Quintet - 1970 - Into The Heaven

Terumasa Hino Quintet
1970 
Into The Heaven 

01. Into The Heaven 20:15
02. Feeling Blue As You Are Feel 12:52
03. Circus 3:02

Bass – Kunimitsu Inaba
Drums – Motohiko Hino
Flugelhorn, Trumpet – Terumasa Hino
Piano – Hiromasa Suzuki
Tenor Saxophone – Takeru Muraoka

Recorded at Tokyo Studio Center
Feb. 5. 1970

This is a lovely jazz LP by japanese trumpeter Terumasa Hino and his Quintet from 1970. Into The Heaven is a very groovy hard bop album, one of my all time favorite jazz albums (there is a nice reissue of the album from 2000 available). Dig it!

Everything Is Everything - 1970 - Just Flash In The Cosmic Pan

Everything Is Everything
1970 
Just Flash In The Cosmic Pan

01. In To The Heaven
02. Jun's Dreams
03. Just Flash In The Cosmic Pan

Dave Liebman, soprano & tenor saxophone
Steve Grossman, soprano & tenor saxophone
Lanny Fields, bass
Teruo Nakamura, bass
Mike Garson, piano
Reggie Workman, bass
John Carbone, bass
Randy Brecker, trumpet
Joe Bonner, electric piano
John Abercrombie, guitar
Lenny White, drums
Steve Jackson, percussion
Yosuke Tonoki, percussion, flute

Recorded on 15 June 1970

An album so rare that I could not find an entry for it at either Rateyourmusic or Discogs... Maybe I'm doing something wrong... Japanese label and producer, and doing a tune by Terumasa Hino...

Any info would be really appreciated!

Group Everything Everything Everything - 1970 - Hino's Journey To Air

Group Everything Everything Everything 
1970
Hino's Journey To Air

01 Journey To Air 1
02 Journey To Air 2

Terumasa Hino, trumpet, flugelhorn
Gary Pribec, alto saxophone
Pete Yellin, alto Saxophone, flute
Dave Holland, bass
Lanny Fields, bass
Teruo Nakamura, bass
Bobby Moses, drums
Motohiko Hino, drums, handclaps
Mike Garson, piano, electric piano
Dave Liebman, alto & tenor Saxophone
Steve Grossman, alto & tenor Saxophone, flute
Olu Dara, trumpet

Recorded at Upsurge Studio, New York City, March 1970.

Trumpeter Terumasa Hino, the first candidate for best Japanese jazz trumpeter ever,is known quite well outside of his home country,mostly by his Miles Davis-influenced fusion albums. It's less known that during early 70s he was involved in free jazz movement, and almost unknown that during his first ever visit to New York in 1970 he recorded one-shot project's "Group Everything Everything Everything" album (released exclusively in Japan though).

I have no idea if Terumasa has been influenced by Alan Silva "Luna Surface" radical album, recorded and released some month prior to "Group Everything..." session, if not than probably very similar idea just flew somewhere around in that creative and electrified air of late 60s-early 70s. Silva in Paris formed 11-piece band (participating as violinist/conductor) and let musicians to play whatever they want,all at once. Resulted two-sides long track "From Luna Surface" presented kind of organized chaos,collective unframed and uncontrolled improvisation,reflecting creative freedom of the time and having it's own (non-conventional) beauty. 

Terumasa Hino formed in New York 12-piece Japanese-British-American band (with Dave Holland on bass,sax players Dave Liebman and Steve Grossman among others)and recorded two-sides long free-improvised composition "Journey To Air" - electro-acoustic tsunami with lot of personal soloing. If Silva's work was more about unlimited freedom, Terumasa's music is better organized,contains more tunes and virtuosic solos and aesthetically is closer to contemporary classic avant-garde than Silva's destructive anarchistic no-wave.

The future of both above mentioned albums are polar different - French BYG-released "Luna Surface" became a cult album (what as rule means everyone heard about it but almost no-one heard the music itself),Japanese-only album "Hino's Journey To Air" became a collectable rarity(in late 70s it was re-released as Terumasa Hino's solo album of the same title)."Luna Surface" was first, "Journey To Air" sounds better - those who like the former most probably will really enjoy the later.

P.S. It's interesting that part of the project musicians three months later recorded another similar album (this time as "Everything Is Everything" band,another excellent line-up including guitarist John Abercrombie,bassist Reggie Workman,trumpeter Randy Brecker and drummer Lenny White besides of Liebman/Grossman duo from initial project). Japanese only release as well.

Terumasa Hino - 1970 - Alone Together

Terumasa Hino 
1970 
Alone Together

01. Introduction - Alone Together
02. Satsuki
03. Make Left

Steve Grossman, alto & soprano saxophone
Richard Davis, bass, electric bass
Motohiko Hino, drums
Harold Mabern, piano, electric piano
Terumasa Hino, trumpet, flugelhorn

Recorded at "Sound Media" Studio, New York, April 6-7, 1970

One of the leading Japanese trumpeter Terumasa Hino (often titled "Japanese Miles Davis") differently from many co-patriots started his musical career not from short-lived but extremely popular free-jazz of late 60s.His first recordings were all hard bop (including album release in US in 1968 - quite a rare case for the time). In early 70s his music became heavily influenced by Miles Davis first fusion works.

"Alone Together" is one of Terumasa's five studio albums, released in 1970 (very successful year for Hino). Three long compositions (between nine and almost eighteen minutes long)represent very eclectic proto-fusion, kind of Davis "Miles In The Sky", but freer and more kaleidoscopic version.

If Miles genres evolution often being revolutionary has strong systematic logic, Terumasa's music here sounds more like chaotic bag full of colored glasses. Bassist Richard Davis (who played on Dolphy's "Out To Lunch!") is deeply hard-bop rooted musician who doesn't afraid playing free though. Pianist Harold Mabern is more comfortable with post-bop or even soul jazz, sax player Steve Grossman is Miles Davis fusion band's musician of the time. Terumasa's brother Motohiko Hino,who is generally great drummer,on this album is another destructive factor,blasting heavy rock-influenced strokes as he would be a God of thunder. This far not subtle drumming is stated in a front of sound mix what is most probably a fashion of the day but it often destroys initial beauty of musical pieces.

Changing styles from fusion to hard-bop to free to post-bop and closing fusion again on same long composition doesn't work all that well. Separate few minutes parts are often quite great if not too original, but chaotic travel over the genres builds potpourri-like feeling in moments. It should be noticed that Terumasa playing itself is quite great, he's less passionate trumpeter than Davis,but freer what let him find his own accents. Still all band of skilled but too different musicians where almost each member sees his mission a bit different from the rest of team, sounds undirected. Still enthusiastic atmosphere of that time and Terumasa's strong playing save music from being uninteresting or boring. 

After few months Terumasa Hino will step to his next, even more adventurous period, playing freer and more advanced music, "Alone Together" stays his transitional work still interesting for his fans and probably for listeners who enjoy Japanese jazz from early 70s.

Terumasa Hino Quintet - 1969 - Hi-Nology

Terumasa Hino Quintet 
1969 
Hi-Nology

01. Like Miles 9:54
02. Electric Zoo 12:30
03. Hi-Nology 14:29
04. Dupe 7:02

Drums – Motohiko Hino
Electric Bass – Kunimitsu Inaba
Electric Piano – Hiromasa Suzuki
Tenor Saxophone – Takeru Muraoka
Trumpet – Terumasa Hino

Recorded at Yamaha Hall, Ginza on July 31, 1969

One of the most unforgettable japanese rare groove masterpiece released under the New Stream In Jazz catalogue For Nippon Columbia Takt Jazz Series. Recorded at the Yamaha Hall in Ginza, Hi-Nology is performed by the greatest japanese trumpeter & his fabulous first quintet featuring Takeru Muraoka, Kunimitsu Inaba, Hiromasa Suzuki plus his brother Motohiko. Hi-Nology is without a doubt, the expression of a Terumasa Hino at the top of his play, inspired by the Miles Davis' work (which is never too far), who indeed, during the same year recorded In A Silent Way, which will launch the electrification in Jazz, and therefore, opening the fusion period. Titles include the Davis' tribute, Like Miles, the Free Jazz of Electric Zoo, Hi-Nology and the Avant Garde Dupe, all composed by Terumasa Hino except Electric Zoo by Takeru Muraoka. 

Long considered a jazz legend and Japan’s foremost trumpeter, Terumasa Hino has played with almost all the jazz heavyweights throughout the past half century, from Gil Evans and Elvin Jones to Herbie Hancock and Chick Corea. Born in Tokyo in 1942, Hino made his professional debut at the tender age of thirteen, drawing his main inspiration from Freddie Hubbard and Miles Davis.

For the first few years of his career, Hino was something of an opportunist, even jumping open Japan’s early ‘60s eleki bandwagon with the cash-in LP TRUMPET IN BLUEJEANS. However, his fiery temperament and ‘large brilliant tone’, as The Grove Dictionary of Jazz termed it saw Hino’s late ‘60s work increase both in output and quality, and his 1969 Columbia LP HI-NOLOGY as The Terumasa Hino Quintet was extremely successful commercially.

Japanese leading trumpet player Terumasa Hino's "Hi-Nology" is his most commercially successful album and in fact his start to international fame.Released in 1969,it was one of the very first fusion album recorded by country's artists and released in Japan.Sometimes described as "Miles Davis undone step" in reality it isn't that.

Terumasa Hino started as mainstream jazz trumpeter and in 1968 switched from hard bop to more modern post-bop forming Hino-Kikuchi Quintet with pianist Masabumi Kikuchi. Their debut,recorded same year,was released in 1969 only, and few month later Terumasa Hino releases "Hi-Nology" with same band,just with different pianist (acoustic pianist Kikuchi has been changed with Hiromasa Suzuki on electric piano).The concept of electric fusion was just in the air around, and Hino was obviously heavily influenced by Davis re-tuning his quintet for playing more advanced sound.But if Miles very soon brewed jazz improvisation with psychedelic rock jamming,Terumasa stayed deeply rooted in mainstream jazz building his fusion on boppish basis.Miles concentrated his interest on textures against form, Hino demonstrates perfectly framed and structured songs in mainstream jazz tradition. 

Released on the peak of fusion "revolutionary" popularity, this album was a true success between both yesterday's jazz adepts searching for new sound and part of rock fans,since very jazzy by its nature album's compositions were not so different from tuneful well-structured rock songs (thanks to thunder-like Motohiko Hino drumming Hi-Nology sounds not all that different from some rock albums of the time).

So,representing just a different (and generally more conservative by its nature) leg of just-born fusion comparing with Miles Davis music of the moment, Hino's quintet plays music which has born under Davis influence. The real reason why it sometimes sounds more advanced is that that hard-bop rooted Hino is more open to another huge moment's influence - free jazz. Miles was known by his negative point of view towards free jazz (what not always means his music isn't influenced by it), Terumasa Hino saw free jazz as part of his music (even if in reality Hino's music as rule is never such free as Miles'). As a result on "Hi-Nology" one can find lot of freer soloing which don't change basic structure but add lot of fashionable free jazz arrangements hardly possible in Miles music. Miles has been never interested in flirting with free jazz, and because of that Hino music for some ears sounds as "Miles undone next step brewing fusion and free jazz". I believe if Miles would be interested to make this step his music would sound much freer.

"Hi-Nology" stays one of the best early Japanese fusion album and start of commercial success for Terumasa Hino. Besides of few other country scene's similar releases it built the basis for plenteous and influential J-fusion movement some years later.

Hino=Kikuchi Quintet - 1969 - Hino=Kikuchi Quintet

Hino=Kikuchi Quintet 
1969 
Hino=Kikuchi Quintet

01. Tender Passion 9:16
02. Ideal Portrait 5:59
03. Long Trip 9:12
04. H. G. And Pretty 7:30


Bass – Kunimitsu Inaba
Drums – Motohiko Hino
Piano – Masabumi Kikuchi
Tenor Saxophone – Takeru Muraoka
Trumpet – Terumasa Hino

Recorded 8.22, 8.30, 1968

Terrific modal - hard bop session from the two leaders who would go on to blaze the electric jazz trail in Japan.This session sounds heavily influenced by the classic Miles Davis Quintet of the mid sixties although the four compositions are all originals by Kikuchi.Great heads and arrangements open up leaving plenty of space for exploratory soloing from Hino,Kikuchi and Muraoka supported by the supple rhythm section of Motohiko Hino and Kunimitsu Inaba.

All Killer No Filler!

Hino-Kikuchi Quintet was a short-lived project founded by two future leading artists of Japanese jazz pianist Masabumi Kikuchi and trumpeter Terumasa Hino. Current all-Japanese line up recorded and released only one album ("Hino=Kikuchi Quintet" is stated on cover as a confirmation of co-leading). In mid 90's the band will be reunited for live gig with Greg Osby on sax and different rhythm section, in 2007 Hino and Kikuchi will release two more collaborative albums as co-leaders, but generally speaking "Hino=Kikuchi Quintet" will always mean this only released recording in such important for development of jazz year of 1968.

Both Terumasa Hino and Masabumi Kikuchi were Miles-influenced musicians introducing his kind of jazz to Japanese listeners. Trumpeter Hino already released some hard bop albums,but this work became to him the transition to more complex modal jazz.

Four Kikuchi originals sound exactly as if they are recorded under fresh impression of Miles band with Hancock,or better to say - close to Hancock's own albums, recorded in late 60s (before Mwandishi). Rhythm section is still conservative and anchors advanced Hino & Kikuchi's mainstream jazz building strict repetitive hard bop rhythm basis. Quite well played, tunes aren't memorable at all and main interest is exactly how both Kikuchi and Hino are leaving hard bop searching their new identities in more modern sound of upcoming era.

It's interesting that right after this release Kikuchi will switch to even more new Miles Davis influence - much more revolutionary fusion (and will become this genre leading pianist in Japan), Terumasa Hino future music will split between fusion and mainstream jazz. He will become leading Japanese jazz trumpeter very soon as well. 

"Hino=Kikuchi Quintet" stays an important evidence where both them are started, and quite nice listening itself till nowadays

Terumasa Hino and His Group - 1968 - Feelin' Good

Terumasa Hino and His Group
1968 
Feelin' Good

01. Mississippi Dip
02. Feeling Good
03. And Satisfy
04. Trust Me Now
05. The Magilla
06. Lucy In The Sky With Diamonds


Masabumi Kikuchi - piano
Takeru Muraoka - tenor saxophone
Takeshi Aoki, Hiroshi Suzuki - trombone
Yoshiaki Masuo, Toru Konishi - guitar
Motohiko Hino - drums
Kunimitsu Inaba - bass
Kaoru Chiba - flugelhorn
Jake - alto saxophone
Hiroshi Okazaki - baritone saxophone
Akira Miyazawa - flute
Fumio Watanabe - percussion


Recorded at Teichiku Kaikan Studio, June 4, 12, 1968

Born 25 October 1942, Tokyo, Japan. Following, more or less literally, in the footsteps of his trumpet-playing, tap-dancing father, Hino learned to tap at the age of four, and took up the trumpet when he was nine years old. He taught himself the principles of jazz improvisation by transcribing solos by Miles Davis (from whom, no doubt, he learned his conviction about the importance of space), Louis Armstrong, John Coltrane, Clifford Brown, Lee Morgan and Freddie Hubbard. He began playing publicly in American army clubs in 1955 in Japan, then joined Hiroshi Watanabe and Takao Kusagaya, but his first major job was with the Hideo Shiraki Quintet, where he stayed from 1965-69. During 1964/5 he had led his own group, and left Shiraki at the end of the decade in order to lead his own band full-time. In 1974 he worked with Masabumi Kikuchi, then in June 1975 he went to the USA and worked with Joachim Kuhn (1975), Gil Evans, Jackie McLean and Ken McIntyre (1976), Hal Galper (1977), Carlos Garnett (1977), Sam Jones (1978), Elvin Jones (1982) and Dave Liebman, as well as continuing to lead his own group, the band which John Scofield credits as moving him from fusion to jazz. By then Hino was dividing his time equally between the USA and Japan. He plays trumpet and flgelhorn with a mellow fire, and his fame in Europe continues to grow almost matching his reputation in Japan and the USA. He toured Europe with Eddie Harris in November 1990, and was reunited with Kikuchi for a rhythmic 1996 recording session featuring alto saxophonist Greg Osby. 

A big band work by Terumasa Hino that Kikuchi Masaaki arranged. Famous musicians from the past participate in the event and create a magnificent sound. Personally I am puzzled by the lack of thrilling and slightly different from expectation. 

This work is made up of three sets, Hino = Kikuchi Quintet only for B - 1, Others are organized in 12 people, organized in 15 orchestras. I wonder what he says, especially when it comes to a big formation I feel like a popular orchestra rather than a jazz like that feeling. Perhaps A - 1 that ends with a fade - out has embraced such a feeling that it seems to be used for TV dramas in the Showa 50 's. The title song A-2 is cool. The goodness of the song is shining while playing it. A-3 is a funky number. Tenor Muraoka built solo can be enjoyed. From the implication that there is a feeling of strangeness in the Big Band, the Quintet of B - 1 which becomes a small organization can be most emotionally transferred. Following the dark theme, straight-blown Hinotel's trumpet solo feels like the light that shines in the darkness. The unique riff is impressive and gives this work a more presence. B-2, B-3 are back in the orchestra. B-3 is the Beatles song. Well .... 

Perhaps most of the songs played in Furuban are strong R & B taste, there are things of age as well. It probably does not suit the skin which contains jazz-rock like elements, probably. But I can not say that I am not good at that kind of music in the first place, I'm listening once in a while, I think that it is the most likely cause that there was a divergence in the shape of the big band that we are hoping for Hinotel. I wanted you to arrange more jazz and want the trumpet to be blown up nicely and wonderfully. 

Terumasa Hino Quartet - 1967 - Alone, Alone and Alone

Terumasa Hino Quartet 
1967
Alone, Alone and Alone

01. Alone, Alone аnd Alone (Terumasa Hino) 07:34
02. Soulful (Terumasa Hino) 10:39
03. Summertime  (George Gershwin) 07:41
04. Downswing (Terumasa Hino)  03:14
05. B-Lunch (Terumasa Hino) 08:08

Terumasa Hino - Trumpet
Yuji Ohno - Piano
Kunimitsu Inaba - Bass
Motohiko Hino - Drums

Recorded at Teichikukaikan Studio, Nov. 16, 17 1967

Long considered a jazz legend and Japan’s foremost trumpeter, Terumasa Hino has played with almost all the jazz heavyweights throughout the past half century, from Gil Evans and Elvin Jones to Herbie Hancock and Chick Corea. Born in Tokyo in 1942, Hino made hgis professional debut at the tender age of thirteen, drawing his main inspiration from Freddie Hubbard and Miles Davis. For the first few years of his career, Hino was something of an opportunist, even jumping open Japan’s early ‘60s eleki bandwagon with the cash-in LP TRUMPET IN BLUEJEANS. However, his fiery temperament and ‘large brilliant tone’, as The Grove Dictionary of Jazz termed it saw Hino’s late ‘60s work increase both in output and quality, and his 1969 Columbia LP HI-NOLOGY was extremely successful commercially. Hino celebrated the new decade with the LP JOURNEY TO AIR, a hugely inventive disc taken up by the single title track, itself split into two sections ‘Part 1 – Gongen’; and ‘Part 2 – Peace & Love’. JOURNEY TO AIR also introduced future Miles Davis sax player Dave Liebman, while the LP’s European success enabled Hino to play at the Berliner Jazztage in 1971. Thereafter, he released the LPs VIBRATIONS and LOVE NATURE in rapid succession, whilst working concurrently as an editor of Miles Davis transcriptions. In June 1973, The Terumasa Hino Quintet released two amazing live LPs recorded on different continents. The LP LIVE! was recorded in Tokyo on June 2nd and released on the hip Three Blind Mice label, whilst TARO’S MOOD was captured in Munich, at The Domicile Jazzclub, and released on Germany’s Enja label. Both records were hugely raw and intoxicating by virtue of their long drawn out tracks, extreme percussive overload - supplied on both occasions by drummer Motohiko Hino and master percussionist Yuji Imamura – and Hino’s ability to stretch out from straight ahead melody to charging elephant cacophony. Indeed, the 25-minutes of ‘Predawn’ (which takes up all of side two of TARO’S MOOD) and the 28-and-a-half minutes of ‘Be And Know’ (which takes up the whole of side two of LIVE!) are two of my all time favourite pieces of Japanese music. Hino thereafter dropped the quintet, returning to the recoprding studio, in January 1975, for the epic sound of SPEAK TO LONELINESS. Again opting for one side long track and two slightly shorter affairs, the LP introduced a bigger, more brass orientated sound. Later in ’75, Hino moved to New York, where he worked with arranger Gil Evans Elvin Jones and Dave Liebman. His 1977 LP MAY DANCE was released on the Japanese Flying Disk label, and featured ex-Miles Davis stars Ron Carter on bass and Tony Williams on drums, plus legendary guitarist John Scofield. The music became a little typical of his New York environment until 1981’s Columbia LP DOUBLE RAINBOW, which appeared to be a a very successful homage to Miles’ lost 1975 funkathon period. Indeed, the fifteen minute opener, Masabumi Kikuchi’s ‘Merry-Go-Round’ opts for an AGARTHA-type atonal funk vibe, Kikuchi’s own organ intro highly reminiscent of Miles’ claw-handed voodoo take on Sly Stone’s sould keyboards. Moreover, Kiyoshi Itoh’s mixing style also apes many of the mix ideas that Teo Macero introduced to Miles Davis LPs. Thereafter, Hino returned to Japan to live and work throughout the ‘80s

Terumasa Hino is probably the best and the most famous Japanese jazz trumpeter, one of Japan's finest jazz giant influenced by Miles Davis (his american counterpart) & the Fumio 'Satchmo' Nanri's legacy (trumpeter who played with Louis Amstrong). Hino had the opportunity to work with Sadao Watanabe and others Jazz masters such as Joe Henderson, Elvin Jones, Gil Evans or Jackie McLean. From 1967 to 1970, he played regularly with this formation based on Kunimitsu Inaba and his young brother Motohiko, whose Alone, Alone And Alone is their first recording and also the first jazz album released under his own name, recorded in 1967 but released in 1970. After a interlude with Masabumi Kikuchi (Hino=Kikuchi Quintet - 1968), the group takes its final form featuring saxophonist Takeru Muraoka and the new pianist Hiromasa Suzuki who replaced Yuji Ohno. Titles include Cool Jazz songs as the introducing & Downswing, other superb gems as the brilliant Soulful, demonstrating his great trumpet skill, a variation of George Gershwin' Summertime played in the modal style & B-Lunch. All tracks composed & arranged by Terumasa Hino.