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Review: Despite eventually becoming one of Japanese jazz's most lauded pianists, Ryo Fukui didn't release many albums in his lifetime. Aside from Scenery, the dazzling 1976 debut of his Sapporo-based trio, none are quite as celebrated as In New York. Recorded with the help of sidemen Lisle A Atkinson (bass) and Leroy Williams (drums) at the Avatar studio in NYC in February 1999, it sees Fukui deliver dazzling, piano-driven interpretations of some of his jazz favourites (Charlie Parker's 'Hot House', Duke Ellington's 'Red Carpet' and George Gershwin's 'Embraceable You' included). Fukui's self-taught piano skills were incredible, no doubt, and it's the expressiveness and fluidity of his playing that shines through. It's perhaps fitting, though, that the album's standout moment is a version of his own 'Mellow Dream', arguably Fukui's most celebrated composition.
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Review: Mellow Dream from 1977 by Hokkaido's prodigious pianist Ryo Fukui gets another rieeus here after a first one back in 2018. Building upon previous album Scenery's foundation, Fukui delves deeper into modal, bop, and cool jazz realms with refined elegance. Mellow Dream ventures into mellower, soulful, and contemplative territories, epitomised by the Bill Evans-esque title cut 'My Foolish Heart' yet it retains Fukui's trademark vigour, showcased in the explosive jam 'Baron Potato Blues' and the monumental 'Horizon,' featuring exhilarating solos from each trio member. Fukui's second album, then, effortlessly traverses melancholy to vibrant joy, showing off in the process his rare blend of talent, personal style, and disciplined approach.
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