Satoko Fujii — Invisible Hand (Cortez Sound, 2017)
Solo albums aren’t the norm for Satoko Fujii. She’s released four of them since 1996; compare that with her total of 79 albums plus the seven she plans to release this year. As you can tell from her work in small ensembles, Fujii is not to be trifled with, and you get to hear her in full force on the new double CD, Invisible Hand.
Being the only musician on the album, Fujii is, by definition, in command here — but the sure-handedness of these pieces lets you know she is in command. On most tracks, Fujii picks a theme — often one of the familiar compass directions related to jazz or classical — and explores it with conviction, adding deviations when the moment is right.
The stylistic palette is wide. “I Know You Don’t Know” is big, stern, and serious, like a classical piece, while “Gen Himmel” is a big-hearted gospel treat with waves of emotion. “Floating” blossoms into attractive, new-agey melodies that wouldn’t be out of place on a 1980s ECM album; I’m making it sound corny, but I’m really enjoying that track.
One of my favorites is “Green Cab,” which surprises you by springing into a fun, rolling blues groove.
Fujii doesn’t abandon her association with free jazz; these pieces do come with avant-garde touches. “Green Cab” opens with zither-like sweeps of the piano strings and the tight clicking of prepared piano. “Floating” opens with prepared piano, too — a percussion solo of contemplative wind chimes.
At the far end of the spectrum is the title track, built around the sounds of Fujii directly manipulating the strings: subtle buzzing, sparse clicking. It’s a spacious, contemplative exercise, and when Fujii eventually shifts into conventional playing, it’s slow and serious.
Invisible Hand is notable not only for the span of Fujii’s styles but for its bold style and sure-handed statements. Its style sets up an intriguing contrast to another excellent solo piano album, Matt Mitchell’s førage, which I’ll be reviewing next.