BBE Music’s highly-acclaimed J Jazz Masterclass Series continues with an album that unites three J Jazz legends with a young musician beginning their professional career. Recorded and released in 1986, ‘Approach’ is both sophisticated and experimental in equal measure, balancing serene ambient moments with thunderous and dynamic explosions of energy.

‘Approach’ was originally issued on the Art Union label and sees bass uber-maestro Isao Suzuki, percussion and drumming icon Masahiko Togashi, and keyboard wizard Hideo Ichikawa join together with neophyte guitarist Akira Shiomoto to deliver a first-class showcase of contemporary jazz across five tracks, demonstrating their individual talents working as one unified ensemble.

Suzuki’s deeply resonant and pliant basslines move sinuously across the album, supporting Togashi’s ebullient flashes of percussion and Ichikawa’s lush textures and colourations; topping it all off is the young Shiomoto’s guitar adding melodic texture and shine. Opening with ‘Make Trip’, Ichikawa’s gentle introduction makes way for a change of gear as Suzuki’s bass drives the band along before Togashi’s drum and percussion centrepiece solo leads to the outro. The plaintive and bluesy ‘Otari’ follows next, with Ichikawa’s piano flowing around and between the rhythmic undertow from Suzuki and Togashi. Things turn slightly more
experimental on ‘Mysterious’ as Suzuki, the piece’s composer, turns to arco bass effects and Ichikawa employs synthesiser and electronic textures to add colour to the palette. Opening with a boldly stark solo piano part, ‘Tornado’ is written by Ichikawa and continues with a freely improvised section from the group as Togashi’s characteristically inventive drum solo once again leads the piece to its culmination before seeing Suzuki re-join to conclude. The album’s closer, ‘East Words’, written by Togashi, is a magnificent example of the ensemble’s interplay and control; a beautifully modulated intro from piano, bass and drums opens the
piece with the freshness and light of a morning sunrise. Ichikawa’s use of synth strings reveals a new and unexpected intensity to the performance, as the track builds further into a head nodding, bass driven exploration of Ichikawa’s piano and Togashi’s finely paced percussion. As an album closer, it couldn’t be more perfect.

This is the first time this album has been reissued since it’s original release 36 years ago.