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Junko Onishi, Fragile (CD, 56:49); Blue Note 98108, 1998
Blue Note Records
304 Park Avenue South, 3rd Floor
New York, NY 10010
Phone: 212-253-3000
Cyberhome: www.bluenote.com
I'm slightly ashamed to say that before I put on this CD, I had never
before heard Junko Onishi play. Perhaps that's a testament to the
difficulty female jazz musicians have being heard and taken
seriously. One look at Onishi's credentials and you know she's a
contender, having occupied the piano chair for Jessie Davis, Gary
Thomas, Joe Henderson, Jackie McLean, and Joe Lovano. She recorded a
trio album some years back with Billy Higgins and Rodney Whitaker.
Fragile is her first studio record in three years, and it
features some blistering piano and Rhodes work. Unfortunately, it's
deeply marred by some horrific repertoire decisions.
Onishi is off to a fantastic start with "BWV" (called
"Phaethon" in the liner notes), a burning track that recalls 70s
fusion at its best. Sure, maybe it's a throwback, but when Onishi
gets her piano and Rhodes solos going you'd better have on your
seatbelt. Drummer Karriem Riggins (aka "Ol Skool Jamz") tears it up,
as does veteran Marsalis bassist Reginald Veal, who plays electric
here, much to my surprise. "Complexions" follows - a subtly swinging,
loosely structured postbop gem. Onishi unleashes sophisticated phrase
after phrase, suggesting shades of Keith Jarrett and Herbie Hancock.
It's the real deal.
Then, like an 18-wheeler taking a turn too fast, the disc
skids off the highway and into a ditch for three whole consecutive
tracks. First is a pointless cover of the Righteous Brothers' "You've
Lost That Lovin' Feelin'." OK, so Onishi can play authentic soul
piano and deploy some decent reharmonizations on a well-known pop
tune, but after the first two excellent originals, who needs it? A
cover of Les McCann's "Compared to What" sinks us even deeper into
the ditch, with a cheesy vocal by a male guest singer named "Peace."
And then, just when you thought it couldn't get any worse, Onishi
breaks out a cover of "Hey Joe." Numb to the pain at this point, I
began to wonder what this record is trying to be. In her liner notes,
Onishi says, "I think it's all right to play pop or mix jazz with
pop." I think it's alright too, but not at the expense of artistic
focus. Onishi also remarks on the spontaneous decision making that
prevailed during the recording session. A well-crafted original jazz
composition can benefit greatly from spontaneity. But a
thrown-together Hendrix cover sounds like . . . a thrown-together Hendrix
cover.
With Onishi's own "Eulogia Variation" we're back to music
again. But just as it ends, Veal crashes in on synthesized bass with
the opening riff of Cream's "Sunshine of Your Love." And thus the
album closes, with yet another 60s cover. I've never been a fan of
the rock cover trend in the jazz world. The concept has sent many a
fine jazz CD off the tracks, and it manages nearly to ruin this one
entirely. I literally have no idea what Onishi was thinking. The
superior playing on the first two tracks does make me want to check
out her earlier stuff, however, and keep my eye out for more tasteful
offerings in the near future.
~David R. Adler
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