Casiopea
Mint Jams

Tokyo, February 1982.

The lights are still dim as the audience waits, in reverent silence, for the entrance of four young musicians who, in just under three years, have managed to become the symbol of the new generation of Japanese jazz fusion. They bear the name of a constellation - distorted from Japanese - and are sponsored by the giant Yamaha corporation, which provides them with all the cutting-edge musical equipment and technology available at the time. The prestigious Bunka Kaikan Hall is the chosen venue for two consecutive evenings (February 23 and 24) with the primary goal of recording live the best of what the band has produced in the first phase of their career.

And the opening to “Take Me” couldn’t have been a better introduction to the elegant and mellifluous sound of Casiopea. Dominated by Minoru Mukaiya's keyboards, it's a sunny and relaxing track reminiscent of afternoons spent on the beach sipping cocktails in good company. This is indeed one of the typical traits of made in Japan fusion sounds: music that works brilliantly as a background in a holiday village, but upon closer examination reveals a first-rate construction and composition. The rich, slapped bass of Tetsuo Sakurai is well integrated with a fluid and clean guitar, providing counterpoint to the omnipresent yet never intrusive synthesizers. It is indeed the guitarist, the founding father of the group, who takes center stage in the next track.

“Asayake” introduces the talent of Issei Noro, a guitar hero with high-level technical skills and musical sensitivity. This is jazz fusion with a heavy dose of funk, an insistent crescendo that culminates in an incredible guitar solo, showcasing all the technical prowess of our young - then twenty-five-year-old - frontman, from sweep picking to tapping, always in service of the melody and never for pure showmanship.

Surely, Japan is not the first country that comes to mind when speaking of musical genres considered predominantly “Western.” Yet, a brief search is enough to realize how this nation was looking around and trying to open its borders - and its ultra-traditionalist mindset - to the greats of rock, jazz, funk, and fusion. Japan of the '70s, at the height of its status as a global power, looked to the West with admiration, but also envy. If they can do it, we can too, and even better. And it is known that the Japanese strive for perfection, nothing less.

This is probably one of the reasons why the last member of the band still to be introduced can be considered an example of uncommon dedication. Akira Jimbo, drummer and percussionist, a true combination of precision and imagination with unthinkable Latin influences - which he would considerably expand throughout his career - had only started practicing the instrument five years earlier. His solo in “Domino Line” showcases technique and groove sense, and his work on all the tracks is simply impeccable, forming a truly impressive rhythm section with Tetsuo Sakurai.

The setlist alternates aggressive and driving tracks like “Time Limit” with more relaxed and carefree ones like “Tears of the Star” and “Midnight Rendezvous”, the group's true flagship, taken from their first studio album back in 1979. The influence of groups like Mahavishnu Orchestra, Bruford, and Brand X is apparent, but it perfectly combines with melodic sensitivity and scales typical of oriental music. Some may argue that certain passages can become, in the long run, cloying, but one must consider that it is a typical feature of Japanese music and culture. Casiopea miraculously manage to unite East and West without denaturing either.

The recording quality is very high, and I do not hide that this is surely due to a good dose of post-processing in the studio, as was customary at the time. I don't think this diminishes the energy and spontaneity of the tracks, and the resulting sonic output more than compensates for some overly smoothed corners.

In conclusion, Mint Jams is an excellent introduction to Japanese jazz fusion and a must-have album for all enthusiasts of the genre. The execution is perfect, and the energy the group exudes live makes most of the tracks superior to their studio versions. A little gem that I recommend listening to paired with good whiskey, perhaps a Miyagikyo or a Suntory... Kanpai!