"Energy"...the new release by Goh Kurosawa
by Travis Rogers, Jr. (The Jazz Owl)
It has been often said that to listen to Goh Kurosawa is to force
oneself to abandon any notion of category or genre. While it is truethat he flows effortlessly between flamenco, jazz, rock, samba andeven classical, it should not be said that Goh has not firmly planted
his flag in the fabled land of jazz. It should not be mistaken that he is
not a jazz player.
However, it must also be remembered that Goh carries the flag of another fabled land, that of hishomeland Japan. This is magnificently displayed in several tracks on the album. The most obvious are
the two tracks of traditional Japanese folk music that have been beautifully arranged by Goh himself.
“Energy” is Goh Kurosawa’s second recording as a solo artist; his first album being “Hitori” from 2007.
The official release for “Energy” is January 19, 2013 with a tour of Japan and the US West Coast to follow.
It is on the Onigawara Records label.
This album seizes the listener’s heart from the opening strings. Entitled “Green is Her Favorite Color” thepiece has all the delicacy and emotion and charismatic changes that one could imagine from a Japanesefolk song but it is a delightfully original piece written by Goh himself. It is a song that keeps the listener
returning for more of it.
The delicacy is built upon in the second track “My Family My Friends.” Goh’s punch and slap has becomecharacteristic in his live playing but it is in fine energy on this album. The percussion is all Goh on thistrack as he provides the rhythmic slap and thump in this solo effort.
The haunting loveliness of the traditional Japanese folk song “Sakura” is heartbreakingly rendered byGoh and it is heartbreakingly short at only :54 in length. It is the one and only disappointment on thealbum that this was not given a 10 minute expansion. It would have betrayed the truth of the song,
however, to make it any longer. The love of the Sakura (cherry blossom) is in large part because of its
exquisite but too-rapid blossoming and passing. The song is just and appropriate.
Another Japanese folk favorite follows next entitled “Ano Subarashii Ai.” Goh is supported by vocalmaster Mon David. It is lively and uplifting. Goh’s lead vocals are surprisingly delightful. The backing
vocals, whose parts were arranged by Mon and Goh, take on a hard rap that is reminiscent of
Shadowfax’s “Brown Rice.”
Supporting Goh instrumentally on this track are Hugo Aguayo withthe percussion of cajon, palmeros and "shouts" and JP Maramba on
bass and“shouts."

What should not be lost in the midst of all that, however, is the delicate delivery of Goh’s guitar. Mon
carries the rhythm guitar and does so splendidly. However, it is still Goh's flamenco guitar on the chorus
lines that are so inspiring. Additionally, the verse section is in 5/4 time and is not traditional to Japanesemusic. If possible, listen again and again and focus on the flamenco guitar.
The light acoustic guitar follows after in a beautiful rendition of “Can’t Help Falling in Love.” The refinedattention to the touching glissando and the striking chords are captivating. This was a delightfully
emotional tribute—not to Elvis Presley, but to falling in love.
The astonishing succeeding track is another shocker; it is a staggering flamenco guitar version of Bob
Marley’s “No Woman No Cry.” Goh’s understanding of divergent musical forms is impressive. I haveseen him perform live with speed and power and vicious attack. On “Energy”, by contrast, he harnesses
that with one exception.
However, it is the energy of thepower and speed that has been
disciplined into a delicate approach.
“Energy” is not the absence or lackof power, it is the enlightenment ofpower.
Goh shows that and his interpretive
understanding once again on theCharlie Haden piece “First Song.”
His approach to three completely
different styles—Elvis to Marley toHaden—is a remarkable revelationof Goh’s own spirit and intelligence.
Once again, he does it through the medium of the flamenco guitar and the results are heart-warming
and soul-stirring.
Then come the most rewarding moments of the entire album in the form of an original suite composedby Goh, who also arranged all the tracks on the album. The suite is collectively called “Fruit Bunny” withthe three segments respectively entitled “Bun Bun”, “If I Could Only Find My Apple” and “Inochi/Energy.”“Fruit Bunny: Bun Bun” is a sweet acoustic foray into childhood. “If I Could Only Find My Apple Tail” isthe one track where Goh’s speed and power are on display and heshows it through the electric guitar. It is the only track to utilize that
instrument and it is like listening to Deep Purple for the first time allover again. I was transported back to the first time I heard“Machine Head” and I was loving the feeling. At the 6:36 mark,though, a tenderness emerged that is surprising. Then the strength that had been evident in the firstminutes was brought to a maturity with a moment of Brahms’ “Lullaby” added. The musicians with Gohon this track actually are members of his band SHARP THREE with Kai Kurosawa on 24-string Beartrax Big
Mama Bear (an instrument that he designed) and the exceptionally tasteful drummer, Chuck van Haecke.
The theme of the suite began to take shape—or at least my interpretation of the suite. It was about
growing up and finding oneself. The innocence of “Bun Bun” was followed by the raw energy that grew
to maturity in “If I Could Only Find My Apple Tail.” But even at the end of that adolescent romp, there
was a brief look back at childhood and innocence.
The third movement of the suite was “Inochi/Energy.” The flamenco guitar painted a portrait of theperson who has moved from the simplicity of childhood through the unbridled passion of youth and has
now learned to harness all of that and has grown in “Inochi” which is also a synonym for life. Indeed,
Goh has taken the listener on a life-journey to a place where life and energy have been refined.
The final track could have been thefourth movement of the previoussuite as it fits so well with what hasgone before. Entitled “Tiara” it istruly the crowning moment of thealbum. It is reflective and it iscalming. It is a moment of rarebeauty.
It was recorded at the fabulous
recording studio called EstudioDragão in São Paulo, Brazil and thesong is dedicated to his friend there who introduced him to the studio. As it worked out, this was thefirst song recorded so the album project initiated in Brazil.
Only Goh Kurosawa could have done this album. It was recorded with no overdubs or loops. It is notonly his talent that is brought to bear; it is his heart and it is his wisdom. It is his energy and life thathave been revealed on this album of joy and gratitude.