Hachidai Nakamura (1931-1992) was a Japanese songwriter and jazz pianist.
Nakamura wrote the music of the popular Japanese song Ue o muite arukō, released in the United States under the name "Sukiyaki". He worked closely with lyricist Rokusuke Ei and many of his songs were popularized by singer Kyu Sakamoto. ~ Wikipedia
This album brings a very diverse repertoire of worldwide popular songs and some Hachidai Nakamura’s originals. Songs are presented as solo piano, with strings, with brass, piano quartet…
With Sun/Moon, Somei Satoh speaks with the ancient, distinct voice of Buddha, with enough melodramatic romanticism to stir the emotions of even the most Western ears. Perhaps less cinematic than his previous album, Toward the Night, but no less passionate in tone, with gorgeous, rich dialogue between shakuhachi and koto that circulates between whispers, cries, gasps, and deep contemplation. The opening piece, "Kougetsu," is the sound of a rock garden minding its own business, a dragonfly dreaming restlessly amongst the bamboo. "Sanyou" follows in much the same way, in an expression of (as the composer puts it) "the purity of the early morning air." Shin Miyashita plucks his 17-string koto with patience, reverence, and in perfect symbiosis with Akikazu Nakamura, a stoic virtuoso on the shakuhachi.
Of the many solo soprano recordings by British improviser Evan Parker, few offer as intimate a portrait as this one in terms of his development as an artist. In 1993, Parker had hit a new stride in his playing. He worked – as he does now – long hours to find a way through the improvisation barrier imposed by the restrictions of circular and conventional breathing, toward a series of microtonal possibilities that were adaptable in virtually any situation, solo or group. His practice had led him to a place of opening the breathing techniques toward new microphonics and multiple sonances. His wish to document them, however, led to his nearly abandoning his findings. He discovered that in the music rooms of Holywell in England, that the harmonic atmospherics of the room, of the architecture itself, provided an entirely new set of tonal and spatial possibilities he hadn't counted upon and proceeded to make a record to document those instead.