Current Japanese group led by the talented Akihisa TSUBOY (Violin and guitar), KBB has given us in ""Lost And Found"", its first album, a brilliant and colorful work that combines the earthy power of GERARD or VIENNA with the melodic finesse of OUTER LIMITS or U.K., sprinkled here and there with discreet touches of jazz-rock reminiscent of the work of Jean-Luc PONTY. A musical cocktail of rare intensity. Without any doubt one of the strongest revelations of the year 2001 ! ""Four Corner's Sky"" (2003) follows the same path in a beautiful manner. If one can recognize the KBB landmark right from the first notes, we could also notice that it went a step further with much more diversity in composition. Jazz now fights with Progressive rock and improvisation though the whole disc. To conclude, here's another must-have ! When one of the best current Progressive jazz-rock bands announces the release of its first live album, something exceptional can be expected. This is just not enough with KBB ! Simply perfect, ""Live 2004"" is a small gem of accuracy, sophistication and energy. Captured live at the Silver Elephant club of Tokyo, this little masterpiece is released by the Musea and Poseidon labels as a joint venture. Two tracks were taken from the first album ""Lost And Found"" (Among which the phenomenal ""Hatenaki Shoudou""), four other ones are from ""Four Corner's Sky"" and there's an unreleased track entitled ""Inner Flames"". Moreover, the sound recording is excellent and all in all, this is a milestone album ! As for the previous albums, and maybe in a more accomplished way, ""Proof Of Concept"" (2007) mixes KING CRIMSON and OUTER LIMITS' dark atmospheres and power with melodious and lyrical violin parts ala THE MAHAVISHNU ORCHESTRA, Jean-Luc PONTY or U.K., not forgetting Eastern Europe or classical influences like VIVALDI. Its Progressive jazz-rock is constantly inspired, brilliant, well structured and precise. ""Proof Of concept"" is the proof (!) that KBB became one of the best Japanese bands today.
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Mahavishnu, with one guy playing both McLaughlin's and Ponty's parts
There is a wide range of sounds on Japan’s progressive rock scene, and Akihisa Tsuboy’s KBB project manages to carve a niche that is described by the title track on Proof of Concept. Inner Flames. From that, one gets a clear sense of the inspiration. Early fusion, and McLaughlin’s group was notable for incorporation of violin, which is not only Tsuboy’s instrument, it is actually the lead instrument playing the role not only of any electrified violin in any fusion group that might have had one, but of electric guitar too. KBB is the most strangely Western of the progressive Japanese rock groups, which is not to say that their contemporaries are distinctively Japanese in their sounds, but that there are specific traditions that have developed, and KBB ignores them all. Japanese math rock, Japanese zeuhl, and many other styles have evolved into their own musical traditions, distinct from their original influences. KBB just reaches right back to the 1970s, and prog/fusion, and as soon as Inner Flames gets to you, you understand that the group’s concept, proven here, is that they can revive and revamp the best elements of those styles with just a few tweaks. They aren’t playing Mahavishnu Orchestra. Rather, signaling influence. And at many points, you hear Tsuboy’s electrified violin, and if you didn’t know better/pay attention, you might casually mistake it for an electric guitar. Of course, the violin gives Tsuboy constraints and options that the guitar does not have. In exchange for a higher register and lack of low end, along with the tonal changes that come from bowing instead of picking, the size of the fingerboard compared to a fretboard gives Tsuboy the ability to play some fascinating runs unavailable to a guitarist. Tradeoffs, of course. This is not to say every guitarist should drop the instrument and start playing violin. There are things guitarists can play that Tsuboy cannot, but the point is that it is no mere gimmick. Rather, a casual listen could deceive the audience into thinking there is really nothing going on here beyond a throwback to 70s prog and fusion, perhaps just done well. But then you pay attention, and wait, that’s not a guitar. The instrument shifts a bit, and it is clearly a violin, and that’s where it gets cool. Mahavishnu, but with one person doing McLaughlin’s and Ponty’s parts. Is this Inner Mounting Flame? Perhaps not, but it is more than a gimmick, and a very cool album. Sure, Tsuboy can go out there and play with Korekyojinn and do experimental stuff, but when you get right down to it, he can revamp 70s prog and fusion as well as anyone.
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