Forest Fumio Yasuda

• 1 Rain Landscape 04:54
• 2 Thirst for Love 05:55
• 3 Black Rose Melancholy 04:47
• 4 Happiness 04:10
• 5 Things That Are Missing Here 05:30
• 6 Asian Nostalgia 04:31
• 7 Song of Lydia 04:53
• 8 Sounds from the Other Side 05:39
• 9 Cloudy Landscape 03:13
• 10 Fall of Icarus 03:55
• 11 Waltz for Monique 03:34
• 12 Mahoroba 02:32
• 13 Forest 06:54
• Total Runtime 01:00:27

Info for Forest

Once the Western World and Japan were completely foreign to each other, today in the 21st century we discover new forms of culture, ways of life, nature, images and sounds. Fumi Yasuda’s music comes from modern japan; time, space and eternity play an important role in this music. In the score there are no pauses, but spaces of silence between lyrical, deeply poetic tones and sounds which tell us about Japanese landscapes. Yasuda works in a deep musical understanding with Joachim Badenhorst, Nobuyoshi Ino and Akimuse.

Akimuse, vocals
Fumio Yasuda, piano
Joachim Badenhorst, clarinet, saxophone
Nobuyoshi Ino, bass

Fumio Yasuda
born 1953 in Tokyo, graduated from Kunitachi College of Music, Composition major. Starts composing at the age of 17, soon finds his interest in improvisational music and performs together with one of the most known improvisers in Japan, guitarist Masayuki Takayanagi as a pianist. From 1995, he starts his musical collaboration with the photographer Nobuyoshi Araki. The main compositions performed from Araki's projects are, "Tokyo Comedy" (1997 in Wien), "Shijo" (1998 in Hamburg), "1999 Taipei - Summer" (1999 in Taipei) and the latest project was performed in Prato, Italy in 2000. Fumio Yasuda has recorded the albums »Kakyoku«, »Charmed with Verdi«, »Schumann's Bar Music«, »Heavenly Blue« and »Las Vegas Rhapsody«, »Berlin – Songs of love and war, peace and exile«, »Schumann's Favored Bar Songs« and »Mother Goose's Melodies« for Winter & Winter.

Already the album »Kakyoku« represents the fruits of Yasuda's ongoing collaboration with Japan's most famous photographer, Nobuyoshi Araki. In contrast to the atonality and often-challenging tenor of much of today's classical music, Yasuda's scores are remarkably accessible. At times recalling the Impressionism of post-romantic composers such as Debussy. As Araki comments, "Yasuda's music is sometimes sentimental and sometimes almost insane. It has a way of getting under one's skin and touching both body and soul."

Booklet for Forest