Jazz and Far Beyond

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CD/DVD DisksNo. 228

#1395『ヒグチケイコ+神田晋一郎/passing and longing and there is only a trace left 過ぎしも愛しもただ跡だけが残り』(2017:Ftarri)

Text by:Kayo Fushiya 伏谷佳代

Ftarri uta 222


1.passing (Keiko Higuchi / Shin-Ichiro Kanda)
2.Sabia (Chico Buarque / Antonio Carlos Jobim)
4. Love Song / Liebeslied (Bertolt Brecht / Kurt Julian Weil)
5.三月のうた/ sangatsu no uta (Shuntaro Tanikawa / Toru Takemitsu)
6.Lover Man (Jimmy Davis, Roger Ramirez and Jimmy Sherman)
8.黒髪/ Kurokami (Anonymous / Ichijuro Koide)
9.Rock Me More and More (Colette Magny)
11.Estate (Bruno Brighetti / Bruno Martino)
12.longing (Keiko Higuchi / Shin-Ichiro Kanda)

Recorded by Shin-ichiro Kanda
Mixed and mastered by Taleshi Yoshida
Cover art by Keizo Miyanishi
Design by Yoko Mitsuji (gram)


This duo album by Keiko Higuchi and Shin-ichiro Kanda appears some seven years after their previous CD. Higuchi’s voice has a remarkably increased matt elasticity, and Kanda’s hard piano timbre directly pierces the listener’s skin. The album is a comprehensive mix of their originals, bossa nova, jazz standard, Three-penny Opera, French chanson, contemporary music, and even 18th century’s nagauta with improvisations inserted for good measure. Nowadays it is not rare for musicians to assemble elements transcending time and space like a patchwork, but sadly, many such offerings end as a pastiche of self-contentment and ambiguity; in contrast, these two musicians present a well-structured evolution. It is not just a taster of a vast range of cultural motifs lurking behind the players; rather, each motif transmutes into the living body of the musicians, and reaches new heights. Their own unique sense of drama and interpretation stirs the listener’s five senses. Starting from a “duo” format, at every contact point between two phenomena, a profound darkness lingers: in the depths between languages, in the tense contention between musical intervals, and between the lyrics and tone clusters, noise and stillness, musical composition and improvisation, and time passed and time passing, and so on. Their emotional and intelligent approach reveals these elements to a delightfully painful degree, teetering on the brink of cruelty, and is exactly why this bitter sweet is so satisfying. From the familiar works, only the quintessence is extracted, and filtered through their innate individuality; such a world is endowed with an intrinsic strength that defeats easy systematic classification. It is purely the thrill contained in maturity and an untamed noble dignity. Captured by the numerous residual images left by each fleeting moment, the listener can only enjoy the ultimate elegance that the “songs” and performers aspire to achieve. (Kayo Fushiya)

keiko higuchi ©yasumune morishige
shin-ichiro kanda



伏谷佳代 (Kayo Fushiya) 1975年仙台市出身。早稲田大学卒業。欧州に長期居住し(ポルトガル・ドイツ・イタリア)各地の音楽シーンに通暁。欧州ジャズとクラシックを中心にジャンルを超えて新譜・コンサート/ライヴ評(月刊誌/Web媒体)、演奏会プログラムやライナーノーツの執筆・翻訳など多数。


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