OSAMU - Sweet Chaos [1978]

 Osamu is a master craftsman in the studio, creating a style of instrumental pop fusion that is both accessible and interesting. The title is not at all reflective of the music but suggests a philosophical paradox that is akin to the Orient. More accurately, this music is really quite orderly and a bit understated; a blend of the lighter side of jazz fusion and classical Japanese music with a good dose of American pop for good measure. There are many inspiring delicate moments, especially on the ballads, where Osamu's Oriental roots are prominent. The instrumental version of The Beatles' "I Feel Fine" is laid back and cleverly orchestrated, while the one vocal cut, "East Enough Blues," is reminiscent of Laurie Anderson, and is one of the more interesting pieces on the album. As usual, Osamu's prowess as sound master extraordinaire makes for another effort with sound quality capable of being a "stereo tester". If Shadowfax or Hiroshima trip your trigger then Sweet Chaos will be a welcome addition to your collection. by AllMusic
Tracklist  
1 Faceless Joker 3:56
Soloist [Keyboard Solo], Performer [Pad] – Freddie Ravel
2 Castaway 3:56
Piano [Acoustic] – Victor Feldman
Soloist [Synthesizer Solo] – Freddie Ravel
3 I Feel Fine 3:24
Composed By – Lennon/McCartney
4 Along The Beam 4:56
5 Living Colours 6:32
Piano – David Benoit
Strings – Suzie Katayama Sextette
6 Shadow Warrior 5:16
7 Sweet Chaos 3:56
Piano – Freddie Ravel
8 East Enough Blues 3:45
Backing Vocals – Freddie Ravel
Composed By – Anjani Thomas, Freddie Ravel
Lead Vocals – Anjani Thomas
9 River Rogue 4:56
Credits
Arranged By [String Arrangements] – Joe Curiale (tracks: 2, 5), Osamu (tracks: 3, 4)
Arranged By, Keyboards – Joe Curiale
Arranged By, Synthesizer, Guitar, Percussion, Electric Guitar, Backing Vocals, Koto, Flute [Nokhan], Sampler, Synthesizer [Bass], Programmed By – Osamu
Bass – Eric Ajaye
Electric Guitar – Masayuki Suzuki
Keyboards, Electric Piano [Fender Rhodes] – Joe Sample
Percussion – Geoffrey Hales (tracks: 2, 6)
Percussion, Taiko, Bells [Bonsho], Percussion [Narimono], Kakegoe – Hiromitsu Nishikawa
Producer – Osamu Kitajima
Shakuhachi, Synthesizer [Wx-7 Wind Controller] – Masakazu Yoshizawa
Written-By – Osamu (tracks: 1, 2, 4 to 9)

OSAMU - Sweet Chaos 

[1978] Mesa / 1989 Pony Canyon

CBR320 / scan

O Púbis da Rosa

OSAMU KITAJIMA - Beyond The Circle [1996] FLAC

In the early ‘90s, the sound of ‘Osamu’ reached its musical peak with his masterful albums Mandala (1991) and Behind the Light (1992). A four-year hiatus followed, but in 1996, Osamu Kitajima returned with an album that charted a brand new direction and expanded his musical sensibilities as an artist. 

Beyond the Circle is a fusion album of East (organic Japanese instruments with traditional Geisha-esque voice-work) and West (modern synthesized layerings and rhythms). The result is no doubt fascinating, in particular the album’s fresh arrangements that seem to suggest unlimited possibilities for East-West fusion compositions in the genre of new-age and electronic music. Put yourself in 1996, and this album would begin to feel radical.

In fact, it almost straddles into dance and trance music territory, without the cookie-cutter artifice. Each track has its own unique properties, yet musically, the album has a consistent new sound. Kitajima would try to replicate that ‘sound’ again in the album Two Bridges Crossing (2008), in itself an interesting hybrid album, but executed less successfully. 

Highlights:

‘Beyond the Circle’ – The title track is also my favourite. Starts off with percussion, shamisen, and a groovy electronic rhythm, before a synth flute melody comes into play. Throughout the piece, we are treated to superb arrangements of electronic layers and koto. Traditional Japanese voice-work also punctuates the music playfully. No matter how long this is on repeat, it doesn’t get tiring. 

‘Mind Thieves’ – Strong rhythms keep this track lively. The melody is performed on koto, while some of the most invigorating voice-work of the album comes in the chorus of this track. 

‘The Bush Warbler’ – A deep-synth instrument and voice-work begin the track. There’s no distinctive melody here, but there’s a range of instruments used, including shakuhachi, electric guitar, and a myriad of electronic layerings. At about 2:40, there’s a bridging section with beautiful vocalization and taiko drumming, possibly the most memorable moment of the album. 

Tracklist

1. Beyond The Circle 5:15

2. Mind Thieves 4:43

3. Darkness Desired 5:14

4. Blue Fire 5:23

5. Evening Privilege 5:11

6. The Bush Warbler 6:04

7. Fading Sky 3:48

8. Bonito Moxie 5:01

9. Goldfish Lingo 4:43

10. Distant Episode 5:02

O Púbis da Rosa