I feel ill-equipped to talk about jazz. I don’t have the musical language to get into all the modes and chord changes and techniques, but I know I love it, even if my knowledge of the genre is limited. So a few months ago I went and – thanks to LaserCD – took a shallow dive into the Japanese jazz scene in the 70s. So this week I’m going to spend digging in and getting some short reviews in, trying to understand what about it works for me. We’re kicking off with a good one: the Masaru Imada Trio extended to a quintet cranking out a quartet of tunes on Green Caterpillar.

Maybe the first thing to note isn’t who’s on the album but what they’re on. The Three Blind Mice label was set up in 1970 to record the emerging scene in Japan, and for over 30 years was known for showcasing its roster with some of the best, clearest production around. Imada started as a keyboardist in Eiji Kitamura’s ensemble before going out on his own starting in 1953. Green Caterpillar sees Imada’s trio format of keyboards, bass, and drums expanded by Yuji Imamura on additional percussion and the great Kazumi Watanabe on guitar. I say “great” just from my experience hearing him on this album.

Trying to note the style here is hard; despite being firmly in the middle of the 70s I wouldn’t call this fusion. Think of it as more bop and modal jazz-rock. It kicks off with “A Green Caterpillar” which gets a funky start thanks to some wah and some snappy electric bass before Imada and Watanabe lay out the main melodic theme. And right away I noted the production: crystal clear with a soundstage miles wide. Terrific separation of instruments, letting you get really close to each instrument. All the solos are fantastic, but while it’s clear Imada and Watanabe are the stars here, the drumming of Tetsujiro Obara is a wonder. He’s never too flashy, but still plays all over the space, never not deep in the pocket. “Straight Flush” evokes Zappa in its beginning melody. and also showcases the syncopations percussionist Yuji Imamura brings to the album. It’s another fun, driving jazz-rock track, and Watanabe’s opening solo is fantastic.

The second half of Green Caterpillar takes a more relaxed, 60s acoustic vibe. “Blue Impulse” opens with some gorgeous piano courtesy of Imada, channeling Bill Evans’s work on Mikes Davis’s Kind of Blue. The stand-up double bass of Isao Fukui shines here, as does Obara’s cymbal work. He also has some great fills and highlights toward the track’s close. Finally there’s the romance of closer “Spanish Flower” again opening with some lovely solo piano by Imada and bells from Imamura before the track settles into more exotic territory accentuated by Fukui’s bowed bass. Even acoustic, even without Watanabe present on the second half of Green Caterpillar there’s a lot of light and electricity to be had, especially when we hit the middle section of the song. Despite my love for the two electrified rock tracks, there’s something about the ambition and scope of “Spanish Flower” that makes it my favorite track.

Really recommend checking this out and grabbing a copy if you can. Fantastic all around, and a great reminder that jazz is everywhere.