Vagabond Synth Nerd’s Journal Vol. 131 - Hidden J-Pop Classics Special Part IV: Japan Edition

Hidden Masterpieces Special Part IV

In the previous installment, Hidden J-Pop Masterpieces Part III, we featured albums by Tazumi Toyoshima and Asami Kado.
This time, we're stepping outside the boundaries of J-Pop and exploring a broader category of hidden gems. We've selected two albums—one from Japanese rock and the other from Brazilian music.
Both are exceptional records, and we highly recommend giving them a listen!

■ Recommended Album: MASH / MASH (1981)

MASH was a supergroup led by Naoya Matsuoka, who served as the bandmaster and brought together some of the top musicians of the time.
Unfortunately, MASH only released one album, making it a rare and valuable piece of music history. Given that the band was formed by in-demand musicians, it’s understandable that their time together was short-lived.

The lineup featured an incredible roster of musicians:
- Naoya Matsuoka (Piano)
- Shuichi "Ponta" Murakami (Drums)
- Nobuyuki Shimizu (Keyboards)
- Yasuo Tomikura (Bass)
- Toru Aoyama (Vocals/Guitar)
- Pecker (Vocals/Percussion)
- Yumi Murata (Vocals)
Most of the songs were composed by Naoya Matsuoka. The album consists of five vocal tracks and three instrumentals.
At the time, it was quite rare for a band to have two keyboardists. What made it even more remarkable was that both were top-tier musicians—Naoya Matsuoka and Nobuyuki Shimizu.
For fans of this genre, their collaboration was big news and added a unique depth to MASH’s sound.

Classically trained and powerful vocalist Yumi Murata delivers performances that are at times strong and commanding, and at other times delicate and fleeting, carrying on the deep-rooted traditions of Japanese rock.
Meanwhile, the band's modern and dynamic instrumentation makes for a truly compelling listen. This album also serves as proof that Naoya Matsuoka, known primarily as a Latin jazz pianist, had a musical vision that extended into the realm of rock.

Recommended Track: "Exotic Perfume"

The track opens with Naoya Matsuoka’s rhythmic acoustic piano and Nobuyuki Shimizu’s synthesizer sequences, immediately giving off a sense of something fresh and new at the time.
Driven by an energetic 8-beat groove, the song’s momentum is powered by Toru Aoyama’s soaring guitar solo. Matsuoka’s masterful composition skillfully integrates sharp, rhythmic accents, and Aoyama’s solo glides effortlessly over these intricate phrases, making for an outstanding musical highlight.

Recommended Track: "Pulse"

Like Exotic Perfume, "Pulse" is a fast-paced, 8-beat-driven track with a style that leans toward hard rock. Naoya Matsuoka’s rock-oriented approach is once again at the forefront, showcasing his versatility beyond Latin and jazz influences.
Toru Aoyama’s guitar solo brings a fresh and innovative touch, leaving a lasting impression.
A fun detail—during the grand chorus section, the band playfully borrows a phrase from Jay Graydon’s iconic guitar solo in "It Will Be Alright" by Airplay, a reference that surely brought a smile to those familiar with it.

Recommended Track: "Love"

Riding on Shuichi "Ponta" Murakami’s crisp 16-beat groove, Yumi Murata’s vocals paint a desolate yet evocative landscape.
Key moments—such as the signature accents and bridge sections—are elevated by Nobuyuki Shimizu’s synthesizer work, which adds a distinct touch to the track’s atmosphere.
Toru Aoyama’s guitar solo once again showcases a strong Jay Graydon influence, particularly reminiscent of Graydon’s work on Manhattan Transfer’s "Twilight Zone / Twilight Tone." This subtle homage adds another layer of depth to the song.

■ Recommended Album: Live at Hot Croquette / Naoya Matsuoka, Getao Takahashi, Kenji Omura (1981)

In 1980, at the Latin music live house "Hot Croquette" in Roppongi, a unique jam session took place.
Brazilian samba band "Samba Som Brasil IV" was joined by Naoya Matsuoka and other Japanese musicians, resulting in a thrilling live recording.
Since it was a jam session, the album is filled with spontaneous energy and extended improvisations, allowing listeners to fully experience the musicians' creativity and virtuosity.

A key highlight of this album is the rare opportunity to hear Naoya Matsuoka playing a Fender Rhodes electric piano.
Typically, Matsuoka performed on either an acoustic piano or a Yamaha Electric Grand Piano C-P80, making this recording a unique listen for fans of his work.

Featured Musicians:
Alongside Samba Som Brasil IV, the lineup included:
- Naoya Matsuoka (Electric Piano) - Kenji Omura (Guitar) - Kenichi Inoue (Percussion) - Shigeharu Mukai (Trombone) - Takeshi Itoh (Saxophone) - Getao Takahashi (Bass) - Osamu Nakajima (Drums)

Recommended Track: "Sawayaka ni Iwau" (Celebrate Freshly)

In this rare live performance, Naoya Matsuoka played on both a Yamaha Electric Grand CP-80 and a Fender Rhodes electric piano, creating a rich and layered sound.
The song beautifully captures the melancholic yet nostalgic "saudade" feel that is a hallmark of Brazilian music.
A unique highlight of the performance is Takeshi Itoh playing the Lyricon (electronic wind instrument) in a samba band setting—an unexpected yet brilliant touch.
Additionally, trombonist Shigeharu Mukai, known for his expertise in Brazilian music, adds an authentic and soulful depth to the track. His deep connection to Brazilian music is evident, having even recorded a duo album "SO & SO" with Brazilian songstress Astrud Gilberto.
Naoya Matsuoka’s Fender Rhodes performance, driven by a samba rhythm, is simply outstanding. His saudade-filled phrasing, enriched with altered scales, showcases the essence of a true Latin-influenced pianist.
The extended improvisational solo is something you wouldn’t typically hear on a studio recording—it’s a live performance exclusive, where Matsuoka fully explores and expresses his musical depth.Holding everything together is Getao Takahashi’s deeply grooving bassline!

Recommended Track: "Taj Mahal"

On this track, Naoya Matsuoka plays the Yamaha Electric Grand CP-80, creating a distinctly different groove compared to the Fender Rhodes.
The contrast in tone and key touch brings a unique nuance to the performance.
A slight digression, but this song became a topic of controversy in 1979 when former Faces vocalist Rod Stewart was accused of plagiarizing its chorus.
While in Rio, Stewart frequently heard Jorge Ben Jor’s "Taj Mahal", and its melody stuck with him. When he later composed his own song, it led to a copyright claim. Rod Stewart openly admitted to it without hesitation.

Recommended Track: "Lantern Sagete" (Carrying a Lantern)

This track features a beautiful, saudade-filled melody, rich with emotion and elegance.
A standout moment is Takeshi Itoh’s Lyricon solo, which soars effortlessly over the arrangement, adding a unique, expressive texture. Naoya Matsuoka’s Fender Rhodes comping, locked in tightly with Getao Takahashi’s grooving bass, creates an infectious rhythmic foundation.
Adding to the magic, Shigeharu Mukai’s trombone improvisation brings a sensual and soulful touch, while Matsuoka’s final Rhodes solo provides a mesmerizing climax to the piece.

Featured Musicians, Albums, and Recommended Tracks

• Artists: MASH, Naoya Matsuoka, Nobuyuki Shimizu, Toru Aoyama, Takeshi Itoh, Getao Takahashi
• Albums: MASH (1981), Live at Hot Croquette (1981)
• Recommended Tracks: "Exotic Perfume", "Pulse", "Love", "Sawayaka ni Iwau", "Taj Mahal", "Lantern Sagete"
• Instruments Used: Acoustic Piano, Fender Rhodes Electric Piano. Yamaha Electric Grand CP-80

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