PROOF OF CONCEPT

KBB is a Japanese formation, rooted in the late Nineties but this new album is only their third studio effort after their debut CD from 2002 and the CD Live 2004.

I am delighted about that live album, what a sensational work on violin and Hammond organ! On the new CD entitled Proof Of Concept again we can enjoy great and often exciting work on keyboards and violin by wizard Akihisa Tsuboy, especially his wah-wah drenched soli are spectacular, very similar to a distorted guitar sound. KBB their music shifts from dreamy and classical to compelling, propulsive and bombastic, loaded with spectacular violin soli, sensational synthesizer flights and great interplay between violin and Hammond organ. Remarkable tracks are Rice Planting Song (the atmosphere is close to the Roumanian folk due to the violin sound) and 40 Degrees featuring swirling Fender Rhodes electric piano and a powerful jazzy bass.

KBB is not a band that delivers elaborate compositions but if you like exciting instrumental, jazzrock oriented music with violin - and kebyoard pyrotechnics, you will be delighted too!

So now I purchased my "Proof of Concept" copy and confirmed my absolute adoration for KBB's jazz-prog vision. This has to be one of the most amazing prog highlights of the year, yet another masterpiece in KBB's impressive résumé. "Proof of Concept" pretty much follows in footsteps of "Four Corner's Sky" regarding sonorities and mood, albeit putting a somewhat greater emphasis on the powerful side of the energetic moments as well as the lyrical side of the introverted ones; you can also notice a reinforcement of the folk element when some exotic melodic ideas come to surface. The album kicks off with 'Inner Flames', an "old" piece that had already appeared in their live album and DVD: this studio rendition genuinely replicates the fire displayed in the previous versions, which shows how well can these guys express their emotional heat through their instruments, bsedies their technical ability. The incendiary violin and synth solos, the elegant vivacity of the rhythm duo, the harmonized cadences displayed by the bass and violin at unison, all these elements are majestically expressed in the almost 10 ½ minutes occupied by 'Inner Flames'. Such an intense opening can only be succeeded by a contrasting piece, one with a more defined melodic candor - this pretty much explains what the beautiful 'Weigh Anchor!' is all about, a manifestation of romanticism and serenity, solidly portrayed by Tsuboy's violin (it reminds me of the Goodman-Hammer album). 'Stratosphere' comprises two distinct sections. The first one digs further into the deepest ends of introversion first alluded in the previous track, now being less romantic and going more toward the mysterious. There is a sort of "contraint" crescendo that keeps things elegantly crystaline, delivered in a firm manner while keeping the emotion intact. Next, the second section brings a very powerful, uptempo motif on a 7/8 signature, in which the light of frenzy shines with total brightness: the emergence of Arabic tones in the violin and keyboard solos are captivating, especially a very dynamic synth solo that kind of reflects a Hammer-meets-Jobson thing. No doubt that the duelling and alternetions between Tsuboy y Takahashi play a major role in thsi album's greatness. Then comes 'Intermezzo', the dreamiest piece in the album, focusing on the romantic from a contemplative, almost mystic stance. The sounds are delivered as if the listener was invited to stand still while the music flows, afraid that the slightest movement could ruin the momentum. 'Rice Planting Song' y 'Lagoon Nebula' have to be the "weirdest" pieces of the album, mainly because they exhibit musica lschemes that are not that usual in KBB's repertoire. 'Rice Planting Song' mixes the birations of circus-background music, Slavic folk and ska- fusion, showing off a partying mood: imagine something that Jean-Luc Ponty would write after enjoying records from Samla Mammas Manna and Alamailman Vasarat for three hours. On the other hand, 'Lagoon Nebula' lets og of the previous optimism and goes to somber textures. It is basically a mid-tempo jazz-rock piece showered with influences from Univers Zero (regarding density, not the scary factor): in this way, KBB ets a reminder of the most disturbing moments of their "Four Corner's Sky" album. Unlike all other tracks, "40 Degrees" was written by bassistDani - it is featured as a sort of tribute to Weather Report and Return to Forever, combining melodic transparence and dynamic presence. 'Order from Chaos' fills the album's final 9 minutes, stating yet another solid example of KBB's prototype - reasonably complex and energetic jezz-prog with touches of symphonic prog and some extra werid ornaments that add a bit of weirdness to a simple articulated motif. This is really a principle statement, making it proper to close "Proof of Concept", a progressive gem that should be part right away of any good prog collection.

This is KBB's third album and i'm not sure if i'm just not getting into this because it's simply more of the same or maybe it's because there is no guitar on it like their last album. Regardless, if your into all-instrumental music with lots of violin you need to check this Japanese band out. Once again Tsuboy puts on a show with his violin prowess.

Well there were two tracks that did grab me including this the opener. "Inner Flames" opens with a drum barrage then it gets heavier. Synths solo over top and the organ comes and goes. It does settle back after 3 minutes. Check out the bass 5 1/2 minutes in. This is intense. "Weight Anchor" features tastefully played violin only to start then it gets fuller just before a minute. "Stratosphere" is laid back and almost dreamy. Native-like drumming comes in after 1 1/2 minutes, violin too. A calm 4 1/2 minutes in then the violin starts to lead as other sounds join in. This is uptempo by the way. "Intermezzo" is led by drums and violin early on. Piano joins in as the drums stop temporarily. The violin gets intense then it settles after 3 1/2 minutes.

"Rice Planting Song" has some crazy violin in it and the drums are prominant late. Not a fan. "Lagoon Nebula" is the other track I like. It's fairly heavy with the violin playing over top. Organ comes in then piano. "40 Degrees" is a pleasant violin led tune. Piano and drums help out. Nice bass as well. The electric piano is great here. "Order From Chaos" sees the violin take off after 2 minutes. Organ comes in around 4 minutes then it settles right down with piano. Violin and drums return. bass too.

For me this doesn't measure up to their first two but violin fans should be happy with it.

KBB are undoubtedly my favourite Japanese band, and not just because of the mastery of violinist Akihisa Tsuboy who leads the group, but the way that the quartet (Toshimitsu Takahashi (keyboards), Dani (bass) and Shirou Sugano (drums) are able to move seamlessly through different styles and seem at home in all of them. When I first came across Akihisa's album with Natsuki Kido ('Era') I was blown away as he reminded me so much of Ric Sanders, and that is the same here. He had a wonderfully fluid sound, and is able to bring a deft touch, knowing exactly what needs to be produced to get the best out of the song. I was more than a little confused when 'Rice Planting Song' came on, as that is gypsy folk at its' best and this is much more fiddle-playing than violin, but there are others when awe are treated to progressive jazz rock at it's finest. Opening number 'Inner Flames' commences with some drums fills before becoming something quite down and dirty, reminiscent of Colosseum II (violin instead of electric guitar) and some great Hammond organ sounds.

The major downside for me is that this album was released in 2007, and it doesn't appear that they have done anything since so I am not sure if they are still active or not. But given that it isn't unusual for them to have long breaks let's hope that there are still albums to come. www.musearecords.com