Genshi-Kyodotai (Primitive Community) Japan

"Another incredible creation in 1971.

Just like "Amalgamation" by Soundbreakers, GENSHI-KYODOTAI (PRIMITIVE COMMUNITY) have given the first loud / eccentric shout upon their eponymous album. As for me, cannot forget the moment I met and listen to this album for the first time. Not simply avant-garde jazz nor ethnic music, but definitely experimental psychedelia blended with avant-garde jazz and tribal percussion, they can be considered. And yes, let me say that they had completed such an unbelievable Neues for early 70s music scene, not only in Japan but also all over the world.

In 1944, Toshiaki YOKOTA was born in Tokyo. He'd played flute since his childhood while he appeared on stage as a professional flutist when he was 17. Through his own outfit Toshiaki Yokota & The Beat Generation or Kohsuke ICHIHARA's project Love Live Life (+1), he founded another twelve-piece ensemble named GENSHI-KYODOTAI (Primitive Community) in 1971 with Shunzo OHNO (trumpet), Kimio MIZUTANI (guitar), Kimio KOIZUMI (bass), Yusuke HOGUCHI (Hammond organ), Larry SUNAGA (percussion), Pedro UMEMURA (percussion), Tadaomi ANAI (percussion), Yoshinori NOHMI (percussion), Fujio SAITO (percussion), Minoru ISHIYAMA (percussion), and Chito KAWACHI (drums). "Primitive Community" (1971) was their only one album released via a Japanese major label Toshiba Ongaku Kogyo (at present EMI Music Japan). Toshiaki has played also in Takeshi Inomata & Sound L.T.D., and currently plays as a solo jazz flutist on stage all over the world, upon mass media, or so.

Exactly we can hear kaleidoscopic caricatures fusile with madness and sacredness, especially in the masterpiece / first explosion "Kinjirareta Gishiki (A Forbidden Ritual)" where they shoot kinda muddy inferno and solemn pentangle at the same time, with funky shouts, hypnotic percussion with ethnicity, and crazy flute attacks ... all should be in the Community and build this Primitive up, easily I guess.

In the second tune "Akuma No Namida (Tears Of Satan)" Toshiaki’s sharp-edged flute guillotines (might mean "Satan") drop swiftly down and holy percussion gems (like "Tears") glimmer fuzzily ... obviously there is symmetry among the representatives in this track (and the title of this song). "Hari Krishna" reminds me some traditional Japanese psychedelic progressive pioneers like Hiro Yanagida or Kuni Kawachi (both were pretty familiar with Toshiaki actually). On the contrary, "Black Narcissus" is very stable for us ... sounds comfortable, safe and sound for us, with smooth flute waves upon soft, cool percussion ground

Anyway, always wondering if "Savanna" might, like the first masterpiece "A Forbidden Ceremony" already mentioned, get quite influenced by Orient-based garagey Krautrock combos like Siloah, Blumen Des Exotischen Eises, or Anima ... Nah GENSHI-KYODOTAI had released this album in 1971, just the same time as the outfits above had done. This mysterious flavour should perfectly be their originality, identity (or one of joint projects with Masahiko Sato / Soundbreakers). Very amazing and incredible indeed.

Let me notify every progressive rock freak all over the world that a terrific Japanese ensemble released such a terrific creation in 1971. Ultra-highly recommended."