By Eyal Hareuveni
天藤丸 Ten-Toh-Maru is, no doubt, the most experimental ensemble that Japanese
pianist-composer Satoko Fujii plays in and most likely, the Japanese supergroup
that most of you have never heard of.
Ten-Toh-Maru features the unique, incomparable voice artist Tenko (天鼓),
co-founder of the eighties, all-women avant-rock band Mizutama Shobodan, and a
frequent collaborator in the next decade with John Zorn, Ikue Mori, Fred Frith,
and Zeena Parkins; Fujii (藤井郷子), who plays here mostly inside the piano; and
Toshimaru Nakamura(中村 俊丸), a central figure in the Japanese free
improvisation movement Onkyōkei (音響系, literally, reverberation of sound) of
the nineties and early 2000s, a pioneer performer of the no-input mixer board
and its feedback noises, and one of the main artists of the Japanese label
Ftarri and its sub-labels Meenna and Hitori, all focusing on reductionist
aesthetics.
Ten-Toh-Maru recorded its debut album, live in its first-ever performance at the
Koendori Classics club in Tokyo in September 2024 (its second performance was in
January 2026). 夜を往くもの The One Who Walks Through the Night consists
of three untitled, free improvised pieces that merge Tenko’s wordless,
free-associative vocal delivery—at times sounding like a mysterious shaman, and
at other times naked and vulnerable, but always totally possessed in the moment;
Fujii’s resonant percussive piano sounds that often correspond with exotic,
traditional zithers and percussive instruments; and Nakamura’s subtle yet
tangible, otherworldly fragmented noises. Nakamura recorded and mastered this
album. The cover artwork is by Cathy Fishman, a visual artist who did most of
Ftarri’s covers (and many of Otomo Yoshihide’s doubtmusic label).
The music unfolds patiently, relying on attentive listening and nuanced, but
completely unpredictable, textual development. The music sounds timeless, often
flowing through a series of poetic, dream-like cinematic images, but with
references to Japanese theatre and traditional rituals. Fujii anchors the
free-form dynamics with brief, incisive textual gestures, suggesting loose forms
and courses. Hopefully, Ten-Toh-Maru will keep performing and expanding their
rare musical universe.