Can’t find it on Tidal either.
Thanks GeoffC - I like Saturday Morning too but not heard Crystal so better try and dig it out.
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A review on rate your music.com:
Japanese jazz artist Hiroshi Suzuki’s album Cat went virtually unnoticed when it was released back in 1975, an entirely uptempo, at times rather high in tempo, yet manages a reverence that always keeps it locked into the realm of the methodical. One could easily argue for or against attributes of a person/artist who pays intent careful attention to the details, an artist who does things in a precise manner while enveloped in and following an established procedure, envisioning his work as almost a mathematical structure.
Some would claim that Suzuki’s work lacks a soul, that it’s a photograph of something important, rather than that actual something, where taken to the most extreme, one could suggest that his work is very machine like, as if a computer had been vested with all the jazz chords and nuances that had ever been played, then creates a jazz composition on its own. Yet when one considers the creative philosophy brought to art in Japan, I can only ask, “How could it be any different?” When a blade maker creates a sword in Japan, it’s done in a prescribed method that’s been handed down for thousands of years, the same with Japanese script, where the simple act of writing a word or a phrase is instilled with art and grace, bestowing a learned and initiated process.
Jazz was new to Japan, it never developed there as it did in say America or France, where in Japan all that jazz is has been studied and refined, it’s become entirely thoughtful and precise, instilled and filled with rich traditions that go into any art form rising out of that country, defined with rich tradition and wonder.
When it comes to mid ’70’s jazz, were a decided refinement was sweeping the jazz world in general, Cat is a tough album to ignore. It’s a dynamic bit of jazz fusion, electric jazz that stands very much in the timeframe from which it was created. Now that’s not to say that it sounds locked-in or stale, it’s just instantly recognizable, heavy on the electric piano and keyboards, decidedly played in a stretched out groove filled manner, filled with an energy that will surprisingly bring to mind the work of Freddie Hubbard’s funkiest licks. All of the tracks are rather lengthy, beautifully laid out with rhythmic sensibilities that are entirely focused on simply the most profound and delicious rolling grooves. With that in mind, Suzuki lays down trombone solos that are simply heavenly, perhaps matched only by the saxophone work of Takeru Muraoki, resounding with unexpected and visionary breaks that ride in an almost laidback manner … though are anything but.
*** The original first vinyl pressings now command prices of nearly $1500, with pristine copies commanding even more.
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Be bop 
Interpreting you like it, right? Or was it the J?
I am not very Bepop . Thought, looking at the date, 1973, that it will a good jazz fusion from the 70’s that I didn’t knew. But unfortunately not, it’s bepop. 
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Ah, like that. To each their own. Bop, hard bop, rock jazz funk fusion, etc, as long as the musicians are talented, not taking easy predictable paths, refrain from singing, I am interested. Cool bass lines? Even more interested. 
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For some lovely bebop I am spinning my latest Tone Poet - Bass on Top by Paul Chambers.
Some real bass groove, giving my little PMC 20.21s a real workout
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Cool, have fun! Tell us how the Placebo vinyl was.
Listening to it again tonight, it really is a great session. Annoyingly high prices for these pressings though. But maybe that’s just me.
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The 3 lps are well recorded and sound very good. Quite no click and pops, very very minor and very occasional.
The Placebo is terrific. Mint, dead silent and wonderful music.
Don Grolnick is good, enjoyable.
Brian Augers, live Oblivion, take me away: it really took me away!! I was hypnotised. Terrific track.
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Streaming on Qobuz via Roon. 
Dave
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The sound on the CD is very good, but unfortunately you don’t get the added clicks.
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Ah well, the upside is that average Joe (me) must really really really like an album before putting it on the vinyl want list.
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Just to be exact - this is a Hard Bop genre.
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Dixieland (1920-1930)
CHARACTERISTICS: Use of collective improvisation (polyphony). Front line of trumpet (or cornet), clarinet, trombone. New Orleans style typically included banjo and tuba, later replaced by guitar and string bass in Chicago Style. Chicago Style also typically adds saxophone to the front line. Use of flat four in New Orleans Style, later replaced by lighter two beat feel in Chicago Style. Modern drum set emerges when New Orleans musicians begin to consolidate the drum section (bass, snare, cymbals) commonly found in early New Orleans brass bands.
IMPORTANT MUSICIANS: Louis Armstrong (cornet/trumpet), Bix Beiderbecke (cornet), Jelly Roll Morton (piano/composer), Sidney Bechet (soprano sax, clarinet), Earl “Fatha” Hines (piano)
Swing/Big Band Era (1930-1945)
CHARACTERISTICS: Most popular period in jazz history. Large ensembles, less improvisation, more emphasis on written arrangements. Emphasis on showmanship (band uniforms, theme songs, logos on stands, choreography, singers). Development of sections (saxes, trumpets, trombones, rhythm) based on the early model of the front line in New Orleans/Chicago Style Dixieland. Smoother swing feel (steady 4/4 time with emphasis on beats 2 & 4, walking bass, ride cymbal). Features of standard big band arrangements could include: Tutti (all horns playing a melodic line in harmony), Soli (one section featured playing a melodic line in harmony), Shout Chorus (climatic tutti section at the end of the arrangement), Cross-section voicing (a harmonized melodic line voiced using instruments from different sections within the band), Riffs (repeated short melodic and/or rhythmic pattern).
IMPORTANT MUSICIANS: Duke Ellington (piano/composer), Count Basie (piano/bandleader), Coleman Hawkins (tenor sax), Lester Young (tenor sax), Roy Eldridge (trumpet)
Bop (1945-1950)
CHARACTERISTICS: Small ensembles (trio, quartet, quintet). Focus on improvisation rather than on complex arrangements. Complex, angular melodies usually played in unison. Longer, irregular phrasing. Usually faster tempos than in swing. Emphasis on virtuosity, instrumental technique. Drummer is now more interactive (dropping bombs) with soloist. Use of contrafacts (original melody lines written over standard chord progressions). Increased harmonic complexities (alterations and substitutions of standard chord progressions).
IMPORTANT MUSICIANS: Charlie Parker (alto sax), Dizzy Gillespie (trumpet), Bud Powell (piano), Thelonious Monk (piano/composer), Max Roach (drums), Dexter Gordon (tenor sax), J.J. Johnson (trombone)
Cool (1950-1955)
CHARACTERISTICS: Calm, unhurried approach to improvisation. Thinner textures, softer dynamics, smoother melodic phrasing. Horn players tend to play with a lighter, less harsh tone quality with little vibrato (influence of Lester Young). Less intense kicks/bombs by drummers, increased use of brushes. More intricate arrangements, an emphasis on composition. New instrumental combinations (flute, cello, french horn, oboe, etc.). Renewed interest of collective improvisation. Less obvious blues influence.
IMPORTANT MUSICIANS: Miles Davis (trumpet), Dave Brubeck (piano/composer), Paul Desmond & Lee Konitz (alto sax), Gerry Mulligan (bari sax/composer), Modern Jazz Quartet, Stan Getz (tenor sax), Gil Evans (piano/composer)
JAZZ STYLE PERIODS (pg.2)
Hard Bop (1955-1960)
CHARACTERISTICS: Raw, hard driving style with an emotional emphasis. Extensive use of the blues & gospel music. Emphasis on “groove” (funky), danceability and the “shuffle” rhythm. Latin elements and a “straight” eighth note feel used at times. Somewhat slower tempos and simpler melodies than in bop. Primarily black musicians from New York City, Detroit and Philadelphia.
IMPORTANT MUSICIANS: Art Blakey (drums) & The Jazz Messengers, Horace Silver (piano), Sonny Rollins (tenor sax), Clifford Brown (trumpet), Cannonball Adderley (alto sax), Charles Mingus (bass/ composer), Benny Golson (tenor sax/composer) & The Jazztet, Miles Davis’ (trumpet) “classic” quintet (1955-59)
Free Jazz/Avant Garde (1960s)
CHARACTERISTICS: Open or free forms; tunes often complete improvisations. Lack of preset chord changes. Usually dense textures, high energy playing (energy music). Collective improvisation of a more dissonant, atonal nature. Oftentimes ensembles omit use of a piano or chord instrument. Experimental instruments & instrumentations. Use of unorthodox sounds (squeaks, screams, noise, etc) and extended techniques (altissimo register, multiphonics, etc). Interest in non-western musical concepts (world music) and 20th century classical composers such as John Cage and Karlheinz Stockhausen.
IMPORTANT MUSICIANS: Ornette Coleman (alto sax/composer), Cecil Taylor (piano/composer), Albert Ayler (tenor sax), Anthony Braxton (saxophones/composer)
Fusion/Jazz-Rock (1970s)
CHARACTERISTICS: Extensive use of electronic instruments: electric piano (Fender Rhodes), synthesizers (multiple keyboards), electric bass (bass guitar), electric guitar, electronic modifications on acoustic instruments. Focus of attention on the rhythm section. More attention on studio recording technology and the process of recording. More emphasis on straight eighth note feel (rock) than on swing. Harmony often simple chord repetitions (static harmony, vamps). Bass lines often repetitive. Pieces range from simple melodies with vamps and open forms to complex through-composed , sectionalized compositions. Saxophones used more often than brass instruments.
IMPORTANT MUSICIANS: Miles Davis (trumpet/bandleader: Bitches’ Brew, In A Silent Way), Chick Corea (keyboards/leader: Return to Forever), Weather Report (group), John McLaughlin (guitar/leader: Mahavishnu Orchestra)
Eclecticism (1980s & 90s)
CHARACTERISTICS: No single dominant stylistic trend has emerged in the 1980s or 90s. Instead, a continuation of previous styles, crossovers, and new styles derived from various sources are common. Some notable trends within this eclecticism seem to be: 1) a further sophistication of electronic jazz through the use of computers, 2) a resurgent neo-bop and neo-traditionalist movement (Neo-Classicism), 3) expanded instrumental & vocal techniques, 4) a greater involvement of women, and 5) the growth of European and “world music” jazz styles.
IMPORTANT MUSICIANS: Pat Metheny Group (fusion band), Michael Brecker (tenor sax: also founding member of fusion group Steps Ahead), Wynton Marsalis (trumpet/composer: associated with Neo-Classic movement), Joe Lovano (tenor sax), Kenny Garrett (alto sax), Don Byron (clarinet/composer), Dave Douglas (trumpet/composer), Bobby McFerrin (voice), Steve Coleman (alto sax: associated with M-BASE movement), Cassandra Wilson (voice: associated with M-BASE movement), Dave Sanborn (alto sax), Chick Corea’s Elektric Band (fusion band), John Scofield (guitar), Keith Jarrett Trio (piano/bass/drums acoustic
I am more on the two last: fusion and eclectic.
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