Yasuaki Shimizu
| Yasuaki Shimizu | |
|---|---|
| Born |
August 9, 1954 Shimada, Shizuoka, Japan |
| Origin |
 Japan
|
| Genres | Jazz, classical |
| Occupation(s) | Composer, saxophonist, producer |
| Instruments | Tenor saxophone |
| Years active | 1970s-present |
| Labels | Victor Entertainment |
| Associated acts | Saxophonettes, Mariah |
| Website | www |
Yasuaki Shimizu (清水靖晃 Shimizu Yasuaki?) (born 9 August 1954) is a composer, saxophonist and producer. He is known for his interpretations of the music of J.S. Bach, in particular the "Cello Suites 1-6" re-arranged for and performed on tenor saxophone.
Since 1981 he has composed, produced or arranged for artists as diverse as jazz vocalist Helen Merrill, composer Ryuichi Sakamoto, and DJ Towa Tei. During this time he has lived in London, Paris and Tokyo.
Shimizu’s career as a saxophone player took off in the 1970s. He released his first solo album, Get You, in 1978 and from 1980 won a following with his experimental rock band Mariah, with whom he released five albums.
Mariah’s final recording Utakata no Hibi (1983) weaved traditional Japanese festival rhythms with rock tempos and sounds. Over the same period Shimizu recorded solo albums including IQ 179 (1981) and Kakashi (1982), which built on the alternative-music foundations set down by Mariah.
From these beginnings Shimizu’s delight in pushing boundaries is apparent in such projects as the satellite link-up performance of Bye Bye Kipling with Ryuichi Sakamoto for a Nam June Paik happening (1986), or his enigmatic, solo “live installation” as a Human Cuckoo Clock in Tokyo (2002).
In 1983, he created the Yasuaki Shimizu & Saxophonettes project—initially a one-man band—which has since become the main focus of his recording activities. His first recording as the Saxophonettes was L'Automne à Pékin (1983), a tribute to the Golden Age of Hollywood: classic soundtrack-flavored tunes rendered with a combination of lush yet minimal orchestration and layered electronic sounds laid over reggae bass and drums.
This was followed by Stardust (1985), Latin (1991) and Time and Again (1993); the latter revisiting the textures of L'Automne à Pékin with original compositions highlighting Shimizu’s orchestral arrangements and his tenor saxophone.
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Wikipedia