Takaki Kosuke — better known as Bosco — developed an affection for old time music’s traditional trappings as a result of some singular devotion. Although born and raised in Japan, he became fascinated with old time early on, and subsequently developed seminal skills on fiddle, banjo, and dulcimer while bringing his musical mantra to fruition.
As a result, his eponymous debut LP from Tiki Parlour Recordings offers an unpretentious reflection of the music he so eagerly absorbed and embraced, leading to a satisfying set of 19 instrumentals, each performed entirely on his own. The selection is culled from a series of classic compositions, most of them draped in obscurity and written by 20th century tunesmiths who have mostly been sadly forgotten. Nevertheless, Bosco pays tribute to these pioneers, many of whom he considers mentors. He not only covers the material, but also offers clear but compact descriptions of their origins in his liner notes. Naturally then, it’s a collection that will likely appeal to purists, specifically those who appreciate Bosco’s archival intents. The bare-boned, stripped-down settings are best suited for casual listening, given that there’s not much variation between many of the entries.
That said, Bosco makes this more than simply an academic exercise. His love of the genre shines through on the sprightly Drunk Man’s Blues, a jaunty Pretty Little Girl, and the effortlessly engaging, Cherry River Line, the latter of which boasts a descending riff which complements a ready refrain. While certain tracks find Bosco alternating between fiddle and banjo, he opts to plow into greater depths by overlapping his playing in ways that simulate a slightly fuller ensemble. Old Christmas Morning, for one, is an ideal example.
Mostly though, Bosco simply goes about his playing in a simple, straight-forward manner, and if, at times, he seems like he’s out to simply entertain himself, that enthusiasm spills over in ways that result in some infectious engagement.
Bosco’s focus and finesse are admirable, and the dedication to his craft is both obvious and infectious. Those enticed by the singular power of one man’s instrumental prowess are herewith advised to lean in and listen.
