Review: Hiromi - Beyond Standard

Having run out of words of praise in the English language for her outstanding career to date, four albums in of entirely self-penned compositions, and with we imagine a warehouse in Tokyo stuffed with the numerous awards for each of those four albums, Hiromi has chosen for her fifth release to be entirely made up of covers. We all knew it would come someday; a favourite performer, having made four stunning and brilliant works, and lapped up our near fanatical words of adoration, now tired from the strains of touring, decides to half-heartedly mail in the fifth album with some covers of some well-known standards.

Except, you’ve forgotten that this is Hiromi, haven’t you?

Using the same Sonicbloom band she recorded the earlier ‘Time Control’ with (electric guitar-piano-bass-drums), Hiromi here tackles not only a set of standards, but also some favourites that are distinctly non-standard. Opening with an intro taken from ‘Time Control’, the super-charged quartet launch into the Hammerstein-Romberg ‘Softly As A Morning Sunrise’, which takes on an other-worldly and enchanting quality. It is a beautiful start to the record and also highlights Hiromis modus-operandi for the following pieces.

This isn’t a tribute or homage to these standards, more a deconstruction and reconstruction. Here Hiromi is breaking the pieces down and putting them back together in a way that flavours each piece with her own distinct and quirky personality. The world doesn’t need another take on the dusty favourite ‘My Favourite Things’, so why bother? Hiromi also appears to have asked this question, and the answer appears to have been “to have some fun with it”. And that’s exactly what the band do here.

Debussys ‘Claire De Lune’ for example, is invigorating in the fresh take on the piece, moving the music from something classical in nature to something jazz. And the closing of the tune, with each of the band making individual expressions, is easily one of the album high points. Duke Ellington’s ‘Caravan’ on the other hand becomes an energetic fireball of a song, with some fluid and catchy guitar work by Fiuczynski and some simply mind-bogglingly fast rapid-fire piano solos.

Other covers here are far from standard; Japanese pop tune ‘Ue Wo Muite Aruko’ is a pleasant joy, while Jeff Becks ‘Led Boots’ and a cover of Hiromis own ‘XYZ – here re-christened ‘XYG’ allows the guitar to stretch out, whilst not pummelling the listener with the sonic overload sometimes present on the earlier Sonicbloom recording.

And of course, because this is Hiromi, things wouldn’t be complete without at least one sublimely nutty piece, equal parts inspired and insane. Like the earlier ‘Spiral’ and ‘Another Mind’, with their both spectacular and outstanding ‘Return Of Kung-Fu Champion’ and ‘The Tom And Jerry Show’ respectively, the best is kept for last. Almost a tribute, in the style of playing, ‘I’ve Got Rhythm’ is Hiromi Uehara as Oscar Peterson - a stunning six-minute solo piano that oozes fun and will raise a smile to any listener.

A superb work from beginning to end, ‘Beyond Standard’ easily lives up to its name - which in lesser hands would simply have been a prompt to goad the critics - and Hiromi continues to be a fun and engaging constantly evolving musical presence. Anyone who was put off by the addition of electric guitarist Dave Fiuczynski will be pleasantly surprised here, with his subtle and elegant more refined contributions. And Hiromi herself only gets better. One day years into the future she may choose to mail it in, but from the evidence on display here, she’d really struggle to do anything less than interesting and brilliant. Five albums in, Hiromi is five for five, and ‘Beyond Standard’ is exquisite.

****

Gig Review: Hiromi The Trio Project Live At Cadogan Hall 13.04.2014

Having loved all of Hiromi’s albums to date, I have for years been trying desperately to attend one of her concerts – in any format; be it solo, in a trio, with her electric Sonicbloom group, duetting…

Alas, I’ve been thwarted for about five years, with various issues and other events getting in the way. This year seemed to be no different either, with my wedding and honeymoon seemingly topping three nights of Hiromi live in London in the importance stakes. Luckily I’ve married the right woman, who was more than happy to attend a gig of some of the most exuberant piano jazz artists of the moment during our honeymoon.

I’ve attended Cadogan Hall in Sloane Square too (very upmarket – go for a drink elsewhere first rather than locally) before, and approved of the venue; about a thousand people capacity, very good sound, excellent views for anyone in the audience, and very easy to get to (one minute walk from the tube), it’s a fantastic live music choice.

No support, and with the trio walking straight on to the stage, to thunderous applause, the trio of Hiromi Uehara, Anthony Jackson, and Simon Philips dived right in to playing some incredible dexterous and complex music, that managed to be both exhilarating and playful.

Playing largely a mix of music of her ‘Voice’ and ‘Move’ albums, which both Jackson and Philips have played with the pianist on, the group also played a few tunes from the upcoming ‘Alive’. Another welcome variance though was that it wasn’t just always the trio playing – after a short interval following the first half of the show, just Hiromi herself returned for the first number of the second half, and it was a winner from start to finish. Playing a typically dazzling array of notes, Hiromi did so in a way that created a kind of slow yet up-tempo glittering waterfall of piano that rose and fell, and went all kind of directions. Keith Jarrett may be the reigning king of the solo piano, but on the evidence tonight, the just 34 years old Hiromi could very much give him a run for his money.

Hiromi is without doubt an incredible pianist, but aside from her technical prowess, it is also her winningly fun personality that comes through that really makes her music. And tonight, this was in abundance – musically and visually. And you certainly won’t see any player having more fun on stage. Throughout Hiromi leapt about the piano and displayed a wild abandon in showing a full range of facial expressions (though to fair, mostly a big smile).

An even better bonus however is the band. Anthony Jackson and Simon Philips have already astounded on record, but live they excel. Jackson plays a relatively rare contra-bass guitar, that possesses a truly great range and sound, and in Jacksons hands, is something truly awe-inspiring, while Philips’ drumming (and drum kit) was just huge; able to play subtle and quiet one minute, and loud and driving the next, he has a great show stopping range and easily matched his two band mates in virtuosity and skill. Together though they made a killer unit, playing together and interweaving with wonderful finesse.

Overall the whole night was a great show, and huge fun. Somehow Hiromi managed to play jazz, and not yet jazz, taking in classical, rock, a little salsa, blues…anything went, and it went well. The audience all looked like they were having a fantastic time, applause was loud and plentiful, and the entire band looked invigorated and happy throughout.

The gig was over all too soon, and the encore was a wonderful thank you, but in all honesty everyone almost certainly wanted a whole lot more. I’d always expected to love Hiromi as a live performer, and on this night I was not only not let down, but was even further bowled over – not just by her playing, but by her groups, their interplay, and just by the sheer musicality on display. I really must catch her and her ‘Trio Project’ again.

Review: Hiromi - Time Control

If you’ve been following Hiromi’s career up until this point, especially chronologically, then ‘Time Control’ - her forth - will come as no surprise. With each release featuring more adept electronic work, here she acquires a full-time guitarist in the form of David Fiuczynski and in doing so becomes the leader of a band that in set-up (and occasionally sound) will draw many comparisons with ‘Return To Forever’.

Curiously though, despite the addition of an electric guitarist, Hiromi almost entirely restricts herself to the acoustic piano. The effect of this though is spellbinding, with Hiromi’s classical training and the guitar-piano interplay taking on an impressive velocity and blend. Album opener ‘Time Difference’ showcases some excellent solo work and highlights just how well the band meshes, with Fiuczynski’s guitar throwing in some considerable punch. The call-and-response at the halfway mark is worth the price of entrance alone.

‘Time Out’, the second track, takes on a more swaggering blues persona, while bizarrely ‘Deep Into The Night’ two numbers later sounds at times, with its angular guitar and tinkling piano mix, uncannily like David Bowie’s classic album ‘Diamond Dogs’.

The highlight appears at the half-way point in ‘Real Clock vs. Body Clock = Jet Lag’, where the entire band synch together sublimely to play what sounds like a forgotten 60s jazz spy-theme. With its twanging guitar and running rhythm, it’s a wonder why no-one has yet attempted to poach this for sampling or remixing (at least at the time of writing this). Elsewhere, ‘Time And Space’ offers a slower and more spacious sound, with a great solo by Hiromi, and ‘Time Control, Or Controlled By Time’ that follows it sounds just like you imagine ‘Return To Forever’ would sound if they did record a new album today, albeit in a different dimension.

All of the band are on fine form here. Fiuczynski, on fretted and fretless guitars, is given the rock-start treatment, and thrives on it. And with his superb chops, his presence greatly helps the bandleader in achieving the fusion sound she is clearly aiming for. Martin Valihora again provides the solid and strong rhythm we’ve come to expect, and Tony Grey gives us his best performance yet, ably switching smoothly between soulful and moving to full-on rock attack in the space of a single bar.

Here and there, you can feel the influences of her three biggest mentors, Oscar, Chick and Ahmad, emerging - but where Hiromi truly succeeds is melding all of these very different influences into something her own. At times melodic, quirky and complex, Hiromi’s music possess a certain edge that won’t be for everyone, but this is music as it should be – with the freedom to both explore and express without restriction on length or sound or having to play to a demographic. The addition of electric guitar to the stellar trio may not be to all tastes, but Hiromi Uehara has rapidly become known as an important artist who will contribute no small changes to the music of jazz and jazz fusion. And ‘Time Control’ is another great entry in an already enviably strong catalogue.

****

Review: Hiromi - Spiral

After her first two superb releases ‘Another Mind’ and ‘Brain’, Hiromi hits the ground running with her third, and best, album yet, ‘Spiral’. Comprised entirely of self-penned compositions, her music mixs a heady brew of various dramatic themes, and places them into a distinctive kinetic jazz setting.

The lead-off title track begins with a slow build before crescendoing into a full jazz workout, where the trio gets to flex their muscle. Possessing a strong bluesy feel, it continues throughout the second more melancholic number, before hitting a peak on the following piece, which winningly displays strong percussive flourishes from Martin Valihora. Outstanding though is Tony Grey, who having more than proven himself both on Hiromi’s previous two recordings and live on stage, steps up a further gear and delivers some awesome high-end bass work, that at first adopts a solo guitar role before returning to its rhythm nature and provides a truly hypnotising groove.

Penultimate track ‘Love And Laughter’ takes on a nice swing jazz feel, and stands out as being the piece to play the uninitiated. Comparisons abound still with her heroes Jamal, Corea and of course Peterson, but the most present voice here, overwhelmingly is her own; her piano at the same time driving and elegant, and crucially hitting the mark in both intellectually and soulfully.

What comes next though completely changes tact; ‘Return Of Kung-Fu World Champion’ energetically leaps into the fray with Hiromi employing analogue keyboards and electronics to power forward an exhilarating update on her earlier ‘Kung-Fu World Champion’. Hiromi’s switch to grand piano midway through too adds a dramatic thrilling touch, with a driving low-end rhythm, and even if not a fan of the previous incarnation, this new one is simply stunning and all of the band are on full-throttle, going to show how not just Hiromi, but all of the band have improved.

‘Spiral’ then is a brilliant work that has so far best realised Hiromi’s potential (no easy feat). Where brilliance was in spades on her first two albums, occasionally mis-placed effects and electronics could put off some listeners. Here however, the balance between the sounds is perfect, and just as importantly the album flows astonishingly well. If you have to start with one Hiromi record, make it this one. We can only salivate at the prospect of her future works.

****

Review: Stanley Clarke Trio - Jazz In The Garden

Stanley Clarke has had an incredible career, fully of variety and experimentation – taking in traditional acoustic jazz, fusion, and a wide variety of film scores. He has also unfortunately had equally vast variety in the quality of his works, with a catalogue that includes equal parts masterpieces, forgettable fluff and those that are merely just okay.

Having spent most of the last few decades with the electric bass, Clarke - choosing to play in a rare piano trio - re-unites on ‘Jazz In The Garden’ with his Return To Forever partner in crime and drummer Lenny White, and returns for the first time in years to the acoustic bass. For the piano chair, Clarke could choose any pianist in the world, and for his return to the acoustic format, he chose the 29 year-old Japanese star Hiromi. A junior member in age alone, her solo work has already grabbed critics and audiences alike, and has shown that she should more than hold her own with the two veterans.

Opening with the Clarke original ‘Paradigm Shift (Election Day 2008)’, Clarke shows us we have much to look forward to, with a minute-long opening that shifts and changes directions tantalisingly, the bass establishing the rhythm punctuated by the cymbals of Whites drumkit. Clarke’s bass playing shows incredible dexterity, with some high-class slap-bass and use of the upper range. Sometimes the sound will make you swear he’s playing electric bass, but he’s not – he’s just that good he can caress the sounds from an acoustic bass that just sound electric. A climactic finish between the two rhythm buddies, with fast playing from Clarke and stunning tom rolls by White closes a perfect opener.

Hiromi brings two original pieces to the album, the very beautiful ‘Sicilian Blue’, which alone could become a Hiromi calling card, and the harder ‘Brain Training’ which features the bass and piano, riffing and swinging together in a strong bop. Aside from the two excellent originals, Hiromi also brings the traditional Japanese song ‘Sakura Sakura’ that is reworked to such a startling effect, with Clarkes’ bass echoing a traditional koto it becomes a highlight of the album.

Elsewhere we get some group improvisation in the form of duet piece for piano and bass ‘Global Tweak’, which is an effective jam that carries the two musicians and us along for a thrilling ride. ‘Take The Coltrane’, with its odd slowed down drum ‘n’ bass feel, simply sounds like two old friends having a ball, and we’re allowed to join in for the fun, whereas ‘Three Wrong Notes’ showcases Hiromi’s awesome talents to perfect effect in a style reminiscent of Brubeck or Powell, but it is Miles Davis’ ‘Solar’ that scores as the album standout, with some great arpeggio runs from Hiromi, while White lays down some sublime polyrhythmic work. A clever role reversal enters when the piano takes the bass role, while the bass plays melody.

The album closer is the odd choice of Hiromi’s arrangement of the Red Hot Chilli Peppers ‘Under The Bridge’, which although surprising, works wonderfully, with Clarke and Hiromi trading the lead melodic line duties with each other. The bass is downright funky, the sound intensifies and builds throughout, with the chorus adding an ethereal quality, and Hiromi offers first a discordant break before then launching into a free and expressive solo, building and then coming to a full stop.

Clarke has, contrary to the popular common opinion, played acoustic bass, on many occasions. But ‘Jazz In The Garden’ is his first all-acoustic album as leader of his own group, and interestingly, more than any other piano trio around, the bass seems more involved - both as lead and as rhythm – and it works stunningly well. As do his inspired bandmates, who both manage to innovate and sound like no-one could better them on these sessions. If there is one complaint, it is that Hiromi’s piano solos sometimes don’t sound completely integrated with what Clarke and White are laying down, almost as though someone has photoshopped a superb solo over a different rhythm, but the match doesn’t always quite fit.

Regardless, all the music here is first-rate and is an unexpected surprise from three musicians more commonly associated with more experimental and electrically-powered fare. Highly recommended for fans of any of the three players here, one can only hope the Stanley Clarke Trio is not a one-off project.

****

Review: Hiromi - Brain

Japanese pianist Hiromi exploded into the music world with her debut ‘Another Mind’. Displaying almost over-whelming technique and power at the keys, both she and her album grabbed your attention, took you on a rollercoaster and left you breathless and slightly dazed.

Album number 2, ‘Brain’, then does not grab you in the same way – it couldn’t - but still showcases an incredible and still very young artist who has plenty to say. Opening with the surprisingly electronics-heavy ‘Kung-Fu World Champion’, Hiromi displays a mastery of analog keyboards and squiggly sounding synths, with Tony Greys bass also perfectly melding into the mix. A few minutes in, Hiromi switches to building the pace with the acoustic piano, and the vibe generated is first rate. The next two tracks in comparison are entirely acoustic piano-trio pieces, with ‘If’ a perfect example of trio interplay, the bass and drums more to the fore than previously seen, and with ‘Wind Song’ displaying a dreamy waltz-like quality.

Throughout the album the piano does dominate, and rightly so - in Hiromi’s hands, the instrument is masterful and comes alive. However the keyboards that Hiromi also enjoys are more prominent than on her earlier recording. The title track for the most part, for example, sounds like a winning theme from an Oscar-nominated underdog epic, but is book-ended by some swirling keyboard effects that tend to jar and stand out. The penultimate ‘Keytalk’ too moves from an all-out jam with wonky sounding keyboards, before settling into first a more jazzy, then African sounding, dance groove. Sliding into a more European dance feel, the electronic sounds don’t truly gel with the rest of the music around it, and sounds much more ‘assembled’ than the more organic live interplay going on.

Much more successful are the acoustic piano pieces; ‘Desert Moon’ with its galloping pace but lightness of touch gives it a feel of a more sprightly Bill Evans, but perhaps as backed by Buddy Rich, whilst ‘Green Tea Farm’ with its moving slow and plaintive quality has more than a hint of prime era Keith Jarrett.

Best of all though is the ending ‘Legend Of The Purple Valley’. Epic in sound, it switches between jazz and film score music. Sounding like Hiromi is going for her very own concerto, it makes a truly great finale to the album.

After the success of her debut ‘Another Mind’, ‘Brain’ offers a follow-up that takes some new directions. Each of the pieces manages to be varied and interesting, while still holding as a complete album. Very occasionally the electronic sounds don’t gel with the acoustic. Make no mistake though; this is not a fusion record. Hiromi basically is making an album of music that she wants to make – some jazz, some some classical, a hint of rock, acoustic here, electronic there. Some listeners then won’t like what they hear, but everyone will find something here that will hook them. All of the pieces are bursting with incredible ideas, and for anyone willing to listen without prejudice to the electric elements, will find an awesome and satisfying musical journey.

****

Review: Hiromi - Another Mind

You may have heard of wonderkid piano player extraordinaire Hiromi Uehara, usually known simply as Hiromi. You may not. Chances are that if you have, then her name was more than likely mentioned accompanied with a gushing side of superlatives. Always dangerous, as when an artist then fails to be anything other than ‘the best thing you have ever heard up until this point right now’, criticisms come to you just as easily as the superlatives do to the gushing fan.

Hiromi grew up listening to a number of jazz players and took up the piano at the tender age of six, where she then quickly (very quickly just under a year later) became a student at the Yamaha School of Music. At the age of twenty, she then found herself at the prestigious Berklee School of Music. But as if that weren’t impressive enough, she also found the time to both meet and be mentored by such legends as Oscar Peterson and Chick Corea. Ahmad Jamal though saw such a talent, that the two became close friends and it is his production work that features on this, her debut album.

With such close mentorship, problems and accusations of having too similar a sound often arise. Here though, that is not the case. The aggressive opener ‘XYZ’ displays a driving rhythm with some beautiful cascading piano lines, before settling into a hypnotic bass and drum groove with some impressive piano variations skipping over the top. A great beginning, it sets the tone brilliantly for the rest of the album.

‘Double Personality’ that follows features again a strong band, this time with additional guitar and saxophone. A taut balance of rhythm and melody, the band speeds from one variation to another. At the nine-minute mark, it sounds like a party you wish you’d been invited to.

Similarly ‘Summer Rain’ and ‘Joy’ maintain the uptempo mood, but with more of a funk feeling. After the weaves of the first two tracks, these two pieces are easily the most accessible tunes here. ‘01010101’ alternatively has a surprising electronic sound that warrants its title, even if the keyboards featured sound out of place, played on the piano or organ, this would have been sublime. When the piano does come in much later, it fits much better. None-the-less, the track oozes fun.

‘Truth And Lies’ and the title track offer much heavier and moodier themes, whereas ‘Dancando No Paraiso’ sandwiched between them possesses a fun fast jaunt that settles into a slow groove but Hiromi still tinkling like a fast-flowing stream. A brief and enjoyable drum solo then gives way to a perfect salsa-esque piano run, that can’t help but raise a smile to your face.

Bassists Mitch Cohn and Anthony Jackson, drummer Dave Di Censo and guests Jim Ogden on alto saxophone and Dave Fiuczynski on guitar give fine support, and Hiromi in turn gives them great solo spots. Together the music encompasses a wide variety of musical tastes, taken in such luminaries as diverse as JS Bach through to King Crimson. An incredible debut performance, this amazingly was made while Hiromi was still attending music school. One can only wonder at what she’ll come up with upon graduating.

The ending bonus solo piece ‘The Tom And Jerry Show’ is a superb display of Hiromis dexterity and also her strong sense of melody. Playful and energetic, its sense of infectious fun seems to mirror the feel, as well as the pacing, of a Tom and Jerry cartoon. It is a perfect ending to a great album. The only problem is that by the end you’ve run out of superlatives.

****