Ahhh. I am writing to you reborn. Reborn after a nightmare of domain stuff as we tried to upgrade to a “real” website addy and, in the process, losing touch with the very readers we tried to amaze as we grew up to be hosted as a non-wordpress dotcom. Well we realized that we like being here just fine and that the world of techno-babble and web hosting is not meant for the, well, anybody really. So, with that said, are there any techno freaks that want to help us grow into an appropriate new home? We have money!

So, yes there have been posts. In fact, a LOT has been going on! So we will be sharing with you all of the incredible new music and contests, giveaways, and so on. We have Lo-Pro and Nonpoint on tap for interviews. We’ll post their goodies next.

We love being back! We also love Hiromi Oshima. Here is a naked picture of her. She is so hot that I have little pains near my face when I see her. Like, near my eyes. Yeah. Oh, that’s the infection. OK. Shhh….

-MEPS

Hiromi Oshima Makes Japan Look Like an Island

Heute kommen wir endlich mal dazu, eine schon lange geplante Rubrik zu eröffnen; den sogenannten Soundtrack Check. Wie der Name schon vermuten lässt, handelt es sich hierbei um die Vorstellung von den, extra für die jeweiligen Spiele angefertigten, Tonträgern. Die Musik hat mittlerweile einen hohen Stellenwert in der Entwicklung von Videospielen. Häufig schafft es der Soundtrack die allgemeine Atmosphäre der virtuellen Welt wiederzugeben und den Spieler somit besser eintauchen zu lassen. Ein Aspekt also, der auf unserem Blog nicht fehlen darf und durch das Inspizieren von Original SoundTracks (kurz: OSTs) wollen wir dieser Wirkung auf den Grund gehen.

Den Anfang macht der Soundtrack zu Chocobo Racing, ein Rennspiel, das 1999 für die Playstation 1 erschienen ist. Der Titel verrät, dass es sich hierbei um einen Racer von Squaresoft (Square Co.) handelt, indem viele Charaktere aus dem Final Fantasy-Universum zum Einsatz kommen. Die gleiche Methodik hat man auch beim Gestalten des Soundtracks gewählt. Der Komponist, Kenji Ito, hat sich bei 29 von den 30 Tracks an der Vorarbeit von Nobuo Uematsu bedient und sie etwas aufgepeppt bzw. für das Spiel passender gestaltet. Nobuo Uematsu selbst komponierte bisher fast alle Soundtracks der Final Fantasy-Reihe und ist eine wahre Berühmtheit, was Videospielmusik angeht. Die Strukturierung und Titelzahl beim Chocobo Racing OST gestaltet sich für Rennspiele sehr typisch. Es gibt für jeden Charakter ein Thema und noch ein weiteres für die jeweilige Strecke derer. Übrig bleiben das Opening-, sowie Ending-Theme und natürlich die üblichen Songs wie beispielsweise der Sieges- und Niederlagen-Jingle.

Jedoch ist ein Rennspiel-Soundtrack nicht gleich gut, nur weil man dem Standard folgt. Die Lieder müssen zu den Figuren passen und auch während des Rennens muss die Musik den Charme des Levels vermitteln ohne dabei nervtötend zu wirken. Ich für meinen Teil kann sagen, dass dies bei vorliegendem Beispiel absolut der Fall ist. Das könnte allerdings nicht zuletzt am hervorragendem Ausgangsmaterial liegen, welches Kenji Ito zur Verfügung stand.

Passionierten Final Fantasy-Spielern wird daher wohl sofort die Ähnlichkeit zu den Ursprungstiteln auffallen. So ist zum Beispiel aus dem Song Ancient Castle des zweiten Teils der Serie in diesem OST Golem’s Theme (#7) geworden. Genau genommen wurden vom ersten bis zum sechsten Final Fantasy-Teil gleichermaßen Titel verwendet und neu aufgelegt. Hinzu kommt der Titel FF8 Circuit (#26), welcher zuvor auf dem gleichnamigen FF-Teil noch Don’t Be Afraid hieß. Zur Verdeutlichung der Unterschiede bietet es sich an die zwei Versionen des Liedes an dieser Stelle mal zu vergleichen:

Hier, bei der FF8-Version wurde viel Wert auf ausdrucksstarke Musik gelegt. Das Lied weist orchestrale Elemente auf und wirkt somit sehr episch. Mit der Zusammenwirkung der verhältnismäßig langsamen Geschwindigkeit passt es auch perfekt zu einem Kampf-Thema, was dieser Song zweifelsohne ist. Im Gegensatz dazu steht die Interpretation von Chocobo Racing – man weiß schon nach den ersten Sekunden, dass hier viel mehr Nervenkitzel und Aufregung erzeugt werden soll. Durch die Erweiterung um ein paar Töne kommt wesentlich mehr Tempo in das Stück, was das Fahren auf der Strecke gleichermaßen unterstützen wie erschweren soll. Zudem ist dem Lied eine leichte Techno-Verwandtschaft zu unterstellen, welche den Spieler insofern beeinflusst, dass sich bei ihm unterbewusst Hektik und Aufmerksamkeit erhöhen. Es liegt also auch hier ein unglaublich passendes Stück vor (und ich kann euch versichern, die Strecke hat’s in sich), obwohl es sich um ein völlig anderes Videospielgenre handelt. Man könnte sagen: Ein Song – zwei Versionen – zwei Spiele – zwei Anwendungsorte – zwei Meisterwerke.

Allgemein ist der Soundtrack einem schnellen Musikstil zuzuordnen, weshalb der Vergleich zum Techno gar nicht weit gefehlt ist. Vor allem die musikalische Untermalung während der Rennen wurde in dieser temporeichen Art und Weise gestaltet, was wohl auf den bereits angesprochenen Effekt der Aufmerksamkeitssteigerung zurückzuführen ist. Die Charakter-Themen weisen hingen eine etwas gemäßigte Geschwindigkeit auf und spiegeln das Auftreten der Figuren den Vorstellungen entsprechend wider. So ist das Black Mage’s Theme (#10) beispielsweise sehr schaurig und vermittelt einen düsteren Eindruck. Die Grundstimmung ist hauptsächlich gedämpft und zurückhaltend, was sich durch tiefe Klänge äußert. Zwischendurch werden aufschreckend Akzente mithilfe von Höhen Tönen gesetzt – man fühlt sich also insgesamt so, als würde man durch das leere Schloss eines schwarzen Magiers wandeln und hinter jeder Ecke könnte eine Gefahr lauern.

Eine weitere Auffälligkeit des OST’ ist die Verwandtschaft zwischen den Figuren-Songs und den Liedern der dazugehörigen Strecken. Bleiben wir doch einmal beim Black Mage. Das Stück für seine Strecke trägt passender Weise den Namen House of Black (#21). Hierbei handelt es sich um eine zunächst, wie bereits erwähnt, schnellere Melodie. Zwar wurden die dumpfen, tiefen Töne aus dem Charakter-Thema beibehalten, jedoch ist das Drumherum wesentlich detailreicher und actiongeladener – es schuhuhen Geister und zusätzlich kommen leicht bizarre Tonabfolgen zum Einsatz, die womöglich die magische Aura des geheimnisvollen Ortes wiedergeben sollen. Beim Soundtrack wurde also in zweierlei Maß auf eine perfekte Abstimmung geachtet: Die Songs passen sowohl zur jeweiligen Figur bzw. Strecke, harmonieren aber dennoch auch miteinander und sorgen somit immer wieder für eine ideale Atmosphäre.

Zum Schluss möchte ich noch auf den letzten Song eingehen, denn das ist der einzig wirklich neue auf dem Album. Dieses Lied ist in vielerlei Hinsicht besonders. Da es sich über die komplette Dauer der Credits erstreckt, kommt der Titel auf eine Länge von stolzen 6 Minuten und 15 Sekunden – dass bei dieser Zeitspanne keine hibbelige Techno-Musik verwendet wird, sollte daher selbstverständlich sein. Genau das Gegenteil ist der Fall: man hat hier auf die orchestrale Unterstützung von Shiro Hamaguchi gesetzt. Der Name mag dem Durchschnitts-Deutschen wohl weniger bekannt sein, aber wer leidenschaftlich gerne Animes schaut, hat zumindest schon öfter etwas von ihm gehört. So ist z.B. die musikalische Begleitung von One Piece oder Ah! My Goddess ihm zu verdanken, auch für Square hat er schon viel fabriziert. Hiromi Ohta verleiht seiner Instrumentation eine hohe, klare Stimme, was das Stück insgesamt zu einer gefühlvollen Ballade macht – man ist beim Hören jedes Mal auf’s Neue traurig über das Beenden des Spiels. Leider muss ich auch euch nun mit dem Lied traurig stimmen, denn unser erster Soundtrack Check nimmt an dieser Stelle ein Ende. Wie er vielleicht schon bemerkt habt, ist die komplette Scheibe auf YouTube vorzufinden, also hört doch einfach mal selbst rein und erfreut euch an etwas Nostalgie.

If all the world is indeed a stage, pianist-composer Hiromi Uehara has played on just about every corner of it. Since the beginning of the decade, she has supported her impressive body of studio work with an ambitious tour schedule that has electrified audiences throughout the U.S., Europe, Asia and elsewhere with performances that have pushed the limits of piano jazz to new frontiers of compositional and technical skill.

Hiromi chronicles just a few of these places where she has experienced the almost mystical exchange between performer and audience on Place To Be, her new CD on Telarc International, a division of Concord Music Group. The album, her first solo piano recording, is set for release on January 26, 2010.

“Some places have such a special vibe, ” says Hiromi. “Sometimes a melody emerges in and around a place without me having to think about it at all. I can just walk down the street and I hear it.”

From New York City to Sicily, Bern to Boston, Vegas to Germany – several of those beautiful places are captured on Place To Be.

In addition to being a musical travelogue, Place To Be also represents a personal milestone for Hiromi, who recorded the album just days before her thirtieth birthday in March 2009. “I wanted to record the sound of my twenties for archival purposes, ” she says. “I felt like the people whom I met on the road during my twenties really helped me develop and mature as a musician and as a person. I feel very fortunate to have spent this part of my life traveling to all these places and making people happy. This record is a thank you to them.”

Place To Be caps an unprecedented run of releases for Hiromi. In 2009 alone she released two live DVDs as a leader, accompanied her mentor Chick Corea on the live double album Duet, and joined Stanley Clarke on his latest studio effort Jazz in the Garden. In recent years Hiromi has played festivals the world over including Glastonbury, Fuji Rock, Playboy Jazz and this summer the Toronto Jazz Festival where the Globe and Mail said she “left the audience slack-jawed in amazement.”

Stanley Clarke Trio with Hiromi & Lenny White

What a wonderful matinee in the jazz garden it was!

Chick Corea & Hiromi

Yoshi’s Sunday Matinees are always great for both kids and parents, a unique opportunity for really young kids to listen real music form the masters.

This Sunday is particularly challenging with two great shows, Regina Carter in Oakland and Stanley Clarke Trio with Hiromi & Lenny White in San Francisco!

You can also try The Yoshi’s Experience Contest!

Tell us about your favorite Yoshi’s experience (an amazing performance, a great meal, first date) from any of Yoshi’s locations (SF, Jack London, Claremont, even Berkeley). If we like your story we’…ll put it on our website, if we LOVE your story we’ll treat you to a show of your choice, and if you have our FAVORITE story we’ll treat you to dinner + show.

By Don Heckman

Los Angeles

- Oct. 7 & 8. (Wed. & Thurs.)  The Stanley Clarke Trio with Hiromi and Lenny White.  They initially seemed an unlikely musical combination – the Return to Forever team of Clarke and White, with the adventurous jazz fusion pianist Hiromi.  But the blend has turned out to be remarkably compatible, especially in the pieces that display Hiromi’s unexpected mainstream skills.   Catalina Bar & Grill. (323) 466-2210.

- Oct. 8. (Thurs.) Paco Pena.  The great flamenco guitarist performs in his show (and album) A Compas, fronting a stellar group of guitarists and dancers, along with singer Miguel Ortega and percussionist Nacho Lopez.  UCLA Live at Royce Hall.   (310) 825-4401

- Oct. 8. (Thurs.)  The Mike Melvoin Trio. Melvoin and his steady regulars, bassist Tony Dumas and drummer Ralph Penland are always great to hear.  But Mike’s been bugged by the recent noise in some of the media about jazz being “in trouble.”  “I think,” he says, “that it’s time to disprove that dark vision.”  He’ll no doubt have a few special guests show up to give him a hand in that admirable task.  Crown Plaza Brasserie Jazz Lounge.  (310) 642-7500.

- Oct. 8 – 11. (Thurs. – Sun.)  The Inaugural Concert: Gustavo Dudamel and the Los Angeles Philharmonic.  Thursday night’s Inaugural concert introducing the L.A. Phil’s remarkable new Music Director in a performance of Mahler’s celebratory Symphony No. 1 and John Adams’ commissioned composition, City Noir, may well be sold out by now.  But it’s worth a try.  And if you can’t get into the opening night, Dudamel and the Phil will perform the Mahler Symphony No. 1 with the U.S. premiere of Korean composer Unsuk Chin’s Concerto for Sheng and Orchestra on Friday and Saturday nights and Sunday afternoon.   Dudamel and the Phil will also revisit Adams’ City Noir the weekend of Nov. 27.   The Inaugural Concert: Gustavo Dudamel and the Los Angeles Philharmonic. (323) 650-2000.

- Oct. 9. (Fri.)  Azar Lawrence.  The strong, vigorous tenor saxophone playing of Lawrence takes center stage, backed by bassist Henry Franklin, pianist Theo Saunders and drummer Ramon Banda.  Spazio. (818) 728-8400.

- Oct. 9. (Fri.)  Carol Chaikin.  She’s been around a while, playing alto saxophone and flute with an ever-adventurous style; but she’s still not heard as much as she should be.  So don’t miss this chance.  Chaikin performs  with pianist John Campbell, bassist Tom Warrington and drummer Ryan Doyle.  Vibrato Grill Jazz…etc. (310) 474-9400.

- Oct. 9 & 10. (Fri. & Sat.)  Roberta Gambarini.  The Italian songbird may be from Torino, but Gambarini’s singing is rooted in the history and the essence of jazz, and she is one of the rare contemporary vocalists whose scatting simmers with rhythmic swing and harmonic authenticity.  The Culver Club in the Radisson Hotel Los Angeles Westside. (310) 649-1776.

- Oct. 9 & 10.  (Fri. & Sat.)  Ron King and Bobby Shew.  It’s trumpet weekend at Charlie O’s with a pair of versatile veterans taking the stage.  King performs on Fri., Shew on Sat. with the rhythm section of pianist Andy Langham, drummer Roy McCurdy and bassists Chris Connor (on Fri.) and Darek Oles (on Sat.)  Charlie O’s. (818) 994-3058.

- Oct. 9 – 11.  (Fri. – Sun.)  Marilyn McCoo and Billy Davis, Jr.  Forty years as a married couple, hit-makers McCoo and Davis can probably do a complete set of songs – from the Fifth Dimension as well as their own duo recordings – that cruised the tops of the charts.  Catalina Bar & Grill. (323) 466-2210.

- Oct. 10 (Sat.) Divas Simply Singing. Sheryl Lee Ralph’s 19^th annual celebration of divadom once again features a sterling line-up of high profile talent.  The line up includes, in addition to Ralph, Yolanda Adams, Brenda Russell, Loretta Devine, Jennifer Lewis, Yo Yo, Barbara Morrison, Frenchie Davis, N’dambi and Sam Harris.  The Saban Theatre.   (323) 655-0111

- Oct. 10. (Sat.)  Sambajah and Kleber Jorge.  Venice Beach is not Ipanema, by any stretch of the imagination, but there’s something special, nonetheless about hearing Jorge’s guitar and songs and the stirring Brazilian rhythms of Sambajah with the Pacific Ocean in the background.  The Terrace on the sand walk to the beach.  10 p.m. No cover charge.  (310) 578-1530.

- Oct. 10. (Sat.)  Kathleen Wilhoite.  Actress/singer/songwriter Wilhoite’s resume embraces starring roles in films (The Edge, Pay It Forward) and television (L.A. Law, The Gilmore Girls) as well as the placement of her songs in, among others, Murphy’s Law and Buffy the Vampire Slayer.  Here’s a chance to hear her do her own thing, up close and personal, Vitellos Restaurant.  (818) 769-0905.

- Oct. 10 (Sat.)  Babbie Green and John Boswell.  Green is show biz second generation, the daughter of composer Johnny Green (“I Cover the Waterfront,” “Body and Soul”) and TV personality Betty Furness.  But her catalog of songs stands on its own, surely one of the best – if, sadly, too little known – examples of contemporary songwriting.  She performs rarely, so don’t miss this chance to hear her – and her songs – performed  with long-time partner, accompanist and singer Boswell. The Gardenia.  (323) 467-7444.

San Francisco

- Oct. 8 – 11. (Thurs. – Sun.)  Regina Carter.  The jazz world’s most versatile violinist – ready, able and eager to expand her already impressive improvisational perspectives.  Yoshi’s Oakland.  (510) 238-9200.

- Oct. 9 – 11.  (Fri. – Sun.)  Stanley Clarke Trio with Hiromi and Lenny White.  If you missed them at Catalina’s on Wed. and Thurs. (see above), a quick run up to San Francisco will give you a chance to hear this engaging trio.    Yoshi’s San Francisco.  (415) 655-5600.

New York

Ann Hampton Callaway

- Oct. 5.  (Mon.) Girls Like Us. It’s a great title, and a potentially great show, given the material and the cast.  The songs of Carole King, Joni Mitchell and Carla Simon will be sung by Liz and Ann Hampton Callaway, Jessica Molasky, Barbara Walsh and Capathia Jenkins.  The Merkin Concert Hall at Kaufman Center.  (212) 501-3330.

- Oct. 6. (Tues.)  Steve Martin and the Steep Canyon Raiders.  Martin returns to his banjo-picking roots – he really is pretty good – at the start of a 23 city tour tour bringing bluegrass to the masses.  Carnegie Hall.  Also at the Wang Center in Boston on Wed., Oct. 7.   They’ll also be on the Letterman Show tonight – Monday Oct. 5.

- Oct. 6 – 11. (Tues. – Sun.)  Diane Schuur. She’s been returning to her jazz roots in the last few years, and the results – especially when Schuur emphasizes her story telling skills – have been impressive.   Blue Note. (212) 475-8592.

- Oct. 6 – 11. (Tues. – Sun.) and Oct. 13 – 19. (Tues. – Sun.)  The Bill Charlap Trio.  Pianist Charlap celebrates his 43^rd birthday (on Oct. 15) with a two week run, displaying the versatility that has made him a superb accompanist as well as an important jazz artist in his own right. The Village Vanguard.  (212) 255-4037.

Washington, D.C.

- Oct. 11. (Sun.)  The Thelonious Monk International Jazz Bass Competition and Gala Concert.  Fifteen outstanding young bassist compete before an impressive panel of judges: Ron Carter, Dave Holland, Bob Hurst, Christian McBride, John Patitucci, Charlie Haden and David Baker.  The Gala Concert will salute the 70^th anniversary of Blue Note Records with appearances by Herbie Hancock, Wayne Shorter, Ron Carter, Bobby McFerrin, McCoy Tyner, Jimmy Heath, Joe Lovano, Dee Dee Bridgewater and numerous others.  The Kennedy Center.  http://www.kennedy-center.org (800) 444-1324.

週末は、東京国際フォーラムでの「東京ジャズ2009」に酔いしれました。
とても幸せな時間を頂きました。

土曜日は、思い立ったかのように当日券を求め、Dutch Jazz GardenでBenjamin Herman Quartet、Peter beets Trioの演奏に酔い、そのままの勢いでメロディ・ガルドーと上原ひろみの演奏に心を揺さぶられました。

上原ひろみの演奏は、いつも通りパワフルですてきなものでしたが、最初の入りの曲の「The Tom ＆ Jerry Show」では、やや堅いというか、余裕がないようなというか、愉快さというよりも緊迫感が伝わってくるような感じでした。直後のMCでは笑わせてくれたのですが、「攻撃性」と「心から楽しむ余裕」の同居というのは難しいものですね。そう思います。

これまで彼女のライブを見た回数はあまり多くなく、まだ5回目ですが、どうも一番最初の曲というのは、ちょっと？？？と、自分自身も合わせられないところがあるので、そんなもんかなぁ、という感じです。が、徐々に乗りだしたら、止まりませんね。後は、個人的には熱狂の渦に飲み込まれました。

MC(女の子のダメだし)のあと、Sicilian Blue、BQE、CHOUX A LA CREMEへと続きました。ライブの当日が、New Albumの発売日でしたから、ピアノソロのこれらの曲は初めて聴いたのが、ライブという非常に幸運に恵まれました。Sicilian BlueはStanley ClarkとのTrioバージョンを聞いていますが、イントロが全然異なります。個人的にはTrioバージョンの方が好きですね。ひたひたと陰が覆ってくる夕暮れの雰囲気はしっとりと始まる方が、ピンと来ます。まあ、人それぞれなのでしょうけど。

BQEは大好きです。東京の情景にもマッチしそうです。都市の雑踏における蠢きと底を駆け抜けようとするエネルギーの固まり、ひらめきがあり、苦悩もある。しばし、自分のテーマ曲にしたいなと思います。

CHOUX A LA CREMEでは、曲の後半でベースのような音が出てきますが、これはチック・コリアとの競演でチックがやったように、右手で弦を押さえて出している音です。ライブではこのパフォーマンスに大いに盛り上がりました。

あと何曲か合ったはずですが、そのあとでPachelbel’s Canonが特に印象的でした。上原ひろみがバッハの音楽が好きなことは有名ですが、この演奏、チェンバロの様な音をどうやってピアノで出しているのだろうと、ステージ左右の映像で目をこらして確かめてみると、ピアノの弦の上に鋼の定規のようなものを乗せているのがわかりました。小道具を使ってピアノの持つ表現力を色々と実験してみるというのが、とても面白かったです。

締めは、Viva! Vegasの3つの組曲。とてもパワフルで華やかなShow City, Show Girlに始まり、けだるさの漂うDaytime in Las Vegas、そしてカジノでの一コマ一コマが描写されているかのようなThe Gambler。とても印象的な演奏でした。

そして当然のことながら、アンコールへ。やっぱり、ここはPlace to Be。心地よく酔いしれることができました。

翌日は、家族三人でお昼ご飯をとりながら、Benjamin Hermanの演奏を楽しみました。Benjamin Hermanはとても上機嫌にのりまくっていて、見ていて大好きになりました。演奏もパフォーマンスも最高でした。後半のNew Cool Collectiveでは、終始和やかなそして、音楽を楽しむという空気に満ちあふれ、手拍子と歓声とに包まれた、すばらしいステージでした。

Workshop @ Vancouver Internatinal Jazz Festival (June 27, 2009)

Fans that turned up at Tom Lee music store on Granville St. were treated to a rare experience Saturday afternoon, when pianist Hiromi Uehara attended a free workshop to discuss her musical evolution, her band Sonicbloom and to entertain a range of questions from the enthusiastic audience that jammed the intimate theatre to capacity (a prelude to her sold out performance at the Vancouver Jazz Festival on Saturday evening).

In concert, Hiromi has a growing reputation as an animated improviser whose physical style and commitment to the moment, can leave audiences both delirious and energized by a whirlwind of music. So this was a special opportunity to hear and learn a little more about the artist behind the keyboard. In person, Hiromi proved to be utterly charming, generous and engaging with a quirky sense of humour – all qualities that are translated poetically in her music.

Hiromi

She set the tone with an extended joyous improvisation that spanned the keys, filled with dazzling runs, stride anecdotes and percussive jabs before plunging hands-first into the baby grand and beating out some catchy bass figures from inside the piano’s inner sanctum. She later revealed the tune was called “Pâte a Choux” (French for Cream Puff) – a tasty musical offering that will hopefully land on an upcoming album soon.

Although her music is often fuelled by elements of fusion and rock, she is equally rooted in the Jazz tradition – conjuring the spirit of Art Tatum and Oscar Peterson with impressive displays of nimble-fingered melodic invention and a muscular rhythmic attack. When asked to describe some of her influences, Hiromi offered a diverse list ranging from ambient dance music to progressive rock, musicians from Jeff Back to King Crimson. When the house lights mysteriously flickered, she quickly added Michael Jackson to her list, getting a good laugh from the crowd.

When it comes to musical boundaries there are none for Hiromi – an audience question she decided to answer by performing another piece. “Pachelbel’s Canon” began with the universal melody we all recognize, but was first gently teased by a sharp or flat which pricked the ears. Then the rhythm subtly lagged, staggered and was nudged forward again, progressively more displaced from the original meter. Increasingly complex rhythmic patterns stacked one on top of another and the melody now whirled in harmonic flux until Pachelbel’s masterpiece became a Hiromi invention, yet the original melody always remained within earshot.

Asked about her musical roots, Hiromi explained that no one in her family had a musical background – her father is notary, mother a housewife, while her grandparents are green tea farmers. When she was seventeen, she raced home to excitedly tell her parents she had met and played with Jazz legend Chick Corea. Her parents did not have the faintest clue who he was – but after a little research and careful listening they were duly impressed.

Hiromi’s first piano teacher had a profound early influence on her development and although lessons began with classical technique, they frequently ended by swinging a little Handel (which Hiromi happily demonstrated for a minute or two).

Then, as Hiromi describes, she began jamming with Ray Brown and Herb Ellis, or with drummer Roy Haynes, or a host of other Jazz luminaries. But she quickly concedes that these memorable jam sessions were accomplished by adjusting the channels of her stereo, so she could dig in, and play along with her idols while gradually mastering the jazz vocabulary that she displays so effortlessly today.

After a period studying law in Japan, Hiromi decided to follow her muse, venturing to America where she attended Berkeley School of Music. Once again the stars were aligned for Hiromi, when an assignment she handed in to her Jazz arranging professor begged him to ask ‘who’ was playing piano on the recording. When Hiromi revealed that it was she, the professor insisted on passing it along to a good friend named Ahmad Jamal, the legendary pianist, who became another ardent fan and mentor for the young musician. Hiromi feels entirely blessed that her chosen path has fatefully led to friendships with both Chick Corea and Ahmad Jamal – two venerable jazz musicians.

When it comes to the repertoire featured on her recent album Beyond Standard, Hiromi explains that these are all songs that she has ‘lived’ with for some time. An audience member asks specifically about her arrangement for the standard “Caravan” and Hiromi likens her approach to redecorating an apartment or living room. You are intimately familiar with each piece of furniture and sometimes it’s fun to find new ways to redesign your living space. An ear-bending groove that runs through her take on the Jeff Beck classic “Led Boots” comes from a divot on her well-worn vinyl copy of the song that skips at a certain spot –  Hiromi ingenuously includes the rhythmic ‘skip’ in her version. The crack band Sonicbloom also features the immense talents of David Fiuczynski on guitar, Tony Grey on bass and Martin Valihora on drums.

In person, Hiromi is brimming with life and ideas; just like her music; in the early stages of a career that is already engaging listeners of all ages, many new to the diverse sounds of Jazz in the 21^st century. Poised at the keyboard, Hiromi is an animated, creative and vigorous player, with flawless technique, but never one to exploit it at the expense of exploring new ideas. For an encore, someone asks if she’ll play “The Tom And Jerry Show” (her fiendish take on the theme from the original cartoon classic) and she generously obliges. Listening to Hiromi’s version is like watching the cartoon on fast-forward – reanimating the cat and mouse antics with new twists and turns, bouncing from ragtime romps to stride escapades and exhilarating chromatic chase scenes up and down the breadth of the piano.

Hiromi’s philosophy shines through her words and music: “I try to play every show, every day, like it’s my first and last.”

Hiromi Uehara (上原ひろみ, born 26 March 1979) is a jazz composer and pianist born in Hamamatsu, Japan. She is known for her virtuosic technique, energetic live performances and blend of musical genres such as jazz, progressive rock, classical and fusion in her compositions.

Hiromi started learning classical piano at age 5. She was introduced to jazz by her piano teacher Noriko Hakita when she was 8. At age 14, she played with the Czech Philharmonic Orchestra. When she was 17, she met Chick Corea by chance in Tokyo, and was invited to play with him at his concert the very next day. After being a jingle writer for a few years for Japanese companies such as Nissan, she enrolled to study at Berklee College of Music in Boston, Massachusetts. There, she was mentored by Ahmad Jamal and had already signed with jazz label Telarc before her graduation.

Since her debut in 2003, Hiromi has toured the world and appeared in numerous jazz festivals. She will be performing live at the 2009 edition of the TD Canada Trust Toronto Jazz Festival on June 29th. She performed in London on 10th July at the Barbican, City of London.

For more information on Hiromi Uehara see

• Official web
• Official web (Japanese)
• Official Hiromi Fanclub
• Hiromi Uehara wikipedia page
• HiromiJazz An unofficial website about Hiromi with news, CD reviews, interviews and a discussion forum.
• Hiromi Uehara Tour Dates at Telarc
• Hiromi Uehara at MySpace
• In-depth Hiromi interview with Anil Prasad of Innerviews
• Tony Grey
• Dave Fiuczynski
• Martin Valihora
• Keyboard Magazine – The Upward Spiral
• Live Performing Spain with Chick Corea

Source: Youtube & http://en.wikipedia.org/wiki/Hiromi_Uehara

Stanley Clarke Trio: Jazz In The Garden (Heads Up HUCD3155)
The label “power trio” is usually applied to heavy rock bands, but when the piano, bass and drums are played by Hiromi, Stanley Clarke and Lenny White, I can’t really think of a more appropriate description.

And yet, while there is some pretty blistering, high energy work here, the more surprising insights come when things calm a little. Track one, Paradigm Shift, written in honour of the US election day last year, for example, opens with explosive stuff and lightning runs, but then settles into a lovely reflective semi-Latin feel, with graceful solos from Hiromi and Clarke.

There are also jazz standards on here, like Ellington’s Take The Coltrane, Miles’s Solar and Joe Henderson’s Isotope.

Clarke, as is his wont these days, sticks to acoustic bass, and his tone and way of phrasing is unmistakeable. White likes his cymbals and makes ultra fast look easy, as, of course, does the young Japanese pianist who seems to be able to think and move in a superhuman way, but is articulate whatever the pace.

A band of wide scope and skills which is still probably most effective turning up the heat and the speed. Here’s a sample:

FYI… PHOTOS of the SHOW at the BOTTOM

Well, I’d never been to Dimitriou’s Jazz Alley.  It’s an amazing little room (maybe 200 seats) with dinner served if you show up early.  Plus, in downtown Seattle, it offers free parking.  Yeah, you read that correctly – free parking.   Anyway, I showed up shortly after 6pm after fighting with traffic heading through Tacoma and into Seattle.  I got seated right up front, which was also the benefit of showing up early for the dinner & show deal.  Fantastic food, and wonderful staff!  The venue earns an A+!!  I hope they bring in some more choice acts… it was worth the trip.

Hiromi Uehara and Sonicbloom took the stage around 7:40.  The band was Hiromi on piano (a Steinway & Sons, if I recall correctly) & keyboards (3 different keyboards/syths), Tony Grey on 6-string electric bass, Dave Fiuczynski on double-neck guitar (12 string on top, 7 string on bottom), and Mauricio Zottarelli on drums.  Both Tony & Dave played on Hiromi’s two Sonicbloom records.  Actually, Tony played with Hiromi on her last four records (not just the recent Sonicbloom moniker).

As a band, they were pretty tight.  I liked Tony a lot on bass.  He had a nice groove, and his “mouthing” of the solos was fun, too.  Maurice was also great, but he was shielded from me for most of the night from an older “bigger hair” couple; so I didn’t catch many glimpses of him.  Dave was good, too… but sometime he got too “noodley” versus what the band was doing.  His solos weren’t great in my opinion, but when he was playing lead, his playing worked well.  Maybe guitar in a jazz quartet wasn’t my thing this time around.

As far as setlist, no luck.  Hiromi only announced one song from the stage: “Time Travel” from Time Control (the 2007 Sonicbloom record).  I’m pretty sure that they didn’t play “XYZ” (or the variation “XYG”).  That was a bummer, but not too much of a bummer – as the show was amazing all around.

They played a few standards, one that the name is on the tip of my tongue, but I can’t for the life of me remember it.  I can hear it still in my head (doo doo doo, doop doop doodle doop).  Damn, there are too many songs in my head and barely any names.  Hiromi also played a solo classical piece that was very familiar, but again, I’m drawing a blank.  Regardless of song names, Hiromi’s handwork is amazing.  I swear, I don’t know how she can pull off playing two different melodies at the same time with different hands.  Anyway, the whole group was an amazing bunch of musicians.  Most of the show was pretty jammy, but had elements of straight ahead jazz, and again some classical.

They’re playing again at the Jazz Alley as I type this… if anyone went tonight (June 17th), let me know how it went.

For the uninitiated to Hiromi, check out the video electronic press kit for Beyond Standard featuring “XYG“:

Or check out the video for “Time Difference“…

The Appropriate Linkage:

• Hiromi’s Official Webpage
• Hiromi on MySpace
• Dimitriou’s Jazz Alley

~Dan – np: Anakronic Electro-Orchestra – The Yiddish Part -EP-

HIROMI’s SONICBLOOM PHOTOS
all pictures (cc) 2009 Daniel Temmesfeld,
you may use freely under a creative commons attribution

(click for larger)

Hiromi Uehara playing her rendition of Sakura Sakura in a funky jazzy wazy.

Grammy-award winning veteran pianist Chick Corea teams up with the up-and-coming Japanese composer and pianist Hiromi Uehera on the two-disc Duet. With three generations between them, Corea and Uehera may seem like an odd pairing, but they play off each other like two friends who learned their instrument from the same teacher at the same time. They are totally in sync with each other. Corea seems as youthful and energetic as the 30-year-old Hiromi, while she performs with talent beyond her years

Duet documents the two pianists’ three nights of live duet performances at the Blue Note Tokyo. The selections chosen for this set are varied; covers of Bill Evans, George Gershwin, Thelonious Monk, Lennon- McCartney, and Antonio Carlos Jobim compositions to original compositions from the two pianists.

The first CD includes an original by each pianist as well as four covers. Monk’s “Bolivar Blues” and Lennon-McCartney’s “Fool On The Hill” attract attention on Disc One. The second disc contains four originals, two a piece. Gershwin’s “Summertime” is included on this disc, and the closer is a lovely melding of Joaquin Vidre Rodrigo’s “Concierto de Aranjuez” with Corea’s “Spain.”

Duet is masterful. It’s a great combination of two extraordinary pianists from different generations and cultures who, with the ivories, communicate with each other passionately and quite effectively.

Here they are performing “Summertime”

WISE, miembro de los TERIYAKI BOYZ, anunció sacar su segundo trabajo en solitario para el 27 de Mayo cuyo nombre es LOVE QUEST que incluirá sus singles mas recientes Mirror feat. Salyu y Furimukanaide feat. Hiromi junto con colaboraciones con May J. y BEAT CRUSADERS…
Donde a continuación les dejaremos con la canción que nombrabamos:

[PV] WISE – Mirror feat. Salyu y Furimukanaide feat. Hiromi