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*Super Audio CD* |
Kérjen
árajánlatot! |
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| 1. | Time Difference
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| 2. | Time Out
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| 3. | Time Travel
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| 4. | Deep into the Night
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| 5. | Real Clock vs. Body Clock = Jet Lag
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| 6. | Time and Space
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| 7. | Time Control, Or Controlled by Time
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| 8. | Time Flies
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| 9. | Time's Up
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Jazz
Hiromi Uehara - piano, keyboards , producer
David Fiuczynski -- fretted and fretless guitar
Tony Grey -- bass
Martin Valihora -- drums
FIERY, FEARLESS KEYBOARD VIRTUOSO HIROMI EXPLORES THE CONCEPT OF TIME ON MARCH 27 TELARC RELEASE
Time Control spotlights nine original compositions and features guitarist Dave Fiuczynski
"Although she rips through high-speed, bebop-tinged passages with ease, Hiromi's jazz sensibility has less to do with swing and propulsive lift than it does with atmosphere and visually oriented impressionism."
-Los Angeles Times
Time seems pretty well tamed by clocks, calendars, and history books. But what do we really know about time?
The elusive nature of time figures prominently in Japanese keyboardist Hiromi Uehara's March 27, 2007, release, Time Control. Collectively praised by critics and embraced by fans on both sides of the Pacific, it's clear that Hiromi's undeniable talents continue to grow and evolve. "I was inspired to write these pieces because my life is so hectic," she says. "I regularly feel jet- lagged and always seem to be in a different time zone. I find myself at airports with more time to think about time, and I often wonder, 'Am I controlling time or is time controlling me? Why do some days feel shorter than others?'"
Time Control is also the sound of a mature band at the top of its game. Recorded at Blackbird Studios in Nashville in October 2006, Hiromi's Sonicbloom includes British bassist Tony Grey and Slovakian drummer Martin Valihora, and features a more explosive sound, thanks to special guest David "Fuze" Fiuczynski, the iconoclastic jazz-rock guitarist from Screaming Headless Torsos, KIF, Lunar Crash and Black Cherry Acid.
"Tony and Martin are amazing musicians,' Hiromi says. "They understand the way I write music and the way I want the music to sound. I wanted to work with Fuze because I was looking for somebody who would be strong enough to influence the band. I didn't want someone who could easily fit in - I wanted a crazy new voice, a very strong tasting spice. He's very spontaneous, and you never know which direction he'll take."
Full of swagger and confidence, the nine high-powered originals on Time Control feature all of the dynamic and challenging playing that typifies Hiromi's work. Yet as good as this gifted young pianist's performances are, it is the quality of her compositions that marks this as an indispensable recording.
"When I write music, I think a lot about orchestration," says Hiromi. "Since the piano and guitar are both chordal instruments, it can be hard for a pianist to play with a guitarist. So I really wanted to be careful. By adding electric guitar, the music became more rhythm-oriented and groove-based. By surrounding the piano with a lot of electric instruments, including my keyboards, the warmth of its sound stood out even more."
Mentored by giants like Oscar Peterson, Ahmad Jamal and Chick Corea, Hiromi's roots are in jazz but her music explores a world of new ideas by blurring the boundaries of pop, rock, classical, avant-garde and other genres.
Born in Shizuoka, Japan, in 1979, Hiromi discovered jazz when she took up the piano at age six. Within a year, she was a student of the Yamaha School of Music, whose progressive approach to musical training allowed the young student to tap into her emotions as well as mastering the technical aspects of writing and performing. At age 14, she went to Czechoslovakia and played with the Czech Philharmonic. Three years later, legendary keyboardist Chick Corea invited her to perform with him. In 1999, Hiromi came to the United States to study at the Berklee College of Music in Boston.
Hiromi first built her reputation when her 2003 Telarc debut, Another Mind - produced by Ahmad Jamal - shipped gold in Japan (100,000 units) and won the Recording Industry Association of Japan's (RIAJ) Jazz Album of the Year Award.
Her 2004 release, Brain, won the Horizon Award at the 2004 Surround Music Awards, Swing Journal's New Star Award, Jazz Life's Gold Album, HMV Japan's Best Japanese Jazz Album, and the Japan Music Pen Club's Japanese Artist Award (the JMPC is a classical/jazz journalists club). Brain was also named Album of the Year in Swing Journal's 2005 Readers Poll. Back in the U.S., Hiromi has been featured on the covers of Keyboard, Jazziz, Billboard and Goldmine.
In 2006, Hiromi won Best Jazz Act at the Boston Music Awards and the Guinness Jazz Festival's Rising Star Award. She also claimed Jazzman of the Year, Pianist of the Year and Album of the Year in Swing Journal Japan's Jazz Readers Poll for her 2006 release, Spiral.
Time Control is the sound of progressive jazz for the next generation. With her latest Telarc release, Hiromi continues her streak of simply timeless albums.
* Anilda Carrasquillo - Art Direction, Design
* Frank Capri - Photography
* John Netti - Assistant Engineer
* Lowell Reynolds - Assistant Engineer
* Max Michimoto - Piano Technician
* Michael Bishop - Engineer, Mastering, Mixing, Producer
* Robert Woods - Executive Producer
Hiromi Uehara's version of jazz is unique without being willfully strange -- clearly deeply rooted in the straight-ahead jazz verities, she nevertheless writes with a distinctly postmodern sensibility, gleefully juxtaposing wildly disparate musical elements and infusing everything with a joyful energy. In fact, joyful energy is probably the most significant hallmark of her music; on her latest album, even her attempt at a ballad eventually winds up in swinging uptempo territory, and just about everything else either rushes headlong or rocks out strongly in midtempo. This is actually something of a concept album centered on the idea of time, the control of time, and the effects of time on humans. It opens with the frantic but lovely "Time Difference," on which guest guitarist David "Fuze" Fiuczynski is given ample room to rock out, and then lapses into the slower, funkier, but no less energetic "Time Out" (an Uehara original, not the Dave Brubeck standard). "Time Travel" starts out strong but runs out of gas about halfway through its eight and a half minute length, but "Real Clock vs. Body Clock = Jet Lag" is a real hoot -- a surf-rock theme that alternates with a barrelhouse barroom piano theme and then becomes an exercise in advanced guitar and synthesizer tonal insanity. One of the most interesting things about this album is the way that Fiuczynski's tonal experimentation draws out a similar adventurousness in Uehara, to the extent that it's sometimes hard to tell which of them is playing a solo. Several tracks on this album are several minutes too long, but overall it's a real treat. You'll be tired at the end, but it will be a good tired.
---Rick Anderson, All Music Guide |
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