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| Place To Be |
| Hiromi |
| első megjelenés éve: 2010 |
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| (2010)
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CD |
| 5.097 Ft
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| 1. | BQE
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| 2. | Choux a la creme
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| 3. | Sicilian Blue
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| 4. | Bern Baby Bern
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| 5. | Somewhere
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| 6. | Capecod Chips
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| 7. | Islands Azores
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| 8. | Pachelbel's Canon
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| 9. | Viva! Vegas: Show City, Show Girl
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| 10. | Viva! Vegas: Daytime in Las Vegas
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| 11. | Viva! Vegas: The Gambler
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| 12. | Place To Be
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Jazz
Hiromi Uehara - Engineer, Piano, Producer
Ben Jacobs - Assistant Engineer
Eiji - Hair Stylist
Fernando Lodeiro - Assistant Engineer
James Wright - Booking
Laura Hess-Hay - Management
Maurice Montoya - Booking
Michael Bishop - Editing, Engineer, Mastering, Producer
Miharayasuhiro - Fashion Advisor
Muga Miyahara - Art Direction, Photography
Nori Onuma - Piano Technician
Seiji Kamikawa - Make-Up
Hiromi Chronicles Her World Travels On Her First Solo Piano Recording
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 skills.
Each stop on her journey – be it the world-class metropolis, the quiet college town or something in between – has introduced her to a new and singular vibe that has left an indelible impression on her creative sensibilities. Indeed, she has come away from every new place with just as much as she has brought to it, and perhaps even more.
Hiromi chronicles just a few of the many places and moments where she has experienced the almost mystical exchange between performer and audience on Place To Be (CD-83695), her new CD on Telarc International, a division of Concord Music Group. The album is her first solo piano recording.
"I really wanted the record to be a kind of travel journal," she says. "I've traveled so much in the last few years that I've started to wonder exactly where is the place that I'm supposed to be. Traveling takes so much out of you. It can be exhausting. But as soon as I go on the stage and I see people who are very happy because of what I'm doing, it just erases all of the struggles and the craziness that can come with all the traveling, and it really fulfills me."
To Hiromi's way of thinking, music is something much more than just notes on a scale or a series of black and white keys. Rather, it is a naturally occurring phenomenon to be plucked out of the air, a vibration to be captured and re-transmitted to receptive ears and open hearts. "Some places have such a special vibe," she says. "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. I'm always thinking about composing, and always trying to find what parts of the world around me can be musical. Sometimes it just comes to me in a beautiful moment."
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. So in addition to making a record that represented all of these places that have inspired my music, I also wanted it to be a thank-you to those people. I feel very fortunate to have spent this part of my life traveling to all these places and making people happy.
Jazz critic Gary Giddins once described early bebop as music that was "giddy with its own virtuosity." A variety of different things came after that period of giddiness -- the introspection of cool jazz, the deep-thinking spirituality of modal post-bop and avant-garde jazz, the rock-influenced intensity of fusion -- but bebop and hard bop did, in fact, have more than their share of performances that thrived on both giddiness and virtuosity. Post-bop, even at its most optimistic and exuberant, is seldom described as flat-out giddy, but giddiness definitely characterizes much of Hiromi's acoustic post-bop pianism on Place to Be (which finds the Japanese improviser playing unaccompanied solo piano). On this 2009 recording, Hiromi often sounds like she is, to borrow Giddins' phrase, giddy with her own virtuosity. But she isn't giddy in a bebop/hard bop way. This is essentially post-bop, although Hiromi incorporates elements of everything from European classical music to stride piano and ragtime. She even quotes Deep Purple's "Smoke on the Water" on "Show City, Show Girl," but Place to Be -- unlike some of Hiromi's other albums -- never really ventures into fusion territory. And even though Place to Be has its reflective moments ("Somewhere" and "Daytime in Las Vegas," for example), Hiromi's playful, capricious exuberance prevails on many of the selections. She can be cerebral, but she isn't cerebral in an elitist, exclusionary way; instead, she gives the impression that her virtuosity is giving her a great deal of elation, and she sincerely wants to share that elation with the listener. As it turns out, playing unaccompanied is perfect for Hiromi; the acoustic solo-piano format gives her plenty of room to explore her creative impulses. Hiromi can be quite self-indulgent at times, but she is never self-indulgent in a bad way -- and the lack of accompaniment yields excellent results for her on Place to Be. ~ Alex Henderson, All Music Guide
Hiromi
Active Decade: '00s
Born: 1979 in Shizuoka, Japan
Genre: Jazz
Styles: Fusion, Post-Bop, Contemporary Jazz, Avant-Garde Jazz, Jazz Instrument, Piano Jazz
Pianist and composer Hiromi Uehara was born in Shizuoka, Japan, in 1979. At the age of six she started playing piano. Within a year, she was a student of the Yamaha School of Music, whose progressive approach to musical training allowed the young student to shape her technical skills, writing, and performing. After relocating to the United States in 1999, she continued her studies at the Berklee School of Music in Boston, where she received a full scholarship. It was there that Hiromi developed her varied musical taste, encompassing everyone from J.S. Bach to Sly & the Family Stone. While at Berklee, she also had the opportunity to play with jazz piano legends Oscar Peterson, Chick Corea, and her mentor, Ahmad Jamal. In 2003, Hiromi recorded her first disc, Another Mind, on the Telarc label, produced by Jamal. Brain was released a year later, followed by the pianist's third trio album for Telarc, Spiral, in 2006. For her next album, Hiromi augmented her trio with avant-fusion guitarist Dave Fiucynski, releasing Time Control in early 2007. Beyond Standard, a thematic continuation of Time Control, was released a year later.
---Al Campbell, All Music Guide |
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