BRAIN

Japanese piano-keyboard prodigy Hiromi Uehara is back with her sophomore album as a bandleader, composer, and solo artist. Teaming up with the likes of legend Anthony Jackson, Tony Grey, and Martin Valihora results in some highly-skilled renditions of quite an eclectic span of musical forms and styles, all displaying Hiromi's natural predilection of sitting within absolutely gorgeous melodies.

1. "Kung-Fu World Champion" ( 6:53) wild synth and muted bass interplay opens this one. Amazing! Then drummer Marin Valihora joins in and the showmanship just triples. Hiromi switches to piano at 1:20 for a bit before the band quick-crescendos but then they return to the synth palette until another mini-crescendo at 1:55 signals a settling into a bass solo passage in which Hiromi supports Tony Grey on piano. At 3:05 they switch back to the synth palette as Tony ends his solo whereupon the band plays with several tempo and motif shifts before opening up for a high speed chase of Hiromi's cartoon-like soloing "computer" synth. Martin anchors the trio nicely while Tony becomes more supportive before he and Hiromi hook up in the sixth minute for some tandem recitation, but then he returns to support bass for Hiromi's final foray into funk computer synth (with more shifting, speeding up and slowing down, time changes). Impressive and bold. (8.875/10)

2. "If..." (7:11) melodic lounge grand piano supported gently by Martin and bassist Anthony Jackson introduces a killer motif for any romance/nostalgia freaks. At 1:45 Tony and Hiromi back off for Anthony to solo but his solo is very subtle, very nuanced, presenting nothing so impressively dynamic or aggressive. It's nice! (Fitting for this song.) Hiromi returns to piano lead in the fourth minute for a jazzy legato solo (though left hand is presenting all chords, just very delicate ones). Very impressively smooth--until 5:30 when aggressive chord play takes over for a bit. By the end of the sixth minute we're back to the main theme and melody lines. I must say that Anthony Jackson's bass accompaniment is rather perfect, harmonically, for Hiromi's piano and this particular melody line. (13.75/15)

3. "Wind Song" (5:43) sweeping and swooning piano notes are accompanied by Tony Grey's melodic bass counterpoint and Martin's sensitive and respectful drum play. This is definitely a gentle wind: more of a summer breeze--at least until the third minute when the trio gently ramp up to double digit wind speeds, but then, like the mid-day wind, the speeds rise and fall--not quite gusty but breezy--all the while Hiromi's melody choices are quite pleasing and engaging (which really helps me). A hokey/corny little crescendo around 4:25 makes me cringe a little--as if we're hearing a lounge player go for the audience's heartstrings. (9.125/10)

4. "Brain" (9:05) opening as if Hiromi and Tony are performing some classical music practice/warmup exercise, Hiromi's keyboard sound suddenly switches to something from the computer/video game world until 1:20 when her piano's Beethoven- and Barry De Vorzan-like chords totally change the song (and mood). Brilliant and beautiful piano play here until the very end of the third minute when Hiromi switches back to chord play. Tony and Martin are so excellent at support: so non-intrusive, even when given room for brief solos--like the little weave between Tony and Hiromi at the end of the fourth minute--which ends with both musicians wandering off down their own separate paths (while still soloing)--and then Martin joining in on the independent shenanigans. By the end of the sixth minute, Martin and Hiromi are escalating their volume and dynamics, but then they settle back down as Hiromi reverts to gentle two- hand chord play for a bit. The eighth minute sees the trio reach both perfect harmony and synchrony while things gradually slow back down and reenter Hiromi's romantic/nostalgic world of melodies. End with a solo bit of the computer/video game sound used briefly in the opening minute. I guess this is Hiromi's brain!? (18.667/20)

5. "Desert on the Moon" (7:08) starting out rather gently and melodically, the music slowly but definitively moves into a Chick Corea-like Latin groove by the second half of the opening minute, sustaining this for a bit before some stepped down bridge gives Hiromi and Anthony a reset. Hiromi's piano phrasing from here on becomes quite dynamic and Corea-like though retaining her especially strong commitment to melody (as she usually does). Anthony plays steady and strong while Martin takes to adding plenty of flourishes to give/keep the Latin accent to the music. Hiromi's style up top shifts from high speed Latin to Bill Evans-like melodic chord smorgasbord in the sixth minute and then ramps up for some dynamic fast play while both Anthony and Martin join her on the high speed road. This turns more rural and scenic in the seventh minute. A truly enjoyable and memorable romp through the countryside. (14/15)

6. "Green Tea Farm" (4:38) gentle "classic" Broadway musical-like solo piano play with tons of melody seeming to recite/recall some of the great Broadway singers of the 1950s and 60s. Strains of "My Funny Valentine" can be gleaned from Hiromi's gorgeous play in the second minute. A mesmerizingly beautiful song that feels heart-achingly-familiar. (9.333/10)

7. "Keytalk" (10:02) a song that allows Hiromi and Tony to playfully devolve into communicating like two prehistoric cave people. Martin stands off to the side as if bemused while videographing the whole thing. In the fourth through seventh minutes Hiromi's innate female propensity to take over a conversation in a nagging squawk-like voice comes shining through. (Tony steps back deferntially.) In the eighth minute Tony is given room to express himself while Hiromi chirrups like a single-minded bullfrog in false-attentive assention. Humorous. (17.5/20)

8. "Legend of the Purple Valley" (10:47) this is a song that is totally lost to me: everytime I've listened to it I find myself unable to remain attentive, uninterested in the melodies or rhythms, not even able to conjure up some appreciation for the musicianship. Just totally--and surprisingly--bland in all ways, on all levels. (17/20)

Total Time 61:27

An album that, to my ears, barely qualifies for that which I'd consider "Jazz-Rock Fusion" in that most of the music here feels like variations upon classic pre-bop jazz and Broadway standards as performed by a jazz trio that happens to have the ability and choice to manipulate their instruments' sounds through electric means.

B+/4.5 stars; a near-masterpiece of eclectic fusion-bordering jazz.

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