ANOTHER MIND

Japanese piano-keyboard phenom Hiromi Uehara's debut album as a solo artist sees her leading veterans Mitch Cohn and Dave DiCenso into some rather dynamic and sophisticated territory.

1. "XYZ" (5:37) jumping out of the starting blocks with the youthful vim and vigor one might expect from a 24-year old. The bass and drum accompaniment is equally dynamic without ever drawing undue attention away from Hiromi's keyboard talents--though I have to say that Dave DiCenso's work sur la batterie is quite impressive and, therefore, notable. Definitely a song that presents a very skilled and tightly-coordinated trio. (9/10)

2. "Double Personality" (11:57) piano, bass, and drums are here joined by sax and electric guitar: the former from Jim Odgren, the latter via Dave "Fuze" Fiuczynski. They're both impressive--more for the way their instruments accent and complement Hiromi's piano. Fuze's and Mitch's effected play in the second and third minutes behind Jim's sax solo are quite creative--and entertaining--all the while DiCenso keeps "leading" the band with his rhythm play. Impressive flurries from Hiromi just before Fuze's highly unusual guitar solo in the fifth and sixth minutes. Mitch continues his funk-wah squawk bass playing even when the band launches into a Southern Rock-inspired motif at the end of the sixth minute. Fuze keeps soloing--now in a pedal steel style--while Hiromi ramps up her virtuosic underplay--until they begin the transition back to Hiromi's lead at the end of the seventh minute. In the eighth she is left virtually alone to solo on her piano sounding more like Liszt or Rachmaninoff than mentor Chick Corea or her typically-more-melodic self. New Orleans stride piano bordering on Scott Joplin ragtime. The band returns to Hiromi's support at 9:20 though she is definitely the queen of the stagefront. Definitely a weird song with all kinds of seemingly-incompatible parts merged into the whole. It's also weird (looking at this from years beyond) to see/hear Hiromi taking such a back seat to other musicians (and for so long!). (22/25)

3. "Summer Rain" (6:07) seeing this title I found myself having to check for compositional credits cuz I thought this might be a cover song, but, no! Everything on this album is composed by Hiromi! Jim Odgren's alto sax is again front- runner on this one, with the rest of the band giving the music a very 1980s DAVE GRUSIN/GRP jazz feel--resulting in some nice melodies and solid, powerful rhythmic support. Solid. (8.75/10)

4. "Joy" (8:29) Hiromi showing off her bluesy BILLY JOEL side. Yes, there are definitely hints of melodic riffs from other famous songs being "borrowed" by Hiromi in this one. A rather a silly bass solo in the fourth minute precedes an equally-derivative piano solo in the fifth. Yes, Hiromi can play other people's styles--using other people's melodic ideas--but I find mysel waiting to her the real Hiromi stand up and play her own styles and melodies (as she will in the future). A herky-jerky song that feels to as if it were improperly titled. (17.25/20)

5. "010101 (Binary System)" (8:23) Synths! Our first example of Hiromi's fascination with keyboards' ability to produce sounds artificially (a thing that has become forever associated with the Jazz-Rock Fusion idiom). Piano takes over for the bulk of the song but the synth-saw sound does return for the final minute--my favorite part of the song as Hiromi, Anthony Jackson, and Dave's weave is fun, funky, and virtuosic. (17.625/20)

6. "Truth and Lies" (7:20) a gentler, more-spacious approach to song creation: here the skillful display of sensitive subtlety and nuance are the more prevalent aspects to observe and enjoy. A nice nondescript jazz tune that is, unfortunately, easily forgotten once it is over. (13/15)

7. "Dançando no Paraiso" (7:39) a much more interesting, dynamic and vivacious song than the previous ones--one in which Hiromi's uniquely personal enthusiasm and style is finally starting to crack the surfaces (though there is a little of mentor Chick Corea's style and sound in the third minute). Great drumming and bass play throughout! (13.75/15)

8. "Another Mind" (8:44) feels like a drive through terrain of rolling open hillsides (think California highways). The bass from both Hiromi and Mitch Cohn are so undulating! Nice performances throughout with Hiromi touching on some nice melodies--though mostly minor-keyed. (17.625/20)

Total Time 70:21

An album of exceedingly high standards of musicianship that, unfortunately, rarely tap into or display the heart-felt joy and enthusiasm for which Hiromi (and her music) will become known. I do, however, find myself enjoying the drumming of Dave DiCenso more that that of Martin Valihora on her next album: Dave seems to be much more bold and individualistic while Martin plays along, holding space and time for the others, but rarely exerting or displaying his own personal stylistic preferences.

B/four stars; an excellent display of youthful energy and impressive mastery of many styles of jazz piano.

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