ANOTHER MIND

There are two types of piano playing: the first one is a melodic style almost like a string instrument featured by musicians like Rick Wakeman (since the piano is essentially a string instrument) and a percussive one of people like Keith Emerson, Patrick Moraz, Chick Corea and Hiromi Uehara (the piano works through a mechanism of hammers hitting the strings). This album is a clear display of how to treat the piano as a percussive instrument. 123!!!...that's the way this album gets started like an explosion with the powerful XYZ, in which Hiromi and her band, in a trio format, shows what they are made of and it is the greatest expression of Hiromi's Rockier side... Double Personality follows with the same rocky mood in the best Weather Report tradition with the addition of a great (at times weird) guitar solo by guest Dave Fiuczynski, who is more of a rocker than Hiromi. Fiuczynski adds to the piece a more experimental ambience, while Hiromi alternates between styles you can be thinking of Keith Emerson and a second after that you sudenly hear yourself saying Wait a second...isn't that Chick Corea playing?!!!!. (despite of some other references the main influence present on the album comes from jazz and fusion)

XYZ and Double Personality are pieces that easily could be included in a Weather Report, Blue Oyster, Return to Forever, or even in a Keith Emerson album.

With Summer Rain Hiromi goes for a jazzier feeling with the help of guest Jim Odgren in the alto saxophone but it is still very rocky (especially compared to her later work), heavily influenced by Chick Corea.

Joy gets started with what would define Hiromi's sound in the future, again in a trio format, a jazzier fusion variation (aprox. 65% jazz - 35% rock) with a great soud that, at moments, reminds of Corea and Ahmad Jamal(who, by the way, produced the record).

010101 (Binary System) features with some weird combinations of an acoustic piano and some synthesized sounds, but with an even jazzier sound (+1% of jazz).

4% jazzier, Truth and Lies is the first track to feature a 100% acoustic keyboard setting (the only electric instrument here is the bass). A nice tune which shows why Hiromi is the new generation's Chick Corea (being a big fan of Chick's, this is something that I wouldn't say lightly).

Dancando No Paraiso (the brazilian-portuguese name is probably due to the latin flavor of the piece) this is the definitive confirmation of Chick Corea's influence on Hiromi's music, being the blend of latin and fusion sounds his trademark.

The title track and last official one is the most melodic tune and features a beuatiful and well written piece of music showing the talent of Hiromi as a formal musician (not just an improvisation genious).

And finaly...the piece that impressed Oscar Peterson, The Tom And Jerry Show (presented as a bonus track), featuring Hiromi and her piano without rhythm section or any other accompanying instrument. The Tom and Jerry Show is almost a jazz standard, it shows Hiromi and just Hiromi displaying her amazing talent.

This is a great debut album (and my favorite yet) by Chick Corea's and Ahmad Jamal's great discovery, Hiromi Uehara...

This album goes from the 55% rock - 45% jazz crazy jam of XYZ and Double Personality to the 95% jazz of The Tom and Jerry Show...featuring the amazing talent of Hiromi supported by one of the greatest rhythm sections that i've ever heard (congrats to Cohn and DiCenso).

4.35 almost a masterpiece....

This album is very good. A great debut from Hiromi. Though there is more piano than keyboards here than say, Time Control, this is still a worthy addition to anyone who enjoys Classic Fusion, especially the kind from the 2000s.

Things start right off with XYZ, a very fast paced number, with some nice odd time signature riffs (one in 9/8 if I'm not mistaken) This leads into some very nice piano work by Hiromi; she is probably one of the fastest pianists you will ever hear.

The second track Double Personality features some nice sax work by Jim Odgren, something not heard much on Hiromi's albums. The thing I like about this album is the approach to fusion, not relying on keyboards and their effects, but using them sparingly and relying on the naked piano, but you don't even think of this when listening, just "This is great jazz/fusion music!"

Dave "Fuze" Fiuczynski also appears on this album as a guest. He would later join Hiromi's Sonicbloom for the albums "Time Control" and "Beyond Standard". Dave's wild guitar playing throws some of the music back to the 70s fusion sound, but since he usually plays a fretless guitar, it gives it a more modern twist, with Hiromi and bassist Mitch Cohn going crazy behind him.

There are also some wacky keyboard grooves which sometimes make you feel like you're inside a computer, but this album contains some of Hiromi's more beautiful compositions (which she would expand on, on her follow-up "Brain")

Get this if you have any interest in jazz, fusion, modern prog-jazz, etc... This is a nice slice of 2000's fusion. Not as good as Time Control (her best album IMO) but an excellent release nonetheless. Enjoy!

review originally written for www.jazzmusicarchives.com

Hiromi's smokin' debut album's fusion opened her the doors to big halls around the Europe (and around the world as well). I can hardly think about another piano-based jazz trio (ok,with some support of guest musicians here)with such energetic level!

All compositions are muscular,groovy with no even a traces of relaxed feel.In fact, Hiromi's influence here is rock,but music played is jazz. For sure,some great additional drive comes from fusion guitarist David Fiuczynski (the future member of Hiromi's fusion band Sonicbloom), but even trio themselves are elastic and radiating demonic energy.

Compositions on this album all are Hiromi's originals,they are usually carefully composed but always have enough space for improvisation. If you will remove all that energetic field from her songs,you will find there post-bop or even swing! But in muscular (not heavy) clothes all album sounds as one stadium concert program.

Hiromi's debut (at her 23) demonstrates excellent musical techniques and compositor's abilities. The only thing could make this album even better - bigger musical freedom on the account of energy,but it is question of taste for sure.

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.