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Hiromi Uehara

Jazz Rock/Fusion

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Hiromi Uehara Hiromi's Sonicbloom: Time Control album cover
4.28 | 339 ratings | 14 reviews | 43% 5 stars

Essential: a masterpiece of
progressive rock music

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Studio Album, released in 2007

Songs / Tracks Listing

1. Time Difference (6:19)
2. Time Out (6:39)
3. Time Travel (8:37)
4. Deep Into the Night (9:02)
5. Real Clock vs. Body Clock = Jet Lag (5:53)
6. Time and Space (7:56)
7. Time Control, or Controlled by Time (8:29)
8. Time Flies (8:01)
9. Time's Up (0:46)

Total Time: 61:42

Bonus track on Japanese release:
10. Note From the Past (12:08)

Line-up / Musicians

- Hiromi Uehara / piano, keyboards, co-producer
- David Fiuczynski / electric & fretless guitars
- Tony Grey / bass
- Martin Valihora / drums

Releases information

Artwork: Frank Capri (photo)

CD Telarc ‎- CD-83655 (2007, US)

Thanks to Evolutionary_Sleeper for the addition
and to Quinino for the last updates
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Buy HIROMI UEHARA Hiromi's Sonicbloom: Time Control Music

HIROMI UEHARA Hiromi's Sonicbloom: Time Control ratings distribution

(339 ratings)
Essential: a masterpiece of progressive rock music(43%)
Excellent addition to any prog rock music collection(33%)
Good, but non-essential (14%)
Collectors/fans only (5%)
Poor. Only for completionists (5%)

HIROMI UEHARA Hiromi's Sonicbloom: Time Control reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Kazuhiro
4 stars Existence with the ability of the performance and the composition might be a valuable element. The element always appeared remarkably in the work after she had announced the debut album.

If it borrows her word, the music character is pursued. Or, the possibility to the music created by a minimum unit. They had the flow always calculated as a search for her music.

An overwhelming technology and the idea to make the listener listen by "Another Mind" and "Brain" were Jazz/Fusion that an exactly original quality that was is high. She tries so that may promote the flow further and may complete her original theme by her.

The possibility as the music that she thought about in "Spiral" and Trio might have received one the top. The part where "Movement" and "Quietness" in "Spiral" were had both ..composition.. had been finished about the possession fast and slow walking. And, the woman who drew out the possibility as Trio enough tries to proceed to the next step.

If the inquiring mind of Hiromi is considered of course, the flow that aims at the top further might have been able to be selected, too. However, the plan and the idea that she was always considering in the flow of the activity since "Spiral" that she announced in 2005 and the cultivated idea reach this album with some necessity.

The creation and the idea of the woman who reached a climax in "Spiral" started making the listener pleased to give width to the music character further with the form of the project. This album to which David Fiuczynski that participates in the recording in the debut album receives the guitar as a member and is recorded has the form of the project and the band. David Fiuczynski is a guitar player known by the performances such as Screaming Headless Torsos and Gongzilla. Hiromi was declared to be a fan of Screaming Headless Torsos. And, it will be able to be said that the appointment of David Fiuczynski is inevitable as the idea as the band that she was drawing after it competes in the debut album. To create the tune staring at the performance that four people do for the composition naturally, each musician's capability and ability will be tested. It is said that Hiromi will not do Improvisation to the subject for originally making the tune. It is said that the idea constructed as an impression almost completely will repeat the trial and error. The challenge as the complete music character that Hiromi creates might continue exactly. The theme of "Spiral" was a content to make the element of the wave exactly repeated, the life, and the impression in space an embodiment. And, "Time" is included as a theme in this album. People are differences at thinking time and time. Or, it is expressed as an album with the part where the element to make life and the change of people who unconsciously process time an embodiment as music has been given.

"Time Difference" continues the tension from a sublime unison of the piano and the guitar. Ensemble of the band has the flow considerably calculated. The sound of the keyboard also continues her originality. And, the conversation of responding keyboard and guitar will have width as a new possibility as the band. It is ..Jazz/Fusion with the tension.. finished as a complex rhythm is continued.

"Time Out" is a tune of which the element of Funk went out. However, the originality of Hiromi appears everywhere. The performance of the band that answers Ad-Rib of the guitar also contributes well. It carries exactly out the function as the band by introducing the guitar. A progressive element is strongly put out as complex development twining.

"Time Travel" starts from the sound with the anacatesthesia and the line of Bass. The progress of Chord twines round the impression that Jazz is good the flow of Fusion well and gives the tension. The tune might be completely calculated as a composition as the band. The piano and the guitar in close relation to legato fast continue the dash feeling. The flow of the chromatic scale has acted well as an impression of the tune, too.

"Deep Into The Night" is a tune with the flow that fast and slow overflows. The part as Jazz has been strongly considerably put out. The music character of Hiromi that bases the experience as Trio might act well. The width of the tune extends further with the flow pulled with the part of Fusion that the guitar is good.

Twining of the guitar processed by the effect and the piano of "Real Clock vs. Body Clock=Jet Lag" is impressive. It is a tune where the originality of Hiromi was expressed enough while having both the part of the complexity and the humour. The creation of Hiromi by which this tune also stared at the sound as the band has acted well.

"Time And Space" continues the flow with the anacatesthesia from the sound with the part of mellow. However, the band is given original development everywhere and progresses. It is a tune where the element as the band with a variegated sound was expressed well.

"Time Control,Or Controlled By Time" pulls the band with the melody with a fast piano. Progressive development and the sound are high-quality Jazz/Fusion. The flow that shifts from the flow of an overwhelming unison to Solo of Bass has succeeded as a tune, too. And, it might be a part where Solo of the drum also played the role as the band enough. The flow of an advanced tune exactly contains the possibility of the band enough with development to which the forecast doesn't adhere.

It is a tune where the sound of the keyboard that "Time Flies" is variegated appears. The processing of the sound of a beautiful piano and the keyboard might be along the theme of the album. A good guitar for the flow with the anacatesthesia twines with the piano. The flow that the sound of the band twines round the flow with the anacatesthesia in union will call impression.

"Time's Up" makes the flow from "Time Flies" more chaotic and reports the end of the album. The flow that plays the role of Outro gives reverberations to the entire flow of the album.

The challenge to the music of Hiromi was made an embodiment further by the form of this project.

Review by snobb
SPECIAL COLLABORATOR Honorary Collaborator
4 stars If you want to hear how sounds mainstream jazz-rock fusion in the end of the first decade of new century, just listen this album. Hiromi Uehara is growing melting jazz and rock with every new album, and this one is evidence.

Very important is presence of guitarist David Fiuczynski on this album. Classically trained, with her roots in jazz, Hiromi found excellent partner for her piano sound. Very balanced mix of keyboards (or sometimes piano) and rock-edged guitar gave fresh and very pleasant feel to the music on this album.

In fact, deeply based on great fusion school of 70-s ( Chick Corea, first of all), this music is just modern reincarnation of fusion golden age. It's a very rare today successful mix of tradition and modern sound.

Being complex structurally and technically, this album is MELODIC , and it means that is easy accessible. As I mentioned above, the music there is a modern classic of jazz fusion, so don't expect to find there experimentation. But it is real gem for lovers of classic fusion, and possibly one of the greatest work of quality mainstream fusion of last decade.

Review by JLocke
5 stars Modern Jazz-Rock/Fusion is the true progressive music movement of its time. It makes no compromises, leaves no stone unturned, and never panders to its audience. You're either in or you're out. As of this review's writing (July 2010), that trend is showing no sign of letting up. If you want a good example of what real Prog is these days, pick up a Fusion record like this one. You'll laugh hysterically at how so many DT and Yes sound-alike groups are being recognized as the 'new' movement in the prog scene, when all of the actual progression is happening right here in artists such as Hiromi Uehara.

When I first saw a photograph of the undoubtedly beautiful keyboardist, I honestly thought she played pop music. That was my idiotic mistake. I judged by looks before ever hearing a single note of her music. Somewhere along the way (especially in US culture) it became a general consensus that attractive people don't make 'serious' art, while average-looking folks are the true hard workers. It's a very ugly attitude to hold, and I found myself guilty of outwardly displaying it in this case as I visibly did a double-take after seeing this woman in action for the first time. She's incredibly skilled, and what's more, she writes great music.

My previous paragraph was not intended as a slight to the Pop genre at all, but rather the 'popular' music of the time. We currently live in an era that ostracizes quality from quantity in a way I'm not sure has ever been more severe. Much more time is spent in selling faces and merchandise than the music itself. Pop music as a genre has its strengths and its weaknesses, and the best of it will always survive. But the concept of good-looks and bad music being mutually exclusive is something I often fall victim to, so i wanted to take the time to apologize to Ms. Uehara for my initial (and wrong) reaction to her image.

Back to the music. This is Hiromi's fourth studio album, and it's being played as an ensemble titled ''Hiromi's Sonicbloom''. Cutesy. The album starts off with the absolutely phenomenal ''Time Difference''. It's a track that begins with some classically-tinged lone piano, and soon David Fuze's guitar comes in and joins the piano. These two instruments carry on in unison until the rest of the band breaks in, and the song truly takes off. The marriage of technical prowess and musical passion is so perfect, mere words couldn't begin to do it justice. Just listen to the song yourself (The live version is even better!). Hiromi makes some great use of synthesized keys, here. Gives the whole thing a very otherworldly feel.

''Time Out'' might be my favorite track on this recording, but all o the pieces are equally great and so different from each other, it would honestly be unfair for me to make that claim seriously. All you really need to know is that it was with this track that I started really feeling the groove of the band for the first time. Much Jazzier and experimental than the previous work, it will send motions through your body whether or intended to dance or not. Where as synths were in more of a starring role in the first song, the focus here is mainly on the clean, no-hold-barred Jazz piano. The entire band is so tight here, but special props go to David Fuze for adding a very Space/Funk kind of vibe about a third of the way through and to Hiromi for playing the hell out of the piano all throughout the track. Without her crazy rhythms and technical skill, the song would certainly have not been the same. Martin Valihora really starts to shine on this track, also.

The next track, ''Time Travel'', has some truly awesome spacey soundscapes thanks to Uehara and Fuze's blend of bluesy guitar leads and ethereal keyboards. Soon enough, though, Valihora chimes in with some killer drum work, and the song really begins to take off. Some really fantastic guitar-piano unisons happen, here. The drums really do a fantastic job of keeping all the madness tight and together, while taking the time to impress as well. A crazy lead by Fuze comes in close to three minutes in and doesn't relent until nearly a whole minute later. Then the real wondrous moments happen thanks to Uehara and her distorted, funky keyboards; chugging away with so many odd rhythms and push-pull tempos, it's commendable how well the other instruments are able to keep up. Six minutes into the track, and the spine-tingling rhythmic riddles are still going strong. A truly wild and frantic track, all while still being able to make some sort of sense and never losing the listener. A few more unisons from Hiromi and David, then everything calms down once again at around seven minutes and sixteen seconds. The musical ideas introduced in the brief intro is resumed, carrying out the rest of the track. An amazing thing to hear.

''Deep Into The Night'' is the longest track on the record, and starts out with some fantastic smooth Jazz stylings before lunging into the most beautiful piano work of the album for me. Some of it fast, some of it slow and reserved, but all of it is very melodic and musical in nature. Fear not, however. The work on this song still remains very experimental and freeform; things just happen to be a little more chill and contemplative on this go-round. Much like with the first track, I don't really know what more I could say to send the point home anymore. I love the song, that's the bottom line. It's lovely. Get the album and hear for yourself how truly wonderful it is. That's all I can really say. The most melodically beautiful song this entire work has to offer.

''Real Clock vs. Body Clock = Jet Lag'' is not only the most cleverly-named song on the disc, but it is also the most musically representative of that name. There is a lot of push & pull in the tempos, and you truly feel like you're being pushed through time zones to the point of exhaustion. Don't worry, it's not the equivalent of listener's fatigue; just a lot of fun. Some ragtime piano and out of this world slide and wah guitar are found bridging the gaps between the madness. A fun and original little piece, but perhaps not as memorable as most others to be found on Time Control.

''Time and Space'' sends the listener back into the traditional Jazz influences of the album, and boy does it groove! Hiromi is on top of hr game here with all the staple Jazz chords and flourishes brilliantly placed and executed on her instrument. I realize I haven't mentioned Tony Grey's bass playing yet. Well, he's brilliant, as well. He is very noticeable on this particular track, and even when the sci-fi style signal noises start coming in from time to time, his influence on the track is always audible. This is a very calm, laid-back track with some spacey additions. Pretty unique, but that's a redundant statement on an album such as this. Saying any more would ruin the listening experience, surely. Just know that it's cool and smooth.

The song which could be referred to as the album's title track kicks off immediately with a type of controlled chaos only a master keyboardist like Hiromi could pull off. Once things calm down a bit, Grey breaks in with some tasty leads. He's no Victor Wooten in my book, but bass players who do lead work are certainly more capable than most 'traditional' players from the Rock realm. Newcomers to Jazz and Fusion music may find this a little startling at first, but Metal fans should already be used to the concept, at least a little. But it isn't just Grey taking the show for very long. The whole band comes in very soon, and Valihora does some of his best drum work on the record. Around the five minute mark, the piano becomes thick and groovy, with a bebop sort of attitude showing through the classically-inclined playing chops. Soon the frantic attitude is heard again from Hiromi, and David Fuze soon follows suit with some impressive lead guitar work. Hiromi is fantastic at backing up her band members, as well. She's more than just a lead-heavy show-off. She is great with simpler, rhythm-based riffs the serve as the foundation for the other instruments to shine to their full potential. A little after seven minutes in, the single reason for owning this album arrives. I cannot describe how it moves me, only that it does, very much. This leads into an incredible, drum-filled outro which brings the entire track to a sudden, memorable halt.

''Time Flies''. Hey, hasn't a much more well-known artist on PA recently released a song of the same title? Never mind, this ''Time Flies'' is much more original and inspired than the one Wilson and company stitched together (primarily using the tracks from Pink Floyd's Animals for the pieces). This feels like a gorgeous 'ballad' of sorts. Full of heart and genuine artistic flourish, it is the second song on this release that uses melody much more traditionally than the others, yet remains free and open to go in any direction it likes. Martin Valihora's light, musical touch on his kit really adds some great atmosphere to the overall piece. Truly terrific on all fronts, this track. Laying more 'Mood Jazz' strokes to this already-overwhelming piece of sound-painting, it is a cut on the album absolutely not to be missed.

''Time's Up'' may be the shortest track on the album (not even a full minute in length), yet it is one of the most exciting. The whole thing begins to build into what would undoubtedly be a memorable musical occurrence, when suddenly everything halts an an official-sounding voice utters the words "Time's up!", to which some indistinct studio chatter and last minute plinking of piano keys can be heard from a distance. The album ends on a promising note, ending with something of a question. What could have come from that initial rush of musical bliss? Perhaps someday in the future, we will find out.

It was suggested in a previous review that this album is accessible almost to the point where it lacks originality. While those were not the exact words used, I just want to take a moment and respectfully disagree. The music on Time Control may not be as 'out-there' as some other works in this genre floating around today, but it is no less inspired or forward-thinking. Plenty of experimentation is happening here, and I would put Hiromi Uehara up there with the current leaders of progressive music today. No, I don't mean 'Prog Rock', I mean any music that cares more about originality and individuality than genre or class.

To me, this is an essential piece. It's essential for more than one reason, but mainly, it is essential for demonstrating just how bright the future of music still is. I've gotten sick of syrupy keyboards and overly-long attempts at recreating the golden days of prog by modern day hacks. The era of Close to the Edge is over, and no self-respecting artist would even want to bring it back, I don't think. Music, like all art, must move forward in order to stay honest and interesting. A dishonest artist merely tries to recreate something he loved in the past. A truthful artist attempts to press musical evolution forward. If that individual succeeds, even a little bit, he or she should be commended and advertised as often as possible. I proposed to you at the beginning of this review that such artists can be found in modern Jazz music. In tomorrow's world, that may change. For now, however, I only see true creativity in musicians who dare to do absolutely anything they want, and I wholeheartedly believe that Hiromi Uehara is an artist who does just that. She makes music for the sake of music, nothing else. It's art in its purest, most honest form. This album is essential listening for people like me, who grow tired of all the copycats in todays supposed 'progressive' music world. If you are indeed like me in that regard, you absolutely must give this woman's music a try. Who knows, you may just start believing in music again.

Tell your friends. Music is not dead.

Review by darkshade
COLLABORATOR Honorary Collaborator
5 stars easily one of the best jazz-fusion albums of the last 10 years. Hiromi's playing is fantastic, and the music has the energy of 70s fusion, mixed with modern sounds (especially by fretless guitarist Dave Fuze).

This album is also quite accessible, if you have even the slightest interest in jazz, you will enjoy this record.

I must say, when i first heard of Hiromi, i saw her album covers and thought it was some modern contemporary jazz, not pushing the boundaries, and probably boring or predictable. NOPE. The opposite. While it keeps the jazz tradition of "it must swing", that's about as far as tradition goes. The drums are out of control, the bass is tight, with that modern fusion bass tone, but it's Hiromi who takes the songs to new, unheard levels.

The best way i can describe this music, is she approaches fusion with a traditional/acoustic jazz mindset. But the compositions are very proggy, and quite progressive ;) so dont think it's straight ahead jazz with moogs and rhoades piano. This is electric fusion at its finest, and one of the more original jazz albums ive come across released in the 2000s. plus Hiromi is hot!

Review by BrufordFreak
COLLABORATOR Honorary Collaborator
5 stars Easily the most exciting, consistently high-level, creative jazz fusion album I've encountered in the 21st Century. Yes, there are a lot of sounds, riffs, passages familiar from my long love for and association with the music of Chick Corea, but there also tons of fresh, mouth-jarring ideas expressed here--by all four of these incredible musicians. Guitarist David Fiuczynski is truly masterful and chamelonic in his playing--a brilliant foil to Hiromi's stellar, melodic, and often heartbreakingly beautiful keyboard playing. And the bass playing and drumming are often attention-getters, as well. I rate fully seven of this album's nine songs as absolute gems-- masterpieces of highly engaging jazz fusion. An album that has never strayed far from my disc player (especially in the car) since I got it a few months ago. So glad "classic" jazz fusion is still being explored and adored somewhere!
Review by Warthur
5 stars Hiromi Uehara's "Sonicbloom" albums feature her expanding the sound of her usual trio by adding David Fiuczynski on fiery electric guitar. This in turn allows Hiromi to really draw on the rock and prog influences which colour her fusion work, as demonstrated in the first Sonicbloom album, Time Control. Taking in influences from Zappa to Gentle Giant to the jazzier Canterbury outfits, Uehara keeps things rooted in fusion territory by focusing mainly on the piano and introducing more modern keyboard instruments only sparingly. The end result, then, refreshes the fusion sound of yesteryear with a healthy influsion of recent developments in more purist jazz piano circles, resulting in a unique and engaging sound. On balance, I think Hiromi might be the best-kept secret in fusion today.
Review by siLLy puPPy
5 stars Although HIROMI UEHARA looks like a J-pop star posing on the cover of her first album as "Hiromi's Sonicbloom," the fact is she is one extremely talented virtuoso piano player who keeps extremely good company with her peers. I am in agreement with everyone else who thinks that this is some of the freshest contemporary jazz-fusion gracing the planet these days. TIME CONTROL is supposedly a concept album about time but since it totally instrumental who would ever know! I guess it's all those time signature changes that not only keep this album bopping and hopping but the entire theme as well.

I see this as an all encompassing celebration of all things jazz with many things prog rock and some classical and avant-garde thrown in for good measure. The brilliance is not only that every member is a virtuoso on their respective instrument but also that the interplay between these musicians is outstanding and impeccable. The trio of HIROMI (piano), Martin Valihora (drums) and Tony Grey (bass) found the addition of David Fiucynski on guitar to add a whole wealth of sounds to the former trio's soundscape. He is a self-described jazz musician who doesn't like to play jazz, so he takes all that jazz training and adds a wealth of funk, microtonal and ethnic inspiration to the mix.

HIROMI started playing piano at the age of 5 and was under the tutelage of Chic Corea so it's no wonder that there is a strong classic 70s jazz-fusion sound as the template here, but how these musicians improvise is where the magic lies on this one. It is thrilling and chilling and there isn't a dull moment on the whole thing. With all this talent it would be wrong to assume that every moment is about trading off solos. There is plenty of nice and slow breathing periods to let the music regenerate its intensity. My first HIROMI experience but certainly not my last.

Review by Mellotron Storm
4 stars Hiromi Uehara is a piano prodigy from Japan and this album seems to get tagged as her best. A four piece band of bass, drums, guitar and keyboards and the only name I recognize is that of guitarist David Fiuczynski who was part of the band SCREAMING HEADLESS TORSOS. I recently reviewed Hermann Szobel's only release from 1975 and him being somewhat of a piano prodigy himself it was interesting to compare the two albums. Hermann's is much more to my liking as it's a true Jazz/ Fusion release while Hiromi's album here veers into traditonal jazz territory too often for my tastes. Still a very good 4 star album in my opinion but it won't go down as one of my favourites from that sub-genre. I'm so glad to have finally spent some time with this album though.

So what we have here is an all instrumental concept album about "time". It's a little over an hour long but we also get an over 12 minute bonus track that fits well with the rest of the album. Up first is "Time Difference" and it starts with piano melodies only before it kicks in quickly to a full sound. Synths after 1 1/2 minutes as it settles down with bass and drums helping out. The guitar starts to trade off with the synths starting around 3 minutes. Nice section. Relaxed guitar and synths before 4 1/2 minutes and the guitar is crying out.

"Time Out" has a catchy and somewhat funky groove to it as the guitar comes in over top. Some humerous vocals from Hiromi played through her synths really makes me laugh as I work with this young Asian girl who moved here from China a few years ago. She's a great person by the way named Ying. Back to the piano and guitar led section but the funk is long gone. Beautiful piano melodies after 5 minutes. A pretty good song overall.

"Time Travel" opens with spacey synths which is a nice change as they create atmosphere. Tastefully picked guitar joins in but soon the piano arrives then drums a minute in as the atmosphere stops. Jazzy stuff with some nice drum work. Check out that guitar with bass and drums before 2 1/2 minutes. Oh my! Nasty keyboard sounds after 4 minutes as it becomes intense. Back to that uptempo jazzy sound at 4 1/2 minutes. This is impressive and especially the drumming starting before 6 1/2 minutes. The intro is reprised late.

"Deep Into The Night" is one of my favourites on here. It's so beautiful to begin with as we get relaxed piano and guitar. A full sound kicks in at 1 1/2 minutes before it settles back again with piano leading the way. It kicks in again after 4 minutes with piano still leading the way until after 5 minutes when the guitar takes more of the spotlight as the piano continues. A calm with piano only after 6 1/2 minutes then some impressive guitar a minute later then it becomes more powerful.

"Real Clock Vs. Body Clock = Jet Lag" is catchy with tempo shifts in play. Suddenly piano and an experimental but humerous section takes over. I like the guitar starting before 2 minutes as contrasts continue. Sounds like clavinet that ends before 4 minutes then some silliness again.

"Time And Space" does have more space to it as sounds come and go until it becomes steady after 1 1/2 minutes. Back to that stuttering sounds coming and going with space. The guitar starts to doodle starting around 3 minutes and continues until after 4 1/2 minutes when the piano takes over. It suddenly picks up around 7 1/2 minutes to end it.

"Time Control, Or Controlled By Time" opens with fast paced piano melodies then the guitar comes in ripping it up around a minute. It settles to a jazzy mode before 2 minutes. Some intensity starting after 3 minutes with random drum patterns and bass. A jazzy calm takes over after 4 minutes with the piano leading. It does pick up again with the guitar and piano leading. Great sound after 8 minutes with that guitar, drums and piano standing out.

"Time Flies" has these relaxed piano and synths for the first two minutes then the guitar, bass and drums join in. Pleasant is the word. I like this. Beautiful piano melodies come to the fore after 5 1/2 minutes. "Time's Up" ends it with a less than one minute closer. This sounds so amazing too with so much going on then out of the blue a man yells "Time's up!" and it's over.

If your more into traditional Jazz but don't mind those Fusion flourishes then you really need to check this girl out.

Latest members reviews

5 stars Time Control the first studio album by Japanese musician Hiromi Uehara's group, Hiromi's Sonicbloom, and her 4th studio album overall. I was a bit sceptical because of the artwork ( could be some J-pop) , but there is no reason to worry. It is a concept album centered about the idea of time, b ... (read more)

Report this review (#1789386) | Posted by Norbert | Saturday, September 30, 2017 | Review Permanlink

5 stars I love Hiromi. I started with this album. It has guitar and that attracted me, however, the most important thing about this excellent album is that Hiromi created beautiful compositions and she is an outstanding piano player. Before listening to this album i had very little interest in jazz. Hir ... (read more)

Report this review (#1435823) | Posted by marcobrusa | Sunday, July 5, 2015 | Review Permanlink

5 stars The second most important album of my life after Björk Homogenic. Surprising for a guy who has grown-up with a big dosage of pure prog like Genesis, Yes, KIng Crimson, to have Bjök and Jazz pianist Hiromi has his 2 greatest inspiration? At least to me it somewhat is. I have discovered Hiromi ... (read more)

Report this review (#1253618) | Posted by Fido73 | Monday, August 18, 2014 | Review Permanlink

5 stars I have known this album for quite some time, and it did impress me a lot, but for some reason I "forgot" to post a review. Better later than never. In the 21st century it must be very hard for a newcomer into the world of jazz fusion to establish themselves as an original artist, who nevertheless ... (read more)

Report this review (#918763) | Posted by Argonaught | Sunday, February 24, 2013 | Review Permanlink

5 stars What an impressive album! Truly great! I'm gonna run to buy it if I get the oppurtinity! 5 stars really. Some really good musicians making some good jazz like I never heard before. I'd tell to all jazz fusion lover get it right away. Hiromi is really a keyboard genius. Really progressive too. ... (read more)

Report this review (#428097) | Posted by The_Jester | Tuesday, April 5, 2011 | Review Permanlink

4 stars This is my third encounter with jazzrock. The first 2 were (of course) with Mahavishnu Orchestra. When I read snobbs review of the album, I thought that this might be something I wish to hear. Now after listening to this for about a month I have formed my opinion. The music here is quite access ... (read more)

Report this review (#275917) | Posted by I Love Internet | Friday, April 2, 2010 | Review Permanlink

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