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HIROMI UEHARA

Jazz Rock/Fusion • Japan


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Hiromi Uehara picture
Hiromi Uehara biography
Born 26 March 1979 in Hamamatsu, Shizuoka, Japan

Hiromi Uehara style brings a wholly new approach to jazz fusion, as her prog influence is derived primarily from such artists as King Crimson, Gentle Giant, and Frank Zappa rather than earlier jazz fusion artists. Her music is almost orchestral in scope, and each of the musicians she plays with has a virtuosic grasp of their instrument, allowing for each instrumentalist to have an approximately equal role in the direction of the music. Her music is more melodious than traditional jazz fusion but with an equally complex sense of rhythm. Time signature changes are not in short supply here.

Hiromi performed for the Czech Philharmonic Orchestra at age 14 and later wrote jingles for Nissan and other Japanese companies before becoming a professional jazz musician. She could be considered the protégé of Chick Corea, having met him when she was 17. She has performed with Chick on numerous occasions since then.

Hiromi produced her first album, Another Mind, in 2003, and has produced four others since that time.

Thanks to auralsun for providing this biography.

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HIROMI UEHARA discography


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HIROMI UEHARA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.95 | 55 ratings
Another Mind
2003
3.93 | 40 ratings
Brain
2004
3.34 | 41 ratings
Spiral
2006
4.28 | 304 ratings
Hiromi's Sonicbloom: Time Control
2007
3.88 | 45 ratings
Hiromi's Sonicbloom: Beyond Standard
2008
3.65 | 31 ratings
Place To Be
2009
4.03 | 105 ratings
The Trio Project: Voice
2011
3.92 | 38 ratings
The Trio Project: Move
2012
3.76 | 46 ratings
The Trio Project: Alive
2014
3.98 | 114 ratings
The Trio Project: Spark
2016
4.12 | 14 ratings
Spectrum
2019

HIROMI UEHARA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 11 ratings
Duet (Chick Corea & Hiromi)
2009

HIROMI UEHARA Videos (DVD, Blu-ray, VHS etc)

4.25 | 4 ratings
Hiromi Live in Concert
2009
4.47 | 12 ratings
Hiromi's Sonicbloom Live in Concert
2009
4.77 | 4 ratings
Solo Live at Blue Note New York
2011
5.00 | 3 ratings
Hiromi: Live In Marciac
2012
4.33 | 6 ratings
Move: Live in Tokyo
2014

HIROMI UEHARA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

HIROMI UEHARA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

HIROMI UEHARA Reviews


Showing last 10 reviews only
 The Trio Project: Alive by UEHARA, HIROMI album cover Studio Album, 2014
3.76 | 46 ratings

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The Trio Project: Alive
Hiromi Uehara Jazz Rock/Fusion

Review by Necrotica
Prog Reviewer

4 stars There's something so mesmerizing about watching Hiromi Uehara perform live. She's one hell of a disciplined and articulate piano player, but the way her energy and spirit translate to the stage is what really makes her shine. The giddy smile she has, the eccentric movements of her fingers on the keys, and the way she casually performs such acrobatic feats of piano wizardry as if it were second nature? it's all entrancing. Then again, I suppose being discovered by Chick Corea as a teenager could put a smile on a musician's face with ease. Mr. Corea found Hiromi at age 17 and invited her to play at his next concert with him, which undoubtedly heightened her profile in the jazz world. But, as her many projects have proven, she's much more than just another face in the sea of jazz pianists making a name for themselves. No, this virtuoso has plenty of tricks up her sleeve, and nowhere are they more apparent (at least to this reviewer) than on Alive, her third album in the Trio Project.

Going back to what I said about Hiromi's spirit in a live setting, that same spirit absolutely translates to the studio on Alive. The playing is often highly precise and tight, but as the pianist whirls around the backing band on the ivories, each influence and layer unfolds slowly and delicately. One minute we're listening to the free jazz powerhouse of "Player," with its wildly shifting tempos and rhythms, but then we get a track like "Warrior" that plays out as a delicious pairing of jazz fusion and progressive rock. We also get a decent helping of classical (particularly romantic-era) to even things out, especially on the intimate balladry of "Firefly." To say Hiromi's playing has personality is an understatement, and the sense of atmosphere she brings to Alive is one of the biggest reasons to listen to it. Opening title track "Alive" is an amazing way to reveal her compositional and instrumental talents, storming in as a powerful statement of intent with its flashy piano runs and drum rolls. Once the proverbial smoke clears, the precision and sense of dynamics displayed by the trio is incredibly palpable. Even at nine minutes, the tune never feels like a drag to get through. But more importantly, it basically serves as an all-encompassing taste of what you'll hear throughout the album.

Speaking of the trio, the two other musicians are fantastic as well. Anthony Jackson (bass) and Simon Phillips (drums) are a phenomenal fit to round out the group, playing complex motifs and chord progressions as tightly and neatly as they can. And yet, much like Hiromi, you can hear a ton of personality in their performances. I love when solos and jam sessions play out like miniature conversations akin to bickering with one another, and jazz is often quite loaded with these moments. Just listen to the slow rolling bass of "Player," for instance. It sounds mischievous and almost sleazy combined with the subtle drumwork in the background, and the wacky piano licks provide an amazing counterpoint to the slow, lumbering bass lines beneath. These guys can also adapt to different moods and atmospheres incredibly well, such as when the energetic title track is succeeded by a much more subtle and understated tune like Wanderer. The song still has its flashy moments, but the overall feel is much more plaintive and melancholic, even down to how the fast piano and bass runs are executed. It often plays out like a jazz/classical mix, and the trio as a whole is incredibly adept at switching between the genres at will. With songs like "Wanderer" and "Warrior" in particular, it's pretty amazing how well beauty and technicality collide on Alive.

As of this point, Hiromi's been involved in a ton of projects. I could go on for hours about how influential she is in both her home country and the jazz world, as well as the fact that she's performed with big names like Chick Corea, Stanley Clarke, and Japanese pop legend Akiko Yano. But if you want an amazing index of what Hiromi Uehara is all about, Alive is a wonderful way to get acquainted with her work. It's the kind of album that displays just how much weight and power her work has in the world of jazz fusion, and it's still among my favorite albums in that very genre. If you have even the slightest bit of interest in jazz or even progressive rock, this is a fantastic one to pick up.

 Brain by UEHARA, HIROMI album cover Studio Album, 2004
3.93 | 40 ratings

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Brain
Hiromi Uehara Jazz Rock/Fusion

Review by Hydenseek

5 stars Not a prog album. Neither a jazz album. A trio album. (Hiromi on Keyboards, Martin Valihora on Drums, Tony Grey and Anthony Jackson alternatively on bass). After her pyrothecnic debut, Hiromi explores new territories. The result is quite surprising. Each track sounds different from the others and you really don't know what to expect next. The beginning is flamboyant. "Kung-Fu World Champion" is a mix of genres at maximum speed: a sort of videogame crazy funk oriental jazzy music. "If" is calmer, mostrly jazz with a prog flavour. "The wind song" shows Hiromi's classical training and progressive taste with a lyrical cascade of notes. "Brain", after a retro computerized intro, alternates a captivating romantic theme with its jazz declination. "Desert on the Moon" is a hyperfast fusion track, with a few quieter and lyrical moments. Anthony Jackson and Martin Valihora at their best. "Green Tea Farm", a solo piano recording, reveals Hiromi's nostalgia for her homeland. "Keytalk" is absolute fusion: "(the keys) laugh, moan, cry. I wanted them to speak out loud"! "Legend of the Purple Valley" is a long track composed on an ancient japanese story, a sort of prog jazz and a somewhat oriental scent. In my opinion, the record's most moving track! Strange to say, a track with lesser future fortune than deserved. I'm Hiromi's huge fan, so it's 5 stars out of 5. Maybe for a prog fan, it could be 4. Here Hiromi's voices aren't reunited in one single style, the artist is still looking for her way. Maybe not Hiromi's most mature album, surely Hiromi's most various one!
 Spectrum by UEHARA, HIROMI album cover Studio Album, 2019
4.12 | 14 ratings

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Spectrum
Hiromi Uehara Jazz Rock/Fusion

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Hiromi Uehara is a jazz pianist with a unique and eclectic style that makes her fit comfortably in the progressive genre. She has made several album with bands through her career, but in 2009, on her album "A Place to Be", she made an album with piano only. Since then, she has been performing and releasing albums with her project called "The Trio Project". In September of 2019, she released her 5th solo album, 10 years after "A Place to Be", and once again, it is an album consisting of only Uehara on piano, this time called "Spectrum". The album was released only in Japan until Octboer 2019, when she released it internationally.

"Spectrum"s track titles all have to do with color. Hiromi's piano teacher told her to think of the music she plays as shades of color, and this is what she wanted to portray on this album. Hiromi also says that playing a totally solo piano album exposes the artist much more because there is nothing else there to cover up any weaknesses or mistakes. It also means that the artist has to act as the other instruments such as bass, percussion, guitar and such. The album consists of 9 solo tracks and has a total run time of over 73 minutes.

The album starts with "Kaleidoscope" which instantly proves that Hiromi is unique and has an amazing style that will make you think you are listening to more than just a piano. If this is your first time hearing her, you will notice how she can change her touch on the keys to make it almost sound like another instrument, and she adjusts her touch and style so seamlessly and smoothly. This is unlike any solo piano album because of her variety of delivery that makes it sound so layered like an entire small group of instruments playing along with her. Not only that, but she is technically amazing with her fast notes, her ability to utilize dynamics, and her amazing phrasing where she can play smoothly in one hand and use the other hand to play staccato and pizzicato and whatever else she does. It's all quite amazing. This track features several very fast passages that utilize the entire range of the keyboard. Hopefully, this amazing delivery translates to non-keyboard players, but I know, being a keyboardist pretty much my entire life, that Hiromi is quite amazing in both technicality and dynamics

"Whiteout" is a much lighter piece that flows around like light flying snow falling through the air. It is slightly more traditional sounding, but Hiromi's touch is so light that the piano again becomes it's own orchestra. As the track continues, it becomes more rhapsodic and dynamic, but the flair is not necessarily classical as much as it is jazz, similar to Gershwin's style, but also, at times, inspired by the Moonlight Sonata's famous motif. "Yellow Wurlitzer Blues" has a bright sound based on a boogie/blues/ragtime style. It's fun and playful, upbeat and jazzy. "Spectrum" is more along the lines of a fusion style, thick and complex, very much like a Keith Emerson style, but again, she adds her own unique manner to it, doing things to the keys that produce some different sounds and textures that you don't normally hear from a piano. Notes fly from her fingers faster than the mind can move.

"Blackbird" again goes for a lighter sound, soft and flowing. "Mr. C.C." is a piece based on her experience of improvising over a Charlie Chaplin silent movie. It moves to a fast flowing old-time jazz style, a bit comedic and playful, strongly based on a ragtime style with a slow, dramatic finish. "Once in a Blue Moon" returns to the jazz/blues style and a more improvised feeling, speed is moderate, but the notes still fly around quickly and she often returns to the main theme of the track.

The centerpiece of the album is the 22 minute track "Rhapsody in Various Shades of Blue" which is a medley of famous themes brought together in one piece. It starts with her take on "Rhapsody in Blue", of course, from Gerswin. Her amazing use of dynamics is what makes this track great, and again you almost think you are listening to a full band. She flows through the infamous themes of Rhapsody in Blue with ease and grace. As the track goes along she brings in various themes and jazz renditions of other famous songs and styles, always coming back around to riffs from the Gershwin Rhapsody. "Sepia Effect" is the final track on the album. It has a beautiful melody and nice arpeggio pattern playing underneath it. Very lovely and appropriate ending for this colorful and exciting album

On this album, Hiromi's style is strongly based on melody and improvising off of that melody, not just random improvisation, but each track is tied to strong, yet interesting themes. This also helps with the feeling of variety, along with the fact that her varied playing keeps everything interesting, giving each track its own personality. That doesn't mean to say that she doesn't do a lot of her own improvising, as there is quite a bit of that here to. But the most important thing is the amount of variety on the album, moving around to different styles, and always adding her unique touch to everything. Her playing will convince you that there are times that you are hearing more than just a piano, but that is all it is, and with her dynamics and ability to suddenly shift from one style to another with smoothness and grace is just amazing. Hiromi is quite amazing and one of the best keyboardists alive on the planet at the moment. Hopefully she will get the recognition she deserves as she should be up there with the best of them.

 The Trio Project: Spark by UEHARA, HIROMI album cover Studio Album, 2016
3.98 | 114 ratings

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The Trio Project: Spark
Hiromi Uehara Jazz Rock/Fusion

Review by Grumpyprogfan

5 stars Hiromi is an incredibly gifted pianist and songwriter. This is her tenth studio solo release and her fourth with this killer trio that also includes Anthony Jackson (bass) and Simon Phillips (drums). What makes this different from any other jazz trio is that Hiromi sprinkles influences of Latin, blues, pop, rock, classical, and R&B throughout her music. Her playing can be fierce, delicate, emotional and all out shredding on one song. Simon's rock influence and Anthony's spot on playing carry the music to greater heights than could be achieved with any other musicians. Standout tracks for me are "Spark" ? a progressive jazz monster that sounds more like a fireball than a spark (this tune cooks), "In a Trance" has many different sections that work well together and an excellent drum solo to boot, and I love how Hiromi tinkles the chords (in a Monkish dissonant off-beat way) on the exquisite and calming "Indulgence".

The audio on this is pristine and in this age of crappy recording/mastering this stands out as a breath of fresh air; a reference disc of how it should be done. The drums sound like you are in the same room with Simon, the cymbals shimmer and decay as they should, the bass is fat and punchy and the piano has power - kudos to Michael Bishop for the fantastic engineering work. Overall, this is a great release that any music fan should enjoy.

 The Trio Project: Spark by UEHARA, HIROMI album cover Studio Album, 2016
3.98 | 114 ratings

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The Trio Project: Spark
Hiromi Uehara Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars The latest album from Hiromi Uehara's Trio Project largely finds the keyboard wizard continuing at what she does best - offering up technically adept, hooky jazz-fusion piano pieces with good command of mood and atmosphere. Gentler moments also get in here and there, with Wake Up and Dream being a particularly peaceful solo number. Simon Phillips gets some reasonable drum solos in on the title track and In a Trance, but isn't outright obnoxious about it so I'm inclined to let it slide. Though I prefer the earlier Trio Project releases somewhat, Spark still demonstrates that there's some creative juice left in the tank, though I can't put hand on heart and say that I don't think a lineup revision or expansion wouldn't help shake things up nicely.
 Hiromi's Sonicbloom: Time Control by UEHARA, HIROMI album cover Studio Album, 2007
4.28 | 304 ratings

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Hiromi's Sonicbloom: Time Control
Hiromi Uehara Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

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.

 Hiromi's Sonicbloom: Time Control by UEHARA, HIROMI album cover Studio Album, 2007
4.28 | 304 ratings

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Hiromi's Sonicbloom: Time Control
Hiromi Uehara Jazz Rock/Fusion

Review by Norbert

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, but because it is an instrumental album, without knowing the title of the compositions we would hardly notice this. We have here 9 tracks in roughly 61 minutes. Hiromi mainly uses her piano, synths are sparingly, but effectively used. Hiromi is accompanied in this project by David Fiuczynski on guitar, Tony Grey on bass guitar and Martin Valihora on drums. The guitar player is the strongest addition, but the other two musicians are great as well. The interplay between the musicians is absolutely outstanding, so the album not only about Hiromi's brilliant piano and keyboard playing. The music on this album is jazz-fusion, very technical and complex, but also quite melodic, if you have the sligthest interest for jazz music there is a lot to like here. Personally, I cannot say a bad word of Hiromi's any 9 compositions featured on Time Control. My favourite tracks are the opening Time Differences with magnificient interplay between Hiromi and David, then Deep into the Night featuring Hiromi's most beautiful piano work on this album, and Time Flies, an overwhelming piece of sound painting with a wonderful flow. In my opinion this album is an essental example of modern jazz fusion.
 The Trio Project: Spark by UEHARA, HIROMI album cover Studio Album, 2016
3.98 | 114 ratings

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The Trio Project: Spark
Hiromi Uehara Jazz Rock/Fusion

Review by Walkscore

4 stars Hiromi's music and musicianship is always of very high quality, and all her albums are worth picking up. This is Hiromi's latest, and like the previous three albums, features her 'Trio Project' with Anthony Jackson on bass and Simon Phillips on drums (Hiromi plays the piano and occasionally a synth). By now, her Trio Project albums all reveal a kind of formula, with the more difficult and progressive-rock oriented songs more concentrated nearer the beginning, coupled with a few quieter pieces, blues, and shuffles which are usually found in the latter half of the album (and usually one song features a humourous-sounding synth-lead). This album is no different in that respect (although it seems some of these tunes are their most-ever difficult to play - the display of virtuosity is clear). I myself prefer either her progressive-tinged pieces, or her quieter evocative pieces/solos, which I find to be more musical than her blues and shuffles (which is not to say that I don't like the latter styles, just that her forte is the former). This album I find to be a bit less musical overall than her other Trio Project albums (my favourite is 'Move'), as well as her more musical albums before the Trio Project (my favourite is 'Brain', but 'Spiral' is also great). This one seems a bit more formulaic than previous albums, and while there are some great tunes (eg "Dilemma", "Wake Up and Dream" and the title track), none of the songs quite reach the heights of 'Brain', 'Voice' or 'Move', or even her previous album 'Alive'. Saying this, the music is still very high quality, and if you like great drumming, you will be particularly pleased with this album. While I find the piano could be higher up in the mix on a number of the tunes, Phillips drums are right up front, the pieces are quite difficult to play and Phillips drumming is mesmerizing it is so good (just like Hiromi's playing in that respect). Phillips also gets in some great solos on this album, and even though I find the shuffles less musical, on this album you can't help but marvel at Phillip's amazing drumming on the key one ("What will be will be"). Like the other Trio Project albums, Jackson's work is also very solid, although he is not in the spotlight much (with very few solos). On balance, an excellent album although not quite as good as the first two Trio Project albums ('Voice', 'Move'), or her two best albums before the Trio Project ('Brain', 'Spiral'). I give this album 8.2 out of 10 on my 10-point scale, which translates to 4 PA stars.
 The Trio Project: Alive by UEHARA, HIROMI album cover Studio Album, 2014
3.76 | 46 ratings

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The Trio Project: Alive
Hiromi Uehara Jazz Rock/Fusion

Review by Walkscore

4 stars Awesome Virtuosity.

Hiromi's album "Alive" was my introduction to Hiromi. It was playing on the speakers inside a music store back in 2014 when it was released, and was so good I had to pick it up immediately. Her Trio Project with Anthony Jackson and Simon Phillips is a really excellent venue for showcasing each of their talents. While her first albums often featured guitarists or horn players, truth be told Hiromi fills up the space better than most players (of any sort), and the Trio format gives her the freedom to do so. This album is a tour-de-force of excellent musicianship, not only by Hiromi but Jackson and Phillips as well. Phillips in particular plays out in a number of places, while Jackson only takes a few solos. But you can hear the virtuosity on every track, and there are a number of really innovative pieces here. As for the music, at 75 minutes, this is a long collection, with all but the last track a new Hiromi original. Like her other albums, this mostly features fast progressive rock-influenced jazz fusion, but with a mix of styles. And like her other albums, she titles most songs here thematically, this time in terms of action-oriented personal titles ("Seeker", "Dreamer", etc). There really aren't any bad tracks here. The first half contains more of the really fast and complex tunes, while more traditional jazz styles are concentrated in the latter half, and so the album might feel a bit front-loaded (for progressive rock lovers). But the playing is incredible on every track. My favourites include the first three ("Alive", "Wanderer", and the awesome "Dreamer"), and "Warrior" and the lovely quiet and slow "Firefly". These tracks alone come to 43 minutes, which is roughly the length of a regular vinyl album. Every Hiromi album also features a bluesy shuffle, and on this one it is "Spirit", although "Player" also shifts in and out of this, and to a degree the cover that she chose to close the album "Life Goes On". These are all very good, but not my favourites, and to my mind the album loses a bit of steam as it approaches the end, and so really the album doesn't so many tunes. Saying this, there is so much excellent music here, this is definitely worth picking up. Of her Trio Project albums, I place this just under "Voice" (which is second to her Trio Project excellent album "Move"). I give this one 8.5 out of 10 on my 10-point scale, which translates to 4 PA stars.

 The Trio Project: Move by UEHARA, HIROMI album cover Studio Album, 2012
3.92 | 38 ratings

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The Trio Project: Move
Hiromi Uehara Jazz Rock/Fusion

Review by Walkscore

4 stars The best Hiromi album. Virtually 5 Stars!

Perhaps more than on any other of her albums, Hiromi's virtuosity here is matched by a consistently high-quality and highly memorable set of compositions. While I find some of her albums lose steam closer to the end (eg 'Alive'), all the songs on this album are top notich and highly distinct, up there with her best compositions. The album opens with the double-pulse piano notes for "Move", which became one of Hiromi's live signature pieces, followed by the excellent and beautiful "Brand New Day". On virtually each album, Hiromi includes a song in which she plays a seemingly-talking synth for humourous effect, and on this album it is "Endeavor" (although her solos on it are on piano). "Rainmaker", the fourth track, is one of her best songs, a really definitive melody. After this comes 20 minutes of a three-part suite called "Suite Escapism" broken into three parts, all of which is really fantastic! The first and last parts ("Reality" and "InBetween") involve some incredibly fast playing - it is difficult to believe anyone can play the piano this fast. The middle part ("Fantasy") is very slow, and among my favourite of her quiet slow ballads. The second-last piece, "Margarita", is basically a funky shuffle, and while it is (to my ears) the weakest track on this album, it is still in the top 50 percent of her tunes - much better than any of the weaker songs I can think of from her other albums. Part of the reason for this is her quirky and unique solos (both synth and piano). The final composition on this album, titled "11:49", is almost twelve minutes of bliss, and like "Rainmaker" one of Hiromi's best-ever pieces. find this to be one of Hiromi's most consistent albums. I give this 8.9 out of 10 on my 10-point scale, which is just 0.1 away from a 5 PA Stars.

Thanks to naturalscience for the artist addition. and to Quinino for the last updates

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