HIROMI UEHARA

The first Hiromi album as a trio with Valihora and Grey was a great artistic success. The album is as virtuosic as it is thought out compositionally and stylistically.

Brains is a suiting name as all three players (well, two bass players) deploy their brains and chops to create this brilliant mixture of modern fusion, jazz and funk. Hiromi reigns with synths, piano and the rhythm section is also young but phenomenally tight.

The first composition is indeed a kung-fu exercise in dynamics, a complex interplay and accelerating main motive. Contradictory to the first piece, the second "If..." is a melodic and more accessible yet distinctly modern sunny jazz with great piano. "Wind song" continues in the vein with a combination of 3/4 and straight rhythms. Hiromi can craft classically influenced motives a la Brad Mehldau yet they can get complex within a few seconds. After that, it's time for three lengthy tracks. "Desert on the moon" is the most traditionally sounding song but the beat is clearly modern while the piano and the acoustic bass remain conventional. "Keytalk" is a groovy track for Hiromi's synth experiments (the bass has some effect, too). It's quite a loose track apart from the main motive which is played with a variety of executions.

Despite versatility in its output, the album is easily recommended to all fusion and modern jazz bands.

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.

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.

I have resisted listening to any Hiromi studio album releases since she abandoned her Sonicbloom format (for the trios). Isn't that crazy?! What the heck was I thinking?!!! This is Hiromi's second studio release with her new quartet. All of the same collaborators return from the 2023 eponymously-titled album.

1. "XYZ" (6:56) this opener certainly does a great job announcing the serious skills and chemistry of Hiromi's new band. This very complex and least-melody-friendly song on the album still manages to impress because of the display of talent necessary to play these sophisticated and fast-shifting chord, rhythm, and melody changes. Impressive--though not my favorite. (13.625/15)

2. "Yes! Ramen!!" (8:14) so much fun, quirk, stylistic soup (kind of like the ramen itself!): more from Hiromi's incredibly free-flowing playfulness. (14.5/15)

3. "Pendulum" (5:57) the spirit of my late beloved Ryuichi Sakamoto seems to be flowing through Hiromi's fingers and piano on this but more, the stunningly exquisite vocal performance of Michelle Willis is somehow perfectly matched to Hiromi's beautiful music. Even the poetic lyrics are a welcome, fitting, and, again, perfect enhancement--precisely because of the musical quality of the poetry. Hadrien, Gene, and, later, Adam's contributions in the second half are equally respectful of Hiromi's Sakamoto-like gift to the cosmos. (10/10)

4. "Out There: Takin' Off" (6:33) too much fun, too much joy gushing from these performers to not love this song! (9.125/10)

5. "Out There: Strollin'" (6:43) a little more grounded in a blend of both traditional, "classic" melodic jazz as well as the Pat Metheny approach to music-making, this song has again so many nostalgic references: from all three of Hiromi's collaborators as well as the bandleader herself. This feels to me like a walk through New York City circa 1965. I love it. Adam O'Farrill's trumpet play is so fun and playful! How could someone not just fall in love with this music. Makes me want to go watch old Woody Allen movies. (9.25/10) 6. "Out There: Orion" (8:10) on this song it feels as if we are stepping down another floor into more traditional jazz sounds and styles--especially in the melody-making department: I feel as if the main melodies and variations on the main melodies are more akin to that which supported Frank Sinatra and Nancy Wilson in the 1950s. Don't get me wrong: I LOVE it, but it's just a feeling I get. Especially when each of the four "Out There" suite members is compared to each other. (13.75/15) 7. "Out There: The Quest" (8:11) the spirit of Weather Report/Manahattan Transfer "Birdland" comes through quite strongly here, that is, the 1980s. Man! I sure love the sounds and playing styles of both trumpeter Adam O'Farrill and bassist Hadrien Feraud! The way Gene's drums are presented in the mix (separation and sound spectrum) bug me a little. Not as big of a fan of this song as the others. (I've never been much of a Weather Report or "Birdland" fan.) (8.875/10)

8. "Pendulum" (6:19) the instrumental, all-piano version of song #3. It's just as beautiful without the great vocal performance and lyrics of the other version: mostly because Hiromi's music is so damned perfect. I love the different liberties Hiromi takes with the main melody in the fourth and fifth minutes--just before she begins gently working some low end bass notes into the background (from 3:44 to the song's end). (9.75/10)

9. "Balloon Pop" (6:18) a lot of fun syncopated staccato interplay between Hiromi (more her left hand), Gene and Hadrien. Adam gets a few passages to inject his own ten cents--and they're lovely (if mixed a little too far back into the sonicsphere)--but it's Hadrien's Anthony Jackson-like solo in fourth minute that really blows me away! I'm an absolute sucker for this kind of disciplined staccato syncopation--especially when it's performed at such a high precision level as this is. Fun whistle-like synth solo around the five minute mark with nice background trumpet accents, then it's off to the land of duelling anjos for the final minute: everybody trading barbs and challenges around the circle, one after the other until the finish. (9.125/10)

Total Time 63:21

I am so surprised (and overwhelmed) to find my inner being exuding such joy and elation as I listen to and review this album. I feel so very privileged to be able to know and have this kind of joyful music in my life. If I have any complaints/criticisms of this album, they are very minor--and they have nothing to do with the compositions or performances. I find myself ever so slightly put off by the way Gene Coye's drums are recorded. At times all of the four instruments feel rather subtly separated, that is, the tracks devoted to Gene, Hadrien, Adam and even (sometimes) Hiromi feel as if they have plexiglass walls between them: as if they were recorded in separate rooms, separate cities, at separate times and then the engineers tried to make them feel together. I've been quite resistant to listening to much of Hiromi's discography since she fell into my life with her first Sonicbloom album back in 2007: I just was afraid that nothing else could ever be better much less compare to that. A few live performance videos with Anthony Jackson have recently softened my stubborn stance, and then, today, this album popped into my awareness! Am SO GLAD it did! Also, I've been so focused on "Classic Era" Jazz-Rock Fusion and 1960s Jazz that I'd completely ignored (like a righteous little snob) any modern Jazz-Rock Fusion. Okay: I now see the error of my ways. I'm going to open myself back up to 21st Century Jazz-Rock Fusion. Hiromi, Antoine Fafard, Kamasi Washington, Meshell Ngegeocello: watch out: I'm comin' for y'all!

P.S. I ADORE the album art of this album! Now that's what I'm talkin' about! A/five stars; a certifiable masterpiece of joy-filled upbeat Jazz-Rock Fusion. All hail the Queen! Highly, highly recommended. For anyone who professes to love music.

Sorry to break the consensus (of the three ratings this far), but no, I'm not going to rate this DVD with five stars, as lovely as this artist is. The Japanese jazz pianist and composer Hiromi (b. 1979) came to my radar several years ago in the get-togethers with my prog-loving friends. Someone knew the artist and we all were delighted by the youtube clips showing Hiromi playing live. The music itself was of course good too, but what really warmed our hearts was the sheer happiness and joy that shone from her face. The cover of this DVD gives you some idea of it. There's absolutely not a shadow of a doubt left: Hiromi just LOVES what she's doing on stage, and she lets it show.

This concert was shot at Marciac Jazz Festival, France, in 2011, the same year when the first Trio Project studio album Voice was released. The keyboardist is accompanied by American bassist Anthony Jackson (b. 1952), a session veteran since the seventies, and British drummer Simon Phillips (b. 1957), undoubtedly known by many prog listeners for having worked with Mike Oldfield, Mike Rutherford and Toto among others. So, we're dealing with virtuoso musicianship here. But sadly, the bass was mixed too low and it was almost inaudible through the whole concert, at least to my ears. Even on the solo spots the instrument's sound was tiny. The sonic density created by Hiromi's piano (and occasional synths) and Phillips' gorgeous drumming seemed to leave the bass somewhere behind. This really bothered me a bit.

The set list of roughly an hour-long concert consists only of seven pieces, five of them from the mentioned Voice album, very understandably so since the trio was pretty young at the time. Among them is the playful jazz version of the well-known slow movement of the "Pathetique" Piano Sonata No. 8 by Beethoven. That piece concentrates very sovereignly on Hiromi's improvisation-like pianism, the rhythm section mostly giving a steady, mild backing. The music of this concert in general is dynamic, fusion-ish contemporary jazz with a relatively strong contribution from the drummer. What I perhaps missed a bit were more delicate and emotionally deeper moments. Probably I was in advance too excited by the idea of the entire Hiromi concert (as opposed to youtube clips) and wasn't as fully impressed by the longish pieces as I had hoped. But if you're more acquainted with Hiromi and her Trio Project in particular, your enjoyment is probably bigger.

The special feature is placed at the end of the film instead of a separate bonus feature spot -- if that matters anything. Well, otherwise I most likely would have started viewing from there, as an appetizer. The 20-minute 'Five Days, Five Countries' is a typical concert DVD extra as it follows the trio on their European tour. Stepping out of a plane, driving on a car (Simon Phillips making jokes of going the wrong way), making soundchecks on the various venues and solving technical problems, giving short clips of the gigs, etc. Jackson and Phillips are not much interviewed at all, and also Hiromi's interview remains pretty short. She says how much she loves performing for the live audience and that she likes visiting various countries and also feels positive about the diversity of the venues themselves, some of them very 'classical' halls, some more club-like places.

Musically very good stuff, sure, but as a DVD this is somewhere between three and four stars for me.

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.

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!

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.

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 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.