HIROMI'S SONICWONDER: OUT THERE

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.

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