淺井ひろみ

中村正人

Page30 (オリジナル・サウンドトラック)

Sonicwonder

OUT THERE

矢野顯子

Step Into Paradise -LIVE IN TOKYO-

Akiko Yano

Kawarushi (Live at Tokyo Opera City Concert Hall / 2024)

Sonicwonderland

BLUE GIANT (Original Motion Picture Soundtrack)

馬場智章

石若駿

BLUE GIANT (From "BLUE GIANT" Soundtrack)

Edmar Castañeda

Live In Montreal

Spark

Anthony Jackson

Simon Phillips

Alive

Voice

Get Together - Live in Tokyo

The Stanley Clarke Band

Ruslan

Ronald Bruner

Place To Be

Chick Corea

Duet

Fun Toddler Songs

Hiromi's Sonicbloom: Time Control

Spiral

Brain

《Sonicwonderland》以聲音實驗為基底，將電子音樂的科技感與古典交響的恢弘編織成奇幻聲場。專輯通過模塊合成器的脈衝與絃樂的感性對話，營造出迷離的星際漫遊氛圍。層次分明的音軌設計讓每個音符都如同穿過稜鏡的光束，折射出未來主義的聽覺美學。沉浸其中，彷彿置身於聲音構築的異次元空間站，感受電子交響詩篇的震撼與瑰麗。

在這獨一無二的瞬間 全力演奏
自2013年開始連載以來，系列累計超過900萬部的人氣爵士漫畫《藍色巨星/BLUE GIANT》（原作：石冢真一）終於劇場版電影化（2023年2月17日日本上映）。
被評價為“能聽到聲音的漫畫”的作品、劇中的配樂由鋼琴家上原廣美擔任。主人公·宮本大等人結成的三重奏“JASS”的原創樂曲（FIRST NOTE，N.E.W.，WE WILL）和終曲（BLUE GIANT）也是為了本作品而新作的。
在劇伴音樂和樂隊演奏的錄音中，以“上原廣美·鋼琴曲·五重奏”的絃樂成員為首，還有許多古典音樂~爵士樂界的頂級音樂家也參與了本作的演奏。

by Paula Edelstein
With the release of Spiral, the award-winning pianist/composer Hiromi Uehara stands at the threshold of limitless possibility. Her third trio recording in as many years finds her in the familiar company of drummer
Martin Valihora
and bass player
Tony Grey
, but the CD itself goes beyond expectations. It features all original compositions, including the 28-minute"Music for a Three-Piece Orchestra," a suite of four tracks -- "Open Door/Tuning/Prologue," "Déjà Vu," "Reverse," and "Edge" -- that spotlight Hiromi's formidable technique and impressive compositional skills. The suite was inspired by Hiromi's desire to expand the sound of her trio into orchestral spaces and to give her listeners an intense listening experience. By contrast, the highly energetic "Return of Kung-Fu World Champion" captures the essence of the trio in a smaller, jazz-rock fusion format that kicks with the same excitement as a martial arts tournament. The title track "Spiral" alternates between improvisation and carefully crafted jazz elements, while the delicate comping chords heard on "Love and Laughter" are a sure indication of jazz giant
Ahmad Jamal
's positive influence as a mentor. Both songs beautifully captivate and induce your imagination to spiral toward the trio's interplay, flurry of notes, and aural qualities. Overall, Spiral exceeds the standards set by Hiromi's previous releases,
Another Mind
and
Brain
, and should garner her a wider audience. [This Hybrid Disc edition features discreet, multi-channel surround in addition to both standard stereo and SACD-stereo playback.]

Japanese pianist and composer
Hiromi Uehara
dazzled the jazz world with her 2003 debut,
Another Mind
. Its mash of keyboard pyrotechnics and range of compositional styles was multiplied exponentially by her irrepressible energy. On that set she used variously sized ensembles to articulate her compositions. On Brain,
Hiromi
strips it back to a trio and offers a more intimate look at her wide musical universe, utilizing drummer
Martin Valihora
, bassist
Tony Grey
(both fellow Berklee College of Music alums), and alternately bassist
Anthony Jackson
. The album opens with the wacky "Kung-Fu World Champion" with its mélange of sequenced keyboards. It's a fusion tune to be sure, but it's so kooky and funky that it transcends the label despite its reliance on staggering time signatures and stop-on-air turnarounds and changes. It's a careening tour de force where electronic keyboards and pianos are layered over a scattershot rhythm that pulls and pushes the deep pocket funk and strafes it with a post-bop sensibility.
Grey
's bassing here is so choice, so utterly fluid and physical. But it's back to jazz on "If..." with
Jackson
taking the bass chair. It's a strolling soul-jazz figure, bubbling over a series of chromatically arranged ostinati. Its beauty is crystalline despite all the activity. "Wind Song" is a mid-tempo ballad with beautiful ringing lines in the middle register. Its repetitive figure shifts and shapes an alternate melodic line in the solo. The knottiness of the title track offers a close, scrutinizing view of
Hiromi
's mad muse; using her piano to articulate a figure she creates a warped and angular counterpoint with electronic keyboards keeping the rhythm section striating in between, with precise interstitial motifs before the entire cut gives way to a blessed out of minor key prelude on the piano and her rhythm section dancing around the changes in hushed tones. The centerpiece of the set is a stunningly beautiful tune called "Green Tea Farm." A solo piece, it is pastoral. In sum,
Hiromi
has built upon her previous effort by stripping down her band and showcasing the less physical but no less ambitious side of her improvisational and compositional flair. Her sound might still be confounding to the purists, but who cares?
Hiromi
is a jazz pianist for the new century, one whose "yes" to the wealth of musical styles that are available to her is only eclipsed by her ability to work them into a unique whole that bears her signature.

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