Since being brought to the light by jazz giant Ahmad Jamal, pianist Hiromi Uehara has carved out an impressive and wide-ranging career. While she is best known for her trio work with Anthony Jackson and Simon Philips, Hiromi has looked for other lands to conquer with her endlessly inquisitive spirit mixed with astonishing technique. She explored progressive fusion with guitarist Dave Fuiucynski on the wondrously hard hitting Time Control and has been part of a series of impressive summit meetings with Stanley Clarke, Chick Corea and Edmar Castaneda.
I have seen her in concert in almost all of these settings, but the one that most impressed me was when she did a solo tour in support of her first solo album (Place To Be) as she was able to enrapture the audience with her spellbinding fingerwork,passionate use of dynamics and the all elusive ability to tell a story with out using words.
She has recently released her second unaccompanied album,Spectrum, which as the title states, covers many colors of the rainbow, mixing jazz, rock, traditional folk and beyond. Unlike many artists who have mastered a high level of technique at an early age, Hiromi has been able to channel it into creating not only a personal voice on the piano, but an ability to use the ivories as paint brushes in creating wondrous canvases of sound.
We recently had a chance to send some questions to her, and as when we had our first interview almost a decade ago, she was polite, well considered and revealing, just like her music.
- This is your second solo album. As they say,”you never step in the same river twice.” How different is this approach to a solo album as opposed to your first one? How have you changed, and changed your approach to the piano in the 10 years.
I feel like I am closer to the piano. I have much more colors in my sonic pallete now, that’s why I wanted the theme of this album to be color.
- This album includes material from the Baby Boomer period, including quotes from The Who as well as a take on a Beatles tune. Is this incorporation part of your upbringing, or a part of your present musical education?
These two songs are the songs I have been playing a lot because I feel very close to the song and touches deep part of myself.
- This album also includes a healthy supply of ragtime, as well as an interpretation of the 1924 Rhapsody in Blue. What inspired you to take on such a daunting and revered piece and put such variants into it? Have you ever thought of doing it with an orchestra?
Yes I have played this piece with an orchestra before, I am a big fan of George Gershwin and first time I played the solo piano version of Rhapsody In Blue, I realized that piano is an orchestra itself, and I decided that if I ever record this piece, first time should be solo so that I can really show piano is and orchestra.
You have an affinity for the blues, which is shown in all of your albums. Is there a Japanese musical equivalent to this genre?
No, personally study, love the blues.
- A lot of your playing on this album, such as on songs “Kaleidoscope” and “Whiteout” have hints of classical tones akin to Liszt or Debussy. Is this part of your technical training, or do these artists just come to your mind for inspiration the same way a Robert Fripp solo might?
Yes, I don’t listen to music by genre, I listen and play what touches me.
- You’ve done solo, duo, trio and quartet albums. Is any of them your “comfort food” style? Why?
I enjoy all of them.
- Looking back on your trio album Phillips and Jackson, what did those two artists bring out in you?
I learned so much from them about rhythm, groove, etc. I also learned how beautiful it is to have the mindset of always looking for challenges and being excited for something new.
- Likewise when you did In The Garden with Stanley Clarke and Lenny White, did you feel intimidated? What instructions did they give you? What are rehearsals like with such intense improvisation? What are your reflections on that tour, looking back? (I saw you at Catalina’s on that tour, and was flabbergasted!)
Not much rehearsals, we just gathered and played. I didn’t’ feel intimidated but I was hungry to learn everything I could.
- How did your duet tour with Chick Corea come about? What instructions did he give you? Have you thought about the fact that you’ve played with almost everyone from RTF?
He is an amazing listener, I learned so much about “listening” with playing with him.
- Do you ever go back to listen to your albums, such as these? What goes through your mind?
I only go back to listen when I decide to do new version of the song.
- You’ve had a career that has had you meet artists like Ahmad Jamal and Oscar Peterson. What is the best advice any of these jazz giants has given you?
I always love Ahmad’s answer to the question “what is your favorite album?”
His answer was “next one”.
I want to be like him.
- My daughter was first interested in you because you were female. I have Asian jazz friends who first got your attention because you were Japanese. Does it ever cross your mind that you at times represent both women and Asians in the male dominated jazz environment? Or is it just something that others remind you about and it doesn’t come up on your radar?
I never even thought about it. I am naturally Japanese, naturally woman. Never tried to stress it artificially.
- Are there any books, teachers, philosophies or religions that have influenced you and inspired you? In what way?
My first piano teacher who always told me to keep dreaming. She is one of the most passionate human being I know.
- What are your hobbies?
Watching movies. Eating good food.
- What are your future goals?
Playing with larger ensembles, big bands, orchestra, etc.
- What gives you joy?
Performing.
- What is your advice to aspiring musicians?
Have a strong vision and keep pursuing it.
It’s fitting that that the title of Hiromi’s latest album refers to a wide myriad of colors, as her albums have been a rainbow of tones, moods and atmospheres. Her brush strokes are audible on the most recent solo album, from tiny pin points to wide swaths, which is what makes a stroll through her musical gallery such a wonderful stroll.
She’s currently on a (mostly) solo tour in Europe and Japan, finally coming to the States early next year. Stick around and watch how Hiromi and her 88 friends can create a musical kaleidoscope.