OUT THERE Hiromi

• 1 XYZ 06:56
• 2 Yes! Ramen!! 08:14
• 3 Pendulum 05:57
• 4 OUT THERE: Takin' Off 06:33
• 5 OUT THERE: Strollin' 06:43
• 6 OUT THERE: Orion 08:09
• 7 OUT THERE: The Quest 08:11
• 8 Pendulum (Solo) 06:18
• 9 Balloon Pop 06:17
• Total Runtime 01:03:18

Info zu OUT THERE

Die weltberühmte Pianistin Hiromi veröffentlicht ihr 13. Studioalbum „OUT THERE“ – eine lebendige Interpretation elektrisierenden Fusion-Jazz.

Seit über 20 Jahren als Musikerin wechselt die Pianistin und Komponistin Hiromi nahtlos von einem fesselnden Projekt zum nächsten. Dabei hat sie sich den Ruf einer der explosivsten Live-Künstlerinnen der Jazzgeschichte und einer globalen Botschafterin dieser Kunstform erworben. Heute hat Hiromi ihr 13. Studioalbum „OUT THERE“ (erscheint am 4. April / Telarc) angekündigt. „OUT THERE“ ist ihr zweites Album mit Sonicwonder, einem kraftvollen neuen Quartett mit Hadrien Feraud am Bass, Gene Coye am Schlagzeug und Adam O’Farrill an der Trompete.

OUT THERE ist der Nachfolger von Sonicwonderland aus dem Jahr 2023, dem Debüt einer der ausdrucksstärksten und vielseitigsten Bands in Hiromis Karriere (sehen Sie sich nur ihr NPR Tiny Desk an, das Rapper Action Bronson als „das beste Tiny Desk aller Zeiten“ bezeichnete). Diese neue Gruppe entwickelte Hiromis unverwechselbare musikalische Alchemie weiter: den Geist klassischer Jazz-Rock-Fusion, verschmolzen mit klassisch verwurzelter Virtuosität, mitreißendem Funk, Pop-Elementen und akustischem Jazz. OUT THERE fängt ihre tiefe Chemie und ihr furchtloses Zusammenspiel nach fast zwei Jahren gemeinsamen Tourens und gemeinsamen Spielens ein. Hiromi lädt Sie ein, sich anzuschnallen für eine unterhaltsame, nachdenkliche und wilde musikalische Reise.

Das Album beginnt mit „XYZ“, einer frischen Interpretation von Hiromis erstem Song aus dem Jahr 2003. Es ist ein fulminanter Hit, der an die avantgardistischen Blue-Note-Titel der 60er erinnert. „Yes! Ramen!!“ ist eine Hommage an Hiromis Lieblingsessen, untermalt von Synthesizern, aufgedrehten Disco-Beats und einem bedrohlichen Riff. Die Band teilt Hiromis Liebe zu Ramen, insbesondere zu O’Farrill und Coye, und versucht, auf Tournee so viele Orte wie möglich zu besuchen. „Bei diesem Song war es eher so, als würde ich einen Soundtrack zu dem Film komponieren, den ich im Kopf hatte“, sagt sie. „Wenn sich die Landschaft ändert, kommt andere Musik ins Spiel – anderes Restaurant, anderer Stil.“

Der Kern von „OUT THERE“ ist die vierteilige Suite, die Hiromi ihren Fans konzentriert von Anfang bis Ende vorspielen möchte. Es beginnt mit der rasanten Melodie von „Takin’ Off“ und durchquert die raffinierten 70er-Jahre-Fusion-Grooves von „Strollin’“, das an Herbie Hancock, George Duke und Grover Washington Jr. erinnert. „Orion“ folgt mit kühnen und triumphalen Einlagen, die die Grundlage für ein großartiges Science-Fiction-Werk bilden könnten. Die Suite schließt mit „The Quest“, das die zerhackte rhythmische Wucht des aktuellen Jazz mit den Synthesizer-Freude des klassischen Prog-Rock vereint. Den Abschluss des Albums bildet „Balloon Pop“, ein ebenso ohrwurmverdächtiger Song wie kein anderer aktueller Hit der Hot 100. Und mit O’Farrill an der Trompete erinnert das eingängige Thema an Miles Davis’ eingängige 80er-Jahre-Aufnahmen.

Im Rahmen der Albumveröffentlichung wird Hiromi’s Sonicwonder Konzerte an berühmten Veranstaltungsorten in Chicago, Toronto, eine spezielle Album-Release-Show im Blue Note in New York und vieles mehr geben. Den vollständigen Ablauf finden Sie unten. Für das Artwork hat Hiromi erneut den Künstler Lou Beach engagiert, der für zahlreiche Albumcover bekannt ist, darunter „Dude Ranch“ von Blink 182 und Alben der Flying Burrito Brothers, Madonna und Weird Al.

Zu Hiromis zahlreichen Karriereerfolgen zählen ein NPR Tiny Desk Concert mit 2 Millionen Aufrufen, die Möglichkeit, ihr Heimatland Japan mit einem Auftritt bei den Olympischen Sommerspielen 2021 in Tokio zu vertreten, die Auszeichnung für die beste Filmmusik des Animationsfilms „Blue Giant“ (Preis der Japanischen Akademie) 2024 und ein GRAMMY Award für eine Zusammenarbeit mit dem Fusion-Helden Stanley Clarke. Ihre Kunst ist – um eine beliebte Beschreibung des New Yorker zu verwenden – „umwerfend“.

Hiromi, Klavier, Keyboards
Adam O’Farrill, Trompete, mit Pedalen
Hadrien Feraud, Bass
Gene Coye, Schlagzeug

Hiromi
Born in Hamamatsu, Shizuoka, Japan on March 26, 1979, Hiromi’s piano lesson’s started when she was six, and she performed her first recital at that age. Her first teacher, Noriko Hikida, encouraged her to access both the intuitive and technical aspects of music. “Her energy was always so high, and she was so emotional,” Hiromi says of Hikida. “When she wanted me to play with a certain kind of dynamics, she wouldn’t say it with technical terms. If the piece was something passionate, she would say, ‘Play red.’ Or if it was something mellow, she would say, ‘Play blue.’ I could really play from my heart that way, and not just from my ears.”

Hikida also exposed Hiromi to jazz and introduced her to the great pianist Errol Garner and Oscar Peterson. She enrolled in the Yamaha School of Music at age six, and started to write music at same time.

Hiromi moved to the United States in 1999, and matriculated at the Berklee College of Music in Boston, which extended her artistic sensibilities. “It expanded so much the way I see music,” she says. “Some people dig jazz, some people dig classical music, some people dig rock. Everyone is so concerned about who they like. They always say, ‘This guy is the best,’ ‘No, this guy is the best.’ But I think everyone is great. I really don’t have barriers to any type of music. I could listen to everything from metal to classical music to anything else.”

Among her mentors at Berklee was the veteran jazz bassist/arranger Richard Evans, who teaches arranging and orchestration. It was Evans who took Hiromi’s demo tape to his friend and collaborator: the legendary pianist/bandleader Ahmad Jamal. “[Professor Evans] really liked how I played,” Hiromi fondly recalled. “And Ahmad loved the demo – I couldn’t believe it! He’s been very encouraging and supportive. He’s an amazing human being.”

Evans co-produced her debut CD, Another Mind, with Jamal, who has also taken a personal interest in Hiromi’s artistic development. “She is nothing short of amazing,” says Jamal. “Her music, together with her overwhelming charm and spirit, causes her to soar to unimaginable musical heights.” Another Mind was a critical success in North America, and in her native Japan, where the album shipped gold (100,000 units) and received the Recording Industry Association of Japan’s (RIAJ) Jazz Album of the Year Award. Hiromi’s astonishing debut was but a forecast of the shape of jazz to come.

Her second release, Brain, won the Horizon Award at the 2004 Surround Music Awards, Swing Journal’s New Star Award, Jazz Life’s Gold Album, HMV Japan’s Best Japanese Jazz Album, and the Japan Music Pen Club’s Japanese Artist Award (the JMPC is a classical/jazz journalists club). The CD was also named Album of the Year in Swing Journal’s 2005 Readers Poll. In 2006, Hiromi won Best Jazz Act at the Boston Music Awards and the Guinness Jazz Festival’s Rising Star Award. She also claimed Jazzman of the Year, Pianist of the Year and Album of the Year in Swing Journal Japan’s Readers Poll for her 2006 release, Spiral. Hiromi’s winning streak continued with the release of Time Control in 2007 and Beyond Standard in 2008. Both releases featured Sonicbloom: her hand-picked group that included guitarist Dave “Fuze” Fiuczynski, bassist Tony Grey and drummer Martin Valihora.

Hiromi achieved a number of milestones in 2009. She recorded with pianist Chick Corea – who she met in Japan when she was seventeen – on Duet, a two-disc live recording of their transcendent, trans-generational and transcultural duo concert in Tokyo. She also appeared on bassist Stanley Clarke’s Heads Up International release, Jazz in the Garden, which also featured former Chick Corea bandmate, drummer Lenny White.

In June of that same year, Hiromi simultaneously released two concert DVDs, both recorded in Tokyo: Hiromi Live in Concert (recorded in December 2005) and Hiromi’s Sonicbloom Live in Concert (recorded in December 2007). The former features the rhythm section of Grey and Valihora, while the latter includes Fiuczynski’s incendiary fretwork.

In 2010, Hiromi released A Place To Be, and impressive and intimate solo piano CD; her evocative aural travelogue of the many places and spaces she visited around the world. “I wanted to record the sound of my twenties for archival purposes,” she says. “I felt like the people whom I met on the road during my twenties really helped me develop and mature as a musician and as a person. So in addition to making a record that represented all of these places that have inspired my music, I also wanted it to be a thank-you to those people.”

She followed up A Place To Be with a DVD, Hiromi Solo Live at Blue Note New York. Recorded on August 20 and 21, 2010, at the Blue Note in New York City, the video includes 11 originals and a special bonus feature with interview clips and performance footage from some of Hiromi’s favorite cities around the world.

On her 2011 album, Voice, Hiromi’s goal was to capture people’s “inner voices” to create what she called a “three-dimensional sound.” On that album, she assembled a trio that included herself and two veteran players; contra-bass guitarist Anthony Jackson (Paul Simon, The O’Jays, Steely Dan, and Chick Corea) and drummer Simon Phillips (Toto, The Who, Judas Priest, David Gilmour, Jack Bruce). While Hiromi had played with Jackson prior to recording Voice, she had never recorded an entire album with either him or Phillips, who had been recommended to her by legendary bassist Stanley Clarke, a mutual acquaintance.

Also in 2011, The Stanley Clarke Band CD featuring Hiromi won the GRAMMY® Award for Best Contemporary Jazz Album.

While on the road, Hiromi started writing music for the follow-up CD, Move, released in 2013. “Because I had been playing with Anthony and Simon for quite a bit, I just started to understand their characteristics, and I could find a hidden gem in their playing,” she explains. “There’s so much more to their playing. As a composer, I really wanted to write the songs especially for them, and I wanted to extract the unique beauty of their playing.” Move, like Voice, had an overriding theme, which Hiromi describes as “time in one day.” “You wake up and go to work and then hang out,” she says. “The album is like a soundtrack for a day.” That same year, she had several impressive placements in DownBeat magazine’s 61st Annual International Critics Poll, in the Jazz Artist, Piano, Keyboard, and Rising Star: Piano categories. Also, in 2013, she performed at George Wein’s Newport Jazz Festival, and will perform there for the festival’s sixtieth anniversary in 2014.

Alive, was her ninth album as a leader in Hiromi’s ever-evolving musical life. “I’m hungry to learn,” she told DownBeat magazine, “so I’ll always my big ears open fully, ready to learn every single minute that I play.”

Her latest ablum "Live in Montreal" is a duet featuring Edmar Castaneda, released in 2017.

After a successful World Tour with the duo, Hiromi will return 2019 with a new Solo Album. Only a handful of pianists are able to fill concert Halls as a Solo Artist and Hiromi is one of them!

Dieses Album enthält kein Booklet