Jazz+ Posted October 2, 2009 Share Posted October 2, 2009 All smiles (tribute to Oscar): http://www.youtube.com/watch?v=LiSH-Qr1O0g&translated=1 Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 700 of Harry’s piano arrangements of standards for educational purposes and jazz piano tutorials at www.Patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
RedKey Posted October 2, 2009 Share Posted October 2, 2009 Damn! (Am I Allowed to say Damn?) Link to comment Share on other sites More sharing options...
frogmonkey Posted October 2, 2009 Share Posted October 2, 2009 If I ever said anything negative about her, I take it back. I've always heard criticism of Oscar Peterson that he was all technique. But that's nonsense: Oscar was all joy and generosity. I'm starting to feel the same thing in Hiromi's playing, that all her work to gain such technique was an act of generosity. Not "hey look at how awesome I am", but "here is a gift for you". Now, if only she would just play a nice dark Bosendorfer instead of that bright Yamaha Joking. (Oscar's best recordings were on MPS on a Bosendorfer IMO. His very best was buried for years but later released as "Exclusively For My Friends: The Lost Tapes) Link to comment Share on other sites More sharing options...
Tusker Posted October 2, 2009 Share Posted October 2, 2009 There's some nice Oscar-esque work that Hiromi does on the Stanley Clark trio with Lenny White. It's a very nice side to her. She might have been received differently if she had focused on developing a traditional jazz voice a little bit longer before heading toward fusion. Link to comment Share on other sites More sharing options...
Steve LeBlanc Posted October 2, 2009 Share Posted October 2, 2009 http://www.youtube.com/notesleb Link to comment Share on other sites More sharing options...
fjzingo Posted October 2, 2009 Share Posted October 2, 2009 I'll quit ....... Damn shes good.' /Fred /Fred Cantaloop Soulfetch Soulbox Link to comment Share on other sites More sharing options...
MonksDream Posted October 2, 2009 Share Posted October 2, 2009 I agree, froggy. Her joy at being the conduit for the music shines from her. The music says it all. A great performance from a brilliant pianist. Instrumentation is meaningless - a song either stands on its own merit, or it requires bells and whistles to cover its lack of adequacy, much less quality. - kanker Link to comment Share on other sites More sharing options...
marino Posted October 2, 2009 Share Posted October 2, 2009 What a great posture at the keyboard this girl has. She's really able to project an enormous power on the keys despite her tiny body. I don't always like her style (a bit too bombastic for my ears sometimes), but - she's only 30! What she has achieved so far is absolutely great. Definitely a superior talent. Link to comment Share on other sites More sharing options...
Dave Horne Posted October 3, 2009 Share Posted October 3, 2009 I listened to a few of her YouTubes last night and was impressed. There's one where she plays with Chick and yet another where she plays a solo rendition of I've Got Rhythm. Depressing. No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
midinut Posted October 3, 2009 Share Posted October 3, 2009 That does it you guys ... I am selling all my stuff!!! Thanks ... mean it! Hardware: Yamaha: MODX7 | Korg: Kronos 88, Wavestate | ASM: Hydrasynth Deluxe | Roland: Jupiter-Xm, Cloud Pro, TD-9K V-Drums | Alesis: StrikePad Pro| Behringer: Crave, Poly D, XR-18, RX1602 | CPS: SpaceStation SSv2 | Controllers: ROLI RISE 49 | Arturia KeyLab Essentials 88, KeyLab 61, MiniLab | M-Audio KeyStation 88 & 49 | Akai EWI USB | Novation LaunchPad Mini, | Guitars & Such: Line 6 Variax, Helix LT, POD X3 Live, Martin Acoustic, DG Strat Copy, LP Sunburst Copy, Natural Tele Copy| Squier Precision 5-String Bass | Mandolin | Banjo | Ukulele Software: Recording: MacBook Pro | Mac Mini | Logic Pro X | Mainstage | Cubase Pro 12 | Ableton Live 11 | Monitors: M-Audio BX8 | Presonus Eris 3.5BT Monitors | Slate Digital VSX Headphones & ML-1 Mic | Behringer XR-18 & RX1602 Mixers | Beyerdynamics DT-770 & DT-240 Arturia: V-Collection 9 | Native Instruments: Komplete 1 Standard | Spectrasonics: Omnisphere 2, Keyscape, Trilian | Korg: Legacy Collection 4 | Roland: Cloud Pro | GForce: Most all of their plugins | u-he: Diva, Hive 2, Repro, Zebra Legacy | AAS: Most of their VSTs | IK Multimedia: SampleTank 4 Max, Sonik Synth, MODO Drums & Bass | Cherry Audio: Most of their VSTs | Link to comment Share on other sites More sharing options...
frogmonkey Posted October 3, 2009 Share Posted October 3, 2009 She might have been received differently if she had focused on developing a traditional jazz voice a little bit longer before heading toward fusion. You're on to something there. I first heard her fusion band, and I thought it sounded a bit sterile. That formed my impression of her playing. But listening to her solo playing, I can hear the music breathe and there's nothing sterile about it. I'm listening to her fusion band with new ears, now. Link to comment Share on other sites More sharing options...
Jazz+ Posted October 4, 2009 Author Share Posted October 4, 2009 I wouldn't call her fusion playing "sterile." http://www.youtube.com/watch?v=ELulLhanTUY&feature=PlayList&p=BD69AA7437A24994&playnext=1&playnext_from=PL&index=13 Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 700 of Harry’s piano arrangements of standards for educational purposes and jazz piano tutorials at www.Patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
SK Posted October 4, 2009 Share Posted October 4, 2009 I'll post one more time on this to be clear. There are only two things that can really be said about Hiromi. Actually, it's one thing, and a footnote: She's fantastic, a technical phenomenon, with a broad grasp of musical styles for her age. Powerful chops and a rare player, who will obviously grow deeper. As a technical pianist, she should make history. The footnote is simply that her lines on piano and keyboard are all dynamically the same, and high energy dynamics certainly sells. Listen to her lines - they are either loud and even, or soft and even. The precise evenness in her lines is uncanny and impressive. The consequence of playing everything evenly is that it all starts to sound the same, when deeper, more nuanced expressions could be explored. Broader dynamics and harmonics makes a richer palette. That's not a big deal or a condemnation, just an 'opinion'. CD: http://www.cdbaby.com/cd/stevekessler Link to comment Share on other sites More sharing options...
Jazz+ Posted October 4, 2009 Author Share Posted October 4, 2009 Granted, but I still get a kick out watching/listening to her youthful exuberance. I almost feel like I am watching an Olympic gymnast striving for a gold medal, she can be exciting in an entertaining way. She tries so hard and she has great chops to back it up. http://www.youtube.com/watch?v=ELulLhanTUY&feature=PlayList&p=BD69AA7437A24994&playnext=1&playnext_from=PL&index=13 Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 700 of Harry’s piano arrangements of standards for educational purposes and jazz piano tutorials at www.Patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
SK Posted October 4, 2009 Share Posted October 4, 2009 She is exactly like an Olympic medalist. I always check her out when I see a video, and I always have the same mixed impression, which is mostly positive - impressed by her energy and accuracy on the instrument. I think the best I've heard her in a musical sense was that trio video with Stanley Clarke. CD: http://www.cdbaby.com/cd/stevekessler Link to comment Share on other sites More sharing options...
Jazz+ Posted October 4, 2009 Author Share Posted October 4, 2009 The first time I saw her perform I was skeptical and thought she was pretentious because of all the facial manerisms and maybe she relied too much on pattern playing. Now I realize it's who she is and have come to enjoy her performances. I don't think her art is particularly innovative or profound , and I don't have any of her recordings. Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 700 of Harry’s piano arrangements of standards for educational purposes and jazz piano tutorials at www.Patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
Jazz+ Posted October 4, 2009 Author Share Posted October 4, 2009 edited previous post Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 700 of Harry’s piano arrangements of standards for educational purposes and jazz piano tutorials at www.Patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
Griffinator Posted October 4, 2009 Share Posted October 4, 2009 I'll post one more time on this to be clear. There are only two things that can really be said about Hiromi. Actually, it's one thing, and a footnote: She's fantastic, a technical phenomenon, with a broad grasp of musical styles for her age. Powerful chops and a rare player, who will obviously grow deeper. As a technical pianist, she should make history. The footnote is simply that her lines on piano and keyboard are all dynamically the same, and high energy dynamics certainly sells. Listen to her lines - they are either loud and even, or soft and even. The precise evenness in her lines is uncanny and impressive. The consequence of playing everything evenly is that it all starts to sound the same, when deeper, more nuanced expressions could be explored. Broader dynamics and harmonics makes a richer palette. That's not a big deal or a condemnation, just an 'opinion'. Listen to Steve's link and tell me she has no dynamics. The woman knows how to mix it up from pp to fff. A bunch of loud, obnoxious music I USED to make with friends. Link to comment Share on other sites More sharing options...
lucasb Posted October 4, 2009 Share Posted October 4, 2009 I don't know, listening the first two clips posted here, it's more akin (sorry to say) to a circus act then to music being made to me. There's been other technical masters out there over the last few hundred years on the piano and I'd say similiar things about some of them. When I listen to a pianist I want to hear music, I don't want to hear them playing the piano. Link to comment Share on other sites More sharing options...
Jazz+ Posted October 4, 2009 Author Share Posted October 4, 2009 How about this then: Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 700 of Harry’s piano arrangements of standards for educational purposes and jazz piano tutorials at www.Patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
SK Posted October 4, 2009 Share Posted October 4, 2009 Listen to Steve's link and tell me she has no dynamics. The woman knows how to mix it up from pp to fff. Sure Griff, she has dynamics from section to section, line to line, occasional dynamics within lines. She can play soft, she can play loud. I'm not talking about line to line dynamics, I'm talking NOTE to NOTE, sections of phrases, etc. In that sense, it's a dynamics and harmonics issue as well. CD: http://www.cdbaby.com/cd/stevekessler Link to comment Share on other sites More sharing options...
lucasb Posted October 4, 2009 Share Posted October 4, 2009 That's interesting Steve, I noticed that after you mentioned it. I've figured it out! She is a human sequencer! /just kidding guys! Link to comment Share on other sites More sharing options...
cnegrad Posted October 5, 2009 Share Posted October 5, 2009 I'm trying to put a finger on what I so dislike about Hiromi. I've given her many further chances to surprise me based on all the positive opinions that she gets here at KC. First, I just can't get past her visual histrionics. Even if they're genuine and not contrived; her signature "impish naivety" totally gets on my nerves. (So I don't look anymore.) Second and more importantly, while her chops are undeniably formidable, I never get that sense of being in "musically dangerous territory" with her. When listening to other pyrotechnic masters like Chick, Herbie, Gonzalo, Keezer, etc.), there's always that sense of risk; that they're walking a musical tightrope and you never know what the next note will bring. I hear none of that with Hiromi. And from where I sit, jazz without risk is an utter waste of time. And it's not the amazing chops that makes it sound so safe; it's her note choices. I just don't hear any significant harmonic or rhythmic risks being taken. Again; no risk=no interest from me. YMMV.... Link to comment Share on other sites More sharing options...
Steve LeBlanc Posted October 5, 2009 Share Posted October 5, 2009 Second and more importantly, while her chops are undeniably formidable, I never get that sense of being in "musically dangerous territory" with her. When listening to other pyrotechnic masters like Chick, Herbie, Gonzalo, Keezer, etc.), there's always that sense of risk; that they're walking a musical tightrope and you never know what the next note will bring. I hear none of that with Hiromi. And from where I sit, jazz without risk is an utter waste of time. And it's not the amazing chops that makes it sound so safe; it's her note choices. I just don't hear any significant harmonic or rhythmic risks being taken. Again; no risk=no interest from me. YMMV.... well said. The only formed opinion I have on Hiromi is that she plays wonderful piano. I would hesitate to call most of what she does Jazz but it's all pretty cool and some is like, wow. To me, it doesn't matter, I've really enjoyed all the clips I've seen on youtube. If I can manage the money I'll probably try to see her this Tuesday with Stanley Clarke. That said, I haven't had the urge to buy her CDs or see her fusion trio, maybe later. http://www.youtube.com/notesleb Link to comment Share on other sites More sharing options...
Dana. Posted October 5, 2009 Share Posted October 5, 2009 Maybe it's because she's Japanese, but I get the sense that Hiromi is all about perfection. What would happen if she were to make a mistake? Would she have a meltdown? Has anyone heard her make a mistake? Link to comment Share on other sites More sharing options...
SK Posted October 5, 2009 Share Posted October 5, 2009 And that's true too, cnegrad. As a "pianist", she's tops. But to open another can of worms (just for the fun of it), when asked what is jazz, Bill Evans said "it's attitude." That was his total answer, no explanation. Of course he's talking musical attitude - the way you approach music that makes it authentic jazz, but Hiromi doesn't seem to impart the attitude or persona of an improvisor. As phenomenal as she us, it seems to be more about the joy of what she can do on a keyboard, than where the music itself might go. And that's ok at her age - she's on a honeymoon with her instrument. CD: http://www.cdbaby.com/cd/stevekessler Link to comment Share on other sites More sharing options...
Mike Davis Posted October 5, 2009 Share Posted October 5, 2009 ... But to open another can of worms (just for the fun of it), when asked what is jazz, Bill Evans said "it's attitude." That was his total answer, no explanation... Well, then Imogen Heap is jazz I see your can of worms, and I raise you ... another can of worms! Link to comment Share on other sites More sharing options...
Floyd Tatum Posted October 5, 2009 Share Posted October 5, 2009 But to open another can of worms (just for the fun of it), when asked what is jazz, Bill Evans said "it's attitude." That was his total answer, no explanation. Is that from some interview of Bill Evans? It sounds very interesting - do you know what interview/article/whatever, that comes from? I would like to read that. Link to comment Share on other sites More sharing options...
SK Posted October 5, 2009 Share Posted October 5, 2009 But to open another can of worms (just for the fun of it), when asked what is jazz, Bill Evans said "it's attitude." That was his total answer, no explanation. Is that from some interview of Bill Evans? It sounds very interesting - do you know what interview/article/whatever, that comes from? I would like to read that. It was so long ago, on video - I believe it was an interview his brother did with him on TV - probably the Steve Allen Show. But I left out one important word - he said "it's an attitude." So having any attitude isn't what he was saying. Jazz is "an attitude", and I think that's the elusive ingredient that can't easily be defined. To me, it would mean a blend of the musically reverent and irreverant (respect for the music and for what you can bring to it), and confidently applying that balanced attitude to the music. See, explaining it makes it worse. CD: http://www.cdbaby.com/cd/stevekessler Link to comment Share on other sites More sharing options...
Mike Davis Posted October 5, 2009 Share Posted October 5, 2009 No, that's actually a pretty good explanation, SK. Link to comment Share on other sites More sharing options...
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