![]() That Hiromi observes these milestones with solo albums is no coincidence. ![]() ![]() She plans to record the third album in the solo series when she is 49. At 29, she recorded Place To Be (Telarc), her first solo album. Recorded in February 2018 when she was 39 years old, the new nine-track collection is the second in a series of solo albums she’s set to release marking 10-year increments in her life. And, in making that case, few documents testify more powerfully than Spectrum (Telarc). Even at her most effulgent, she is the most intimate of pianists-an effortlessly charismatic communicator who, through her music, evangelizes for the instrument. “I love the instrument and I want people to know its potential,” she said.įew pianists exploit the potential of their instruments with the range of skill and emotion that Hiromi has at her disposal. The strategy-and it is decidedly that-is both aesthetically striking and designed to heighten the piano’s appeal to 21st-century ears. An oft-ignored appendage that sustains selected tones, the pedal, under Hiromi’s foot, transforms the most unassuming phrases in “Kaleidoscope” into pulsating facsimiles of digital delay. The spectacle astounds.īut beyond the spectacle-and beneath the keyboard-lies the source of a telling twist: the piano’s sostenuto pedal. “Kaleidoscope,” the opening track on Hiromi Uehara’s new solo album, Spectrum, features the dazzling displays of pianism that have become her trademark: cascading waves of right-hand notes countervailing left-hand runs that pull, like rip currents, against the sonic flow melodic figures that appear, disappear and reappear in mutated form amid the roiling sea of sound. Hiromi’s diverse discography includes collaborations with pianist Chick Corea and harpist Edmar Castaneda.
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