Hiromi

Between Sets with Hiromi... Spiraling Upwards!

Artist Interview by: Karl Stober

February 2006 -

To play free of musical stereotypes, to express free of barriers and to expose philosophies free of restraint, is a goal many artists labor to accomplish. For keyboardist Hiromi, it is a prerequisite to setting free her style and compositions to the world of music. Dub or label her what you desire.  For Hiromi, her music defines what she is within every level of her existence. Hiromi is an artist with extraordinary sense and instinct, all measured by only her ideology.

In some ways Hiromi is a positive anomaly as it pertains to her musical attitude playing amongst the industry populace. Her gift from start to finish is unique in process. From the day she ambled out through the portals from the Berklee College of Music in Boston, she was already finely tuned for performance, capable of educating, however most importantly, equipped for success!

Able to fuse the various elements of style and create innovative arrangements, Hiromi has sculpted a new wave of jazz keystrokes. We will learn of Hiromi’s “Three Piece Orchestra” and origin--also a brief encounter on the melodic and rhythmic faces of technique, which severs boundaries of the past. Most importantly, we will explore the way she composes and how her surroundings generate the expertise she performs as in her new release from Telarc called “Spiral” (2006/CD-83631).

As you will find, Hiromi is straight forward and to the point--knowing on every plane what she means and wants. Although Hiromi’s comments are brief in words, she radiates profound meaning and insight in her thoughts. Read around the words and take off your typical blinders. Peruse this as you would listen to her music and expand your mind. Hiromi touches upon not only the technical vision she retains, but the spiritual personalities of her compositions.

Let go far beyond the usual discussion and venture between sets with Hiromi…

JazzReview: Who is Hiromi…her philosophies, goals and ideals as a musician and person?

Hiromi: Both as a musician and as a person, always be humble and thank people who support me.

JazzReview: Talk about your experience at Berklee College in Boston. What influences did you obtain through that experience?

Hiromi: It made me to have a “Producer” point of view. I got to meet a lot of musicians and whenever I start a new project, I go over the musician’s entire list and think who would be the best players to play this music.

JazzReview: It’s been quoted that the perception of your future in jazz is without boundaries. How do you feel about that statement and if there are boundaries, what are they? How do you deal with those barriers, if any?

Hiromi: I don’t believe in boundaries and barriers.

JazzReview: Innovation is a tool frequently associated with you. How do you use that tool with your craft and offer examples?

Hiromi: I am always trying to find a new voice in new music. I always want to surprise myself with what I create, which is always the hardest thing to do.

JazzReview: Two thousand and four brought “Brain,” a success on many levels with numerous accolades. What did you take from the experience of recording “Brain” and apply to the “Spiral” production?

Hiromi: Well, it was much easier this time because I was playing with exact same musicians from “Brain,” and they are really easy to work with. They never give up and sometimes we recorded until 2:00 AM to try to have “THE” take. Even though in the most of cases, the first take is always “THE” tak

JazzReview: “Spiral” is many things to many fans of piano jazz and for that matter, jazz itself. What is it to you?

Hiromi: On stage, when musicians deliver strong messages into one note, that one note can take people anywhere. When this one note starts to involve everybody in the concert hall, a spiral is born, Everybody lets their mind and body float in this spiral made by music.

JazzReview: “Love and Laughter” is a stunning piece of ivory. How do we analyze the piece and where did its roots of origin bloom?

Hiromi: I just really wanted to write something for Mr. Ahmad Jamal who never stopped creating something new, and pushing the potential.

JazzReview: You reveal a strong confidence on stage and in the recording studio when it comes to technique and performance. Are you that confident as your music portrays you to be?

Hiromi: I just love playing music and I decide to record when I have a strong statement in music to say to the world.

That statement as she states in many releases is to express an “intense listening experience” to the fans of her work. Her vision as she explains it is the Three-Piece-Orchestra, which evolves on this recording.

JazzReview: Explain the “three-piece orchestral music” concept in elementary terms.

Hiromi: I wanted to my piano trio to be an orchestra made by three pieces of instruments. I call it Three-Piece-Orchestra. Each musician needs to have two different faces, which is the melodic side and the rhythmic side. Fortunately, I happened to find two great musicians who are very melodic and rhythmic at same time.  And I wanted to push the edge of the music of the trio settings with them.

JazzReview: Where will your next project/recording take you?

Hiromi: I have a lot of things I would like to do.  For example: I would like to work on strings orchestra, piano concerto, big band, piano solo works, work with guitar players who always tend to be my heroes. I will do one-by-one, I guess.

JazzReview: When composing, what atmosphere do you feel brings out the full force of your creative juices? What stimulates you to go further in your process?

Hiromi: When my heart (emotions) moves strongly, can be beautiful scenery, an interesting conversation and amazing sports games.  I sometimes feel responsible to put the emotions into music.

JazzReview: Is there a spiritual influence in your music?

Hiromi: Everything is spiritual.

JazzReview: You tend to mix genres in much of your compositions--rock, blues and classical to name a few. How has this style been received by the public? The industry? Your peers?

Hiromi: To me, there is only two genres in music, music you feel good about and music you don’t feel much, I want to keep delivering music which makes me feel great. Hopefully people can feel the same way.

JazzReview: Now for some fun! If you were allowed to pull only three pieces of piano sheet music to perform in front of a world leader’s conference, what would they be?

Hiromi: That’s is too hard question to answer, but I cannot live without Bach.

JazzReview: Hiromi, if you will, define Jazz.

Hiromi: Pure freedom.

Karl Stober is an international freelance columnist and broadcaster who can be reached at jazztrenzz@bellsouth.net. Karl can also be reached at 1-251-625-0866.

For more information: http://www.hiromimusic.com

Photo by: © Morrice Blackwell

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