Hiromi sonic bloom time and space relationship

Hiromi: Time Control

Hiromi's Sonicbloom: Time Control and guides Hiromi and Fiuczynski through the rhythmic maze of the stop-and-start “Time and Space.”. Check out Hiromi's Sonic Bloom: Time Control by Hiromi on Amazon Music. Stream ad-free or purchase CD's and Time And Space · Time And Space. HIROMI UEHARA Hiromi's Sonicbloom: Time Control music review by repeated, the life, and the impression in space an embodiment. And The piano and the guitar in close relation to legato fast continue the dash feeling.

Get the album and hear for yourself how truly wonderful it is. That's all I can really say. The most melodically beautiful song this entire work has to offer. Don't worry, it's not the equivalent of listener's fatigue; just a lot of fun. Some ragtime piano and out of this world slide and wah guitar are found bridging the gaps between the madness. A fun and original little piece, but perhaps not as memorable as most others to be found on Time Control.

Hiromi is on top of hr game here with all the staple Jazz chords and flourishes brilliantly placed and executed on her instrument. I realize I haven't mentioned Tony Grey's bass playing yet. Well, he's brilliant, as well. He is very noticeable on this particular track, and even when the sci-fi style signal noises start coming in from time to time, his influence on the track is always audible.

This is a very calm, laid-back track with some spacey additions. Pretty unique, but that's a redundant statement on an album such as this. Saying any more would ruin the listening experience, surely.

Hiromi's Sonicbloom: Time Control - JazzTimes

Just know that it's cool and smooth. The song which could be referred to as the album's title track kicks off immediately with a type of controlled chaos only a master keyboardist like Hiromi could pull off. Once things calm down a bit, Grey breaks in with some tasty leads. He's no Victor Wooten in my book, but bass players who do lead work are certainly more capable than most 'traditional' players from the Rock realm. Newcomers to Jazz and Fusion music may find this a little startling at first, but Metal fans should already be used to the concept, at least a little.

But it isn't just Grey taking the show for very long. The whole band comes in very soon, and Valihora does some of his best drum work on the record.

Around the five minute mark, the piano becomes thick and groovy, with a bebop sort of attitude showing through the classically-inclined playing chops. Soon the frantic attitude is heard again from Hiromi, and David Fuze soon follows suit with some impressive lead guitar work. Hiromi is fantastic at backing up her band members, as well. She's more than just a lead-heavy show-off. She is great with simpler, rhythm-based riffs the serve as the foundation for the other instruments to shine to their full potential.

A little after seven minutes in, the single reason for owning this album arrives. I cannot describe how it moves me, only that it does, very much. This leads into an incredible, drum-filled outro which brings the entire track to a sudden, memorable halt. Hey, hasn't a much more well-known artist on PA recently released a song of the same title?

Never mind, this ''Time Flies'' is much more original and inspired than the one Wilson and company stitched together primarily using the tracks from Pink Floyd's Animals for the pieces. This feels like a gorgeous 'ballad' of sorts. Full of heart and genuine artistic flourish, it is the second song on this release that uses melody much more traditionally than the others, yet remains free and open to go in any direction it likes.

Martin Valihora's light, musical touch on his kit really adds some great atmosphere to the overall piece.

HIROMI'S SONICBLOOM: TIME CONTROL

Truly terrific on all fronts, this track. Laying more 'Mood Jazz' strokes to this already-overwhelming piece of sound-painting, it is a cut on the album absolutely not to be missed. The whole thing begins to build into what would undoubtedly be a memorable musical occurrence, when suddenly everything halts an an official-sounding voice utters the words "Time's up! The album ends on a promising note, ending with something of a question. What could have come from that initial rush of musical bliss?

Perhaps someday in the future, we will find out. It was suggested in a previous review that this album is accessible almost to the point where it lacks originality. While those were not the exact words used, I just want to take a moment and respectfully disagree.

The music on Time Control may not be as 'out-there' as some other works in this genre floating around today, but it is no less inspired or forward-thinking. Plenty of experimentation is happening here, and I would put Hiromi Uehara up there with the current leaders of progressive music today.

No, I don't mean 'Prog Rock', I mean any music that cares more about originality and individuality than genre or class. To me, this is an essential piece. It's essential for more than one reason, but mainly, it is essential for demonstrating just how bright the future of music still is.

I've gotten sick of syrupy keyboards and overly-long attempts at recreating the golden days of prog by modern day hacks. The era of Close to the Edge is over, and no self-respecting artist would even want to bring it back, I don't think. Music, like all art, must move forward in order to stay honest and interesting.

Hiromi: Time Control

A dishonest artist merely tries to recreate something he loved in the past. A truthful artist attempts to press musical evolution forward. If that individual succeeds, even a little bit, he or she should be commended and advertised as often as possible. I proposed to you at the beginning of this review that such artists can be found in modern Jazz music. They had the flow always calculated as a search for her music.

She tries so that may promote the flow further and may complete her original theme by her. The possibility as the music that she thought about in "Spiral" and Trio might have received one the top. The part where "Movement" and "Quietness" in "Spiral" were had both.

And, the woman who drew out the possibility as Trio enough tries to proceed to the next step. If the inquiring mind of Hiromi is considered of course, the flow that aims at the top further might have been able to be selected, too.

However, the plan and the idea that she was always considering in the flow of the activity since "Spiral" that she announced in and the cultivated idea reach this album with some necessity. The creation and the idea of the woman who reached a climax in "Spiral" started making the listener pleased to give width to the music character further with the form of the project.

This album to which David Fiuczynski that participates in the recording in the debut album receives the guitar as a member and is recorded has the form of the project and the band. David Fiuczynski is a guitar player known by the performances such as Screaming Headless Torsos and Gongzilla. Hiromi was declared to be a fan of Screaming Headless Torsos. And, it will be able to be said that the appointment of David Fiuczynski is inevitable as the idea as the band that she was drawing after it competes in the debut album.

To create the tune staring at the performance that four people do for the composition naturally, each musician's capability and ability will be tested. It is said that Hiromi will not do Improvisation to the subject for originally making the tune. It is said that the idea constructed as an impression almost completely will repeat the trial and error.

The challenge as the complete music character that Hiromi creates might continue exactly. The theme of "Spiral" was a content to make the element of the wave exactly repeated, the life, and the impression in space an embodiment. And, "Time" is included as a theme in this album. People are differences at thinking time and time.

上原ひろみ - Relationships - MusicBrainz

Or, it is expressed as an album with the part where the element to make life and the change of people who unconsciously process time an embodiment as music has been given. Ensemble of the band has the flow considerably calculated. The sound of the keyboard also continues her originality. And, the conversation of responding keyboard and guitar will have width as a new possibility as the band. However, the originality of Hiromi appears everywhere.

The performance of the band that answers Ad-Rib of the guitar also contributes well. It carries exactly out the function as the band by introducing the guitar.