If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
With the release of One After Another, add Mamiko Watanabe to the list of talented jazz pianists that have come out of Japan in recent years. Watanabe composed all of the songs on this impressive debut and they show a strong, fully developed hard bop sensibility. Watanabe's composing MO is to start off a song with a strong theme or head, as a sort of attention-grabbing mechanism, then to pull it back to where it becomes an exploratory vehicle for the soloists ("The Deep Sea exemplifies this as much as any song on the disc). The tunes are challenging and well-crafted and while Watanabe is a fine pianist, her composing is actually her most compelling aspect.
The Latin-flavored "Shadow begins with an impressive fusillade of percussion by Francisco Mela, who plays over a repeated figure and features highlights and spices from saxophonist Walter Smith. "Savanna opens in a space where pianist McCoy Tyner seemed apt to go, Smith playing deftly across the melody and clever hard bop arrangement. The band performs well on the Monk-inspired "Take It Easy, which has melodic and thematic whisps of Monk, but not, ironically enough, in Watanabe's playing.
"Say Something is another hard bop foray, simple in construction yet eloquent. "Labyrinth, too, has an off-center construction, with the chord progression leading to unexpected corners. "Jour de Pluie a Paris is an ambitious, exploratory waltz ballad on which Massimo Biolcati contributes some especially nice pizzicato and Watanabe explores every possibility the tune has to offer.
Track Listing: Shadow; Savanna; Beat Away; Take It Easy; Say Something; Labyrinth; Jour de Pluie a Paris; The Deep Sea; Paradise.
Personnel: Mamiko Watanabe: piano; Walter Smith: saxophone; Massimo Biolcati: acoustic bass; Francisco Mela: drums.
I was first exposed to jazz while learning to play chess with my uncles. They would play smooth jazz, and then switch up to more standard types of jazz. But, when they played Kind of Blue by Miles Davis, I was
hooked and I haven't looked back.