Keiko matsui in Jazz Instrumental Music

"Doll [Bonus Tracks]" (07/29/2003) Jazz Instrument Matsui, Keiko, Shout! FactoryIncludes 3 bonus tracks. Personnel: Keiko Matsui (piano, keyboards), Philip Bailey, Molly Pasutti (vocals); Warren Hill, Eric Marienthal (saxophone); Clay Jenkins (trumpet); Steve Holtzman (trombone); Kazu Matsui (shakuhachi); June Kuramoto (koto); Derek Nakamoto (synthesizer, programming); Thom Rotella (acoustic guitar), Michael Landau (electric guitar); Fernando Saunders (bass); Akira Jimbo (drums); Lenny Castro, Luis Conte (percussion). Recorded in 1994. Includes liner notes by Jonathan Widran. Lyricist: Jeff Day. Personnel: Keiko Matsui (piano, keyboards); Philip Bailey, Molly Pasutti (vocals); Michael Landau (guitar); Thom Rotella (acoustic guitar); June Kuramoto (koto); Suzie Katayama (cello); Larry Corbin, Rachel Robinson , Sid Page, Robert Becker (strings); Kazu Matsui (shakuhachi); Warren Hill (saxophone); Clay Jenkins (trumpet); Derek Nakamoto (synthesizer, drum programming); Akira Jimbo (drums); Lenny Castro, Luis Conte (percussion); Rob Chiarelli (programming); Michael Becker (percussion programming). Audio Mixer: Joel Stoner. Liner Note Author: Jonathan Widran. Recording information: Milagro Studio; Pacifique Studio; R&D Studio. Photographer: Julie Dennis. Arranger: Derek Nakamoto. This pop-jazz recording by Japanese pianist/keyboardist Keiko Matsui is actually better than many comparable contemporary jazz recordings. The melodies are catchy and charming but rather low-key, most of the pieces are quite atmospheric ("1942, From Russia" sounds like a piece from a Hollywood epic), and several unusual moods (for pop-jazz, that is) are explored. Matsui's piano playing is interesting and adds further substance to the music. The other musicians include various session players (Michael Landau, Lenny Castro, Eric Marienthal) and a few guests like Keiko's husband, shakuhachi player Kazu Matsui (who also produced), and singer Philip Bailey (who appears on one of the two vocal tracks). ~ Christian Genzel This pop-jazz recording by Japanese pianist/keyboardist Keiko Matsui is actually better than many comparable contemporary jazz recordings. The melodies are catchy and charming but rather low-key, most of the pieces are quite atmospheric ("1942, From Russia" sounds like a piece from a Hollywood epic), and several unusual moods (for pop-jazz, that is) are explored. Matsui's piano playing is interesting and adds further substance to the music. The other musicians include various session players (Michael Landau, Lenny Castro, Eric Marienthal) and a few guests like Keiko's husband, shakuhachi player Kazu Matsui (who also produced), and singer Philip Bailey (who appears on one of the two vocal tracks). [The Japanese edition includes three bonus tracks: solo acoustic piano renditions of "Water Lily," "Doll," and "Morning Walk," which, while not particularly essential, offer a different, moodier approach to the music.] ~ Christian Genzel

"Dream Walk [Bonus Tracks]" (07/29/2003) Jazz Instrument Matsui, Keiko, Shout! FactoryIncludes 3 bonus tracks. Personnel: Keiko Matsui (piano, keyboards); Molly Pasutti (vocals); Paul Taylor (soprano saxophone, alto saxophone); Kazu Matsui (shakuhachi); Derek Nakamoto (keyboards, synthesizer, bass, programming); Bernie Dresel (drums, percussion); Rob Chiarelli (programming). Recorded at Poi Dog Studios, Santa Monica, California and Pacifique Studio, North Hollywood, California in 1996. Includes liner notes by Jonathan Widran. Personnel: Keiko Matsui (piano, keyboards); Molly Pasutti (vocals); Kazu Matsui (shakuhachi); Derek Nakamoto (keyboards, synthesizer, drum programming); Bernie Dresel (drums, percussion); Rob Chiarelli (drum programming). Audio Mixer: Joel Stoner. Liner Note Author: Jonathan Widran. Recording information: Pacifique Studio, North Hollywood, CA; Poi Dog Studios, Santa Monica, CA. Photographer: Julie Dennis. Arranger: Derek Nakamoto. Taking a stroll through Keiko Matsui's musical hypnotherapy session Dream Walk is like entering a funhouse where all previous definitions of contemporary jazz are strikingly distorted, and invention walks on the wild side of East meets West. Crisp melodies have always been at the heart of the keyboardist's best work, only here they come at you as part of the mood, rather than the central theme. Only a handful of the keyboardist's tunes follow conventional linear melodic patterns throughout, and even these are so beautifully enhanced by sweeping orchestral and percussive invention that atmosphere and throbbing, raw twists ultimately win out over predictability. Equal credit for the newly aggressive approach goes to husband/producer Kazu Matsui, whose sonic wizardry surrounds Keiko's silky jazz and new age passageways with curious echoing flavors, enticing soundscapes where almost anything goes, and loose-fitting urban cool. Other out-there touches include Molly Pasutti's sweeping wordless vocals, bass samples by Marcus Miller and John Patitucci chosen over live bass, and Kazu's own shakuhachi. More typical excitement is provided by Paul Taylor's always warm soprano and alto musings. ~ Jonathan Widran Taking a stroll through Keiko Matsui's musical hypnotherapy session Dream Walk is like entering a funhouse where all previous definitions of contemporary jazz are strikingly distorted, and invention walks on the wild side of East meets West. Crisp melodies have always been at the heart of the keyboardist's best work, only here they come at you as part of the mood, rather than the central theme. Only a handful of the keyboardist's tunes follow conventional linear melodic patterns throughout, and even these are so beautifully enhanced by sweeping orchestral and percussive invention that atmosphere and throbbing, raw twists ultimately win out over predictability. Equal credit for the newly aggressive approach goes to husband/producer Kazu Matsui, whose sonic wizardry surrounds Keiko's silky jazz and new age passageways with curious echoing flavors, enticing soundscapes where almost anything goes, and loose-fitting urban cool. Other out-there touches include Molly Pasutti's sweeping wordless vocals, bass samples by Marcus Miller and John Patitucci chosen over live bass, and Kazu's own shakuhachi. More typical excitement is provided by Paul Taylor's always warm soprano and alto musings. [The album was reissued with bonus tracks.] ~ Jonathan Widran

"Deep Blue" (07/17/2001) Jazz Instrument Matsui, Keiko, NaradaThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel includes: Keiko Matsui (piano); Kazu Matsui (shakuhachi); Derek Nakamoto (synthesizer, programming). Engineers include: Derek Nakamoto, Craig Burbidge, David Keonig. Principally recorded at Bindu Studios, Santa Monica, California. Digitally remastered using HDCD technology. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Keiko Matsui (piano, keyboards); Kazu Matsui (shakuhachi); Derek Nakamoto (synthesizer, programming). Audio Mixers: Craig Burbidge; Derek Nakamoto. Recording information: Bindu Studio, Santa Monica, CA; Magma Studio. Arranger: Derek Nakamoto. Keiko Matsui's last album, 2000s Whisper From the Mirror, was picked up and reissued by the Narada label in 2001, and Narada is also releasing her 12th album, Deep Blue. It's an appropriate match-up for the Japanese pianist, since Narada is known primarily as a new age label, and, though her records are being released on its Narada Jazz imprint, "new age" is actually the best category to place her in. From the start of her career, Matsui has been shelved under "jazz," but that has always been more a marketing ploy than anything else, and never more so than on Deep Blue. Her compositions are melodic tunes, many of which sound like songs without lyrics, while others seem like soundtrack excerpts from a film not yet made. Matsui does solo within the tunes on occasion, but her improvisations -- if that is even what they are -- tend to explore further melodic developments rather than really take off. And the supporting instruments are just that -- percussion, string, and keyboard elements that support the composition. The music is said to be inspired by North Africa and the Mediterranean, another clue to its real intent. Jazz musicians rarely bother to make such extra-musical programming remarks, while classical, soundtrack, and new age composers do it all the time. As usual with Matsui's recordings, much of Deep Blue is attractive and engaging, and the bright pianism is consistently pleasing in its expression of flowing melodies. That it doesn't really belong in the category to which Matsui has somehow been assigned does nothing to diminish its appeal. ~ William Ruhlmann

"Whisper from the Mirror" (03/27/2001) Jazz Instrument Matsui, Keiko, NaradaThe is is an Enhanced audio CD which contains both regular audio tracks and multimedia computer files. Personnel: Keiko Matsui (piano); Kazu Matsui (shakuhachi); Bob James (piano); Derek Nakamoto (synthesizer, programming). Recorded at Bindu Studio, Santa Monica, California and Remidi Studio, New York, New York. Originally released on Countdown (17796). All tracks have been digitally mastered using HDCD technology. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Keiko Matsui is usually classified as a jazz musician, which tends to mean that she doesn't get very good reviews, since she is reviewed by jazz critics, while her music actually is best described as a hybrid consisting of equal parts pop, jazz, and new age. Matsui can be an impressive keyboard soloist at times, but her recordings consist of textured tracks that find her featured playing set within a soundscape characterized by synthesized drums and strings. Whisper From the Mirror, her 11th album, is typical of her work, consisting of a series of four- and five-minute instrumental pieces full of shimmering, sustained sounds that pillow Matsui's delicate single-note runs and stately chord patterns. Derek Nakamoto's arrangements are occasionally stirring, but never frantic, and usually they emphasize flow over rhythm, just as the keyboardist shows more interest in sustaining moods than demonstrating her chops, even when she concludes the album with a four-handed piano duet with Bob James. It may be time to think about re-classifying Keiko Matsui from "jazz" to "new age," or even just putting her in a classification by herself. In the meantime, Whisper From the Mirror is another in a series of enjoyable recordings. ~ William Ruhlmann