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JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Vivid, Picturesque, Purposeful Violin Jazz From Tomoko Omura

Tomoko Omura is one of the most distinctive and purposeful violinists in jazz. Her album Branches Vol. 1 is streaming at Bandcamp. It’s refreshingly uncluttered, tuneful and picturesque, especially when it comes to the nocturnes.

She opens it with a radical reinvention of Moonlight in Vermont. Just as soon as Omura’s theme threatens to rise to total self-combustion, she and the band bring it down to elegant, purposeful, optimistic lyricism. Pianist Glenn Zaleski takes a masterfully light-fingered solo to a similarly triumphant crescendo followed by spare, soaring riffs by the bandleader over a loopy pulse. Late 70s Jean-Luc Ponty comes to mind, but with a more organic backdrop.

Three Magic Charms is aptly titled, Zaleski’s starry lines mingling with sailing violin, guitarist Jeff Miles’ fanged swells and accents adding a menacing edge over bassist Pablo Menares and drummer Jay Sawyer’s dubwise pulse. As it grows funkier, Sawyer’s subtle carnivalesque touches lure his bandmates into similar shenanigans.

Zaleski’s sternly low, modal chords anchor The Revenge of the Rabbit as Omura slides and soars while the drums scramble and cluster. Again, the rhythm takes on a funkier bounce for Zaleski’s scampering solo before he moves back down, Omura’s woozy, processed, atmospheric lines taking over. In this case, living well seems to be the best revenge a critter could want

Zaleski glimmers amid drifting atmospherics as Return to the Moon gets underway, Omura’s koto-like flickers kicking off a slow, richly suspenseful, anthemic sway: this mission turns out to be a smashing success. Both the space-jazz of Bryan and the Aardvarks and the driftiest Pink Floyd soundscapes are good points of comparison.

Omura winds up the record with Konomichi, a lively, leaping tune with Zaleski on electric and acoustic piano and a fleetingly stinging bass/violin break. Good news: Omura has an excellent, eclectic follow-up volume just out as well.

June 27, 2021 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , | Leave a comment

A Picturesque, Poignant New Volume From Jazz Violinist Tomoko Omura

This blog called violinist Tomoko Omura‘s 2020 album Branches “refreshingly uncluttered, tuneful and picturesque, especially when it comes to the nocturnes.” On her newly released second volume – streaming at Bandcamp – she takes both that saturnine ambience and picturesque sensibility to the next level. The band includes pianist Glenn Zaleski, bassist Pablo Menares, drummer Jay Sawyer and guitarist Jeff Miles. These songs burst with purposeful tunes, ideas and thoughtful solos.

They open with To a Firefly, Omura adding elegant vocal harmonies over a sober, slowly shuffling groove spiced with eerily flickering piano, ominously lingering guitar chords, lilting triplets from the bass, alternately sailing melody and apprehensive harmonics from the violin. The trick ending will take you completely by surprise.

Melancholy of a Crane is a spare, moodily balletesque jazz waltz, Zaleski’s enigmatically resonant chords behind Omura’s slowly unwinding, sustained tones. Little by little, his brightly incisive solo pushes the clouds away for a bit before the bandleader’s spare, subtly chromatic solo brings the unsettled atmosphere back.

To Ryan Se begins as a bracing, trickily rhythmic Balkan dance number and picks up with a racewalking swing. Omura chooses her spots in a biting, energetic, methodically crescendoing solo, Zaleski’s romping lines once again bringing up the lights, Miles shredding a path for a tantalizingly sizzling coda.

A murky bit of a tone poem, a lively series of solo arpeggios and then Zaleski’s somber, funereal chords take centerstage as Bow’s Dance slowly unwinds, Omura again steady and apprehensive overhead: damn, this is an album for our time! But the light-fingered stampede out is a hoot.

Tomie’s Blues is actually a steady, gorgeously lyrical ballad, Menares taking a warmly dancing, mutedly incisive solo over Zaleski’s spare gleam and Sawyer’s whispery brushwork. They wind up the record with the Urashima Suite, unwinding from a tight, spiraling, Terry Riley-ish piano riff to a gracefully bounding, shimmering Zaleski solo, a jagged violin/guitar break, a subtly conversational series of violin and piano variations capped off by a lush Omura solo, and some deliciously unhinged bluesmetal from Miles. Don’t be surprised to see this album on a lot of best-of-2021 lists assuming that those who put them together haven’t collectively taken the needle of death.

June 8, 2021 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , | Leave a comment