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CD Review: Ayako Shirasaki - Falling Leaves: Live in Hamburg
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"Just a few notes out of Ayako Shirasaki’s piano are enough to realize you are listening to a very s..."Just a few notes out of Ayako Shirasaki’s piano are enough to realize you are listening to a very special musician. With her amazing combination of feeling, inventiveness and impressive virtuosity, Ayako is one of those musicians that make an unforgettable impression." Read the full review by following the link.
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Falling Leaves is not your typical solo piano outing, it contains several magical moments listeners will turn to often
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Posted by: editoron Tuesday, October 19, 2010 - 09:44 AM
CD Releases By: Edward Blanco
Japanese ...Posted by: editoron Tuesday, October 19, 2010 - 09:44 AM
CD Releases By: Edward Blanco
Japanese pianist Ayako Shirasaki has been performing in jazz clubs in Tokyo since she was 12 years old. A virtuoso on the piano, Shirasaki relocated to New York back in 1997 and since that time has released several albums the most recent of which was the 2009 “1st International Jazz Solo Piano Festival” recorded in three German cities. The 2006 “Home Alone” album was her last solo album until “Falling Leaves, Live in Hamburg.” Recorded live at the Laeiszhalle-Musikhalle Studio E in Hamburg Germany, Shirasaki presents beautiful interpretations of classic standards from some of the legends of jazz.
The very first piece of music Shirasaki performed in concert at the age of 12 was the Charlie Parker bebop standard “Confirmation,” the opening salvo on Falling Leaves performed with a bit of magic. Duke Ellington's “In a Sentimental Mood,” fairs even better as the pianist approaches the piece with an assault on the keys turning the number into one rich musical statement. Included in the repertoire are two Sonny Rollins tunes, “Airegin” and the finale piece, “St. Thomas,” charting her range from fiery to feisty.
The first true calming song on the disc is the charming jazz waltz, “Mirror, Mirror” featuring the first four measures of “Someday My Prince Will Come”taken from the movie classic Snow White. The music continues warmly on the very brief Japanese folk song “Sakura Sakura” leading right into the immortal George and Ira Gershwin song “Summertime.” Shirasaki performs three original pieces, “Monkey Punch,” “Far Away” and the introspective title track.
Also included is the standard Christmas time song “Sleigh Ride” as well as one of the livelier pieces of the album “Nascimento,” a Barry Doyle Harris samba where the audience becomes part of the music drawn into it by timely responsive clapping to Shirasaki's call, a very nice touch. She reaches out to the audience once again, asking for a request and thus performs “Moonglow” a tune she had not played in twenty years.
The album wraps up with a soft touch on “My Romance” and a very brief read of the classic Paul Desmond standard “Take Five” and ends the solo concert with the Rollins chart “St. Thomas.” A lyrical pianist, Ayako Shirasaki takes you on a musical journey through a rich musical landscape of time-honored classics interpreted with grace and finesse. Falling Leaves is not your typical solo piano outing, it contains several magical moments listeners will turn to often.
Year: 2010
Label: Jan Matthies Records
Artist Web: www.ayakoshirasaki.com
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a highly enjoyable album by a new jazz star in the making
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“A former jazz piano prodigy in her native Japan (she transcribed Bud Powell solos at the age of fiv...“A former jazz piano prodigy in her native Japan (she transcribed Bud Powell solos at the age of five and was performing regularly at Tokyo jazz clubs by 12), Ayako Shirasaki has been making a name for herself in recent years on the New York scene. A graduate of the Manhattan School of Music, where she studied with Kenny Barron and Ted Rosenthal, among others, she’s appeared at most of the city’s major clubs and played with top mainstream talent like Lewis Nash, Kenny Garrett and Harold Ousley.
On her latest release, the solo piano disc Falling Leaves, recorded last year before an appreciative audience at a Hamburg concert hall, Shirasaki mixes superb classically-based technique, advanced harmonic ideas and a rich, creative musical imagination. While much of her bebop-rooted program draws on standards and well-known jazz fare, she imbues every song she plays with a deeply personal, poetic touch that favorably recalls sophisticated piano masters like Tommy Flanagan and Hank Jones.
She begins Charlie Parker’s “Confirmation”, for example, with an abstract, nearly unrecognizable intro before diving into the familiar Bird refrain. On Sonny Rollins’ “Airegin”, she blends in classical flourishes and even a surprising touch of stride. She also pays tribute to the great bebop pianist Barry Harris with a rousing rendition of his “Nascimento”, a crowdpleasing samba complete with rhythmic handclaps. The three original compositions she includes here also show enormous promise and range, from the spunky, Monk-influenced “Monkey Punch” to the dreamy, sophisticated “Far Away”.
Shirasaki has a refreshing sense of humor, too. Taking audience requests for her encores, she admits she hasn’t played “Moonglow” for 20 years and “My Romance” for 5 years, then turns around and knocks out moving, inventive, bravura performances of the two old chestnuts. And she closes the album on an improvisational high, merging Dave Brubeck’s “Take Five” and Rollins’ “St. Thomas” in an unlikely and exhilarating impromptu medley, played in 5/4 time. It’s a thrilling ending to a highly enjoyable album by a new jazz star in the making.”
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Ayako is fast on her way to becoming a leading jazz light and fresh voice in the crowded field of performing jazz piano stars
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September 13, 2010
Ayako Shirasaki: Falling Leaves
On the cover of her new album, pianist Ayak...September 13, 2010
Ayako Shirasaki: Falling Leaves
On the cover of her new album, pianist Ayako Shirasaki looks as
demure and as delicate as a cherry blossom. But looks can be deceiving, especially in jazz. On Falling Leaves: Live in Hamburg, Ayako plays solo piano with a powerful attack and enormous physical strength that leaves you enchanted and breathless.
As for the demure thing—Ayako shatters that misconception by boldly taking on some tough jazz pieces on this album, her fourth
CD. Standards range
from Charlie Parker's Confirmation and Sonny Rollins' Airegin to Barry Harris' Nascimento and Chick Corea's Mirror Mirror. She turns these songs and others into works of tidal beauty, whipping each into a lush, frothy frenzy. It's as though she were singing through the keyboard rather than playing it.
First, full disclosure. I wrote the liner notes to Falling Leaves. But I do not receive a dime in royalties from sales, and I only take on liner-notes projects to albums that interest me. What's more, I would have raved about this CD anyway.
Ayako was born in Japan and was exposed to jazz while growing up in the 1970s and 1980s. When she was five years old, her father, an
ardent jazz fan and amateur trumpeter, introduced her to Clifford
Brown and Max Roach, Bud Powell and other jazz greats on cassette. An early concert pianist, Ayako eventually gravitated toward jazz, much to her father's delight and mother's trepidation. By age 10, she was transcribing the solos of Parker and Powell, leaving her parents and teachers amazed.
After relocating to New York in 1997 to be closer to the jazz scene, she took English language courses at Columbia University. After Ayako met her husband at a Greenwich Village cafe in 1998, he persuaded her to enroll at the Manhattan School of Music. She received her masters degree in 2001.
On Falling Leaves, you not only hear Ayako execute inventive
interpretations of well-chosen jazz classics but she also takes on a
few American Songbook gems. Catch her version of Rodgers and Hart's My Romance, a soaring, passionate rendition that triggers enormous audience applause at the end. Ayako also introduces original works that showcase her full range of skills as a lyrical composer and dynamic soloist.
And dig what she does with Leroy Anderson's Sleigh Ride, zigzagging on the melody and sweeping through with solid power and swing. You can almost feel the icy powder spray up from the sled as she roars through her interpretation, adding Bud Powell and Tommy Flanagan touches along the way. This one is the holiday jazz track to beat.
And catch Ayako's stride style on her own Monkey Punch, a blues
with a Thelonious Monk overlay. Or her Far Away, a suspenseful tune with a rich Johnny Mandel-like melody that pianist Kenny Barron encouraged her to compose.
But perhaps one of the CD's most eloquent solutions to a complex
problem came toward the
album's close, when audience members requested Paul Desmond's Take Five and Sonny Rollins' St. Thomas. Somehow Ayako managed to seamlessly connect Desmond's 5/4 standard to Sonny's rambunctious calypso, and the result is quite spectacular.
To my ears, Ayako is fast on her way to becoming a leading jazz light and fresh voice in the crowded field of performing jazz piano stars. Sample a few tracks and see what you think.
JazzWax tracks: You will find Ayako Shirasaki's Falling Leaves:
Live in Hamburg (Jan Matthies Records) recorded in March 2009 at iTunes or here. Try sampling Falling Leaves, Sleigh Ride or My Romance.
JazzWax note: Ayako will be appearing at Small's in New York this Wednesday at 7:30 p.m. For more information, go here. You also can catch her set live on your computer by going here.
JazzWax clip: Here's Ayako in a trio setting performing It Could Happen to You back in January...
Posted by Marc Myers at 05:46 AM | Permalink
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A highlight of the live performances was the exquisite piano playing of Ayako Shirasaki, prior to the awards presentation
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"A highlight of the live performances was the exquisite piano playing of Ayako Shirasaki, prior to t..."A highlight of the live performances was the exquisite piano playing of Ayako Shirasaki, prior to the awards presentation. ((Jazz Journalists Association 2010 Awards Gala))
Her CD, Falling Leaves (Jan Matthies Records) was among the freebies given out afterwards, and, while th...e entire album is very enjoyable, of special note is her unique treatment of the Leroy Anderson Christmas classic, "Sleigh Ride"."
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Advice: watch out for Shirasaki
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The inaugural (2009) Jazz Solo Piano Festival recorded three tracks each by its winners: from German...The inaugural (2009) Jazz Solo Piano Festival recorded three tracks each by its winners: from Germany (Mathias Claus), Japan (Ayako Shirasaki) and USA (Bob Albanese). Claus plays florid, jittery, herky-jerky over-long pieces; he's rambling and finger-tied on "Old Folks" and wooden on an over-worked Romberg rhapsody. Shirasaki is forceful, with grace and individuality. Her "Con Alma", a model of respect and grace, wreaths harp-like glissandi through noble variants. She plies Bud-Powell-like innuendos a la Toshiko Akiyoshi on "Someday My Prince Will Come" and playfully shifts "Pennies from Heaven" into "Lennie's Pennies" with firm, jagged fugal motifs. Albanese suavely unveils fluid visions of "Manhattan" as a charming 'isle of joy', Bill Evans' "Time Remembered" as time travel through flamenco, bop and ballad and his own "Morning Nocturne" as an awakening to Gotham's irresistible pulse. Advice: watch out for Shirasaki.
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The performance is an ebullient end to a party for piano lovers
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“This recording is a thoroughly enjoyable tribute to mainstream Jazz solo piano. Truly international...“This recording is a thoroughly enjoyable tribute to mainstream Jazz solo piano. Truly international—Claus is German, Albanese American, and Shirasaki Japanese—the session celebrates the Jazz of mid-century America. “Lennie’s Pennies” opens with a chorus of “Pennies from Heaven” done in old-time fashion stride before slipping into the Tristano head; heady territory to light upon, but she -Ayako Shirasaki- handles it with admirable aplomb obviously echoing Tristano’s own solo style in spots, but moving far, far beyond imitation. The performance is an ebullient end to a party for piano lovers.”
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Like Hiromi, Tokyo native Ayako Shirasaki
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Jeff Tamarkin about Ayako Shirasaki in JazzTimes, Feb. 2010, page 40.
Like Hiromi, Tokyo native A...Jeff Tamarkin about Ayako Shirasaki in JazzTimes, Feb. 2010, page 40.
Like Hiromi, Tokyo native Ayako Shirasaki (who currently resides in New York) was a classically trained prodigy who discovered jazz early (influences include Bud Powell and Art Tatum) and was soon amassing awards. Often playing with grand orchestral flourishes , she’s been praised for her intricate harmonies, strong melodic sense and powerfully rhythmic approach to piano. She has released two CDs, Existence and Home Alone.
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Piano Virtuoso Expression
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Edward Blanco in www.ejazznews.com / 15th Feb. 2010
“Ayako Shirasaki added the final touches to a...Edward Blanco in www.ejazznews.com / 15th Feb. 2010
“Ayako Shirasaki added the final touches to an evening of piano virtuoso expression with an exceptionally playful yet respectful interpretation of Dizzy Gillespie’s “Con Alma” then turning in a charming performance on the classical-waltz standard “Someday My Prince Will Come.”
For the finale piece of the set and concert, the lady challenges herself on a complicated rendition of Lennie Tristano’s “Lennie’s Pennies” running single-note and bass line runs with exceptional ease.”
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CD Review - “Musically Yours”
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Olaf Maikopf about Ayako Shirasaki’s CD “Musically Yours” in Jazzthetik, Feb. 2010, page 59
“Sev...Olaf Maikopf about Ayako Shirasaki’s CD “Musically Yours” in Jazzthetik, Feb. 2010, page 59
“Several weeks ago, the classically trained pianist Ayako Shirasaki was to be experienced on German concert stages (presented by Jazzthetik).
Until now, there are five CDs to be heard from the japanese, but already some time in New York-based artist - “Musically Yours” is the penultimate. On this album published in 2005, Shirasaki offers two original compositions with her trio (bassist Matt Clohesy and drummer Shinnosuke Takahasi), pieces of her revered pianists Thelonious Monk and Bud Powell, and famous jazz standards like “Lush Life” and “Seven Steps To Heaven.
All of this being played with great technique and ingenuity at the highest technical level by the young musician. With her supple touch of the keys reminiscent of Tommy Flanagan, the swinging rhythmic feel of Bud Powell. But the best part for me is the apparent ease of her performance, that combines power and emotion together in harmony, which creates comforting goose bumps for me. And for fans of the solo piano Shirasakis most recent work “Home Alone” is recommended (which has been recorded in only two days).”
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World class
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Jazzthetik - German Jazz Magazine, Dec. 2009, page 66
Nabil Atassi. “Improvisation, interpretatio...Jazzthetik - German Jazz Magazine, Dec. 2009, page 66
Nabil Atassi. “Improvisation, interpretation or composition? This question arises from the possibility of being able to experience the jazz pianist Ayako Shirasaki on two consecutive evenings with completely different formations. The conditions of the two concerts in Hamburg could not be more different: On the first evening at the jazz club, even at the ground in trio, on the next evening solo, solemnly on the stage of the baroque Hamburger Laeiszhalle.
Day 1, the Trio in the Jazz Club “Stellwerk” Hamburg-Harburg. Only for a brief moment, the appearance of the graceful Japanese woman gives the impression that it would be a quiet concert. She starts the program with two standards, lays claim to groove. Her two sidemen from Hamburg, Philipp Steen (b) and Kai Bussenius (dr), two young wild ones in suits with sneakers, helping her to do so. The pianist had deliberately decided for the two in advance of her tour of northern Germany: “I have been listening to both their profiles on the internet - and they just fitted perfectly with my style!” A good decision. While Ayako with clear play, technically brilliant, sometimes lightly swinging, sometimes ponderous, festive and lyrical narrative with a gentle look (not without a certain degree of severity) dictates the direction, the two go to work accentuated, sometimes a little wooden, but full of verve and give the concert a certain youthful, sometimes even pleasantly rough charm. Shirasaki varies between standards and original compositions, pilots her sidemen, who now really got it going, gracefully through the set to the point of “Airegin” by Sonny Rollins, the musical highlight of the evening (and the opener of her CD “Existence” from 2003). Now, all three musicians rush focused through the fast-paced piece, one solo chasing the next one – until all three let loose their improvisational drive in the final and in doing so sound like a real New York jazz piano trio. Conclusion: Surprisingly loud and surprisingly wild!
Day 2, Shirasaki solo in Studio E of the Laeiszhalle. In the noble ambience of the room arises a solemn, somewhat tense concertante atmosphere. Exactly here Shirasaki seems to be in her element, looking at her smile of satisfaction at the resolution of the first chords. Already at the opening piece, a composition by Billy Strayhorn, it is clear that this evening would not be a dynamic replica of yesterday. Virtuoso and very focused Shirasaki creates a huge sound, which combines jazz and elements of classical solo piano performance. She modulates, accentuates, but doesn’t quite manage it to reach the freshness of the previous evening. “Solo is a stoic affair, you have to make everything yourself. It means freedom, but as well much responsibility.”, says the pianist. Perhaps that’s why Shirasaki today performs more as an interpreter than as a composer. Standard to standard, Shirasaki’s own compositions almost don’t take place. In the second set, she shows that solo jazz piano can be great art and tells with the lyric “Falling Leaves” the gladly listened to story of an autumn afternoon in New York City. She ends the concert with an incredible medley of no less than three standards requested by the audience. World class.
On two evenings in Hamburg, one could experience two different facets of a very interesting pianist. When asked about her way forward, she sees herself more than an improviser and interpreter than as a composer. In any way she is definitely easy to like and left her audience, despite the musical differences on both nights, into the autumn evening with the comforting feeling of just having heard really good music.
