Yoko Miwa's regular gig is with the Ryles Jazz Orchestra in Boston, her adopted home since she left the classical world behind and took advantage of a Berklee scholarship to complete the jazz studies she'd begun in her native Japan. She has since been a member of the Berklee faculty and gigged regularly in the Northeast, but she really shines in the trio context. Her second album as a leader (supported beautifully by bassist Greg Loughman and drummer Scott Goulding) is one of the warmest, most unapologetically lyrical jazz albums of the year, but despite its surface charms it doesn't come across as shallow or simplistic in any way. Miwa displays her facility with a variety of styles on this all-original program, from strutting blues ("Blues in the Cave") to reflective ballads (the gorgeous "In My Heart") and percolating bebop ("Black Bunny"). But what's consistently impressive is her ability to deliver complex and challenging musical ideas in a compelling and yet frequently gentle and inviting way. Very highly recommended.- Rick Anderson
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VILLAGE VOICE
THE YOKO MIWA TRIO
Fadeless Flower
PJL
Young mainstream piano trio aim for clean sound, delicate balance,
inconspicuous beauty. - Tom Hull
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All About Jazz Review
Review Courtesy AllAboutJazz.com
Fadeless Flower
The Yoko Miwa Trio | Polystar
Track Listing: Sorrowful Moon, Fadeless Flower, Blues in the Cave, In My Heart, Momentum, Flood of Tears, Black Bunny, Love, Finding the Sun.
Personnel: Yoko Miwa, piano; Greg Loughman, bass; Scott Goulding, drums
CD Review Search The arrival of Yoko Miwa's Fadeless Flower brings a new jazz pianist to the table. Originally from Kobe, Japan, she studied piano with the father of Makoto Ozone, who burst onto the jazz scene in the 1980s when he took over the piano chair of the Gary Burton Quartet. Although Miwa originally studied classical piano, she shifted towards jazz studies first at the Koyo Conservatory of Music and then, on a scholarship, at the Berklee College of Music in Boston. She has worked with vocalist Kevin Mahogany and her debut album In The Mist of Time was issued in 2001 on Tokuma.
Fadeless Flower is a collection of nine tracks of different moods that display the talents of Yoko Miwa and her trio. The title song, taken in waltz time, generates intensity as the tune progresses, while “Blues in the Cave” is reminiscent of the soul jazz piano trios of the early 1960s. The opening track, “Sorrowful Moon,” begins with Greg Loughman's bass intro and then reveals an attractive melody line that plays out in the fashion of modal jazz piano trios. There are two ballads, “In My Heart” and “Love,” both presented as reflective compositions. “Flood of Tears” is an opportunity for bassist Loughman to excel by stating the melody line and then providing a solo. ”Momentum” and “Black Bunny” are uptempo numbers that really give the group a chance to open up. Drummer Scott Goulding, who demonstrates clean articulation throughout the session, gets to trade fours effectively on the latter. Loughman and Goulding round out Miwa's working trio and they are both experienced Boston-area musicians.
I've noticed that, as with 17-year-old pianist Takashi, whose Storm Zone debuted on Blue Note a few months ago, we are experiencing a new age of aspiring jazz pianists for whom there is no one role model. They seem to absorb the entire vocabulary of mainstream jazz piano and process that information for future use. In a way, this amalgam of styles allows the pianist to play the appropriate style for the right composition. It certainly isn't impersonal and the results would make for an interesting blindfold test for the unsuspecting listener.
~ Michael P. Gladstone
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Jazz Review.com
Featured Artist: Yoko Miwa
CD Title: Fadeless Flower
Year: 2004
Record Label: Polystar
Style: Straight-Ahead / Classic
Musicians: Yoko Miwa (piano); Greg Loughman (bass); Scott Goulding (drums)
Review: Born half a world away, and
coincidentally taught by Makoto Ozone's father,
Minoru, Yoko Miwa has developed her technique and
found her own voice through years of classical
music and jazz study and through performances in
Boston while she matriculated at Berklee College
of Music. The result is a pianist who is immersed
in the language of jazz while using the images of
her life, or of her culture, to inject
personality in her music. With seemingly
effortless ease, Miwa unfolds the images of her
music with the aid of her bassist Greg Loughman
and drummer Scott Goulding, who are just as
dedicated to the impressionistic nature of her
artistry. On top of the music itself, Miwa gives
clues to the visual sources that guide her
performances by naming her compositions with
images that may cause a double take, so original
are they, or so unaccustomed are jazz listeners
to them. Actually, Miwa's titles like "Sorrowful
Moon," "Fadeless Flower" or "Black Bunny" are
reminiscent of those of Billy Strayhorn, with his
nature or mournful references or
horticultural/mournful references like "Passion
Flower," "Ballad for the Very Tired and Very Sad
Lotus-Eaters" or "Lament for an Orchid."
In a relatively short span of time, since she
started studying jazz in 1996, Miwa has developed
a wide-ranging talent with an apparently
boundless imagination, and she is gaining notice
with her work with Kevin Montgomery. It would be
a mistake to characterize her work in just one
style, as the mysterious melody of "Sorrowful
Moon" leads one to pigeonhole her as a pianist of
seamless flow as the phrases carry over from one
measure to the next. No, despite the build-up to
the assertive chorus of "Sorrowful Moon," Miwa,
with her careful attention to touch, can develop
a rousing blues, abandoning the delicacy implicit
in her earlier tunes. "Blues in the Cave"
proceeds as a swinging, infectious shuffle after
the attention-getting block-chorded introduction.
Even as Miwa allows for Goulding to develop his
own drum solo, the entire group locks in as a
unit and builds through effective dynamics to the
satisfying conclusion. "Momentum," after a
disarming first chorus consisting of a vamp-based
melody over a shifting two-chord motive, moves
into a fast improvisational section as Loughman
pushes the group. "Flood of Tears" moves along
with a tango-like sense of drama, Miwa's
ever-present sense of touch driving the mood of
the piece while Loughman initially solos until it
settles into a relaxed groove created by Miwa.
And then, "Fadeless Flower" takes shape as a
softly prodding jazz waltz, Miwa's accents taking
the tune in unexpected directions, particularly
when she solos in contrapuntal fashion in the
middle section of the track.
Apparently, Fadeless Flower was recorded in
Massachusetts but mastered in Tokyo for the
Japanese label which released the CD. If the
album is hard to find, it's still worth the
effort. And if all else fails, I'm sure that Ms.
Miwa would welcome your inquiry to buy her CD at
yokittymiwa@aol.com.
Tracks: Sorrowful Moon, Fadeless Flower, Blues In
The Cave, In My Heart, Momentum, Flood Of Tears,
Black Bunny, Love, Finding The Sun
Reviewed by: Don Williamson
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All About Jazz Review
Fadeless Flower
Yoko Miwa Trio |
Like so many jazz pianists, Yoko Miwa began her musical journey in classical music; and to jazz she brings the nuance, subtley and a forthright beauty engendered in her early studies. Miwa's right hand creates sparkling rivulets inside the rhythmic flow on songs like “In My Heart” and the disc's title tune, “Fadeless Flower,” both compelling personal statements. The delicate lyricism of those tunes is balanced by the churning down-home groove on “Blues in the Cave,” the gospel inflections of “Finding the Sun,” and the pure impressionistic loveliness of “Love.”
Miwa enjoys more than able accompaniment from bassist Greg Loughman and drummer Scott Goulding, who lay a vibrant rhythm down on a set of nine Miwa originals. The pianist has an engaging way of repeating a phrase, drawing the listener in before she lets the melodic flow go free again, telling stories full of concise and beautifully-rendered ideas.
“Black Bunny” hops along on a steady left hand groove and bouncing melody in front of a gently-propulsive rhythm anchoring a soaring solo, while the “Momentum” has Miwa floating on top of a relentless rhythmic texture.
The variety of styles Miwa commands, while maintaining a start-to-finish cohesion of sound on Fadeless Flower, is impressive. A gorgeous and unpretentious set of straightahead jazz.
~ Dan McClenaghan
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E-Jazz News
CD Reviews: YOKO MIWA TRIO : Fadeless Flower ( Polystar MTCJ – 3009)
Posted by: Adminon Tuesday, May 25, 2004 - 08:31 AMBy Paul Donnelly
Though Miwa has filled this cd with her own compositions they often contain allusive echoes of other, older tunes. And I don’t mean that she has slavishly replicated fragments from the standards repertoire. Rather she seems to have absorbed elements of the long tradition of jazz piano trios and assimilated them into her work.
She has a finely tuned ear for the delicate, melodic line alongside more assertive ensemble playing. The title track is evidence of this as she floats chords and economic lines over the gently propulsive playing of Scott Goulding’s drums and Greg Loughman on bass. Gradually her attack becomes more intense, raising the tension and drama of the piece.
Her choice of bass further supports her knowledge of what this kind of trio ought to be about. Loughman swings with something close to nonchalance on ‘Blues In A Cave’ but can equally arrest the listener’s attention with his deeply resonant soloing. The ballad, ‘In My Heart’ finds him laying down a sturdy pulse as well as playing a vital role in some deftly harmonic dialogues to which Miwa makes poignant lyrical contributions.
Equally impressive is another ballad, ‘Love’ which is one of those tunes that could easily have come from the standard songbook, having a certain familiarity about it, though I couldn’t locate any precise song and say ‘It sounds just like that’. It is light, elegant and showcases the delicacy of touch from both piano and drums
‘Momentum’ is exactly what it says it is, featherweight cymbals conjoin with the lightly driven swing of bass and piano. All three are perfectly balanced, again exemplifying what the trio format can achieve. ‘Flood Of Tears’ finds them in another setting and far from sounding melancholic they harness the rhythms of the beguine to more of Miwa’s exquisite improvisations.
This is the first time I’ve heard this band but I hope there will be more to come. Such graceful and subtle music should be widely heard and enjoyed.
Paul Donnelly
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All About Jazz Review
Fadeless Flower
The Yoko Miwa Trio | Polystar
If the music is the arbiter then the title Fadeless Flower is an apt
one. Yoko Miwa has filled it with compositions that are not only
drenched in melody but also give the performers a chance to open them
and let them bloom. She has the perfect complements in Greg Loughman
on bass and Scott Goulding on drums; after all, they are her regular
accompanists and have moulded an evident rapport with her.
Miwa gives her tunes enough diversity to make them interesting and
enliven the passage of her adventure. The lyrical "Sorrowful Moon"
has Loughman setting the pace for her to open on an introspective air
that soon finds a firmer, elaborately structured harmonic layer aided
by Goulding, whose crispness and judicious use of the cymbals is a
distinctive facet. The trio can swing just fine. Listen up to "Black
Bunny" and to the interplay between the three. This tune zips without
losing its elasticity, a pliant tune that also sees Miwa make use of
her left hand to enunciate chords that give the song a firmer body.
The band has a rollicking ride when it gets "Blues in the Cave." Even
in that transport Miwa adds a twist, briefly fracturing time
accenting with her left hand, and then lets it all flow in an
exhilarating run. Goulding and Loughman lock in to seal the
captivation. It is a quieter perambulation on "Finding the Sun,"
where Miwa enunciates her path with emphatic chords. She pushes the
parameters, adding tensility and a surge of power as a suffusion of
notes come in. But there is no overwhelm; the focus never blurs.
"Love" opens the doors to reflective moments, a time of quietly
stated beauty. And at the end of it all, there is a feeling that the
music will linger in the mind.
~ Jerry D'Souza
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Audio Audition.com
The Yoko Miwa Trio - Fadeless Flower (Miwa, piano; Greg Loughman,
bass; Scott Goulding, drums) - Polystar P.J.L. MTCJ-3009: (Release
date: June 15)
Another outstanding Japanese female jazz piano star is with us, hard
on the heels of the phenomenal Hiromi (reviewed twice here last
month). This is already the second album as leader for Ms. Miwa, who
began her studies with the father of famed jazz pianist Makoto Ozone,
and has served as accompanist to vocalist Kevin Mahogany. In 2001 she
was a featured performer at the Kennedy Center's "Mary Lou William's
Women in Jazz Festival." All nine tracks here are her originals and
each has a song-like sense about them that seem to perfectly fit the
album's titled Fadeless Flower - which is also a waltz-tempo tune on
the album. She observes, "I'm always trying to sing when I play a
solo, I mean sing through my piano phrasing." Her trio members
support her effectively by avoiding overstating their parts -
especially the tasteful drummer. Not all the tunes are so lyrical
however; some are straight-ahead swingers with some active bluesy
left-hand chording. Her clean and singing sound is beautifully
transmitted by the high quality recording on this new-to-me Japanese
label.
- John Henry
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SOUNDS OF TIMELESS JAZZ.com
By Paula Edelstein
FADELESS FLOWER
THE YOKO MIWA TRIO
She’s getting noticed in more ways than one! FADELESS FLOWER is the second release by The Yoko Miwa Trio and it is inviting, melodic and technically appealing. The pianist brings a state of grace to nine vivid compositions which express her many emotions and a rare jazz sophistication. Accompanied by her trio of Greg Loughman on bass and Scott Goulding on drums, this set spotlights Miwa's beguiling style which combines a translucent tone, a nuanced touch, and heartfelt lyricism. The former Berklee faculty member opens with “Sorrowful Moon,” a pensive ballad that rescues the soul through its colorful keyboard technique. Her fluid technique across the whole range of the keys creates stunning novel textures. This is a beautifully inspired song and Yoko’s interpretation reaches to the depths of one’s innermost feelings. “Fadeless Flower,” is a pretty waltz that features solid left-hand figures and rhythmic excitement. The trio is in-the-pocket and introduce several layers of musical cohesion on this unforgettable tune. Miwa has a suave, laid back style that can be heard in her graceful classicism but it is her unpretentious improvisations and low-keyed “blowin’” that really keeps your interest. As with anything of value, keep Fadeless Flower close to your heart so that its fragrant petals will neutralize the “Flood of Tears.”
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Tucson Citizen Review
Thursday, July 29, 2004
CD Review: Yoko Miwa Trio
CHUCK GRHAM
Tucson Citizen
Yoko Miwa Trio
"Fadeless Flower" (Polystar Recording)
Because the majority of jazz musicians receiving the most praise these days are credited for playing enormous numbers of notes in incredibly short amounts of time, all the while switching from one complicated key to another, Yoko Miwa's piano improvisations are welcomed for their personality. Listening to this album isn't like sticking your head into a wind tunnel of technique.
Miwa values every note. She doesn't play in blurs of sound. Now and then we get a cascade of scales, but there is always an aesthetic reason for it. She isn't just saying "See, I can play fast if I want to."
Consequently, all nine tracks on this CD of originals have shape and significance. Even though much of the playing is slower paced and contemplative, it never sounds "New Agey." This is trio jazz worth listening to. There is fiber in its congeniality. Like those talks with Carl Sagan, or more aptly, Leonard Bernstein.
True intelligence is never boring. This is her second album, a promising next step for an artist who innocently says her main influences are classical, be-bop and blues.
Enjoy the energetic, angular counterpoint in "Momentum." Feel the poignant lyricism in the title track. Smile at the be-bop fun of "Black Bunny." Complementing her natural subtlety and grace are bassist Greg Loughman and drummer Scott Goulding. This is a listener's album, for jazz fans who appreciate the likes of Bill Evans and the intricate balance of the trio setting.
To find a copy online, go to www.cdbaby.com.
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Berkshire Eagle Review
Spins
The Yoko Miwa Trio
"Fadeless Flower" (Polystar)
The nine original compositions on Yoko Miwa's new trio release are
deceptive -- swinging, pulsating, alluring melodies and ballads in
the guise of straight-ahead trio jazz.
But pianist Miwa and her rhythm section, including bassist Greg
Loughman and drummer Scott Goulding, are seemingly unable to play a
cliche lick, so every measure comes around with an element of
surprise even as it maintains strict adherence to standard forms.
Another way of putting it is this is the perfect album of
straight-ahead, standard-style piano jazz for those who hate
straight-ahead, standard-style piano jazz.
It also makes you wonder why so few others can be this creative with
the style and form.
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Fadeless Flower, Yoko Miwa, piano.
This lovely native of Japan and Boston's Berklee College of Music plays with passion and authority with her trio of Greg Loughman, bass and Scott Goulding, drums. The nine tunes are all originals, and Miwa brings a breathless touch and delicate phrasing to the listener. In the midst of mostly elegant, melancholy pieces, Miwa also displays her blues chops with Blues In The Cave and her sense of fun with the bright and breezy Black Bunny. Yoko Miwa is someone to keep an eye (and an ear) on. PJL/Polystar Records, 2003; Playing Time: 65:00, HHH. -George Fendel
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Yoko Miwa - Fadeless Flower 4/3
O's Notes: The trio is Greg Loughman (b), Scott Goulding (d) and
leader Yoko Miwa playing piano. She plays with a sense of grace that
soothes the soul especially on the title track. From the subtleties
of "Blues In The Cave" to the bouncy "Black Bunny" and the cool
approach of "Momentum", the trio keeps you satisfied.
--
D. Oscar Groomes
O's Place Jazz Newsletter
P.O. Box 337
Maplewood, NJ 07040-0337
http://www.OsPlaceJazz.com
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Interview with Yoko Miwa from Jazz Review
Yoko Miwa
Between Sets with Yoko Miwa
Artist Interview by: Karl Stober
June 2004 - On the shores of the Inland Sea lies the rich culture and gateway to Japan fervently referred to as Kobe. Embracing the panache of its traditional homes, gardens and temples, Kobe has much to share with those who choose to experience its ambiance. However, one vibrant blossom yet to capture her full potential, but well on her way, is the jazz pianist and composer Yoko Miwa. A true rare export of music to be shared overseas and globally, Ms Miwa always caresses each note and key with pure emotion, embracing fans of all cultures.
Ms. Miwa, a Boston based artist, centralizes her new CD “Fadeless Flower” around moods, all of which deliver and accomplish the intensity one would believe she strived for. Yes, jazz pianists have hit the scene in numbers however, Ms. Miwa has the opportunity and talent to reach pinnacles only few dream about. The talent is there, but even more so is the compassion, which travels from within touching each key to give birth to an emotional note with each stroke of a key.
Between sets, we had time to pick each pedal of this young artist’s thoughts. It was time well spent…
JazzReview: Who is Yoko Miwa?
Yoko Miwa: I was born in 1970 in Kobe, Japan. I studied piano since I was four years old and at first I focused on classical music. I went to classical college first at nineteen; I fell in love with jazz. I studied with a great teacher who was Makoto Ozone’s father. Spending that time with him helped me in my growth. After my time there I went to Koyo Conservatory of Music, which is affiliated with the Berklee Conservatory of Music in Boston. In 1997 I received a scholarship from Berklee and came to the United States.
JazzReview: How did you make contact with jazz audiences utilizing your style of music? How did they embrace it?
Yoko Miwa: I played a Japanese traditional song. I arraigned it myself. People like that kind of stuff. They are interested in Japanese music and what it sounds like. Many people like my originals, which I am surprised at. I do a lot of different stuff, too. When we play concerts, we play a lot of swing and different standards mixed with originals. People appreciate what we do as a band and how we present it.
JazzReview: How do you describe your technique, music and original pieces?
Yoko Miwa: You know I am realizing more and more [that] my music is influenced from classical music much more now. I am influenced also by traditional bebop or more bluesy stuff, which totally differ from each other. I can’t decide which one I should go with, [laughing] but my originals are definitely influenced by classical. My music has been compared to that of Chopin. I love him, too.
JazzReview: You were quoted as saying, “I sing through my piano phrasing.” What are you implying by that?
Yoko Miwa: I use the piano to sing from my mind, body and heart. I am not singing because I am not a singer [laughing]. I use the piano to express myself, express what I feel about a song and what is emotional about the song.
JazzReview: You stated you followed no theme or concept in the birth of Fadeless Flower. Is that a common trait in your work?
Yoko Miwa: Yes, it’s pretty normal for me. I try to compose everyday as much as possible, but it does not always come out that way. I don’t want to make up a song in one minute or hour. I try to feel something from my heart. Now I am trying to make a concept for the next CD, but for me it is kind of hard. I write songs from my life, family and memories. Theory never works for me.
JazzReview: What stimulates you to compose?
Yoko Miwa: It depends, the emotional side of me mostly. My heart!
JazzReview: What holds you back from composing?
Yoko Miwa: Writing an emotional song is easy when you are sad, but when I’m in a good mood, it’s harder to compose! [Laughing]
JazzReview: Oh! You mean you would rather be doing something else more fun?
Yoko Miwa: [Giggle] Ah…when I have to follow some theory or like I said, dictated structure. This chord goes here, this note goes there, too many rules. You have to follow a minor then major, etc…a lot rules, not good. Many people can compose like this. I come from the heart. I don’t care for rules.
JazzReview: What made you step out and produce Fadeless Flower?
Yoko Miwa: I don’t want to be told to do this and that…don’t play like that, play like this, which is not me. I do not like being told what to put on my CD and how to do it. [Giggling]
JazzReview: Are you a private person?
Yoko Miwa: Mmmmmm, yes sometimes! I am not one to go out all the time. I like to meet a lot of people. That is great. I get some influence that way. In this business you meet many people, so in a way, meeting people has influenced my music. I also like being alone, too. I need a lot of time to be alone, either to compose or concentrate.
JazzReview: Yoko, let’s play jazz association…I name a talent and you give me your first thoughts. Keiko Matsui?
Yoko Miwa: Beautiful Music.
JazzReview: Diana Krall?
Yoko Miwa: I love her. I like her piano playing, too. I like her style.
JazzReview: Whom would you consider a role model pianist in jazz?
Yoko Miwa: That’s a tough one. I love Bill Evans. If I have to pick one it’s him.
JazzReview: Last question; what is it like to be one of the young female pianists in the music business today, and on that note, the jazz genre?
Yoko Miwa: I’m not that young anymore. [Laughing] Maybe for this business I am young, but …being young is no excuse in this business. If you want to live in this type of world you have to be good! I tell myself, ‘No excuses,’ I may have been young when I started, but I am just one of the band now. It doesn’t matter what you are. If you play good, you’re respected. I want to be the best all the time and it is hard. I need to still study and put in the effort.
JazzReview: Ms. Miwa has one ambition with her music; to move someone’s spirit. And as she is an expressive person, that goal is attainable. For Ms. Miwa, if she can reach the audience emotionally with her compositions, in her mind the endeavor has become a euphoric triumph. One can say Ms. Miwa’s music is like a magic carpet ride through a cloud cover of emotional turbulence.
Fadeless Flower is a collection of heartfelt moments burned into the listener’s memory after the first spin. Stimulating at times, even breathtaking, but even as one focuses in on this project, the solos experienced are a gentle reminder of how passion and imagination make for an interesting consequence. Ms. Miwa, bassist Greg Loughman, and drummer Scott Goulding offer a very significant project in the ivory jazz circuit. Although the world of jazz pianists is plentiful, some do stand out. Ms. Miwa is that flower among thorns.
Karl Stober is an international freelance columnist and broadcaster who can be reached at jazztrenzz@bellsouth.net. Feel free to forward your ideas and comments to him.
