Writing in The Absolute Sound, Rick Brown reviewed Yuko Mabuchi Trio’s January 25th performance at Segerstrom Center for the Arts. Yuko opened for the great Branford Marsalis Quartet, and the two ensembles had no problem filling the 1,800 seat Renée and Henry Segerstrom Concert Hall. As Brown concludes “Mabuchi and her trio are primed to take their music to the next level.” Please visit the article in The Absolute Sound.
If the eponymous debut album by the Yuko Mabuchi Trio can be seen as a coming out party, it’s hard to imagine the musicians squeezing anything more out of the event. The nearly hour-long set includes some well-known jazz standards, including a gorgeous On Green Dolphin Street and an exuberant romp through Sonny Rollins’ St. Thomas. During a solo piano medley, Mabuchi’s reconstruction of Take the “A” Train displays a fertile imagination and a confident left hand. A sly reading of Sara Bareilles’ Seriously shows Mabuchi’s ability to spot a pop song that translates nicely into the jazz idiom. Her interpretive skills also surface on a composition by TAS music reviewer Mark Lehman, Waltz Noir; here the trio uses a classical composition as a launch pad for some highly evocative noir jazz. If Mabuchi’s playing can be described as tasteful, economical, and lyrical, it should also be noted that her Continue Reading →
Matheson: Violin Concerto, String Quartet, Times Alone. Music, Video and Downloads Yarlung Record’s program produced and financed by the musical philanthropists J and Helen Schlichting of Southern California, is an excellent introduction to the notable American composer James Matheson. Matheson, now in his mid-40s, wrote his Violin Concerto for Baird Dodge, principal second violinist of the Chicago Symphony — and once the composer’s roommate at Swarthmore College. All of Matheson’s music has a bold, cinematic flair. His writing for solo violin is highly idiomatic and virtuosic; the orchestral contribution is extravagantly colorful. Matheson employs an advanced tonal syntax and confidently cites other styles as he makes his argument: the central Chaconne of the Concerto references the slow movement from Mahler’s Sixth Symphony and the energetic finale strongly suggests bluegrass. Esa-Pekka Salonen was on the podium leading the CSO for the world premiere recorded here in December of 2011. Dodge joined Continue Reading →