Keiko Matsui

Keiko Matsui is an icon of contemporary jazz. With over 3 million units sold and sold-out appearances at concert hallsacross the globe, she is one of the most recognized artists in the genre. Her elegant piano melodies and gentle jazz grooves have enormous appeal and never disappoint the loyal fan base which she has cultivated with over a dozen albums and hundreds of stunning live shows! Euphoria, Keiko's most inspired release yet, elevates the artist to new heights. Featuring a full string orchestra andhorn ensemble, performances that transcend musical genres and stellar, Grammy-winning special guests, Euphoria transcends musical genres while still maintaining Keiko's classic listener-friendly sound! Highlights include the beautiful "Steps On The Globe," Keiko's passionate collaboration with R&B icon Lalah Hathaway "Love andNothing Else," the deeply moving "New Passage" and many more superb originals.

Fusion/new age keyboard player Keiko Matsui grew up in Tokyo and took her first piano lesson at the age of five. Influenced by Stevie Wonder and Rachmaninov as well as early fusion masters Maurice Jarre and Chick Corea, Matsui began composing while in junior high but studied children's culture at the Japan Women's University (Nihon Joshidaigaku). She moved to the Yamaha Music Foundation in Tokyo after graduation and formed Cosmos, recording four albums with the new age group.

It's been four long years since pianist and composer Keiko Matsui released the spare, elegant Moyo. That is an atypical break for an artist who has recorded 22 studio albums since her debut in the late 1980s. Appearing on Shanachie for the first time, The Road was largely self-produced. Matsui appears in varying contexts here, from trios to quartets and quintets to an octet on a musically diverse set that sums up virtually every place she's been while continuing to point the way forward. Some of these players have collaborated with her for decades while still others make their initial appearances.

Keiko Matsui is well known for blending smooth jazz, new age and world music genres together to form a rather theatrical and dramatic fusion. This live album is in some ways both a "Best Of" and an improved master of her better work before the end of the 90s. The sound quality and production is excellent - kudos to both her husband Kazu (producer) and the mixing and engineering team because all parts sound clear, full and excellent.
In terms of melody, progressions, voicing and so on, Keiko doesn't break new ground, but in terms of arrangement, selection of instruments, and the 'feel' of the music she's manages to give her material an unique and enjoyable signature. This album brings that to the fore very nicely, with many of her more genre-defying pieces included…

Fusion/new age keyboard player Keiko Matsui grew up in Tokyo and took her first piano lesson at the age of five. Influenced by Stevie Wonder and Rachmaninov as well as early fusion masters Maurice Jarre and Chick Corea, Matsui began composing while in junior high but studied children's culture at the Japan Women's University (Nihon Joshidaigaku). She moved to the Yamaha Music Foundation in Tokyo after graduation and formed Cosmos, recording four albums with the new age group. Her first album as a leader, 1987's A Drop of Water, was released in the U.S. two years after the fact on Passport.

If there's such a thing as poetic music, Matsui continues her discovery of it on this effort. For all its beauty ad more aggressive touches, this collection doesn't quite measure up to her previous collection No Borders, but there are moments of fusion in her work here which cook like never before, thanks to Eric Marienthal, Gerald Albright and guitarist Ron Komie. While husband/producer Kazu Matsui adds his mysterious shakuhachi wind to "Grey Cliffs," Matsui spends her time creating soundscapes which range from mainly acoustic to punchy electric pieces like "Hope." Clay Jenkins' flugelhorn is a plus. The two vocals here don't give Greg Walker enough excitement to play with; instead they seem too ambitious. Don't let the flowers on the cover fool you because this disc is anything but fluffy and pastoral in nature.

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…

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…