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ERI YAMAMOTO TRIO<br />
THE NEXT PAGE<br />
AUM071<br />
SPARKLE SONG / WHISKEY<br />
RIVER / JUST WALKING / NIGHT<br />
SHADOWS / GREEN GROWS/<br />
THE NEXT PAGE / UP AND<br />
DOWN / DARK BLUE SKY /<br />
WAVER / CATCH THE CLOUDS /<br />
SWIMMING SONG. 70:40.<br />
Yamamoto, p; David Ambrosio,<br />
b; Ikuo Takeuchi, d. 10/11/11,<br />
Brooklyn, NY.<br />
New Issues<br />
151 | CadenCe Magazine | april May June 2013<br />
inject their own personalities into the pieces. Reed’s first<br />
chorus of “Evidence,” incorporating Monkinfluenced<br />
jaggedness at first, gradually evolves<br />
through successive choruses into soaring improvisation<br />
of increasing intensity. Seemingly casual sparseness<br />
accedes to increasing excitement expressed by 32 ndnote<br />
phrases in four-bar exchanges with Cole. The same<br />
thing happens on “Green Chimneys” as Reed, Cole and<br />
bassist Matt Clohesy maximize the song’s potential by<br />
increasing the speed and feeling, causing the smoke<br />
to rise from those chimneys. On “Epistrophy,” all of the<br />
members of Reed’s group get to contribute their<br />
impressions from the song, Seamus Blake and Etienne<br />
Charles providing suggestions of bluesiness in their<br />
solos. The single vocal track on The Baddest Monk<br />
includes José James’s rich, leisurely and heartfelt<br />
rendition of “’Round Midnight,” as he combines<br />
earthiness with effective delivery of the meaning<br />
of each phrase. Reed includes two of his own<br />
compositions of tribute to Monk: “Monk Beurre Rouge,”<br />
a medium-tempo tune of New Orleans derivation that<br />
allows for an especially memorable Blake solo; and “The<br />
Baddest Monk,” Reed’s concise blues solo of a soulful<br />
treble melody obviously gospel inspired. So we<br />
have another internalization and interpretation of<br />
Monk’s music that remains, it seems, forever fresh and<br />
adaptable, as art should be.<br />
Bill Donaldson<br />
Music, the universal language, exchanges techniques,<br />
ideas, forms, feelings, leading to greater<br />
understanding and the expansion of possibilities. While<br />
there is much discussion about the growth of jazz to<br />
include multi-cultural elements like clavé or raga, less<br />
often remarked upon is the reverse influence of jazz<br />
upon music throughout the world. A case in point<br />
would be Eri Yamamoto, who studied classical piano in<br />
Japan and experienced an epiphany in 1995 when she<br />
heard Tommy Flanagan perform in Greenwich Village.<br />
Flanagan changed her life, so much so that, based upon<br />
the influence of his music, she<br />
moved to New York immediately. Dedication, intense
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