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Yoko Miwa

Since her arrival in america in 1996, Japanese improviser Yoko Miwa has earned a reputation to be one of the most lyrical, melodic and accessible pianists within the acoustic post-bop realm. Miwa (who’s also a talented composer) provides amazing chops, but she will not defeat listeners on the head together or walk out her method to dazzle people who have her technique. Nor can be she somebody who plays a whole lot of records with regard to playing a whole lot of records; Miwa’s approach is usually less expensive, and she will choose her records carefully and sensibly. In that feeling, Miwa offers something in keeping with Kilometers Davis — a unique but ever-evolving trumpeter who was simply known for his usage of overall economy during solos whether he was playing fusion, awesome jazz, post-bop, bebop or crossover jazz-pop. But stylistically, Miwa isn’t as far-reaching as Davis. Her forte is usually straight-ahead post-bop, as well as the pianists who’ve done probably the most to impact her lyrical improvisations consist of Expenses Evans, Keith Jarrett, Chick Corea, Ahmad Jamal and Herbie Hancock (particularly, Hancock’s early, acoustic-oriented post-bop recordings for Blue Notice within the ’60s — not really the electrical fusion and jazz-funk he documented along with his Headhunters music group within the ’70s). Miwa was created on, may 22, 1970 in Kobe, Japan, where she began monitoring traditional piano at age four. Miwa also analyzed tone of voice when she was we were young in Japan, although she actually is mainly an instrumentalist. After graduating from senior high school, Miwa went to the Osaka University of Music in Osaka, Japan in the past due ’80s — which was where she analyzed with jazz organist/pianist Minoru Ozone, who’s the father from the well-known pianist Makoto Ozone. Miwa was still playing traditional piano at that time, but she became increasingly more jazz-minded in the first ’90s — so when she inserted Japan’s Koyo Conservatory of Music in 1995, Miwa made a decision to turn into a full-time jazz musician and quit on the thought of playing traditional music professionally. The next season, a 25-year-old Miwa was honored a scholarship or grant to Boston’s renowned Berklee University of Music, where she researched jazz theory and efficiency. After graduating from Berklee in 1999, she became a member of the college’s faculty. In the first 2000s, Miwa started accompanying vocalist Kevin Mahogany (who she fulfilled at Berklee), and it had been also around that point that she became the pianist within the Ryles Jazz Orchestra (which highlighted her extensively in the Live at Ryles Compact disc). Miwa’s initial album being a leader, Within the Mist of your time, premiered in Japan in the Tokuma label in 2001; her second album, Fadeless Flower, was documented in Boston the next year and arrived in Japan on Polystar Information in 2003.

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