eri yamamoto : pianist / composer

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 articles  :  #2( 2008-10) /  #1(2008-01) /  日本語記事 (Japanese Articles)  / Links         
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July, 2019  “El Diario Vasco” Newspaper in Spain  *Review of our San Sebastian Jazz Festival concert

November 2018   "Hot House Jazz Magazine”  -Cover & Artist Feature-

November, 2018  “The New York Jazz City Record” newspaper - Artist Feature-

New York Jazz Record magazine in September, 2016

ny jazz record magazine
Hot House Jazz Magazine in September, 2016

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articles   2013

The Sydney Morning Herald Newspaper in Australia, November 8, 2013

Splashes of colour and sparse lines that thrill
John Shand
Published: November 8, 2013 - 3:00AM
One of the things that jazz does better than most music - and music does better than most arts - is to reconcile the seemingly
irreconcilable. Take Eri Yamamoto's piano playing. Without hearing her, you would not credit that her improbable
combination of elegance and feistiness could be intertwined into an aesthetic and emotional whole. One that has no name.
The New York-based Japanese artist is headlining the second incarnation of the Sydney International Women's Jazz Festival,
leading her long-term trio with bassist David Ambrosio and drummer Ikue Takeuchi. They almost exclusively played
Yamamoto's compositions, often infusing them with an intriguing rhythmic ambiguity, as on the opening Bumpy Trail.
Yamamoto quoted a delicate Japanese folk song as a preamble to Firefly, a lyrical piece that grew in intensity until soul-like
motifs reeled and staggered from the keyboard against the turbulent rhythm section.

As good as the band was when the music was energised, it was even better when painting sparse, telling lines and
sudden splashes of colour on a silent canvas. This happened on the other-worldly denouement to Dark Blue Sky,
which had begun with a solo bass introduction of slurring glissandi and non-threatening growls interspersed with
snatches of simple melody. It recurred on Memory Dance, with its minimal statement of a groove and ephemeral
sense of beauty. Another example was A Few Words, where Takeuchi's brushes cross-hatched shadows and created subtle emphases.
Ambrosio was superb, with a freewheeling approach that could imply a groove when the music was at its gentlest,
and that could build an intoxicating looseness into any grooves that did emerge. His solos were highlights, but
sometimes compromised by overly strident accompaniment from Takeuchi.
If Yamamoto could thrill and beguile, she could also meander on occasion. But then her gorgeous touch was soon
deployed to restore focus and cohesion.
Eri Yamamoto Trio: Saturday, Foundry 616 (Ultimo); Sunday, VJs (Chatswood).
This story was found at:
Print Article: Splashes of colour and sparse lines that thrill
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Downbeat Magazine September 2013 issue

All About Jazz online magazine, April 2012
"The Next Page" Review by John Sharpe

New York City Jazz Record Magazine, April 2012 issue
"The Next Page" Review by Terrell Holmes April, 2012
"The Next Page" Review by Britt Robson

Jazz Time Magazine, May 2012 issue
"The Next Page" Review

Time Out New York Magazine, April 2012 issue
Live Preview


Down Beat Magazine, June 2012 issue
"The Next Page" Review

New York Hot House Jazz Magazine, April 2012 issue

The Hartford Courant Newspaper, January, 2012