Hiroshima band biography youtube

Since galvanizing the instrumental music world with its unique East meets West approach in the late 70s, Hiroshima has always kept its eye on a distinctive One World philosophy which seamlessly blends Asian and North American culture to reflect both cultural and spiritual connections. This year marks 20 years since the band's unique combination of distinctively Japanese elements-June Kuramoto's classical flavored koto, Johnny Mori's booming taiko drum-with funky pop, urban and jazz sensibilities first hit the instrumental music charts, and 25 years since saxophonist and East L.

Their Windham Hill Jazz debut and eleventh release overall Between Black and White finds them once again blending contemporary root music, mystical Eastern exotica and melodically rich smooth jazz which further deepens their larger commitment to global unity on the cusp of the new millennium. The album title grew from the idea that as people of Japanese heritage, we are ethnically in the middle of black and white, drawing from the traditions of both races yet also creating an identity that is unique to our heritage.

Motivated by a mutual commitment to a singular artistic vision and free under their new Windham Hill deal to focus on the music they want to make, Hiroshima once again dares to push the envelope and engage diversity from track to track. The mix of dreamy koto and keyboard mysticism and thick hip hop grooves and soulful sax on "Mix Plate" sets the tone for the whole project; the song's title is another metaphorical reference, literally the name of a Hawaiian sampler feast and figuratively, as Kuramoto puts it, "a glorious cultural mishmash.

Hiroshima has worked with some great vocalists over the years, and Terry Steele-who wrote Luther Vandross' signature smash "Here and Now"-adds to the litany with his cool, romantic approach to "The Door Is Open.

Hiroshima band biography youtube: Colin Marshall sits down

The multi-dimensional "Joe Jazz" is a five minute musical history lesson, featuring instrumentation layers which draw from various eras of jazz-from electric guitarist Fred Shreuders' Wes Montgomery like melodic lines blended with the koto to Dan Kuramoto's best Coleman Hawkins sax impressions. Keyboardist Kimo Cornwell infuses his seductive Hammond B-3 blues energy into the retro-soul grooves of "Sup Pose," while "Picasso's Dance" further expands the band's global reach by mixing June's unique flamenco stylings on the koto melody with Schreuders' brash guitar lines with dramatic orchestral swells and booming taiko.

Dan Kuramoto plays the native Japanese flute, shakuhachi, on the moving lullaby "After The Rain," a song influenced by a visit to a temple dedicated to 'lost children,' during the band's Japan tour in Featuring stunning rainforest soundscaping with guest harmonica player Hammer Smith adding a floating harmony behind the koto melody.