Like Yamanaka’s previous albums, Lach Doch Mal contains a mix of originals and covers rearranged in her creative style. Fans of her previous four albums know that her amazing piano improvisation and technique are a feature of her albums, and this release is no exception.

While her contemporary jazz and bop trio sound is the primary recorded sound, Yamanaka adds some additional layers with some light guitar, extra percussion, and groovy electric keyboards on a few tracks as well.

Yamanaka’s piano technique is exciting and powerful as always, racing through the shifting jazz terrain like a high-speed vehicle dangerously hugging the curves along cliffside roads. About half of the songs on the album feature Yamanaka as the main improviser, playing the song melodies and intensely improvising and quoting jazz phrases while Larry Grenadier on bass and Jeff Ballard on drums provide the solid musical framework and addictive rhythms.

Of course, master players Grenadier and Ballard also make their solo statements as well, as they improvise, trade statements, or close certain songs dramatically with drum features over vamps. Guitarist John Carlini joins the trio on select tracks with a very subtle guitar or charming banjo strumming (#3, Rahsaah Roland Kirk’s “Serenade to a Cuckoo”), but doesn’t take a spotlight role on the three songs that he is credited on.

Yamanaka’s arrangements are also captivating, showing her unerring ear for interesting changes and tweaks to standard songs. Her musical reimagining is particularly apparent with the contagious vibrancy and catchy rhythm on #1 “Quand Biron Voulut Danser” (traditional) and the romantically beautiful #9 “Liebesleid” (classical).

Yamanaka also honors great jazz pianists Geri Allen and McCoy Tyner with thrill-seeking performances of two of their songs, the ultra-modern pieces #4 “RTG” (including an expertly deployed quote from Herbie Hancock’s “One Finger Snap”) and #10 “Mode to John”, a spirited mix of McCoy’s angular fourths style and the bop fluidity of Yamanaka. There is perhaps even a tip of the hat to Horace Silver, whose presence graces Yamanaka’s original #2 “Sabot” with its strong accents and bluesy and unleashed piano licks.

The final two tracks also remind us of Yamanaka’s fun and playful nature. In line with the German phrase /Lach Doch Mal /(just laugh, cheer up), the title track is a zany 45-second stride piano sketch, amazing and ear-catching. In this same endearing mood, the jazz standard #11 “What A Diff’rence A Day Made”, layers sounds (piano, keyboard), musical keys, and tempos several times for a chameleon-like arrangement with unexpected endings with pleasantly decaying chaos. Finally, #12 “That’s All” returns the band to a relaxed midtempo swing style, played sweetly and tenderly as suits the end of a set.

Audio and Video

• Video for “One Step Up”:

• Audio for “Liebesleid”, track #9 on this album:

• Audio for “That’s All”, track #12 on this album:

• Excerpt from track #1: “カン・ビロン・ヴリュ・ダンセ (Can biron velue danse)”

With momentum built from her debut Living Without Friday (2001) and When October Goes (2002), on Madrigal (2004), the pianist impresses with new arrangements, tight playing, and flashy piano solos. Recorded in studio with a great live sound, Yamanaka is backed by quality rhythm section mates bassist Larry Grenadier and drummer Jeff Ballard (stalwart members of Brad Mehldau’s trio), and drummer Rodney Green on three tracks.

This is her third album on the boutique Osaka-based Atelier Sawano label. With nine tracks, the album clocks in at a brisk 47 minutes of pure jazz fun. This album completes her early Atelier Sawano trilogy, a great introduction to Yamanaka’s jazz skills and vision which she would continue to pursue on releases for major labels Verve and Blue Note.

As on her prior two albums, the music on Madrigal showcases her dexterous threads of improvised notes flowing with a clean touch. Yamanaka also spins her distinctively original arrangements of classic jazz tunes (“Caravan”, “Take Five”), a welcome touchstone on previous and future recordings as well. Compared to her earlier releases, Madrigal shoots for perhaps an even more kinetic mood, with boundless energy and an acrobatic spirit displayed. In fact, Yamanaka dedicated this album to her childhood, and the music is infused with playful creativity as suggested by the album photos and liner notes.

A track-by-track rundown: simply swinging on “Antonio’s Joke”, addictively fun “Living Time Event V”, the pretty, light “Madrigal”, the unbridled “Ojos De Rojo”, a scrambling “School Days”, the quick Brazilian “Salve Salgueiro”, a strong and distinctive “Caravan”, the cute “Lesson 51”, and a reworked, shifting “Take Five”. Most songs are midtempo or faster, the energy undepletable. The first and third tracks are originals from the pianist, while the cover songs were written by George Russell, Cedar Walton, Duke Ellington, Paul Desmond, and other greats.

This album hit #1 on the HMV Weekly Modern Jazz Chart and #2 on the HMV 2004 Yearly CD Jazz Chart.

Audio and Video

• Salve Salgueiro from this album:

• Take Five from this album:

• Excerpt from track #2: “Living Time Event V”

The ten tracks on When October Goes include three original songs, with the balance of the music being jazz standards and rearranged songs.

The opening original number “Taxi” is a highlight, a great way to open the set with creative modern jazz and scintillating piano improv. The other two originals reveal a humorous side to go along with her prodigious jazz talent: “Plum the Cow”, named for a neighbor’s bovine pet, is a quirky uptempo blues, while “S.L.S. (Silly Little Song)” is an ultra-catchy odd-meter tune with swirling keyboards, easily hooking the listener all the way to the don’t-want-it-to-end fade out.

Amidst the high-energy swing, the emotional ballad “When October Goes” is delivered with deserving finesse and care for the music. Other jazz covers include “Just In Time”, “In A Mellow Tone”, and George Gershwin’s “I’ve Got Rhythm”, masterfully reinvented with novel accents and an extended vamp for the pianist to spin twisty improvisations over an in-the-pocket rhythm section groove.

Together with jazz and pop standards, Yamanaka also includes her upbeat jazz version of a Japanese traditional song “Yagi Bushi” (later revisited on her 2005 album Outside By The Swing) and a memorable pick of Keith Jarrett’s “Paint My Heart Red”, where the pianist’s long, fluid lines float gracefully over soft jazz chords with a mesmerizing beat.

When October Goes received numerous awards upon release, including four weeks at #1 on the HMV Weekly Modern Jazz Chart, 33 weeks at #1 on the HMV Yearly Modern Jazz Chart, and 2003 HMV Grand Prize Record of the Year for Best Japanese Jazz Album.

Liner Notes

This is a transcription of the CD liner notes written by Chihiro Yamanaka:

I’d like to explain a bit about these tunes.

“Taxi” was composed right after I moved to NY city and I tried to describe my impression of the cityscape from BQE (highway to Brooklyn). This title comes from one of my favorite TV series, “TAXI”.

I didn’t expect “Just In Time” to be on this CD because we actually recorded this after the sessions were completed.

Keith played “Paint My Heart Red” for the Hanshin Earthquake. I still remember seeing him play on the NHK news show in the morning. But I forgot some part of the tune…

As you may know, “Yagi Bushi” is a traditional Japanese “dance” song. I arranged this for Kiryu City a long time ago.

“Plum The Cow” is about my friend’s cow “Plum”. She is very cute and naughty.

I love lyrics for “Ballad For Their Footsteps” and I felt this song and “Three Views of a Secret” have the same spirituality. Both tune’s original keys were the same.

“I Got Rhythm” was arranged for “JVC Jazz Festival in NY”.

“When October Goes” has beautiful text too. I played this tune for the first time with Nancy Wilson.

“S.L.S.” standards for Silly Little Song. Accidentally, we recorded this as 5/4 over 7/8 and I added some effects later on. It’s a Steinway piano and mixing this tune was a lot of fun! I’m kind of addicted to it.

Duke’s melodies have such a strong statement and “In A Mellow Tone” is no exception. Arranging is like cooking. If you get something fresh and delicious, it is so easy to cook. I hope you like it.

Special thanks to: Larry and Jeff for making this music so beautiful. Stanley Kay, Sherri Maricle, Tim Conklin, Yoshiaki Sawano, Hiroaki Ishii, Shoji and Kenji for their deep love of music and continuous support.

This music is dedicated to my father Yasusuke, my mother Hiroko and my sister Makoto.

Audio and Video

• A live performance of “Yagi Bushi”, the fourth track on this album:

• Excerpt from track #1: “Taxi”