Dreaming Northern
Masako Music (2024)
Masako's ninth release, Dreaming Northern, reinforces the talented pianist's place among the best contemporary piano-based instrumentalists recording today, although, for me, she cemented that ranking one or two albums previously. Masako is one of those composers/performers who simply can do no wrong. She plays with sincerity, technique (without showing off), warmth, and sprinkles enough variety into the mix while still holding fast to what is now her signature style.
By now, if you have read my reviews of previous Masako's albums, you know how highly I value that warmth and sincerity in her playing, whether in a solo setting or when joined by others. Even though she is far from a minimalist, per se, she does convey a sense of intimacy (except in more energetic or uptempo pieces). More than anything else, I sense the true love she has for playing piano without losing herself to melodrama or histrionics.
Masako draws much, if not all, of her inspiration from nature, and her music reflects this. While she still hews close to her usual lower key style here, there is some diversity as well, much like in her natural surroundings. However, as on past recordings, it’s her way of playing in an intimate manner that reflects, for me at least, a communal visit among the elements of our environment, e.g., a walk in the woods, sitting by a coursing stream, or watching the sun rise (or set) over the hills
Three tracks feature her playing solo, while a rather broad cast of guest artists (see below) are peppered here and there on the other songs. All of them are the Imaginary Road usual suspects (as I affectionately refer to them), except Vin Downes (guitar) and this is his second appearance on a Masako album.
The opening solo number "Mamabear Dreams" (love the whimsy of that title), showcases her ability to take a gently flowing melody and make it something special without resorting to histrionics, but instead, relying on her characteristic warmth of tone and melody. "One by One" opens with Tom Eaton's subtle but masterful use of synth tones, adding a soothing atmospheric background to the piece, as well as Jeff Oster's muted flugelhorn. Here, Masako lets those two do the heavy lifting as her piano is more in the background, at least to my ears. The tune almost approaches an ambient/New Age aesthetic. Vin Downes' beautiful guitar work ushers in "But It Is Life" and by this point in the recording I sensed these are some new wrinkles in Masako's usual musical motifs. Throughout the remaining twelve songs, one thing that is revealed is how expertly the layers of guest artists is crafted to blend into a seamless whole, no doubt owing to the trio of Will Ackerman, Tom Eaton, and Masako herself, who are all listed as co-producers.
Masako has carved out a place among the leaders of piano/ensemble artists recording today. She has become a stalwart contributor to the genre of instrumental piano music that soothes the weary mind, whether it be through introspective pieces or ones that remind us that nature can also be playful and cheery.
ALBUM
CREDITS
All
compositions by Masako
Produced by
Will Ackerman, Tom Eaton, and Masako
Engineered and
Mastered by Tom Eaton ARTISTS
ARTISTS
Masako: Piano
Will Ackerman:
Guitar (track 5)
Charlie
Bisharat: Violin (tracks 6, 9)
Vin Downes:
Guitar (track 4)
Tom Eaton:
Synthesizer and bass (tracks 2, 3, 4, 6, 8, 12)
Eugene Friesen:
Cello (tracks 3, 6, 9)
Jeff Haynes:
Percussion (tracks 3, 4, 5 6)
Michael
Manring: Bass (track 4)
Jeff Oster: Flugelhorn
(tracks 4, 5)
Premik Russell
Tubbs: EWI (tracks 3, 4, 12)
Noah Wilding:
Vocals (tracks 5, 9, 12)
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