The technically brilliant trio opened with the evergreen I Hear A Rhapsody, before the gutsy and sensitive Sumi Tonooka dug into the keys, presenting two spell-binding original compositions: the ballad-like Shadow Waltz and the grooving Taking Time. . . . Both with very exacting titles such as Evidence by Thelonius Monk, and well-known pieces like Night and Day, this high-class trio secured its position in the highest echelon through its unusually quick rapport, arrangements that shed new light on standards, and virtuosic improvisations. . . . A genuine live experience of the highest magnitude!
[ Gustav Sigg ]
Fierce, fascinating composer and pianist . . . a thoughtful, fresh voice . . . delicate and articulate . . . driving and dramatic.
[ Leslie Gourse, Jazz Times ]
Revelatory . . . reminds you that originality is possible. Shes made her phrasing and touch personal; her lines breathe. . . . Her compositions . . . are rock solid without a moment of indecision or mistake. Technique is mastered by imagination, inspiration by intellect. She comes to her own conclusions, which is what jazz is all about.
[ Peter Watrous, Musician Magazine ]
Tonooka . . . opened her set with a crackling interpretation of Thelonius Monks Eronel. The dispatch with which Tonooka negotiated Monks precipitous lines left no doubt that she is among the best of todays jazz pianists. . . . At no time did Tonooka sound like a piano solist accompanied by bass and drums. The three instruments were fully interactive. . . . A brilliant performance.
[ The New York Times ]
Continually inventive, original, surprising, and a total delight.
[ Cuadranos de Jazz, Madrid ]
Provocative and compelling, both in straight out swinging situations and when she is developing fresh ideas for familar ballads.
[ The New York Times ]
FROM THE LABEL: A standout jazz trio recording highlighting "provocative and compelling music" New York Times , "Long Ago Today" is music from the heart that pulls you in and makes you want to stay, featuring original compositions by Sumi Tonooka.
It seems so long ago today since I first encountered Sumi Tonooka and became aware of her marvelous musicianship. It was in fact nearly thirty years ago that I initially heard her playing in Philly Joe Jones' quartet and was impressed by the then nineteen year old pianist's flawless technique, but it wasn't until later, upon hearing her fronting her own group, that the true depth of her burgeoning ability as a bandleader and composer became apparent. In the three decades since, it has been a distinct pleasure to hear her more than live up to the promise of her early years and blossom into one of the most distinctively talented musicians of her generation.
On Long Ago Today, her fifth date as a leader, Sumi shows just how much her talent has grown in the years since she first began making a name for herself in her native Philadelphia. Her formidable technical abilities, forged through years of study with some of the music's finest teachers, including Madame Margaret Chaloff and Mary Lou Williams, have increased to the level of genuine virtuosity, which she displays judiciously throughout the date. More importantly, her compositional skills have also developed and the nine satisfying originals here, each one with its own story to tell, reveal her to be one of finest creators of memorable melodies in jazz today.
Sumi notes that her tunes “are not very typical harmonically,” which is one of the main reasons the master musician Rufus Reid has been her bassist of choice for all of her recordings as a leader. “He has a very open approach in dealing with the changes,” she says. “It just works when we play together. There's this chemistry. He has always had a sound but now it's even bigger and better. Rufus is truly creative and spontaneous. He has a great sense of humor that comes out in his playing and great love for the music. And like all great musicians he is a great listener and really supports the music.”
Filling out the trio is Bob Braye, a veteran drummer who, despite an impressive resume including stints with Thelonious Monk, Charlie Rouse, Jackie McLean, Pharoah Sanders, Wayne Shorter, Lee Morgan, Freddie Hubbard, Blue Mitchell, Woody Shaw, Abbey Lincoln, Gloria Lynn, Nancy Wilson, Larry Gales, Horace Tapscott and many more, remains relatively unknown. Sumi met Bob through her friend, the wonderful tenor saxophonist Erica Lindsay. “She had been gently suggesting that he would be a good drummer for me to check out,” the pianist recalls. “The first time we played together, I remember having so much fun and getting it -- that this was a world class musician. He has a great feel and doesn't have to play a lot to get that across. Bob's beat is real wide. His style is supportive, expressive and explosive and he has a beautiful drum sound. He's all ears -- right there with the music as it is happening.”
Sumi composed the date's opening track, the vibrant Be The Dance, the week before the date knowing that she was going to record with Rufus and Bob. She says, ”It was really composed with Bob Braye in mind. I wanted to have a tune that would embrace his style of playing, something that he could just romp and play freely through. It's a celebratory 6/8 swing, with the melody primarily in the bass. The bass line just kind of came out at me and I could hear Rufus playing this, with more than one or two raised eyebrows.”
Cole Porter's All of You, the date's lone standard, has long been one of Sumi's favorites. “The arrangement came through a lot of trial and error and just playing it a lot,” the pianist says. “It's one of those tunes that keeps evolving. It's at this place now for me, but it keeps changing and I still want to play it a lot more.” Sumi's improvised introduction reveals her intimate knowledge of the classic composition; while the trio's seamless segue into the melody unmistakably displays the intuitive empathy among the three players.
The Clinging is a tune taken from a collection of compositions that Sumi composed combining Taiko drums with a jazz ensemble. She explains, “The music was inspired by the I Ching, the Chinese book of philosophy based on nature in its various forms. The Clinging has to do with the darker but also invigorating and active aspects of nature.” On this trio performance the piece takes on a more swinging straight ahead jazz temperament, propelled by Braye's invigorating drumming.
The eastern influence on Sumi's music is more clearly evident in the melody of Dreaming of Tibet, a composition based on a dream Sumi had about walking in Ancient Tibet. The tune's 5/4 meter and deliberate tempo inform it with a trancelike character appropriate to its inspiration.
Quantum Question is the second piece that was composed specifically for this date. It's dedicated to Sum's recently departed father, who she says, “spent forty years of his life working on a treatise that he entitled Scientific Cosmism, his theory on the beginning of the universe.” The powerful tune is primarily free, with a form and structure that moves in an open way reminiscent of the work of the late Mal Waldron.
The title track, Long Ago Today, is also informed by Sumi's loss of her father, as well as her mother, a remarkably hip woman who I had the great pleasure of knowing, in the past few years. “It's about a feeling of longing and nostalgia, but not getting lost in it,” she says. “Being clear and present with it, letting the past take you forward by ultimately letting go, but not forgetting.” The thoughtful piece sensitively conveys the wisdom of her feelings.
Renewal is a tune composed by Sumi for her two good friends Erica Lindsay and Francesca Tanksley. She explains, “The three of us had a support group for a while where they helped each other deal with seeing creative projects through and dealing with issues around creativity etc. This tune sprang forth from that experience.”
Sumi credits another close friend, Ghanaian master hand drummer and percussionist Joachim Lartey, as the inspiration for Moroccan Daze. " I learned this Morrocan drum rhythm from Joachim and have him to thank for teaching it to me and for some very inspirational drumming sessions/lessons which provided the seed of the idea for this composition.This piece starts in seven and then releases into 3. We learned the rhythm by speaking it first. ‘Ta ki Ta ki Gam a Da,' which immediately puts the emphasis or accents in the right place, and rises above the analytical approach.”
Just For Now was written several years ago by Sumi while in Kenny Barron's studio at Rutgers University, where she would often substitute teach for the piano master. Sumi credits Kenny as a “close friend and mentor to whom I owe many thanks to for his quiet but firm support over the years.” That support importantly included the release of Sumi's second cd, Secret Places, on his own JoKen label. The music here confirms Barron's faith in her.
The concluding Nami's Song was written by Sumi for her 12 year old daughter Nami, who, according to her mother, has a very melodic and wonderful presence. “She is very upbeat so I'm not sure why this came out as a ballad, but the composing process is just plain mysterious.”
The music world is full of mysteries. One of them is why it's been more than ten years since Sumi Tonooka's last recording as a leader. During that period she has recorded a collaboration with fellow Philadelphian, violinist John Blake, colead a quartet with Erica Lindsay, scored music for numerous films and, most importantly, continued to hone her considerable skills as a pianist and a composer, as is noticeably evident on this long overdue disc. Sumi remains philosophical when considering her lack of widespread recognition, exhibiting the same optimistic outlook she displayed when I first met her long ago. What has changed is that she has now proven that she is one of the finest pianists in jazz today.
Russ Musto
New York City
12 June 2005
..
ABOUT SUMI TONOOKA
Noted jazz critic Francis Davis, one of the first to recognize her as an extraordinary talent, placed Sumi Tonooka "among the best of today's young pianists." During a career now spanning more than 20 years, Sumi Tonooka has been surprising and delighting audiences — and quietly piling up accolades from jazz writers and her fellow musicians. Working in trio or quartet with such noted jazz stalwarts as bassist Rufus Reid and drummers Akira Tana and Lewis Nash, Tonooka's recordings characteristically blend her own compositions with highly personal readings of jazz standards. Her first professional stint at age 18 was with the Philly Joe Jones quartet, Le Grand Prix. From there she went on to perform with such luminaries as Kenny Burrell, Little Jimmy Scott, Sonny Fortune, Red Rodney, Benny Golson and David Fathead Newman. Ms. Tonooka holds a Bachelor of Music degree from Philadelphia College of Performing Arts. She studied piano with Bernard Peiffer, Susan Starr, Mary Lou Williams, and Stanley Cowell, and received additional training in piano and composition from Madame Margaret Chaloff of the New England Conservatory of Music. In addition to her jazz recording and performing, she has composed for film and dance.
Japanese-American and African-American by background, Sumi Tonooka has also broken new ground in her extended compositions blending Japanese musical instrumentation with jazz. Her 1988 work, "Out from the Silence," for koto, shakuhachi, and jazz ensemble, was commissioned by the Japanese-American Citizens League to commemorate the 50th anniversary of the World War II–era internment of Japanese-Americans. JazzTimes called the music "spellbinding." In 1993 a commission from Meet the Composer and an NEA Jazz Fellowship enabled Ms. Tonooka to continue exploring new musical territory combining Eastern and Western musical idioms. In December, 1993, this led to the New York premiere of the Taiko Jazz Project, wherein 8 interrelated pieces based on the I Ching were scored to feature taiko master Kenny Endo, together with some of the most highly respected players in jazz. Since then, the Taiko Jazz Project has appeared on both coasts in trio and sextet aggregations. Tonooka's career has been chronicled on several highly regarded jazz books, including Living The Jazz Life by Royal Stokes, ln The Moment by Francis Davis, and Madamme Jazz by Leslie Gourse (all on Oxford University Press). She now divides her time between composing, teaching, and performing for an increasingly widespread audience of jazz aficionados who have discovered her wide ranging talents.
Olá meu amigo, estou passando por aqui pra te desejar muita luz e sucesso! Gostaria de aproveitar a oportunidade pra te avisar sobre as novas musicas que postamos no nosso myspace. Um Abraço!
Hello my friend, just dropping by to wish for you manny lights and success! We wish to made good use of the opportunity and advise you about the new songs that we posted in our myspace. Peace!
Hey, thanks so much for the add and the friendship, I truly appreciate it! I’m back in the US to finish my debut album (feat. Take 6, K. Whalum, A. Laboriel, V. Colaiuta, P. Jackson Jr.). I’ll keep you posted :))
Greetings from a Swiss brother in Nashville,
blessings,
Vlada
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Dear Ms Sumi Tonooka, Once in a very rare time a musician of your caliber shows up to remind us all what is going on, Great Music… I do appreciate the shout / Thanks for looking me up PEACE 2008… Congratulations, continuity, music evolution, keeping it real... No more hunger in Africa and the World… Always moving forwards / "OUTERZONE" is here, magical content, with Marshal Allen, Carl Craig & Craig Taborn, At the cross roads, Love your Planet, Best regards... FMC
