Press/Review

 

Review by www.queensbuzz.com (Michael Wood)

http://www.queensbuzz.com/lic-jazz-festival---queens-cms-560

“The trio performs Brazilian influenced jazz, which has a calypsonian rhythm.The jazz trio included Hiromi doing the vocals, Hiroya Tsukamoto playing guitar and Keita Ogawa playing percussion and drums. Hiromi’s voice was silky, soft and soothing; and with her accompaniment, they sambaed us down to the islands.”

Hiromi Suda Trio

Performing in Long Island City Jazz Festival at The Secret Theatre

March 28th 2010

Hiromi Suda(Vocal)

Hiroya Tsukamoto(Gt.)

Keita Ogawa(Percussions)

Magazines and Newspapers (Interviews and reviews about new album “Sou”)


The New York City Jazz Records October 2012


Magazines:

Oz Magazine p.122 (Aug. 10th 2012) http://www.ozmall.co.jp/ozmagazine/

Jazz Life  p.82,98 (Aug. 11th 2012)

Sunday Mainichi (Interview) (Aug. 28th 2012)

LaTina p.98 (September 2012)

Music Magazine p.181 (September 2012)

intoxicate p.22(Interview) (Aug. 20th 2012)

Jazz Life 9/14 (Interview)

Jazz Japan 9/2012

Newspaper:

Yamanashi Nichinichi Newspaper (Bunkura) 8/28”(Interview)

Tokyo headline (Aug. 27th 2012)

In the Vox News column for the Cornelia Street Cafe "Sou" CD release show published in the edition of The New York City Jazz Record.

From Tokyo, Hiromi Suda will release her CD of Brazilian songs and Brazilian-­influenced originals Sou (Happiness) at Cornelia Street Café (Oct. 9th). Suda’s uniquely clear, unaffected voice glides, honoring the lines and emphases that characterize Brazilian jazz. Suda’s time spent in Rio learning Brazilian instruments like the pandeiro can be heard in her vocal blend. There are subtle tilts in new kindred directions on the album, as Japanese folk inflections are woven with contemporary swing edges.”


















Jazz Life  8/11/2012




























Jazz Life 9/14 (Interview)




















Jazz Japan 9/2012




















LaTina 9/2012




















  

Music Magazine 9/2012


























Sunday Mainichi (Interview) (Aug. 28th 2012)





















Oz Magazine 8/10/2012





















intoxicate (Interview) 8/20/2012






















Yamanashi Nichinichi Newspaper (Bunkura) 8/28/2012(Interview)


























Tokyo headline 8/27/2012











































The article about vocalist/composer Hiromi Suda has been printed in the NY Japanese community magazine called

"American Dream"(Feb. 2013).





雑誌や新聞にインタビューやニューアルバム"Sou"のレビューなどが掲載されました。

(雑誌/Magazines)

Oz Magazine オズマガジン 8/10号 p.122 http://www.ozmall.co.jp/ozmagazine/

Jazz Life ジャズライフ 8/11号 p.82,98

サンデー毎日 8/28号 (インタビュー/Interview)

LaTina (ラティーナ) 9月号 p.98

Music Magazine 9月号 p.181 (レビュー)

intoxicate 8/20号 p.22(インタビュー/Interview)

ジャズライフ 9/14号 (インタビュー/Interview)

Jazz Japan 9/2012

新聞

山梨日日新聞 8/28朝刊”ぶんくら”(Interview)

Tokyo headline 8/27号

The article and interview from Magazine “Jazz Life” September 2016

2nd Album “Sou”

3rd album “Nagi”

The review about 3rd album “Nagi” from Magazine “Jazz Life” August 2016

“Mikiki” interview page:  http://mikiki.tokyo.jp/articles/-/11758

Midwest record

http://www.midwestrecord.com/MWR1183.html


“INPARTMENT

HIROMI SUDA/Nagi: The dexterous Anne Drummond is just the right cat to back up a jazz vocalist that's bridging cultures with her Japanese/Brazilian fusion. Kicking things off with some Jobim, it sets a Brazilian flavored set in motion that by the time Suda goes Japanese on us, it feels like just another indigenous Brazilian tangent because the jazzbos on board have set the mood just right. A tasty diversion that's more right down the middle than you might realize, this is most assuredly an unexpected treat. Well done.”

Salt Peanuts

http://salt-peanuts.eu/record/hiromi-suda/

“«Nagi»
BLUJAZZ PROD. HRM 15

Vokalisten Hiromi Suda kommer fra Yamanishi i Japan, er et totalt ubeskrevet blad for undertegnede. Men på internettet kan man blant annet lese at hun har vært finalist i en reke sangkonkurranser, og at hun har studert på Berklee. Hun har i flere år vært opptatt av brasiliansk musikk, og at hennes første plate kom i 2008.

På hennes plate «Nagi» samarbeider hun med fløytisten Anne Drummond, gitaristen Romero Lubambo, pianisten Julian Shore, bassisten Haggai Cohen-Milo og trommeslageren og perkusjonisten Keita Ogawa. Noen av låtene har Suda laget selv, men hun har også med låter av Antônia Carlos Jobim, Sergio Mendes, João Donato, Roberto Manescali, Ceatano Veloso og Geraldo Pereira.

Det fører til at musikken er svært spredt stilmessig. Vi får noen latinlåter, godt blandet sammen med det japanske, noe som gjør platen til en litt forvirrende opplevelse.

Suda synger med en klar stemme, som ikke har spesielt mye særpreg, og musikerne gjør akkurat det de er satt til. «Kompet» er helt ok, men jeg klarer ikke å bli fortrolig med fløytespillet, som, ved siden av gitaren, er det ledende solistinstrumentet.

Jobim-låtene «Triste» og «Corcovado» er gjort mange ganger bedre tidligere, men hennes egne, låter er de som fungerer klart best, særlig de japansk-inspirerte. Det latinske blir for slapt og fesent til at det fester seg.

Dette er blitt en plate som ikke kommer til å bli ihjelspilt i heimen. Den er for «amatørmessig» og oppfyller ikke kravene man må få lov til å stille til en plateutgivelse i 2017. Dessverre. Jan Granlie

Hiromi Suda (v), Anne Drummond (fl), Romero Lubambo (g), Julian Shore (p, keys), Haggai Cohen-Milo (b), Keita Ogawa (dr, perc)”

The New York City Jazz Record (March 2017) by Tom Greenland

Nagi Hiromi Suda (Blujazz)

“Japan has long been home to some of the world’s greatest jazz fans so it’s only fitting that the nation’s artists now improvise for a global audience.

Vocalist Hiromi Suda hails from Yamanishi. Nagi continues in the vein of her earlier work by paying homage to great Brazilian composers, but also brings more of her original songs and vision to the fore. The covers are greatly aided by Romero Lubambo’s supple acoustic guitar and Anne Drummond’s lithe flute, but the principal attraction is Suda’s voice: clarion-toned, with little or no vibrato, exuding a youthful exuberance belying the somber lyrics. One senses she understands these songs’ deeper sentiments and that her youthfulness doesn’t equate to naïveté. Her own songs, sung in a breathier style reminiscent of folk-rockers like Joni Mitchell, round out the other half of the set. English translations of the Japanese lyrics reveal her affinity for poetic allusion and understated nostalgia.”

Copyright © 2008 Hiromi Suda All rights reserved.