Yuko Mabuchi • Plays Miles Davis: Yarlung 15th Anniversary Edition
Upon release in 2018, Plays Miles Davis was named NativeDSD’s Album of the Year and earned a commendation from the city of Los Angeles. The concert featured unique interpretations of a handful of iconic Miles Davis tunes as well as three compositions by the young, petite Ms. Mabuchi herself. It was the final performance in a series inspired by a large-scale painting by Miles Davis, organized by neuroscientist Dr. Antonio Damasio, and taking place before a live audience at the intimate Brain and Creativity Institute’s Cammilleri Hall on April 25, 2018. The event was captured on analog tape in both stereo and surround-sound formats using AKG and Schoeps vacuum-tube microphones, and microphone preamplifiers designed by Elliot Midwood. That performance was released on two 45rpm LPs, CD, 15 IPS reel-to-reel tape (!), PCM files, and in several DSD formats, including 256DSD five-channel surround. This year, in honor of Yarlung’s 15th anniversary and three years after Ms. Mabuchi’s debut for the label, a remastered version of the album is available, thanks to engineers Bob Attiyeh and Arian Jansen. Noted mastering engineer Steve Hoffman contributed his talents, making the final product reference-quality and engaging. And engaging it is: it stands among the few handfuls of the finest-sounding recordings I have ever heard, regardless of format. I downloaded the 16-bit/44.1kHz PCM digital files and could not fault them. From the growl of the electric bass and buzz of the acoustic bass strings to the shimmer of the cymbals’ rivets and the struck skin of the tom-tom; from the brassy rasp of the trumpet to the compelling nuances of the Steinway grand piano; and to the response of the appreciative audience, I was awestruck by what I heard. I felt I was among those lucky enough to be present at the concert. Leading off is the tune "All Blues," from Kind of Blue. Originally a blues in 3/4 time, it receives an idiosyncratic treatment here, sliding from 5/4 to 4/4 and back again. The excellence of the recording places the performers on the stage in practically holographic relief -- bass, front left; trumpet, left rear to center; drums, right rear; and piano, right center. Ms. Mabuchi turns in a busy solo before settling into a four-to-the-bar stomper. Next up is another number from Kind of Blue, the ballad “Blue In Green,” here incorporating laid-back rhythms and feel. J.J. Kirkpatrick’s languid trumpet is featured along with a bit of melancholy piano. Bassist Del Atkins contributes a nice solo. Another from 1959, “Milestones,” finds the ensemble sticking close to a traditional interpretation, with fine playing all around. Following Ms. Mabuchi’s spirited intro, the familiar four-note theme materializes in a loping tempo. “Ikumi’s Lullaby,” a beautiful Yuko Mabuchi composition, represents the perfect trio recording, with perfect balance between the three instruments. I wish all piano recordings sounded this good. The dense, smokin’ take on “So What” surprised me with its Latin flavor. Here, Kirkpatrick conjures up a youthful Terence Blanchard and Ms. Mabuchi demonstrates she’s easily the equal of her male counterparts as her solo builds and builds into a Latin-tinged fury. Drummer Bobby Breton takes his first, brief solo as the tune ends. From 1958 comes “Nardis,” a tune Miles Davis wrote for Cannonball Adderley but which became a staple of Bill Evans. It effectively demonstrates the modal approach Davis was using during this period of his evolution, and the quartet honors that tradition. After a long solo piano intro, the robust statement of the theme takes over. Del Atkins delivers another fine solo here. One more Mabuchi original composition, “Say With No Tears,” provides another reference trio recording, with especially fine, tuneful playing on bass. A study in textures, this song dwells on those found within a Steinway grand piano, where each note becomes an event unto itself. Del Atkins’ puckish bass lines are a plus, as is his thoughtful solo. The album concludes with a third Mabuchi original, “Missing Miles,” a testament to the genius of Miles Davis through the years, once again incorporating a Latin feel and with a very brief drum solo toward the end. I thoroughly enjoyed this album and recommend it highly
to anyone interested in hearing a dynamic, adventurous modern jazz ensemble captured in
the finest sonics imaginable. Label head Bob Attiyeh is to be congratulated for making
this concert available to all jazz lovers. |
t has been over five years since I reviewed a
recording from Yarlung Records, an LP by Argentinean cellist Antonio Lysy entitled 