music
would normally have fallen in the instrumental “New Age”
genre where it would still have found widespread popularity but
never have gotten the exposure the label “smooth jazz” has
given her.
The reason I mention this is because with
each succeeding album Keiko has moved closer and closer to her
classical background and DEEP BLUE is no exception. The studied
and piquant melodies that trickle so slowly like drops of water
from a melting icicle with the approach of spring are much more
Beethoven than be-bop.
Agonizingly beautiful, making each note
count, letting them spread their effects like the expanding
ripples from a single drop of water in a pond. As a composer
Keiko allows her music to breathe, not piling notes one atop
another and as a musician she performs her compositions in the
same manner.
The background music is usually subtle,
playing under the main melody, adding spice to the dish,
occasionally reaching forward to join with Keiko to especially
stimulate the listener’s ear especially with the sounds of
husband Kazu’s play on the shakuhachi (bamboo flute).
Keiku’s touch on the keys is assured yet
calm, expressive without flamboyance, letting the music speak
for itself rather than being overshadowed by the musician. Even
when the meter picks up the music never runs away from you but
waits and carries you along with it and the ride is as smooth
and enjoyable as sailing on a Sunday afternoon on the DEEP BLUE.
