Meg Okura	Website(s):	www.MegOkura.com www.PanAsianChamberJazzEnsemble.com
	Genre(s):	World Fusion, Jazz, Classical, World Music
	Instrument(s):	Violin
	Trademark(s):	Progressive, Diverse Compositions, Virtuoso Violinist
	Album(s):	Pan Asian Chamber Jazz Ensemble
	Collaborations:	Pan Asian Chamber Jazz Ensemble
Translate This Page To: Deutsche Francaise Espanol Italiana Português Russian Chinese Korean

Overview

Meg Okura has just released a phenomenal new album with the Pan Asian Chamber Jazz Ensemble that showcases her stunning compositional skills that integrate stylistic elements from multiple genres of music within individual arrangements. Okura's virtuoso violin playing gracefully fuses lexicons from different styles of music into her own unique lyrical signature sound that incorporates influences such as disciplined structure, savvy refinement, and polished precision from Viennese era classical; Vivid impressionism, dramatic expressionism, and deeply moving emotional projection from Romantic era classical; 20th century tonality, harmonization, meters, rhythms, swing, groove and funk, as well as other elements from jazz, contemporary, and popular music spanning from Joe Venuti to Gershwin to Coltrane to Hancock and beyond...

Remarkably, Okura's approach is not simply genre jumping or merely the arrangement of different styles in different sections within compositions. No, in addition to these aspects of world fusion, incredibly Okura's method is more innovative. This astonishing style takes world fusion a level further by fusing diverse lexicons within the same sections of arrangements and even fusing different lexicons within the same melodic lines! So, if these unearthly themes and distinctive arrangements sound different and unusual, it is for good reason. This is an entirely new type of sound and a new type of world fusion.

The intricate arrangements are mesmerizing; The unorthodox and unprecedented changes are breathtaking; The seamless fluidity within the diverse arrangements is beguiling; Okura's firm grasp on and absorption of genres, styles, and characteristics of different epochs from the musical continuum into her exquisite musical form is nothing short of amazing! The vision is radical but the flawless execution and inspired delivery make it seem natural.

If you have broad musical experience and are not content to be confined to a single genre, style, or period of music, you are going to fall flat on your back when you hear this CD. Meg Okura defies convention by breaking through all boundaries with her revolutionary vision that is redefining our understanding of and perspective on modern music. Okura's music is so innovative that it is surreal to experience it. The music is refined, sophisticated, emotional, progressive, and hip all at once.

Check out Meg Okura... This is real world fusion!!! This is the future of instrumental music...

Visit Meg Okura's website to listen to her compositions in their entirety. Hearing is believing!

Detailed Review (Track By Track... Step By Step!)

The album opens with the pizzicato impressionism of Okura's violin, depicting the wintery scenery of "Yuki" (Japanese for "Snow"), the first of the many true world fusion compositions on the album. Jennifer Vincent, a dominant force throughout the album, defines the arrangement's frame with her walking bass lines that Okura's fused multi-genre melody lines are woven applying her exacting violin articulation. Satoshi Takeishi supports Vincent's bass lines with his complex rhythms set to an invariant meter on percussion. Megumi Yonezawa interleaves richly melodic, Chopin-like themes with hesitant timing on piano that float over the bass like the drifting snowflakes that the arrangement immitates. Contrasting the violin's fused Venuti / classical /Asian-accentuated melody lines, Yukari's flute augments the sifted polyphony with a different stylistic voicing that is equal parts classical, Asian-influenced, traditional, and contemporary, converging with Okuri's violin themes in synchronized unison during the daring changes that characterize this progressive composition. This device of synchronized enunciation of themes is further developed with other instruments synchronizing themes in turn with Okura's violin. Following the exposition of the main themes and bridging sections, Megumi Yonezawa follows Okura's aggressive, contemporary violin solo with a boundary stretching piano solo of her own within this developmental section. During this edgy solo, Yonezawa introduces 20th century (dissonant) tonality and syncopated timing that she articulates with deftly lyric grace, making this expanse seem entirely suitable within the arrangement, though conceptually a drastic extension to the arrangement's center.

Shifting to an entirely different style and feel, though maintaining a continuity with the unique sonic texture of the ensemble, Okura next entices the listener into a fanciful sonic fantasy adventure with the pied-piper flute themes that whimsically lure the listener with carefree reassurance on "Step By Step". The first sections of the arrangement match the lighthearted flute lines with playful, funk / jazz groove segments where the violin jibes funk riffs as the piano pitches jazz phrasings and capricious improvisational interludes. These loose feeling groove sections break to an unexpected bridge where Okura voices sustained legato themes over a progression resembling Coltrane's signature classic, "Giant Steps", thereby giving this arrangement's title the tie in to its content. Within the context of the knowingly whimsical flute themes that have created an atmosphere of effortless intricacy, Okura's carefree, minimalist melody lines (alla Miles) over the Coltrane progression seem to tell the listener that it doesn't have to be so difficult and you don't have to so many complicated notes as is commonly attempted to do something interesting and meaningful with the progression, providing the notes are well chosen and played in a distinctive manner. The combination of styles spanning jazz, funk, classical, and contemporary give this arrangement an ethereal, surreal quality that feels something like the distorted perspectives of Alice in Wonderland.

Having by this point already spanned more stylistic influences than most world fusion albums in their entirety, Okura undaunted and undeterred, presses forward into perhaps the most culturally seasoned composition on the album. "Dance at the Palace" opens with a tango-flavored polonaise intro that shifts to a bolero style melodic interlude that features exotic, Middle-Eastern flavored themes given voice by Okura's mesmerizing violin. These beguiling, exotic melodies are accentuated with jabbing violin snipes that snap the listener out of the hypnotic state induced by these strangely seductive themes. Yonezawa augments the charming melodies with a mysterious fusion of outside tonality infused with Middle-Eastern essence with her piano parts.

"Peace in My Heart" slows the tempo and withdraws the spansive intellectual intensity of the previous composition, instead compensating with increased emotional intensity, drawing the listener towards the mystifyingly warm themes of this arrangment that possess a sophisticated allure like an encounter with a person entirely different yet compellingly attractive. The arrangement is framed with a contemporary compositional format that is infused with Okura's atypical violin themes that again fuse lexicons from classical, contemporary, and traditional ethnic styles. Vincent's deeply resonant cello lines and Yukari's dreamily suspended flute lines once again complement and reinforce Okura's violin melodies with a pattern of shifty polyphony and convergence. All the while, Yonezawa establishes the foundation of the arrangement with the piano progressions that bind the softly flowing sections.

Furiously bowing a fire from the strings of her violin, Okura launches into "Viola da Samba", a progressive arrangement that explores outside harmonies with unusual meters and timing that are interwoven with the unusual yet compelling themes that are by this point becoming the hallmark of Okura's compositional style. Yukari's flute articulates the main themes that serve as the unearthly wings for this strange journey through contemporary music that touches upon everything from Gershwin and Berlin to funk, scat, and urban.

Chiming intricately harmonized chords on piano like a phantasmagoric music box, "Intro to Dream Dancer" again shifts style and feel entirely from the previous compositions on this album. Yukari's flute again voices the dreamy themes that bestow meaning to the speculative dissonance of the underlying piano progression that states the uncertainty of this prologue that must be addressed by the ensuing piece.

"Dream Dancer" conveys the imagery implied by the title with the vivid impressionism applied in this contemporary composition. The strings establish the flowing, dreamlike atmosphere, as well as the motion and movement between the fluid sections of this arrangement. Further contributing to the surreal aura of this composition, Okura interlaces a number of styles and vernaculars within this composition, its sections, and lines, spanning jazz, blues, contemporary, classical, and traditional.

Having taking the listener on a sonic journey of epic scale to this point, Okura returns home, like Odyseus after his Odyssey to the far corners of the earth as hers to the far corners of earthly music, to her classical roots with the deeply moving finale to this wonderous album. Resonating profoundly resounding chords on the piano, Yonezawa voices a poignant progression rich in resonant overtones remindant of Beethoven's greatest sonatas, applying meticulous command over the dynamics and timings to control the reverberation of these overtones. After the unaccompanied first piano section, Vincent adds the sole, imperative voice of the cello, imploring the listener with its solemn purpose. Okura soon joins in with touching, expressive themes on violin, forming a polyphony with the piano, cello, and complementary, airily drifting flute that is next integrated. Takeishi finesses the percussion into the fold, bringing the polyphony to a slow, purposeful march. This classically influenced polyphony gradually evolves to incorporate additional lexicons from contemporary, jazz, and blues within the improvisational piano interludes of the development sections. The subtle transition from this classical fashion that serves as the foundation of the arrangement to the march and then to the contemporary development section illuminates Okura's talent for the style of completely integrated world fusion she employs on this album. Though the fusion of stylistic elements is intellectually interesting on this composition, the major achievement of this composition is the integration of these stylistic elements in a meaningful manner that successfully conveys a deeply profound, heartfelt purpose, just as the other compositions on this album are served in a similar manner by her innovative approach and tailoring of her fusion style for each. The world fusion is clearly not a novelty, gimmick or ploy in Okura's style. It is a tool that she uses to craft her visionary art. In doing so, she has breathed new life into Beethoven's sound on this final composition, taking Beethoven with her into the 21st century, maintaining an appropriate respect along the way. These things together make "Ancient Bells", the final composition of this landmark album, my personal favorite, mainly for sheer emotional conveyance.

What else could be said about this album? You just have to hear it to believe it! The scope of genre and style spanned within and across the compositions is simply astounding. Though piloted by Okura's innovative compositional vision, the negotiation of this difficult territory is performed wonderfully by her entire ensemble. In addition to spanning the wide range of genres and styles involved, each member contributes meaningfully to the overall effort with their unique talents. My compliments, appreciation, and respect to you all!

Hey Meg! When my website was soliciting jazz, fusion, world music, neoclassical and blues, it didn't mean to say that it expected them all on the same album and fused within individual compositions! But, since you have gone ahead and done it anyways, I just wanted you to know how incredible it is to listen to it! The word "genius" is thrown around an awful lot these days in describing people, and sometimes too loosely. They are going to have to think up a new word to describe you to distinguish you from the rest.

Copyright 2001 - 2006 Christopher Ruel. All Rights Reserved. www.ChrisRuel.com