{"id":4098,"date":"2012-10-10T14:32:18","date_gmt":"2012-10-10T21:32:18","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=4098"},"modified":"2012-10-11T16:09:12","modified_gmt":"2012-10-11T23:09:12","slug":"the-atsuko-hashimoto-sets","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2012\/10\/the-atsuko-hashimoto-sets\/","title":{"rendered":"The Atsuko Hashimoto Sets"},"content":{"rendered":"

Hammond B3 organist Atsuko Hashimoto bookended the Oregon Coast Jazz Party. The diminutive bundle of energy from Osaka performed on opening night, again on Saturday and in the Sunday morning wrap session. Her set with drummer Jeff Hamilton and guitarist Graham Dechter began with the \"\"<\/a>ballad \u00e2\u20ac\u0153All or Nothing at All\u00e2\u20ac\u009d from their most recent CD<\/a>. She and Hamilton kicked it off at a blistering non-balladic tempo, as later they did \u00e2\u20ac\u0153Yours is My Heart Alone,\u00e2\u20ac\u009d another piece that began life as a tender expression of sentiment and takes on a different character at top speed. <\/p>\n

In their decade of playing together, Hashimoto and Hamilton have developed an easy relationship into which Dechter fits as a full partner. The trio locked in tightly through Hank Mobley\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Soul Station,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Always Trust Your Heart\u00e2\u20ac\u009d with Hamilton\u00e2\u20ac\u2122s hand drumming introduction, and \u00e2\u20ac\u0153I\u00e2\u20ac\u2122ve Never Been in Love Before.\u00e2\u20ac\u009d The closing blues had stop-time breaks for Dechter, Hamilton\u00e2\u20ac\u2122s compelling shuffle beat and Hashimoto in flurries that swelled and receded in waves up and down the keyboard. The three smiled continually through the piece. <\/p>\n

They were back the next morning, each playing an unaccompanied solo in a set that also included clarinetist Ken Peplowski, bassist John Clayton, pianist Gerald Clayton and vibraharpist Chuck Redd. In the Sunday wrap session, Hashimoto, Hamilton and Peplowski—this time on tenor saxophone— played an organ trio set that began with \u00e2\u20ac\u0153Sunny,\u00e2\u20ac\u009d leading Terell Stafford, listening backstage, to say of Peplowski, \u00e2\u20ac\u0153Wow, he sounds like Stanley Turrentine.\u00e2\u20ac\u009d They followed with \u00e2\u20ac\u0153If I Had You,\u00e2\u20ac\u009d Hashimoto applying dynamics reminiscent of Jimmy Smith, her early inspiration. Peplowski announced the final tune of the set as \u00e2\u20ac\u0153Wagner\u00e2\u20ac\u2122s Ring Cycle. We\u00e2\u20ac\u2122re going to try to get through it in three-and-a-half hours.\u00e2\u20ac\u009d He looked over at Hashimoto shuffling through lead sheets and said, \u00e2\u20ac\u0153She\u00e2\u20ac\u2122s looking for the music.\u00e2\u20ac\u009d The piece turned out to be \u00e2\u20ac\u0153Shiny Stockings.\u00e2\u20ac\u009d <\/p>\n","protected":false},"excerpt":{"rendered":"

Hammond B3 organist Atsuko Hashimoto bookended the Oregon Coast Jazz Party. The diminutive bundle of energy from Osaka performed on opening night, again on Saturday and in the Sunday morning wrap session. Her set with drummer Jeff Hamilton and guitarist Graham Dechter began with the ballad \u00e2\u20ac\u0153All or Nothing at All\u00e2\u20ac\u009d from their most recent […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-4098","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4098","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=4098"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4098\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=4098"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=4098"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=4098"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}