Miho Hazama – m_unit

Beyond Orbits

Edition

Composer and conductor Miho Hazama celebrates the tenth anniversary with her m_unit on Beyond Orbits, her version of the concept of Afro-futurism, explored by many creative musicians before her, most notably Sun Ra. Although the “Afro” piece of the equation doesn’t fit, Hazama’s concept is built on her research of exoplanets. She found two with special characteristics and created a concept around them, ultimately resulting in a commission from the 2021 Monterey Jazz Festival that led to a new work, the Exoplanet Suite. This is the foundation for Beyond Orbits, with an additional five tracks. The suite has three movements – “Elliptical Orbit,” “Three Sunlights,” and “Planet Nine.” Guests, bassist Christian McBride and alto saxophonist Immanuel Wilkins appear on one track each.

Although her handpicked m_unit is a large ensemble of 13 pieces, it is a smaller unit than big bands or jazz orchestras that Hazama often leads. Hazama is the conductor for the Danish Radio Big Band and a guest conductor for the Metropole Orkest of the Netherlands, among her many projects. Visit www.mihohazama.com for more details.

This is m_unit’s fourth album, their Dancer in Nowhere, received a Grammy nomination. In some cases, certain chairs rotate members, so there are 16 musicians in the credits – Steve Wilson (alto, soprano saxes, flute), Jason Rigby or Jeremy Powell (tenor sax, clarinet), Andrew Gutauskas (baritone sax, bass clarinet), Jonathan Powell (trumpet, fluegelhorn), Adam Unsworth (French horn), Tomoko Akaboshi (violin), Ben Russell (violin), Atsuki Yoshida or Matt Consul (viola), Meaghan Burke (cello), James Shipp (vibraphone), Billy Test (piano), Sam Anning (bass), and Jake Goldbas (drums) Wilson, along with Shipp have been consistent members of m_unit from the beginning, as evidenced by their solos herein.

Comparisons to Schneider and even predecessors such as Gil Evans are inevitable but ultimately futile except that surely these scores are cinematic, elegant, and at times breathtaking. Pastoral meets urban, blues, funk, and even hip-hop find their way into the pieces, and the harmonics are rich, rooted primarily in Hazama’s integration of strings and horns, with an emphasis on more uncommonly used instruments such as French horn, bass clarinet, and baritone saxophone. The woodwind presence is larger than brass (note the absence of trombones).

The concept of exoplanets and the space age theme in general may sound a bit esoteric but these soaring, dramatic scores with both soft and hard-edged textures will have you listening raptly. The opener “Abeam” motors along with these surprising brief, almost humorous pauses that may induce a double take. Trumpeter Powell is really “in orbit” (sorry) here. “A Monk in Ascending and Descending” is a mellower piece that begins with Rigby’s clarinet and Wilson’s flute, soon enveloped by and merged with the strings to create gorgeous textures as the reedists then shift to alto and tenor respectively. If you’re thinking the pianist Monk is at the heart of this, he is not evident until the last section which conjures his bouncy, angular style, accented by Goldbas’ insistent beats.

“Can’t Hide Love” has the sound of a quirky toy commencing the piece and like so many others, the pulse quickens and then lags as the colors and dynamics also grow dense and lighter, actually chaotic around the four and half minute mark to an abrupt close. “Portrait of Guess” is stately, featuring Powell and Unsworth initially Anning’s brief bass solo, Wilson’s brief flute statement and various turns from the cellist and strings. The piece builds intensely and then just gently eases out. Immanuel Wilkins rich tone and melodic sense command “From Life Comes Beauty,” to the point where Hazama remarked “some in the orchestra were blown away to forget their own parts.”

The focal point is the three-movement suite. These are all exciting, beginning with “Movement 1: Elliptical Orbit” where Christian McBride’s soulful plucking brings to the piece, according to Hazama, “another groovy level that I had never experienced before.”  Powell’s fiery trumpet solo surely picks up on that as does Shipp’s turn on vibes. Billy Test and the string section shine in “Three Sunlights” and “Planet Nine” is a great feature for the woodwinds and rhythm section.

Strap yourself in. Get lost in this music as Beyond Orbits is destined to land on many year-end “Best Of” lists and large ensemble Grammy recognition.

• Jim Hynes

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