Out There With Hiromi: A Sonic Wonder
In Conversation: Her New Album, Frank Zappa, the Art of Curiosity, and Carsickness
If you’re not already a fan of pianist-composer Hiromi—just give me a minute…
Part I. “Out There” in the Club: Hiromi Live at the Blue Note
The first thing you need to know about Hiromi’s band Sonicwonder: they’re a tight, conversational quartet with near-unmatched virtuosity. The second thing you need to know is they are aptly named: Sonicwonder creates joyous sounds as they invite listeners to join them in their voyages of curiosity, breaking boundaries and coloring outside the lines as they venture “out there.” But their willingness to embrace the unexpected doesn’t mean they welcome the arbitrary—when a false fire alarm disrupted last night’s gig at the Blue Note, Sonicwonder took it in stride. They didn’t storm offstage, take a break, or wait for the “all clear.” Instead, they tried to make the claxon a surprise sit-in.
I caught Hiromi’s Sonicwonder at the Blue Note last night, and it was electric. One of the best gigs I’ve seen in ages. But just as they hit their stride during the title track of their new album Out There, a piercing fire alarm started screaming through the club. You could feel the tension ripple through the crowd—concert-goers have long memories when it comes to tight spaces and emergency exits. The Blue Note is famously intimate (read: packed like sardines), so it was a second or two of held breath before people realized there was no visible danger.
Hiromi and Sonicwonder handled it like total professionals, treading the air above the din with an “Out There” vamp for the longest 90 seconds ever while staff worked to silence the alarm. Then, they were ready to get back to work, tearing into their groove with a vengeance. Until the alarm began again. This time, the vibe of collective annoyance among the band, staff, and crowd was palpable, but Hiromi is about joy, and Sonicwonder wasn’t going to let any electronic noises they didn’t summon themselves ruin their evening. Hiromi matched the tempo to the alarm’s pulse. The band followed. Then they tried to figure out what key the damn thing was in (!). It was funny, charming, authentic, and human. It was jazz in the wild. And as I’m fond of reminding myself, you can be a serious musician with serious chops playing serious music, but you don’t need to take it all so seriously.
The moment disrupted the tune’s arc, but not the show’s vibe. Like all great bands, Sonicwonder found their footing again. They left the stage to a thunderous ovation. As we were filing out, I overheard someone chuckle about “that fire alarm jam.” I hope to see Sonicwonder play an uninterrupted “Out There” someday, but for now, I’m grateful to have witnessed a one-of-a-kind performance. Here’s Hiromi in full flight during a minute of piano intensity:
And here’s one more favorite moment of improvisation between Hiromi and bassist Hadrien Féraud:
Part II. Out There (The Album): Synths, Melodies, and Musical Whiplash
Hiromi’s new album Out There dropped on April 4, and it’s as cinematic, ferocious, adventurous, and wide-ranging as anything she’s ever done. From piano flights that would impress Oscar Peterson to unison, jazz-rock fusion lines that sound like Frank Zappa wrestling Weather Report, the compositions and performances are jaw-dropping. The melodies are built to stick, the genre-hopping keeps you on your toes, and the title track is a fully realized jazz/prog-rock suite that’s one of the most successful pairings of two genres that haven’t always blended well. As a longtime, deep fan of prog-rock, I’m the first to admit that many of those bands who talk of “jazz influences” couldn’t swing if they were in a hammock. On the flip side, an epic, arranged long-form suite about druids can sound more authentic from a Tolkien-toting, cape-wearing, Mellotron-playing classical graduate of the Royal College. Abandon all clichés, ye who enter the world of Sonicwonder: “Out There” manages to be as credible as “Close to the Edge” while swinging as hard as a classic Blue Note 60s date
Out There is the second album from this Sonicwonder lineup. It’s an evolutionary step, as Hiromi described in detail during our interview (see below) due to her focus on composing specifically for the strengths of the band. This latest project is also a distinctly different direction than her last piano trio release (Silver Lining Suite), and leans more “electric” than much of her solo catalog. For those jazz fans who are wrinkling their noses at the notion of electricity, please don’t be put off—there’s LOADS of piano here, and no matter what genre they’re turning inside out, the tunes always feel like Hiromi. Her composition fingerprints are everywhere. The music is maximalist. Genre-fluid. And it refuses to sit still. From the irresistible hooks of “Balloon Pop” to the double shot of “Pendulum” (one a vocal collaboration with vocalist Michelle Willis, the other a moving piano-led variation) to the reworking of Hiromi’s classic “XYZ,” Out There lives up to its name. I’ll be spinning this for a LONG time.
The band:
• Hiromi on piano, keys, synths, compositions, interstellar navigation
• Adam O’Farrill on trumpet and effects
• Hadrien Féraud on bass
• Gene Coye on drums
This is modern jazz, filtered through anime scores, fusion-era Miles, prog, funk, and video game sensibilities. You might think “That shouldn’t work!” It totally does.
If you’re just coming up the Hiromi learning curve, I’d recommend starting with her legendary Tiny Desk Concert—it’s one of NPR’s all-time most-watched clips and a perfect intro to her irresistible firepower.
Part III. Interview with Hiromi: Curiosity, Concerts, and
In our interview, Hiromi talked about the spirit behind her new album Out There—a title that’s less about being far away and more about staying open. Open to discovery. To detours. To sounds that weren’t in the blueprint. She described her creative process as less like writing a map and more like climbing a mountain, improvising as she goes.
We talked about Sonicwonder, her electrifying band, and how they’ve evolved over the last two years. What started as a musical concept has become a real-deal band. Hiromi originally had a sound in her head—but through live gigs and shared laughs, the group became something more: a band with chemistry. She said it changed how she writes. That energy—exploratory, playful, fearless—runs through every track on the new album.
We also touched on her first professional gig (opening for Ahmad Jamal at Umbria Jazz in 2002!), how she survived her first US tour, and her obsession with film scores, George Duke, Joe Hisaishi, and yes—Frank Zappa. (Semi-spoiler: I asked her what show she’d time-travel to. She did not disappoint.)
One of my favorite moments? Talking about musical formats—and her love of long-form compositions that reward attention and immersion. “You decide how long the experience is,” she said, “and the audience comes with you.”
She also talked about her dreams of playing with Sonicwonder in Paris—especially since it’s bandmate Hadrien Féraud’s hometown—and gave us a glimpse into what’s coming next on tour: a mix of the new album and reimagined older material.
Oh—and for the record, she gets carsick and always calls shotgun. Here’s the audio of the full interview:
Final Thoughts
Hiromi is an artist fully in command of her craft—but utterly willing to throw herself into the unknown. Curiosity might as well be her middle name. Out There is more than an album title. It’s a destination. And Hiromi is hellbent on taking us there, with joy, swing, and style.
Go see this band live if you get the chance. Play the record loud. And if your smoke detector chirps during track three, first check for safety, and if it sounds like it’s in the wrong key, change the battery and play it again.
You got me with the”nose wrinkle” line so had to listen and sure enough loved this, made going to the dentist a fun ride.