Bio:
Tokyo born composer Miho Hazama is one of New York’s most astounding young talents. Lauded in Downbeat as one of “25 for the Future”, Miho is quickly establishing herself as a force of nature on the world’s stage. As the 2015 recipient of the BMI Charlie Parker Composition Prize, Miho developed her signature ensemble “m_unit”. Now having 3 full length releases on Universal Music Japan/ Sunnyside Records, Miho has written for and expertly showcased the abilities of guest artists such as Joshua Redman, Lionel Loueke, Stefon Harris, and Gil Goldstein, to name a few. Her debut album “Journey to Journey” received the Jazz JAPAN rising star award, and she has been featured in such influential publications as Downbeat, New York Times, NPR, JazzTimes among others.
Composition is her true calling, and in addition to her effort with m_unit, she has created works for many different musical contexts. Most notably, she has composed for Tokyo Philharmonic Orchestra, Ashley Bouder Project Ballet Company, Yamaha Symphonic Band, to name a few. Miho became a composer in residence of Siena Wind Orchestra in 2017.
Miho also has arranged and orchestrated for many ensembles for concerts, recordings, television and film, including Metropole Orkest, Ryuichi Sakamoto, Vince Mendoza, NHK Symphony Orchestra, Shiro Sagisu and more.
In 2019, Miho took up a post as a chief conductor of Danish Radio Big Band after 17 years of vacancy. Besides DR Big Band, Miho has worked as a conductor with Metropole Orkest, WDR Big Band and Bohemian Caverns Jazz Orchestra, to name a few. She is also the Associate Artistic Director of the New York Jazzharmonic.
Miho’s awards and honors include the Charlie Parker Jazz Composition Prize (2015), 24th Idemitsu Music Award (2014), ASCAP Young Jazz Composer Award (2011), and she was a Scholarship Recipient of the Manhattan School of Music (2010). She has a degree in classical composition from the Kunitachi College of Music and a masters degree in jazz composition from the Manhattan School of Music, and was honored by the Scholarship Program of Overseas Study for Upcoming Artists from the Japanese Agency for Cultural Affairs.
Quotes, Notes & Etc.
“…quickly became a talked-about writer and arranger.” - The New York Times
“...classy large ensemble that keeps the listener guessing and enchanted...something is always lurking and ready to pounce; then skitter away again.” - Jazz Times
“At a time when orchestral jazz is either ultra- polished, exceedingly high brow, or a pedestrian pandering to sentimental tastes of yore, Hazama’s boldly organic and singularly exciting collective is a breath of fresh air. Her uncanny ability to remain intellectually stimulating and vibrantly spirited is what makes her work singularly innovative.” - All About Jazz
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).