PROFESSIONAL REVIEW EXCERPTS: compiled for use at CD Baby by the label, Artists

Recording Collective.
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ALL MUSIC GUIDE **** by Michael G. Nastos
It s hard to believe, but this is only the fifth recording as a leader for the ver
y talented jazz pianist/composer Sumi Tonooka. The title Long Ago Today is signi
ficant in that it pays tribute to both of her parents who recently passed away,
and the drummer on the date Bob Braye, who died shortly after these sessions wer
e recorded. It is also an appreciation for bassist Rufus Reid, Tonooka s long time
friend, jazz ally, mentor and band mate. With the two in support of her musical
ly and spiritually, the result is a wonderful modern jazz program of originals t
hat suggest influences and good memories instead of melancholy, while attempting
to raise the bar on new concepts and theories in the tried and true piano-bass-
drums format. Fond of the two-fisted modal approach of McCoy Tyner, Tonooka exec
utes it in grand fashion on the quick waltz Be The Dance changing keys and repeati
ng melody lines while intensifying the music from within. Tonooka s left hand on t
he lower octave keys meshes with Reid s bass quite often for an arresting effect,
undeniable during the spirited Renewal which showcases the precision of Braye. The
Clinging also uses the piano-bass tandem technique, creating a sonic image that s
ets off Tonooka s right hand flying. As Tonooka has been inspired by Kenny Barron
for a number of years, his attention to detail and bright construct with darker
undertones shows up on the inquisitive Just For Now and to a lesser extent on the
innocent, shy tones during the ballad Nami s Song. As part of a multi-cultural famil
y growing up, Tonooka is naturally inclined to toss in something ethnic as on th
e bouncy, daring, dancing kinetic 7/8 rhythm of Moroccan Daze or the slow, languid
modal beauty Dreaming Of Tibet. The lone standard All Of You has always been a popu
lar vehicle for reinterpretation. Here Reid s witty punctuations lift and push the
ideas of Tonooka ever forward. Her best to date, and a highly recommended recor
ding, it seems Tonooka is still tapping potential while refining her search tech
niques on this very satisfying and enjoyable effort.
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ALL ABOUT JAZZ By Jeff Dayton-Johnson
Sumi Tonooka is a pianist from Philadelphia with some impressive credentials: sh
e can recall playing with Philly Joe Jones and has counted upon the services of
the redoubtable bassist Rufus Reid on each of her records. More important, she p
lays with a mature and entirely personal style that makes her a contender for th
e ranks of today's jazz piano elite.
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ALL ABOUT JAZZ By Jerry D'Souza
Tonooka plays with a strong commitment to melody and improvisation. She gets int
o the nectar of a tune and then draws out all of its delights. Her path to inven
tion is filled with nuance and surprise, encompassed in an abiding musicality.
Tonooka has bassist Rufus Reid, who has played with her for over 25 years, and B
ob Braye on drums. They are in empathy with her thought and moves, and together
shape an album that is as delightful as it is heart warming.
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PHILADELPHIA INQUIRER *** by Karl Stark
The Philly-born pianist Sumi Tonooka produces a beautifully restrained trio reco
rding with bassist Rufus Reid and the late drummer Bob Braye. The set marks her
first recording as a leader in a decade, and projects a shimmering quality. Ton
ooka never plays an ugly note, though there's no grab for the fiery center, eith
er. Her compositions are like the fourth player in the room; they veer into unu
sual patterns and give everyone something challenging. Tonooka tames them, thoug
h, making them sound flowing and of one piece.
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The Musicians' Ombudsman - George W Carroll (eJazzNews)
When it come to jazz harmony & turning a melodic phrase, jazz pianist Sumi Tonoo
ka will not just excite you with her pianistic craft, she will compel you to lis
ten to her compositional artistic creations as well. Her writing is noteworthy,
but I am drawn to her treatment of Cole Porter's eternal tune ''All Of You.'' He
r take on Porter's song becomes a sojourn into the wondrous world of deceptive c
adence, challenging harmonies, and certainly an intellectual approach to viable
melody. Sumi creates a kaleidoscope of timbres & textures in her delivery, as we
ll as a true jazz idiom sensibility with her impressionistic style. She also bri
ngs an 'original' voice to piano jazz with her obvious paranormal pianistic skil
ls, thus complementing the art of jazz piano in general. Bravo Sumi!
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JAZZ REVIEW - Reviewed by: Susan Frances
Tonooka has been applauded for being a force of nature on the piano by aficionad
os of her work, and she still is with the compositions on Long Ago Today. The wa
y her piano rings communicate with the bass pulls and delicate drum shuffles is
inviting. She keeps her keys talkative, initiating the conversation and acting s
a catalyst to stimulate the bass and drum movements.
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Jazz Consumer Guide by Tom Hull
All originals, except for one Cole Porter tune. State of the art postbop, hard f
or me to nail down, but I'm impressed with how the pieces build and move. B+(***
)
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Jazz Society of Oregon by Kyle O'Brien
There s a good dose of Monk in Tonooka s playing, and the style and ferocity she use
s makes that a good thing. This little known player has had an on and off again
career, but if this mature sounding trio disc is any indication of her prowess,
then she should keep the career on again for good. She teams with Rufus Reid on
bass, who she has played with since her debut in 1986, and Bob Braye, who passed
away shortly after this recording, but it s Tonooka s command of the keyboard that
keeps this interesting throughout. The same can be said of her compositions.
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THE IRISH TIMES **** BY RAY COMISKEY
Tonooka is a little-known but impressive talent in the line of jazz piano going
back to the likes of Bill Evans and Kenny Barron, with a personal niche within i
t. Harmonically just a bit left of centre, and with total command of the trio se
tting she shares with Rufus Reid (bass) and the late Bob Braye (drums), Tonooka
is also flexible enough to engage in three-way dialogue if that's the way a perf
ormance unfolds. Nine of the 10 pieces used are hers; though most just permutate
a motif through the changes, they prove stimulating vehicles for the trio. Part
icularly attractive are the long title track, the rhythmically dazzling Moroccan
Daze and Nami's Song , whose melodic substance inspires perhaps the most gracef
ully lyrical piano and bass solos on the album. Nothing outre - just an exceptio
nal player doing her thing well.
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