LINER
NOTES TO "JIN JIN/FIREFLY"- RECORDED WITH BOB
BROZMAN RELEASED WORLDWIDE BY WORLD MUSIC
NETWORK.
Within an
hour of meeting eachother, Takashi Hirayasu and Bob Brozman were sowing
the seeds for this album; working out chords, trying out combinations
of instruments, furtively glancing at eachother for encouragement. Would
it work? Would they like eachother, let alone be able to make decent
music together? There was a tangible tension in the air. If not created
by the musicians, then by us; the handful of staff and selected onlookers.
They had hardly
had time to exchange more than a cursory greeting at the airport on
the small Okinawan island of Ishigaki, before rushing to catch the boat
for the 10 minute trip to the much smaller island of Taketomi. Now,
it was as if the moment of truth had come. Any doubts, any fears, soon
evaporated into the cool night air. Smiles broke out that got increasingly
wider over the following four days. The two musicians ignited a spark
in eachother. A feeling of deep mutual respect grew, and a genuine personal
affinity and understanding of eachother, communicated through the universal
language of music.
This album was recorded
in a small, traditional wooden house on Taketomi, the most unspoilt
of the Ryukyu islands of Okinawa, in the deep south of Japan. As flat
as a pancake, there are only 200 inhabitants and no paved roads. Just
a maze of narrow sandy streets in the centre that spread out in all
directions towards the sea, stunningly turquoise even on the mainly
cloudy winter days we were there. Recording equipment was shipped in
from Tokyo, and microphones set up on the straw matting of the house's
single room, that also doubled as our dining room and bedroom. The location
had been chosen to enable the musicians to immerse themselves entirely
in an Okinawan island atmosphere with little distractions; except the
occasional dog bark, cat fight or crow caw (captured on one song, but
left in for effect). Most songs were recorded in one or two takes, Bob
and Takashi playing together live with only minimal overdubbing added
for extra ornamentation. The process would go something like this; Takashi
would teach Bob the chords, the two would experiment for about half
an hour with different instruments and work out an arrangement, Takashi
would convey the general meaning of the lyrics and the feel of the song.
Then they would record, and after we would all listen to the playback.
Sometimes we would be grinning the whole way through, 'it's like magic!'
Takashi would exclaim. On the heartbreakingly beautiful ballads, a hush
would descend over us, the two musicians driven to tears on a few occasions.
Although both artists
have strong and unique styles and personalities, it became increasingly
clear over the week that their ideas and beliefs in music converge in
several ways. Perhaps no other Okinawan musician would have been up
for this challenge. Although paying a healthy respect to traditional
Okinawan music, Takashi's mind is equally open to rock, reggae, African,
Indian and Caribbean music. He helped to bring these influences into
some of the groundbreaking music of Shokichi Kina, during his time as
guitarist with Kina's band, Champloose. What can you say about Bob,
and his enormous capacity to digest and absorb music? Perhaps if it
was discovered music existed in another universe, Bob would be the Planet
Earth's representative for an inter-planetary collaboration. He doesn't
just listen to the music, but watches and observes every muscle in his
playing partner; the way he breathes and reacts.
Hopefully this album
conveys the general atmosphere of fun that was had by all involved.
Gradually, everyone could understand Bob's wicked sense of humour, and
his Japanese came on leaps and bounds. By the end he was the one shouting
'torimasu!' (recording) before each take. We were all surprised by Takashi's
English, some of it taken straight out of a Hollywood movie. Special
mention should made, for keeping a sense of joviality, of Kenichi Takahashi
of Respect Records. His English had us all in stitches, his endearing
vulnerability mixed with honesty earning him the nickname of the 'Japanese
Woody Allen'. As he said, "I happy You happy, everybody happy! EVERYBODY
HAPPY MAKES GOOD RECORD! " And so it proved.
REPORT
ON CANADA TOUR 1999- BOB BROZMAN, TAKASHI HIRAYASU AND INTERNATIONAL
TROUPE OF MUSICIANS- OKINAWA TIMES.
PART
1.
Takashi Hirayasu
has a very Okinawan face. A face of character, of deep spirituality,
more similar to Ainu or even Native American than Japanese. Just ask
American guitarist and Hirayasu's collaborator on the new album Warabi
Uta.' "As soon as I saw Takashi's face I knew everything on the recording
would be alright" says Brozman, recalling their first meeting on Ishigaki
island, just before taking the ferry to Taketomi island where their
album was recorded, "because he has a very profound but also a very
sweet face."
Hirayasu, one time
guitarist with Shokichi Kina's band Champloose, is now forging himself
a solo career as a musician both in Japan and internationally. His first
solo album, 'Kariyushi no Tsuki' was released last year to much critical
acclaim including from many overseas magazines. The big sounds on 'Kariyushi
no Tsuki' contrast sharply with the altogether simpler 'Warabi Uta',
just released by Respect Records. Recorded with Brozman, the 'King of
National' and Hawaiian slide guitars, the album takes Okinawan music
into new directions, with elements of blues and Hawaiian music, whilst
paying a healthy respect to the Okinawan tradition.In the process of
making the album, Brozman and Hirayasu formed a deep friendship, Brozman
describing the process of getting to know Hirayasu "as like people falling
in love, except it's music."
Brozman, a musician
who excels in collaborating with musicians from around the world, took
the opportunity to invite Hirayasu to perform with him at two music
festivals in Canada at Winnipeg and Quebec, the second week of July.
When we arrived at the hotel in Winnipeg, the two musicians greeted
eachother like the soul brothers they feel they became. Also invited
were other 'master' musicians. From India, Hindustani slide guitarist
Debashish Bhattachayarya and his younger brother Subhasis on tabla,
and from Greece George Pilali, part comedian, part musician who blends
Greek urban music with the blues. Brozman had also brought along his
band, called the 'Theives of Sleep' made up of two guitarists, drums,
percussion and bass to play with his extended 'family' as he likes to
call it. The day after our arrival, the 'family' would be performing
a two hour set in the late afternoon, on one of the outer stages of
the festival. With no time to lose, a rehearsal was set up in the morning.
It was decided that the running order for this show, and other subsequent
ones that featured all musicians would be each guest musician would
perform a few songs alone or with just Brozman and the band, with everyone
joining together for the final numbers. It was the excitement of these
rehearsal sessions, the musicians coming together for the first time
and exploring combinations of sounds that was one of the most thrilling
aspects of the tour.
The Canadian Festivals
have a reputation for being the best in the world, and Winnipeg, now
in it's 26th year, as one of the most enjoyable of all. Over 70 artists
from all over the world converged on Birds Hill Park set some 20 miles
outside the city, between July 8th and 11th, making it for those four
days in the words of the organisers 'the best place in the world to
be'. Artists range from fairly sizeable stars in the folk and roots
field, such as this year Americans Steve Earle and John Hiatt, and Canadian
fiddler Natalie MacMaster. Attendance this year was 31,000, festival
goers able to choose to watch music and attend workshops on five outer
stages during the daytime, with a concert on the main stage each evening.
Hirayasu would be performing three times over the next three days, twice
with the full band, and once solo, as part of a workshop. After their
three hour rehearsal in the morning, by late afternoon the musicians
found themselves on stage for the world's first ever cross-cultural
performance of Okinawan, Greek and Indian music. Although the rehearsal
had been fruitful, it was equallly a 'getting to know eachother ' session.
There was a feeling of unexpectedness among the artists, as much as
the audience in front of the outdoor stage who gradually came and sat
themselves down on the grass in the blazing sun. Hirayasu was the first
to perform together with Brozman and band. The thing that struck me
most about Hirayasu, and I suspect most of the onlookers, was his stage
presence and charisma. Dressed in a jacket, similar to ones I've seen
in China and Vietnam, with his long swept behind him, his image was
decidedy 'Asian', whatever that means. 'Noble' is how Michael Dunn,
a guitar player with Brozman's band described him to me. Hirayasu performed
two songs, 'Tsuki nu Kaisha' and 'Ufumura Udun'. For nearly everyone
this would have been the first time to hear Okinawan music, but it's
accesible sound and reggafied beat soon had a large portion of the crowd
clapping and dancing. The last song which featured all musicians, was
titled 'New Swinging Blues', because as Brozman said 'wherever you go
in the world, everyone has the blues'. Essentially a blues jam session,
Hirayasu had an improvised vocal and instrumental part. I asked him
after what he was singing about, 'the trees, the sun and being happy'
he said.
Straight after the
show, our entourage returned to the hotel for more rehearsal. Tomorrow,
for the full band would be the major show of the weekend on the main
stage in front of 20,000 people. The protracted rehearsal the night
before, seemed to have inspired confidence and there was more of a relaxed
atmosphere before the main show. It was only a 25 minute set, so Hirayasu,
Pilali and the Battacharya brothers would all perform one piece each
with the band, before ending once again with the blues jam. Hirayasu's
song was 'Jin Jin', and the crowd's reaction at the end was beyond all
our expectations, with the band playing an encore to raptuous applause.
The next day, several people commented on the show the night before.
Some said that within those 25 minutes, were all the elements of the
whole festival- folk traditions from the world, blues and world collaboration.
At around noon on
Sunday, the final day of the festival, Hirayasu took part in a workshop,
titled 'A Bouquet of Strings'. Hosted by Brozman, in addition to the
sanshin it also featured musicians from China, India and Iran. The idea
of the workshop was to introduce and demonstrate various stringed instruments.
Hirayasu played a traditional 'katcharesee' song, and I interpreted
for him about Okinawan culture and the history of the sanshin. It was
interesting to note the link between all the stringed instruments, that
originated in the Middle East, before spreading East and West. Hirayasu
called the Chinese musician, as being like his elder sister.
We left Winnipeg
early the next morning for the second festival in Quebec. On the plane
I read a Winnipeg newspaper which included an interview with the festival's
director Pierre Guerin. He said that his pick of all the shows was our
'family's' mainstage genre-crossing jam. To be singled out among so
many great musicians was a high compliment indeed. Quebec we all thought,
would be even better.
PART
2
From
Winnipeg, Takashi Hirayasu, myself, Bob Brozman and all other musicians
left for Quebec. After the 'middle America' feel of Winnipeg, Quebec,
with it's decidedly French atmosphere and architecture, felt like a
different country. It also felt as if we had flown to Europe, as the
journey had taken us 8 hours and had involved two transfers. Set on
the banks of the St. Lawrence river, I fell in love with Quebec immediately,
charmed by it's winding cobbled streets flanked by stone houses and
churches, graceful parks and squares and countless monuments. Even the
locals had an air of sophistication, that I had not encountered in North
America before. These people clearly were appreciative and eager to
soak up foreign culture.
The 'Festival d'ete de Quebec' (Summer Festival) which lasted for 10
days between 8th and 18th July was now in it's 31st year. It benefits
from a vast array of corporate sponsors, with eleven stages of various
sizes dotted around idyllic surroundings in the center of the old town.
To attend the entire festival, anyone need only purchase a badge for
$8.00. To see about a hundred quality acts, this represents an absolute
bargain, especially in comparison to most weekend festivals which could
cost anywhere between $100 and $200.
Many
acts were local artists, including Kate & Anna McGarrigle, although
there were also many artists from Europe, Africa, and the Caribbean.
Most of the Asian artists were based in Canada, only Hirayasu being
invited from Japan. All shows, of which there would be several over
the following few days, which featured Hirayasu, Brozman and co. would
mostly be happening on one stage, and the most idyllic of all, the Place
d'Youville. Facing the city wall, that encircles the ten square kilometers
of Vieux-Quebec, (Old Quebec) people can sit on top of the old stone
wall and look down on the stage, although most, around 2,000 occupy
the seats or standing area in front of the stage. We all arrived rather
exhausted after our early morning flight, but that night would be one
of the most important shows, the 'Asian' night, during which Hirayasu
would be given a starring role. Record company executives and other
Festival directors would be checking out this show for possible future
recording projects and appearances at other festivals next year.
Opening
the show and joining Hirayasu on 'Jin Jin' were some Toronto based taiko
drum players, including second generation Japanese Kiyoshi Nagata who
learnt his trade with the Kodo drummers on Sado island. Hirayasu with
Brozman and his band 'Thieves of Sleep' performed 'Tsuki nu Kaisha'
to rapturous applause. The Indian brothers, the incredible Hindustani
Slide guitar player Debashish Bhattacharya and his tabla playing Subashish
performed another mesmerizing number. Debashish plays the slide guitar
with such consummate ease and breathtaking skill, that watching him
never failed to take my breath away. Subashish was also a fantastic
vocalist, and Hirayasu played his sanshin along with the brothers on
a haunting ballad sung by Subashish, 'Boatman Song'.
Another
Toronto based musician, Chinese Canadian George Gao who plays the Chinese
violin, the erhu, performed one song, and all musicians joined together
for Hirayasu's rendition of 'Jin Jin', complete with taiko drums. It
was a spectacular finale to a truly scintillating show. More musicians
arrived to join our entourage, who would be playing with Brozman over
the following few days, on other theme nights, 'Europe,' 'Islands' and
'Africa'. These included from the island of La Reunion, a small island
situated east of Madagascar, accordion player Rene Lacaille, French
gypsy jazz guitarist Romane and from Guinee, West Africa, kora (harp)
player Djeli Moussa Diawara.
Mornings
were taken up with rehearsals, timed to strict limits as there was so
much ground to cover. Hirayasu's next performance on July 15th, would
be his afternoon, Okinawan concert at Place d'Youville. He, Brozman
and band had only a short time to work out their approximately 50 minute
set, so we were grateful the musicians had rehearsed in Winnipeg. The
sun was shining, as Hirayasu, sat down to open his show. 'Beautiful
sun, same Okinawa' he said, before launching into his solo piece, 'Aya
Gu'. Brozman and the Thieves of Sleep then joined Hirayasu to perform
a repertoire of songs in different musical combinations, taken from
'Warabi Uta', Hirayasu's album recorded with Brozman. Hirayasu demonstrated
the 'Katcharsee' dance to the crowd who soon picked up the idea, and
songs such as Chon Chon Kijimuna were accompanied by a sea of waving
arms.
A
few hours later on the same stage, starting at 10.00pm was another of
the week's main shows for our entourage, the 'islands' night. As well
as Okinawa, other islands represented were La Reunion, and Cuba in the
shape of the veteran group from Santiago, La Familia Valera Miranda.
Hirayasu performed two songs, Tsuki nu Kaisha and Ufumura Udun and as
in previous concerts the musicians came together for a rousing blues
encore. When it came to Hirayasu's solo, due to his lack of English
he simply sang 'A, B, C, D...until he came till about M,' and then just
shrugged his shoulders..!
Hirayasu
then had to rush, because starting at 11.00pm, he would be performing
with Rick Walker, percussionist with the Thieves of Sleep at the Pub
Saint-Alexandre. A noisy, narrow pub with only a tiny stage, this would
be more challenging in many ways than the concerts on the main stages,
where audiences were there to listen. Most people were there to drink
and be merry, and to gain their attention Hirayasu would have to be
on his most charismatic form. One thing I learnt about Hirayasu was
his love of being spontaneous, and his sensitivity to the crowd. Walker
had asked Hirayasu for a set list, but Hirayasu wanted to decide each
song depending on his and the audience's mood. After a brief soundcheck,
he amazed everyone by dispensing with the microphones and instead sitting
on the edge of the stage, singing a a traditional tune. It had the desired
effect as suddenly everyone stopped talking and were captivated by Hirayasu's
voice and presence. After returning to the stage for a few numbers he
then set about walking around the pub, singing and playing sanshin,
with Walker in tow, not quite knowing what to expect next, but clearly
loving every second. Hirayasu sung such Okinawan favorites as 'Toshin
Doi' and 'Asadoya Yunta' and once again demonstrated the Katcharsee
dance. It looked slightly surreal to see so many foreigners, hearing
Okinawan music for the first time, waving their arms and hands in the
air. He even sung 'Stand By Me', which absolutely brought the house
down. 'Crazy George' Pilali from Greece joined Hirayasu, playing his
mini-bouzouki, the dzouras, along with Brozman for some outrageous blues
numbers. Hirayasu's concert had truly gone from the sublime to the ridiculous,
and the applause was so great at the end, Hirayasu was hardly able to
get off the stage.
The
following night, our last, Hirayasu performed once again at the same
pub. He told me he wanted his last concert to be a bit more serious
than the previous night. Indeed, at first it was, but after Brozman
and guitarist Michael Dunn joined Hirayasu it soon turned into another
thrilling and 'anything goes' jamboree. Hirayasu danced, played his
sanshin as if he was Jimi Hendrix and swapped his sanshin for Brozman's
National steel guitar. The musicians played on and on, until the small
hours. They were laughing and enjoying themselves, sometimes playing
wildly but equally able to revert to a heartbreaking ballad, that would
bring a hush over crowd. Everyone screamed for more and more. I have
never seen any audience in Japan or Okinawa react with such unbridled
enthusiasm. At the end, finally, with the crowd refusing to let the
musicians finish, Hirayasu hugged each musician, tears rolled from the
eyes of each one. It was truly a grande exit to an extraordinary 10
days.
EUROPEAN
TOUR- SPRING 2000- THE JAPAN TIMES.
Hurtling towards
Vienna on the German autobahns, I have two passengers. One is Okinawan,
Takashi Hirayasu. The other, Bob Brozman is American. Both are playing
Bolivian charangos to pass the time, which makes for an interesting
multi-cultural mixture of music to drive to. Something like Indian Ocean
rhythms and Okinawan melodies played with a Mexican flourish and a hint
of the blues. Sure beats the radio anyway.
At the end of April,
Hirayasu and Brozman embarked on their first tour as a duo, to promote
their CD "Jin Jin/Firefly". Recorded on the small Okinawan island of
Taketomi, where they first met, the magic of that recording has captured
the imagination of all who have heard it. In a few months, "Jin Jin"
has become the best selling CD ever of Okinawan music in Europe. By
a twist of fate I have ended up as their tour manager (cum driver, roadie,
translator, photographer, accountant, CD vendor and stage announcer.)
Their CD has been remarkably well received, reaching Number 2, in the
"World Music Charts Europe". Upon arrival, we are handed a press book,
twice as thick as my indispensable Europe Road Atlas.
Brozman is an old
hand at traveling around Europe as a solo act. He's generally recognized
as the world's leading player of National steel guitars, and as a master
of Hawaiian guitar. His shows are also known for his unique wit, leading
him to be branded the 'Groucho Marx' of the blues. That humor continues
off stage as well, and into our MPV, in an endless stream of observations.
He explains to Hirayasu his cynical view on the fives stages of showbusiness.
1. Who is Takashi Hirayasu? 2. Get me Takashi Hirayasu. 3. Get me someone
who sounds like Takashi Hirayasu. 4. Get me a young Takashi Hirayasu.
5. Who is Takashi Hirayasu? At present, we are on stage two.
Hirayasu meanwhile,
is a touring novice, blissfully unaware of where he is most of the time.
A man who loves his coffee, I keep telling him we have to drink 'Weena
Kohee' (Vienna Coffee) in Vienna. We sit down at a Vienna Cafe, but
disappointingly can't find any 'Weena Kohee'. Drinking cappuccino, only
when he looks at a sign under a bank that says "Wien", does Hirayasu
realize this is Vienna, and makes the connection to the coffee. "Ume
mitai" (it's like a dream) he sighs,
The venue in Vienna,
the Szene, is one of the city's larger venues, and we are greeted in
the lobby by photos of past performers such as Suede, Portishead, Lauryn
Hill and Marilyn Mansun, and unrepealable graffiti in the dressing room
by the same artists and hosts of others. The soundcheck turns into a
rehearsal, as this tour is the first time they have played together
as a duo, and the instrumentation and arrangements are still developing.
They start late, to allow more Viennese to filter into the hall. When
they finally start, the atmosphere is, at least, 'intimate'. Over the
next two hours you can virtually hear the sound of people falling in
love with them and their music.
In his limited English,
Hirayasu comes across as earnest and sensitive and in his playing as
powerful and charismatic. Brozman, strikes a perfect balance between
his own wit and emotional tales of his friendship with Hirayasu. His
flashes of brilliance on guitar gain impromptu bursts of applause. In
the end, though, it's that obvious friendship between them, their sense
of fun, spontaneity and pure joy they are having that earns them a standing
ovation and an encore. A situation that would be happily repeated at
every show.
We had met up in
London, taking the Eurostar to Brussels to start the first leg of the
tour. We are carrying six guitars, two charangos, two sanshins, sound
equipment, three suitcases, two computers, and cameras. Life on the
road is anything but glamorous; packing, unpacking, loading, offloading,
carrying, wheeling, sweating. "Musician's life, so very comfortable!"
exclaims Hirayasu, struggling up the last flight of stairs in one of
those old, narrow, elevatorless European hotels. Brozman is convinced
he's going to collapse and die one day from exhaustion. His National
steel guitars may look great, but boy, are they heavy.
In Brussels, their
first appearance is for a live morning radio show. The talk is in Flemish,
another local group are playing rock and soul covers. A mute Okinawan/American
duo playing traditional Okinawan children's songs, might be rather incongruous,
but radio programmers can be open-minded in Europe. Their gig in the
evening is at the same venue. On an adjacent, larger stage, Yossou N'Dour's
concert is a sell out. Fortunately, their smaller hall is packed with
only standing room left. With some relief they go down a storm. On their
previous gigs in Japan and Canada, they have been supported by other
musicians to fill out the sound, it being quite a challenge not to make
the music sound too sparse.
Following Brussels,
the tour moves on to Eeklo, in Belgium, followed by a long drive to
Vienna, and Innsbruck, Austria. We then drive all night and all day
to reach Paris in time for a radio show. In Paris, Hirayasu and Brozman
are joined by a Kora (African harp) player from Guinea, Djeli Moussa
Diawara. The mix of Kora, sanshin, (Okinawan banjo) and Brozman's Hawaiian
guitar is mesmerizing, and the two concerts in Paris, are some of the
highlights of the tour. Diawara and Hirayasu can't communicate easily,
"how old are you?" asks Hirayasu, "fine" replies Diawara. With his sanshin
set up to play in an African scale, Hirayasu is soon playing African
melodies and rhythms like it's second nature. Not surprisingly, he takes
every opportunity to enjoy Parisian cafe society, which he decides suits
him to the ground.
We head on to Bremen,
in Germany, for a concert and another radio show. Then to a hastily
arranged gig in a room in the red light district of Amsterdam, followed
by an eye opening walk around the area. If anything, the shows are now
getting tighter, the arrangements and instrumentation now fully worked
out. We find out on the border of Holland and Belgium we have three
hours to reach Paris for yet another radio show. My foot hits the pedal
and only comes off the floor when I spot any threatening police cars.
This was one time I would have preferred to be back in Germany, on one
of the autobahns, but we make it just in time.
After the mother
of all struggles with our luggage in the Gare du Nord, we board the
Eurostar again, for their final concert in London. This is in some ways,
the most important gig of all. The record company is based here, and
a number of key journalists and other media we are told will be coming.
Londoners are spoilt for choice, and can be the most critical and reserved
audience of all. The Purcell Room, on London's South Bank, has a great
sound, but can be a bit intimidating as I find out when I introduce
them. I can sense a nervous edge in both Brozman and Hirayasu. Especially
Brozman's delicate solos on Hawaiian guitar can seem brutally exposed,
he describes the finesse of playing under such circumstances as 'like
stepping on egg shells.' They soon relax and the obvious delight they
derive from playing together, rubs off on the audience. By now they
have developed a routine of ending the show, by jumping off stage, Hirayasu
with a sanshin, and Brozman a charango in hand, and playing and dancing
between the chairs. They advance to the back of the hall, only to discover
there are no exits, so sit down for a short break before retreating
back to the front and leaving via a side door. Everyone is left standing
and cheering.
A musician's life
on the road might be fun, meeting new people and making people happy.
But after a few weeks of humping equipment and struggling to keep my
eyes focused on the road in front, I can now sit at my computer with
a new sense of tranquility.
NOTES
TO "NANKURU NAISA"- RECORDED WITH BOB BROZMAN RELEASED WORLDWIDE
BY WORLD MUSIC NETWORK, SPRING 2001