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Japanese composer/drummer Shinya Fukumori, based in Munich, comes to London. He is one of the rare musicians who’s recording debuted on ECM, the prestigious German label with distinctive taste and sound.

ECM is known for its works that reflect the extremely delicate aesthetics of the co-founder Manfred Eicher, and only artists that match their view are allowed to release albums on the label. Needless to say, it is a narrow gate, and that is the reason why the label is respected worldwide. For example on the list of artists, you may find the name of Keith Jarrett, who is known to be a demanding man.

Fukumori has released his leading album “For 2 Akis” last year as Shinya Fukumori Trio on ECM. The melody he creates is so calm and beautiful. When you listen to that melodic mature sound, you might be calling some sense of warm scenes to your mind that is a fine mixture of ordinary and extraordinary in everyday life, just like the music video ECM created for his song.

Shinya Fukumori Trio “For 2 Akis”

This album also includes some old Japanese songs such as Kenji Miyazawa’s “Song of Star Tour – Hoshi meguri no uta” and Rentaro Taki’s “Moon over the Ruined Castle – Kojyo no tsuki”. Those songs have been given new personalities by Fukumori.

Now Fukumori is going to perform in the UK for the first time by the invitation from YOKOHAMA CALLING, a UK based organisation promoting Japanese-English cultural events. For him, this is the first collaboration with UK based musicians, too. Fukumori talked about his music, ahead of his first memorable performance in London.

Shinya Fukumori
Born in Osaka, Japan. He started drums at the age of 15. After moving to the U.S.A. at the age of 17 to study music, Fukumori attended Brookhaven College and University of Texas at Arlington. Then he finished his studies at Berklee College of Music in Boston, MA. In 2013, after 10 years of living in the U.S.A., he relocated to Munich, Germany. Known for his melodic and rhythmic approach with a wide range of dynamics to drum-set playing. Another feature of his playing is the unique and sensitive cymbal-work, which creates a very distinctive sound. In March, 2017, Fukumori recorded his debut album “For 2 Akis” for ECM Records with his trio, which was produced by Manfred Eicher. The debut album was released on February 16, 2018.

 

ECM debut and past music life

Why have you relocated to Munich after a long period of living in the US?

I’ve lived in Texas for 7 years studying music, then moved to Boston to attend at Berklee. I loved Texas; loved the hot climate and open minded people, I still feel like it’s my second home. Then I left the States and moved back to Japan because I got tired of the music I was playing back then, and shortly after, I decided to come to Munich because I felt much closer to the music from Europe, and most of all, I wanted to live where my “dream record label” ECM exists. And by chance and lots of good lucks, the producer Manfred Eicher happened to listen to my music. After a while, he came to our rehearsal and watched us play, and he said “Yes, I would like to record this”. That’s how it all happened.

Yokohama Calling – Shinya Fukumori - For 2 Akis - ECM Records

Tell us the reason why you’ve been being captivated by ECM.

I’m fascinated by their distinctive orientation. They have a very solid axis. And simply, the sound is so beautiful. The music from ECM took a really big part when I was establishing my own style of playing music. ECM showed me some new ways and wide ranges of expressing music. Therefore, I am so happy that I got to release my debut album from ECM, it’s just priceless. Not to mention, it’s been simply a big pleasure for me to see the increase of audience appreciating my own music by releasing this album. And of course this has led me to the tremendous encounters all over the world, and I’ve been very inspired by that.

You are currently writing a series of essays in a Japanese jazz e-zine. You have written there that you encountered very evocative music when you listened to a fictional band in the film “Swallowtail” with your friend in the dark room when you were a teen boy. You’ve got some kind of intriguing inspiration, then thought “well, this is a kind of music I really want to make”. What exactly did you feel about it?

It felt almost like I was in a planetarium. Felt like I was connected with vast space like the universe. It was a strange yet intriguing feeling; strongly connected to various places but at the same time, it was still a space of my very own.

Does that curious sensation lead to the sound you currently create? For example, “Hoshi Meguri no Uta”?

Those Japanese songs were not really strategically placed, I just picked and arranged them simply because I liked the songs. I’m not good at planning at all, I am a kind of person who acts intuitively (laughs). But I could say this; I am very fond of the simple and beautiful melody-lines from the old Japanese folk songs. One can probably find me as Japanese with that sense from that aspect also. I’d like my music to be somewhere abstract, a sense of right distance, that seems to be catchable, but you can never grab it; not too far nor too close.

Sounds like you always follow your own intuition rather than planning?

I’m not trying to do anything on calculation, I always leave things to natural development.

What does the song “For 2 Akis” mean, which is also the album title?

This is a song dedicated to the owner of the jazz bar “Interplay 8”, Akitoshi Nakamura, and Aki, the staff who has worked there for a long time. Those two “Akis” helped me a lot when I returned to Osaka from the States. The original song title was “A Song I Wrote for 2 Akis” then it got shortened. The former owner supported Yosuke Yamashita since he was unknown exactly like the current owner did for me. Because of this strong connection, the summer of this year, they held a special duo concert with Yosuke-san and myself on the occasion of the 60th anniversary of the place and the birthday of the former owner. It was an unforgettable night for me. Anyway, this is a special song packed with my appreciation to the two “Akis” as well as to all the friends I have met there!

Why drums?

You started playing the violin when you were a child then developed your music way to playing the piano and the guitar very easily. But you ended up with drums. Why is that?

I think my father’s influence was the strongest. He played drums when he was in college. Because of that, there were drum sticks always lying around the house since I was a kid, and we often talked about music, especially about drums. Even though I was also playing the piano and the guitar, I already knew I would play drums in the future. My father once said that “you have a great sense of rhythm, so you will be able to play drums easily”, and that of course pushed me to playing drums too.

What is the role of drums in music?

That’s a difficult question. I used to think that playing rhythms and grooves on drums was cool. At least I felt so when I first started playing jazz. But when you go deeper into the drum-set playing, you realize that that’s not the only essence there should be, especially in the music I do. The drums can also be a melodic and/or a harmonic instrument. I’d like to believe that it is possible to play both melodies and harmonies on the drums. I always expect drums as an instrument that can add colours rather than just beating out rhythms and grooves.

So you chose jazz?

I don’t have any “genre” awareness. Even in music with vocals in any genre, there is always a way to show some colours. When I’m playing the drums, the word “jazz” doesn’t exist in my mimd.

How did you develop your current style?

I love the drummer Vinnie Colaiuta, and I always wanted to be like him. But I’ve noticed one day that’s not what I really want to do. The thing is… when I was studying at Berklee College of Music, there were hundreds of students who wanted to be like Vinnie. In the practice rooms, a lot of students were practising “chops” like Vinnie, and it almost became like a technique tournament. But that’s not the only reason why Vinnie’s performance is outstanding, he also can make very subtle, delicate sounds with drums.

That is why you decided to develop your own performance?

That’s a big one. I thought Vinnie already exists and plays, so what is the point to become Vinnie2? From that point on, I changed my attitude then started trying to seek my own style. By the way Vinnie has been playing a lot with Jeff Beck recently and personally I’m very happy to see they are playing together. Two of my big favourite people finally decided to play together (smile). The other day, I was talking to a friend saying “who is the musician who has the best sound?” It was Jeff Beck that came to my mind immediately. The emotions poured into every little sound is just amazing. Even when you listen to just one sound of his, you can feel all his intention.

Is that similar to how you express yourself in your music?

To be honest, I’ve never really intended to express something in music… well I just don’t want to have the answer to that question. As I said earlier, I want music to be abstract, so I will pursue it. Apart from that, I don’t want to make any musical concept for my music. I like Jackson Pollock as an artist. I think what I want to express is something that comes out of that type of abstract.

Then, how would you describe your music in words?

The most ideal art form of music for me is very clear (laughs). I have a strong feeling that I have the same views drawn by the comedian Kentaro Kobayashi (Ramens). The genre is completely different, but the music that I am aiming for is there. It’s quite difficult to explain in words. I think those sketches created by Ramens are very artistic and purely a beautiful art form. I really like the words often expressed by Mr Kobayashi – “ordinary things in out-of- the-ordinary” – I get inspirations from that concept a lot. This intriguing feeling may be linked to what I felt when I was listening to the music from the “Swallowtail” band.

After the debut on ECM

After the major debut from ECM, it seems that activities surrounding you are becoming more lively.

The debut album was a very good opener for many people from different directions. For instance, I stayed in Japan for three months from this June for lots of music activities. There has definitely been a clear expansion of opportunities after meeting various great musicians while I was there, and I am simply very happy about that.

I felt very fresh when I performed in Japan this time. The whole experience was so different from the last long stay when I came back from the US about 8 years ago. I’m sure that I’ve reached a different stage. I mainly stayed in Tokyo this time, it was very stimulating to meet wonderful musicians who I‘d never known before. Actually I am now looking for ways to help connect people between Japan and overseas.

Sounds wonderful! Please tell us more.

The Japanese music scene focuses on the US and UK too much, and from there you can get the latest music almost effortlessly. But in Europe it’s not the case. You don’t see any exchange unless you make an effort. What I want do from now on is to become the bridge between Japan and Europe. I want to introduce good European music to Japan, and the other way around too. I recently made an arrangement of performances in Japan for instance, for Japanese pianists such as Ayumi Tanaka based in Norway and Naoko Sakata based in Sweden.

Another story. I had opportunities to go to South Korea twice this year. What I found there was wonderful musicians and local people with a very warm welcome. It’s been reported that Japan and South Korea are having a politically difficult situation, but I just had only great impressions in terms of people and the city while I was there. But sadly, there is only very little musical interactions between Japan and South Korea at the moment, especially in the area of the music I am in. So I am hoping that I can be a good bridge between the two countries as well. Actually soon, interesting events will be arranged in Japan with the Korean saxophonist Sungae Son who has also released an album on ECM. He is a truly wonderful musician and I think people should know him.

Tell us about your life in Munich and your latest activities.

Munich is a beautiful city where you can spend a lot of time in many parks. Bavarian food is delicious. I like drinking too, so being able to have good beer is perfect! Finding good eateries and trying delicious food sort of became my hobby. I like cooking too and make it well. I have a passion for making good meat sauce since I was in college. I like stewed dishes such as chili con carne, doing nothing while the pot is on the hob gives me happier time.

About my latest activies, the guitarist from “Orange Pekoe”, Kazuma Fujimoto will come to Munich in October and we will perform together. And I will go to London by invitation of YOKOHAMA CALLING!

Yokohama Calling – Shinya-Fukumori 2

British music

What’s your view on British music?

I actually wanted to study in the UK rather than the US because I was very into British hard rock. Since I was a little kid, I was in love with Deep Purple and I could say that was the most influential band as the band led me to start playing drums – Ian Paice is one of my drum heroes. For me, the UK means Led Zeppelin, Jeff Beck and Deep Purple, a place to remember the great music of the 70s. I am so happy that YOKOHAMA CALLING will have me this time.

Please give your message to the UK audience!

I love British music, that’s definitely one of my grass roots of music, although this will be my first visit to the UK! I can’t wait and really look forward to it. I’m also excited to meet new people there and so thrilled that the people who have never listened to my music will have a chance to know my music too. I will see you there!

“Music is not something to think about, it’s all about intuition.” Shinya taught me in this interview. As he gives a pure attention to every single sound, you will understand it much more when you listen to his music live. Please come by all means!

Interview by Mayu Ekuni

This interview with Shinya Fukumori is available in Japanese here.

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“I would like to pursue something nobody has done so far”.
The 27-year-old guitarist says smoothly, who woke up to Jazz when he was 15 years old, since then he’s been creating his own music, aspiring borderless sounds.

Yokohama Calling – May Inoue jazz guitarist

May Inoue is one of the top musicians from the young generation currently gaining attention on the Jazz scene in Japan. He has formed a new project “Stereo Champ” to express his creativities as both a guitarist and a composer and is enjoying enthusiastic reviews from every quarter.

On 25th November 2018, May will make his debut UK performance with acclaimed local musicians at The Cockpit. He speaks to us about his music and his link to London.

A link to London before he was born

Congratulations on the first London performance! You have studied in Berklee College of Music and had music activities in N.Y. But the first time in London?

Well, I visited London once when I was a kid. My dad has lived in London many years ago for one or two years. Then my mom came to London to join him. The name of the building of their flat was “Mayflower House”. I was born just after their stay in London and born in May, for those reasons I was given my name, May.

What a lovely story!

Yeah, this is one of the favourite family stories. My dad loves London, so he took me to his favourite city when I was 12 years old. A few years later, I started to be interested in music and fell in love with Led Zeppelin. I had noticed that this band is from the UK. That is why the UK has been my favourite country and the place that I have been longing for since.

How were you switched on to Jazz despite you being a rock boy?

My dad took me to a Mike Stern concert in Tokyo when I was 15 years old because dad understood well about my interest of rock guitar. When I saw Mike’s concert, I had a great inspiration from his style which is between rock and jazz then I felt sure this is what I want to do. That was the opening to jazz music. After this event, I studied under Mr Yoshiaki Miyanoue who is a veteran jazz guitar player. He understands the importance of 1950 – 60’s traditional jazz music and told me that I should start from here because this is the most fundamental base of jazz even though I will be pursuing varieties of jazz sounds in the future. He gave me great lessons. I deleted all songs by Led Zeppelin from my iPod then started listening to only traditional jazz for learning.

You must have been a cool high-school boy.

I lost a few friends though (laugh). I have been playing the guitar all the time while I was in high school. I was exactly a “domestic guitarist” (laugh). According to my mom, I have already held my guitar when she saw me in the morning after I just got up from my bed. I was so happy while playing the guitar. I would practice every single day during the whole summer holiday for about 40 days, only taking breaks to walk my dog. When I went to school after the holiday, I could not accommodate to talk to my friends because I haven’t talked to anyone for such a long period, then I found that people’s cheek muscle cramped up if you haven’t used it. I loved practice to that degree.

Yokohama Calling – May Inoue jazz guitarist with Jason Rebello rehearsal
May Inoue in rehearsal with Jason Rebello

Music of May Inoue

Tell us about your own project, Stereo Champ.

Stereo Champ is a band I formed to express my own music. I started it because I wanted to pursue sounds that nobody has done in jazz field so far. I had already released two albums before Stereo Champ – both two albums followed orthodox jazz but what I tried in the first Stereo Champ project was making a statement about my groove. I wanted to express my jazz with some feeling of rock, funkiness, psychedelic and other sounds. What I’m doing now in my project might be already done by someone else in the world but this is fresh and new to me. I aim to create my music being edgy but with definitely some kind of comfort or coziness. I would like to open up new music respecting the achievements by predecessors.

You expressed the energy of Stereo Champ as “feeling of cosmic boundlessness” in liner notes of the first Stereo Champ album. What does it mean actually?

That means that our energy is beyond stereotype / ready made ideas.

In the first album by Stereo Champ, there are two songs about pre-born child. I found this is quite unusual being created by a mid-twenties male.

Taiji Song is composed of two parts but basically that’s one song. I created those songs to express the process of how people are born to this world from where they are floating in their mother’s womb to the moment of birth. All the people in this world were once a fetus. They don’t have any ego yet, just pure existence and they don’t know what they will become after. For example, I became a guitarist which I would never know when I was a fetus. I think that status is the same after we are born. That means that we never know what will happen next. I think the nature of this status is related to jazz improvisation in a way. We don’t know how jazz Improvisation will evolve after a second even though it has some formats. I found this aspect of jazz improvisation is just like our life. My jazz spirit is thrilled at this aspect indeed. I really enjoy it, that’s the reason why I keep doing jazz – the future is always open to what you want to create.

Is that your quality of music? What sort of music are you aiming to create?

The music that has nothing to do with copy. For example, many people follow jazz transmitted from N.Y. because it’s supposed to be home of contemporary jazz. However, there is certainly a unique jazz scene / culture in Japan. I think there must be some meanings why we were born as Japanese as well. In that way, I would like to create our own Jazz.

Can you tell us about jazz in Japan? What is Japanese jazz?

We got so many jazz clubs in Japan, especially in Tokyo and Yokohama compared to other cities in the world. That means that numbers of jazz musicians are inevitably a lot. There are many jazz musicians who can play multiple instruments but I feel there are fewer experts who have excellence in one area. I recognise there is the unique jazz scene / culture you can say “Japanese jazz” in Japan, which has been built by those great musicians. I love sounds created by those musicians who know what they are really interested in and honest with it. People who challenge their own sound honestly. I love those people.

Have you met those people in Berklee College of Music too?

Well, I am a kind of person who does his own stuff in his own style alone, so my school life wasn’t very active to be honest (laugh), but I was lucky to meet my guitar teacher, Mick Goodrick there. He has had many notable students including Pat Metheny, John Scofield and Mike Stern. One of the reasons why I went to the college was to meet him. I loved his class. I’ve almost forgotten music theories that he taught us (laugh), but do remember how he taught us. He is very rigorous, so I always prepare well to the class with rare earnest. One day I went to his class feeling the strain, but he suddenly suggested us to draw a picture of horse, or take a walk out of the room. He taught me something not only related to music – an attitude towards music broadly.

Yokohama Calling – May Inoue jazz guitarist gear

Future vision

Tell us your future works and visions.

Two new albums will be released on 14th November ahead of the London concerts. One is the 2nd album by Stereo Champ, called “Mono Light”. And the other is my acoustic guitar album called “Solo Guitar”.

“Mono Light” is officially a band album as Stereo Champ, whereas the previous one is called “May Inoue Stereo Champ”. Therefore, we focused on band sound and team work much more this time. Also this is my best album so far as a composer, I am very satisfied with the quality as I put all of my current best ideas into this album. This is sort of an album you don’t know where to categorise. We made lots of comfort points as well. I would like to release one album yearly in the future as Stereo Champ. “Solo Guitar” is based on my acoustic guitar gigs that I perform every four months now.

I also would like to host a music event bimestrially with like-minded musicians from next year. The idea is to attract a young audience to the Japanese jazz scene and to create fresh fields where Japanese musicians who are forward looking can make good activities. By doing those in Japan, at the same time, I would like to increase our activities in overseas as a band, too. I see more interesting visions beyond those activities.

Yokohama Calling – May Inoue albums Solo Guitar and Mono Light 2018

May Inoue releases two albums in 2018 ‘Solo Guitar’ & ‘Mono Light – Stereo Champ’

About the London concerts

Tell us about your London concerts.

In the Cockpit on 25th November, we are playing both traditional jazz and my original songs. Although I am sure I will be nervous (laugh), I will try to remain calm. It will be the best if I can become neutral when we make the first sound on the stage. I have learnt that I will be able to play best when I feel neutral.

I have already checked some local musician’s videos who I will be playing with. We will be playing my original songs mainly although they are top musicians with fantastic careers. Therefore, I will try to make a stage that all of us can enjoy evenly by making solid sound in rehearsals.

I have heard that you will be playing as an opening act on the stage of Mike Stern at Ronnie Scott’s on 24th November. What a great surprise! (it’s sold out already)

Yes, I am so happy with this! I haven’t expected any of this, this time last year. I feel some kind of wonderful coincidence. We will play as a trio. We will play more jazz standard rather than my original songs so that all the members can enjoy the jazz ensemble evenly. What will I say to Mike Stern at Ronnie’s? Well, I would say that “you are one of my great guitar heroes, I’ve started playing the guitar because of your influence”.

Give us your message to London audience!

I am so glad to play in London for the first time where I have been longing for. I look forward to meeting you all and playing my best music so far! I also feel very lucky as I can play in Ronnie Scott’s where I wanted to visit anyway, even if I don’t play there.

Tell us about yourself without music.

I love Japanese variety TV programs. When I have free time, I would face a dilemma if I should practice the guitar or watch TV (laugh). I love talking with people. I love people. People are so interesting!

Interview by Mayu Ekuni

This interview with May Inoue is available in Japanese here.

Listen to May’s music:
May Inoue – Stereo Champ – 2017  :  Listen here
May Inoue – Solo Guitar – 2018  :  Listen here
Mono Light – Stereo Champ – 2018  :  Listen here

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Yokohama Calling – Sumire Kuribayashi – My Jazz

Tell us why you started playing the piano.

My father is a musician (Hideaki Kuribayashi, Koto player), so my everyday life was full of great music since I was a child – I think that was good environment looking back those days. I said to my dad when I was 5 years old if I can learn Koto then he said you can, but don’t cry even if you are having difficult time when you practice. But I did (laughing), then I switch to piano because there are few lovely friends who enjoy learning the piano. I really adore pianos as instruments especially, my parents kept saying we can’t afford buying piano, my adoration to piano got stronger and stronger. One day I had a chance to play the beautiful grand piano at school. That was a crucial moment for me to get into seriously. Finally my parents bought an electric piano for me but they somewhat did not allow me to learn the piano under any tutors. They said you just play the piano as you like.

You did not learn piano properly from teachers – that’s quite unusual.

Yes, therefore playing the piano was just play for me for long time. Yet I still have been keeping my adoration for grand pianos. So I went to music school when I finished secondary school because I can play grand piano every day! At that school I have learnt classical piano for three years fully. As you know, people who become a professional classical pianist would have learnt piano from good teachers from a much younger age like 3 years old. Me wasn’t. So I did not have an idea to become a classical music pianist, because of this, my teacher let me play pianos quite freely. I play my favourite composer’s music such as Debussy, Bach and Ravel then brush up my expressive technique.

Why did you go to Jazz field?

Playing the piano is so natural for me, and this was the only way of living life for me. I also had a natural feeling to play the piano in front of audience – I have chosen a restaurant with a piano for part time work when I was a student at 18, then played the piano when I was off 🙂 I met a jazz pianist at the time that I have to decide future job. When I listened to it’s music, I spontaneously got great interest in harmony. “What’s the hell is this??” I have already got my interests in harmonies when I learn classical music too. That is one of the reasons why I attracted possibilities of jazz music. I went to a music college to learn bebop jazz for 4 years.

How did you feel about jazz after learning classical music.

That was difficult. First of all, the way of approach is very different. In classical way, you may need to try to understand intentions of those composers then express it with beautiful sounds that evoke visual scene. But in jazz, you will play with other musicians – you got bass, drums – you really can’t hear your piano sound (laughing). When I listened to old jazz records, sometimes you’ve noticed piano is untuned half tone or hear some roaring sounds of man. I was a bit confounded to be honest when I started. It was totally different from classical music. I have learnt mainly bebop at school, therefore I finally started listening to my favourite musicians such as Bill Evans, Keith Jarrett or recent remarkable musicians after I graduated. Then I gradually understand and got more into jazz music, finally I become more understanding of old record sources.

Yokohama Calling – Sumire Kuribayashi – JazzLife Magazine CoverWhat made you thrill about playing jazz?

I found that playing with other musicians is the most profound aspect of jazz. I also am learning life through relationships or communications with other people, it’s like I experience epitome of life in every sessions. You can create jazz from scratch but you must have responsibilities. I really enjoy playing and creating music with other people. That is the reason why I really got into playing jazz.

In classical music, I used to play the piano visualising imagery like “a drop of water rippling on the surface of water” but in jazz improvisation, this approach is not suitable as you really focus on sounds. Music improvisation is created from the situation that musicians are dedicating and focusing on it 100%. But creating music for film is other story.

You compose music too. Do you think your own music will be changed in relationship with other co-musicians?

Yes I think so. Some musicians try to play my music by understanding my intentions and some people try to destroy it first then reconstruct new things. Sometimes they will complete music under my instructions but musicians I play with now are the people who want to see new sceneries every time we play. Therefore, we create only one-off sound every time we play in harmonies with audience, weather, venues etc. Or, we choose music to match with the day of concert. Interesting music always created accidentally, not by expected smooth situation. I accept other musician’s way, then respond to it so that we can always be very creative. Accident is always welcome, that’s the best part of jazz.

You make duo with Hideaki Kanazawa now, who has been really playing an important role in Japanese jazz industry.

I got to know him through acquaintance three year ago. When I play with him for the first time, I moved and got tears in my eyes because it was so beautiful. It was warm sound from deep love which I have ever listened to before. I really loved his music and he appreciate my music too, then we started duo. Last year, we played together 81 times in duo and 100 times in trio. We are almost family 🙂 From those days, we produce an album called “Duo”. Things I do with Hideaki now, is almost the ideal music that I have been thinking I’d love to do for a long time. It’s like my compilation of my work so far.

Yokohama Calling – Nijuso – Hideaki Kanazawa & Sumire Kuribayashi CD Yokohama Calling – Hideaki Kanazawa & Sumire Kuribayashi in the studio

You have produced two albums in groups.

I have created “the Story Behind” with my inclination of writing letters to audience. It’s quiet pieces describing everyday life feeling. For “Pieces Of Color”, the concept is colourful combination of numbers and musicians. The themes are nature, climates, and humanity. Sounds like beautiful film music created by 11 musicians from Japan and Australia.

Yokohama Calling – Sumire Kuribayashi – The Story Behind CD  Yokohama Calling – Sumire Kuribayashi – Pieces of Color CD

What is your music roots or who influenced you?

I mentioned Debussy, Bach & Ravel from classic and I love Bill Evans and Keith Jarrett. From Japan, I have been greatly influenced by Masabumi Kikuchi. As the same generation, I adore Shai Maestro. He adapts contemporary feeling then try to express his own interpretation of the world with his own technique. Apart from those people, if I am asked “who influenced me the most?” that’s my father.

How have you been influenced by Hideaki Kuribayashi?

His music is always around me since I was a little girl. The music imprinted in my subconscious mind. It still has strong voice to me, very evocative. His music is based on Japanese traditional music but he always adapts his own approach and arrangement. I was so lucky to be brought up with his music and have been absorbing that high quality creation naturally. As a Japanese, his music has quality of elegance / grace / style. That is the sounds that I would like to create too. That is my ideal sound. I sometimes noticed and am amazed when I found similar elements that my father have been taking very great care with, is actually the same elements that I am taking care of in my music.

Jazz was born in western world, but its spirit is all about free expression based on responsibilities. Jazz is a genre which allowed to express yourself honestly. Musicians can brush up their own way of expressions from their own background. I truly adore it and I would love to do the same myself. My dad is saying “I will be retired soon” but in the future I would love to do collaboration with my dad in any form, not necessarily playing together.

Please give your message to the UK audience.

Sound grows in its land. Many Japanese people study in overseas music schools but my sound has been nurtured and developed in Japan. I really look forward to playing with great local musicians and how we can create our own music together. I also look forward to listening to how you feel when you listen to our music as music is collaboration with audience too. This is the first time to visit London for me. See you there!

Interview by Mayu Ekuni

This interview with Sumire Kuribayashi is available in Japanese here.

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During her visit to London, Erisa Ogawa attended a daytime session along with some fabulous musicians.

Erisa Ogawa – flute
Nikki Yeoh – piano
Mark Mondesir – drums
Alex Davis – electric and double bass

It was a a beautiful day of music making among warm souls and was great to hear several of Erisa’s original pieces in sparkling new interpretations.

Our thanks to photographers Tyler Okely and Ben Ngondo-Cook for the great images.

Our sincere thanks and much love to our wonderful host, Jennie Muskett, and for the use of Jennie’s beautiful piano.

View the full gallery here.

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Erisa Ogawa recently visited London to work with Yokohama Calling in what turned out to be a very busy week for the multi award winning Japanese flutist.

Yokohama Calling – Erisa Ogawa – London Heathrow

After arriving at London Heathrow in the afternoon there was just time to drop some bags off at the hotel before heading out for dinner with the Yokohama Calling team followed by a jam session at Ronnie Scott’s Jazz Club in Soho.  In true ‘jam’ tradition this continued til 3am.

Yokohama Calling – Erisa Ogawa attends several jam sessions across London

During the following few days, Erisa also attended jam sessions at Spice Of Life in London’s Soho, Mascara Bar in Stoke Newington, London and also sat in on the main show with fabulous band The Ronnie Scotts Blues Explosion at Ronnie Scott’s Jazz Club, Soho, London.

Yokohama Calling – Erisa Ogawa sightseeing in London and Paris

Another day and a little time for sightseeing in London was followed by a team visit to a very inspiring concert by Makiko Hirabayashi Trio at Pizza Express Jazz Club, Soho, London.

World Heart Beat Music Academy 
This turned out to be a real inspiration and highlight of the week for Erisa and all of us. The work that the academy and it’s staff does is truly amazing and makes a huge difference to the community it serves, transforming young lives through music.

Erisa held a workshop for students at the academy. There were several flutists among the students who were eager to ask questions and learn from Erisa. They spent time playing their flutes together as a group, and the students were particularly excited by Erisa’s lesson on ‘flute beatboxing’.

Sahana Gero MBE, the academy’s founder and artistic director, is a remarkable and inspiring woman. Sahana explains:  “Learning a musical instrument gives a child an immense sense of personal achievement, self-expression, community and connectivity. The emotion, discipline and structure involved takes them on a journey far beyond their initial expectations and they soon recognise that there are no limits.” 

Please take time to visit the academy’s website and learn more about the cause and the community.

Yokohama Calling - Sahana Gero and Erisa Ogawa with students at World Heart Beat - LondonYokohama Calling - Erisa Ogawa demonstrates looping and 'beatboxing flute'at World Heart Beat - London

View the full gallery of Erisa’s visit to World Heart Beat here.

An early start…
A daytime session with Nikki Yeoh (piano), Mark Mondesir (drums), and Alex Davis (bass) – see gallery here – was followed by a guest performance at ‘A Canteen’, Chelmsford, with Nikki Yeoh (piano), Nick Cohen (bass) and Andy Gangadeen (drums).

Yokohama Calling – Erisa Ogawa, Nick Cohen, Nikki Yeoh, Andy Gangadeen

See full gallery here.

Paris was also on the itinerary and the pace didn’t let up. There was some sightseeing, time for French cuisine and some performances at jam sessions. Then it was back to London for more music making.