End of Summer Update
Guest User
This summer has been one of heart-warming celebrations with loved ones, inspiring collaborations with old and new friends, and new creative opportunities and challenges for myself. As the fall approaches and I prepare for what lies ahead on the horizon, I wanted to take the opportunity to reflect back on and mention some of the most memorable moments from the past few months.
June was a busy month. I had a solo performance at the annual Japan Society Gala for a large crowd of international leaders in finance, politics and diplomacy, and I was warned multiple times that they may not appreciate something too “difficult.” They suggested that I should play something “accessible” and “catchy” for this event. However, being that I have always only created music that I like to listen to— improvisational, experimental, free, connected to and inspired by the past but always with a twist— I had no choice but to play the same way I always have. I used my loopers, delays and effects and played my odd-metered improvisational compositions. I have to say, the “stiff” corporate folks in their tuxedos and gowns were along for the ride from beginning to end, and it turned out to be a lovely and sensitive audience who appreciated the abstraction and freedom.
On stage at the Japan Society 2023 Gala.
Following that experience, I headed to Massachusetts for a performance with the Groton Hill Orchestra. Having grown up listening to both of my parents play in the St. Louis Symphony Orchestra, these opportunities to collaborate with orchestras feel very full circle. When I performed my first work for orchestra in 2018 with the Sydney Symphony Orchestra, it felt like a form of validation for the combination of my bizarre sonic world and the orchestra world. Now it feels like one facet of my art— something I need to continue developing and growing. Now it’s a chance to bask in the sound of the shinobue wrapped in a blanket of fifty strings. It’s time to learn how to place the sound of taiko IN but not ON all those delicate layers. Semba Kiyohiko once told me that they don’t HIT (叩く) the drum. They SOUND (鳴らす) it.
An image from rehearsal before the concert with the Groton Hill Orchestra.
The latter half of June was more traveling interspersed with time spent with friends and visits from family. In Tivoli, NY I performed at the celebration for world-famous dancer, choreographer and close friend Mikhail Baryshnikov’s 75th birthday. It was a pleasure to share the stage with other extremely talented artists and performers like Laurie Anderson, Regina Spektor, Diana Krall, Boris Grebenshikov and Mark Morris. I am so grateful to all the wonderful folks at the Baryshnikov Arts Center and the Kaatsbaan Cultural Park where the event took place.
I also played a gig where, for the first time in a long time, I did not have to schlep any drums around. Percussionist Rogério Boccato brought myself, Gamin and Keita Ogawa together under the name ‘Four Elements.’ We focussed on instruments that were made of skin, wood, bone, seeds, etc. no plastic or metals. I took it a bit too literally and (joyfully) came with only my flutes. I did, however, have to schlep my drums off early the next morning to Fayetteville, Arkansas for performance as part of the Silkroad Train Station Trios, this time featuring Shaw Pong Liu and Balla Kouyate. The performances of these Train Station Trios by various Silkroad artists, including myself, have been exploring stories of the African American, indigenous and immigrant communities that built the transcontinental railroad. You can listen to a recorded interview were we discuss the project more by clicking the link here.
Four Elements (from left): myself, Keita Ogawa, Rogério Boccato and Gamin.
The beginning of July came with some much needed rest and respite. We celebrated my birthday with lovely friends who came to the rescue with coolers and food when our fridge died the night before my birthday, spoiling the feast my partner Yurie had prepped during the prior two days. Back spasms after the weeks of activity kept me off my feet, enjoying the quiet moments and slipping into another world through the pages of a book. We ate home-grown cucumbers and celebrated Tanabata (Japanese summer festival) with my daughter Shinobu and her friends, and before I knew it I was back on stage playing with Tomas Fujiwara, Patricia Brennan and Tim Keiper at one of my favorite spaces in NYC, the Noguchi Museum.
August began with celebrating Yurie’s birthday alongside our close friends at our home. The following day was our anniversary, but with our hearts so full from the prior night, we did not remember until the day after (haha). We made up for it by planning a celebration of the last 2 years living in our new dream space, and at Yurie’s request we made this occasion into an initiation rite and I set up my instruments and played a couple pieces. This experience directly led to putting on my first official home concerts which has been a dream of ours since moving in. I was inspired by Takigino (noh theatre by firelight) and had two small fires going along with candles provided by the wonderful folks at Lomar Farms. The smoke caught the sunlight piercing through the trees, and the way the sounds reflected off the moss covered stone was mystical. The solo work I do is called Incense and this was one of the most meaningful presentations of it.
I will spend much of September in Japan for a recording project (more on that later!) and be with my parents as they visit their home country for the first time in many years while saying it may be their last. I’m unsure about that, but I know it will be a meaningful trip.
If you would like to follow my whereabouts to know when I am performing near you, you can follow me on instagram or facebook. Also, feel free to sign up for my mailing list to get updates on blog posts, upcoming performances and more. Just click the small envelope at the top right-hand side of this web page and send me a message with your email address saying to add you to the mailing list. Thank you all for the continued support.