New Conversation with Bachido's Kyle Abbott

Delicious pour over of Kyle's home roasted coffee

During my recent working vacation trip to northern California, I was able to squeeze in a visit to hang out with Kyle Abbott in Santa Cruz. I first met Kyle in February 2016, and on that day I had the very impromptu idea of recording our conversation for my new blog. Part of the reason for my initial visit was to ask Kyle about his experiences selling instructional videos on his excellent website Bachido because I was preparing to start producing my own videos. In the almost two years since, I have posted numerous interviews on my blog and uploaded ten instructional videos in my store. This new frame of reference made our recent conversation especially fun and meaningful for me. It was a fun day of recording, drinking Kyle's fantastic coffee, tasting local beers in town, and cooking a great dinner on the grill late into the night.

Last year I provided some percussion for Kyle's album Frosty: a retrospective Christmas. Full of unusual arrangements of traditional Christmas songs, I always describe this album as the most uniquely interesting material on your holiday playlist. With shamisen, taiko, throat singing, shakuhachi, and various other instruments, it's bound to turn heads and prompt inquiries at your next party. You can contact me for a copy or visit the Bachido store to purchase.

Earlier this year, Kyle and I also collaborated on the planning of "Tataki," a weekend workshop series where taiko and shamisen players gather to try out each other's instruments and to discover how to play together effectively. Unfortunately we had to postpone the event due to not reaching the enrollment minimum and being declined on our grant application. We predicted that it would be a great event, but perhaps our idea was too progressive and ahead of our time? It's difficult to know if the timing was off (March 4-5, 2017) or the interest is not there, but we will be trying again in the future. Subscribing to our newsletters is the best way to stay updated for future event announcements like these. 

We talked long enough that Kyle split it into three segments. The first two are posted on his website's Bachi On The Horn series, and the third is below. We delved into a handful of topics including the importance of feedback from your teacher, hierarchy of ways to study, the value of current technology, and the small world of musicians where interesting connections are constantly being discovered. We started talking indoors, but that room needed to be vacated so we continued out in the back yard. It was a beautifully sunny late afternoon - ideal for recording a podcast except for the dozens (or hundreds) of crows gathering right above us. Hopefully this audio reminiscent of a certain Hitchcock film won't be too much of a distraction. I would definitely encourage everyone to check out all three parts, especially where we discuss the similarities between coffee tasting and music. Kyle and I are both home coffee roasting enthusiasts and this topic came up on our 2016 conversation as well.

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After concert photo in Santa Cruz with Robbie Belgrade, John Kaizan Neptune, and Kyle Abbott

Links

Bachi On The Horn podcast Parts 1 & 2

Frosty: a retrospective Christmas album

Kyle Abbott interview from February 2016

Tataki - Shamisen and Taiko Workshop

Mike Penny interview

Alvin Ryuzen Ramos interview

Kyosuke Suzuki sensei information

After concert photo in Los Angeles with John Kaizan Neptune, Mike Penny, and Kojiro Umezaki

John Kaizan Neptune documentary film

Kenny Endo interview

Monty Levinson website

Eien's instructional videos

Interview: Kirstin Pauka talks taiko, Asian theater, cats, and the artist life

Kirstin Pauka, professor of Asian theater at UH Manoa

I recently had a fun conversation with Kirstin Pauka, professor of Asian theater at University of Hawaii at Manoa. Kirstin and I played together as members of the Kenny Endo Taiko Ensemble during my seven years in Honolulu. Throughout this time we went on concert tours in the US, Europe, and all over Hawaii. As I learned in the interview, Kirstin's entry into the taiko world was early, making her the senpai (most experienced) for all of us who trained under Kenny. There are some interesting taiko stories, but she also talks about her professorship and her recent multi-award-winning project "Battle of the Monkey Kings," a Balinese shadow theater production. I also asked Kirstin about working as a director and how to manage successful interdisciplinary collaborations, and other past projects such as "Randai" and "Taiko Drum and Dance." Check out the links at the bottom for video clips of the shows we discussed.

It was fun hanging out with Kirstin during my recent Hawaii trip, where I got to meet her new cat. Because it was so funny, I couldn't edit out the part of the conversation toward the end about cat shadow theater.

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Battle of the Monkey Kings

Battle of the Monkey Kings

Battle of the Monkey Kings

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Kirstin Pauka is Professor of Asian Theatre at the University of Hawaii at Manoa, USA, full-time faculty in the Asian Theatre Program and Director of the Center for Southeast Asian Studies. Her primary area of specialization is theatre of Southeast Asia. She has done research on Randai theatre of Sumatra, and has published books, multimedia titles, and numerous articles on Randai and related topics. Dr. Pauka has produced and directed several Southeast Asian Theatre productions at UH Kennedy Theatre. In 2001, 2005 and 2011 she directed the US premieres of English language productions of Indonesian Randai theatre which included 6-month intensive artist-in-residence training programs with guest artists from Indonesia. Dr. Pauka has given workshops and lectures in Wellington (New Zealand), Sidney, (Australia), Padang (Indonesia), Amsterdam (Netherlands), St. Petersburg, (Russia), Stockholm (Sweden), Chicago, Seattle, San Francisco, Hawaii (USA), and Toronto (Canada). In Spring 2016 she directed a production of Balinese Wayang Listrik (Shadow Theatre) in collaboration with Balinese artists.

Kirstin Pauka has been studying kumi daiko with Kenny Endo for the past 24 years and has been a performance member of the Kenny Endo Taiko Ensemble for the past 22 years annd has toured with the Ensemble to Europe, Japan, and the US mainland.  Kirstin has received Hawaii State Foundation on Culture and the Arts apprenticeship grants with Endo-sensei in 2007-9 and 2015-16 to study edo bayashi. Kirstin is also a member of the African dance band Jamarek, who just released a new album: Fechal.

Video links
Battle of the Monkey Kings
Randai (2012)
Randai (2006)
Taiko Drum and Dance
 

Hawaii trip: finally back for a visit to teach and perform

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Flying in over Diamond Head

West Oahu

So many gifts - only in Hawaii

I had a fantastic week during my visit to Hawaii. It was hard to believe that I hadn't been back in over seven years, but it quickly felt like I had never left. The average tourist could easily focus on the great weather and spectacular scenery of the islands, but the things I really missed had to do with the daily-life culture there - the generosity and openness of people, along with an easygoing feeling that cultivates time to get together and talk story. Although this was mainly a work trip, these were the things that made my visit possible and so memorable.

The first workshop I taught was for Taiko Center of the Pacific. I started as a student of this taiko school when I moved to Honolulu in 2001, and then eventually became an instructor. This workshop was titled "Pulse, Ji, and Ensemble Playing" and I asked the participants to try my exercises dealing with tempo control, dynamics, following the leader, and producing a consistent sound. I was very pleased with how well everyone played together despite having a wide mix of experience levels. The second TCP workshop I taught was for the youth group. The requested topics included soloing and ensemble playing. When I asked each member what they were interested in covering, the top two answers were to be able to play tighter with the ji (accompaniment) and to create more unique and memorable solos. Everyone could already play well so it was fun working with the students and seeing them adapt to the new concepts I introduced. A huge thank you to Kenny, Chizuko, Brock, Terri, and everyone at TCP for inviting me and putting together the workshops.

Taiko Center of the Pacific workshop

TCP Youth Group workshop

Ryugen Taiko workshop

I was happy to work for the first time with Ryugen Taiko. They requested a composition workshop and it was great to have three hours to spend discussing topics such as inspiration, form, notation, dynamics, and analysis. I enjoyed the energy of this group and look forward to seeing their original compositions in the near future. Thank you to Nolan, Greg, and everyone at Ryugen Taiko for the wonderful hospitality and interest in my workshop.

My final workshop of the week was for my good friends at Nakama, a very special group who I usually catch up with during taiko conferences. Saying they have fun is probably still an understatement, and the laughter is absolutely infectious. There was no preplanned workshop topic but we ended up working on Keith's original piece. I liked having the opportunity to learn the patterns and then find ways to make the music speak more clearly, especially for the sections where there are multiple parts happening at the same time. After the workshop, our party continued over dinner at a nearby Okinawan restaurant. Thank you so much to Dee, Keith, John, and the Nakama family for an unforgettable time.

Post-workshop dinner with Nakama folks

Amazing view from my homestay

On the morning after my arrival, I was trying to sleep in to counteract my jet lag when a text message arrived asking if I was available for a performance starting in one hour. I said yes and rushed down to the chapel at Kapiolani Community College for a lecture demonstration with Kenny Endo and the TCP ensemble, pulling in 5 minutes before downbeat, just enough time to change and hear the setlist. Everything came back to me, including how to wear the costume and the repertoire which I hadn't played in almost 8 years. While this one was a surprise, I actually knew about another performance happening on the weekend. It was a wedding gig at one of the big Waikiki hotels, something I had done many times while living in Honolulu. This one felt like a luxury, as there was a rehearsal and extra time to hang out with the ensemble members. Thank you to Kenny and Chizuko for including me in these performances.

Arriving at KCC chapel for a last-minute performance request

Pre-performance hangout at Waikiki hotel

This trip was a success because of the generosity of my friends, who provided me a place to stay, lent me their car, didn't let me pay for any meals, booked workshops, and provided an unlimited supply of helpfulness. Thank you so much to Kirstin, Dee & Keith, Kenny & Chizuko, Terri & Glenn, Brock, Nolan, Miles, Eric, Ai, and all of my friends in Hawaii. I will be back very soon!

A must visit for fresh udon

Tropical shapes and colors

Nico's and Uncle's on Pier 38 for great seafood

Another Hawaii institution

Recap of performance and workshop tour in NorCal, May 2016

I had a wonderful time on the road in northern California last month. Packing the equipment skillfully into the car is always an important step, having to consider making it all fit, avoiding damage to the car and instruments, accessibility, and proper weight distribution. My equipment list included a vibraphone, four-piece drumset, cymbals, hardware bag, shimedaiko, amplifier, dry erase board, suitcase, a banker box of food, cooler, sleeping bag, and a few other smaller items. The common reaction from folks who helped me load in or out is "wow, you fit all this into that car?!"

photo credit: Tracy Cornish

My first engagement of the tour was an outdoor concert with Kenny Endo at the Satsuki Bazaar in Berkeley on May 22. It was a beautiful day and we had an enthusiastic audience. The other musicians included Mas Koga (shakuhachi, saxophone, shinobue), Noriko Tsuboi (koto), and Hiroshi Tanaka (taiko, percussion). For the final piece "Spirit of Rice," Kenny called up the great drummer Akira Tana to sit in with us. What a blast that was! Akira brought an infectious groove and energy, taking the music to a whole new place. Thank you to Pam and Judy for taking great care of us.

photo credit: Tracy Cornish

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Next door to the Berkeley Buddhist temple is a great Indian music store called Musician’s Mall. My friend Robbie Belgrade works there and he kindly gave me an extensive tour and hands-on demonstration of all the instruments there. I have been big fan of Indian music for a long time so it was a treat to experience this in person. The bansuri (Indian flute) is especially intriguing and I couldn't resist picking one up along with a method book. By doing some preliminary self-study, I hope to gain a bit more insight into this deep musical tradition.

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My next stop was a workshop for Jiten Daiko in San Francisco. They requested the topics of sounds, sticks, and ji playing. Everyone had great energy and thoughtful questions, and I really enjoyed working with all of the members. As taiko players, we are always looking for a space that can accommodate loud drumming, is spacious, has storage, and is affordable. It's great that Jiten Daiko has figured this out! Thank you to Kristi, Jeremy, and Galen for your work in putting this workshop together.

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After a few days of teaching some private lessons in the area, I headed to UC Davis for the 2016 Intercollegiate Taiko Invitational held over Memorial Weekend. It was my first time attending this annual event and I came away appreciating the scope and depth of the current collegiate taiko scene. I was asked to teach two workshops called Solo Composition, which is a subject I enjoy covering. Among the 50 total participants in my workshops, I found that many had an interest in learning how to add more visual elements to their soloing. My approach to soloing is based more on the musical side but we were still able to apply the same concepts to expression through movement. Thank you to Gloria, Lisa, Eric, and Bakuhatsu Taiko Dan for all your work in hosting this event.

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I was unable to stay for the entire weekend of ITI because of having to leave immediately after my second workshop to play a concert with John Kaizan Neptune at Kuumbwa Jazz in Santa Cruz. Admittedly, departing Davis at 5 PM for a 7:30 PM start time in Santa Cruz is a bit risky, but I was fortunate with very light traffic and arrived 15 minutes before downbeat. This was my second time working with John but I have known his music since discovering his album Tokyosphere in the late 1980s. Compact discs were just becoming popular and the first two CDs in my collection were John Kaizan Neptune and Led Zeppelin. Also performing were Robbie Belgrade (tabla, percussion, bass clarinet), Shirley Muramoto (koto), and Kyle Abbott (shamisen). There was also a very special guest in the audience, the innovative creative genius of shakuhachi making in the US, Monty Levenson. John called up Monty to sit in for the final piece where he jammed on the "takeda," a bamboo-only instrument similar to udu and west African drums invented and built by John. I had the opportunity to play the takeda previously and John knew how much I liked it, so I felt honored when he generously gave me the one he was playing during the concert. My friend Kyle offered to host me at his place for the evening and I had a great time hanging out with him late into the night over a complex bourbon-barrel aged stout, discussing music, teaching, coffee, food, and possible future collaborations. Kyle also got up early next morning to make me a great cup of coffee before my departure. Thank you to John, Ginger, Kyle, Leslie, Monty, Kayo, and the wonderful crew at Kuumbwa Jazz.

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My final stop was a workshop for Ichimi Daiko in San Luis Obispo. I had met this group several years ago when I was on tour with Kenny. This was an especially enjoyable workshop because of the warm hospitality and positive atmosphere. I had fun working with this group of mixed ages and experience levels because of everyone's full engagement and willingness to try anything. There was a potluck after the workshop where everyone brought delicious food, giving us the opportunity to relax and get to know each other. Thank you to Ruth, Steve, and the whole Ichimi Daiko group for such a wonderful ending to my tour.

9 takeaways from Kenny Endo's interview for TCA

On April 23, 2016 Elise Fujimoto of Taiko Community Alliance interviewed Kenny Endo by livestream video. I wasn't able to catch it live but did watch it later in the TCA archive. The video link is below and I would encourage everyone to go see Kenny talk about his background, composition, ji (underlying groove), practicing, kumidaiko (ensemble taiko drumming), costumes, and the future of taiko performance. 

See the video here

My connection to Kenny goes way back. We met when I was a little kid living in Saitama, Japan and Kenny was in Tokyo playing with Oedo Sukeroku Daiko. One particularly memorable event was a concert held inside the Maruki Bijutsukan (art gallery known for large painting panels depicting the immediate aftermath of the Hiroshima bombing), where my youth taiko group directed by Saburo Mochizuki sensei shared the stage with Sukeroku Daiko. Many years later, I reconnected with Kenny in Honolulu, Hawaii. Although my excuse to relocate there was to pursue a Masters degree at the University of Hawaii, the real reason was to study and perform with the Kenny Endo Taiko Ensemble and Taiko Center of the Pacific. It was a great seven years and I learned so much about taiko and being a professional musician.

I am listing my top nine takeaways from the interview. Of course there are many more interesting and insightful moments in the conversation so it's worth setting aside the time to listen to the whole thing. If you have some of your own takeaways, please share in the comments section below.

Kenny's website

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1. In recalling one memorable performance, Kenny mentioned going to Moscow for the first time and, having grown up during the Cold War, "realizing it's not the people, but governments that are fighting."

2. "Maintaining your passion and curiosity" will help you have a long and successful career.

3. When composing, Kenny uses a thematic approach. Sometimes a rhythm comes first and other times it starts with a melody. He usually composes melodies on a shinobue (Japanese horizontal bamboo flute) or keyboard.

4. For Kenny, the elements of a great taiko performance include the energy and spirit of the performers, overall sound, visual aspects, stage presence, and the actual pieces.

5. In speaking about his experience with Sukeroku Daiko, "the ji alone was enough to make you want to feel like getting up and dancing. It's easy to solo over."

6. Kenny's advice to players of all levels: "try to play every day…when you come together it makes the group stronger." Another one: "the longer you've been playing, the more you need to practice." Finally, Kenny quoted his teacher Saburo Mochizuki: "renshu wa kibishiku, sorekara ensou wa tanoshiku, meaning practice with discipline, hard work, and focus so that you can be comfortable and enjoy the performance."

7. Kenny says "in workshops I find that people can solo better than they can play the ji. A lot of times the ji is overlooked. It's kind of like the foundation of a building – if it's strong you can build anything on top but if it's weak, no matter how fancy the building, it's going to have problems later."

8. Kenny mentions that his practicing routine is half technical (with a metronome) and half creative. "I enjoy and look forward to practicing."

9. Asked about the future of taiko, Kenny says that "kumidaiko is relatively new," and that the many different directions – dance, music, theater – are all valid. He is "optimistic that taiko will keep evolving and we will see lots of great performances come out."