Interview: Yuta Kato talks Suzuki sensei, Saburo sensei, Hachijo, and Yodan Uchi

I had a fun time talking with Yuta Kato about his experiences in Japan. There were a lot of different topics we could have covered in this interview but I primarily wanted to hear about Yuta’s studies with the two very important teachers we have in common: Kyosuke Suzuki sensei and Saburo Mochizuki sensei. This discussion brought up many ideas we find important such as artistic integrity, teaching skills, the value of studying in Japan, and the different points of view on Sukeroku Daiko’s iconic piece Yodan Uchi. I also asked Yuta to share his story about becoming a passionate advocate for Hachijo Island, its taiko style, and the culture of the people there. This topic prompted us to converse about concepts like the importance of ryuha and iemoto (school and its leader) in traditional arts, striving for honesty in our soloing, efforts to connect people by removing barriers, and the valuable lessons that kumidaiko players can acquire from traditional Japanese music.

The impetus for this interview came in part from my recent discussion with Yuta and Masa Miyano about the upcoming event DONference at Asano Taiko US. In addition to covering the details and logistics, I felt like we touched upon some important concepts which could be covered in greater depth. If you haven’t checked that out, I would recommend it as a good supplement to this interview. I would like to thank Yuta for taking valuable time out of his schedule to talk with me. I think we were able to go beyond the surface and talk genuinely about some very meaningful things in music and life.

Yuta and Masa interview
https://www.eienhunterishikawa.com/blog/interview-yuta-and-masa-talk-about-donference

DONference website
https://www.solatidon.com

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Yuta Kato was born and raised in California to a Japanese-only speaking family. Introduced to taiko by Kagami-Kai, a local rice-pounding group, he decided to further his studies with San Francisco Taiko Dojo at the age of 10. Since then he has been a part of UCLA Kyodo Taiko, Nihon Taiko Dojo, Getsuyoukai, and professional groups: TAIKOPROJECT, ON Ensemble, and Portland Taiko. From Fall 2007 until Winter 2011, he resided in Japan to study under masters of various traditional Japanese music. Upon returning to the US in 2011, he served successfully as Coordinator for the 2011 North American Taiko Conference, one of the largest gatherings of taiko players from around the globe.

Kato is also a sought after taiko instructor and has been invited to teach throughout the world. He currently resides in California serving as the principal and instructor for LATI (Los Angeles Taiko Institute) housed at Asano Taiko US, which opened in 2013. He performs as a member of UnitOne (Torrance, CA).

Los Angeles Taiko Institute
https://taiko.la

Asano Taiko US
http://asano.us

Interview: Yuta Kato and Masa Miyano talk about DONference

I had a fun and informative conversation with Yuta Kato and Masa Miyano about the upcoming taiko conference at Asano Taiko US called DONference. We touched on topics such as:

- how to pronounce DONference
- why this conference is happening
- the details such as schedule, registration, and concept
- workshops, student recital, and concert lineup
- Eien’s workshop & 30 Days of Taiko Skills video project
- other fun activities
- how to learn more about this event

Registration is open starting today and you can find more information at:
https://www.solatidon.com

I am teaching workshops at DONference and am currently running a fundraiser called 30 Days of Taiko Skills to help support this event. You can see my videos and make a donation here:
https://www.eienhunterishikawa.com/30-days-of-taiko-skills

Thank you to Yuta and Masa for making time to talk about this conference. I am also grateful to Asano Taiko US and Los Angeles Taiko Institute for hosting this event and asking me to be part of it.

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Yuta Kato was born and raised in California to a Japanese-only speaking family.  Introduced to taiko by Kagami-Kai, a local rice-pounding group, he decided to further his studies with San Francisco Taiko Dojo at the age of 10. Since then he has been a part of UCLA Kyodo Taiko, Nihon Taiko Dojo, Getsuyoukai, and professional groups: TAIKOPROJECT, ON Ensemble, and Portland Taiko. From Fall 2007 until Winter 2011, he resided in Japan to study under masters of various traditional Japanese music. Upon returning to the US in 2011, he served successfully as Coordinator for the 2011 North American Taiko Conference, one of the largest gatherings of taiko players from around the globe.

Kato is also a sought after taiko instructor and has been invited to teach throughout the world.  He currently resides in California serving as the principal and instructor for LATI (Los Angeles Taiko Institute) housed at  Asano Taiko US, which opened in 2013.  He performs as a member of UnitOne (Torrance, CA).

Masa Miyano began his taiko career with UC Irvine's Jodaiko in 2008. After graduating in 2012, he became a member of the performing ensemble, Prota. He is also currently a member of UnitOne, the ensemble in residence at Asano Taiko US, and is an instructor/coach at LATI (Los Angeles Taiko Institute).

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Interview: Katsuji Asano of Asano Taiko US - 日本語 (translated by Julia Asano)

Katsuji Asano of Asano Taiko US

I am very excited to feature Katsuji in this interview, which was superbly translated by Julia. It has been a pleasure working with Asano Taiko US (ATUS) and the Los Angeles Taiko Institute (LATI) since they opened their fantastic facility in Torrance, California - offering workshops, co-coordinating Kyosuke Suzuki sensei's US workshop tours, and helping to make Edo Bayashi materials available on their online store. My first visit to ATUS was filled with a sense of awe at the scale and commitment to quality in every detail. The two main studios are equipped with everything a drummer could want: high-tech sound dampening in the walls, beautiful floors and mirrors, white boards, amplifiers, comfortable temperature, and of course the incredible number of amazing taiko sitting there ready to play.

Asano Taiko US

Operating out of this facility is LATI, a one-of-a-kind taiko school offering an extensive array of classes taught by some of the most experienced and thoughtful teachers I know. I especially appreciate the balance of older and newer taiko forms originating from Japan as well as elsewhere. Because of its clear significance, ATUS has quickly become a hub of high-quality workshops, hosting a constant stream of musicians and educators offering an assortment of topics in various genres. 

Katsuji helped to fund my Edo Bayashi intensive in Tokyo in October 2016 where I was able to deepen my study of this festival music through one-on-one lessons with Suzuki sensei. I'm certain that his thoughtful responses in this interview provide insight into his vision of advancing the art form of taiko, and I'm happy to be involved in this symbiotic partnership. I also want to thank Julia for making this information available in English, capturing the essence of Katsuji's answers much better than I could have.

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1. Can you describe the history of Asano Taiko and how Asano Taiko US (ATUS) was opened in Torrance, California?

Asano Taiko US in Torrance, California

私がアメリカの太鼓を初めてみたのはNATC2005年LA。この時「太鼓」が海外でこんなにも熱狂があるものかと衝撃をうけました。そして独自のコミュニティー、情報を共有するなど日本は無い形だった事に新鮮な気持ちと、このように発展してる太鼓界がとても面白く感じました。

Juliaとも出会い、アメリカの太鼓界にも少し関わったりする中、もしアメリカで太鼓屋の拠点があったらどうなのか？太鼓文化がもっともっと発展していくのでは？日本にも世界ににも良い影響が与えられるのでは？ビジネスになるのか？などたくさんの疑問から始まりました。太鼓文化の発展に関わる事ができたらどんなにやりがいのある事になるかと夢と希望が湧き、そして2011年のNATCの盛り上がりとお話を聞くなかででやろう！っと決め本格的に動きだしました。

場所の選定では西海岸、東海岸か。日系コミュニティー、太鼓チームが多い地区、日本との行き来、世界のハブ。

多方面の要素が踏まえLA近郊で決めました。LA近郊で治安問題を踏まえ探していくとまずは新しくてこれから発展していくアーバイン近郊が候補に入ってきましたが、交通の便、物件の良さがあったのでトーランスに決めました。

The first time I saw taiko being performed in America was at the 2005 North American Taiko Conference. I was surprised to see how popular taiko was and how different the U.S. taiko was from Japan. Taiko players in the U.S. are very open natured and willing to share their knowledge of taiko which was both surprising and interesting for me. 

After meeting Julia, I had opportunities to participate in many American taiko events and started to wonder, what if I started a business in the U.S.? Would the taiko community grow even more? Would Japan, or even on a larger scale, the world have any effect on this unforeseeable challenge I’m about to embark on? Can we make this a business? I started pondering many questions to myself. After attending the 2011 North American Taiko Conference and seeing the US taiko community again, I decided to take the first step and start the business.

My first debate was choosing the right location. Should I start the new business in the east coast or west coast? After researching which areas had the most taiko groups and a bigger Japanese community, I decided that Southern California is the place to be. I chose Torrance as the city due to its accessibility for commute and ideal properties. 

2. What is the Los Angeles Taiko Institute (LATI)?

Los Angeles Taiko Institute

http://taiko.la
LATI is a taiko institute housed in Asano Taiko U.S. located in Torrance, California. We opened in July 2013 (when Asano Taiko U.S. opened) and started with less than 20 students and now have over 200 students coming every week. We offer various types of classes for all levels and have 9 instructors who teach anywhere from 2 yr olds to students in their 70’s.

3. UnitOne, the ATUS taiko ensemble, consists of very experienced players. What is the artistic vision and mission for this group?

UnitOne at 2015 North American Taiko Conference

始めたきっかけ
How it started

日本の場合は島国、小民族で形成されていたので限られた音楽性（これは良い事であり、何百年と続いている伝統芸能などある）で次世代に繋がってきています。チームプレーに徹する事が日本の和太鼓の良さにもなっていると私は思っています。

Due to our country being an island nation, I believe that when it comes to musicality, the style of music becomes limited as they get passed on to the next generation (I would like to note that this is a good thing, as this is how traditional art have been continuously protected and honed over the generations). Because of its small ethnic group that Japan is based on, I believe it created strength in team play when it comes to expressing Japanese Taiko.

逆は独創がなかなか生まれにくい。持っているグルーブ感が限られている。アメリカでは色々な文化が入り混じり、様々なジャンルの音楽に触れ合う機会が多いです。そして人々の中にそういった日本にはない感性が多く入ってます。現在のアメリカの太鼓でよく見られるのは独創的な音楽性。一人一人の個性が非常に際立つ事。

However, the downside to this close-knit formation is that it becomes harder to create new and innovative music with originality. The groove feeling of the artists have become limited. But in America, various cultures and backgrounds intertwine, allowing many opportunities to interact with diverse genres of music. It from this melting pot where taiko in the U.S. have the sensibility that Japan has yet to experience. Taiko in America has its strength in originality, their ingenious musicality standing out in each and every player.

いと昔は日本と同じでチームとしての統一感があり、アメリカの太鼓文化も今まさに「変化」していっている状態だと思います。この日米のいいところを伸ばす事ができるチームが出来たらおもしろい！とおもいました。私が日本の良い所を取り入れながら、プレイヤー自身のもっているものを生かせればと。

Currently, I believe that taiko in both countries have the same sense of unity as a team which has always been unchanged, yet we are in a place where taiko culture is facing a shift before our very eyes and “transforming” into something new. Instinctively I felt that it would be amazing if we can develop a team that can incorporate the strengths from both countries!  My hope is to deliver the good components of Japanese taiko, and give life to the potentials in each taiko player here in the U.S.

また私のそばに素晴らしい太鼓プレイヤーがいる事が始めようと思った非常に大きなポイントです。基礎を大事だと思ってくれ、また自分自身を成長しようと思うプレイヤーがここには多くいます。そのような太鼓打ちを輩出していく事もこの会社の使命だと思っています。

Lastly, the major reason why I decided to start this company is because I am surrounded by amazing taiko players. Many of the players here put much respect in the foundation and philosophy of taiko, and take it upon themselves to incorporate it back into their lifestyle for their own growth. I believe it is our mission as a company to continue this cycle and produce more taiko players such as them, making a mark in the art and history of traditional Japanese music in America.

4. What are some of your observations regarding the North American taiko scene?

・コミュニティーを大事にしている
・太鼓楽しく打つ事を大事にしている（日本と違い表に出す）
・自分らしさを太鼓を使って自分なりに表現している
・ベテンランも学ぶ姿勢がある
・情報を共有している
・新しい道を探している

- They look after their community
- They value the ideal of enjoying taiko (compared to Japan, they openly express their emotions)
- Taiko is used as their way of expressing their individuality
- Even the seasoned veterans are in a humble stance to learn
- They share their knowledge and expertise
- They are always passionate and striving to broaden their horizon

5. In 2015, ATUS sponsored Kyosuke Suzuki sensei’s workshop tour of California, Oregon, and Washington. Can you talk about some other ways in which ATUS is contributing to advance the art form?

NATCへはここにある全楽器を持って行き貸し出しします。Taikoインビテーショナルへの楽器の貸出。日本からのゲストを呼んでWSを行ったり,交流と技術の習得を支援。

We lend all of our studio drums to TCA during the North American Taiko Conference, and also to Intercollegiate Taiko Invitationals. We invite artists from Japan to host various types of workshops to bridge American artists in hope that they can have more access to Japanese art forms. 

6. What products and services does ATUS offer in the Torrance facility as well as the online store?

Asano Taiko US in Torrance, California

浅野太鼓商品全般を販売しています。在庫が置いていない商品でも日本に在庫があれば１週間程で届くシステムができています。また販売に関して特注品（バチや衣装、その他の楽器、台など）も受け付けており、できるだけプレイヤーの要望に応えられるようにしています。祭り関係のお店とASANO TAIKO USが直接取引きがあるので太鼓に関わるものを大体提供できます。また太鼓の締め直しや革の張り替え。浅野の商品以外での修理も受けています、修理はASANO TAIKO USで行うので時間と費用が随分抑えられます。「太鼓の音を育てもらう」そうゆう風に楽器と一生付き合って行ってほしい願っています。Online shopも開設して全米、世界に向けて販売が可能になっています。

We sell Asano Taiko products here at Asano Taiko U.S. Products out of stock can be ordered from Japan and we will receive them in 1-2 weeks. We also accept customized orders mainly on costumes, bachi, taiko, and stands, hoping to cater to all the needs of the taiko player. Asano Taiko U.S. has direct contracts with many shops that carry festival goods, allowing us to be able to supply most items relating to taiko and we also offer reskinning and restretching service. We gladly accept repair orders even for non-Asano brand items, and since repairs are done on-site, time and cost can be reduced greatly. We have also established an online store so now customers throughout the world can place an order with us. 

7. Do you have any events coming up in the next several months?

4月バチBBQ
6月大江戸助六さんWS（予定）
7月ブリーチ祭り
8月NATC
12月発表会

April - Bachi BBQ (LATI event)
June - Oedo Sukeroku Taiko workshops
July - Bridge USA performance
August - North American Taiko Conference
December - annual recital

8. What are some long-term goals for ATUS and LATI?

より多くの人に「太鼓」に関わってもらう事。
Growth of the taiko community.

「和太鼓」という芸能の価値を高める事。
To branch out and root deep in hopes that “taiko” will become a higher valued art form.

太鼓プレイヤー全体のレベルアップ。
Improve skill levels of all taiko players.

日本では出来ない事をアメリカでやっちゃう（色々な意味で）。
Challenging many things that are possible only in the U.S.

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Katsuji Asano of Asano Taiko US in Torrance, California

Born in 1983 into the famous Asano Taiko drum-making family, Katsuji Asano quickly discovered a love for both business and the arts.  After graduating from Kanazawa Institute of Technology in 2006, Asano joined the Percussion Division of Yamaha Music Trading Corporation. 

In 2006, Asano returned to taiko (Japanese drums), and began work at Asano Taiko, Inc. in Ishikawa prefecture.  He learned both the craft of Japanese drum-making and the business side of marketing, working directly with taiko artists.  With hopes of spreading the art of taiko on an international scale, Katsuji Asano opened Asano Taiko U.S., Inc. in 2013, the first facility of its kind outside of Japan to offer an instrument store, on-site workshop, and taiko school staffed by professional taiko players.

Links
Asano Taiko US
Los Angeles Taiko Institute
UnitOne

Interview: Isaku Kageyama talks taiko, music school, and teaching

Isaku Kageyama

Since meeting Isaku several years ago, I've been interested in his unique career path as a professional musician. In this interview, he talks about learning from his first teacher Kenny Endo, becoming a member of Amanojaku, attending Berklee College of Music, music education training at Longy School of Music, teaching at Los Angeles Taiko Institute, and performing with UnitOne (Asano Taiko US taiko ensemble). I have included some music from Isaku's album IK: Yatai, Sanctuary (Featuring Yoshinori Kikuchi), Mr. KE (Featuring Swavek Kowalewski), and Winchester's Groove (Featuring Cari & Winchester Nii Tete).

After we got through my questions, Isaku asked my thoughts about the topic of his upcoming talk for Japan Foundation Los Angeles: asking whether there is such a thing as 'Japanese taiko' and 'American taiko.' Because this was his topic, we decided to post the conversation on Isaku's website. I would encourage everyone to check it out and comment on whether you agree or disagree with either of our opinions. Isaku's website is full of useful information including articles, music samples, and so much more.

Conversation on Isaku's website

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Isaku Kageyama is an eclectic and versatile taiko performer, hand percussionist, and drummer, currently working with groups such as Asano Taiko UnitOne, film-scoring extravaganza The Masterpiece Experience, world music group Rhythm of the Universe, anime band Soulandscape, and the LA Japanese Music Ensemble. His resume includes major corporate events and TV commercials for global brands such as Boeing and Toyota, performances at Carnegie Hall and Lincoln Center, and tours including nations such as Brazil, China, Thailand, United Arab Emirates. Formerly a principal drummer of premiere ensemble Amanojaku, he holds a Bachelor of Music from the Berklee College of Music and a Master of Arts from Longy School of Music of Bard College. He is also a two-time National Odaiko (large drum) Champion, becoming the youngest person to win highest honors at the Mt. Fuji Odaiko Contest in 2000, and Hokkaido in 2003. 

Isaku's website

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Edo Bayashi & Shishimai expert Kyosuke Suzuki sensei

Suzuki sensei has been one of my most important teachers over the past ten years.  My first opportunity to meet and work with him was during the Kenny Endo Taiko Ensemble 2005 tour and I remember being immediately struck by his deep commitment to the highest performance standard.  North American audiences may know him best as the brilliant shishimai performer with a lengthy and life-like repertoire of choreographed actions such as playing with a butterfly, licking its leg, eating a mikan (tangerine), searching for food, and interacting with the audience.  Although 'shishimai' is usually translated as 'lion dance,' Suzuki sensei has mentioned in workshops that the shishi (獅) is a mythological creature, not technically a lion.  He also contemplated that the word 'dance' may be closer to odori (踊り) than mai (舞) because of the subtle differences in implication.  This kind of detailed explanation is a great illustration of Suzuki sensei's dedication to the meaning of this traditional art form which helps us understand its context and perform it more appropriately.  Anyone who has studied with him would likely agree that he is a masterly instructor who is kind and patient while never compromising his expectation of the highest artistic integrity.

Edo Kotobuki Jishi at 2011 NATC concert

Suzuki sensei is also an exceptional musician on Japanese flutes (nohkan, shinobue), taiko, atarigane, and piano.  Based in Tokyo, he belongs to the acclaimed Wakayama Shachu, a performance troupe and school in the tradition of Edo Sato Kagura, recognized as an important intangible folk cultural asset by the Japanese government’s Agency for Cultural Affairs.  It would be absolutely fantastic if someone was able to present the kagura performance by Wakayama Shachu in North America one day.  Seeing performances and studying these traditional Japanese music forms have been invaluable to my own musical development, and I'm always encouraging other taiko and fue players to research and engage in the rich history of these instruments.  One of my personal performance highlights was at the 2011 North American Taiko Conference evening concert where I appeared on stage with three of my teachers (Suzuki sensei, Saburo Mochizuki sensei, and Kenny Endo) for Edo Kotobuki Jishi.

Last summer, Yuta Kato (Asano Taiko US & Los Angeles Taiko Institute) and I worked to bring Suzuki sensei for a two-week teaching tour that included San Jose, Los Angeles, Portland, and Seattle.  For much of this trip, I accompanied and translated his workshops and private lessons, covering Edo Bayashi (festival music of old Tokyo) and Edo Kotobuki Jishi (shishimai of Edo).  I've also translated for Suzuki sensei on previous occasions, and the more I see his teaching, the deeper my appreciation for his approach becomes.  His pace of instruction is fast, yet meticulous.  His energy is usually greater than everyone else's combined as any workshop participant can attest to.  And the session is truly free of extraneousness.  His insistence on vocalizing music parts (kuchishoga) and his frequent demonstrations are my favorite parts of the workshop.

See videos and more info about Suzuki sensei here

I'm excited that Asano Taiko US in Torrence, CA is now selling the recommended fue, bachi, sheet music, and CDs for Edo Bayashi and Edo Kotobuki Jishi.  These materials are used by Wakayama Shachu and recommended by Suzuki sensei.  It's great that now anyone can order them from the Asano US online store. 

See the recommended materials here

Please contact me or Asano Taiko US for questions about the instruments and to receive updates for future opportunities to study with Suzuki sensei.  His workshops and lessons are always followed by enthusiasm and positive feedback, so the more people there are to join me as his fans, the more often we can invite him over to share his expertise with us.