Tag Archives: instrumental

Koto Jazz 39: Old & New Faces at the Royal Room, Seattle

I saw a lot of old faces in the crowd at my performance at the Royal Room (Columbia City, South Seattle) and a lot of new faces.

I can’t thank the old faces enough for coming out to see me play the piano (thank you, thank you, thank you). As we grow in our understanding and expression of koto jazz, it is not possible without your support. What an opportunity to play before a full house on a Monday night. 🙂

I’m also curious about the new faces and why they came. So I went out and talked to them. The feedback I received is that people are interested in the music, but more than the music. They are interested in the flow state and the connection to a spirituality with Nature and the Shinto and Zen Buddhist origins that these Koto jazz pieces introduce to the listener.

I’m surprised I received as much feedback as I did about the spirituality that creativity offers us. On the music side as predicted, people loved certain songs, all the comments came from one of the Koto jazz pieces I wrote (Hatchidori and Kozan no Kaze) and a few endorsements of the variations on known Koto melodies I jazzed up. But it was also the energy they like.

My music is an attempt to re-connect with the spirituality about and around Nature. This spirituality is not locked up in the closed doors of any institution or church, or temple, or shrine. My music serves as a simple offering of our attention to nature and invitation to be present to it in whatever form it takes before us; whether a hummingbird or ripples on creek rocks. Music is one of many vehicles that can unleash that spirituality.

The Shinto influence of it is so much more than the political environmentalism of our time. It’s really not enough for me to say “I drive an electric car”, or “I’m saving up to put solar panels on my home.” Sure, that’s all good, practical good. But it’s not spiritual. It is the essence of the natural world we tend to overlook. We forget that we come from this Natural state and we tend to take it for granted. When do we say thank you in the language of the Creator, that we are grateful for everything created for us in this world? The Creator does not speak a specific human language; not even English. It’s Not just about the stuff We create, but the stuff of Life that’s been here almost forever.

In other blog entries here, I talk about the science of the flow state or Shinto spirituality, ions and all that. Clearly it’s that, but more. I’m interested in all that, because I like science and I like proof, but I’m also interested in the “more” part. There will always be more, and I’m tired of the polemics and ideology that rend our age. I want more, don’t you? I choose today, to pay honor and reverence to that which is “More”; was here long before I came into existence, and most certainly will be here long after I pass on.

The presence of the Natural world in our lives is not a religious proposition, it’s not profound at all, it’s really simple. We can be changed and transformed by it if we “tune in”, if we choose to listen to the language of the Creator. Seek this first, my friend, “and all else . …. ”

Yes, my next big challenge as a musician will be to write a koto jazz piece about the “Sea Slug” (pictured above). If I can write a song about a sea slug, I’m getting somewhere. 🙂

Advertisements

Koto Jazz 36: Flow State in Art & Music

Have you ever been so immersed in a creative adventure that it takes you to a different, alternative plain where your creative expression no longer feels like you, but a part of something more? Wikipedia defines the “flow state” as being “fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity.” It is a serendipitous, spontaneous expression of joy. It is spontaneous because one’s greatest level of creativity emerges from the collective unconscious almost without your own planning it to happen. It just flows out of you, and in many cases, it rushes out of you like a waterfall. It is serendipitous because so much of your unique and beautiful creative discovery almost happens by accident in this flow state.

The energy of the flow state is passed on or transmitted to onlookers, such as an audience, or a passive participant in the activity. I’ve attended many live performances in the creative arts, even visited many fellow word pressers, and whether it’s someone’s live performance, garden reflections, a haiku poem, ikebana flower arrangement, or garden design, I feel the person’s flow state and their creative energy in their creations. This also happens when I listen to a brilliant musical performance. The artist gives me insight into the person’s connection with their creativity, their spirituality, and their connection to the world. Perhaps, this is what Carl Jung referred to as the “oceanic self”, a part of our being that is connected with all of Life, and the energy of Life.

The artistic expression can take us to another plain or spiritual state. I get this when I listen to the “chaos jazz” music of Li Pui Ming, the eternally optimistic consonance of Peter Kater, or in a very different way, the meditation music of Shakuhachi flutist Riley Lee and ukulele composer Jake Shimabukuro. Li Pui Ming takes me into her collective unconscious of order intermingling with chaos and a genius flow state. Riley Lee and Jake Shimabukuro take me to a meditative or contemplative “flow state” much like the Buddhist/ Taoist teaching of being in a state of “action through inaction.” Athletes enter this zone as well, according to Wikipedia. The famous martial arts expert Bruce Lee for example, encouraged his students to “Be like water …Empty your mind, be formless. Shapeless, like water.”

In my own musical performing experiences, it is not uncommon that the music takes me along a ride beyond me, in a zone where the music takes over, and takes me to an alternative plain. I feel this particularly when I play two musical pieces– Hatchidori Wa Hana Kara Hana e Tobu (Hatchidori, for short; translated to mean “The Hummingbird Flies from Flower to Flower”), and Kozan no Kaze (“Alpine Winds” or Alpine Wind Storm). The other day, a fellow musician mentioned after one of my performances that “you are one of those performers who can take the audience to a higher plain.” He referred it as like a “black hole” into the unconsciousness that gives a glimpse into another world or realm of reality. It was powerful to hear that.

I hope I can do that every time I play. But before I can make any credible comment on that, I would say my music needs refinement, and this means I need to play on a real piano with real weighted keys and full depth with an 88- key range more than once every one or two months. Then, at that point, I may come to a place where I agree with this person. It’s much easier to reach that flow state when I’m alone in my room playing my mini- electric keyboard with no one listening.

The artist’s great challenge is to share that openly when the opportunity arises (and we are all artists at some level), and be always willing to push the envelop. Creative expression is full of emotion, and if you keep your peace in tact, share your creativity with the world, even if you don’t think you’re quite ready. So what I mean by being “ready” is not ready performance-wise, but be emotionally ready even if your performance level is not where you believe it can or should be. Look at the crazy popularity of karaoke singing worldwide– it gives people that creative outlet that is now socially acceptable, acceptable to take a stab at belching out your favorite tunes even if you don’t have that refined Whitney Houston kind of a quality voice. For me, while this website does offer some “rough” samples of my music, it’s not yet nearly refined to where it can be, but in any case, I do love the process. I love playing. 🙂 I think you’ll love it too– yes, the music too, but the process. Enjoy the ride, and don’t ever let go of your creative spark! Be the Hummingbird. 😉

Koto Jazz 33: Music & Mindfulness

Music is able to transform the human mind and spirit in similar ways as natural places of beauty. This is accomplished in part by the sound of music imitating nature by rhythmic beat and flow, its movement in and out of patterns, its simple resonation, coloration, depth of sound, and most importantly, its moments of intermittent silence.

Perhaps, my favorite musical pieces, especially those with koto jazz tunes and themes are those that are able to most effectively bring out the melodious expressions of beauty in nature. While I try to do this in all my music, here are a few feature samples of my music where I believe I come close to accomplishing this (I will be featuring these songs when I play at Seattle’s Royal Room on September 8th):

  • Ki Kara Amei no Shizuku (Rain drops from Trees; see the above photo)
  • Hatchidori Wa Hana Kara Hana e Tobu (Hummingbird Flies from Flower to Flower)
  • Kuriku Iwa no Hamon (Ripples over Creek Rocks)
  • Tori No Yo Ni & Koto jazz encore (rough live recording at the Brass Tacks, Seattle)
  • Certain harmony even dissonance, can induce the same euphoric state as inspiration from the natural world. From a health science perspective, it releases chemicals in the brain but also establishes an ionic, possibly magnetic balance in the brain to build upon higher spirituality and higher levels of intuition (again, referring back to James Redfield’s “intuition” in Celestine Prophecy).

    After all, music is made by the passing of energy through strings and other instruments. These “instruments of energy” pass on their energy and nurture our spirits. They often connect us with our subconscious emotions and life experiences, or to the contrary, may help us escape from them. It can also lead our spirits to an enlightened spiritual plain. When a musical masterpiece is played in your presence, do you not feel uplifted and recognize the performer taking you to a higher spiritual plain? I think this is what Ludwig Von Beethoven meant when he said, “Music is a higher revelation than all wisdom and philosophy.”

    This also explains the use of sound in some sects of Buddhism, and the use of the flute in the aforementioned Zen sect (see “suizen” or blowing meditation in Koto Jazz 34: Shakuhachi Flute).

    When we connect with people enjoying the same music, we feel a heightened euphoria and spiritual connection with them, as if we’ve learned something spiritual and profound about them without the need for communication of words. So in that sense, it is a powerful form of human spiritual communication, and communication with a Higher Power.

    Koto Jazz 32: Shakuhachi (Bamboo Flute)

    The most common instrument played alongside the koto instrument is the shakuhachi (bamboo flute). The shakuhachi made its presence in Japan from China during the Edo period as a form of Zen Buddhist meditation called suizen (blowing meditation). As described by Wikipedia, the Fuke sect of Zen Buddhist monks is known as komusō, or priests of “nothingness” or “emptiness”. The shakuhachi is most commonly made of bamboo, its original form. The term itself is an ancient unit of measurement. The instrument is extremely versatile and seemingly limitless in range. But the most distinctive part of the shakuhachi sound is its depth and richness of tone.

    Here is a basic introduction of the bamboo flute, or shakuhachi, and koto music played in harmony together. The following are some I have in my collection:

  • Japanese Traditional Shakuhachi Music, by Satomi Saeki and Alvcin Takegawa Ramos
  • Shakuhachi Flute Meditations, by Riley Lee
  • Sakura-Japanese Melodies for Flute and Harp, by Lily Laskine and Jean-Pierre Rampal
  • The Japanese Bamboo Flute and Koto, by Yamato Ensemble
  • Variatons on Haru No Umi, by Kenji (note how this variation admittedly does not capture the full range and coloration of the shakuhachi as it is converted onto the piano)
  • KotoJazz 22: 3 Key Elements to Japanese Gardens & Koto Jazz

    The Portland Japanese Garden (the Garden) website outlines the fundamentals of the Japanese garden succinctly. So many elements seem to come in threes – Shinto, Buddhist, Taoist – and then the three essential elements – stone, water, and plants (see Portland Japanese Garden, at http://japanesegarden.com/learn-more/gardens/). According to Wikipedia, “traditional Japanese gardens can be categorized into three types: tsukiyama (hill gardens), karesansui (dry gardens) and chaniwa gardens (tea gardens).” (see Wikipedia, Japanese gardens).

    Likewise in Koto Jazz, three fundamental elements are present in the music and sound that makes it unique – Japanese Koto, western influence (rhythm and jazz), and reverence to Nature. To continue this analogy, The Garden begins with the “bones” of the garden, stones. I would parallel this with the traditional Japanese koto musical roots of koto jazz. Though they may vary from one musical piece to another, traditional koto tunes with its spiritual roots provide the base of the “musical garden” of koto jazz. The Garden’s second element is water described as the “life-giving force” of the garden. Likewise in koto jazz, western influences of rhythm and jazz weave within and through koto jazz as its “life-giving force”. Finally, the Garden describes plants as the gardens’ tapestry of the four seasons. This is the embellishment and coloring of the garden landscape, just as inspiration from Nature provides the embellishment and coloring of koto jazz music.

    Other physical elements such as pagodas, stone lanterns, water basins, arbors, maples, and bridges, are provided by this kotojazz.com blog. Feel free to scroll down for information about these elements of the Japanese garden. The above image is a scene in the Portland Japanese Garden showing varieties of colored Japanese maples and a bridge.

    On July 5th at 9pm, you have the opportunity to see some of this koto jazz music on display at the Brass Tacks, Georgetown neighborhood of Seattle. It’s an exciting opportunity to first hand experience the creative energy and spiritual presence of koto jazz. For more information, see “events section” of this website. I hope to see you there!

    KotoJazz 15: “Chaos Jazz”

    “Chaos Jazz” might be a genre of its own, and if that is the case, the east-west connection is alive and well in this category. Some samples of “chaos jazz” I’ve listened to that are connected to koto jazz tunes are:

  • Hatchidori (Hummingbird)- by Kenji
  • Tori No Yo Ni (Like a Bird), version by Kenji
  • Strange Beauty, Who’s Playing, & She Comes to Shore (3 albums), by Pui Ming Lee (the most dynamic, powerful chaos jazz I’ve heard; my recommendation: Strange Beauty (album)), by Pui Ming Lee
  • Nozaki (Edo Gigaku), by Masahiko Satoh
  • Koto Power Trio, by Michiyo Yagi, Jim O’Rourke, and Tamaya Honda
  • Shizuku (album), by Michiyo Yagi
  • She Comes To Shore, by Pui Ming Lee
  • Yuji Takahashi biography; and MP3 music samples, by Yuji Takahashi
  • Improvisational music, by Makoto Ozone
  • Drummin’ Koto- Ney & Guitar Intro to Silent Speech (featuring Mieko Miyazaki (koto), Patrick Goraguer (drums), Nguyen Le (guitar), Kudzi Erguner (ney) by Chris Jennings
  • O-Lim (Ascension) (Red Sun), by SamulNori (images of Korean traditional music and jazz)
  • Record of Changes & Then Comes the White Tiger, by SamulNori

  • Others:

  • Deception Pass, by Scott Cossu
  • Aerial Boundaries, by Michael Hedges
  • Something Ala Mode, by Rondoparisiano
  • Motherboard, by Random Access Memories
  • KotoJazz 9: Islands of Japanese Gardens

    When you grow up in a town like Boulder as I did, which sits at the front range of the Rocky Mountains, it’s not possible to miss out on the majestic boulders towering over the city. These “flatiron”- shaped boulders jut a thousand or more feet into the air like tectonic plates forced up to meet the sky by two converging continents. They stand tall as guards to the doorway of the Colorado Rockies.
    Whether a Flatiron rock laying against the Rocky Mountains or a stone strategically placed as the Buddha in a Japanese garden, there is a spiritual element to the stones we live among. Boulder residents, Silver Wave Records and Grammy award nominees Peter Kater, Carlos Nakai, and Steve Haun were undoubtedly inspired by the cathedral rocks of Boulder. I searched for both western instrumental and Koto music influenced by stone(s) and what it symbolizes, the island, and came up with the following collection:

    • Poem of Tree and Stone – by Masao Matsumoto (1956);
    • The Spirit of the Island – by Taiko Legends, Traditional Melodies of Japan;
    Towards the Vietnam Land (Hong Vi Dat Viet) – by Tran Quang Hai;
    Wind, Rock, Sea & Flame – by Peter Kater;
    Sacred Stones – by Asian Meditation Music;
    The Hour – A White Stone – by Lee McDerment;
    Stones, Baby Sleep Music – by New Age Music Academy;

    Other:

    Island Music of Hawa’ii – by Cyril Pahinui (no relation to koto, but . …) Hawaiian Ki Ho’alu Slack Key Guitar Master;
    Emerald – by Wind Machine, Wind Machine album;
    The Island – by Christopher Ryan, Lost: Music from the Island for Solo Piano;
    Gentle Flowing Brook Over Stones with Flowing Stream – by Green Escape, Nature Sound Series;
    Stone Tower Temple (Legend of Zelda) – by Monsalve – Majora’s Mask;
    Sacred Stones – by Oriental Music for Relaxation, Meditation, Massage Therapy, Healing, Zen Meditation, and Yoga; and
    Box of Stones – by Gavin Mikhail, Skinny Love.

    Stone – The Island in Japanese Gardens:
    The stone is a common element in the Japanese garden. The Way of Zen and Zen values of simplicity (kanso), naturalness (shizo), and refined elegance are similarly values expressed in the Japanese garden. Stones and rocks are as simple as they get. Normally stones are grouped by themselves or they are grouped in threes with a taller boulder standing regally behind two shorter boulders. This is believed to create balance. All three stones are generally vertical, with the taller stone in the center representing The Buddha (one who has become enlightened), and the two other stones on each side representing two Bodhisattvas (one who is “bound for enlightenment; the two stones are called sanson). They are placed next to water, a body of water or water feature, as images of water features and/or mountains.

    Bodies of water are represented in the Japanese garden by a pond or lake. In the case of dry Zen rock gardens where sand and gravel represent the sea or ocean, the stones would be placed next to or in the sand/ pebble garden. The scene of ocean and sea occupying the majority of the garden space (“chisen”) originates from China, as does the garden aesthetic and spirituality of Zen Buddhism. Groups of rocks on one or more sides of the body of water in the garden may represent the seashore.

    Japan is an island country surrounded by large bodies of water; the Japan Sea to the west, the North Pacific Ocean to the east, the Korean strait to the west, the South China Sea to the southwest, and the Philippine Sea to the south. Wikipedia says Japan has over 6,000 islands in total, with four main islands (Honshu, Kyushu, Hokkaido and Shikoku).

    Unique to Japan:
    Perhaps unique to Japanese gardens is the impact of Japan’s insularity; island mentality and sense of space. One can achieve the simplicity, elegance and Zen spirituality of a Japanese garden in a small space.

    The Japanese garden itself is a symbol of longevity, as it requires long term care over many years to reach its true potential beauty. There are two types of island stones that symbolize the longevity of the crane and tortoise (often shaped like them; these symbols also originate from China). These special islands are sacred and not accessible by bridge. If one sees a bridge to an island in a Japanese garden, these are ordinary islands called nakajima.

    The bonsai images of shaped evergreens in the Japanese garden symbolize happiness and longevity. Black and red pines represent positive (omatsu) and negative (mematsu) forces in the world.

    “The visual entities which may appear as a design in the Western sense of forms, textures, and colors are less important than the invisible philosophical, religious, and symbolic elements,” according to garden designer and architect Dr. Koichi Kawana. The Japanese garden represents a utopia or sacred refuge from the distractions of daily life.

    KotoJazz 6: The Creativity of Music

    The creativity of music happens when a performer hits upon a series of sounds that elicit inspiration in a musical tune. It is always a form of channeling energy, and music has a way of communicating that energy like no other medium. It expresses emotions and/or sensations that cannot be put into words.

    It can be a direct channeling of energy from that inspiration or it can be an emotion, positive or negative. We create to express all the range of emotions, or even to free ourselves from an emotion(s). If other people are moved by that creative expression and their images, they will listen. We create to express joy. We create to express deep despair. It is not intended to gloss over our deeper, perhaps darker emotions. Like everyone, we have suffered deep pain and torment at different times in our lives. At times, at our own doing; at times not. We may cause extreme pain and suffering to a person we love the most; such as a direct family member or a close friend. When we do that, we can choose to express it in our music. We search for grace in the moment of that realization. The more sincere and honest we are about our emotions, about a new found awareness, the more effectively they are expressed in our music, and the more likely people will be inspired by it.

    It is a searching for the point of touching our feelings, or connecting with our emotions. We data mine music that had been played before and see if we can play it too. We play it again to try and bring back those feelings. We data mine from anything that inspires us in everyday life. We data mine the natural world. In all the ways to data mine creativity, we always data mine our feelings and emotions around our life experiences, no matter how simple or complex. It is not so important what it is we play about, but how deeply that subject moves us when we play. While music is not always inspired from mundane sources, there are no boundaries for where we can find inspiration.

    KOTOJAZZ 5: KOTO JAZZ & TRIBUTE TO GEORGE WINSTON

    Today, I post two of my favorite George Winston originals– Moon and Thanksgiving. I also posted up a new Koto jazz variation I play based from my favorite Koto piece, Tori No Yo Ni (Like A Bird).

    It is my favorite Koto tunes because it genuinely puts me into the mind of a crane, playing in still waters, and lifting off to explore the skies only to return again. I must call my version a variation on the Tori No Yo Ni, as I’m about half way through this ten minute piece. It’s a blast, it’s lively, it’s reverent to the power and beauty of the crane which has inspired all of Asia with its artistic majesty.

    My other two posts, I play two of my favorite George Winston songs. I can credit my inspiration to play the piano to one person– George Winston. When I speak of him I feel like a giddy child back in the day when I was still learning the basic chords and then trying to morph it into one of his masterpieces. I suspect I’m not the only piano player inspired by his works. When I saw him performing in jeans and barefooted in front of a formal black tie event, I knew he was my guy! Not really, more than that, his music helped me reach for the deeper elements of music and how it can serve as a touchstone for connecting people spiritually.

    As is the case for me with most musicians, my favorite George Winston songs were not his most popular, which were Ode to Joy and Variation on the Canon. I do love those songs and it gave me the opportunity to play these variations for my college graduation ceremony before thousands of students and parents. I’m blessed by this memory, particularly because my dad was there with me. He flew out to be see me graduate, but more importantly, to see me play. It is a blessing, especially as I reflect on his passing, and reminisce over my life long images of him . I played for his memorial reception. Because I shared my music at the funeral reception a few weeks ago, my good friends Sachiko and Eugene Lee shared encouraging words, and Sachiko shared her koto playing experience. Also, my dad’s colleague at the University of Colorado, Dr. Joyce Lebra encouraged me to book events in the Seattle area when I return. I am doing that. I had been a regular performer in the 90s in Seattle, but gave it up after getting married and other priorities took over. It was a joy to play for my daughter, nieces and nephews at the funeral who seemed to be as captivated by Tori No Yo Ni as much as I was playing it, though I could’ve done without the banging at the other end of the piano! 🙂

    I played for church services and other events just because of my George Winston version of Variations on the Canon. However, what George Winston did for me was bigger than that. He laid his inspiring music on my table to explore variations on all music, and ultimately led me toward a deeper appreciation of instrumental jazz, new age, koto, and other eastern music.

    KOTOJAZZ 4: KOTO INFLUENCES TODAY

    If you talked to contemporary ambient/ new age artists

  • Lee Pui Ming,
  • Geoffrey Castle,
  • Riley Lee or
  • Brian Eno,
  • would they attribute some of their influences to Koto music? There’s no question in my mind each of these artists’ musical expressions are rooted in the same source. The spirit of these creators of art, whether or not directly linked to Koto, have produced their works in the same spirit as those of Koto, stirred by the energy and images of the Natural world; Nature breathing life into their music. Each offer a subtle eastern influence, except in the case of Riley Lee where it’s more front and center. Riley Lee’s Satori, for example, as a Grand Master of shakuhachi (Japanese bamboo flute), pulls from similar Japanese traditions.

    While it might be a stretch to say that the alternative rock band Kid Simple’s album “Samurai” or The Sun Dogs’ single “This Shroud” were inspired by traditional Koto music (more Native American influences), it is more accurate to say their music happens upon a same consistent, slow and steady base accompanied by a exploration in and out of dissonance, similar to those often expressed in Koto pieces.

    Koto Jazz is an exciting genre concept for which the above artists may or may not subscribe. Even if these artists came upon their similarities completely independent of Koto influences, the spirit behind the Koto tradition is present in their music.

    What I love so much about Koto music are its basic principals — there are none– none that can be defined and put into a western context; back to its Shinto- Buddhist roots. Perhaps, it involves a tune stringing along a single minor/ sharp chord somewhat randomly interwoven, but not always; possibly fusing a jazz chord progression or two into the mix (but very rarely more than two), with long moments of silence and silent moments where it seems (from a western perspective) a note should be played? Koto does not attempt to interfere with a pure and transparent channel of life flowing through music by intervening patterns imposed by western chordal structures and definitions. This all too often restricts and limits the free natural flow of sound and spirit.

    To quote part of JFK’s eulogy of Robert Frost, “if art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. . . We must never forget that art is not a form of propaganda, it is a form of truth.”

    KOTOJAZZ 2: CONTEMPORARY NEW AGE/ JAZZ PERFORMERS WITH A TOUCH OF KOTO

    Some hints or images of koto jazz influences can be heard in the contemporary tunes of

  • George Winston (Windham Hill Records),
  • Peter Kater (Silver Wave Records),
  • Shadowfax (Windham Hill Records), and
  • Andreas Vollenweider (Edel Records, Sony Records).
  • These globally popular musicians transcended their time (the 80s) with a deeper challenge to the traditional sound and rhythm. Each received international recognition for their music, and much can be credited to their serious experimentation with eastern influences.

    KOTOJAZZ 1: KOTO JAZZ DEFINED – SPIRITUAL ORIGINS

    Hatchidori Wa Hana Ka[ra] Hana [e tobu] (Hummingbird Flies from Flower to Flower) and Kabutomushi (Rhinoceros Beetle) are musical tunes that attempt to capture the energy or images of the natural object; in this case, a hummingbird and a rhinoceros beetle. I believe staying true to the spiritual origins of Koto is paramount.

    Spiritually, Koto jazz seeks to bring out the Japanese Shinto-Buddhist spiritual nourishment derived from connection and reverence to nature as well as ancestral worship. The western influences of jazz, in part, have their origins in western Judeo-Christian ideals and institutions. It is my opinion we need to bring these two together into an harmonious whole of “yin and yang”, bringing out the best in both traditions which lifts us to broader spiritual growth and learning.

    The best written description/ representation of this that I’ve read to date is the a #1 New York Times Bestselling book by James Redfield called The “Celestine Prophecy“, and our evolution toward a global non-religious spiritual awakening.

    KOTOJAZZ 3: KOTO JAZZ DEFINED VS. JAZZ KOTO ARTISTS

    Koto jazz is variations of popular traditional Japanese koto music and melodies synthesized with western jazz and rhythm. These include Sakura, Tori No Yo Ni, Haru No Umi, Rokudan, Midare, and a score of others. Kenji takes these musical pieces and plays them on the piano, varies the sound and tone with western influences of rhythm and beat. He has also created his own Koto jazz pieces Hatchidori Wa Hana Ka[ra] Hana [e tobu] (Hummingbird Flies from Flower to Flower), Aki no Ho (Toward The Autumn Season), Shiodamari To Kaze (Tide Pools & The Wind), and Wandering Kabutomushi (Rhinoceros Beetle).

    Koto Jazz is not to be confused with Jazz Koto, which integrates the koto instrument and sound into western jazz tunes. In addition to the famous rock musicians such as David Bowie and the Rolling Stones who occasionally used the Koto instrument in their songs, Jazz Koto became popular in the 70s and 80s by such notable western musicians as

  • June Kuramoto (also see June Kuramoto’s website),
  • Dorothy Ashby,
  • Reiko Obata and East-West Jazz,
  • the fusion jazz band Hiroshima,
  • Eugene Yamamoto,
  • Shirley Kazuyo Muramoto (also see her as a member of the Murasaki Ensemble).
  • Brian Mitsuhiro Wong, and
  • Masako Naito.
  • Koto jazz is the opposite. It is its image, as a reflection on still waters.

    KotoJazz 3: Koto Jazz Defined vs. Jazz Koto Artists

    Koto jazz is a compilation on variations of popular traditional Japanese koto music with a western rhythm. These include Sakura Sakura, Tori No Yo Ni, Rokudan, Midare, and a score of others. Kenji takes these musical pieces and plays them on the piano, varies the sound and tone with western influences of rhythm and beat. He has also created his own Koto jazz pieces Hatchidori Wa Hana Ka[ra] Hana [e tobu] (Hummingbird Flies from Flower to Flower) and Kabutomushi (Rhinoceros Beetle).

    This is not to be confused with Jazz Koto, which integrates the koto instrument and sound into western jazz music.  Jazz Koto became popular in the 70s and 80s by such notable western musicians as

  • June Kuramoto (also see June Kuramoto’s website),
  • Dorothy Ashby,
  • Reiko Obata and East-West Jazz,
  • the fusion jazz band Hiroshima,
  • Eugene Yamamoto, and
  • Shirley Kazuyo Muramoto (also see her as a member of the Murasaki Ensemble), and
  • Masako Naito.

    Koto jazz is the opposite. It is its image, as a reflection on still waters.

  • KotoJazz 2: Contemporary new age/ jazz performers with a touch of Koto

    Some hints of koto jazz influences can be heard in the contemporary music of

  • George Winston (Windham Hill Records),
  • Peter Kater (Silver Wave Records),
  • Shadowfax (Windham Hill Records), and
  • Andreas Vollenweider (Edel Records, Sony Records).
  • These globally popular musicians transcended their time (the 80s) with a deeper challenge to the traditional sound and rhythm. Each received international recognition for their music, and much can be credited to their serious experimentation with eastern influences.