Although I have added a few new music samples to the Koto Jazz blog, see “Sample Sounds” and “Buy My Music” pages of this web site, here I take another brief break from the Koto Jazz theme to honor an artistic genius in the film medium.
Here are some Koto jazz and related music about flying and the wind:
KotoJazz 8: “The Wind and The Spirit”
Koto Samples (“lightness of flying butterflies”)
“Matsukaze” (”wind in the pines”), by Taiga Yamaki III (also known as Yamaki Kengyō), and Matsukaze
Koto House Flying Sword Music
Tori No Yo Ni (‘Flying’ Like A Bird, by Sawai Koto Ensemble
Breeze, by Mitsuki Dazai
Tori No Yo Ni (Like a Bird on piano), Kotojazz by Kenji
Also, have a listen to my newly posted short sample tracks while reading on about my take on “The Wind Rises” by Hiyao Miyazaki:
Pachelbel’s Canon in D Minor, George Winston style
Springtime in the Dead of Winter
Black Pine Bonsai, and
I had the opportunity to watch Hayao Miyazaki’s final movie (admittedly, I may be the final Miyazaki fan to actually see his final film), “The Wind Rises”
(for sound track, see The Wind Rises by Kaze Tachinu
and other items about “The Wind Rises”
). Despite the apparent limitations of the anime platform, Miyazaki proves again the seeming unlimited capacity for creativity and beauty. His presentations offered magically colorful and stunning scenery. Miyazaki’s art team presents a realistic natural world, and adds a bit of Shinto magic, with the actors revering, honoring, praying to Nature throughout the movie.
The movie speaks of love and innocence in the midst of the global turmoil surrounding the world wars. Miyazaki deliberately steers the movie away from the darkness of the day into a dreamland of gorgeous flower laid meadows, and shimmering streams. Poignant was the time Naoko prayed to the forest pond for Jiro to appear. As Yoda would say, “appear he did.”
Even Jiro’s ongoing dreams about flying and building planes showed reverence to the nature of the wind’s powerful energy, and his building planes pays honor to the wind. We join as active participants in Jiro’s flying dreams. In the film, Jiro’s dreams feel as real as real life. Jiro is the main character in the movie, based loosely on aerospace engineer, Jiro Horikoshi. Miyazaki again nails it with his unique ability to interweave near realistic dreams into the surreal reality of the characters’ life experiences– more realistically than any director (I would argue), and again, more realistic to the real life experience.
It definitely hits a chord with the integral role dreams play in our lives (see Carl Jung’s work on the “Interpretation of Dreams.” While his colleague Sigmund Freud’s interpretation of dreams focused more on the “retrospective”, Carl Jung’s dream approach is and I quote the above link, “‘prospective’– it treats dreams like a map of the dreamer’s future psychological evolution towards a more balanced relationship between his ego and the Self.” This approach is very apparent in Miyazaki’s film.
The story may have glossed over the pain and suffering of his dying lover (Naoko), dying communities during wartime, and the insane violence surrounding war, but this was intended and done so elegantly as the story was not about death and war. In fact, it provided the back drop necessary to evoke the story of a champion of perseverance and Zen-like focus in a world where, at times, there appeared to be none. It brought out the true authentic, peace-loving nature and Shinto spirituality of the Japanese people. In real life, war deceptively shrouded this fact by the blind powers of Japan’s relatively small military industrial complex (small at least compared to America’s own still lingering military industry). There is a message for each of us again, to look inward rather than outward for reflection and resolution.
Given Miyazaki’s place of prominence with this final movie, it is appropriate to comment on this masterpiece and the majesty of his life’s work.