It all started in April, right after we got our new ONE jackets and other gear:

Sheilarae, Kristen, Jasmine, and I sported our new jackets and hats while loading equipment for the first of many spring gigs.

April 17: Stone Church Arts

The week I finished my taxes, I completed spring cleanups for 2 clients, planted 5 apple trees, interviewed 2 new crew members, organized my tools, and attended taiko practice as usual.  The week’s activities culminated in a 2 hour concert in Bellows Falls, VT on Saturday.  This was an excellent show, based on reVision, our 15th anniversary concert from last spring.  Since it was a full length concert, we needed transition pieces to distract the audience while setting up drums for the next piece.  That meant I got to break out my sanshin and play Island Stroll with Diane again.  I am happy every chance we get to perform it.  The first time was terrifying, but now I think we are both getting a lot more confident.

Kristen and Karen playing Shin-en.

May 1: Rhode Island Cherry Blossom Festival

The last week in April included many hours of weeding, mulching and pruning, during the day, with visits to the dojo in the evening.  I needed the practice since, on May 1, we had the privilege of performing at Rhode Island’s first Sakura Matsuri (Cherry Blossom Festival).

Unfortunately, the same early spring and warm weather that brought me a lot more April business than usual, also encouraged the cherry blossoms to open well ahead of schedule.  That meant that the blossoms were long gone by the time we were there to celebrate them.  It was also surprisingly hot weather for early May.  No matter!  We still had a good time with both performances that morning.

A noisy waterfall in the background in Pawtucket, RI wasn't loud enough to drown out the sound of our drums.

May 1: Wesleyan University Student Recital

For some of us, performing twice in one morning, just isn’t enough taiko.  So, after we finished our performance at the Cherry Blossom Festival, Kristen, Tanya, and I hopped into Tanya’s car and drove to Middletown, CT.  There we had a delicious and leisurely meal before meeting up with Karen and watching the Wesleyan University student taiko recital.

The Wesleyan students displayed tremendous energy, and some pretty awesome solo skills.

Mark looks on as the Wesleyan Students perform Matsuri.

Fortunately, there was time for ice cream with Mark before our drive home.  On our way, Tanya and I learned that a massive water pipe had burst not far from my home, affecting the drinking water supply for the entire area–much of the Boston area was under a boil water order.  (Lucky Tanya lives far enough West that she didn’t have to worry about it.)

May 2: Walk for Hunger

The very next day, we had an opportunity to bring taiko to the masses.  Project Bread’s Walk for Hunger is an enormous fundraiser, involving over 40,000 people who walk to raise money for emergency food programs.  Our job was to play at the finish line, as a way of thanking the walkers for their efforts.  We also served as entertainment for the volunteers stationed at the finish line to hand out water.

This type of gig has a very different feel from a stage performance.  For one thing, we were playing to create a festive atmosphere, to an audience that wasn’t likely to give us their full attention, except briefly as they pass by.  That meant that we didn’t play our standard arrangements of a wide variety of songs.  Instead we played fewer songs with more looping.  We played in the sun for over two hours, so I was especially appreciative when we were given ice cream bars.  Did I eat 3?

May 8: Spring Thunder Festival

Twice a year, we put together a taiko showcase in order to give our students an opportunity to strut their stuff, while giving members a chance to try out something new.  The spring showcase (or Spring Thunder Festival), was a smashing success.  Watching the students perform with joy can be quite inspirational for a jaded old player like myself.   (Yeah, okay…  4 years of taiko hasn’t actually jaded me, but the students are still an inspiration.)

The community members had the chance to learn the Hachijo-Yatai Bayashi Medley in just a few weeks.  That was both challenging, and a blast!  I love playing the Yatai part against Hachijo.

May 15: Asian Heritage Festival, House of the Samurai

A week later my parents were planning to come for a visit.  But wait!  I’d volunteered to perform at the House of the Samurai Asian Heritage Festival in Londonderry, NH that weekend!  What to do?

Easy Solution: Mom and Dad were driving from VT anyway, so they just stopped in Londonderry to see me play, and then gave me a ride home.

I particularly enjoyed this gig.  The House of the Samurai is a Karate dojo which also has programs in Yoga and Chi Gong.  The space was beautiful, Ken and Mandy (the owners of the dojo) were tremendously nice, and after our performance we had the chance to relax and enjoy the other activities they’d arranged for the day.  It was my parents’ first chance to see a our festival set–which it turns out my Mom likes a lot more than the formal concerts.

Cat, Joy, Jasmine, Ken and Mandy Akiyama, Juni, Diane, and myself after the show.

May 22: YMCA Movie Night

Thanks to Karen, we had a quick chance to build a connection with our neighbors at the North Suburban YMCA in Woburn by performing a few songs before they screened “Up”.

June 12: Waltham Riverfest

Last year, I had my first chance to lead a gig.  It was an exciting opportunity to get practice in leadership, logistics, and public speaking.  But the memory will always be darkened by the fact that I spent the rest of my time that weekend arranging a trip to Texas for my cousin’s funeral.

I couldn’t help thinking about the good and the bad from last year, but with my family in the audience, and rain clouds overhead, the second Waltham Riverfest was a completely different story.  Last year’s performance had been perfect weather.  This year, the looming rain began to fall just as the previous act wrapped up.  Fortunately, we had a plastic sheet to protect the drums, and the organizers had a canopy that we could set up under.

We couldn’t have played without the canopy, but it was very small-about 10 feet by 10 feet.  Somehow, we managed to squeeze the odaiko and 3 chudaiko under it.   Fortunately I’d brought Smokey, my Remo shime.  Since she’s made of synthetic materials, it was okay to play her in the rain, so we didn’t have to fit 5 drums into the tiny space!

The audience was larger than last year, despite the significantly worse weather.  There wasn’t enough space for naname, and I was concerned that the rain would get harder, so we had to shorten the set, but still managed to play a Reimei remix, Kashmir, and Shin-en before a wet audience.  We even managed to pull off some audience participation.

Meanwhile, another crew of Odaiko New Englanders were getting rained on while participating in the Boston Pride parade and festival.  But that’s someone else’s story.

June 13: Dragon Boat Festival

The next day, we put in our annual appearance at the Boston Dragon Boat Festival.  This has been one of my favorite festivals since the first time I played it in 2007.

This year our set included Mahora, a marathon song, which I remember playing at Dragon Boats two years earlier.

June 26: Taiko in the Woods

As June, and the busy season, drew to a close, a few of us attended a private camping party, in which we had the chance to play for the other attendees.  I love playing with the forest as a backdrop.

Cat captured me mid-twirl as I played Matsuri.

Always a Little Behind

Keeping up with posting to the blog can be tough with a performance schedule like this, on top of practices and the miscellaneous work that we do for the group–not to mention our day jobs.  Even though there are many ONE members who could be blogging, we don’t always find the time.  I don’t know how my favorite Taiko bloggers (like All Things Taiko, On Ensemble, and Raion Taiko) keep up!  I don’t even have time to read all their awesome posts, let alone write for and manage the ONE blog!  Maybe I’ll learn.  Maybe next year I’ll keep up…  For now, I’m going to cheat a little bit, and post this with a date of July 1 for the sake of our archives, even though I’m actually writing this much later.

Taiko performances can give audiences the impression that taiko and martial arts are closely-related disciplines, if not fully intertwined as one art. The group TAO seeks to obliterate any distinction between the two while putting on a dynamite concert. Since I have no background whatsoever in martial arts, I cannot comment definitively on how successfully TAO accomplishes this mission; however, in performance there is no question that TAO puts on a thrilling, exciting show. This is a group that hits an audience between the eyes with blazing energy, exuberant, restless rhythms and exceptional athleticism.

Thanks in part to the fine acoustic environment of the Berklee Performance Center, the group’s sound was clean and articulate. An array of wireless mics for the performers and instruments was no doubt carefully aligned, with degrees of reverb calibrated and volumes balanced. TAO’s attention to sound prompted me to recall the amount of time Mark, Victor and others spent working on the sound balance for ONE’s “reVision” concerts.

The group’s choreography is precisely crafted – down to the last detail. While much of the movement was performed with a panache that suggested spontaneity and improvisation, my impression was rather that these had each been completely planned and polished, calculated for maximum effect so as to leave nothing to chance. From time to time the group seemed to pull in an element from Blue Man Group here, a comedic exchange there, which never failed to entertain the audience. The group’s visual appearance also evinced a similar attention to minute detail: the costumes were excellent, and even the performers’ hair was scrupulously tended to, whether frizzed out, short and spiky, or drooping locks partially obscuring the eyes, a multitude of styles, every strand perfectly in place.

The transitions possessed some ambiguity; was the music being played still part of the previous song, an entirely different song in its own right, or the intro to the next song? On one hand this could be confusing for those who like to know what’s being played and when, but I think many people would prefer to simply experience the performance without wondering which song is which. Having no clear start or finish to some of the songs helps to convey a quality of time out of time so that the audience comes under the group’s spell.

The group’s outstanding athleticism is mainly demonstrated by the male drummers, which made me wonder about how TAO sees the role of its female members, who, other than assertively playing Odaiko, generally do not perform the most physical or flashiest movements. Precision-crafted choreography isn’t limited to one particular physique or brute strength; while we may never know the rationale behind TAO’s leadership’s decision to not have any of the women participating in the same choreography as the men – at least, in the full-ensemble pieces featuring the most aggressive, acrobatic moves – audiences will wonder: Why does it have to be that way?

A remarkable contrast of styles came to mind, having seen Kodo in 2009 and TAO one year later: Kodo, for all its virtuosity, is exquisitely economical in its movement and playing. Not an ounce of wasted energy. On the other hand, while TAO does not recklessly misuse energy, its members expend an extraordinary amount of it to achieve the extroverted, aggressive, dynamic entertainment that appears before the audience. To use a pair of sports metaphors, it’s like the group was playing full-court, run-and-gun basketball while running two half-marathons – with only a 15-minute intermission in between.

I don’t want to sound like I’m nit-picking, but a possible shortcoming of this approach is that subtleties of sound, composition, and performance can be lost on an audience after they’ve been hit with a pumped-up sonic and visual barrage.  If TAO seeks to achieve a perfect blend of art and full-throttle taiko, the group may need to explore ways to strike the right balance so audiences will appreciate the quiet songs just as much as the noisy ones.

The group’s approach suggests a fascinating cultural perspective; the members live and train in a national park on the island of Kyushu, observing a strictly disciplined lifestyle and practice schedule in much the same way as Ondekoza, Kodo and Shidara. However, while such groups strive to maintain a thoroughly Japanese identity and serve, one could say, as guardians of Japanese culture, TAO deliberately steams ahead in a different direction. For example, right from their first recording, many of the compositions reveal non-Japanese influences; songs like “Horizon”, “Queen”, and especially “Maori” go beyond traditional taiko rhythms. Most telling is the fact that the group is establishing an office in NYC and its management apparently views America as a kind of entertainment Mecca. TAO doesn’t just want to embark on world tours – it wants to enjoy a level of success in America far surpassing that of any predecessors or contemporaries.

Any reservations aside, TAO performs exhilarating, vibrant, engaging taiko – simply, it’s a “must-see” ensemble. I hope the group continues to pursue new ideas for making taiko accessible to people who might otherwise have no interest in seeing a taiko performance, and it would be great if their combination of taiko and entertainment leads more people all over North America to discover the unique quality of joy imparted by taiko – and to discover the taiko groups that already exist within their own communities.

ONE's Mark and KODO's Yosuke rock on Miyake

My first live KODO concert experience started with a pleasant surprise. By being at the right place at the right time, my son and I got to go backstage at Symphony Hall before the concert and meet some of the KODO people. One performer was practicing shime-daiko with bachi that were tapered almost to a point. He was drumming very quietly, and very rapidly — an extremely difficult combination! — right on the edge of the drum head. Unusual bachi, unusual technique, unusual skill. Yeah, I thought, this is going to be good.

Good is a wholly inadequate word to describe the events of the next couple of hours. Phenomenal, astonishing, spiritual, inspiring, and awe-inspiring — now we’re getting warmer. The precision, the creativity, the energy, the pure joy that the performers displayed was incredible.

We had seats in the balcony that were close enough to spot some of their spike marks on the stage, see every nuance of expression on the performer’s faces (beads of sweat too!), and viscerally feel the drums. I spent much of the concert literally on the edge of my seat, leaning forward, straining to absorb all that I could. I was actually tired at the end of the concert!

ONE performs Mahora for KODO

I was completely captivated by their first piece, Zoku. My second favorite was their rendition of Miyake. I paid particular attention to the Kiyari singers, as I am a singer-wannabe. I want to learn how to make that guttural, catching sound that gives their voices such a primal quality. And I was completely blown away when the Odaiko soloist, after playing like a madman for ten minutes or so, jumped down and went straight into playing Yatai-Bayashi. I think he played in all of the rest of the songs in the concert, just in case there was any doubt about his superhuman stamina.

Later, ONE hosted a reception at our dojo for KODO. It was a thrill, and an honor, for us to be able to play Mahora for them. It felt good, like we were giving something back.

I am left with a renewed sense of commitment to do everything I can do become a better taiko player. KODO, thank you for the inspiration.

Yesterday, I washed the minivan and picked up all the kids’ trash from the back seat. Today I tried on two different outfits before leaving and put on makeup for the first time in months. As I head out the door, I’m quite nervous!

But before I can meet and pick up my dates, I watch them in concert. (So this part is more like a stalking than a date.) I and my Odaiko New England cohorts are gathering for Kodo’s one-night concert at Symphony Hall in Boston. There are 100+ of us here from ONE’s extended family. While waiting for the show to begin, David Wiggins and I have fun spotting our friends here and there among the sold out crowd of 2600. The excitement builds! The lights dim!

Some drummers enter the stage and begin playing. They’re so young! Two more enter and pump their fists at the crowd as they join the others. Well, there goes my impression of Kodo as the somber elder statesmen of taiko! Kodo’s opening piece, Zoku, builds relentlessly. It’s wonderful. Two very big hira-daiko in the back are gracefully attacked with big clubs. I’m pretty far away, yet it makes my hair move. When the rhythms of the big hira coincide with the chus, it’s utterly satisfying!

Kodo plays Monochrome

But my favorite piece of the night (at Symphony Hall, anyway), is Monochrome. I’ve always liked the way a good shime player sounds and feels like an engine driving a song. Now seven shime-daiko are set on stage. But when the drummers begin, I’m not hearing an engine so much as a peaceful, soothing drone. The drummers pass echoes up and down the line. It’s beautiful. Now something’s changed and the peaceful drone has turned surreal. The sound grows. The power and volume increase to a frightening degree. The drummers’ thin, ultra-tapered bachi flash in a blur as they evoke an enormous freight train approaching from a great distance to overtake the stage. The onslaught recedes, giving way to new patterns. They sound intense. Dangerous. I’m hearing the soundtrack of a locust swarming scene in a horror movie.

Note to self: Must start On Ensemble’s 30 Days to Better Shime program.

The concert ends all too soon, but out in the lobby, the excitement doesn’t. ONE members find each other in small groups and share impressions. Some of our group head to the dojo to set up for our reception. I and a few others are sticking around. We’ll be waiting for Kodo to drive them to the reception.

Eventually it’s time to meet my dates at their hotel. Jasmine Hall and I stand around waiting, glancing at other people in the lobby. Is that person from Kodo? How ‘bout the guy in the corner? Eventually Mark H. Rooney arrives to make the introductions. We stand around staring at each other because most of us speak no Japanese and most of them speak no English. This does not bode well for our date.

With Mark’s help, I get four of them to follow me to the minivan. I’d forgotten to take out a car seat, which amused Kodo as they decided who would sit in it. As with any typical blind date, the drive is filled with awkward silence and the occasional attempts to start a conversation. Unsuccessfully as it turns out. The young woman sitting beside me told me of the giant mosquitoes that bite her children on Sado Island. Later, when I ask how old her children are, I learn she has no children. So I’m left to wonder what the giant mosquitoes were biting. And to remind myself to avoid Sado Island.

Despite our language and skill differences, I think we all had a great time at the reception. We played for Kodo, Kodo sang for us, and in between, lots of friendly jamming. I’d ask them out again, but I think they’re back on Sado Island enjoying the mosquitoes.

Sheilarae holds the Ji while Kenta Nakagome of KODO readies himself for a Miyake solo

It may have been the first time anyone has participated in a jam-session Miyake with Kodo while wearing an LBD (Little Black Dress). It was certainly the first time I observed such a thing. For sure, a Kodo drummer pounding out a wild, macho Miyake on one side of the drum, with a poised, elegant American woman (our own Sheilarae, looking like she just stepped out of a box at the opera) in a chignon and little black dress kneeling and composedly holding the ji on the other, is a unique sight. With taiko, truly, all things are possible. And what can one say about the opportunity to play for and with Kodo? I guess it’s like a garage rock band having a chance to jam with Sting.

After feeding Kodo in the luxurious atmosphere of our dojo basement, we ONE community members performed Mahora for them. Was that a bit arrogant? I’m not sure; it was more like a tribute. Some people were nervous:

Perform for Kodo? Omigod!

But I wasn’t worried. It’s not like we had a chance of impressing them anyway, and Mahora is a noisy, power piece that entails more enthusiasm and energy than finesse. But I have to say this: I have never drummed with more confidence, commitment or energy. Everyone felt it: not fear, but a white-hot excitement, snapping out energy like lightning strikes, and the drum-thunder ringing out after. Our Mahora went off like an explosion, a volcano, a fireworks display – all because of the cheerful , unassuming Kodo members sitting in front of us.

But that was the reception.

About the performance: I saw Kodo the last time they were in Boston, and I don’t remember being so completely blown away by the odaiko piece. When the gigantic cart carrying the Odaiko was rolled downstage it looked like the preparation for something ominous, a sacrificial rite – perhaps a human sacrifice? When the two odaiko players leapt onto the cart wearing nothing but white loincloths, they reinforced that image. But when they began to drum, the context changed, became orgiastic, a relentless pounding sexual physicality. As the duet rose to a climax, I thought of Stravinsky’s Rite of Spring. In the ballet that accompanies the music, a sacrificial victim ultimately dances herself to death. Watching the sweating, nearly naked odaiko player with his back to us, I began to wonder if he was going to do the same. When he completed his solo, jumped down to the stage and without a pause launched into a horrific Yatai Bayashi, I was sure of it. We could finally see his face, and it was extremely uncomfortable to watch. He was in agony: Taiko as Human Sacrifice.

That member didn’t come to the reception; we were told he was too exhausted. Anybody else would have probably have been dead. In any case, the next time I think I’m ready to collapse during an oroshi, or after Miyake, I’ll think of that incredible Odaiko performance effort, which will put my own puny difficulties in perspective.

This past weekend was a whirlwind of taiko events, and has already been written about in one or two other blog posts. However, being the sort of person I am, who always has to insert her opinion into the conversation, I’m writing yet another. Enjoy!

For me, the weekend stressed the importance of Attitude in performance. We performed at the University of Hartford’s International Gala Saturday night. As we rehearsed Matsuri during the previous week, one word was emphasized over and over again: Boisterous. Matsuri is a boisterous song, all about having fun and sharing that fun with the audience. Our amazing Tanya on chappa boistered (is that a word?) everyone into having a great time at U Harftord. Just see that grin in the video!

After the Gala, we packed up our stuff and rushed to Stamford to see Taiko Project, hosted by Otatsu-taiko. It goes without saying that the taiko and the musicality was awesome. But, what really stuck with me was the history, especially the piece “From the Inside/Outside”, in which the Greats of the Japanese taiko world are projected on a huge screen over the stage as they talk about American taiko.

I bought my shime-daiko from Asano-san himself while I was in Japan with the KASA/MIX tour in September 2008, so listening to Yasuo Asano of Asano Taiko had extra meaning for me:

American taiko players seem like they … emphasize “enjoying themselves” onstage which in turn makes us (the audience) enjoy the performance. I think that’s great.

That’s our Matsuri in a nutshell

Then Tosha Kiyonari, one of the original members of Sukeroku Taiko, sitting there in his Hawaiian shirt and talking about performance costumes, instructs us:

If you can wear something well, then people will think that you’re good. Even if you suck.

I hope that we don’t suck. But, yes, it’s all about “wearing” the piece well.

Mark H. Rooney, our ever-inspired Artistic Director, talked to us just yesterday about playing on slant stands. In addition to always being boisterous, he reminded us that the reason the founders of these styles claim to have developed them was to “pick up chicks”.

Of course, you can also ask Juni, our amazingly talented Assistant Artistic Director, why we do push-ups during every taiso. Is it so we can be strong? NO – it’s so we look cool! Just check out Karen’s biceps!

Regardless of whether “chicks” are your target, a good taiko performance is all about impressing people.

Friday Night: San Jose Taiko in Keene, NH

Hanging out with San Jose Taiko after their show.

Wow!

One of the early numbers was a piece involving passing accented rhythms back and forth between two pairs of drummers.  I hope I can develop timing like that one day!  (Not only good timing, but the ability to execute it with lively energy.)

I was also impressed by Hana Hachijo peformed by PJ Hirabayashi (Karen’s Aunt!).  Her stance strong, her movements powerful, each stroke incredibly smooth…  her style was noticeably different from what I learned in a workshop with Chieko Kojima last September, but every bit as mesmerizing.

Those are just a couple of highlights from a truly enthralling performance, which ended with the performers dancing their way out the doors at the back of the theater, encouraging the audience to follow and mingle.

Afterwards, we (Tanya, Joy, Dave B, Karen, Amir, and I) got to hang out with the group over food and beer.  What a terrific bunch!

Saturday Night: Taiko Project in Stamford, CT

Gasp!

The show opened with a video montage on the history of North American Taiko, which blended smoothly into the first song, as they quickly established their exuberant performing personae.

The Stage is Set

The rest of the first act demonstrated a sincere respect for our taiko heritage, paying homage both to their own parents and to the people and groups that gave birth to our art form.  The sequence of song and video constructed a compelling story which climaxed with Tsunami at the end of the first act.  Tsunami was such a frenzy that Maz’ hachimaki flew off in the middle of the song.

The second act opened with ‘Behind the Odaiko’, a magnificent Odaiko solo performed with all the traditional trimmings…  plus we got to find out what the soloist (Bryan Yamami) was thinking (especially what he was thinking about his costume).  Diane suggests that our costume committee consider fundoshi for our next performance, as they make quite an impact on the audience.

Not all of their costumes were so traditional.  They switched between modern American athletic wear, clothing that hinted of traditional villages, and very nice taiko hapi…  by the end of the program they were in t-shirts and jeans.  Their clothing was always well suited to the piece and the story.

The performance drew to an energetic and elegant close with ‘Omiyage‘, followed by an encore on slung drums and accessories.

How do I sum up all that skill and energy in one place?  Inspiring?  Awe inspiring?  Something like that.

I would have loved to stay and socialize…  but some of us had to get back to Boston.

Sunday Afternoon: Yoyo Ma and the Silk Road Ensemble at Symphony Hall

Sigh!

The Silk Road Project is a wonderful concept inspired by the musical traditions found along the historic silk road.  It’s about cultural exchange through music…  That means that the music of the ensemble was influenced by many cultures from the Mediterranean to Japan.

This concert opened with an improvisation duet: shakuhachi and bawu, played while wandering through the audience.  It was lovely.  This was followed by a series of movements which combined haunting melodies and compelling rhythms.  I think my favorite piece rhythmically was the Saidi Swing which is based on a rhythm originally from upper Egypt, and which heavily featured the wonderful sounds of the Tabla.

While nothing could make up for the absence of taiko , it was a breathtaking combination of musical traditions… definitely worth carrying with me back to the dojo.

And in between all these inspiring performances, how did I spend my weekend?

Finishing my taxes!

Meg Suzuki, back in her days with ONE, hanging out with the members of KODO. Meg, did you really bake cookies with the KODO logo?

Several members of ONE trekked to Keene, NH, to witness the cyclone known as San Jose Taiko rock the Colonial Theater. ONE has a direct connection to SJT in the person of Meg Suzuki; before she left ONE to join SJT’s artistic staff, Meg-sensei taught the classic taiko song Yatai Bayashi and more to me and fellow Community Member Kate, among others.  Meg’s success and continuing taiko excellence as a member of SJT is inspiring!

Adam Weiner - from the San Jose website

SJT’s opening song began not with a sonic boom, but rather an odaiko conversation the soloist had with the audience. The crowd was swiftly yet subtly engaged and drawn in to the piece, as the song’s sonic signature evolved.  The ensemble performed the next composition; observing the members’ kata, whether it was unfolding in unison or shifting in waves of synchronous movement, I thought my eyes beheld a taiko kaleidoscope.

The range of moods, sounds and rhythms of the journey SJT shared with the audience during the course of the concert, as well as within each composition, reminded me of a classical musician’s recital program. Just as a classical recital draws upon the music of different composers and eras to create dynamic and varied soundscapes, so too did SJT’s imaginative set.  Their creative use of percussion accessories, especially during transitions, was outstanding. Even the songs provided mini-journeys: each composition’s multiple sections featured embedded themes and choreography serving as audio-visual reference points.

Two indelible images resonate still from that concert: Meg Suzuki lightly skipping and joyfully bounding across the stage, spinning melody after melody on her fue, and my new taiko hero, Adam Weiner, the ‘tall guy’ in the group, beginning a solo on his knees (!) – reaching up with his wingspan to strike the elevated drums.

Karaoke with Kelvin

Odaiko New England just concluded an awesome week hanging out with Shoji, Maz, Kris and Kelvin from On Ensemble, one of the most cutting-edge and dynamic taiko fusion groups out there. I was blown away by their speed, technique, musicality, complexity, precision– but most of all by their interpretation of what taiko performance can be… hard to imagine that such elevated and inspiring art comes from such down-to-earth and inviting people. How fantastic that our members had this opportunity to not only take workshops with them and watch a killer performance, but also to just hang out and talk to them about their own approaches to the challenges and joys of taiko. It can be difficult for a group out here on the East coast to keep its finger on the pulse of a community that is largely based on the West coast, so having the chance to interact with other taiko players with such deep roots in the art form was a real treat for all of us.

Let’s see– the full recap– we spent 6 hours soaking in Kris’s thoughtful expertise on shime technique and timing, trekked 4.5 hours out to New York City to watch their performance at Drom (en route to DC for Obama’s inauguration– crazy!), sang karaoke with Kelvin till the wee hours, debated with Shoji about everything from the pros and cons of “community” to gender roles in cult sci-fi installments (ok, so maybe Shoji leans more toward esoteric than down-to-earth), allowed ourselves to be humbled as Maz, Kelvin, and Shoji all provided feedback on one of our own concerts– I think each and every one of us walked away from that week with a totally new outlook on who we want to be as taiko players and what we aspire to as a taiko group. Come on, Shoji, there’s your answer– community ROCKS!