Hibari-sensei: Seikima II Press Conference
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Jen Wang (Miyagi, 2008-09) is a lab tech in Dallas and a staff writer for the Japanese music website Purple SKY. Her love of cosplay and her junior high school students inspired the name for her own Japanese pop culture blog, Hibari-sensei’s Classroom.
A-kon , Dallas, Texas’ longest-running anime convention, always bring interesting musical acts from Japan. This weekend, rock bands Blood Stain Child and D will be performing. At last year’s convention, I had the opportunity to attend a press conference with Seikima II. To celebrate their 25th anniversary, the heavy metal band reunited and embarked on the world tour, with Dallas as their first stop. The day after their high energy concert, or “black mass” as it is called among Seikima II fans, they sat down with reporters to answer questions about their music, goals, and efforts to spread both Japanese and akuma culture.
Your site says that you have returned with a new mission. What is your new mission?
Demon Kakka: To propagate ourselves throughout the world. We decided to have a reunion to see how the seeds of world domination have grown.
What made you decide to reunite and spread music to the U.S.?
Demon: There have been many offers, including collaboration with anime. We decided to use the popularity of anime to check out the scene in America.
Even though you claim to be devils, you seem like saints to me.
Demon: [in English] Devils, angels, saints, and Buddhas…I wonder what the difference really is between them. It all depends on what you think which is which.
Why did you choose to propagate Japanese culture?
Demon: The Japanese have a fascinating culture, but the people are not able to go out to spread it. If more Japanese could go out to spread their culture, there would be better communication.
Your songs have very vivid images and ideas. When you are writing lyrics, do you begin with an image, feeling, or story in mind?
Luke Takamura: A keyword is important. From there, the story comes. Sometimes, the melody comes first.
Jail O’Hashi: [in English] Recently I have been writing with Demon as a team. We think about what are things that can be expressed as Seikima II… pinpoint social and economic problems. Those things are important to be expressed in rock music.
Demon: Sometimes the melody is made and the lyrics come. Other times, I start with a story or notes. The ideas can from anywhere even people on the bus or train. When I’m riding the train, I’m in my human disguise so I can write lyrics without anyone knowing.
To read the rest of the interview, click here.
Justin’s Japan: Q&A with Grammy Award-Winning Musician Hiromi on ‘Voice’
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"I went back to Japan right after the earthquake and did a lot of live radio and TV shows to perform live to cheer people up. I just wanted to do something for the country I love and only thing I could do was keep playing music, so I kept playing." (Sakiko Nomura)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here for related stories.
A native of Hamamatsu, Shizuoka, pianist and composer Hiromi Uehara is one of the world’s top young international performers in jazz, winning a Grammy earlier this year for her work on Stanley Clarke’s most recent album. Today (June 7), she releases Voice, her seventh studio effort since 2003 and first as part of the Trio Project with bassist Anthony Jackson (Paul Simon, the O’Jays, Steely Dan, Chick Corea) and drummer Simon Phillips (the Who, Judas Priest, David Gilmour, Jack Bruce).
“When I play music, I realize that it really filters emotions,” says Hiromi. “I called this album Voice because I believe that people’s real voices are expressed in their emotions.” Tonight, the Berklee College of Music alum launches a six-night residency at New York City’s venerable Blue Note Jazz Club as part of its inaugural Blue Note Jazz Festival. I caught up with the artist in this exclusive interview.
What kinds of goals in mind do you have when you record a new album? How about for a concert?
Making an album is like I have stories to tell; I want to see the landscape in music that I have never seen before. For a concert, I always think today is my first and last, trying to put everything I have out.
A big part of your style is your quicksilver runs across the keys. How did you develop this as your trademark, and are there ever times in concert when you feel like it’s a challenge to keep up that manic pace?
I never really thought about it as my trademark, I just play what I hear, what I have to say at that very moment, just like a conversation.
The toughest part of your job onstage that the audience might not realize is…
Definitely traveling.
I’ve noticed that you’ve been speaking a lot more English for interviews and at your concerts. Are you continuing to study it, and what kind of methods or techniques do you use that you can recommend to others who are learning a second language?
I do watch a lot of movies in English. Don’t be afraid to make mistakes, speak speak speak!
In what ways has the Japanese music community banded together in the wake of the earthquake and tsunami devastation? What has your impression been of the United States and its entertainers’ relief efforts?
I went back to Japan right after the earthquake and did a lot of live radio and TV shows to perform live to cheer people up. I also went back in April to do eighteen benefit shows in Tokyo. I just wanted to do something for the country I love and only thing I could do was keep playing music, so I kept playing. I really would like to thank everyone from the U.S. for their efforts. We surely need continuous support and I will keep doing whatever I can do.
For the rest of the interview, click here.
Justin’s Japan: Loudness, Akiko Yano Perform Rare Concerts in New York
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Legendary Japanese metal band Loudness return to Times Square's B.B. King Blues Club & Grill June 1.
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here to subscribe for free alerts on newly published stories.
After their successful tour of Europe last year capped with a headlining gig at Germany’s prestigious Bang Your Head!!! festival, Japan’s Loudness are invading North America for the first time since their sold out 2006 tour, and only the second time since 1991!
Formed in 1981 in Osaka, vocalist Minoru Niihara, guitarist Akira Takasaki (A.K.A. the Eddie Van Halen of Japan), bassist Masayoshi Yamashita and drummer Munetaka Higuchi joined forces to become not only Japan’s premier metal band, but a world class act in their own right, releasing five English-language albums in America in their heyday.
On June 1, the group storms Times Square’s B.B. King Blues Club and Grill, where they last played five years ago in a historic gig filmed for their Loudness in America 06 DVD. (The disc doubles as an epitaph for Higuchi, who succumbed to liver cancer two years later. He was replaced in 2009 by Masayuki Suzuki.)
Metal not your cup of cha? On June 3, Japan Society presents Akiko Yano Solo: Revealing Her Magic. This one-night-only appearance is billed as a concert and talk, exploring renowned singer-songwriter Akiko Yano‘s original music, as influenced and inspired by the unique rhythm and intonation of the Japanese language. In this performance, Yano demonstrates how she bends prose, phrases and salutations into her own musical expressions.
Japan Relief: “It Won’t Be Long Now” song and video by JET alum Shun Endo and The Liquid Now
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JET alum Shun Endo (Ibaraki Prefecture, 1998-2001) (Treasurer and Webmaster for JETAA Pacific Northwest and creator instantnoodlescomics.com) and his band The Liquid Now have released a music video titled “It Won’t Be Long Now“ intended to draw attention to and help fundraise for Japan relief efforts.
From Shun Endo and The Liquid Now:
IT WON’T BE LONG is about overcoming the tsunami and earthquake in Northern Japan. It was a chance for us to really reflect on their struggle, and beyond. To us, the Japanese festivals encompass the beauty of the culture. We’ve experienced nothing like it. It is a time of strong community, tradition, abandon, and joy. We hope the areas affected will heal enough to enjoy themselves once again soon.
All band sales will be donated, so just donate directly to the Seattlejapanrelief.org who work with Red Cross and Peacewinds.
For a digital copy of the song, visit www.theliquidnow.com and/or email theliquidnow@gmail.com
Thank you for listening. 日本の皆さん、頑張りましょう。
The Liquid Now are a band from Seattle that is influenced by British music and Japanese culture. www.theliquidnow.com
(we hope people don’t mind us using their online photos as this is for a good cause, and we will donate anything that comes our way.)
X Japan’s Yoshiki Takes Manhattan, Meets JET Alums
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On May 23, X Japan mainman Yoshiki–who is widely regarded as Japan’s premier rock musician–was in New York City to promote his weekly “Yoshiki Radio” show, which launches on SiriusXM’s Boneyard (channel 38) tonight at 8:00 p.m.
Fujisankei (FCI) News was there, and they interviewed JET alumni Sam Frank of UnRatedNYC and JQ magazine editor/Japanese Culture Examiner Justin Tedaldi for their “Today’s Eye” segment broadcasted on Japanese TV! Check out the video below for Justin’s comments. (Direct link at http://www.fujisankei.com/video_library/art/yoshiki-radio.html)
http://www.youtube.com/watch?v=DXBU4JE8C4o
Tohoku Earthquake benefit: Rock Chicks’ Revenge (Tokyo – June 4)
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JET alum Sarah Cortina is one of the co-organizers of the Rock Chicks’ Revenge (Rock Gods Must Die) which will happen June 4 in Tokyo’s Shibuya Milkyway from 6pm-10pm with a special guest appearance by the Blue Man Group.
See full details at Metropolis Magazine.
Justin’s Japan: New York’s Japan Society Ready to Rock with Hikashu, Tomoe Shinohara
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- Hikashu headlines New York’s Japan Society May 13 with Tomoe Shinohara and Steve Eto. (Ikeda Masaaki & Makigami Koichi)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here to subscribe for free alerts on newly published stories.
This Friday (May 13), Japan Society’s Performing Arts Season goes into overdrive with Hikashu and Tomoe Shinohara Live in Concert, a special one-night-only event featuring the North American debut of legendary band Hikashu with special guests Tomoe Shinohara and Steve Eto.
Drawing on more than thirty years in the music business, Hikashu combines J-pop, new wave and electronic pop, taking listeners on unparalleled musical journeys through its signature sound. Led by its founder, enigmatic vocalist Makigami Koichi (vocal, theremin, cornet), the group’s members include Mita Freeman (guitar, sampler), Sakaide Masami (bass, electronics), Shimizu Kazuto (piano, synthesizer, bass-clarinet) and Sato Masaharu (drums, voice). Currently a lecturer at Shizuoka University of Art and Culture, Koichi has performed at Japan Society twice before as part of the New Voices from Japan series curated by John Zorn (2006) and Ikue Mori: Celebrating 30 Years of Live, Love & Music in NYC also curated by Zorn (2008).
Joining headliners Hikashu at the Manhattan venue is singer, actress and Japanese pop culture icon Tomoe Shinohara with percussionist Steve Eto. Best known to anime fans in the West for singing “Ultra Relax,” the title song of Kodomo no Omocha (released as Kodocha in North America), Shinohara is a choice stylistic counterpoint to the sounds on display. As a musician, songwriter and lyricist, Shinohara (or Shinorer, as her Japanese fans affectionately call her) has released a score of albums, featuring guest spots from artists as diverse as Pizzicato Five, Cibo Matto and Julio Iglesias(!).
For the rest of the story, click here.
JETAA Florida to provide volunteers for South Florida events this weekend
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Thanks to JETAA Florida President Bahia Simons-Lane (Gunma-ken) for sharing the following:
JETAA Florida is providing volunteers for two events in South Florida this weekend:
1. Japan Culture Day at Florida International University
2. Miami Reggae Festival for Japan Relief in Coconut Grove
See Bahia’s blog for full details.
Japan Society Presents Hikashu & Tomoe Shinohara in Concert
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The Japan Society will be hosting an upcoming concert featuring J-techno pop band Hikashu & Tomoe Shinohara on May 13. 50% of all ticket sales from this event will go to Japan Society’s Earthquake Relief Fund.
Click Here to find out more information about the show.
Posted by Sam Frank, an ALT who taught English in Hiraizumi-Cho, Iwate Prefecture from 2002-2004 and worked in Shirahama-cho, Wakayama Prefecture as a JET from 2004-2006. He currently manages the New York Division of UnRated Magazine and works as a Project Manager/Web Producer at Arrow Root Media.
Justin’s Japan: Deep Purple Guitarist Steve Morse Weighs in on the Japan Catastrophe
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Steve Morse, far right, with his Deep Purple bandmates. (Ellenwood Artist Group)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here to subscribe for free alerts on newly published stories.
Throughout its career, Deep Purple–who formed in England in 1968 and released their debut album that year–has sold over 100 million albums worldwide. Revered in Japan, their iconic rock hits include “Smoke on the Water,” “Highway Star,” and “Woman from Tokyo.” After a four-year hiatus from American shores, the band’s upcoming tour, called Deep Purple: The Songs That Built Rock, finds them returning with a symphony orchestra.
In this exclusive interview, I spoke with Steve Morse, the group’s guitarist since 1994, about the tour, and his thoughts on the cataclysmic events happening in Japan.
Regarding the recent catastrophe in Japan, is the band planning to do any special shows or benefits at this point?
No, we haven’t gotten anything that we’re privy to at the moment. I think the thing in Japan is, they sort of differ from a Third World country that just totally doesn’t know what to do. The people of Japan are so incredibly organized and capable, I don’t know how anybody can help them that isn’t right there. They need all kinds of support. The logistics of getting what they need to them is obviously the problem—it’s not being able to afford it, as far as what I’ve seen. And don’t forget that at this time I’ve got a limited view, because I’m working all the time [Morse was touring with the band in Eastern Europe during this interview], and I can’t just turn on the TV and get anything set to a certain very narrow international news station.
So from my point of view, it looks like they need more logistical support than moral support to raise more money for food or anything. I could be wrong, but it looks like they’ve got that part covered, and the government is willing to do whatever it takes to get the people back on their feet and working again. But they’re handling some really amazing problems right now, and one last thing that I get from that is how incredibly dignified they are in such a time of stress.
Of course Deep Purple has a long relationship with Japan and its people, making live albums recorded there something special long before bands like Cheap Trick came along. What’s it like when you go over there as a member of the group?
Deep Purple has very old acquaintances, like promoter Mr. Udo, and everybody knows people there, so it’s a friendly, familiar place. And like I said, it’s so organized and dignified, it’s just wonderful. It’s wonderful to see a guy driving a cab that’s spotless, with white gloves on, and that’s any cab you get into.
The trains, they come exactly on time, they leave exactly on time, and they go really fast. So a lot of times we just ride the trains, because it’s the best way to go. And when you’ve got mass transit that’s that organized, even in an earthquake zone, it’s still the way to go. It beats traffic, you know? And whenever we get mass transit that’s that organized and that cool and that fast and that reliable, I think then America could really cut down on one person per Suburban, you know? (Laughs.)
Is there any place that you haven’t played yet that you’re looking forward to?
Oh, yeah. I’d like to see—and this is not a joke—Antarctica. Because I’m fascinated with technology and how people cope with things. Since I’m a member of Deep Purple, and have played outside in the snow on top of a mountain, in a desert (laughs) and in a monsoon in Korea, I think, outside, getting drenched, it seems like if we can play anywhere, we might as well go to the most extreme gig possible, and that would be Antarctica. Maybe even the North Pole, I don’t know. But there’s some parts of Africa that we haven’t been to, and that would be interesting, especially if they were able to accommodate all the power and logistics for the band. The adventure never stops.
Read the rest of the interview here.
Justin’s Japan: New York’s Blue Note Benefit for Japan concerts to stage two-night support stand
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- The Blue Note Jazz Benefit for Japan concerts will be held at New York’s Highline Ballroom April 18-19. (Blue Note New York)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here to subscribe for free alerts on newly published stories.
Japan has always been there for jazz. Now, jazz is giving back.
The Blue Note New York will host a harmonious benefit at Manhattan’s Highline Ballroom for two consecutive nights beginning Monday (April 18), with all of the ticket proceeds to be donated to the Japan Relief and Recovery Fund spearheaded by Direct Relief.
The event is being organized by talent buyer Seiko Kinoshita, who has worked at Blue Note New York since 1996. “As the details of the disaster unfolded, I felt sad and frustrated that I couldn’t do much to help, being so far away from my home country,” said the Fukuoka native. “Having worked in the jazz industry for most of my adult life, I decided to organize a benefit concert and was very encouraged by the willingness of the artists, as well as their agents and managers, to support the event. I believe that every little bit helps, and I want the Japanese people to know that New Yorkers and the jazz community care deeply about them and their country and want to do what they can to help.”
For the last 23 years, Blue Note has maintained clubs in multiple Japanese cities, with current establishments in Tokyo and Nagoya. Ron Carter, the distinguished jazz bassist who will be among the all-star musicians at Highline on April 19, wrote of his concerns and appreciation for the Japanese people: “We share the grief of the enormous loss of life and displacement of the Japanese people. I will pray for Japan’s fast recovery and will do everything in my power to help. The Japanese jazz fan is the most important supporter of my music, and I am always grateful for the years Japan has stood by my side.”
Click here for the complete story.
Anthony Bianchi back in Brooklyn for “Xaverian High School Japan Benefit Concert” tonight
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Just heard from JET alum, Brooklyn native and current Inuyama City Councilman Anthony Bianchi (Aichi-ken, Inuyama-shi) that he’s back in New York for a very short stay in order to attend his alma mater Xaverian High School‘s “Japan Benefit Concert” tonight (Thursday, March 31).
Anthony notes that any JET alums around are welcome to come. [Ed. Note: Sorry for the short notice. I wasn’t able to post this until 4:21 pm and it starts at 7:00 pm.]
Start time: 7:00 pm
Location: Xaverian High School, 71st St & Shore Road in Brooklyn
Cost: $10
JET alum Lee-Sean Huang (ALT Oita-ken ’03-’06 / webmaster, JETAANY.org & JetWit) was recently spotted in a flash mob music video for the dance pop girl group Xelle. You can spot Lee-Sean in the back of the train, dancing with the big spotlights.
Justin’s Japan: Q&A with Billy Sheehan of Mr. Big
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- Billy Sheehan of platinum-selling rock group Mr. Big. (William Hames)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here to subscribe for free alerts on newly published stories.
Considered by many to be the Eddie Van Halen of bass, Billy Sheehan launched his recording career in the late ’70s with the Buffalo-based rock trio Talas, then joined original Van Halen frontman David Lee Roth’s band in the mid-’80s for two platinum-selling albums. After parting with Diamond Dave, Sheehan formed Mr. Big in 1988. Best known for its hit ballad “To Be with You”—which went to number one in 15 countries including the U.S. in 1992—Mr. Big called it quits a decade later, but in 2009 the original lineup reformed for a massive tour of Asia and Europe.
In February, the band released What If…, the first album in 15 years from the reunited rockers, which instantly went gold in Japan upon release. I spoke with Billy about the new album, his long relationship with Japan, and Mr. Big’s future touring plans.
What are some of your favorite “culture shock” memories from Japan?
Let’s see. Well, I toured with a Japanese band called B’z [in 2002], and they’re a huge band. One of their singles released that I played on [1999’s “Giri Giri Chop,” with Pat Torpey] sold, I think, three or four million units in a day; they’ve sold more records in Japan than Madonna has sold. Amazing statistics; wonderful bunch of guys, too. But we’ve played in little, tiny places where very few Western bands have ever performed. We did a thing on this little island where at the hotel there weren’t even Western numbers on the doors, so I had to remember the character of the kanji on the door to try to remember which door was mine, and that was an interesting moment for me.
It must have been a thrilling experience to go on tour with them.
We played all over. In Mr. Big, that’s one thing we’ve done, as well. Most bands [play] Tokyo, Osaka, Nagoya, and that’s it. But we’ve done Sendai, Kagoshima, Niigata, Sapporo, Fukuoka; all kinds of little places, a lot of places where many bands don’t get to. In Sendai, the first time we played there, we found out that they were having a petition to have Mr. Big play there. It had 30,000 signatures on it, and the place we were playing could only hold about 5,000 people, so we asked, what happened to the other 25,000 people that signed the thing? It was pretty fun; a sweet, sweet beautiful little city, great spot. We were very lucky to see a side of Japan that not a lot of Westerners see. It’s a very inspirational experience.
In your opinion, how do you think Japan has changed from the time you first went there up until now?
I know the economy’s been in trouble for a while, so now we’re starting to see things like discount stores and prices that aren’t set anymore; that’s a new thing for them, to go into a store and not pay absolute full retail for something, which they did for a long, long time. Now, they’re actually looking for bargains. That’s an interesting cultural change that not a lot of Japanese folks are used to. Also, the idea that once you work for a company, you are there for a lifetime of work; it’s not as secure anymore. So, I do believe there is a little bit of concern and worry amongst the average folks now that things are changing, and it’s sad to see. It’ll be interesting to see how things play out in the end.
When you played the Mr. Big reunion shows in Japan in 2009, did you notice any shift in the people who were coming to the shows?
We were very, very surprised at how many young kids were in the audience. We had a few gray heads of hair out there, too, of course, but there was amazingly a very large amount of very young kids, because I guess like any band, when you’re fortunate enough to get to some plateau of success, things start to kind of become timeless, as with this whole Beatles fans thing—I’m not comparing ourselves to them, of course, but same principle. So, we’re pleasantly surprised to see a lot of very young people whose parents probably turned them on to it, or their older brothers or sisters. So, that was a great thing.
You’re spanning generations now over there.
Yeah, I think there’s probably three generations easily being represented in the audience. We’re so thankful.
You’ve been known to get extra work and gigs in Japan over the years, like the B’z tour, Hard Rock Cafe radio spots, bass clinics, and other appearances. Do these usually come to you by reputation, or do you have to actively campaign for them?
Generally, they come to me, which I’m humbled by. It’s awful nice of them to consider me for their endorsement things and what have you. Fortunately, the press in Japan is thorough and omnipresent, so we really get a lot of coverage, and if we get fortunate enough to have a reputation that precedes us, that’s pretty cool. And it’s been an incredibly lucrative thing, to be frank—we’ve made a lot of money from Japan. And when we played there, we realized that. So, we played, and I came off the stage and practically collapsed from exhaustion a couple of times, because we push hard in our appreciation for what we have now as a result of the fans there. We don’t forget it for a minute. That’s pretty awesome.
Click here for the complete interview.
Justin’s Japan: Tak Matsumoto of B’z wins first Grammy
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'Take Your Pick' was named Best Pop Instrumental Album last night at the 2011 Grammys. (335 Records/Vermillion Records)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
While Justin Bieber came up empty, Takahiro Matsumoto of the J-rock band B’z won big at the 53rd annual Grammy Awards in Los Angeles last night (Feb. 13).
The famed 49-year-old guitarist, commonly known Tak Matsumoto, netted his very first Grammy gold (Best Pop Instrumental Album) for Take Your Pick, a collaboration with the equally legendary American guitarist Larry Carlton.
Carlton, whose licks Matsumoto admitted to copying as a teenager, has been recording since the 1960s and has played on over 100 gold and platinum records, including discs by Steely Dan, Michael Jackson and Billy Joel. Take Your Pick, which contains original compositions by the duo supported by American session players, was released last June and goosed by a two-month Japanese tour by the axe slingers.
“I had never told anyone until now, but the Grammys was one of my dreams and a big goal,” Matsumoto said yesterday after winning the award. This was Carlton’s fourth win and 19th nomination overall.
Click here for the rest of the story.
