How to make yuzu kosho

Is there a citrus fruit more amazingly intoxicating than yuzu? It’s my favorite by far, and I don’t think it’s only because I grew up with a huge yuzu tree in the back yard. I often see aroma descriptors that combine lemon, grapefruit, and orange but to me they don’t quite convey the magic of yuzu. Outside of Japan, they are hard to find, expensive, and typically not fresh and vibrant, so my solution was to grow it at home. After buying a small potted yuzu tree at the local nursery 3 years ago, it finally produced around 20 fruits this year. I can’t overstate how precious these yellow fruits were as they slowly grew from flower to pea-size to lime-size and finally turning yellow in late fall.

Yuzu peel is great on so many things like udon, soba, nabemono, pickles, salad, and pretty much anything. The juice mixed with equal parts shoyu makes a fantastic ponzu for dipping anything. I decided to make yuzu kosho to take full advantage of the fresh fruit by stretching it out with green chiles and preserving it with salt for longer storage. I found various recipe in books and online with a wide range of methods and ingredient ratios, but most only contain 3 ingredients. I decided to use equal parts yuzu peel and jalapeno with 10% salt by weight. This salt amount is on the lower side of the recipes I saw but I think it’s more than enough. I would use less salt if eating the yuzu kosho while fresh, but more salt if the goal was longer storage in the fridge.

While many recipes use a food processor, I decided to make it in batches in my biggest mortar and pestle. For this method, it’s important to mince the yuzu peel and chiles as finely as possible. I learned about a great way to maximize the yield of yuzu peel without getting the white pith on this MIKLIA recipe where you peel it by hand and use a spoon to gently remove the pith. It works great and I will always process yuzu peel this way in the future.

This recipe turned out to be very delicious, but I would prefer a more pronounced chile flavor and heat. In late December I wasn’t able to find the variety of chiles that are available in summer and early fall so jalapeno was the only option I had. The had virtually no heat so my yuzu kosho was more mild than the typical versions in Japan where green or red togarashi chile are often used. I think a blend of chiles such as serrano, togarashi, habanada, habanero, and cayenne would add a lot of fruity and spicy character. Next year, I will try to work on the timing of my yuzu ripening with the availability of home-grown chiles. I am satisfied with this ratio of yuzu, chile, and salt.

Yuzu kosho is delicious when added to noodles, hotpot, sashimi, tofu, soup, tenpura, and many other foods. I added some to natto and it was spectacular. Of course you can purchase shelf-stable jars of yuzu kosho at an Asian grocer with the understanding that the home-made version is something completely different. If yuzu is unavailable, I think it’s worth trying the recipe with a blend of other citrus. I might try 3 meyer lemon, 1 grapefruit, and 1 navel orange (or blood orange) as a starting point. Or make them separately and blend after to find the ratio you enjoy. Have fun mixing your yuzu kosho into anything you like, although I would personally not put it into the bathtub.


Yuzu Kosho
150g yuzu peel, fine mince (around 8 medium)
150g jalapeno, fine mince (around 6 large)
30g sea salt (10% of total weight of yuzu and jalapeno)

  1. Peel yuzu by hand and remove pith with a spoon, then mince finely.

  2. Remove seeds from jalapeno chiles and mince finely.

  3. Combine with salt and pound into a paste in mortar and pestle (in batches depending on amount).

  4. Store in fridge or freezer.

Interview: Yumi Torimaru talks taiko, fue, shamisen, and music culture in Japan

I had a fun time talking with Yumi for this interview. I think we have a mutual understanding especially because of our strong connection to both Japanese and North American arts and culture. When I first moved to Portland, Yumi kindly bought me lunch and welcomed me to the area with warm enthusiasm. It’s always nice to have a friendly greeting because going to a new location can be somewhat challenging. Since then, we’ve become friends and colleagues who also share an appreciation for high-quality natto along with other food and drinks.

Yumi’s group Takohachi is always fun to watch. As I mention in the interview, my favorite part is their distinctly unique style where energetic original pieces are mixed with a minyo (Japanese folk arts) feel. In this way, I would love to see more taiko groups that simultaneously embrace their own voice and appreciate a deeper connection to the roots of the instruments and music which came from Japan. Yumi is also very active with other projects where she collaborates with various musicians and other artists.

We covered a lot in our conversation including her early musical experience, finding taiko by chance in the US, the pros and cons of getting a natori (stage name), quitting her day job to be a full time musician, her recent trip to Japan, her many great teachers, and much more. There is a lot of material on her websites and social media so please check out the links below. Yumi sent me four audio excerpts which are interspersed throughout the interview:

Sakura in Spanish Wind by Toshi Onizuka (guitar/percussions/arrangement), Yumi Torimaru (shamisen/shinobue), Otsuki (vocal)

Tawaratsumi Uta from Nanbu (Aomori)
This was made with my tsugaru shamisen teacher (Ryuhiro Oyama), his sister (Chigusa Takehana, vocal), and her two daughters (Marino/ Minori Kajiwara, taiko/Narimono) with my shinobue.

Portland Raincolors by Yumi Torimaru

Sora no Tori by Yumi Torimaru


Kotori Japanese Music
www.KotoriJapaneseMusic.com


Yumi Torimaru founded her music ensemble, Takohachi, in 2006 in Portland, Oregon. Takohachi became a 501(c)(3) non-profit organization in 2007 to preserve traditional Japanese music and dance and create innovative taiko drum performances using Japan's strongly moving music and rhythm element. She has created hundreds of Takohachi shows to educate and entertain throughout Oregon at schools, libraries, festivals, and cultural events.

In recent years she established a smaller ensemble, Takohachi’s Q-Ensemble, to perform flexibly with high demand. She also has undertaken a solo project Kotori Japanese Music focusing more on cultural content. With all the newer projects, she freely expresses her originality in music using Taiko drums, Shinobue (bamboo flutes), and Tsugaru Shamisen (Japanese lute). The smaller ensembles and Solo projects allow her to do more collaborations with other musicians and artists in different genres. Duo units, Maido Mind (shinobue and piano/voice), and Takohachi X (multi-Japanese instrumental) are actively performing. She enjoys being an ambassador to introduce Japanese culture through music to American communities and exporting new work with a fusion of American Experience back to Japan. With Takohachi, she wants to build a special two-way relationship with Japan to bridge the two cultures.

In 2016, she became an apprentice of Ryuhiro Oyama, the distinguished Tsugaru Shamisen (Japanese lute) master of one of the biggest Tsugaru Shamisen Associations (Oyama-Kai) in Japan. He is well known for his deep knowledge of the Tsugaru style Minyo (folk songs). In 2020, Yumi started to take online professional shinobue training by a world-renowned musician, Yasukazu Kano.

Interview: Hanz Araki talks shakuhachi, Irish flute, and evading false typecasting

It was a real pleasure to interview Hanz, who is someone I have wanted to feature here for quite a while. We first met seven years ago at one of his Irish music gigs when I moved to Portland, and I could sense our like-mindedness as we chatted during the breaks. Hanz is a wonderful musician and equally accomplished as a shakuhachi artist and Irish flutist. We haven’t had the chance to work together yet but I hope this opportunity will arise in the near future.

In this conversation, Hanz talks about his introduction to the shakuhachi at age 17 and his accelerated training under his father resulting in a performance debut only a few months into his study. He describes some parallels between his Japanese music and Irish music experiences, where some people would try to force their faulty stereotypes into the story. It’s something I can relate to, and while both of us have learned to deal with it, it’s nevertheless unfortunate that such ignorant voices are still common. Hanz also discusses his family’s legacy and his position as the sixth generation Araki Kodo as well as what the future holds for this school.

Hanz kindly sent me his two latest albums - Hankyo & at our next meeting - and I have included excerpts from several pieces in the interview. I hope you will visit his websites (linked below) and consider checking out all of his terrific albums. I had a really fun time talking with Hanz and I’m truly grateful for his time and the thoughtulness he brought to our conversation.

 

Considered one of the most talented Irish musicians in America today, flautist, whistle player, singer, and Juno Award-winner Hanz Araki has been lauded by publications and audiences alike.  Three decades of musical exploration into Irish, Scottish, Japanese, and American traditions has yielded his distinct style described by Fatea Magazine as “achingly beautiful.”

As the sixth generation of his family to bear the title Araki Kodo, Hanz (short for Hanzaburo, his great-great grandfather’s name) spent his formative years mastering the Japanese end-blown bamboo flute.  Discovering and relishing the melodic and mechanical similarities between shakuhachi and Irish whistle, Hanz applied his natural capacity and boundless curiosity to his Irish heritage.  Taking advantage of the rich Irish music scene in Seattle, where he spent his youth, Hanz quickly became known for his exquisite instrumental work on both Irish whistle and flute and a haunting singing voice that was born to tell tales.

Over the years, Hanz has released 12 albums, including 2019’s critically acclaimed At Our Next Meeting, recorded with Donogh Hennessy in Dingle, Co. Kerry. Festival appearances include the Austin Celtic Festival, the Maine Celtic Celebration, the Missoula Celtic Festival, KVMR Grass Valley Celtic Festival, Milwaukee Irish Festival, Bumbershoot, Celtic Connections, and over 20 years of performances at the Northwest Folklife Festival. Hanz has also been invited to perform with the Seattle Symphony, at the Gates Estate, and for the Japanese Consul General.

Interview: Barbara Merjan talks percussion, taiko, and working on Broadway shows

I have always enjoyed hanging out and talking with Barbara and this interview was another one of those occasions. We first met when I was visiting Kaoru Watanabe in Brooklyn, realizing we both work in a variety of genres a percussionist, drummer, and taiko player. Barbara is a highly accomplished and experienced musician who speaks with thoughtfulness and humility. I was always happy to see her participate in Edo Bayashi classes taught by Suzuki sensei or myself because I knew that she was appreciating the musical intricacies found all throughout that music. We might find ourselves working in incredibly eclectic musical situations, but in fact, it all seems to be connected by the somewhat bizarre reality that we just hit things for a living. I found Barbara’s stories about the Broadway scene very interesting, especially about the issues of gender discrimination as well as the trend toward high-tech production where the musicians are placed in separate rooms rather than in the conventional orchestra pit.

Barbara sent me some video links of some projects she has worked on. The links are below and I would encourage everyone to check them out. She also sent me some audio tracks for me to include in the interview. They are:

I Wonder As I Wander - Julia Simpson’s Christmas album
Mad Coyote Madly Sings - The Character of American Sunlight (Jerome Kitzke)
The Swan and the Vulture - Teetering on the Verge of Normalcy (Guy Klucevsek)

Thank you to Barbara for generously making time to record this conversation. I hope you enjoy listening as much as I did interviewing.


Barbara Merjan is a drummer and percussionist who has worked in a variety of musical contexts, including Jazz (Newport Jazz Festival, 1980, 2002), Broadway (Cabaret, Sunset Blvd., Cats, Miss Saigon, Fiddler on the Roof, Big, Elf, The Unsinkable Molly Brown….) Pop/Rock (Robert Palmer, Lesley Gore, Women of Woodstock) and Contemporary American Classical (Mad Coyote Ensemble, Linda Fisher).

In addition to these musical styles, she has been studying, performing and teaching Japanese taiko for the past 15 years - Wesleyan University (2016-2020), Kaoru Watanabe Taiko Center.

Ms. Merjan has also recorded in all these genres.

For many years, Ms. Merjan brought music workshops into the NYC public schools via Music Outreach. The workshops were an introduction to music for younger grades with an added focus on reading skills.  Along with musical introductions we always told a children’s story with musical accompaniment.

Bachelor of Music:  Ithaca College 1981
Master of Music:  NYU 1991

Video Links
An excerpt from a piece I performed in with Fumi.  It is Blood Moon.  We did it in Jan. 2020.
https://www.garrettfisher.com/blood-moon

A video from a perfomance a in 2016, of Paha Sapa, by Jerome Kitzke:
https://youtu.be/WRSPPj12vcY

Mad Coyote Madly Sings, also by Jerome Kitzke:
https://youtu.be/Us-d3xv-wyQ

4th movement of Yukiwatari by Midori Larsen.  We performed at the end of 2019:
https://youtu.be/ciD7mTyTLUs

Interview: Fumi Tanakadate talks piano, taiko, fue, and writing music

Photo by Michael Holmes

It was fun talking with Fumi for this interview. We first met several years ago during one of my Brooklyn trips to visit Kaoru Watanabe. Even though we haven’t had many opportunities to play together, I have always appreciated her clear musicality. Fumi is one of the most solid taiko and fue players I know and her work spans a wide range of musical genres and artistic disciplines. And of course she is highly accomplished on her main instrument, the piano. I’m sure that if we were based in the same town, our musical paths would be much more interconnected. Hopefully there will be increased chances to work together in the near future.

In the interview, Fumi talks about her musical beginnings in Tokyo and how she ended up as a member of the taiko class at Wesleyan University. We also discussed her experiences as a student of Kaoru which eventually resulted in performing in his groups and helping to teach at his taiko school. I also enjoyed hearing about composing for fue and piano because we all seem to have different approaches to writing for this somewhat unusual instrument combination. Finally, it was enlightening to discuss Fumi’s current nohkan and Edo Bayashi studies, especially because of who her teachers are. Thank you to Fumi for taking time to record this conversation.

Included in the interview are excerpts of music recordings that Fumi sent me. They are:
Sketch 01 - Fumi Tanakadate
Kimigayo - Hiromori Hayashi, Yoshiisa Oku (arr. Fumi Tanakadate)
Momotaro - Teiichi Okano (for Crossing Jamaica Avenue)
Senkou Hanabi - Fumi Tanakadate
Uplifting
- Fumi Tanakadate


Fumi Tanakadate is a versatile music artist, specializing in piano, Japanese percussion and bamboo flute, who has a unique combination of an expertise in European Classical music and a background in traditional folk dance and music from Japan.  Fumi studied and worked extensively with Kaoru Watanabe, performing at such venues as Joe’s Pub, National Sawdust, Pioneer Works, the Metropolitan Museum of Arts, the Rubin Museum of Art, Super Deluxe in Tokyo and at PASIC, Percussive Arts Society International Convention.  Fumi has also collaborated with Shane Shanahan of the Silkroad Ensemble, Brooklyn Raga Massive, Chieko Kojima and Yuta Sumiyoshi of KODO, Alicia Hall Moran, Sonoko Kawahara (theatre director), Parijat Desai (dancer), Garrett Fisher (composer), Satoshi Takeishi, and Kiyohiko Semba. 

One of her recent projects was an unconventional trio with an erhu player Ying-Chieh Wang from Taiwan and a janggu player Woonjung Sim from South Korea, sharing and creating a new perspective on traditional music as part of Contemporary Music Platform, a residency at National Kaohsiung Center for the Arts in Taiwan.

Photo by Bedouin Hao

Fumi currently teaches at Wesleyan University and serves as the primary instructor at Kaoru Watanabe Taiko Center, giving classes and educational workshops at local schools and colleges. She has also taught at North American Taiko Conference, East Coast Taiko Conference, and European Taiko Conference.

As a classical pianist, Fumi has performed throughout Japan, tri-state area, Austria, and Spain. She holds a Bachelor of Arts degree in Earth and Environmental Sciences from Wesleyan University and a Master of Music degree in piano performance from Manhattan School of Music.