A recap of my 5-state Midwest teaching tour

Ho Etsu Taiko in Chicago

There are a lot of great things happening within the US Midwest taiko scene. My recent teaching tour took me through five states over a two-week period and each stop was full of positive energy and warm hospitality. I worked with groups which have existed for anywhere between a few years and thirty plus years, and it seems like the region is making more and more cross-state connections - hopefully planting the seeds for a future Midwest Taiko Gathering. I especially enjoyed seeing the various styles of each group and truly appreciated the heightened emphasis on musicality. Hopefully I'll be back soon!

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Soten Taiko in Des Moines

My first stop was in Des Moines, Iowa to work with my friends at Soten Taiko. The members took me straight from the airport to the famous Zombie Burger where we enjoyed great burgers and shakes while completely surrounded by everything zombie. The fun continued during the shinobue private lesson (where I was shown 2 beautiful shishi gashira they perform with) and the Soten Taiko workshop covering ensemble playing concepts. Dinner was another peculiar place where pizza was topped with Chinese-restaurant dishes like beef stir-fry and crab rangoon, all surprisingly tasty. The next day I drove north to Minneapolis in a rental car after having a fantastic breakfast at the local French bakery where I had one of the best almond croissant in recent memory. Many thanks to Ben, Mary Jane, Amanda, Tanis, and all of the Soten Taiko members!

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Edo Bayashi masterclass

I was really looking forward to returning to Minneapolis where I first met the Mu Daiko team in 2005 when I traveled there as a member of the Kenny Endo Taiko Ensemble. It was a blast seeing old photos from that time, reminding me of my initial admiration for Mu Daiko's wonderfully distinctive original compositions played at our joint concerts. This recent visit was organized by my friend Iris Shiraishi who is doing fantastic work with her projects Ensemble MA and TaikoAlive. While it was fun teaching workshops on intermediate shinobue and small drum technique, I was particularly thrilled to lead an Edo Bayashi masterclass for the class Iris runs. She and some other members have a history of studying with Kyosuke Suzuki sensei, and this session served as preparation for his visit in August following the North American Taiko Conference. It was also inspiring to get private lesson requests for shinobue, atarigane, and Edo Bayashi – things I would like to see more of out there. Happily there was some free time to check out a nice brewery, a good coffee roaster, and even a fantastic little drum shop that makes their own line of drums called Northeast drum co. I played the walnut mini kit and was shocked at how good it sounded. Thank you so much to Iris, Alex, Arlene, and all of the Ensemble MA and Mu Daiko members for the warm and enthusiastic hospitality!

Small drum technique

Intermediate shinobue

The Drum Loft

Urban Growler Brewing

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My next stop, Ho Etsu Taiko in Chicago, was the originator of this tour. My interview with artistic director Jason Matsumoto covers how we met, including the newly-released joint live album with On Ensemble recorded a year and a half ago. Ho Etsu is one of my favorite groups not only because the members are a joy to hang out with but also because they are creating interesting original material that fits the group's style and vision. It's exciting to think of the possibilities to come from their forward motion, and absolutely Ho Etsu is a group we should be keeping an eye on. In addition to workshops on small drum technique and Edo Bayashi, we took some pieces from the repertoire and explored ways to make the music speak with more clarity and artistic intension. Among the many great meals, the unusual beers at Forbidden Root were especially memorable. I also finally made the pilgrimage to the old Deagan building where I met Andres, the master tuner, repair technician, and owner of Century Mallet Instrument Service. As a Deagan vibraphone owner, I have ordered parts from them for many years, and visiting this historic place was just as incredible as I had imagined. A huge thank you to Jason, Johes, Midwest Buddhist Temple, and all of the Ho Etsu members for a remarkable time together!

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Initially I had planned on driving to my next location of St. Louis, but Expedia informed me that I could fly there for less time and expense than driving a rental car. When nobody in Chicago or St. Louis had heard of the tiny airline called Air Choice One, I knew there was a chance for an adventure. It turned out fine – a leisurely flight on an eight-seat prop plane with five other passengers and two pilots a few feet away. It was a windy day, causing the little plane to blow around, but having so much visibility inside made it quite an enjoyable ride. This was my second time visiting St. Louis Osuwa Taiko and I was delighted to see their brand-new shishi gashira. We covered the taiko part for Edo Kotobuki Jishi on the first day and conducted a workshop called Pulse & Ensemble Playing on the second. This is one of the few groups where I can exchange stories and share experiences regarding the original Osuwa Daiko in Nagano, Japan. Although I never had the chance to meet Daihachi Oguchi sensei, I am friends with his grandson and current leader Makoto Yamamoto, having visited their historic location in Okaya as well as presented an Osuwa Daiko concert in Vancouver, BC. Before taking my afternoon flight, I was able to visit an interesting brewery called Urban Chestnut where a self-guided tour tells about the brewery's environmentally conscious operations. Thank you very much to Andrew, Soon, and everyone at St. Louis Osuwa Taiko!

My ride to St. Louis

Urban Chestnut Brewing

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Great Lakes Taiko Center

My final stop was new for me – Great Lakes Taiko Center in Novi, Michigan. For several years I had been hearing from friends about Brian Sole and his taiko school located in this somewhat unexpected location. Having earned my undergraduate degree at Central Michigan University, I was familiar with the geography and knew there weren't many taiko players in the state when I lived there, which is why I was so impressed with how much Brian has done in a relatively short amount of time. From the nice studio and quality instruments to the large-scale annual concert and student recital featuring guest artists from Japan, everything is well organized and very professional. The school's community ensemble Go Daiko and Brian's professional group Raion Taiko seem to get steady work and deliver excellent performances. It was a pleasure to teach in the clean and quiet space with plenty of drums, huge mirrors, a powerful PA system, and notation for warm-up exercises posted on the walls. I admired how everyone participated in the workshops with full vigor, and I even witnessed the single most virtuosic note-taking display in my 20+ years of teaching. (Thank you Eileen!) I also taught private and group lessons on small drum technique, shinobue, and katsugi technique. There were many good meals including the famous Detroit style pizza at Buddy's, but Bento 39 (sankyu) was the place I was eager to try as I had heard about this unlikely little spot serving amazing Japanese comfort food. My katsu curry plate easily met my hyped-up expectations. An enormous thank you to Brian, Eileen, Jianin, and everyone at Great Lakes Taiko Center for making this marvelous visit happen!

Ji playing workshop

Great Lakes Taiko Center

Bento 39

Katsu curry

Interview: Sumie Kaneko talks music, ma, and her new album

Sumie Kaneko - koto, shamisen, vocal artist

My first time meeting Sumie was also the first time we performed together, when she was a guest artist at On Ensemble's Sounds of LA concert at the Getty Center three years ago. I remember the music coming together quickly with only a few rehearsals thanks to Sumie's thorough preparation in learning the group's material as well as bringing well-written charts of her original pieces. The audience reception was enthusiastic and my favorite part of the collaboration was her clear and distinctive expression on koto, shamisen, and voice. Changing one member in a quartet makes a significant impact, and happily that first concert went very well and was a lot of fun. Since then, Sumie and I have shared the stage numerous times at On Ensemble and Kenny Endo Taiko Ensemble concerts.

In this conversation, Sumie talks about how she started playing koto at age 5 and the contrast between studying Japanese traditional music at Geidai (Tokyo University of the Arts) and majoring in jazz vocals at Berklee College of Music. We also talk about her two albums – J-Trad & More and the newly released Dead of the Night – which I would highly recommend everyone check out at the links below. This kind of uncategorizable music with diverse influences (Japanese classical and folk music, jazz, pop, samba) speaks to me because this perspective is familiar in my own music. Sumie kindly sent me three of her original tracks to incorporate into the interview: Maihana, Kaleidoscope, and Sublimate, Outcome. During our discussion about the touring life, Sumie memorably shares one of her secrets to help stay grounded during the constant changes on the road. She also talks about upcoming projects, and we even touched upon the inclusion of both of our pieces on the soon-to-be-released live album featuring Ho Etsu Taiko and On Ensemble.

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Sumie Kaneko's new album Dead of the Night

Japanese Koto & Shamisen player and Jazz singer/songwriter Sumie (Sumi-é) Kaneko creates music that spans a millennium.  A master in the traditional repertoire of these ancient instruments, she has also pioneered their use in jazz and experimental music, through solo and group performances worldwide. 

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Links
Sumie's website
Dead of the Night (CD Baby)
J-Trad & More (CD Baby)

Sumie began playing Koto at age 5, by the following year she was appearing on Japanese TV program at NHK. In 1995, she won the Takasaki International Competition in Koto performance. She studied Japanese traditional music at Tokyo National University of the Arts, and in 2006, studied Jazz vocal at Berklee College of Music. She has performed at Carnegie Hall, Lincoln Center, Blue Note NY, TED talk, Regattabar, Getty Center, Boston Ballet, Yo-Yo Ma’s Silk Road Project and the Museum of Fine Arts, Boston. She has also given workshops at Harvard University, MIT, Princeton University, Wellesley College and Berklee College of Music, among other institutions. In 2014, her group was invited to the Washington, DC Jazz Festival, which is co-sponsored by the Embassy of Japan.

She has collaborated with many world instrumentalists, such as Evan Ziporyn, Kenny Endo, and Kaoru Watanabe, as well as painters, dancers and calligraphers. She has toured internationally in Brazil, Peru, Bolivia, Jamaica with Japan Foundation, and every year since 2013 she is invited to Bangladesh, Pakistan and India from Embassy of Japan. In 2017 February, she returns to Japan Foundation’s JAILA program and on tour in Nicaragua and Guatemala with contemporary taiko group On Ensemble.

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How to improvise with nabe (Japanese hot pot)

delicious nabe ready to eat

One of the most comforting things to make when the weather turns cold is nabe ryouri (Japanese hotpot cooking). I think of nabe as the opposite and equally satisfying seasonal meal of cold somen in the middle of the summer's heat. In Japan, the common cooking method involves heating broth or water in a clay pot (called donabe) over a portable stove at the table. It wasn't until a few years ago that my fairly narrow concept of nabe was liberated by the book Japanese Hot Pots (Ono & Salat). While the traditional method is lots of fun, we don't necessarily need the special equipment in order to experience delicious nabe cooking. Learning how to improvise is just a matter of understanding the key points, and our reward is freedom to try whatever we want to.

Here are my guidelines:

1. The cooking vessel – a donabe is great, but any large pot or pan works just fine. I use an enameled cast iron pan, which has the advantage of retaining heat after it comes off the stove. A lid is needed.

2. The liquid – homemade dashi is what I use most, but any fish, vegetable, poultry, or meat stock will work. Even using granulated instant dashi or concentrated broth in jars (such as Better Than Bouillon brand) will make good nabe. The main thing to watch is the salt level, knowing that you can always add more later.

3. The ingredients – this is where we want an open and adventurous perspective. Vegetables, fish, tofu, meat, noodles, and anything else in the fridge can be considered. Some things require more time to cook: for example, I will place daikon on the bottom and start cooking before adding fresh greens like shungiku (chrysanthemum leaf) or delicate things like cod fillets. When everything is added to a dry pan before pouring the liquid in, your beautiful arrangement will stay intact during cooking.

4. The shime – meaning to "tie up," the shime is how nabe dining is concluded, with a starch such as rice, noodles, or mochi. After all of the ingredients have been simmered, the delicious broth is most valuable and a neutral flavor vehicle is used to enjoy the broth and make sure we are satisfied. I don't see any good reason to exclude other starches like bread, crackers, potato, pasta, flat breads, beans, or other whole grains.

As an example, here is how I typically do nabe.

ingredients for classic dashi

First I soak some konbu in 4 cups of cold water (for better flavor extraction and fuller bodied broth) for 30 minutes to several hours depending on my schedule. Then I will shave the katsuobushi while the konbu water heats on the stove. As it comes to a boil, the konbu comes out and the katsuobushi goes in. I let it steep for 10-20 minutes off heat and then strain. To this dashi, I add 1/3 cup usukuchi shoyu and 1/3 cup mirin. These flavorings can be switched out with miso, salt, fish sauce, kimchi, spices, or anything to get the salt level into the appropriate range. 

ingredients in the pan before adding liquid

Next, I start cutting and arranging ingredients into the dry pan. Here, I have daikon and dry harusame scattered on the bottom. In the middle is medium firm tofu cut into 2 - 3cm blocks, which is another excellent flavor vehicle when simmered in broth. Around the tofu are enoki and shimeji mushrooms (the more mushroom varieties, the better), hakusai, negi, gobo fish cake, and shungiku. Cutting diagonally helps increase surface area, allowing for better flavor transfer. Because the quality of these ingredients is directly related to how the broth tastes, I tend to be flexible, letting freshness and integrity dictate what goes in rather than what might be 'proper.' In my example, I have several areas covered: oniony negi, meaty mushroom, fish cake richness, and added dimension from roots and greens. The noodles and tofu soak up flavor and provide contrasting texture.

hanging out by the heat vent until the kotatsu is turned on

Once the ingredients are all arranged, I pour the liquid in, cover, and place over high heat. As it starts to bubble, lower the heat and let boil gently until the hardest ingredient is soft enough for your liking (in this case daikon). Then, simply place the whole pot in the center of the table with spoons and chopsticks nearby. The common way to finish is to boil pre-cooked rice in the broth, helping it to break down a bit and absorb flavor. But I usually just combine the rice and broth in a bowl and enjoy. Try both ways to see if the extra step is worth it.

Nabe is really fun, especially when we allow ourselves the freedom to improvise. Keeping in mind these few guidelines not only helps avoid failures, but also provides a structure in which we can exercises our individual creativity. A very experienced performer and teacher once told me that "improvisation is problem solving." That concept took a while for me to understand, but like many things stated simply, I think it makes a lot of sense. For nabe, the 'problems' could involve what's in the fridge, the limitation of the pan size, what kind of shime to use, the dietary preferences or restrictions of the eaters, and so on. Improvising on the solutions is the fun part, and you get a comfort food that is perfect for winter. I think of pizza as another fun theme to improvise on, but that will have to be covered in a future entry.

8 reasons why all drummers should own "It's About Time"

My well-used copy of the book

It's About Time by Fred Dinkins is one of the most important books I own. I have practiced and taught material from it extensively for about 10 years and it has tremendously influenced the way I approach timekeeping and ensemble playing. In the foreword, studio drumming legend Harvey Mason writes that the book "is a guaranteed solution to time problems," and likewise I'm convinced that the concepts and exercises presented by Dinkins will produce excellent results for anyone who practices them consistently. Included are two CDs containing exercises, demos, and play-along tracks. Although the book is designed for drumset players, I think it's equally valid for every kind of drummer. I have applied many of the ideas and tools in teaching taiko lessons, workshops, and instructional videos. Here are my top eight reasons why all drummers should own It's About Time.

1. Emphasis on using your voice – Dinkins designed exercises to make us aware of different parts of the subdivision by learning how to sing it while playing a basic beat. It's challenging at first but very rewarding.

2. Excellent CD tracks – there are many practice pieces included, and they serve as useful tests. When my students are able to play the charts comfortably with the recorded music, they pass that lesson and move on to the next. I appreciate the real-world notion of 'either you can do it, or not.'

3. A section covering count offs – counting off a tune might seem like a minor issue, but it's something I take very seriously and emphasize with my students. The exercises in the book help to make your count off tempo consistent with your playing that follows immediately.

4. The 2 & 4 pocket – many styles of music have a backbeat (emphasis on 2 & 4) and working to "bury" the backbeats on the play-along track will help your sense of groove and consistent note placement.

5. Feeling the beat – talking about how the beat can feel on top, in the middle, or behind can be a frustratingly nebulous topic. Dinkins provides clarity by delivering a play-along track where the feel shifts in each new section, requiring the player to adjust slightly but noticeably.

6. Fills workout – another useful tool in the book is a chart where fills are required at the end of every four measures. Each fill must be the length specified, and the play-along track goes silent during these fills. Because fills are a common area of tempo insecurity, this exercise is very useful in improving steadiness and boosting confidence.

7. Hits workout – emphasizing certain accents is another area where the tempo can change, and the play-along track does a great job of addressing this problem. There is also attention on setting up these hits with lead-in fills.

8. The final exam – the very last thing in the book is a chart called "Time Maze" where all of the concepts presented in the book appear in one play-along track. A very welcome bonus: you can hear versions played by Dinkins, Harvey Mason, Ricky Lawson, Dennis Chambers, and several other celebrated drummers. Studying their vastly different approaches to the same piece of music is very eye opening.

Chiles two ways - fermented hot sauce & homemade chili powder

2016 fermented hot sauce - 2 cups

I am a big fan of chiles. There are so many varieties and culinary applications, and they add excitement to almost everything. A few years ago I had a habanero plant that produced an unbelievable amount of peppers, which motivated me to learn how to make my own hot sauce. The two styles I experimented with were the vinegar-based and lacto-fermented versions. It's easy to find out your own preferences – look on the label of your favorite hot sauces. Does it contain vinegar, sugar, spices, etc.? My current default hot sauce recipe couldn't be simpler, and any pepper or combination works well. Because we are relying on natural lactic acid bacteria (lactobacillus) for fermentation, fresh and organic chiles will produce the best results.

2016 Fermented Hot Sauce
habanero chiles
cherry bomb chiles
5% cold brine solution (for example, 1000g water & 50g sea salt)
optional - 1 tablespoon brine from sauerkraut or other lacto ferment

1. Remove stem and seeds from chiles, split in half.
2. Stuff into 1 liter canning jar.
3. Pour brine to cover, close lid tightly.
4. Ferment at room temperature 2 – 4 weeks, release pressure every day or so.
5. Drain and reserve brine, puree chiles while adding desired amount of brine.
6. Label and refrigerate.

warning: there are chile fumes during processing

stuff into the jar

beautiful color, but the brine will turn cloudy in a few days

Here are some tips. Use gloves! You might want to use goggles and a mask. An even better idea is to process the chiles outside. Be careful! I always use filtered water to take out the chlorine, which will help with the fermentation. When the brine turns cloudy, the carbon dioxide (CO2) pressure will build more quickly, so loosen and tighten the lid daily. You can also find various lids and airlock systems to let CO2 out and not introduce oxygen. The fermentation time depends on many factors, but I look for firm sourness of the brine to determine when it’s done. The consistency is controlled by how much brine you use when blending. You can also add other flavorings during this final step.

This sauce is very hot and absolutely delicious. I use it as is, or often mixed 50-50 with Shark brand sriracha, which provides some sweetness and depth. It's also fun to mix with ketchup or mayonnaise, especially if they are also homemade. The sauce will easily last a year or two in the fridge as long as you keep it clean. Read The Art of Fermentation by Sandor Katz for information and inspiration while you wait for the fermentation to complete.

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dried whole chiles - dry your own or purchase from a quality store

Homemade Chili Powder
The arrival of winter brings with it the comforting and warming foods like soup, stew, nabe, and various baked things. I really enjoy making my first chili of the season, and learning how to make my own custom chili powder resulted in an unmistakable flavor boost. It's easy and fun to make, but the biggest advantage of home made chili powder is the choice you have regarding what goes into it. And the fresh flavor is unparalleled. For this batch I used cayenne, ancho, casabel, and guajillo chiles, which I got from Penzey's.

The method is simple. Remove the stem and seeds from the chiles and break up into smaller pieces. Toast in a pan (cast iron is best) over medium-low heat, stirring frequently, until fragrant and starting to show wisps of smoke. Allow to cool and grind. I use a clean coffee grinder for bigger batches, but the mortar and pestle works for smaller amounts. At this point you can add herbs and spices to your liking and store in an airtight container. I keep this chili powder simple and add other flavorings during cooking. Remember, chili without cumin is just tomato stew! Toast whole cumin and grind fresh for the best result.

cast iron dutch oven works great for toasting

I used a coffee grinder for this batch

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