Music
Thursday, 26 November 2009 04:11
Written by Jenn Chan Lyman

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Japanese guitarist brings a full house to the House

It was quite a pleasure to walk into the House of Blues and Jazz and find an acoustic guitar and a flute onstage. Wednesday, November 25th, heralded a special performance entitled “Castle In The Air” by Tokyo-based guitarist Kazumi Watanabe and his quartet. I had no clue what to expect when Mila, the House’s lovely manager, invited me to attend, except that Watanabe is one of the top guitarists in Japan (according to Wikipedia). Watanabe has been releasing albums since the early 70’s and is described as a ‘jazz fusion and instrumental rock guitarist’. The rest of the ensemble was comprised of Koko Tanikawa, pianist; Masato Honda, flautist/soprano saxophonist; and Jiang Ting, pipa. Mila explained that the Japanese Consulate contacted HoBJ for an impromptu performance in a more relaxed atmosphere, complementing Watanabe’s more formal concert earlier in the week.

The song I walked in on was a light flute and guitar duo, where Watanabe’s nimble touch was accentuated by the delicate flute (‘Spain’ by Chick Corea). The next song was much heartier (‘Milestones’ by Miles Davis). The flautist switched to a soprano saxophone and the higher register cut with more angst into a fast and complex interplay between the sax and guitar. Watanabe also exchanged his earlier guitar for a different acoustic. I wish I could tell the difference between the three guitars he has onstage with him. This guy’s fingering technique was amazing – precise and colorful. The sax and the guitar began challenging each other, one riff to the next, and Watanabe’s not only employing a range of strumming styles but also beating on the neck of his guitar. The sax sliced in with a heart-rending melody and Watanabe squinted in approval.

A pipa and a piano joined the stage for ‘Water Ways Flow Backward Again,’ written thirty years ago by Yano Akiko. Watanabe explained that he chose this song to match the unique ensemble. The steel sound of the pipa enhanced the depth of the guitar, highlighting the difference between an instrument as tightly strung as the pipa with the more relaxed strings of the guitar. The piano in the background blended well, keeping my focus on the two strings. The tone grew more upbeat mid-song and the pipa became more gentle to match. Next was ‘Infancia’ by Brazilian composer Egberto Gismonti. The soprano sax joined the stage and Watanabe opted for another one of his guitars. The song’s beginning notes sounded a lot like the Charlie Brown theme song. The soprano sax had a different tone in this song, sounding flat on a few extended notes. The pipa’s involvement in this song was a bit light; I did not hear more than a twang here and there. I have to admit that the soft jazz feel of this song was not as much to my taste as the previous songs that featured a harder edge.

Another song, another guitar. Watanabe rolled into a moody flamenco sound, presenting a murderous tango whose intent was amplified by the doomsday piano chord in the background. The pipa joined Watanabe’s dark guitar chords with fervor, painting the wandering spirit of some Chinese Cassandra predicting the end of the world in vain. The flute’s haunting melody brought the instruments together with a hint of gypsy flair. Watanabe’s a fan of developing mood. The song seemed to switch from a minor to major emphasis as his guitar galloped towards some predetermined end. Soon the entire ensemble was rushing towards the same abyss. The weight of the piano and guitar, combined with attention-grabbing flute, drowned out the pipa. The last one was by Watanabe, ‘Sahir’ (meaning ‘welcome’), inspired by his time in India.

The last song is also by Watanabe-san, ‘Passy Home,’ inspired by Xinjiang music. Watanabe hauls out a black 12-string guitar that seems more electric than acoustic. The song began with a simple bass line from the piano that was soon electrified by the agile pipa. The twang of the metal-stringed guitar fit well with the more svelte pipa, and after a moody romp across the Xinjiang plateau of Watanabe’s 12-string, the sax jumped in with the less-rounded tone of a middle Eastern instrument. Watanabe’s agility was even more apparent in this composition. His energy not only mesmerized the audience but also brought him up and off his stool at a few points. Brilliant guitarist, this guy. The way the sax player played fit perfectly into the desert vibe of the song. His notes bordered on extreme, pushing the highest notes of the instrument. The ensemble came together well for the finale, crisp and in sync.

The crowd clapped fervently for an encore and Watanabe and the pianist returned to the stage, beginning with a ridiculously famous tune that of course I cannot remember the name of, a song that’s been in a thousand movies. I await a turn of chord from this rather cheesy nonsense. Not the note I’d like this night to end on. I want more Watanabe and his ten flying fingers! Ah, yes! Not ready to disappoint, the piano and guitar suddenly open up their engines, racing down some dusty desert road, no wait, the music is better attuned to some misty English countryside. Then sadly, back into the ballad, which, though beautifully executed, lacks the soul of Watanabe’s own compositions.

A flurry of clapping later, the rest of the band joined the piano and guitar for a happy song that had the audience participating with a specific beat: clap-clap-pause-clap-clap-clap. Apparently everyone knew this song except for me (‘Havana’ by pianist Koko Tanikawa). The pipa graced this last song with a spirited riff, showing off her skills and getting the crowd even more jazzed. No pun intended. This crowd definitely personified the word ‘jazzed’. Featuring Watanabe’s obvious skills, a colorful song selection, and the rare presence of a pipa on a jazz & blues stage, “Castle in the Air” was a pleasant surprise.

 

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