An interview with the founders of the band about their latest CD, on Heads Up International
By Beverly J. Packard
Hiroshima’s contemporary jazz music is not simply music, but is also a significant contribution to the world. Significant because Hiroshima has a unique ability to lift us to spiritual places. To celebrate that which is worth celebrating and to encourage us to be wise about each other. Diversity is their middle name, and the varied cultural and religious influences that form the heritage of the band itself only enhances their credibility.
With a name like Hiroshima, none of us can be surprised that the music they make reaches deep within us and has so much to say. To come ‘up from the ashes’ is perhaps the longest journey to be made, and to associate one’s music with the concept would easily cause it to resonate with meaning. Their latest CD, to be released April 26th and entitled OBON, is no exception with its deeply rooted meaning, timing, and style. It is offered as a tribute to the musicians, places and events that have inspired the band
OBON continues the tradition of giving something back to the world, both in its commemoration to the 60th anniversary of the imprisonment of Japanese Americans, as well as in its tribute to the loss of relatives fighting as American war heroes in Europe. In addition, it marks the contemporary jazz band’s own 25th anniversary of their recording career. And it happens to celebrate the debut of their very first instrumental album in those 25 years. So this album is a blend of reverence and joy.
Go to smoothjazzvibe.com for the whole story, extended interview with Dan and June, and reviews at:
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Obon
Heads Up
Review by Jeff Charney
The release of Obon marks the 25th anniversary of Hiroshima's recording career. "Obon is a time to remember the ancestors, relatives and friends who have died. Filled with reverence and gratitude, it's also an occasion to raise the spirit in celebration" according to the press release. Frankly I didn't get this meaning in the music, but I'm sure the band gets it. It is not important for me. What is important is the music presented here. All instrumental. Not even a hum. The record explores a varied musicalexperience. Especially from the first part of the CD to the latter. "Swiss Ming" starts off the project. A very up tempo typical Hiroshima sound full of life and rhythm. The bass line is heavy and Koto prevalent. It's a rocker with dramatics. "China Latina" is a smooth jazz flavored fare with a long sax solo by Dan Kuramoto. The song has lots of that Asian sound that makes up the band. I can see it ending up being a radio single. "Atomic Cafe" is very hip. Hip being appealing to the young sound of today with scratching, a club beat and a jam on top. June Kuramoto and Shoji Jameda are featured on a moving piece "Obon two-five," which is the song dedicated to the bands anniversary. Very percussive, but the track just mesmerizes you. Grabs you and won't let go. "One Thursday Morning" is much softer and gentle in nature. Very pretty. When you get to the last third of the CD you will find the band delving more into some straight ahead influences. You might be able to figure that out just by looking at the names of the songs. "Pharoah" (dedicated to Pharoah Sanders) and "The Lighthouse" (for the famous 1950's jazz club in Hermosa Beach, CA). If thisCD is very thick. Full of sounds and movement that only this band can provide.
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Hiroshima are not so much a band but an institution nowadays in the USA, they symbolise the classic maxim, 'East Meets West' whereby the music of Asia is fused with the music of North America and Europe but also the fusing of cultures both old and new.
On this new release 'Obon', Dan and June Kuramoto which form the basis of Hiroshima, continue with their tried and trusted formula of fusing the music of their present and past.
'Obon's' theme is celebrating the festivals which take place all over Japan ( and in the USA ) during July and August each year which, like Mardi Gras, Fasching in German speaking countries and Carnaval in Rio de Janeiro, is a time to remember the ancestors, relatives and friends who have died.
Such a theme deserves reverence, innovation and respect and this third release for the 'Heads Up' label is just brimming with beautiful melodies and tradition. The choice of instrumentation is just as fascinating as the melodies they play, with multi-instrumentalist Dan Kuramoto symbolising the nucleus of the band's heritage with powerful, yet sympathetic playing on saxes and flutes. The smooth 'Atomic Two-Five' is a lilting example of this interplay with wife June, whose koto playing indentifies their sound like no other band.
This is a mix of smooth easy listening tracks which crosses many boundries and will fall seamlessly into many camps with jazz fans, the sub-genres include, Smooth Jazz, World, Latin, Traditional Japanese and Contemporary as highlighted beautifully on the tribute to saxman extraordinaire Pharoah Saunders with 'Pharoah', a mid tempo driving melody which features a synergy of instruments playing the melody line with a feeling of freedom and spontaneity. Dan's sax solo has that Saunders harsh reed sound which he was noted for and the subtle koto adds that softness to counter-balance the reverie.
A most enjoyable album of diversity and if I had not have had the theme explained to me in the Press Release I would have suggested that 'Obon' was a journey, not a destination for a band who have enjoyed more than 30 years of success playing music in a style and mode which is not only consistent with today's evolving cross cultural themes, but a true vista of their backgrounds and the music which has transcended the centuries.
'Obon' offers a cocktail of ancient and new, young and old, east and west and the result encapsulates the dedication and reverance of some of today's finest exponents of Japanese and American idioms. If you haven't heard any of Hiroshima's music yet, this is a good starting point and you will soon be looking for those back catalogue albums to learn more about their unusal musical adventure.
Released on Heads Up on April 26th 2005.
EuroClubdeJazz Rating - 9/10
www.smoothviews.com
Obon is an all instrumental offering. It encompasses the many people, places, and things that have influenced the musicians who comprise Hiroshima. As with most of Hiroshima's music over the years, the recurring theme throughout is the blending of sounds – traditional with contemporary, Latin with jazz, and Asian with the many forms American music takes.
The CD opens with “Swiss Ming,” Dan Kuramoto's nod to saxophonist Eddie Harris. This is classic Hiroshima, with Dan leading the band on his tenor sax in an up-tempo beat, and June Kuramoto joining in with the distinct sound of the koto. Kimo Cornwell adds a rousing keyboard solo, and Dean Cortez on the bass makes this song a great way to begin this journey. ”Obon Two-Five” is another example of Hiroshima at their best. It is an upbeat song which highlights the sound of Shoji Kameda on taiko. This song is why you buy a Hiroshima CD, and why you see them perform live.
“China Latina” is a perfect example of what happens when an Asian American band comes of age (musically) in East L.A. This song is co-written by Dan and Dean. The underlying rhythm throughout this song is reminiscent of a cha-cha beat, but with the trademark Hiroshima sounds.
One of my favorite tracks is “Kototsu-Han.” Dan explains that this style of music, called san-kyoku, is an ancient Japanese trio form. In this song, the trio is formed by the tsutsumi (an ancient Japanese pitched hand drum), an er-hu (a Chinese string instrument), and the koto, but are enhanced through Hiroshima's arrangements. Throughout the song, Dean and Danny Yamamoto play a steady, simple, repetitive groove, lacing the song with a funky, contemporary flavor.
“Paris (Ici Avec Moi)” is a quiet and beautiful song by June. It features the koto, and is joined by a soft soprano sax melody. This song could have easily been led by a keyboard and accented by the koto, but the sound of the koto softens this tune and makes it more special and pleasing to the ear.
If you listen closely to “Mr. Robben,” you can hear Danny playing a slightly African sounding drum beat. This is a tribute to Nelson Mandela, so that does not come as a surprise. This song ends with Shoji performing a booming taiko sequence.
The next two tracks venture into straight-ahead/traditional jazz territory. “Pharoah” and “The Lighthouse” are tributes to jazz, and the musicians who helped popularize it in its heyday. Dan leads the band on tenor sax and the other musicians join in with their interpretations of the modern jazz sound.
The CD closes with “Heritage.” This is a mellow tune composed by June and Kimo. The song opens with the slow, solitary sound of the keyboard before the koto takes the lead. Dan accents the song with the sound of the soprano sax. This song is the cool down after several up-tempo and energetic numbers, and a fitting way to close out this CD.
Overall, this is a great CD. It's not for nothing that Hiroshima has such longevity in the music business. Twenty-five years ago they invented a sound; a blend of Asian, American, and Latin music that encompasses many genres - jazz, salsa, R&B and pop instrumentals. Through the years, they've stretched and expanded their musical horizons while still maintaining their signature sound. In the words of Dan Kuramoto, Obon is a tribute, a reflection and a celebration.
- Mary Bentley
www.afroamericansyndicate.com
HIROSHIMA HONORS THE MUSICIANS PLACES &EVENTS THAT INSPIRE THE BAND - "OBON" Marks the 25th Anniversary of the Asian American Jazz Ensemble
Originating in Buddhist legend Obon is a time to remember the ancestors relatives and friends who have died.
On April 26, 2005 the release of "obon" Hiroshima’s first instrumental record marked the 25th year of the Asian American jazz ensemble’s recording career and the 60th anniversary of the imprisonment of the Japanese during WWII.
“When you think about Obon there’s a sense of being uplifted,” says multi-instrumentalist Dan Kuramoto, the band’s co-founder and leader. “You are in solemn rememberance but you can also have a good time.It’s like a gift.”
Hiroshima’s jazz roots come to the fore on 'Swiss Ming'inspired by the classic Les McCann/Eddie Harris album Swiss Movement and Chef Ming Tsai, host of the cooking show Simply Ming on public television.
25 years after their debut album on Arista Hiroshima continues to create and grow their own distinctive “East meets West” style of music - a blend of the spiritual and the exotic over a bed of urban rhythms from jazz and R&B to salsa and more.
The Los Angeles based ensemble was founded by the former husband and wife team of Dan and June Kuramoto.
Dan is third-generation Japanese and grew up in East L.A.
June is one of the world’s leading koto players - was born in Tokyo and raised in inner-city Los Angeles in the 1960s.
Their families were both imprisoned in internment camps during World War II, while their uncles fought and died in the US Army in Europe and the Pacific – experiences that continue to motivate and inspire theirwork.
Says Dan - "Obon is both tribute and celebration. It is a new beginning for us.”
Other outstanding tracks include #2 'china latina'; #3 'kototsu-han (san Kyoku); and #6 'one thursday morning'.
CD reinvigorates
Hiroshima’s solid sound
By Gary C.W. Chun
For its 25th anniversary, the Asian American jazz band from Southern California celebrates its long career with an overdue all-instrumental album that, at times, reinvigorates their solid sound.
The group sounds particularly good on several pieces that reflect on the past. "Atomic Cafe" and "The Lighthouse" successfully recalls the vibe of the Little Tokyo hangout in the 1970s and the 1950s Hermosa Beach club that was the center of the cool West Coast jazz scene, respectively.
The former is a fine piece of funk, propelled by Dean Cortez's underrated electric bass work and Hawaii-born Kimo Cornwell's turn on the electric piano. Former local residents Dean Taba and Ira Nepus are admirable contributors to the atmospheric ode to the Lighthouse, the only criticism being that, instead of ending on a strong, resolved note, it fades to silence. More please!
A surprising tribute to the fiery Pharoah Sanders has leader Dan Kuramoto approximating the strong style and burry sound of the free-thinking tenor sax man.
And with everything else, Kuramoto's meticulous arrangements always play up the strengths of the veteran band. Even though they're no longer married, he and his former wife, June, remain kindred musical spirits, and the piquant sound of her koto is integral to Hiroshima. The album track "China Latina" was written in honor of the group co-founder and classically trained musician.
Her two highlight pieces include "Kototsu-Han (San Kyoku), which also feature guests Karen Hwa-Chee Han on the bowed string Chinese instrument the er-hu, and part-time Hawaii resident Kenny Endo on the tsutsumi hand drum. "Heritage" closes "Obon" on a reverent note, with fine interplay between her koto, Cornwell's acoustic piano and Kuramoto's flute.
Review
by Jonathan Widran
ough the L.A. based East meets West ensemble Hiroshima has achieved incredible success over the years Grammy nominations and over three million units sold few bands that has always dared to defy easy commercial categorization. Aside from incorporating native Japanese elements like the koto (played masterfully by June Kuramoto) and booming taiko drum into the mix, Hiroshima has always embraced a subtle spiritual side. On the masterful, multi-faceted Obon, a release celebrating 25 years since its 1979 self-titled debut, these elements are more prominent than ever. Originating in Buddhist legend, the concept of Obon is a celebration of past and present, honoring ancestors and family and giving thanks for past blessings while looking boldly forward. The collection is a tribute to the musicians, places and events that have inspired the band which, the first time in its career, is working without a vocalist. Among these is Eddie Harris, a chief influence on band founder, saxman and producer Dan Kuramoto who somewhat tonge in cheek homage to the legendary jazzman on the hypnotic opening, number "Swiss Ming" by merging his horn with a pitch shifter that lowers the register of the notes. Keyboardist Kimo Cornwell gets a chops workout on this track and other ultra-jazzy gems like "The Lighthouse," a tribute to a
legendary Los Angeles area jazz club. "Atomic Café," which blends R&B, jazz, koto and cool DJ scratches, was a place for "the best noodles in town" in L.A.'s Japantown. "Pharoah" acknowledges the legendary Mr. Saunders and other jazz legends who shaped Kuramoto's visions early on. Fans seeking purer Asian delights can turn to "Kototsu-han (San Kyoku)," a dreamy number which blends the koto with the vocal-like wail of the Chinese er-hu. Band newcomer Shoji Kameda is aces on the taiko, adding an ominous percussive energy to "Obon Two-Five,"a richly textured track that captures all the best elements that have made Hiroshima so fascinating for so many years.
www.allaboutjazz.com
Obon
Hiroshima | Heads Up International
By Woodrow Wilkins Jr.
From the opening gong, you know you’re in for a treat with Obon. Marking Hiroshima's 25th anniversary, the new disc is the Japanese-American group’s first without vocals—save a wordless chant by Shoji Kameda on “Obon Two-Five.” Formed by Dan and June Kuramoto (the only Japanese native in the group) in 1979, Hiroshima has successfully blended traditional Japanese sounds with North American pop, soul, R&B, and of course jazz. Another Place, released in 1985, was their first gold record; it featured the crossover hit “One Wish.”
Since then, Hiroshima has gone on to score a Soul Train award for Best Jazz Album with 1987’s Go, among many other honors. Notable for June Kuramoto’s koto, a classical Japanese string instrument, and longtime member Johnny Mori’s taiko drum, Hiroshima has stood the test of time as a cross-cultural icon of contemporary music that is as much at home on smooth jazz radio as it is with pop, R&B, world music, and jazz in general.
The first track, “Swiss Ming,” features Dan Kuramoto on tenor sax, and this upbeat tune gets your attention from the first note. The song is inspired by the Les McCann/Eddie Harris album Swiss Movement and Chef Ming Tsai, host of the cooking show Simply Ming on public television. The melody marginally resembles the classic rock hit “She’s Not There,” but otherwise the song stands on its own ground. It's followed by the elegant “China Latina,” which epitomizes Hiroshima’s multicultural repertoire, and the haunting “Kototsu-Han.” The fourth track, “Atomic Café,” introduces a bit of hip-hop and funk, with DJ T-Rock providing the scratching introduction. The song is highlighted by Dean Cortez’s bass line and Dan Kuramoto’s tenor, supplemented by guest musician Ira Nepus on trombone.
The title cut is an expression of the band’s 25 years in the recording industry, with each member taking a turn. Again expressing their multicultural influence, the group turns toward African rhythms with “Mr. Robben.” In June 2004, Hiroshima performed at the North Sea Jazz Festival in Cape Town, South Africa. While there, they visited Robben Island, a prison where Nelson Mandela and other political prisoners were held during apartheid. The inspiration for the song, written by Kimo Cornwell, grew out of that experience and seeing the deplorable conditions of the prison. The two straight jazz tracks are “Pharoah,” a tribute to many of the group’s inspirations, including Pharoah Saunders, Gato Barbieri, and Miles Davis; and “Lighthouse,” which pays homage to the Lighthouse, a jazz landmark in Hermosa Beach, California.
This 25th anniversary recording may be Hiroshima’s best ever. It’s difficult to do the album justice without saying something about each of the eleven songs, all penned by members of the group. However, one thing that’s not difficult is enjoying it start to finish.
"Sexemplifies Hiroshima¹s distinctive aesthetics: the blending of Eastern and contemporary jazz sensibilities, and the use of both traditional Asian and modern instruments."
JazzTimes
"Wow, after taking a glimpse at the career of Hiroshima one can¹t help but celebrate with an enormous passion for the group¹s diversity in music with great joy on this commemorative occasion titled Obon. As a group, Hiroshima multicultural and universal appeal has blessed us with their poignant diversity by blending and integrating their distinctive, ambient, exotic, spiritual, and urban rhythms into one groovescape that continues to resonate and captivate the minds, bodies and hearts of listeners worldwide."
Smooth Jazz News
"Other groups have tried Japanese jazz fusion, but none have lasted so long or have been so successful.
WorldDiscoveries.net
"Full of sounds and movement that only this band can provide."
ContemporaryJazz.com
