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Weblog of Kaoru Watanabe, NY based Flute/Fue player

"four" at Metabolic Studio(Feb 16&17)

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Metabolic Studio [Farmlab + Chora + AMI] and Body Weather Laboratory present four -Music and Dance Improvisation-200902metabolicstudio

Tatsuya Nakatani (Percussion), Michel Doneda (Saxophone) Kaoru Watanabe (Flute) and Oguri (Dance)

Monday, February 16 & Tuesday, 17 2009 8:00pm    Metabolic Studio [Farmlab + Chora + AMI] 1745 North Spring Street, Los Angeles CA 90012

Admission: $15 Children, under 16 free Information: Metabolic Studio 323-226-1158 http://farmlab.org/index.html

Body Weather Laboratory and the Metabolic Studio [Farmlab + Chora + AMI] are pleased to announce the return of Tatsuya Nakatani (percussion) and Oguri (dance) with four Music and Dance Improvisations. This year’s show also features internationally acclaimed musicians form Japan and France Kaoru Watanabe (flute) and Michel Doneda (saxophone). Performances take place Monday, February 16, 8:00 pm and Tuesday, February 17, 8:00 pm at the Metabolic Studio [Farmlab + Chora + AMI] 1745 North Spring Street, Los Angeles CA 90012.  General admission is $15, and Children under 16 free.

Tatsuya Nakatani : http://hhproduction.org/i-2.html Michel Doneda  : http://puffskydd.free.fr/neda/ Kaoru Watanabe : http://www.watanabekaoru.com/ Oguri : http://www.lightningshadow.com/

Me and poutin ~from Montreal

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I am performing with two wonderful musicians in Montreal this week, percussionist Patrick Graham and hurdy gurdy player Ben Grossman as well as dancer Tomomi Morimoto.  This concert, presented by MAI, an international arts institution here in Montreal and celebrates the release of Patrick's new album Rheo: "Rheō is the Greek term ῥέω, meaning  to flow. Rheō is the root of the word rhythm. Rheō is a new music project, a cross-cultural and multi-faceted exploration of rhythm.

For the Rheō project, I will be joined by vielle à roue player Ben Grossman (Guelph, ON) and Japanese and western flutistKaoru Watanabe (New York), as well as special guest, contemporary dancer Tomomi Morimoto(Montreal). Rheō will feature new, genre-bending solos, duos and trios, live electronics, and improvisation in a performance that explores the flow of pulse and sound, movement and colour, and the constant flow between cultures." Please visit his website http://www.patrickgrahampercussion.com/ SO, my new friend Ben Grossman took it upon himself to introduce me to the Quebec comfort food, poutine, basically fries with cheese curd and gravy.  The people at the store, in describing it to me, said it was a heart attack in a basket.  Ben had the foresight to take before and after pictures.  See results below.

200901montreal200901montreal_2 Poutine, my new favorite food as long as I hold it to once every three or four years...

Jan 9th Bella Gaia Ensemble short performance at DROM

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JAN 9 (Sat) ENSEMBLE – NEW YORK CITYKENJI WILLIAMS: BELLA GAIA Ensemble (30min) 7pm, @ Drom NYC (Details Below)

Saturday 9th January 2010 Drom, 85 Ave A (b/w 5th & 6th). Lower East Side, NYC Tel.: (212) 777 1157 www.dromnyc.com 6:00PM Doors open Entry $10 in advance, $15 at the door Free entry with APAP badge

KENJI WILLIAMS – BELLA GAIA 7:00PM (Short 30min show)

A special 30min performance of Bella Gaia (”Beautiful Earth”), a poetic vision of Earth from outer space. A multimedia journey of our world by award-winning director and violinist Kenji Williams, in collaboration with NASA. Bella Gaia features live performances of world music artists against a large-screen background of orbiting visualizations of Earth from space. Guest Artists: Kaoru Watanabe Lale Sayoko More TBA…

Kaoru in Montreal (Jan.22+24)

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January 22th and 24th 8pm

A concert project featuring percussionist Patrick Graham and special guests Ben Grossman (hurdy-gurdy & electronics), Kaoru Watanabe  (fue & flute) and Tomomi Morimoto (contemporary dance).

Presented by the MAI (Montréal, arts interculturels) 3680 Jeanne-Mance , Montréal, QC Info: (514) 982-3386 ticket: click here

www.patrickgrahampercussion.com www.myspace.com/patrickgrahampercussion/

Please see "Photos" page to see live images.

DanceConversations@TheFlea(Jan.6)

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DanceConversationsWORKS IN PROGRESS  + DISCUSSION  @ TheFlea   Curated byNINA WINTHROP Moderated byDEAN MOSS Assistant Curator,Taimi Strehlow   Tuesday, January 6 at 7pm   FREE ADMISSION   Featuring the work of:    T. Lang Lee & Wang Dance Amos Pinhasi Mayuna Shimizu

THE FLEA THEATER 41 White Street (between Broadway & Church Street) New York City DIRECTIONS: N/R/Q/W/6/J/Z/A/C/E to Canal Street, 1 to Franklin Street (White Street is 3 blocks south of Canal Street)   Further information is available at: www.theflea.org www.NinaWinthropandDancers.org     Produced By The Flea Theater Jim Simpson, Artistic Director; Carol Ostrow, Producing Director     Administered by Nina Winthrop and Dancers Managing Director: Taimi Strehlow Contact:  tstrehlow@NinaWinthropandDancers.org

Taiko Center recital concert report

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On Dec the 21st, 2008, the Kaoru Watanabe Taiko Center had the first of what will be a biannual fundraising/student recital/ concert event at the Village@Gureje in Brooklyn, where the taiko classes themselves take place.  My hope for the event was, besides raising funds and awareness for the taiko center, to celebrate community and friendship through music, food and (plenty of) alcohol.  Many students and friends cooked and donated drinks, party supplies, time and energy and musical talent.  Volunteers were busy checking coats, shoes (no shoes allowed), serving drinks, selling raffle tickets, CDs, making sure the food was all eaten.  When we entered the space that day to set up,  we found five leaks in the ceiling caused by the melting ice and snow accumulated on the roof.  We bought potted plants and strategically placing them under the leaks and ended up with a nice indoor garden, replete with waterfalls and murmuring streams as part of the stage. I spent about an hour demonstrating how and what I teach and had my students and random members of the audience helping out.  The second part of the program opened with a shakuhachi solo performed by Marco Leinhard from Ondekoza and was followed Nobuko Miyazaki and I playing a fue composition, Elaine Wang and I doing a dance/fue piece, and tap dancer Tamango and myself improvising.  Finally we had a special guest, Will Calhoun from Living Colour perform a solo which grew into a session featuring Tamango, Gureje's owner Jimi and myself.  Both the artists and the audience really seemed to enjoy themselves and many of us were dancing and drinking into the early morning.

The idea is to do events like this twice a year, bringing more guests each time, ever increasing the scale and scope of the event.  As the performance level of the students improves, we can push to perform harder and harder pieces, we will bring in more guest performers and continue to expand on this community of lovers of taiko and beyond.

Please visit photographer Lia Chang's website to see her perspective of the event:

http://liachang.wordpress.com/2008/12/22/will-calhoun-tamango-elaine-wang-and-marco-lienhardt-celebrate-winter-solstice-with-the-kaoru-watanabe-taiko-center-by-lia-chang/

to see photo album of the recital concert, go to "Photos" page.

Taiko class anouncement

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Next taiko class will be the 4th of January, 2009.  Starting then, I will begin a new payment plan of: 
every WEDNESDAY: Come anytime from 4 to 8 pm and stay as long as you want for the cost of one class.
every SUNDAY: the regular 4 to 6 and 6 to 8 classes- two separate 2 hour classes.   
**Also, I am now offering a first- time trial class for $20**  

Urban Tap Jam with Tamango and Friends(Jan.8)

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Urban Tap Jam with Tamango and Friends Jan. 8th, 2009 (thur)  starts at 8 pm @DROM

85 Ave A btwn 5th and 6th New York, NY 10009 http://dromnyc.com/ admission: $10

Tamango presents a very special evening: Urban Tap Jam with Tamango, Kaoru Watanabe, Daniel Moreno, Fabio Morgera, DJ Belinda Becker plus the tap crew Max Pollack, Roxane Butterfly, Rod Ferrone and very special tap guest Tina Pratt.

for more information: http://dromnyc.com/home/index.php?page=shop.product_details&category_id=2&flypage=shop.flypage&product_id=283&option=com_virtuemart&Itemid=44&vmcchk=1&Itemid=44

On Ensemble with Kaoru Watanabe(Jan.16)

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On Ensemble with Kaoru Watanabe Fri, January 16th 2009, 8PM @drom - 85 Avenue A (b/w 5th & 6th), New York, NY tel:(212) 777-1157 admission: $15 for more information & tickets: http://dromnyc.com/home/index.php?option=com_gigcal&task=details&gigcal_gigs_id=541&Itemid=37

============ Infusing traditional influences with elements of hip-hop, rock and electronica, On Ensemble (pronounced "Ohn") and Kaoru Watanabe take ancient Japanese instruments into new realms. Los Angeles based contemporary taiko quartet On Ensemble and New York based fue specialist Kaoru Watanabe join creative forces for a one night performance at New York club Drom.

On Ensemble (pronounced “Ohn”) takes the ancient instruments of taiko into new realms. Infusing the powerful rhythms of ensemble Japanese drumming with elements of hip-hop, rock and electronica, On Ensemble’s unique sound has been praised as “completely original and brilliantly conceived.” Modern Drummer magazine calls On Ensemble “an exciting taiko ensemble looking at new ways to apply traditional Japanese drums.”

On Ensemble’s four members, Masato Baba, Kristofer Bergstrom, Shoji Kameda and Kelvin Underwood, are individually recognized as leading artists in their field and sought after as teachers, workshop leaders, composers and performers. As On Ensemble they combine their study and deep appreciation of tradition with equally formative experiences as DJs, electronic music producers, Jazz drummers, and rock bassists to create a repertoire of ground-breaking music.

Joining On Ensemble will be New York based, Western and Japanese flute specialist Kaoru Watanabe. Kaoru was a member of the word renowned taiko ensemble, Kodo where besides performing Japanese traditional drumming, flute, song and dance, he also served as one of their artistic directors, focussing on Kodo's world music festival Earth Celebration, curating and directing collaborations with such artists as Zakir Hussein, Carlos Nunez, Giovanni Hildago and Yamashita Yosuke. Kaoru has also performed and recorded with such artists as Jason Moran, Stefon Harris and with the legendary Kabuki actor Bando Tamasaburo.

"an exciting taiko ensemble looking at new ways to apply traditional Japanese drums" - Martin Patmos, Modern Drummer Magazine

"one of the most innovative and musically fresh groups ever to take the stage" - Glen Creason, CerritosInk

 - Brian Moore, TransformOnline

On Ensemble Website On Ensemble MySpace

Kaoru Watanabe Taiko Center Fundraising Event(Dec.21)

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Student Recital/Winter Solstice ConcertKaoru Watanabe Taiko Center Fundraising Event

Dec 21st starting at 4 pm Suggested admission fee: $10 for adults, $4 children 5 and up

Renate Albertsen- Marton Space  Village`Gureje 886 Pacific str (the corner of Pacific and Washington in Prospect Heights, Brooklyn)

schedule: 4 pm Taiko and fue (Japanese drum and flute) demonstration/ student recital 5 pm Kaoru performance with friends- Tamango (tap dance), WIll Calhoun (of Living Colour), and others **followed by taiko hands-on/ jam session, food and merriment! Children welcome!

================== I started the taiko center a few months ago to provide a place where people are encouraged to immerse themselves in studying fundamental playing technique and developing a stronger understanding of the cultural and historical background of taiko.  The taiko center is still at the most humblest of beginnings, but with your continued support, encouragement and friendship, I believe it can develop beyond just the study of taiko to other Japanese traditional and modern art forms as well, with the ultimate goal of fostering a deeper understanding of our cultures, community and ourselves.   Please let me know if you are interested in attending/ performing/ helping out/ cooking/ otherwise contributing! Thank you and hope to see you all there!

admission: $10 adult $4 children 5 and up

RUCMA series @ the Yippie Cafe(Dec.10) & more

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Dec. 5Faculty Enrichment Benefit for International Preschools- private event duo with Tomas Fujiwara

Dec. 10 RUCMA series @ the Yippie Cafe (9 Bleecker near Bowery). www.rucma.org

Diane Wayburn - flute/dun dun/composition/little piano (fake one) Dawoud Kringle - sitar Francois Grillot - doublebass Kaoru Watanabe - Japanese/Western Flute

Tour Report: Jamaica/Nicaragua

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Tour Report: Jamaica/Nicaragua

First of all, I would like to thank Mr. Matsumoto, Ms. Yanagi, Ms. Yamazaki at the Japan Foundation and everyone at the Japanese Embassies of Jamaica and Nicaragua and Ms. Matsui of American Airlines.

Sunday the 9th  

After a short layover in Miami, I arrive in Jamaica.  Before going through customs I am greeted by representatives of the Japanese Embassy who whisk me through the process.  Immediately, I am aware of a certain jovial lightness of being in the people - even while waiting for luggage.  The humidity and warmth on my face reminds me of summer in Japan even though we are already a week into November.  I meet Kenny at the hotel and have my first taste of the national dish ackee and saltfish, albeit in the post-modern manifestation of ackee and saltfish lasagna.

Monday 10th

In the morning, Kenny and I practice in the hotel room, revisiting older pieces and developing a new piece of mine entitled "A More Perfect Union".  The name, as most of you know, comes from a phrase in the US constitution which Barack Obama consequently used in a speech he gave a few months ago that addressed the complexities of race relations in America.  The contents of the speech reflected Obama's profound understanding of the issues at hand that grew from both studied knowledge and personal experience and the speech was delivered with grace and humility.  The song doesn't have much to do with the speech other than it was written around the same time but it does serve as a reminder to me of these historic times.  I find wherever I go, people seem as pleased and excited about America's choice for president elect as I am and I allow myself to actually feel a sense of pride for being an American.  
In the afternoon, Kenny and I take some time to visit the concert hall and school where we will be performing and giving workshops.  I notice a sign at the school that says "BEWARE SLEEPING POLICEMAN".  I thought this sign was hilarious and imagined all sorts of explanations for what the sign could mean until someone told me that a "sleeping policeman" is a speed bump.  
In the evening, Kenny and I are invited to dine at the Japanese embassy with Ambassador Obata.  We are treated to an exquisite seven course meal prepared by a private chef and learned much of the relationship between Jamaica and Japan.  The menu contains elements of the local cuisine, such as jerk sauce and ackee.  My deep-felt thanks to Ambassador Obata, Mr Ishihama and Ms. Shimote for the gracious hospitality.

Tuesday 11th

We have a performance and lecture demonstration at Mico College.  The students are very receptive to our music, much of which I can imagine contained many new sounds for many of them.  We are greeted with very warm applause and insightful questions at the end.  Many teachers approach us and very insistently ask us to come back and teach their students more about Japanese culture and music.  
We visit the Bob Marley museum in the afternoon and learn of this local hero's short but rich life and buy some cheap souvenirs.  I don't know many people who aren't huge fans of Bob Marley's music, but learning more of what he believed in and fought for, I gain even more respect for him as a person.  One of his sons, Damian, whose dreadlocks went down to his calves, also happens to be there with his entourage.  We pass wordlessly in the parking lot.  
We have dinner with friends - more Jamaican food: conch in curry sauce, fried foods called "festival" and "bammy".  This of course is all washed down with a bottle or two of Red Stripe beer.    

Wednesday 12th

We perform at the Courtleigh Auditorium, the largest concert hall in Kingston.  After our performance there are short presentations by local groups- a trio of young children drummers and a choir called Nexus.  We finish the concert with all the performers doing Bob Marley's seminal "One Love" which was appropriate for the general feeling of well being in the room that night.  After the show, we are swamped with people young and old with questions and requests for autographs.  Again, many students and teachers are adamant that we come to their school to teach more.  Among the audience members was a woman from Sado, Japan and a music teacher from Austria who had been in Jamaica for decades.  Kenny and I are in great appreciation of the Embassy of Japan in Jamaica for presenting us and especially to Ms. Shimote for all her hard work in making sure everything is taken care of.  
By the end of our three days in Kingston, I have integrated some of the local dialect, patois, into my regular speech: "Wha ah gwan?"  "mi gaan" "criss" etc  as well as learned a few of the handshakes (locking the fingers and rubbing the thumbs, etc).  As people of most cultures do, Jamaicans find it endearing to be greeted in the local manner by someone who doesn't seem like they should know how to.  
After getting back to the hotel, I get a call from two teachers- a mother and her daughter- whom I'd been talking to about traditional Jamaican drum and flute music.  They were at the hotel and brought with them a CD of the music and two pages handwritten descriptions of the music.  I was very moved by what they had done for me.  As they were about to drive away, an interesting thing happened.  The mother said to me almost as if berating me, "I can see you're on the heart path...  Always keep on that path."  I acknowledged that perhaps I tried.  She continued,  "Because..." she paused a long time to consider her words.  Her voice became softer and she seemed to almost tear up a little.  "Because ...  it is important."   With that, they drove off.  

Thursday 13th

We travel to Nicaragua via Miami.  We are informed of the flagrant voter fraud that was exposed recently (destroyed and discarded ballots) and how as a result there are massive demonstrations and confrontations between supporters of opposing parties.  Until very recently America has also had election day treachery, having this problem in common with the second poorest country in Central America after Haiti.  Another result is our performance at Managua's main concert hall has been cancelled and that we are asked not to leave the hotel unless accompanied by someone from the Japanese Embassy.  We are taken to a nearby mall to look for souvenirs where we find that someone offers Chinese calligraphy workshops once a week.  

Friday 14th

We have an appearance on a nationally broadcast morning television show.  Usually, television shows are very particular about time and about timing in order to coordinate all the commercials and various segments.  We quickly learned that this was not necessarily the case with Canel 11 in Managua.  We arrive early to prepare for our alloted time slot but the producers decide to put us on right away- about half an hour early.  The interviews are haphazardly thrown together, the order of things turned upside down and we are never told how long to play.  I end the piece at my own discretion and people seem fine with it- so fine in fact that they ask us to perform again in twenty minutes.  We quickly decide what piece to do and unpack another drum and stand.  Again, we answer a few more random questions and perform a piece of undetermined length.  As soon as we finish, the crew moves in to reset the stage for the next show.  We are told the next day by a waiter in our hotel that he saw the show and really enjoyed our performance.  Due to the cancelled concert, Kenny points out the television appearance was probably the performance that the most people watched during our time in Nicaragua.  
In the afternoon, we give a lecture demonstration at a music school.  Again, a very responsive audience with good questions.  Many violin players there.  Students are shocked to hear how expensive some of my flutes are.  I am told later that an average salary for someone with a "decent" job in the city often can't cover even the electric bill.  I would imagine the thought of saving thousands of dollars for a bamboo flute is incomprehensible to most of the people in attendance.  The workshop takes place in a four story high building, one of the few in Managua due to a devastating earthquake in the 70's from which the city still hasn't recovered.  The tallest buildings still standing from that time are for the most part condemned and there are no funds to neither repair nor tear them down.  A beautiful old cathedral, badly cracked and slightly lopsided stands next to the music school, abandoned for decades.  I reflect on how much I have in terms of material goods, instruments, an education, and opportunities.  On the other hand, as a whole, I find Nicaraguans seem no more or no less miserable nor happy than people in New York or Tokyo.  Misery and poverty, joy and spiritual wealth can be found anywhere.

Saturday 15th

Because the evening performance has been cancelled, we quickly put together a small concert in the Japanese Embassy for staff members and their family.  It turns out there is a small taiko at the Embassy thats been sitting in a storage room unused for many years.  We borrow the drum for our performance.  We strongly encourage people at the embassy to use the drum to start a taiko group here in Nicaragua.  We promise to return for workshops and to check on their progress.  
Again, we are very grateful to the Embassy of Japan in Nicaragua and especially Mr Fuchigami and Mr. Nakayama for his tireless effort in accommodating our many requests.
In the afternoon, we are shown around the town of Masaya and other areas outside of Managua and are treated to breathtaking vistas of Lake Managua and Lake Nicaragua, of valleys lush with green and others black with igneous rock formed when one of the many volcanos in the area erupted some centuries ago.  We are also treated to some wonderful Nicaraguan Marimba playing by an elderly man in a market.  
In the evening, we go see some live music at a club near the hotel.  The music features two guitars, bass, keyboard, accordion and the Nicaraguan marimba with everybody singing.  The leader speaks as much as he sings, going on at length in Spanish about things that are far beyond my comprehension.  However, his charming voice, coupled with the festive music and Flor De Cana rum make for a relaxing final last evening of our short tour.  We hear news that people are planning a march for the afternoon of the next day which can very possibly lead to more violence.  We leave Nicaragua early in the morning- it is a warm sunny day, very peaceful despite the ominous news of what the day may bring.  I am home in Brooklyn by nightfall.