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Profile Brief overview EITETSU HAYASHI Japan's Premier Solo Taiko Drummer EITETSU HAYASHI , a Hiroshima native, started his Taiko carrier as a founding member and the premier performer of the world-renowned groups "SADO-ONDEKOZA" and "KODO". After leading these companies for eleven years,EITETSU became independent in 1982. As the firstTaiko soloist of his kind,EITETSU created a new method of soloing "O-Daiko" performance requiring techniques and physical stamina previously unknown in traditional Japanese "Taiko" playing. Using a unique combination of Taiko drums, he created and performed original music, and as a pioneer of a countless succession of entirely new experimental musical endeavors, he created and performed his works in numerous concerts at home in Japan and abroad. In 1984, EITETSU made his Carnegie Hall debut with the American Symphony Orchestra, no less than debuting a new musical genre in the West. Since that time, he has continuously performed throughout Japan and the world, including North America, Europe, Australia, Africa, Asia and Latin America. EITETSU has performed and collaborated with artists in Jazz, Rock, World Music, Classical, Dance and Butoh, ranging from Djembe percussionist, Mamady Keita to avant-garde pianist, Yosuke YAMASHITA. In recent years,EITETSU has increasingly played as a soloist with the world's top orchestras, including the Boston Symphony Orchestra conducted by Seiji OZAWA (1976,1999) and the Berlin Philharmonic Orchestra conducted by Kent NAGANO (2000). The latter performance, held at Waldbuhne in Berlin, was attended by an audience of more than 20,000, erupting to a standing ovation that was broadcast around the world. In the 20th anniversary year of his work as a solo performer, EITETSU gave a U.S. tour "The Wings of Flightless Birds 2002," to a great acclaim. EITETSU also has produced artistic events in Japan and has composed music for movies, plays, and other Taiko groups under his instruction. He has published not only music but also many essays and a very successful book entitled "To the Taiko Players of Tomorrow (Ashita no Taiko-uchi e)". EITETSU artistic activities and contributions have been so highly appreciated that he received the prestigious Japanese national cultural award, "The 47th Education Minister's Art Encouragement Prize" in the Popular Entertainment Division in 1997.and received "the 8th Award for Promotion of Traditional Japanese Culture (Japan Arts Foundation)" in 2001. Produce & Management Office: HAL Co., Ltd /HAYASHI EITETSU Art & Produce Linkage #302 Miyazaki Bldg, 6-28-5 Jingumae, Shibuya-ku Tokyo 150-0001, Japan Tel: 81-3-3407-5217 Fax: 81-3-3409-8295 official website: @http://www.eitetsu.net/ UP^ More about EITETSU EITETSU and Jakuchu 2002 [∗Jakuchu 2002 U.S. tour started from September 25 to October 13, 2002] EITETSU HAYASHI is the one and onlyTaiko soloist in the world. Taiko music is deeply traditional, yet inEITETSU's hands, extremely versatile and innovative. Taiko itself is a traditional Japanese drum. Techniques forTaiko music have developed exponentially within the last few decades, much of it at EITETSU's instigation. The technique of beating the largest drum, O-daiko, by positioning its head at right angles to the ground, comes to almost anyone's mind with the thought of traditional Japanese drumming or even the image of a lively Japanese festival. EITETSU introduced an entirely new and now well-known aesthetic to the tradition by facing the drumhead, and the drummer's back, to the audience. This arrangement increased the richness and dynamic range of the sound, allowing the player more versatile expression and precise control of the sound through subtle variation or strict balancing of the left and right sticks, while intensifying the audience's impression of drum and body integrated. The total effect is more theatrical and mysterious. The technique was created by EITETSU more than 20 years ago when he led SADO-ONDEKOZA (1971-81). There was no such technique before that. SADO-ONDEKOZA pioneered theatrical expressions of the Japanese Taiko and triggered the steady rise in popularity ofTaiko drumming. EITETSU, as its founding member, music director and the premier player, expanded the basic style of group performance, influencing the direction of allTaiko groups that have followed. The group followed a highly disciplined and ritualized physical regimen that included daily long-distance running. This blending of the physical with the musical, and the limits of both, created a sensation that came to worldwide attention when the group completed the Boston Marathon only to begin performing on a set ofTaiko waiting on the other side of the finish line. The essence of SADO-ONDEKOZA's music, however, was renewal and innovation of Japanese traditional sound, with EITETSU as the main creative force. SADO-ONDEKOZA defined the style of group Taiko performance. EITETSU founded a new group with the main members of SADO-ONDEKOZA, that he named KODO, "children of Taiko," in 1981. EITETSU acted as their stage director, scriptwriter, program creator, and the leading performer. KODO further developed the group performance style aroundTaiko, originally created by SADO-ONDEKOZA. As they adhered to a very traditional aesthetic, EITETSU left KODO in 1982 to become a solo artist, pursuing his unbounded vision without peer to this day. From the beginning of his solo career,EITETSU set a goal to bring out the limitless capacity of a simple instrument, theTaiko. Collaborating with many artists and transcending the boundaries of genre in Jazz, Rock, Classical, and World Music, EITETSU pursues new styles of self-expression, and succeeds in creating unbelievably colorful musical expression from theTaiko. Sometimes as a session musician, sometimes as a guest soloist in an orchestra or an ensemble, he constantly creates points of contact between theTaiko and other instruments, discovering new musical potential. As a soloist, his musical programs are unprecedented in the world, and no one other than EITETSU has yet reached the level of mastery or sensitivity to play the solo pieces as they are meant to be played. Using a wide variety of Taiko instruments, the colorful expanse of sound brings delicate and dynamic images to the listener's mind. While the music is as rich as an entire sound universe, it also imparts feelings from the realm of vision, like a spectacular sound object drawn in space. EITETSU's music is hard to categorize. He has developed elements of Japanese traditional music into universal creative expression. His artistic performance belongs to a completely different level of performance by Taiko groups. The audience of an EITETSU performance is taken on a journey marked by encounters with deep and vivid impressions never experienced before. While ever pursuing innovative expression, EITETSU believes that long traditions can be the source of deep impression, transcending races and nations. He respects Japanese tradition and energizes it in a contemporary context by adding his deeply felt interpretations to it. His performance appeals to high sophistication, in the realm of pure music and stage expression, and the immediacy of all five senses simultaneously. EITETSU HAYASI's music does not go together with superficial mass advertising, but is supported more and more by people who find its essential attraction. Among EITETSU's fans, we can find top artists regardless of genre, such as Seiji OZAWA, Kent NAGANO, Peter GABRIEL, Doudou N'diaye ROSE, and Mamady KEITA. He has performed as a guest soloist for many of the world's top orchestras and remains the world's only orchestral soloTaiko artist. A number of composers have written Taiko concerti forEITETSU. In 2002, world-renowned jazz pianist Yousuke YAMASHITA aTaiko concerto forEITETSU, to be world-premiered with the Berlin Philharmonic Sharoun Ensemble. WhileEITETSU pursues artistic activities in a number of different styles today, his own concert is the place where he can exert his fullest artistic creativity. These concerts are planned and script-written byEITETSU himself. EITETSU plays almost through the entire length of the performance, sometimes solo, and sometimes along with artists he has personally chosen, from 90 to over 120 minutes. Aesthetic pleasures include his strength and beautiful performance posture, one of the most striking among percussionists in the world, which deeply impresses people around the world. In concerts titled in homage to grand nature and space, such as "Kaze no Utage (The Feast of Wind)" and "Kaikyo (Echo of the Sea)," EITETSU expresses aesthetics transcending the beauty ofTaiko. In his concert, "Man Ray," in 1998, he combined the surrealist artist, Man Ray, as his subject, with the Japanese concepts of man, "ten thousand," which symbolizes infinity, and rei, "zero," which also symbolizes infinity. EITETSU feels a strong sympathy toward Man Ray's art and personality, as a person who pursues creative expression free from conventional styles. Putting this feeling into the sound ofTaiko, EITETSU created "visual art expressions in sound." It also was one of several examples of his program music forTaiko. In the concert tour, "Jakuchu - the Wings of Flightless Birds," in 1999, EITETSU pays tribute to an artist who lived in 18th century Japan, Jakuchu ITO. He was a merchant in Kyoto until retiring young to become an artist devoted to extraordinarily detailed printing. His powerful and dynamic works had nearly been forgotten over time. EITETSU, who once considered pursuing visual art, felt a kindred spirit especially in Jakuchu's favorite theme of flightless birds, the common chicken, which convey a moving solitude. It was this sense of solitude that EITETSU had been feeling as a pioneer in creative music. "Jakuchu - the Wings of Flightless Birds" is a theatrical musical performance on the theme of the world of a once forgotten Japanese artist. The universal appeal of the music, which includes Japanese traditional instruments, Shakuhachi, and Tsugaru-shamisen, is complete. The concert series also triggered revived interest in Jakuchu ITO in Japan. An exhibition of Jakuchu's work was held recently in Tokyo. In 2000/2001,EITETSU performed a concert series, "A Painter Who Planted The Seeds," inspired by Yajuro TAKASHIMA, a Japanese artist who carried out his ideas without compromising to art circles. In the following year, EITETSU continued his tributes to other artists in a series entitled, "A Lotus Flower along the Water Channel," inspired by Takumi ASAKAWA, who devoted himself to Korean Ethnic Art. EITETSU is not yet world famous. And much of his work is dedicated to still less famous artists. Yet the universal appeal of his music has increased his audiences rapidly. The scale of his concert tours continues to expand year by year. It is not by chance that EITETSU chose Jakuchu for the program of his 2002 U.S. tour. It is a message from his heart that we human beings who have experienced the 9. 11 incident, caused by mutual distrust, must not repeat the same kind of tragedy. With long experience in the global arena, EITETSU believes that real globalism starts where people explicitly convey traditions and values of their own country and races, and where they appreciate those of others. He has been practicing this belief through exchanges with musicians from various countries, recognizing difference among one another, and creating a new harmonious world. It may be that what we need in the world after 9.11 is this kind of globalism, based on knowing and validating differences. Jakuchu 2002 is a stage to convey this message to America and to the world. Jakuchu 2002 is sure to be a meaningful program for American listeners. The largest collection of Jakuchu ITO's work is in the Shin'enkan/Etsuko and Joe Collection at the Los Angeles County Museum of Art. UP^ On Jakuchu--The Wings of Flightless Birds-- by EITETSU HAYASHI The birds wings painted by Jakuchu are done in such fine detail that I felt almost dizzy from looking too closely at them. These were the wings of birds that are unable to fly. Upon this realization, I felt a growing interest in this artist. He had ceased contact with other people, becoming almost priest-like in his Buddhistic studies, and without formal schooling, Jakuchu sought to capture his subjects in a most realistic way. I think that we might be able to infer that the wings of the flightless birds were representative of Jakuchu himself. The literal translation of Jakuchu is " like nothingness," based on the words of Lao Tsu, the ancient Chinese philosopher. "If something is so full, it looks like it is empty" Jakuchu tried to imbue this philosophy in his paintings. When I express this philosophy though the beating of my drums, I ask myself how I should play in such a soundless scene. EITETSU HAYASHI ----------- About Jakuchu ITO (artist of the eighteenth century /1716-1800) He was the first-born son of a grocer in Nishikikoji, Kyoto. He began painting at the age of 30, but didn't become a full time artist until the age of 40, when he passed the family business on to his younger brother. He was then able to create many unique, original and colorful works until his death. EITETSU's Taiko workshop EITETSU's West Coast workshops, May, 2002. by Bryan YAMAMI /Japan America Cultural and Community Center (JACCC) On May 9 & 10, Taiko legend EITETSU HAYASHI returned to the U.S. on a special Taiko workshop tour after a ten-year absence in the States. He reconnected with the American Taiko community, many of whom had only "heard of EITETSU HAYASHI." Even though EITETSU has been touring across the world and garnering international recognition as a premiere Taiko performer and collaborator, he has not performed in the U.S. since his 1986 appearance at the JACCC. Leading the participants through strenuous low-stance leg exercises gearedfor increasing stability and lower body strength, EITETSU then explained Taiko movement basics from his philosophy and experience over thirty-plus years of performance. He demonstrated his concepts in action by performing an O-daiko solo, which he originated in his early years with ONDEKOZA, stunning the gathered taiko players with his seamless blend of grace, subtle nuances and powerful rhythms. EITETSU called upon the participants to each do a short performance for him so that he could see their individual styles of playing. Although first intimidated by the request, each group complied and performed for the whole congregation. Through his critique and insightful advice, each group came away with new ideas for making their performances more dynamic and exciting. He concluded by teaching the participants a composition he was asked to write, "Sen No Kaikyo," in memory of those who had lost their lives in the Kobe Earthquake. The notation for this piece was handed out to the participants so that they could practice it at home, a unique blend of western-style musical notation and Japanese "kuchi shoga," vocal notation. All the participants drumming together, singing and pounding out the celebratory taiko song, made for a high-energy conclusion to the workshop. Mr. Akitoshi ASANO of the famed Asano Taiko Company had praised Kodo's work in popularizing Taiko internationally, but noted that the artistry in Taiko was most significantly moved forward by EITETSU. Through this simple workshop and demonstration, Mr. Asano's asertion was proved plainly true. There are things that I know I like about Taiko, but sometimes find it hard to explain why. HAYASHI explained why certain things bring more dynamism and power to Taiko performance, helping everyone to better understand themselves as Taiko performers. I look forward to his forthcoming U.S. tour this fall, his first to the States in about 15 years. He presents "The Wings of the Flightless Birds," his musical tribute to Jakuchu ITO, on October 4 & 5, at the Cerritos Center for the Performing Arts, and is sure to be one of the most powerful Taiko presentations in the U.S. in the past few decades. "The Wings of the Flightless Birds" is presented by the Cerritos Center for the Performing Arts in partnership with the JACCC. UP^ EITETSU HAYASHI Taiko Workshop Tour Northern California May 11-12, 2002 It was a pleasure to re-connect with EITETSU, whom we initially met in 1978 when he was a member of Ondekoza. During their tour of the U.S. that year, they made a performance stop in San Jose, where they stayed at the San Jose Buddhist Temple in Japantown for several days. SJT befriended the Ondekoza members, by helping host their performance in San Jose, by coordinating exchange workshops between our two groups, and by spending time together over meals and potluck dinners. The following year in 1979, San Jose Taiko presented Ondekoza in concert. In 1976, SJT sponsored EITETSU in his debut as a solo artist in the San Francisco Bay Area with his ensemble of Kenny Endo, Ichiro Hosoya, and Masashi Suzuki. For that tour, EITETSU had written a score ﾒBanri no Yumeﾓ to be performed in collaboration with San Jose Taiko, and Kinnara Taiko and Sohzenji Taiko of Los Angeles. It was the last time Eitetsu had performed in the U.S.(*) Although it has been sixteen years since his last visit, SJT has had the privilege to remain in contact with EITETSU over the years, hoping that he would one day perform in the U.S., again. When we learned about his Fall 2002 tour in the U.S., SJT wanted to help re-introduce Eitetsu to the American audience. To learn more about the popular growth of taiko in the U.S., EITETSU wanted to meet and interface with the American taiko players by conducting taiko workshops in May 2002. The workshop sites selected were in Northern and Southern California, where he will be performing in the Fall. San Jose Taiko (SJT) sponsored two taiko workshops for EITETSU in Northern California during his U.S. visit in May. One was held on May 11th at Stanford University, Dinkelspiel Auditorium (22 participants) and the other was held on May 12th at the San Jose Taiko studio in San Jose (14 participants). Representatives from 14 different taiko groups converged during the weekend. Overall, the feedback to EITETSUﾕs workshops was extraordinarily positive. Participants felt privileged to meet and learn from EITETSU in person, as they regard him as an important contributor and pioneer of the contemporary taiko scene. His enthusiasm, energy, passion, skill, knowledge, and broad experiences enhanced all aspects of the workshop presentation. It was fun and challenging. His workshop format ran seamlessly. Participants remained totally engaged throughout the entire session. Many remarked that they learned a lot, which included a good mix of information, demonstration, and instruction. It was interesting to hear the examples of the basic traditional taiko rhythm patterns, while EITETSU demonstrated how they are played and explained from what regions of Japan the patterns are played. EITETSU was brilliant in bringing to life the best sounds of a taiko set even if some of the taiko were dull sounding. Accompanied by only one assistant, his demonstrations were powerful examples of how to utilize movement, musicality, projection, and technique to optimize the power and the beauty of the taiko in performance. His process ﾒhit homeﾓ when he had each group play a song from their repertoire for him to critique their performance. Even though several participants felt nervous and intimidated to play in front of others, they all felt that Eitetsuﾕs critique was invaluable. With the recent dialog in the taiko world about the propriety of playing other groupﾕs taiko music, most of the participants were excited and appreciative of Eitetsuﾕs openness to teach his song while encouraging all the participants to take his song home and to play it. Even though there was not enough time to learn the entire song, or to comfortably retain the patterns to memory, everybody still enjoyed playing together, with no division or separation of experience or skill. That was the outstanding gift of EITETSUﾕs workshop---to play together as ONE. The workshops in California were just a part of setting the stage for EITETSUﾕs U.S. tour. What participants were able to experience was a deeper understanding and appreciation for taiko as an art form and discipline. Everyone is eager to see EITETSU in concert in the Fall, to witness the full power of his ensemble performance. UP^ EITETSU HAYASHI New York Taiko Workshops Although widely recognized in Japan as a premier taiko artist, EITETSU HAYASHI has made very few U.S. appearances. The members of Soh Daiko have been fortunate in having had the opportunity to meet with EITETSU when he performed at Carnegie Hall in 1984 and again in 1991 when his ensemble performed at Alice Tully Hall at Lincoln Center for the Performing Arts. It was wonderful to see him in New York again and an honor to host his taiko workshops in August 2002. In the late 1970s, EITETSU performed in New York as a member of Ondekoza. At that time, the members of the company stayed at the New York Buddhist Church, the place that would become Soh Daikoﾕs home in 1979. There were no kumi daiko groups on the East Coast of the U.S. when EITETSU first visited, so it was particularly gratifying that members of five East Coast taiko groups were able to participate in his two workshops. Members of Soh Daiko, Hoh Daiko from New Jersey, Odaiko New England from Boston, Nen Daiko from Washington, DC and the Asian American Taiko Club from Stony Brook, Long Island, participated. The structure of the workshops was designed to engage the participants, convey EITETSUﾕs approach to performance and the art of taiko, review and improve technical skills and present the basic music of a taiko piece that EITETSU is generously sharing. The sessions started with a series of physical exercises that reinforced EITETSUﾕs approach to training and helped to focus on building lower body strength, opening the form, timing and coordination. An important aspect of the exercises was EITETSUﾕs clear explanation of the purpose and value of each one. EITETSU then performed two solo pieces for the participants ﾐ the first on a set of drums which included okedo and shime daiko, and the second on the odaiko. He demonstrated his mastery of art of taiko and his extraordinary ability to capture the full range of the instruments. We were overwhelmed and inspired. Each group was then asked to perform one of its own pieces, and after each one EITETSU reviewed issues of basic form and artistic composition. Many of his comments were logical extensions of his approach to effective use of physical power and the visual impact of form and motion, but he also provided each group with insights that challenged some of our assumptions about what ﾒgoodﾓ taiko is or should be. Following the group presentations, EITETSU reviewed each individualﾕs form and technique while all of the participants drummed a series of exercises together. During the last segment of the workshop he taught the core music for his piece Sen no Kaikyo. A question and answer session following the drumming portion of the workshops and EITETSU covered a broad range of issues including composition, form, training and philosophy. His presentation provided insights into Eitetsu as a consummate performer, composer and teacher. He demonstrated his capacity and willingness to effectively communicate his approach to all of the aspects of being a taiko artist. We are deeply grateful for EITETSUﾕs generosity in sharing his knowledge and love of taiko with us, and awed at his mastery of the instrument. His performance truly reflects a lifetime dedicated to developing his art -- Alan Okada, Soh Daiko, New York UP^