Irish Music - November 29/09/2014 14:48 Page 18 18 HANZ ARAKI FOREIGN SHORE Grainne McCool talks to Hanz Araki whose roots are deep in two traditions. the wall–of–sound approach. This time around, I challenged myself to leave my own playing and voice very exposed.It's very difficult to be completely happy with the sound of my own voice, and even more difficult to not be hyper-critical of my playing. All that being said, this was a very enjoyable project from start to finish.” The title of this new album is apt considering Hanz Araki’s clear love of Irish and other shores and yet he is presently based in Western America. Hanz agrees and says, “The title is of course a fragment of a lyric from several of my favourite songs, one of which is on the album (Valentine O'Hara); I thought that Foreign Shore was a very appropriate title, given not only the selection of music, but my own place in this world.” On my first listening of Foreign Shore I was intrigued with its attention to detail and the inspiration each track exudes. Araki only served to confirm my findings: “My approach to music is to avoid forcing anything. It's very difficult for me to let go of a performance and let it just be. My instinct is to do a thousand takes, but often I find that leads to a somewhat sterile performance. The trick has been finding the balance between something that captures a moment and a feeling, but also would pass muster with my father, who was very precise and as close to perfect as a person could get (as a musician).” This preciseness and attention to detail has certainly passed on to Hanz! Hanz’s father is shakuhachi grandmaster Tatsuya Kodo Araki, the fifth generation to inherit the name Kodo, one of the most important names in the world of traditional Japanese music. In 2009, in a private ceremony in Tokyo, the title Kodo VI was conferred on Hanz as is customary in the tradition. Hanz is also the worlds only 6th generation master shakuhachi player. I wasn’t clear on this instrument but fortunately he put me straight and explained. “The shakuhachi is an end-blown bamboo flute with four holes down the front, and a thumb–hole in the back. It was originally meant to be played as a form of meditation by the Fuke–sect of Buddhist monks. During the Meiji restoration, the emperor of Japan was very keen on westernising, and as such, was doing away with much of Japan's culture, including traditional music. My great–great grandfather (whom I'm named after) petitioned strongly to preserve the traditional music of Photos : J. Lancaster Japan. He also helped develop the written form of shakuhachi hen I meet or engage with a musician for the first time music, and composed the shakuhachi parts to much of the I’m almost certain to know how the conversation will string ensemble, that music is now an accepted and important Wflow because of the music genre they play/sing. part of traditional music in Japan.” However on my recent contact with Hanz Araki I was completely Traditional Japanese is clearly very much at Hanz Araki’s heart. oblivious at to the nature of our conversation as his music is so So where does this leave Irish traditional music in his life? “I diverse. Born to Irish and Japanese parents Araki was always started my musical career quite late (17), as compared to some guaranteed a varied spectrum of musical influences. One would (including my father who was 12 when he made his professional never imagine that six generations of mastery of the Japanese debut). In those early years, I practiced Japanese traditional music a shakuhaci would ever lead to a career in Celtic music, but this minimum of six hours a day, seven days a week, for four years is exactly how it panned out for the accomplished flute player straight. I had had other musical interests all my life growing and traditional singer Hanz Araki. up, and certainly those influenced me as well. But once I started Araki’s 11th compilation of music has just been completed, called trying to piece Irish melodies together, first on the shakuhachi Foreign Shore, it showcases the inherent beauty of traditional (my first instrument) and then the whistle, and then the flute. I Irish music with performances that are inspired, detailed and definitely fell down the rabbit hole and really never looked back.” authentic. “Obviously, I had a deep connection with Japanese music, but When I caught up with Hanz I asked him what was new with the discovery of Irish songs and tunes forged a bond musically Foreign Shore and how it differed from previous albums. He that I had been missing up to that point. There are elements to told me “My tendency in the past has been to fill every corner Japanese music I still enjoy, but in the US, the focus is entirely of a recording with layers of sound; I never shied away from on solo playing which doesn't really appeal to me. In Japan, I Irish Music - November 29/09/2014 14:48 Page 19 HANZ ARAKI 19 spent a great deal of time mastering traditional chamber music, which is entirely driven by the voice. Without the song, you're left with a lot of fusion and contemporary music that is lovely, but not really something that inspires me. Irish music became an obsession once I returned from Japan. I love the contrast of sean nos singing, or unaccompanied playing to the complex blend of instruments you have in dance music. To me, there's nothing like it, and it was like I found the perfect balance of all these things that I had listened to growing up, not even realising what I had been looking for.” It’s clear that his Irishness is also very special to Hanz Araki! My next question had to be if Hanz Araki has any plans to tour Ireland in the near future. Fortunately he has plans to visit at least! “I plan on being in Ireland in January of 2015. I have dear friends that I'm way overdue to call on. Of course I'd love to do a few gigs in Ireland someday, but I feel like a trip to Ireland is more about reconnecting to a place and people. I'm most excited about possibly playing in sessions, which is mostly about listening, in my opinion.” With such traditional Irish music in his music genre and yet much Japanese music there too, I wondered who his main musical influences were. Clearly there were plenty! “Where to start? I loved The Pogues as a high schooler, and still love them to this day (I play in a Pogues Tribute band called KMRIA once a year). I also listened to Planxty, The Bothy Band, and June Tabor almost “In those early years, I practiced Japanese traditional music a minimum of six hours a day, seven days a week, for four years straight. I had had other musical interests all my life growing up, and certainly those influenced me as well” obsessively. Also formative were Andy Irvine, Paul Brady, Dick Gaughan, and Mick Hanly. I have to give a tremendous amount of credit to Niamh Parsons, piper Tom Creegan, fiddlers Dale Russ and Conor Byrne, and Finn Mac Ginty. I could go on for hours...” For someone who has travelled the world with his music I was curious if there was anything new in the pipeline for this ‘quintessential world music musician’! I wasn’t’ surprised to discover he had a new plan on the horizon! Said Hanz, “Well, I did get a ukulele... I've never attempted a stringed instrument and I felt it was time. I have had this notion that forcing myself to learn a harmony instrument might open up my mind a bit and allow my flute-playing to progress further. Either that or I'll just keep playing Beatles songs on it in the privacy of my own home. For now!” No doubt that ukulele will make an appearance on stage at a later date but for now, Foreign Shore is exposing Hanz Araki’s current musical talent and is very worth a listen..