Why We Asked Neko Saito for the Strings

—You frequently mentioned it in our previous conversation, but what exactly is "Jazz Japonisme"?

Bill Evans wrote the liner notes for Miles (Davis)'s 1959 album "Kind of Blue"—he was the pianist on the album—and in it, he wrote, "Jazz improvisation is similar to Japanese ink wash painting. Once the brush is dipped in ink and touches the paper, there's no turning back from failure."
He was equating the concentration of jazz improvisation, where everything written remains as a work, with Japanese culture. It's a manifesto of sorts from Bill Evans in the liner notes, and that's precisely "Jazz Japonisme." Although "Kind of Blue" itself isn't Japonisme.
However, not many people have traced the roots back to the point where the story of ink wash painting appears within "Kind of Blue."
So this time, I decided to go with a New York feel, rather than a "Japonisme" that's like "Sogetsu-ryu" (a school of ikebana).

—Neko Saito was involved in the string arrangements, wasn't she?

Neko Saito is an old acquaintance. Perhaps older than Hiroshi Minami. We used to hang out a lot, but we hadn't seen each other for a while due to our busy schedules in recent years.
When I was creating "South American Elizabeth Taylor" in 2005, I was looking for a string arranger. I heard Neko Saito's arrangements on Shiina Ringo's album "Heisei Fuzoku" and thought the strings were excellent, so I asked her, but she was too busy.
It was then that I met Nobuyuki Nakajima, who has been my go-to arranger and composer for strings ever since. While I continue to collaborate with Nakajima, I wanted a different feel for this album, so I thought of Saito-san and made the offer.
It might sound like a grand "long-cherished wish fulfilled" when I say it like this, but it's simply that it worked out this time (laughs).

This Year, I'll Be Working on Various Projects Centered Around Two Bands!

—Last year, you formed two new bands and focused your activities on them. What kind of activities are you planning for this year?

Since the bands were just formed last year, the basic plan is to continue with those two. DATE COURSE PENTAGON ROYAL GARDEN (hereafter DCPRG) ran for nine years, and SPANK HAPPY also had a considerable run. DUB SEXTET is still in its first year (laughs), so I think we'll continue at least through the end of this year.


—You also work on film scores, don't you?

Yes, I do.
This year marks the 100th anniversary of Osamu Dazai's birth, and many films based on his works are being produced. Famous titles like "Villon's Wife" and "Sunlight" are being adapted into films this year and next. I'll be the music director for one of them, "Pandora no Hako," directed by Masanori Tominaga. This film is generating buzz with Mieko Kawakami, a recipient of the Akutagawa Prize, making her acting debut, and Yosuke Kubozuka making his full-fledged return to film. It's scheduled for release in September.
Also, I was doing the music for NHK's program "Bakushou Mondai no Nippon no Kyoyo" (The Lessons of Japan by Bakushou Mondai). The program is entering its third year, and the music has been renewed. I re-recorded the music, and it's planned to be released as an album. Additionally, the NHK program "Perform!," which introduces submissions from amateurs, has been renewed, and fortunately, I'm still a regular, so I expect to appear two or three more times this year (laughs).
Furthermore, I'll be the music director for Maki Nomiya's recital again this year, continuing from last year.
So, for now, this year feels like I'll be working on various projects centered around my two bands.

—Thank you very much.

Naru Yoshiki Kikuchi Homepage
http://www.kikuchinaruyoshi.com/