The vernal equinox heralded a season of renewal and contemporary beginnings on March 20, particularly evident as followers of all ages fashioned a line that snaked round Nationwide Sawdust. They eagerly anticipated the return of Japanese composer, saxophonist, and digital musician Yasuaki Shimizu, who was performing in america for the primary time because the Nineteen Eighties. Shimizu’s multifaceted profession spans a powerful vary of achievements; he has composed music for movie and tv, performed along with his well-loved “new wave-inspired art-pop” band Mariah, and collaborated with illustrious artists together with Björk, Ryuichi Sakamoto, and Elvin Jones, the drummer for John Coltrane.
Nationwide Sawdust has carved a distinct segment for itself as an “in-between” venue, providing a various vary of performances that mix seated and standing-room exhibits throughout varied musical genres. Nevertheless, the execution of some performances can fall wanting aligning with the environment and essence of the programming. This turned evident throughout the opening act that includes digital musician Movement Graphics (aka Joe Williams).
The present commenced with a single button press, immersing the viewers in a drone-infused soundscape woven from textured area recordings, delicate piano melodies, and vocal samples from recognizable artists. Regardless of the power, the elevated stage made it tough for these on the bottom to discern the devices being utilized, resulting in a hesitant crowd. Applause solely erupted on the standout second of Williams’ set—a chunk wealthy in sweeping orchestral arpeggios and energetic rhythms.
Movement Graphics — Photograph by Ryan Muir, courtesy of AdHoc
General, Williams’ efficiency felt disconnected from the venue. It appeared introduced as a hybrid ambient DJ set; nonetheless, the combo lacked enough quantity, and fairly than mixing tracks, he tended to fade them out, severing the connection between artist and viewers. The one second of actual interplay occurred on the finish of his remaining observe when he thanked the group with a look upwards.
The environment shifted dramatically because the stage was reset for Shimizu’s set. My consideration was instantly drawn to the meticulously organized Ableton session at his collaborator’s station, boasting practically 50 observe lanes, every full with its impact racks. Because the lights dimmed, Ray Kunimoto stepped onto the stage, taking on a shō. The efficiency started with breathtaking solemnity, with sonorous clusters rising from silence like melting icicles. After a sequence of harmonic cycles, Shimizu materialized within the shadows along with his saxophone. When their eyes met, Kunimoto halted his final be aware, and Shimizu’s saxophone burst forth, filling the house with sound.
Shimizu displayed a exceptional means to mix lush melodies with intense vocalizations, syncopated squonks, and digital textures. The duo seamlessly fused conventional instrumental efficiency with digital parts—octave displacers, glitchy gated delays, and complicated sound grains amplified the vibrancy of each his saxophone and digital wind instrument (EWI). With only a nod or a look, Kunimoto instinctively responded to Shimizu’s cues for swift transitions and dynamic cut-offs, creating an entrancing synergy.
Ray Kunimoto and Yasuaki Shimizu — Photograph by Ryan Muir, courtesy of AdHoc
The duo explored various musical landscapes, with Shimizu delivering masterful solos, crafting deeply emotional through-composed items for saxophone and piano, and experimenting with vibrant tracks constructed on layers of stay looping and percussion. Even amidst established patterns, Shimizu would interject with shrill notes, spontaneous improvisations, snippets of ASMR, ambient samples, or rhythmic hemiolas layered on high of the grooves.
At 70, Shimizu’s power was palpable, and his efficiency oscillated between reverence, energy, and playfulness. At occasions, he would halt abruptly and smile on the viewers, expressing gratitude and engagement after every bit, bridging the bodily divide created by the stage.
The spotlight of the live performance was a poignant second when he set his saxophone apart to sing for us. The viewers joined him in clapping to the rhythm, effortlessly sustaining the beat for a rare six minutes. Singing in Japanese whereas studying lyrics from postcard-sized papers, he tossed the papers into the group after every stanza—even catching some returned to him mid-air, which he cheerfully picked as much as attempt once more.
Yasuaki Shimizu — Photograph by Ryan Muir, courtesy of AdHoc
Shimizu’s efficiency, although prolonged, held our consideration till the very finish. He affectionately advised the viewers, “I like you guys” earlier than delivering a wide ranging, virtuosic finale that showcased his exceptional ability. This efficiency was met with a thunderous spherical of applause, prompting him to return for an encore, throughout which he enchanted us with one in every of his celebrated preparations of Bach’s cello suites, performed on saxophone accompanied by piano.
As the primary day of spring unfolded, the theme of “cycles” resonated all through the night. It felt monumental for Shimizu to current his solo work within the U.S. after a number of sold-out nights, marking a major reintroduction for an artist whose music has garnered renewed consideration by current reissues. This live performance was not only a rediscovery however a well-deserved acknowledgment of Shimizu’s extraordinary artistry, which he has tirelessly shared for greater than 4 many years.
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