Miyazawa Profile:

Born in 1966 in Kofu, about 100km west of Tokyo, Japan.
Made a debut as the songwriter / vocalist of the four piece band, The Boom in 1989. Miyazawa, with Kobayashi Takashi(g), Tochigi Takao (dr.), Yamakawa Hiromasa (b) released 21 albums, including the latest titled "Hyakkei" in 2004. In 1993, his composition and single "Shima Uta (Island Song)" became a massive hit, selling 1.5 million copies. This beautiful Okinawan melody was covered by numerous artists including some in other countries. Particularly "Shima Uta(Cancion de la Isla)"covered by an Argentinian multi-talented artist Alfredo Casero became a massive hit in Argentina and one of the support songs of the Argentinian team at the 2002 FIFA World Cup even though it was sung in Japanese. Casero and Miyazawa toured and sang "Shima Uta" together in Buenos Aires, Tokyo and Okinawa.
While active with The Boom, Miyazawa released 4 solo albums till present. Musicians and producers like Art Lindsay, Hugh Padgham, Carlinhos Brown, Lenine and Marcos Suzano are among many that has produced and/or recorded with Miyazawa in various countries and cities like Brazil, Argentine, New York, Tokyo and Okinawa.
In recent activities internationally, "Shima Uta" and "Nukegara" were featured in a Brazilian drama titled "Metamorphoses" broadcasted on Record TV, in March 2004 and the Original Soundtrack album titled "Metamorphoses" which includes those 2 songs was released also in April. In August, have toured South America with the Miyazawa-Sick Band. Alfred Casero (Argenitinian musician /actor /comedian) was a guest for 2 performances in Buenos Aires and Argentina. Popular Brazilian musicians Zeca Baleiro, Jair Oliveira and Diego Figueiredo have joined the Sao Paulo concert. UK independent label Far Side Music released a compilation album titled "Tokyo Story" and Miyazawa is planning a "Miyazawa-Sick ‘05" tour in Jan 2005 to France, Bulgaria, Poland, Russia and the UK.
In recent domestic activities, performed at "Dream Power / John Lennon super Live 2004" held at Tokyo Budokan, an annual charity event which Ryuichi Sakamoto, Yoko Ono etc have performed in recent years.
Miyazawa and the Boom has become an internationally known figure in recent years through live shows, collaborations, and releases in different counties, expanding it’s visage and activities beyond boundaries-.

Discography :

www.five-d.co.jp/miyazawa/en/discography.html

Watch Shima Uta live with Alfredo Casero

THE BOOM

Biography

The Boom are a group on a journey. A remarkable journey that has taken them from performing in the streets to the stadiums, from ska to samba from the Budokan to Brazil. Along the way they've met and mingled with musicians and people from a variety of countries. They've travelled extensively, absorbing the local music and digesting the culture. Their music is a product of this journey. A synthesis of sounds created primarily by the group's vocalist and leader Kazufumi "Miya" Miyazawa. Enormously popular in their native Japan, the Boom's music however knows no borders. It's crossing the sea to Asia and heading beyond.

The Boom are:

Kazufumi Miyazawa: Vocals, Guitar

Takashi Kobayashi: Guitar

Hiromasa Yamakawa: Bass

Takao Tochigi: Drums

The Boom were formed towards the end of 1986 by school friends from Kofu City, about 100km west of Tokyo. By the summer of the following year, they were playing every Sunday afternoon at "Din Alley" in Tokyo's fashionable Harajuku. The street is well known even outside Japan for it's wild and colourful performances by bands thrashing out everything from 50's rock'n roll to the latest rock and dance trends.

The Boom were initially influenced by the ska/post punk movement in the UK. They played covers by groups such as The Specials and The Police as well as their own ska influenced compositions. They soon built up a solid following and their reputation as dynamic performers with a strong set of original songs filtered through to the major record companies.

At the end of 1988 they signed to Sony Records. Their debut album 'A Peacetime Boom' and a single was released in May 1989. Soon after their first concert in Tokyo was a sell out and the group undertook their first tour of Japan. The second album Sairen no Ohisama followed in December 1989, supported by another tour. Other musicians, notably famed Japanese singer Akiko Yano began to take notice. She recorded a duet with Miya and produced the next single released in the spring of 1990, titled Tsuri no Iko. The band's popularity continued to soar. By the summer they'd progressed to Japan's most famed concert venue the Budokan (11,000 capacity). The third album Japanska was released in September 1990 and the band embarked upon their most extensive tour to date, performing at 73 locations nationwide over nearly six months.

The release of the fourth album Shisunki in January 1992 marked something of a turning point in the band's career. Through spending time in Okinawa, Miya had become particularly interested in the music of these beautiful sub-tropical islands situated about 500 kilometres south of the mainland of Japan. The colourful culture and bright music is completely different to that of the mainland, having more connections with south east Asia as well as China. Shisunki contains three Okinawan influenced songs, and Miya played the instrument at the heart of Okinawan music, the sanshin, a three stringed banjo, it's resonance box covered in snake skin. For the first time, Miya had clearly demonstrated his talent for cleverly blending traditional musical ingredients with a modern sensibility.

In 1992, the Boom went on another extensive tour, released a Best of the Boom compilation and in the summer held a concert in front of 15,000 people at Osaka Expo Park. This performance was released as their fourth concert video.

One of the songs from Shisunki, Shima Uta, meaning 'island songs', the name of the traditional music of Okinawa, was released as a limited edition single in Okinawa. The folk style melody soon became a big hit on the island. Young people who had not appreciated their own music previously, were suddenly caught up in a wave of shima uta mania, as the single shot to the top of the Okinawan charts.

However the single's stunning popularity was not to be confined to Okinawa. In June 1993, Shima Uta was released nationwide, and soon the rest of Japan too was discovering the island songs of Okinawa. The single went on to sell over 1.5 million copies and captured the Japan Record Award (the equivalent of a Grammy) as the best single of 1993.

The fifth album Faceless Man, released in August 1993, continued to explore the music of Asia and was their most ambitious project thus far. Okinawan legendary singer Shoukichi KIna joined them on the recording, as did Okinawan female vocalist Yoriko Ganeko and Singaporean star Dick Lee. The Indonesian elements were particularly powerful and some songs were produced by Makoto Kubota, the Japanese producer who had worked with many of Asia's finest singers. The title of the album Faceless Man, reflected the way the Boom felt about themselves and their music. They don't have their own specific roots, a "faceless man" who combine other musical roots from around the world to create their own unique face.

Two of the songs from Faceless Man, E-Ambee and 18:00 were remixed by two of the most in-demand producers of 'world dance fusion'. The British bhangra producer Bally Sagoo and legendary lovers rock and dub mixer Mad Professor. Incorporating samples of Pakistani Qawwali singer Nusrat Fateh Ali Khan, Indian tabla, ragamuffin and dance rhythms, the Boom songs fitted naturally within this global setting.

In March of 1994, Miya's first solo project, a collaboration with Jamaican reggae singer Yami Bolo was released. The CD 'Love is Dangerous' demonstrated again Miya's natural affinity with different genres of music.

In the summer of the same year the Boom's 13th single Berangkat was released. Incorporating Balinese Kechak (chants) and gamelan the song was used for JAL's Bali TV commercial campaign, and became another huge hit for the group. The band headlined at the Club Asia concert at the Budokan.

Despite the demanding live and recording schedule, Miya and the Boom always continued to explore the world's music for further inspiration. Their travels had taken them to Brazil and Cuba and a new sound was developed, released in November 1993, as their sixth album Far East Samba. The ease with which the band blended sparkling pop songs with Brazilian rhythms and samba was a revelation. The major newspaper the Japan Times reported that Miya's name was now being touted as "the Japanese Paul Simon / David Byrne figure of the future."

The recording and tour included the five percussionists of Chito Chango, as well as a horn section, keyboards, guitars and female chorus and dancers, totalling 18 performers. The group's sixteenth single, the infectious Kaze Ni Naritai , became one of the summer smashes in Japan in 1995.

In December, a new song and the seventeenth single Tegami caused a sensation in Japan, for it's lyrical as much as lyrical content. The lyrics, said in the form of a poem reading over a backbeat of Brazilian rhythms derided the current music scene in Japan

In February 1996, Far East Samba was released under the title "Samba do Extremo Oriento" by Sony Brazil. The CD included a Portuguese version of "Kaze ni Naritai" as well as their version of the Milton Nascimento song "Ponta de Aeira" complete with gamelan and Okinawan sanshin and vocals courtesy of Yoriko Ganeko. In May of 1996, the Boom embarked upon a tour of Brazil, playing at the Fest'in Bahia in Salvador, Rio de Janeiro and Sao Paulo. The success of the Brazilian tour and release confirmed the international appeal and potential of the group.

The group's seventh album Tropicalism-o, was released in July 1996. The album has been heralded as the "Japanese Sgt Peppers of the '90s " by the music press. Jazz funk, reggae, 70s soul and club music collide with Okinawan folk, Indonesian gamelan, Brazilian rhythms and samba in a sound that is way ahead of it's time, and unrivalled as an innovative music in the Japanese pop world. The sell out Tropicalize tour of Japan from the summer until the Autumn of 1996, played to over 70,000 people taking in 37 cities. The tour final began in December and culminated with shows at the Budokan. The Boom's second 'best of' compilation , Boom 2 will be released January 22nd 1997.

What the next stop will be on the Boom's musical journey is uncertain. All that is certain is it will be a journey full of interest and discovery, and one well worth following.

Report on the Boom's European tour- summer 1997

Tubingen in Germany, one of those delightful European towns that almost seems to have been untouched for the last few hundred years, might be a recent addition to Japanese tour operators on their 'Romantic Tour',, but for the Boom, it was the first of two concerts, on July 6th, on their European tour. The other was to be four days later at the Montreaux jazz festival in Switzerland.

The market square at Tubingen, enclosed by buildings, renovated recently to look like they could almost be straight out of Disneyland, was incongruous surroundings for the Viva Afro- Brazil '97 Festival. Together with a group from Japan playing a 'world mixture',, an audience comprised of mainly Germans but with a fair smattering of Brazilians too, not to mention 120 Boom fans (117 of them female) from Japan, the whole world seemed to have collided at Tubingen, and were now congregated in the square in front of the stage. Not surprising that when the Boom took the stage and started playing 'Tegami' a song with Brazilian rhythms and rock guitar set over a poem reading in Japanese with the group's vocalist, Kazufumi 'Miya' Miyazawa sitting down on a high stool, that a large part of the audience might have been somewhat perplexed.

The Boom fans obviously weren't, and screamed just as if they were back home, which somehow all added to the already slightly surreal atmosphere. Perplexity soon gave way to fascination and the realization ,that well, these guys could actually play. Some Brazilians might have still harbored a few 'this ain¹t the real Brazil deal' reservations, but the Germans, known for their love of 'welt beat' were soon clearly into it. Attentively listening to the slower ballads, and dancing to the up-tempo rhythm driven numbers. Fascination had soon broken through to pure enjoyment. By the time the Boom¹s one hour set had climaxed with Shima Uta, the atmosphere while not exactly Brazilian Carnival electric was decidedly on the hotter side of warm.

The reaction of Klaus Schumacher, a radio presenter from Munich, was typical of those I spoke to. 'I was actually surprised by what they performed, because I haven¹t seen fifteen guys and girls on stage, for a start this is an incredible number of musicians that you don¹t see very often. And what impressed me most was the percussion section which was incredible, two drummers, Balinese gamelan, and the rhythm section, apart from that the horn section as well because they had some rhythms and some sounds that I haven¹t heard yet. It¹s a very extreme mixture of reggae, rock music, easy listening,pop, Brazilian, gamelan, a very strange mixture, but a very good mixture.' Klaus, like nearly all the media admitted to being almost entirely ignorant of Japanese music.

While the world might listen to music on Japanese audio hardware, sadly the same cannot be said for the software. Apart from a few oddities, Japanese music has hardly ventured beyond Asia. Perhaps this is because the Japanese charts are full of what for most Europeans or Americans on first hearing is inferior copy music of their own, whether it be rock, pop or dance. Without hardly a CD release outside of Japan, not surprisingly very few musicians have actually seen the point in performing overseas. So how did the Boom end up in Tubingen? I asked the festival¹s director Dr Winfried Kast. 'Well, I saw the Boom at a festival called 'Festin' in Salvador, Bahia , and I was so impressed with them that we decided the Boom must one day play in Tubingen. We didn¹t know if it would happen last year or this year, and I¹m very glad to have the Boom here.'

It seems there are two major reasons why the Boom have started to make inroads overseas. Firstly, the foresight of their management company. Last year the Boom played in Brazil in Sao Paolo, Rio de Janeiro and the aforementioned Festin' Bahia in Salvador. The company realizes the Boom need experience playing overseas, and also need to tour if their CDs will make any impact. And as was proved with invitations to both Tubingen and Montreaux, other opportunities arise. The second reason is the Boom's music. It's certainly not a copy of anything, and those people who expected a Brazilian copy band, were presently surprised by the diverse range of influences in the Boom's music. The Boom's music is original in Japan, but is clearly just as original throughout the world. Although the Boom's CD 'Far East Samba' was released in Brazil under the title of 'Samba do Extremo Oriente' this time around there was not even a CD release to promote. But the Boom, who have recently changed record companies in Japan from Sony to Toshiba EMI, have realized that to instill interest in Europe, including the media and the various EMI subsidiaries there would be no better way than to actually play at these prestigious festivals. A brave move indeed.

Viva Afro-Brazil Œ97 has been in existence for 12 years and according to the festival's director is the 'the first, most famous and greatest Brazilian Open Air (festival ) in Europe'. 'I do this festival because I¹m sure the influence of Brazilian music to rock and pop music is very important and very deep. We¹ve had more or less all the musicians of the Musica Populara Brasil, that¹s Gilberto Gil, Caitano Veloso, Milton Nascimento, and all the new artists from Salvador in Bahia which is the most interesting melting pot of Brazilian music.' After the show all the musicians in the Boom were obviously feeling elated. They had arrived late the night before at nearby Stuttgart Airport from Tokyo. For some of them, their luggage had gone astray, although Air France, the guilty party, had delivered each a pre-prepared pack of toiletries, a T-shirt, and for the men a pack of condoms! I don¹t think the latter commodity would be much use for our tired out party. Takashi Kobayashi, the Boom¹s guitarist, was feeling the worst for wear and within two hours of arriving at the hotel, had thrown up, in the elevator! But by the time the show had finished, he was clearly fully recovered and was on an emotional high. 'It was of course our first concert in Tubingen, and it left a big impression on me, there were many Japanese people as well, but looking at the faces of the audience to see their reaction was very fresh, it kind of reminded me of when we used to play in Harajuku.'

Over a meal in the festival's restaurant, a lot of the musicians took the chance to speak to one of Brazil¹s greatest ever musicians, the founder of the 'Tropicalism' movement and a major influence on the music of the Boom, Gilberto Gil. Gilberto Gil played after the Boom, followed by Carlinhos Brown, currently just about the hottest musician in Bahia. It was quite an honour for the Boom to be in such illustrious company. 'I just met some of the members of the Boom,' Gil explained to me 'and they told me they are Tropicalistas. I told them what a difficult project you have in mind. It¹s very difficult to be a Tropicalista and I told them why. To be a Bossa Novista is not too difficult because Bossa Nova is a type of music, with clear elements with a clear way of playing, with a musical style. And if you talk about samba, then it¹s something you can follow, but Tropicalia there is no musical style it was an attitude to the general cultural universe. There's not a song that you can say this is Tropicalista. It was an ideological project, that involved the attitude towards being modern, aware of the novelties. So I asked them, 'how come you¹re going to be Tropicalistas, and they told me ,'we¹re just like you, it¹s a heart attitude,' so I told them , 'so you can be Tropicalistas!'. I¹m so proud that we can have a seed growing in the land of the rising sun.'

The four Boom members, Kazufumi Miyazawa, Takashi Kobayashi, Hiromasa Yamakawa and Takao Tochigi, conducted various interviews for TV, radio and magazines. All the media were very keen to find out more about the Boom; What were their influences? Isn't Japan a very strict and organized society, so isn¹t it difficult being a rock band? That such a unique band had come from Japan, 'unique' not a word usually associated with Japanese music, was evidently a revelation for them. It was important that the first of the shows in Europe had gone well, and Tubingen had been a resounding success.

The next few days were spent in Montreaux where the Boom would be performing on July 10th. The Montreaux Jazz Festival, now in it's 31st year, is one of the world¹s most established and prestigious music festivals. This year¹s programme featured a diverse range of artists from Eric Clapton together with jazz luminaries such as David Sanborn and Marcus Miller, Emerson, Lake & Palmer, BB King, The Chieftains, Ziggy Marley, David Byrne and Van Morrison. The Boom would be performing with banjo virtuoso Bela Fleck and Grammy winner Sheryl Crow. Claudia Durgnat, head of press and PR at the Montreaux jazz festival believes the Montreaux Jazz Festival owes much of it's reputation to it¹s founder Claude Nobbs. 'He has a real passion for what he does and for music, and he knows all the musicians he travels a lot and makes a programme from just meeting people, he's got a real passion and that's one of the main ingredients for doing a festival like this.'

Claude Nobbs too, had first encountered the Boom in Brazil two years ago, and had ever since kept an invitation open for them to perform. Most of the backing members had some days off to explore Montreaux, unquestionably a good place to relax. Montreaux is situated on the shores of Lake Geneva, the Swiss Riviera. The lake is surrounded by mountains, the highest of which even in the height of Summer are still snowcapped. For the four Boom members in particular Miyazawa, there wasn't so much time for relaxation, as the Boom found themselves in demand for TV and radio interviews. This had included a television interview and shooting of the band in a speedboat on Lake Geneva and several radio interviews. Miya was keen to point out, that this tour was 'just a starting point for us in Europe. Up until now our CDs haven't been on sale, but hopefully they will be released next year or in two years time and then we'd like to come back and play in Europe again.'

At a press conference, questions had focused on the Boom's lyrics in particular the song, Tropicalism the answer 'French nuclear testing' had produced a sharp intake of breath in the audience. So, the music isn't just good, there's a message in there as well. Another question asked what it was about Japanese bands that made them so fascinated with music from other countries. 'I was born in the 60s' answered Miya, 'we had no influence from Japanese traditional music in Japan at that time. It was very normal for us to copy American or British rock, it¹s very cool for us. Japanese pop music after the second world war had no authentic history, like Brazilian music or salsa, and we still have a complex that we have no history in Japanese pop. So we look to elements and flavours from other countries, to be inspired by the world's music. The Boom, would like to be a pioneer to develop the real Japanese music, and to encourage the younger generation in Japan.' Perhaps it was all the questions from the media, but the interlude between the concerts became a time for reflection on how best for the Boom to approach the foreign market. Although the Boom's main market obviously is still in Japan, the confidence they have gained in Brazil, and from the reaction at Tubingen, showed they have the ability to reach a wider market. This potential throws up a lot of questions. If to sing in English (another favourite question to Miya), what kind of music to make, when to come back to Europe next time and for how long. These are all vital questions, and ones that other Japanese artists who have released albums overseas or toured abroad have had to face.

Mostly these have been unsuccessful attempts. For Seiko Matsuda or Dreams Come True, singing in English didn't do the trick, as ultimately the music didn¹t stand up to it. Popularity in Japan counts for very little, as testified by groups like Shonen Knife or Chibo Matto who are probably more popular in the US than in Japan. If the Boom were to only appeal to the World Music market overseas, this market might prove too small to sustain the enormous expenses incurred to bring them over for concert tours. But with the combined worldwide might of EMI Records, and the creative talent of the Boom, in particular Miya, the signs point toward the Boom being able to go far beyond the success of their peers in the Japanese rock music world.

So finally, on July 10th, it was time for the band to take the stage at the Miles Davis Hall. All 2,500 tickets were sold out. The Japanese staff had meticulously planned every last detail to ensure the concert went off without any hitches. The mood of the band seemed relaxed, they all just appeared anxious now to get on with the job in hand; to woo the crowd. The audience appeared noticeably different to Tubingen. This was a rock crowd, perhaps not used to hearing a music of such diversity. Who knows, this lot could just like their music straight. The Boom fans had arrived early and were congregated right at the front. These fans immediately helped to raise the atmosphere, by shouting 'we love you' to Miya, waving their hands in perfect unison, and giving the other 2,400 people the chance to at least partly experience the atmosphere of a Boom concert in Japan. There were two huge video screams on either side of the stage that captured the emotion in the faces of the band. Through the Indonesian, Okinawan, reggae tinged E-Ambe, the Brazilian rhythms of Human Rush or Call My Name, the slower Karatachi Nomichi, the explosive Tropicalism and the most 'Japanese' sounding song of all to most, Shima Uta, the Boom¹s set encompassed all their music styles. On occasions, the Boom can make their music jump and shout with the energy of a punk band, but mix it with the mind blowing dexterity of a top jazz outfit in full flow. Miya has the ability to orchestrate proceedings with an hypnotic charisma, that almost makes you not to want to take your eyes off him for a second, in case you miss something. Very few leaders of bands have this quality, recognized by the throng at Montreaux many of whom were soon joining the Japanese fans in waving their arms together and cheering wildly. Live music doesn¹t get much better than this.

Afterwards, Miya sat in the dressing room, exhausted with sweat pouring from his forehead. He relaxed by listening to some bossa nova; this man clearly loves music. Miya, the Boom, and the staff had given 101% on this tour. Both shows had been resounding success. Could this be the start of the march of Japanese music? If any band from Japan can begin to reverse the trade balance in recorded music, on the evidence of Europe, the Boom can.

Shima Uta

Deigo no hana ga saki kaze wo yobi arashi ga kita

Deigo ga sakimidare kaze wo yobi arashi ga kita 
Kurikaesu kanashimi wa shima wataru nami no you 
Uuji no mori de anata to deai 
Uuji no shita de chiyo ni sayonara 

Shima uta yo kaze ni nori tori to tomo ni umi wo watare 
Shima uta yo kaze ni nori todokete okure watashi no namida 
 
Deigo no hana mo chiri saza nami ga yureru dake 
Sasayakana shiawase wa utakata no nami no hana 
Uuji no mori de utatta tomo yo 
Uuji no shita de yachiyo no wakare 
 
Shimau uta yo kaze ni nori tori to tomo ni umi wo watare 
Shima uta yo kaze ni nori todokete okure watashi no ai wo 
 
Umi yo uchuu yo kami yo inochi yo kono mama towa ni yuunagi wo
 
Shima uta yo kaze ni nori tori to tomo ni umi wo watare 
Shima uta yo kaze ni nori todokete okure watashi no namida 
Shima uta yo kaze ni nori tori to tomo ni umi wo watare 
Shima uta yo kaze ni nori todokete okure watashi no ai wo 
 
 
 
English translation by Megchan:
 
The deigo flower has blossomed, and it has called the wind, and the storm has arrived.
The deigo flowers are in full bloom, and they have called the wind, and the storm has come.
The repetition of sadness, like the waves that cross the islands.
I met you in the Uji forest.
In the Uji forest I bid farewell to Chiyo.
 
Island Song, ride the wind, with the birds, cross the sea.
Island song, ride the wind, carry my tears with you.
 
The deigo blossoms have fallen, soft ocean waves tremble.
Fleeting joy, like flowers carried by the waves.
To my friend who sang in the Uji forest.
Beneathe the Uji, bid farewell to Yachiyo.
 
Island song, ride the wind, with the birds, cross the sea.
Island song, ride the wind, carry my love with you.
 
To the sea, to the universe, to God, to life, carry on this eternal dusk wind.
 
Island Song, ride the wind, with the birds, cross the sea.
Island song, ride the wind, carry my love with you.
 
 
 
 
でいごの花が咲き　風を呼び　嵐が来た 

でいごが咲き乱れ　風を呼び　嵐が来た 
くり返す悲しみは　島渡る波のよう 
ウージの森であなたと出会い 
ウージの下で千代にさよなら 

島唄よ　風に乗り　鳥とともに　海を渡れ 
島唄よ　風に乗り　届けておくれ　私の涙 

でいごの花も散り　さざ波がゆれるだけ 
ささやかな幸せは　うたかたの波の花 
ウージの森で歌った友よ 
ウージの下で八千代の別れ 

島唄よ　風に乗り　鳥とともに　海を渡れ 
島唄よ　風に乗り　届けておくれ　私の愛を 

海よ　宇宙よ　神よ　いのちよ　このまま永遠に夕凪を 

島唄よ　風に乗り　鳥とともに　海を渡れ 
島唄よ　風に乗り　届けておくれ　私の涙 
島唄よ　風に乗り　鳥とともに　海を渡れ 
島唄よ　風に乗り　届けておくれ　私の愛を
 
 
 
 
Miyazawa- Sick tour WMA