JaME found
Ayano Onodera in the workshop of her agency in Paris, a few days before her concert at Sunside, on the 8th of May. She was assisted by a friend who aided her in translation, because even though she understood and spoke a little French, she preferred to express herself with Japanese.
Could you tell us a little about yourself for those who do not know you yet?
Ayano Onodera: At the moment I only work in Tokyo. I have taken part in many concerts in lives houses over there. I write my songs in Japanese, not English or French. The quality of my music is simple. I try to express my thoughts through very basic music because I want it to be pure like water. By stripping down the songs, my music style becomes a form of Japanese art which is appreciated for its simplicity.
What prompted you start learning the piano at the early age of four?
Ayano Onodera: I discovered music and my sensitivity towards it while I was in the nursery. In fact,
Mozarts composition began to fuse into my life: morning, lunch, nap, etc
In a way I have to thank
Mozart that I chose music: there was a piano at the nursery and I tried to play what I heard. Then one of the ladies in the nursery suggested to my mother that I should learn the piano.
Is there some aspect of Mozart's work that stayed with you from that period of time?
Ayano Onodera: Sort of. Well, because of
Mozarts simple composition, even if I only listen to one track it is enough for me to become relaxed. Also, one can easily be embraced by his music because it creates a type of cocoon.
You were helped on the path to becoming a composer by Hiroki Miyano, who has played with Earl Klugh before, and was credited in his albums. Can you tell us more about the meeting with this talented guitarist and what made you switch to this profession?
Ayano Onodera: Thanks to distant friends, I was informed that there was going to be a performance by
Hiroki Miyano. So I went there and at the time it was truly a shock, in the most positive way possible. I have always liked his music and his manner. Therefore, I felt a need to convey my feelings to him during this concert. I told him that I felt quite close to him while listening to his music. At that time, I did not produce music like I do now, I was just playing the piano for pleasure.
Hiroki Miyano then asked whether I wrote any music, and I answered that I had only practiced a little with the piano. He wanted me to play a song for him, so I seriously tried to recompose some of the ones I had composed before. I was playing when he asked me to sing along. It was then that I had the feeling that it was necessary to continue this way, although I had no intention to exchange one way for another. Then he pointed out to me that it would be difficult to reconcile such thoughts.
Was that the first time that you sang for somebody?
Ayano Onodera: Yes, at least for my own compositions. I had taken part in cover bands before.
Have you remained in contact with Hiroki Miyano, considering he played the guitar on two of your albums? Did the idea of a collaboration form there?
Ayano Onodera: Yes, always.
Hiroki Miyano is known as a jazz guitarist but he plays all sorts of styles on the guitar: flamenco, latin, etc. I am still trying to work out his style from all his variety.
At the beginning of your career you tried to create a group, but now you are engaged in a solo career. Why this change?
Ayano Onodera: When one plays on a team, it is important to respect everyones opinion. So when I compose, it will be interpreted by different artists. And then, the music will be produced according to their various interpretations, it will not be how I imagined it to be originally. So in order to respect my own expression at the time of composition, I prefer not to be with a fixed group of artists. Rather, Ill choose the artists to correspond with my first image of each piece.
What did you learn while playing in clubs?
Ayano Onodera: Hmm, difficult question! (laughs) There are so many differences compared to recording in a studio. I am very sensitive to the space around me and the place that I am playing in. It seems that the environment can influence me. When the audience is different for each performance, the environment is too. Therefore, the outcome of my music will be affected by these elements. That's what I learned from the club experience.
On the same subject of audiences, when you play for the French audience, do you expect to take a different approach, due to the change in environment?
Ayano Onodera: Well, I will face the audience like when I am in Japan. I think that generally I will remain the same because I want to be as faithful to my music as possible. However, France does present important opportunities, so I will pay more attention to the audience's interpretation.
Which interests you more: playing, composing or singing?
Ayano Onodera: This is very difficult, too. When I feel the happiest is when I am singing. However, when I am composing, the joy I experience is more concentrated, as I am making something concrete. I am not at the level of piano playing which I wish to be yet, so I am not satisfied enough to be happy while doing that.
Your music is rather eclectic: there is energy of a traditional style that becomes jazz-like, and also traces of soft ballads and Latin sonority. Would you prefer to develop one particular style, or would you stay open to all genres?
Ayano Onodera: I do not purposely make music to be Latin, traditional or jazz, but it is true there are juxtapositions of various styles in my music, as you have noticed. Every time I am composing, I am fascinated by a certain style. I cant see how I might change in a few years, but right now I am interested more in the instrument I used in my album
Kibou - the koto. I have different ideas on how to use this instrument.
Regarding the koto, how did you discover it and what influenced you to use it in your compositions?
Ayano Onodera: In fact, koto is very well known in Japan and it is an old instrument. I thought of it when I composed the first song on
Kibou,
Mezame, written initially on the piano. I began to think that the koto would collaborate well, just by intuition. In Japan, my music is considered to be pop so I think it is rare to use such an instrument for this style; I must be the only one and I have to say it was an interesting experience for me. I was also at a koto concert and I completely rediscovered this old, traditional musical instrument. A koto is very long (note: approximately 7 feet) just like its string. When the last note was played, it produced a very intense sound which grew in volume, I really liked this.
The song HARU#, gives one the sense of old Paris. Did you want to have this effect?
Ayano Onodera: Yes, it was how I imagined Paris when I was in Japan.
Were there any particular artists that inspired you?
Ayano Onodera: Not really anyone in particular. It was more of the music played on TV, or what I heard in old French movies.
For example, what films?
Ayano Onodera: I forgot the names but I really like
Francis Lai. (note:
Francis Lai is a famous French music composer for films such as
Love Story,
Bilitis, etc.)
Un homme et une femme?(A man and a woman)
Ayano Onodera: Yes, absolutely.
You created your own production company, UtoUto Music. Why the choice of name and why did you feel the need to create a label?
Ayano Onodera:
UtoUto Music, because it is an onomatopoeia that expresses the state of mind that one has right before falling asleep, a serene state. As I said at the beginning of the interview, I want my music to be as pure as water when it reaches everyone. And I really like the sonority of
UtoUto!
If I can, why not make my own label: as you said, my music is a mixture of jazz, pop, traditional and so on. And when I wanted to sell my albums in a Japanese music store it was difficult, because they did not know which section to put me under. When I was going to see music companies for rock, they said that my music was not rock and the same thing happened with jazz and pop. It was complicated to find a music company that can adapt to my music. My goal is to discover more of the world with my compositions and to carry that out, I need a professional structure to start off with.
Do you wish to sell your albums in France?
Ayano Onodera: I would love to, yes.
On your albums, there is a small mascot called Ayakuma which came from an online gallery HORY'S WORLD. Could you explain to us how you discovered this site and why you have chosen this character in particular?
Ayano Onodera: It was a talented illustrator called
Hory who created these small characters for me. He offered this character to me because it represented me.
So you had previously known him?
Ayano Onodera: Yes, I have always appreciated his work with respect.
Do you plan to produce any other artists on your label?
Ayano Onodera: At the moment, no, because there are already difficulties with the financing, it is a big investment. If I deal with another artist, it will be necessary to deal with the entire commercial aspect, publicity as well as press. If one would like to take up the responsibility, all sides have to be weighed first. But one day, I hope that there will be the capacity for me to take on such activities.
Among all of your compositions, which resembles you the most and why?
Ayano Onodera: Another difficult question!
It would have to be Kibou, the last track of my second album. It is this song that is closest to my current emotions: how far can we go with our dreams? This is what I say to myself at this moment.
What are your dreams?
Ayano Onodera: I wish that my music would gain popularity. I really love to compose, so it would be a dream if it reaches everyone. I want to connect to peoples minds and souls with my music.
What made you decide to come to France?
Ayano Onodera: At first I played mainly classical music. And when we talk about classical music we talk about Europe. Gradually, I discovered other types of music: Brazilian, African and Eastern. I found that only Paris had this eclectic mixture. In London, one can find many kinds too, same as New York. But because I have the background in classical music, I chose Paris. I have always been interested in coming here.
Do you miss anything in Japan?
Ayano Onodera: Right now, no. I stay in contact with my family and friends via the Internet.
After your concert on May 8, do you plan to have other concerts in France, Europe or Japan?
Ayano Onodera: I wany to have concerts everywhere, but at the moment after the concert in Sunside, I would like to have some more in Paris and in Europe. During 2006, I will go back to Japan to hold a concert.
Are there any French artists whom you appreciate?
Ayano Onodera: Claude Debussy, Michel Pertrucciani, Henri El Salvador, Serge Gainsbourg, Francoise Hardy, Edith Sparrow and Barbara.
How did you discover them?
Ayano Onodera: My mother had CDs by these French artists.
And any other more recent artists?
Ayano Onodera: Sylvain Chauveau and Carla Bruni.
Have you considered working with a French artist?
Ayano Onodera: Yes, an idea for a project has formed, but I cannot say anymore.
One of the artists in the concert, Alfonso Pacin, is a multi-instrumentalist. He has accompanied various artists and has ties to the world of tango, jazz and Argentinean folk songs. How did you approach him to take part in this concert?
Ayano Onodera: Actually, I have a friend who is a famous jazz pianist, Gerardo di Giusto, whom I met in Tokyo. I told him that I would be leaving for Paris and asked him for some advice. And I said that I needed to find a musician who could understand my music, and he advised me to see Alfonso Pacin. I went to Sunside to see a concert by the band Tregua, which Alfonso was taking part in. I was so touched by his interpretive performance that I asked to work with him. He is such an impressive musician.
And how did you meet Guillermo Benavides, who takes part in a lot of jazz concerts?
Ayano Onodera: It was through Alfonso that I met Guillermo Benavides. I started to play with Alfonso, and one day he said to me he that he knew someone who would compliment my music well with a double bass. He is a very talented double bass player.
Why did you choose this formation for the concert on May 8?
Ayano Onodera: In concerts in Tokyo, I always played with three people. So for me it was very natural to be found in a trio. Although in Tokyo there are not many double bass players.
When you are composing which do you write first: music or lyrics?
Ayano Onodera: Music! I fill in the words according to the music and how I was feeling at that moment.
Your second album, Kibou, consists of less instruments than the first one. Did you wish to create an atmosphere that was more intimate and personal?
Ayano Onodera: Indeed, I wanted something for closer friends and with more privacy. This album was built with this procedure: a song will only be done with one instrument. When I work as a solo artist I need to move forward. I try to omit what is extra, to minimise to the max. After this work I am very interested in this area, so I will continue to produce as much as possible with the fewest number of elements.
If there was a message in your music that you wish to convey, what would it be?
Ayano Onodera: There is not just one message which is presented by my music. It is more of a statement for everyone in this world, that there is love and happiness. So my music is used to give out such ideas, and if people begin to think of such ideas, my goals are achieved.
Thank you very much.
Ayano Onodera: Thank you.
JaME would like to thank Ayano Onodera and Shizuka Takahashi for the translation.
