How do we get beyond the “fourth world” ideas thought of by early progenitors of it, like Eno and Jon Hassell? We begin by seeing it, hearing it, through the eyes/ears of those who felt a need to connect to other traditions as it could form part of their own. The classic idea was to disengage, to create some other world where the blur of our own, became its own blur with no foothold elsewhere. I believe that’s shortsighted. Japan’s little known Awa Muse record label remains a fine example of what happens when you engage in this world.
In the late ’80s, painter and woodwind musician Hideaki Masago’s fascination with ecology, native cultures, and the different instrumentation of the world spurred him to create a new record label. Under the name “Awa” (foam or bubble) that could be both a haven for indigenous Okinawa folk artists and for other Japanese musicians who were interested in performing, playing, music found in other traditions.
Artists like the Wind Travelin’ Band, led by musicians like Esoh and Hiroki Okano, fomented music that dug deep from Japanese and Native American folk experimentation. Others like Keita, took inspiration from Nyabinghi and Rastafari folklore/tradition to create their own wayward blend of untethered folk music.
Rather than make them specifically fall in any given world music slot, Hideaki would create omnibus/compilation albums that gave listeners a taste of each individual’s idea of world music. Many of these contributors would go on and self-release albums or simply play live, on stage during various events promoting the arts and folk music.
On early releases, you might hear something from Takashi Kohgo, combining classically-taught Indian esraj technique with his own love of electronic synthesis.
There would be music by others like kora musician Hiroyoshi Kawagishi, who took direct technical lineage from the masterful likes of Toumani Diabate and would sit right, proper next to other leftfield African-inspired music by the likes of Hiromi Kondo (who chose the mbira as her devotional instrument). Without skipping a bit, gorgeous environmental music by the likes of Masao Fujikawa saw no disconnect between deep electronics and gamelan impressionism.
On the Awa Muse label, Mr. Masaga simply let the music flow like the paintings he graced on each release. If you felt the spirit moving, keep pressing that forward.
I am fascinated by the timbre and rhythm of musical instruments that have been cultivated in various climates, seeking new harmony for themselves, creating a space for music.
It is similar to drawing a picture with seven color paints in water.
I think now with the landscape painted in front.
The journey to the Holy Land is the beginning of the journey to the inner world, and in there we look for and draw a new myth of this planet of where we live…
– Hideaki Masago
Healing Feeling: Awa Muse Special
1. Takashi Kohgo: ユメ (Yume)
2. Hiromi Kondo: ニャバロバ (Nyamaropa)
3. Hideaki Masago: そのまま (Sono-Mama)
4. Kohnosuke Mihara: 岩戸開き (Iwatobiraki)
5. Hiroyoshi Kawagishi: ウララ (Urara)
6. KOH-TAO: 虹色月夜 (Rainbow Moon Night)
7. R. Carlos Nakai with Wind Travelin’ Band: Sunrise ll
8. Esoh: 祝祭の星にて (Rising Sun, Dancing Moon)
9. Keita: あけぼの (Akebono)