To sketch out the landscapes of my travels with pipa
It was a narrative, a depiction, a sharing of thoughts~
On this journey, what type of musician will I encounter?
It was an adventure, and even more so a challenge.
On this horizon, which the ocean and the desert coexist, the journey begins~

~In memory of my dear Mentor Mr. Lin Shi-Chin~

Preface

Many have asked me, why travel to Australia to record a “Pipa album”?  Can the same not be achieved in Taiwan?   In truth, the answer is not a simple yes or no.  Through distance and the journey itself, I sought out different and more in-depth ways of letting others appreciate as well as experience an instrument I have come to know so well.  Languages, spoken or otherwise, are methods of communication across cultures and the same rings true for music.  The traditional art of Pipa is also a universal language refined and tuned by each generation of masters.  Moreover, it has become more expansive over the ages through contact with other instruments, evolving uniquely in its own way.  Beyond the classical repertoire, it is my hope to capture this essence, to fully engage its traditional techniques, and its timbre characteristics in modern creations.  It is my ambition to create modern contemporary works that can fully reflect the beauty as well as dramatic tension of the Pipa music aesthetics. I seek to follow the footsteps of my mentor the great Mr. Lin Shi-Chen （deceased Pudong School of Pipa Master / The Pudong branch of teaching stands as part of China’s National Historical Intangible Culture Heritage）.  He always taught us, “Play the Pipa with life!!” and never to be bound by just semantics and technique. 

Jason Hayles | Recording Engineer

Jason Hayles is a Fremantle based musician and producer. Primarily a songwriter Jason also is highly skilled in recording bands and composers for CD and other multimedia purposes. Jason has a custom designed recording studio where he is constantly perfecting the sonic possibilities of his profession. Jason has worked with many musicians over the years and produced many releases in Australia and worldwide. Formally trained in fine arts at the Victorian collage of the arts in Melbourne, he believes recording music is more than just a technological issue. One must have the ears and eyes of an artist in order to bring the best out of any performer.

Sanshi (Yoshitaka Saegusa) | Didgeridoo

Sanshi is a Japanese contemporary didgeridoo player living in Fremantle, Western Australia. His passion took him to Arnhem land – the home of didgeridoo, where he met the didgeridoo master Djalu Gurruwiwi. Sanshi was adopted into Djalu’s family and given an aboriginal name “Malarra” (meaning Manta Ray). Sanshi is one of the best contemporary didgeridoo player that work with different musicians and artists, from modern electro music to classical music, world instruments, dancers, live painting artists and live poetry readings. His didgeridoo performance techniques, variety of percussive rhythms and diverse range of sounds are ground breaking.

Arunachala Satgunasingam | Percussion

Born and bred in Kuala Lumpur, Malaysia, Arunachala grew up immersed in the sights and sounds of South Indian culture soaking up the rhythms and street beats at festivals and cultural events during his childhood. His real passion for percussion evolved after moving to Australia at the age of 15 and there spending time with his uncle who was a professional drummer and proved to be of great influence and inspiration in his learning. Arun is a graduate of the Conservatorium of Music in Western Australia in the study of contemporary percussion. And is now a prominent studio and live session percussionist in Perth.

Alex Dew | Guitar

In 2012, Alex was nominated for Best Guitarist at the West Australian Music Industry awards. He was also a member of the Jack Doepel Quartet, awarded Best Jazz Group at the 2011 and 2012 WAMI’s. Alex has also performed at festivals such as Summerdayze, Southbound and Parklife as a member of pop band ‘Bastian’s Happy Flight’. With Bastian’s he also performed on the 2011 WAM Song of the Year (Dance) as well as being nominated for Best Pop Group at the 2012 WAMI’s.

Chris Cobilis | Guitar/ Vocal

Chris Cobilis is a contemporary music player and composer living and working in Perth, Australia. He works across several disciplines, and has contributed original music to film, dance, theatre and advertising.

Gavin Shoesmith | Double Bass

Gavin has been playing Jazz double bass for many years and was interested to trying the sound of the double bass to the contemporary Australian roots music in scene. In recent years, he has developed a new interest in world music and cross-cultural engagement with musicians playing traditional instruments.

Afterword

This was a truly “candid” album.  It recorded all the perfections and imperfections of life!!  After listening to it, many friends had numerous questions such as:  “You traveled all the way to Australia and the person playing the Australian Didgeridoo ended up being Japanese?” Or “Why did you decide on having a double-base player who was not a professional musician?”  The answer was always the same: I simple believed some things were just meant to be.  What I saw in them was a passion that so many professional musicians lacked!  In truth, with the limited time, space, and budget we had at our disposal, to undertake the creation of an album was very challenging.  If it can be said that music stems from our lives and experiences, then the musicians I met along the way have my utmost respect.  Almost every one of them held daytime jobs.  They worked to provide for their families.   Often after a long day of work, they still managed to squeeze out the time for their love, their music.  Fatigue was never an issue.  Sanshi, the Didgeridoo player, was able to combine traditional with the modern, displaying uniqueness absent in many established players. Even more remarkable was the fact that he instinctively understood the sounds I was seeking since we came from similar Asian backgrounds.  It should be noted that the Didgeridoo was not an instrument that lent itself to written notes; so much of the communication was very abstract and almost spiritual.  Regarding Gavin’s Double base, perhaps some will question the precision of his notes, but his inhibition, his willingness to test the boundaries, and the tension expressed through his music was invaluable.  It would be simply impossible for me to recount all their stories, but I do wish to again offer my sincerest gratitude.  Thank you to all the musicians who took part in this journey.  It is you that has made this all possible~