For the painter Henri Matisse, the greatest exponent of Fauvism, a movement that has been defined as “the drunkenness of color,” in which bright tones are used without relation to reality, jazz is “rhythm and meaning.” The Frenchman was a great lover of this musical genre, to which he dedicated a work made with cut papers.
For the Peruvian musician of Japanese descent Ken Ychicawa Vélez, beyond aesthetic and stylistic issues, jazz is simply “honest music of the present”, an idea that has allowed him to approach it without prejudices and to dare to compose in the cradle of this genre: New York, where he arrived three years ago, after having lived in Los Angeles and Boston; in addition to a brief journey through Ecuador and Peru where he gave classes and workshops at universities.
“I am very fortunate to have been able to experience so much, so much music in so many places and with so many people. Each experience is different from the others, but there are certain things that are universal and connect us as people and with nature; one of them is music,” says Ken, who is dedicated to musical composition and who completed his master's degree in jazz at NYU last year.
musical awakening
For Ken, a name that perhaps in the United States may have artistic reminiscences but in Japan is what the second son is called, music has been present since his earliest childhood. Not only because of the musical tastes of his mother and sister, from what they heard on the radio and cassettes in the nineties, but because he sang in the school choir and because he entered the Conservatory at the age of six to learn to play the violin. .
But his greatest influence was his father, César Ychicawa, a legend of Peruvian music in the sixties, when he was the lead vocalist of the rock and roll band Los Doltons , which is remembered and honored to this day. “When he was a child, he would get together with his friends to jam rock songs. I remember going to the music room excited to see what was happening there. “My dad played the drums.”
At home there were instruments of all kinds, especially that Rogers drum kit with which he learned to play. “He always took me to concerts and until now we go, if the opportunity arises.” Percussion would become his life and drums are the instrument he plays with his jazz band Ken Ychicawa Quinteto, with which he performed this year in Lima, made up of Americans Chris Klaxton, on trumpet, and Yuma Uesaka, on the tenor sax, the Ecuadorian pianist Miguel Gallardo and the Peruvian Mario Cuba on the double bass.
Ear discovery
Over the years, Ken began his own musical exploration, discovering with his ears styles such as Jethro Tull, Yes, The Beatles and Jimi Hendrix. “I started studying harmony and composition, that led me to other types of music.” From music theory and ear training classes at the National Conservatory to progressive rock, a lot of noise has gone through to reach a musical understanding.
During that period there was also the piano, but what captivated him was the percussion. At the age of fifteen, he had his first drum kit and formed a punk band with his school friends. His first references were Ringo, Bill Bruford (from Yes and King Crimson), Ginger Baker (Cream) and Alex González (Maná). “Then, exploring new styles, I discovered Horacio “El Negro” Hernández, Dave Weck and Jojo Mayer.”
Today, his range is so wide that he cannot avoid naming names like Brian Blade, Marcus Gilmore, Jeff Ballard and Justin Brown; or others whom he has had the opportunity to meet, such as the Peruvian Alex Acuña, who taught him. “For months, I went to his house every Saturday and spent the morning there. Alex was always working on a project, album, or the soundtrack of a movie. “His versatility and energy are truly impressive.”
North American voyage
After school, Ken continued studying (“modern” functional harmony and drums) and preparing for the Conservatory when he had the opportunity to go to California, to study in the Music Department at Fullerton College, south of Los Angeles, in 2006. He says that what impressed him most was seeing the very high musical level he found. He then traveled to Boston to study at Berklee College of Music, where he was able to meet and collaborate with musicians from around the world.
“Being surrounded by such talented people was intimidating at first, but it's something that keeps you motivated and humble.” Arriving in New York seemed like the obligatory step to continue playing with musicians he admires and from whom he has learned a lot, such as the drummer Ari Hoenig, the French pianist Jean-Michel Pilc and the Argentine composer Guillermo Klein. “There is so much value in knowing your heroes and witnessing that what really makes them who they are is their hard work.”
everything is jazz
This year, for International Jazz Day (April 30), UNESCO Director General Irina Bokova noted that “jazz is not just beautiful music, it is a message to express human dignity.” This powerful message has been accompanied by a large number of events organized around the world and Ken Ychicawa's homeland has been no exception.
Ken and his orchestra were in Lima for the Jazz Festival in Lima 1 , which already has 27 editions and in which Ken participates regularly. In April, he was able to meet again with the capital's public and with several musician friends. “The Lima scene has been advancing with some good proposals and the consolidation of music schools. “I like that there is variety and many crossovers of styles, artists and collaborations.”
In the packed schedule of presentations that took place during the nine days of the event, Ken offered about four concerts, including free shows, at a school and outdoors. Although the reception from the public was positive, Ken says that there is a lack of support from more public and private institutions, and from the media to give dynamism to a scene in which he has been able to share with musicians such as Miguel Gallardo, Chris Klaxton, Yuma Uesaka, Mario Cuba and Fusa Miranda.
The discs keep spinning
After the Lima tour, Ken continues touring, especially for the release of his first album “ThruWorlds” 2 , which reflects what he has been working on in the last couple of years, exploring various forms of jazz and improvisation, in an attempt to synthesize their influences in a single language, between melodic, tribal and progressive. It is also a tribute to existential psychology and the work of Carl Jung. “Explore consciousness and learn about the structures of the psyche,” he adds.
His first album was preceded by participation in projects such as “Koyari”, by Luis Antonio Castro, his collaboration with the Polish band High Definition Quartet, and recordings with musicians such as John Scofield, Adam Rogers and Kenny Werner. “New York City invites a lot of research and collaboration with all types of artists. I think that, whether exploring with compositions or recording, the only real way to learn something is by doing it, trying, failing many times.”
There were thirteen first compositions that could be heard in Lima and that now circulate around the world thanks to iTunes, Spotify and Amazon Music. The enormous rock on the album cover seems to simulate the first stone of a creator with a great career but who does not feel confident. “You are never totally ready for the next step, but you have to take it. Lately I have been writing some pieces with lyrics that will surely shape an upcoming project, perhaps with winds.” Omen of new airs.
Grades:
1. “ 27 Jazz Festival in Lima presents musicians from 9 countries .” (Peruvian North American Cultural Institute)
2. https://www.kenychicawa.com/
© 2017 Javier García Wong-Kit
