Shanirishana "Shanarism" (Lotus Records)

Tamao Kubota—Vocals
Yoshiyuki Hatakeyama—Bass
Yuichi Otsuka—Guitar
Masaaki Mizuguchi—Guitar
Hayata Yasukahira--Drums     

Fitting many syllables of Japanese words into the relatively compact space of English is no easy business. Singing standards in Japanese is a work of poetic complexity in and of itself. Add to that the phrasing and meaning, and the process becomes a thorny linguistic puzzle. Shanarishana, though, masters these challenges by creating genuinely beautiful music with lyrics that fit as if they were the originals. Their first release is spectacular, and, unlike most jazz, has a wonderfully Japanese feel to it.

The quintet puts a nice softness to their arrangements. This is an analog, acoustic group, with no heavy percussion or imposing bass. Their light, fleeting sound is delicate, intimate and very sexy. The accordion gives a chanson feel, while the acoustic guitars often have a Brazilian sway to them. Paradoxically, though, the feeling is deeply Japanese. And that's very cool. "Love For Sale," or rather,  "Ai wa, ikaga?" stands out for its mix of American drive and Japanese lyrics. The come-on of the sale feels as direct and honest in Japanese as in the original, only a little more shocking somehow.

"I'm Beginning to See the Light" in Japanese is just as sexy, with the rhythms slightly shifted under the words. Ellington would surely dig his tune sung in Japanese. I know exactly what he'd think about Kubota's sexy voice—he'd love it. On this tune, with just voice and electric hollow body guitar, Kubota's accomplished technique really stands out. The band finds a strong and natural balance that is unpretentious, uncopied and their own pure musical expression.

Kubota's voice is always at the center of the mix. As a vocalist, regardless of the language, she knows how to delicately and lovingly handle notes. Her voice is sultry at times, full of energy at other times, and reveals intimacy to it on other tunes. "What a Difference a Day Made" has an appeal that comes from the full range of acoustic togetherness. "Speak Low" fits Japanese the most easily, perhaps, with its long flowing melody line and room to phrase the words and feelings without rushing. After the first few lines of most songs, Kubota's gorgeous enunciation and deft phrasing makes you lose track of the language, anyway.

Even when the lines in Japanese don't quite fit, it's great to hear the challenge of it all. The offbeats, tensions and different emphasis in Japanese just make the standards all the more interesting. On "On the Street Where You Live," which becomes, "Anata ga sumu machikado," is just that little bit off that makes it intriguing, and reinforces all the energy and optimism and passion of the original.  Rather than derivative, it sounds marvelously fresh and new sung in Japanese.

Her originals, too, compare with the classics. "Indigo Blue" is stunningly gorgeous, the kind of song you press replay for over and over, bringing tears to your eyes each time. The band swings through passionate and beautiful chords, with lots of switches in phrasing, bass counterpoint and forward drive.

It's rare enough just to hear Japanese jazz lyrics, but when it's this good, it's something else altogether. Shanirishana know that great music is more than just translating words; it is about translating passions and energy. They create a sound that is purely their own. This is a group to watch for in the future, and to hear right now.

http://www2.ttcn.ne.jp/~tamaotekikakou/