So, what is an uguisu geisha? They were originally geisha but moved to the record industry as popular singers. According to prof. Osakabe in the first video, this became a thing around the late 1920s and early 1930s when music producers, on jaunts to the geisha quarters, felt that the geishas' training in hogaku (traditional Japanese music) like kiyomoto, kouta and nagauta would make them perfect for hogaku-inspired record songs, like shin-minyo (new minyo/folk songs). They were recognised for their fine, silk-like voice, which combined with their overall high-tone, made them sound like the uguisu (Japanese bush warbler), especially when they go, "Ha-----" in some of their signature tunes, aptly referred to as "Ha-Kouta" (Ha Songs). Yusuke Wajima (輪島裕介) in "Tsukurareta Nihon no Kokoro Shinwa" (2010) added that they keep their mouths open as little as possible so as to not show their teeth, harkening back to their former profession's demand for feminine refinement (as defined at the time). This combination apparently made them particularly attractive and even erotic to the audience. My impression of geisha singers more or less fell on these lines, but it was far from my taste - *ahemmysixfellas*. However, because of their prominence in enka-kayo history, I naturally became more curious about them. "Showa no Utagoe" with their selection gave me the opportunity to really listen to what these demure performers had to offer, something I was more reluctant to do when just reading about them in books.
From my understanding of "Showa no Utagoe" and the other books I've read, the uguisu geisha singer boom came with the appearance Katsutaro Kouta (小唄勝太郎) and Ichimaru (市丸). Together, they dominated the early 30s ryukoka scene with their "Ha-Kouta" and this period was even known as the "Katsu-Ichi Jidai" or "Ichi-Katsu Jidai" (Katsu-Ichi/Ichi-Katsu Era) depending on the situation. They were huge rivals and were particular over semantics like that on programs they were on. Today, I shall put the spotlight on the younger of the two, Ichimaru nee-san (姐さん) - apparently, nee-san is how one can address a geisha.
Ichimaru, hailing from Nagano prefecture was a geisha in Asakusa, and so she used to be called Asakusa Ichimaru. When she signed on to Victor Records in 1931, she simply went by Ichimaru. She had multiple hits under her obi like "Chakkiri Bushi" (ちゃっきり節) and "Tenryu Kudareba" (天龍下れば) during the prewar period, but what about after the war? Many prewar singers did face much uncertainties in such an unstable time. Well, that's where Ryoichi Hattori (服部良一), the man known for Japanese jazz and blues, came in. With jazz and Western music becoming allowed again under the Allied Occupation, Hattori was free again to do what he did best. Together with Shizuko-san, Boogie-Woogie fever hit, what with "Tokyo Boogie-Woogie" and all. But the bombastic Shizuko-san had been known for jazz, so it was only natural for her to shine in her element. But what if Ichimaru nee-san did her own boogie-woogie? Hattori did combine rokyoku and Edo kappore with jazz via Mr. (Tadaharu) Nakano (中野忠晴) and his Rhythm Boys and Sisters, so making something for an uguisu geisha should be a walk in the park. And thus, "Shamisen Boogie-Woogie" was born.
As the kids nowadays would say, this song goes hard. Together with a fresh boogie-woogie rhythm, Hattori was sure to add in a healthy dose of rattling shamisen to keep with the title. Giving "Shamisen Boogie-Woogie" a slight Bon dance flair and an even more celebratory atmosphere was the addition of some raucous percussions. Hearing this, you can't tell if you stepped into a Bon odori circle or a jazz dance hall, but the vibe is so chaotically fun you wouldn't mind it either way. It's a song that makes one forget that it came out not long after the war in 1949 when the country was still trying to piece itself together. But it's a song like this that I'm sure made it easier for the many struggling to get by during that period.
Anyway, Ichimaru nee-san was known for her demure charm. While Katsutaro was known as the "cute one" (kawaii kei), Ichimaru was the "pretty one" (kirei kei) and she was said to have exuded an aura of refined elegance and intelligence. Despite the rowdy score, she maintained this cool, elegant charm through her delicate vocals as she always had while handling her hogaku-inspired hits. Certainly no Ichimaru fan at the time would have imagined this same voice going, "Hello, baby!" IN ENGLISH. It would've shocked the tabi off the most traditional Japanese listener, for sure! I would like to personally thank Takao Saeki (佐伯孝夫) sensei for putting that in the lyrics... Actually, for all we know it could've been Hattori's idea, considering the smiley composer's penchant for silly phrases in his songs. Man, this song is great. Her other fusion tunes, some by Hattori too, are just as fun to listen to, and it's made me warm up to Ichimaru nee-san considerably.
As you would've seen in the news, Japan hasn't had the best start to the year. The enka world has also experienced some great losses. In a time like this, sometimes it's good to have a cheerful song like "Shamisen Boogie-Woogie" to bring some colour back into life.
Odorya yokunaru masu masu yokunaru (It'll get better if you dance, way, way better)
Nasu mo kabocha mo keiki mo yokunaru (The eggplant, the pumpkin, even the atmosphere will get better)
P.S. One of the more amusing little articles I've read in old, digitalized entertainment magazines regarding Ichimaru nee-san was a piece by Katsuhiko Haida (灰田勝彦). There he talked about some of his good friends in show business and sports, one of them being Ichimaru. In his anecdote, he wrote that he once asked her out to watch a baseball game (of course) and she agreed despite having zero knowledge of the sport (I can probably guess why). This became apparent when she actually asked Hai-Katsu, "Are we supposed to clap now?" when a team scored. Oh, Ichimaru nee-san. Don't worry, I would've done the same thing.
Hello, Noelle. Hope your year has gone off to a good start. Thanks very much your story on Ichimaru's "Shamisen Boogie-Woogie". It's great that there is a show specializing on the early Showa era stuff which is your area of expertise. By the way, are you watching the current NHK morning serial "Boogie-Woogie"?
ReplyDeleteI think compared to Kasagi who seemed to embrace the full jazz in terms of the orchestral arrangements, Ichimaru came up with one of the first examples of fusion music in Japan to great success. As for her performance in that final video above, I think the narrator stated her age at that time as 87! She was incredibly spry on stage and it was just a few years before she passed.
Hi, J-Canuck. It was good that I could spend the new year with my family back at home. Unfortunately, I caught a cold and am still on the mend. But that aside, hopefully you had a good Christmas and a better start to the year.
DeleteI tune in to fragments of NHK's "Boogie-Woogie" via their weekly wrap-ups on Twitter since I don't subscribe to NHK in Japan. Ironically, I was able to watch it proper when I was in Singapore. Still, it feels like one of the better asa-dora I've watched so far and, as a fan of music from the early-mid Showa era, what I most appreciate is the fact that the works from a composer I like and other singers from the same period finally get mainstream attention again. Honestly, the modern renditions of the songs feel odd, but I feel that the fact they're even being featured at all is a happy thing. There's this Showa era-inspired izakaya called "Hanbey" (maybe you've been there/heard of it) and they did a collaboration with "Boogie-Woogie": Order one of the collab sets and get a sticker with the caricatures of Hattori, Shizuko-san and Noriko Awaya. I had never thought the day where I could so easily obtain goods from artists of that era (comparatively) would come, so naturally I went twice and got 2. I don't remember this much fan-fare during the asa-dora featuring composer Yuji Koseki a few years back, but it could be that I wasn't that into that era's music yet.
As for Ichimaru's performance in the last video, I think it could've been a clip from what looked to be "Natsukashi no Utagoe" from the early 70s when she was in her 60s. And I think this clip was being shown on a later day music program (probably from the 1990s) when Ichimaru was, by then, 87 and probably watching it on TV at home. Or at least that's what I think I got from the narrator and the clip's setting. But that aside, that she could be dancing so flawlessly way past middle-aged is quite something! Maybe I should set Ichimaru nee-san as my goal for ageing. :)
Hello, Noelle. I'm sorry about the cold but I'm glad that you are recovering. My family also caught a brief cold last month, but thankfully it only lasted a few days.
DeleteMy parents always watch the asa-dora so they've caught the Koseki-based "Yell" and currently the Kasagi-based "Boogie Woogie". I don't usually watch them but my impression is that the latter is getting even more love. I have to admit that the first episode with the main character giving that barnburner performance must have left quite an impression.
To be honest, I've never heard of Hanbey but it sounds like a nice place. It's good to hear that there have been establishments in Tokyo that cater to the kayo kyoku set.
Yes, I guess I must have made a mistake in listening to that narration. That footage looked quite a bit older, come to think of it. Regardless, Ichimaru was really rocking that performance.