The manga artist Okaya Izumi has a series called “Would You Like to Drink at My Place?” where she invites guests to her home for drinks and conversation. In the fourth installment, bassist Shinobu Kawai joins her.
Both Kawai and Okaya, who have gained diverse experiences in their respective fields of music and manga, have now naturally arrived at a way of “continuing happily.” This one-on-one drinking session might provide hope for the future to those who create works or work in cultural fields.
Don’t miss the recipe for “Grilled Eggplant Keema Curry” served on that day! (The recipe is at the end of the article.)
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Music is Fun—Start Now!
Kawai: Thank you for inviting me! I’m so glad to read this series of articles because I was so envious of how delicious Ocaya-san’s food looks.
Okaya: Welcome. You and Kawai have been playing around with various things, such as going to print silk screens together for making goods, learning South Indian cuisine together (*1), and so on. Was it at “Saru Fest” (*2) that we first met?
Kawai: At first, hmmm, where was it (laughs)? I wish I could remember more and more things.
1 The story is in the coterie magazine “Let’s make it! South Indian Set Meals” (Hobby Noodle Making Books).
2 “‘Saru Hage Rock Festival’ (commonly known as ‘Saru Fes’)… An all-night event similar to a cultural festival, featuring live performances, stage shows, and stalls run by creators from various fields such as music, theater, manga, and comedy. It is held every January at Shinjuku Loft. The event is organized by manga artist Kotobuki Shiriagari.
Born in Tokyo in 1971. At the age of 18, she formed the band “SUPER JUNKY MONKEY” with members she met. They debuted with Sony Records in 1994 and continued their activities between Japan and the United States until taking a hiatus in 1999. Since then, she has participated in various bands and units. Currently, she is mainly active with Otomo Yoshihide’s Special Big Band, Akira Sakata’s COCODA, Takeshi Shibuya, KERA & Broken Flowers, Adena Quartet (with Kazuhisa Uchihashi), Phnom Penh Model, and others. She loves curry.
Okaya: I have always had a complex and longing for music. In fact, I’m having a conversation with a cartoonist friend of mine right now about, “If you were to play a musical instrument, what would it be?” I was talking about it with a manga artist friend of mine.
Kawai: Oh! You should go ahead and do that.
Okaya: There are bands of manga artists and writers performing at “Saru Fes,” and maybe writers want to play in a band when they reach middle age. Music is good to be able to play with other people. Manga can’t be drawn with other people.
Kawai: I see. There is no such thing as creating with others?
Okaya: Not really. Also, I don’t usually work in the public eye, so I guess that makes me want to be out there. It makes you want to do something like a presentation.
Kawai: I think you should definitely do that. It’s fun just to make noise.
Okaya: In your improvisational live performances, do you practice in advance, or do you just play along and decide “this is how it’s going to be done” before you go on stage?
Kawai: On the day of the show, we just check the acoustics of the venue.
Okaya: So you have to try it out on the spot. So there are times when you can tell by watching that “it’s not going well”?
Kawai: Sometimes such occasions arise because I haven’t decided anything, but when I do things consciously, even silence becomes a sound, and I can’t say it well, but “uninterestingness becomes interesting, too. It’s hard to say, but “uninterestingness becomes interesting.” If you try to control the situation by trying to liven it up or make it look cool, it will be a disaster.
Okaya: Wow. I’ve never done anything too improvisational, so I’m afraid of …….
Kawai: It’s like talking in front of people without a script.
Okaya: I see. Oh, it might be a bit like haiku. In haiku, a few people get together and do something like “please make a haiku in the next two hours,” and then a “good haiku for the occasion” is created.
Kawai: Maybe it is similar. The place is part of the sound, or rather, everything is a trigger.
Okaya: That’s interesting.
Kawai: Okay, come on!
Okaya: I don’t think I’ll ever be able to do that with my performance.
Kawai: No, no, you should do it!
