Customer Reviews

The Best of Kodo

5 star:		(11)
4 star:		(0)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Two words to describe why you want to buy this album: Zoku & Monochrome. Two of the finest instrumental songs, IMHO, ever put to CD.

First, let me *try* to explain Monochrome. I've seen this song performed live on three different occasions by Kodo - basicaly, it starts out with 7 players each on a single small drum, all very softly (literally barely audible) playing the same rythm pattern. From time to time, one of the drummers will start a new pattern (that always fits in perfectly with the original, and is often barely noticable at first), and either return to the original pattern or continue. In this way, the seven drummers as a whole smoothly morph back and forth between three or four basic patterns. Meanwhile, there are a couple of points in the song where the group smoothly transitions in about 20 seconds from being barely audible to filling the room with enough sound that your ears hurt, and back, all on seven drums that each look to be no bigger than a frying pan. About two thirds through the song, an occasional gong crash can be heard, the prelude to the song's finaly when the seven original drummers are joined by a very large base drum (twice when I saw Kodo, this was their largest drum - the third time, it was a smaller but just as impressive drum) banging out very large beats as the original seven drums and the bass drum morph back into the original rythm played by the seven drummers at the begin of the song. This song is pure aural candy - the sublety of the rythms and the transitions between them is really indescribable if you haven't heard it.

Zoku is more difficult to describe - there are a lot of large bass drums, which cary the main rythm of the song, as a single drummer playing what I would describe as the taiko equivelant of Tom Tom's carry's the song's melody. As with Monochrome, the group transitions very smoothly from rythm to rythm, revisiting them as the song progresses. About half way through the song, the drums stop and the drummers begin chanting out the song's rythm, returning to their drums in a thunderous crescendo. The song also concludes in a massive rising beat, capped off perfectly by the drummers ending completely synchronised on the final note.

Ah, my favorite CD. My copy is so worn, I might have to buy a new one soon... Let me just talk about the tracks, otherwise I'll just start praising how good the CD is and never get to the good stuff. And good stuff this is, ladies and gentlemen. First we have "Lion". This is my favorite track on the CD. It's driving. It's got raw energy. It's rapid and intricate and engaging. There's a bit of vocal shouts (kiai) and a short section of kiai in place of Taiko (done again on track #4, Zoku) which actually add a lively spice. Great, great stuff. Track #2 is "Irodori", a festive, winding piece that introduces more and more elements until the final note. Soloists trade off back-and-forth, the large drum (Odaiko) is used, and the flute melodies (two flautists in perfect harmony) flow with complementary grace. Track #3 is "Yumi-Ga-Hama", based on a traditional piece. The beginning and end are similar, and not quite as exciting as the previous two tracks. It wasn't until I started really enjoying Taiko that I realized that the beginning and end of this song really set up the middle section nicely. That middle section is almost playful, steady, and strong. Track #4, "Zoku", is almost the most famous Kodo piece (aside from "Odaiko" and "Yatai-Bayashi".) I've seen and/or heard (so far) 7 different versions of Zoku, each one unique, each one fantastic. It's hard to describe without going on and on, however. I can say that on this CD, it's a steady song, not as fast as they play it now, but extremely strong nonetheless. I'm not sure how they recorded it, but it booms throughout the entire track, and the ending is no exception. Track #5 is "Kazauta", a lighter piece. I would compare it to "Irodori" in that there is a lively, weaving flute melody with playful Taiko patterns, but not as "out-there" in intensity. That doesn't mean it's not as good, it's just on a different level and still comes out as a very good piece. Track #6 is "Monochrome". This song is arguably the most technical piece I've ever heard. It's weird unless you can see it played, but the 7 performers draw out a range of sounds, feels, and moods from an intricate pattern of rhythms that I can't even begin to describe. Be warned, though - it's not a toe-tapper, it's an experience. Track #7, "Yu-Karak II", is also a favorite of mine. It sounds like one huge improv session, with solos following solos. There are some fantastic patterns in here, and even though it has complicated patterns throughout, the basic downbeat is easy enough to follow. Track #8, "Yatai-Bayashi", is a traditional song played by a few Taiko groups. This is usually played after the Odaiko (large drum) solo, and both technical as well as physically demanding. Players (usually 3) play slanted drums while sitting up on the floor with the drums in front. However, the drum is between their legs and all they have to brace themselves is the grip of their feet on either side of the drum near the base. It's a song that needs to be seen, but as far as listening to it, it's not done better than here. Overall? The best buy if you don't have the other CDs these tracks came from. If you're curious to Taiko or Kodo, a real winner. If you want to test your bass out, it's good for that, too...

Kodo is simply the best at what they do. That's to say, Taiko with the emphasis on the music (especially drumming) and less on the festival aspect. It's true that the CD has a tremendous dynamic range, and that if you don't enjoy loud parts you'll be playing with the volume. This would be true if you bought a copy of Beethoven's Ninth, as well. Not all music is supposed to be the same volume all the time. In fact on this CD a number of tracks depend on them changing the volume of the drumbs by huge amounts.

I've also heard this CD with and without a subwoofer and although the music is interesting either way, you won't get the full effect if you can't feel the music. I've seen them in person, however, and I can verify that parts are very quiet, and parts will knock your socks off!

Kodo is an amazing group. While all songs on the album are incredible, the track that stands out the most is Monochrome. Monochrome is performed by 7 drummers at the front of the stage, all of whom are playing small taikos, which are a lot like snare drums. The drummers play 16th note patterns for 14 minutes, which is unbelievably taxing on the arms and wrists. If you have ever sat in bed and listened to rain falling on your roof, then you will like Monochrome. The song starts out like a light drizzle falling, and gradually rises and falls like a storm passing through the sky. Other taiko instruments create thunder, and make Monocrome a beutiful and moving piece. I would definitely recomend getting this album.

I've seen Kodo live twice, and this album does a fairly good job of capturing their essence. But, you'll need a good stereo to truly appreciate it, as it takes a lot to handle the wide ranging dynamics of tracks like Monochrome (which, IMHO, is brilliant).

The other review is correct about the dynamic range, but the actual problems go beyond that. The transfer is not smooth sounding. I think the recording perspective is often too distant and there is very little low frequency extension, and both of these factors make me reluctant to turn the volume up. Unfortunately, unless you want to gain ride, you must do this in order to hear the quiet parts. It is as though the recording engineer was just learning, or doesn't know any better. And let's not get into typical mastering and production problems. * I see the New York and New Jersey Taiko groups live once in awhile, and that's the way to do this genre, I think, even to a greater extent than with other kinds of music. Of course, Kodo's music and performance is far more advanced than Soh Daiko's...maybe Kodo's other recordings are better.

Kodo has the best recordings and some of the best talent for Japanese style festival drumming. Though many folks think of drums as tempo and background to more "difficult" instruments, these drums require precision, strength and skill that is both choreography and music. I have gone to several public performances of these drums, and for my money, this is the recording that comes closest to live (with the added benefit of no sunburn and no audience noise!)

This disc does not give the range of music that is KODO. The disc will give the normal listener a taste of what they can do, but to the fan a compilation of some of there best work. I advise everyone to get it.

I'm not a musicologist, but like someone who visits an art museum, I know what I like. I was fascinated by the percussionists on the Mitsubishi commercials, and I called Mitsubishi to find out who they are. The company got so many phone calls, the switchboard people had the info on hand.

There's something about percussion that is both primitive and soulful. Sometimes, nothing else will satisfy. I recommend this CD, which is both primitive and modern, making the old sound new and the new sound like it is infused with history.

I discovered these guys in strange way. They play a song together with Sepultura in Sepultura's latest record. As it was the best track, I decided to check them out. This "Best of Kodo" is sensational. It carries you to the time of the samurai with their traditional taiko drums. In a world with a global culture, this is something great - we're able to enjoy such great music from Japan and share some of their incredible heritage. It's a pity that I can't give them 6 stars!