Five Favourites
Shunzo Ohno : New York-based Japanese jazz trumpet master

Who is your favourite jazz musician of all time? 
Miles Davis, Gil Evans, Herbie Hancock and Wayne Shorter
What is your favourite recent album? 
River: The Joni Letter by Herbie Hancock and my latest album SAUKARA.
What are your favourite films? 
Rocky and The Bucket List.
What is your favourite city? 
Hong Kong.
What is your favourite book of all time? 
Musashi by Eiji Yoshikawa and The Eternal City by British writer
Hall Cain
As part of the release tour of his latest recording SAUKURA, Shunzo Ohno will be playing at Fringe Club, Fringe Gallery from June 12-14. Joining him on stage are local jazz guitar hero Eugene Pao along with Ted Lo on piano, drummer Tamaya Honda and bassist Shinichi Sato from Tokyo. Shows start at 10:30pm and tickets cost $200 from HK Ticketing, 31 288 288.

Royal Voices
From Bach to the Beatles, the King’s Singers always have a song on their lips

Many dream of going to Cambridge and becoming a successful doctor, lawyer or scholar. But for the King’s Singers, music is the mission. Robin Tyson, one of the group’s two counter-tenors, talks to us about the King’s Singers’ upcoming SAR concert.

This year marks the 40th year of the King’s Singers, a sextet named not for once being court entertainers, but for King’s College, Cambridge, where the Singers formed in 1968. Four decades on, they are world renowned for their fine musicianship and a wide repertoire which ranges from Medieval to Renaissance pieces, pop and jazz to new work commissioned from contemporary composers. For their upcoming show, audiences can expect anything from Celtic classics to jazz standards and Broadway big sound. What makes me curious is why all their songs are listed in the programme except for those in the Brit pop session. Are we to imagine a lot of surprises in this last part of the show? Not necessarily. “That’s because we don’t decide until the interval, when we have had a chance to see the audience,” Tyson explains. “But I’m sure there will be some Beatles for example!”

The venue is also a consideration in how and what the Singers perform. “We think about the space where we will sing, and make sure the music fits the building,” the counter-tenor says. “So, in a church we do tend to sing a lot more religious music, and if we sing outside on microphones we sing some of our repertoire which is good for that.” Perfect harmony is not only a feature of the King’s Singers’ music making but also a description of their co-operation. In 40 years, there have only been 19 members in total and the average tenure in the group for a singer is 12 years. Perhaps that is partly a result of their common training from a very young age in the English choral traditions. “We are very solid in areas like sight-reading and basic note work,” says Tyson. “What we work on from there is performance and communication with the audience.”

The group performs about 100 concerts in a season and, although they must all obviously love singing, times must come when singers wish they weren’t again mounting the boards for yet another concert. Tyson, for whom Renaissance music and English Victorian songs are favourites, disagrees and cites the support the singers give each other. “I think that although from time to time the individuals of The King’s Singers might be having what you call a ‘bad day’ – something like a cold, or just being tired from travelling – the special thing about the group is that the others will still make the show a good one.”
The King’s Singers are counter-tenors Robin Tyson and David Hurley; tenor Paul Phoenix, baritone Philip Lawson and Christopher Gabbitas and bass Stephen Connolly. The group will be performing on June 15 at HK City Hall Concert Hall. The show will begin at 8pm and tickets are $380, $300, $200 and $120 from www.urbtix.hk, 2734 9009.

The Legend Lives On
After a series of talks and tribute concerts, the commemoration of the 15th anniversary of the death of our local rock legend continues with the Memorial Exhibition of Wong Ka Kui at Videotage, Cattle Depot Artists Village (63 Ma Tau Kok Road, To Kwa Wan). The exhibition will put on display the musician’s belongings such as manuscripts, guitars, clothing and accessories etc. Ka Kui’s home in So Uk Estate where he grew up and his rehearsal room in the famous 2nd Floor Back Suite are recreated, so visitors can relive moments in the musician’s life. A video especially made for the event will also be shown with Ka Kui’s brother, Wong Ka Keung, sharing stories about the legendary rock star. The free exhibition will run until June 30. Opening hours are from noon to 8pm on weekdays and from 11am to 9pm on weekends and public holidays.

Chemical Explosion
Beijing’s hardcore/nu metal sextet Liquid Oxygen Can have a unique formula for their music: 25% heavy metal, 25% neo metal, 25% percussion, 10% hip-hop, 10% folk, and 5% other elements. That may sound mechanical, but with songs like Dream Becomes Blood and All Is Volatility, we know the band is a sensation more than just a chemical reaction. They talk to bc about what drives their music and their anger.
Percussion plays an important part in Liquid Oxygen Can’s music. Why?
Percussion is important in our music, because we like to use a lot of Chinese big drums to represent a special part of Chinese music. Also we use dozens of percussion instruments like oil tanks and beer barrels in our work, because our music is quite heavy as well.
What are the band’s influences?
We have listened to so many great bands throughout the years and they influenced us a lot. Also we listen to a lot of good electronic, world and reggae music. Right now we are into Fear Factory, Chimaira, Lamb of God, P.O.D., Pantera, Soulfly, Korn and Dagoba as well as some new music from Europe and Asia. There are just too many…
You have played on the same stage as Cui Jian, the godfather of Chinese rock music. How did that make you feel?
We are so happy to have played with him. We respect him a lot, because he is the pioneer of Chinese rock music. We all have to learn his rock spirit!
The band’s bio says Liquid Oxygen Can expresses hopelessness and anger. So what has made you angry, or what issues concern the band the most right now?
Liquid Oxygen Can represents anger and passion. We all need oxygen, and if you put liquid oxygen into a can and heat it, the power it can create is indescribable – just like our music. We are not being cynical and standing against the world. We do it for peace, equality and justice. We want to do it for love… that is our goal.
Catch Liquid Oxygen Can live in Hong Kong with supporting acts Gong Wu, Eve of Sin, Maniac and Evocation on June 21 at Warehouse. The show starts at 7pm. Advance tickets from Zoo Records and White Noise Records cost $100, or walk in on the day for $120.

Rock for a Cause
Every June 20 is celebrated worldwide as World Refugee Day. You may ask why people ‘celebrate’ others’ misfortune, but it is not the misfortune of people who have fled persecution in their home countries we applaud, it is their bravery. This year’s Rocking for Refugees will feature a variety of musicians, dancers and artists, with asylum seekers and refugees performing their own music for the first time in Hong Kong. Organizer Danielle Spencer tells us how we and the arts can benefit those in need.
How do music and the arts help asylum seekers and refugees?
As an artist in theatre, music and video, I know how much it can help both as a fundraiser and as a therapeutic process people can go through. The people who come here have often faced persecution and torture – we provide a safe place for them to become creative. Externally, musicians and artists tend to be more willing to help with things like this and so with their help we can raised awareness in Hong Kong – asylum seekers and refugees are here and are people too.
A group of asylum seekers will be performing tracks from their original album. We’ve heard it’s mainly hip-hop/rap music. Can you tell us more?
We are still waiting for clearance from the UNHCR (United Nations High Commissioner for Refugees) at this time. We don’t want to put the refugees and asylum seekers in any danger and guidelines state that for their own safety they are not allowed to perform. If they do perform we will have some hip-hop dancers perform with them – so their track will be played either way – and their album will be launched. A group of HKIS students set this project up by coming into the centre and asking if people were interested – they fundraised to get the amount necessary to record and now we have a really great album!
What can ordinary people like us do to help asylum seekers and refugees in HK?
Donate time, energy and funds. Also be more caring. Asylum seekers and refugees have been through a lot before they get here. When they do get here, they are often faced with further racism and persecution.
Acoustic artists Ocean and Joves, bands F.B.I., Don’t Shoot the Pianist, David Bowie Knives, Dr Eggs and hip-hop act Ghost Soljah will play on the night. Rocking for Refugees will take place on June 21 at The Cavern. The event starts at 7pm and entry costs $100. Proceeds goes to Chung King Mansions Service Centre for helping refugees and asylum seekers in Hong Kong. For enquiries about the show or matters related to the issue, call 2723 6626 or contact Danielle.spencer@christian-action.org.hk

Underground, Double
The Underground presents Asian Rock on June 20 with two J-Rock bands from Japan and China respectively. Tokyo’s Trash Box has released three albums already and listeners are overwhelmed by their happy sound and positive lyrics. But more interesting is Shanghai four-piece Wildcat, whose members are from Japan, Korea and China – that is what we call Asian Rock! Also playing on the night are local rockers Sea Monsters, Shepherds the Weak and The Ember. For Underground 61 on June 14, the line-up is Innisfallen, Tai Tai Alibi, Harry Hula, Ignite The Hope and Spodac. Both gigs are played at Club Cixi and will start at 8pm. Tickets at $100 include a bottle of beer.

Shanghai J-Rock band Wildcat talks of their Asian rock sound.

Members of the band come from China, Korea and Japan. How did this happen?

I think it was destiny. Even though we started to know each other from very ordinary live, we want call the thing that brought us together ‘fate’, not coincidence. Last fall, four of us were all in Shanghai. We are from different countries, and we all have different backgrounds. But we were at the same place at the same time. That’s why I want to call it destiny. From the beginning, difference of our backgrounds didn’t matter for all of us at all, and we just gathered for one thing that we all mattered - music. Compare with other bands, it’s almost the same that how we met each other and what we’d been through at the beginning. Many people want to know that how we met, but we only care how we are going to be in the future.

Any language barrier?

Not at all. I think that’s because we speak the same language - music. We tried to understand each other with melodies and rhythms. While we’ve understood each other in music, we found ourselves communicating without any problems in normal life either naturally. Now, we make jokes in each other’s languages which aren’t even the standard language.           

Do you think the different background of each member contribute to the band’s music?

Absolutely. Through a lot of different thoughts, we always get something new. That is the power and source of our music. For example, let’s suppose that there are two boxes. One of them is red and the other is blue. I only know what’s in the red box, but not in the blue one. But it’s definitely not a problem for me. Because some of us know what’s in the blue box for sure. Music is all about creating something new. I think the gathering of us whom has their own different backgrounds is already a creation of something new.

The band defines their genre as ‘J-Pop’. Why J-Pop?

At the beginning it was J-Punk, as punk song which is in Japanese language. But we had a doubt of writhing only punk songs. So through the discussion, we made our decision to make and play songs which make us feel good. And then, we started making songs without thinking of genres. There were of course rock, and also some ballad and blues songs. But at that time one of our fan blamed us and said “You guys are not a real rock band”. He might not like our change. So we said on the stage, “We don’t care that we are a rock band or a pop band. We just play the music that we want, and if that music is accepted as good music, even not as a particular genre, we are totally satisfied." After that we decided to call our music as J-Pop. And as I said before, we refuse to put ourselves in certain form, so we don’t have many bands or musicians that we are influenced by.

Is J-Pop popular in Shanghai?

They are pretty interested in Japanese music. I saw a lot of bands playing Japanese songs. But I think there are no J-Pop bands that are playing with their own songs. We want to play music that is capable of being loved by ourselves first more than anything else. I think we are still greedy. So we are more focused on making people love our music as it is, not making our songs for their taste. And I hope that there are more J-pop bands, and J-Pop this genre becomes more and more popular not only in Shanghai but also in whole china.

As a band from Shanghai playing J-Pop, what is the difference of Wildcat with local Japanese J-Pop band?

The local Japanese J-Pop bands are incredible. We love them and admire them. But our members are all from different countries. I think that variety we have is a huge advantage and we are going to use it well. Even though we call our music as J-Pop, but we want to express whole Asia include China and Korea, not just Japan. I assume that we might not understand deeper about J-Pop than local Japanese J-Pop Bands, but I can guarantee that we can express new J-Pop in many different and fresh ways.

The coming gig is titled as ‘Asian Rock’ – how would you define the term ‘Asian Rock’?

‘Asian Rock’ is literally a rock for Asia. Rock music in West is magnificent. They made great development in many ways like in term if music, content, live show culture. But I don’t think the rock music in Asia is way behind them. But the thing is, rock bands in west know the merits which Western rock music only have, and they know how to use them so well. I think, understanding and showing the charm that Asian rock only has, and the unique that only can be expressed by Asian sensibility is our assignment. So, ‘Asian Rock’ which is the title of this gig can be a great start to find out our own charm and unique.

Square Fight
Powered by Paul Wong, Let’s Fight is back for the third time and, though some have complained that the line-up is full of the usual suspects and are disappointed by the lack of new and exciting acts, we reckon it is still worth the fight – after all, we don’t get to see such big names playing on the same stage every week. The line-up for round three includes Yip Sai Wing, Josie Ho, Soler, 24 Herbs, Audiotraffic and Taiwan’s pop/rock princess Mavis Fan and 100% as well as singer-songwriter Shino. Catch them all on June 30 at HITEC Star Hall at 7pm. Tickets are $450, $290 and $220 from HK Ticketing, 31 288 288.

Mamma Mia
What is the ‘ABBA Spirit’? For most of us it is the cheerful, swinging sound of the palindromic band while for others, it probably means never having to put up with a ‘reunion’ tour and letting their best memories of the band rest in their hearts. For ABBA Arrival it is something quite different. They debuted in their first concert 12 years ago and since then have been touring the planet covering the world’s most successful pop group’s hits – such as Mamma Mia, Dancing Queen, Money Money Money, Waterloo – wherever they go. The tribute group brings Hong Kong their ABBA moments for the first time on June 14 at HKCEC Hall 3. The show starts at 8pm and tickets are $580 and $380 from HK Ticketing, 31 288 288.

Go Panic
“Oh, how it’s been so long/ We’re so sorry we’ve been gone/ We were busy writing songs for... you!” That’s how Las Vegas four-piece Panic! At The Disco open their latest album, Pretty. Odd. And we have to accept this sincere apology, do we? The band is on a world tour and on August 12 will land at the AsiaWorld Expo Hall 6. Tickets are all standing at $650 from HK Ticketing, 31 288 288.

Sing, Sing, Sing with Travis
Some complain they’ve come a bit late, but with all their hit tunes and Fran Healy’s cute Scottish accent, Travis is still worth every penny. The Brit Awards’ Best British Group will finally play in Hong Kong and perform songs from their latest album The Boy With No Name as well as classics like Why Does It Always Rain On Me, Sing and Turn. Mark your diary:- the show will be at AsiaWorld-Arena on July 31, tickets are $780 and $480 from HK Ticketing, 31 288 288.

Welsh Phonics
Kelly Jones of the thick eyebrows and Stereophonics fame says he is a different man after taking a break from the band’s up and downs since 2006. It shows in the band’s comeback album Pull The Pin, which Jones describes as “the best parts of the band over the last 10 years on one record”. The Welsh trio, eyebrows and all, will be staging a show in Hong Kong for the very first time on July 24 at HITEC Tickets are $580 and $380 from HK Ticketing, 31 288 288.

Pop bites :
Meanwhile don’t forget Alicia Keys’ As I Am Hong Kong 2008 concert on July 29. The one-night-only event at AsiaWorld-Arena will start at 8pm and tickets are $980, $680 and $380 from HK Ticketing, 31 288 288. Rumours say Avril Lavigne will be staging a concert in Venetian Macau, stay tuned for that.

On the local scene, those who missed guitar guru Eugene Pao at Backstage last time, needn’t do it again when he returns to the Livehouse with Ted Lo on keyboards, Sylvain Gagnon on bass and drummer Anthony Fernandes on June 21. The gig starts at 10:30pm and entry costs $200, including one standard drink. The indie underground sound continues at N Set Music with the J Rock Night. Performing bands are De Vono, Issimo, Misery, Paranoid and Reverie. The gig on June 14 starts at 8pm and tickets are $60 at the door. (Flat 310, 3/F, Century Centre, 44-46 Hung To Rd, Kwun Tong)