Tatsuya Nakataki builds eclectic soundscape at Rachael's Cafe

Experimental musical artist Tatsuya Nakatani played to an intimate crowd of listeners yesterday evening at Rachael’s Café.  The Osaka-born, Pennsylvania-based percussionist has performed in more than 80 cities and seven countries and has released nearly 50 CD recordings in the past decade.   


Nakatani has developed his own instrumentation style, utilizing drums, gongs and metal objects, among other things, to create his signature sound. Though he acknowledges the wide range of influences on his style, ranging from rock to improvisation to Japanese folk music, Nakatani essentially sees his music as an expression of himself.


“People usually try to fit music in some kind of category, calling it jazz, classical, or rock,” Nakatani said.   “For example, if you want to play jazz, then you need to learn what it is and practice that way of playing.  But if your music is not in any particular genre, then it becomes about the person playing it.”  


Little of the music Nakatani studied in various music schools in the U.S. and Japan remains with him today.  His self-developed approach, he says, is the result of the influences around him, not of formalities which he has been taught.


“Influences are everywhere, anytime, surrounding us,” Nakatani said.  “I am a touring musician, usually traveling around the world, and this influences me the most in recent years.  Meeting people, playing music together, drinking, laughing, crying, thinking together— all of the things surrounding human beings are my influences.”  


Last night’s performance put Nakatani, who has played to crowds of thousands, on the stage at Rachael’s in front of nearly 50 people.  He began playing with his back to the room, instead facing two large gongs which he played by bowing and with a mallet. 

The result was an ambient build of reverberating sounds, creating an intense soundscape throughout the room.


“It dispels the myth that music has to be tonal and rhythmic,” said musician Creature, who opened the show in an improvised set with several other instrumentalists before the show.  “Unexpected sounds can happen at almost any time, and yet there is a cohesiveness that goes to this kind of music that’s not apparent on first encounter.  As opposed to playing prewritten songs, the music is created extemporaneously, and listening is the key to forming it.”  


Nakatani’s performance produced a range of sounds, moving from a soothing, gentle hum on the gongs to a range of loud and clamorous noises via other experimental percussion techniques.  Some listeners gathered around to watch him play his instruments, while others sat with their eyes closed, listening.   


“It was meditative, kind of like a prayer,” audience member Stephanie Kimball said. “It just sort of flows around in the room.  People respond naturally to music with strong beats or repetitive baselines, but despite the fact that this kind of music doesn’t revolve around a beat and still reaches people on a more visceral level is credit to the artist.”