Pioneering Japanese composer, producer, and pianist Ryuichi Sakamoto, who was among the first to bring electronic production into popular music consciousness, died March 28 at the age of 71.
Sakamoto was a frequent guest and performer on KCRW over the decades, where the halls display a photo of him with eyes closed, deeply engrossed at a piano. His first of many visits to the station was on January 25, 1988 at age 34 while in LA for the awards circuit surrounding Bernardo Bertolucci’s “The Last Emperor,” for which he composed the soundtrack.
Sakamoto joined then-Morning Becomes Eclectic host and KCRW Music Director Tom Schnabel for an “oblique, Zen-like” conversation touching on fame, TV commercials, technology, and artistic influences (and dream collaborations) past and present.
While original audio of the interview remains confined to analog somewhere in the archives, the conversation was immortalized in Schnabel’s 1988 book, “Stolen Moments: Conversations with Contemporary Musicians.” Schnabel has kindly allowed KCRW to reproduce the chapter featuring his conversation with Sakamoto in its entirety below.
More:
RIP Ryuichi Sakamoto: KCRW live performances and interviews
‘A musical sponge’: Tom Schnabel remembers composer Ryuichi Sakamoto
Ryuichi Sakamoto performs in KCRW’s studios in 2000. The portrait still hangs in KCRW’s hallways today. Photo by Larry Hirshowitz.
If Japan is ascendant in global economics, its music scene is equally alive, diverse, and full of energy. Perhaps no contemporary Japanese musician has gone further toward establishing an international identity than Ryuichi Sakamoto. A pop idol in Japan who can’t go out in the Tokyo streets without being mobbed, Sakamoto is best known elsewhere as an actor and composer. In Los Angeles to pick up a Golden Globe Award for his soundtrack for “The Last Emperor,” composed with David Byrne (it would also win the Oscar), he visited with me in the studio. The conversation was at times oblique, Zen-like.
Tom Schnabel: Congratulations for winning the Golden Globe Award for the soundtrack to “The Last Emperor.”
Ryuichi Sakamoto: Thank you very much.
You were born in Tokyo?
In 1952.
And what got you interested in music?
I don’t know. My uncle is a very maniac music fan. But he didn’t get me interested. My first memory of music is Mendelssohn’s Violin Concert Number One. I remember I started to play piano when I was three or four, and continued.
Was there music on the radio at home?
Oh, yes.
I understand you weren’t ever interested in becoming a professional musician.
Yes.
You’ve done a pretty good job of it.
It’s kind of an accident. [Laughs]
A portrait of 34-year-old Ryuichi Sakamoto at KCRW’s basement studios, featured in Tom Schnabel’s book “Stolen Moments.” Photo by Mark Homes.
Then I was wondering what inspired you to become one.
Old classics, old pop, old rock, old jazz, movies, art. The Beatles, Rolling Stones, Johann Sebastian Bach, Debussy, Beethoven, Coltrane, Warhol, Godard.
So those are people who made you become a musician?
Not a professional musician, but they made me interested in music.
Did you study classical piano? The conservatory, the whole thing?
Yeah. From Bach to Debussy, Ravel.
Did Debussy influence you musically?
Very much, yes. My first contact with Debussy was his string quartet when I was 14, I think. At the same time I heard Ravel’s “String Quartet.” I liked both, but Debussy’s better.
It’s got that great middle moment.
Yes. Before that I loved Beethoven. Of course I was shocked by Debussy, the harmony and melody, the delicacy. I didn’t know about French classical music before that.
You first achieved fame with Yellow Magic Orchestra, the first Japanese pop group to become popular in America. When and how did Yellow Magic Orchestra come together?
We had tried to make Japanese techno-pop, which was invented by Kraftwerk, a German group.
What fascinates you the most about technology?
To me, technology is just a tool for making music. For example, I can make music with acoustic piano. That’s my music. That means I don’t need new technology for making my music. But it’s fun to play with technology.
What is the most interesting thing to you about making records? Is it the putting together of different sounds?
[Sigh] That’s what I want to know. I don’t know exactly what it is.
You starred in “The Last Emperor” and “Merry Christmas Mr. Lawrence,” and wrote the soundtracks as well. I can’t think of anybody else who has done that.
Mmmh. Yes.
What does acting give you that music doesn’t, both positively and negatively?
Basically I hate acting, and I don’t think I’m a good actor. I hate to act a fanatic Japanese. But I love to act a good, naive modern guy. [Laughs] On the set I have to wait a long time. I found acting is waiting, and it’s boring. But I love to do work with the movie people and the productions, because usually I’m alone in the studio making music. So it’s fun to work with a lot of people who come from different areas. For instance, in “The Last Emperor” they came from France, Italy, China, Japan, England, America. So that’s really fun.
Has it changed your life, “The Last Emperor?”
Before the film I traveled outside of Japan a lot, so, it’s not that different. But I touched the feeling of internationality with this film.
What struck you most about working with Bernardo Bertolucci on “The Last Emperor” set?
I learned how artists should be. I thought Bernardo is like an artist in the 19th century — very egomaniacal, very schizophrenic. He was selfish, and then gentle. Very arrogant, emotional. That’s fascinating to me.
You do a lot of commercials for Nissan, Chanel, and so on. Companies come to you and ask you to wear their clothes and put on their sunglasses. Is it only for the big money, or do you enjoy the visibility it gives you?
It’s mainly for money. But I enjoy it. Japanese TV commercials are different from American ones. I hate to say it — commercials are commercials — but Japanese commercials are a bit more sophisticated.
You’re an idol in Japan. What is your daily life like? Is it crazy? Can you go outside to a restaurant in Tokyo without people following you down the street?
[Laughs] No, I can’t. I have to change my face to go out.
Do you enjoy being famous?
No.
What is the most beautiful music you ever heard?
That’s difficult. From Debussy’s Three Nocturnes I love the first part, “Nuages.” And the second movement of “La Mer.” I like The Last Emperor too.
Your albums range from classical to jazz to reggae and funk. What kinds of music are you most interested in now?
Now? All kinds except Hawaiian music, and country and western music. [Laughs]
Are there other arts that interest you as much as music?
Yeah. I am interested in David Salle, the painter. Robert Longo. And I like David Lynch films. I love his first film, “Eraserhead.” And another painter, Shinro Otake.
If you had to produce a dream record with famous artists — they can be either alive or dead — do you have any idea who you would choose?
Wow.
Crazy question, isn’t it?
Yes. Okay, I would like to use Jimi Hendrix for guitar, maybe Bill Laswell for bass, and maybe Sly Dunbar [on drums], and maybe the horn section from Sly Stone. I could have artists like Coltrane for solo parts. And strings from The Berlin Philharmonic.
Why not? The Berlin strings would be great with Jimi Hendrix.
It would cost money. [Laughs]
Credits
Produced by Ariana Morgenstern
Digital Producer: Andrea Domanick