Mitsune’s second album, Hazama (meaning “The Gap”) continues their stylistic approach of presenting fresh multi-part arrangements of classic shamisen repertoire, Japanese folk songs and their own original compositions. With a vision to fuse Japanese folk music with global influences, the trio of shamisen players (Shiomi Kawaguchi, Tina Kopp, Youka Snell) first formed as Mitsune in 2018, perhaps a reference to the three players each playing the three-stringed fretless instruments. Since then, they’ve expanded to become a quintet with Noriko Okamoto (double bass) and Petros Tzekos (percussion). Hazama provides for a unique world music sonic experience as the result of guest musicians coloring some of the tracks with shinoube, ney, banjo, bass koto, bass guitar, qanun or cello. Three shamisens alone provide plenty of pluck. Wind instruments and low-end bass strings complement the arrangements of “Maru,” “Berlin Lullaby,” “Kaigara Bushi” or “Wind of Sand” while I thought the banjo and qanun perhaps added a little too much timbre or frenzy at times.

As a young "navy brat" growing up in Japan, I often discovered such cross-cultural delicacies as gravy rice, curry rice or squid pizza. Mitsune’s Hazama transports us to that “in between” land where joyful, evocative experiences are inspired by various cultures.  Opening with the title track, Mitsune sets the stage for an appetizing epicurean concoction that begins with Japanese transverse flute (shinobue) followed by frenetic string plucking and closing with eerie three-part vocals. The musicians no doubt incorporate some musical sensibilities of Noh and Kabuki theatre, Shinto religion, matsuri (festivals) and perhaps even the rowdy, colorful and entertaining Chindonya street musicians. “Fusako no Hula” stands out with its simple melody and Enka vocalizing that seems to convey a melancholy or nostalgic longing for the Hawaiian Islands before it segues into a rollicking exclamation.  Mitsune shows willingness to incorporate Eastern and Western sensibilities into their instrumental, folk and original music. These five innovators incorporate elements of various genres to explore and revitalize this traditional art form of shamisen. Their musical mindset and vision are clearly to respect anyone who dares to push boundaries and evolve.

The fretless instrument only has three strings strung over its parchment-covered soundbox, but Kawaguchi, Kopp and Snell are masters at fitting it into a world music context for greater recognition, acceptance and understanding.  Purely Japanese, the shamisen first appeared in the 16th century. Now played with a large plectrum, the earliest shamisen could have been bowed. It's the quintessential all-purpose Japanese instrument, indispensable to theater, parties, geisha, folk and classical music. They prove the instrument has great versatility, and it also layers well with Middle Eastern sounds of qanun (an Arabic string instrument related to the psaltery, dulcimer and zither) and ney (an end-blown flute) heard in their two closing tracks, “Wind of Sand” and “Hotaru” (Fireflies).  The shamisen's voices range from robust percussive propulsion ("Maru") to lyrically sweet vocalizing with a feminine touch ("Tosa Tango").  Western ears will be most familiar with “Sakura” (Cherry Blossoms), but Mitsune certainly reinvents the classic with a new, rollicking perspective.

Favorite tracks were those where melodies were simple, direct, and performed with solid rhythmic thrust. Hazama has a distinctive native sound and Japanese character, and the band's Zen-like wisdom emphasizes that there is much joy and fun to be found in each fleeting melodic moment. Mitsune fully realizes that the many emotions of shamisen, bass and percussion, along with other sonic colorings, create intense bittersweet tension, sad but pleasurable. The guitar is the only western instrument with such great versatility. Increasingly, the guitar’s international voice has become deracinated, but the shamisen continues to speak with a distinctive native sound that also has potential to thrill enthusiastic international audiences. (Joe Ross, Roots Music Report)