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[0:00] Robert Bannon: Welcome to The Roundtable! I’m your host, Robert Bannon, and today we have a very special guest.

[0:30] Robert Bannon: Joining us is Dan Kuramoto, co-founder of the legendary band HIROSHIMA. For more than 50 years, HIROSHIMA has created a sound unlike anyone else, blending jazz, R&B, pop, soul, and traditional Japanese instrumentation.

[1:00] Robert Bannon: Dan, it’s such a pleasure to have you here today.

[1:30] Robert Bannon: I want to dive into your incredible journey and the unique sound that HIROSHIMA has developed over the years.

[2:00] Robert Bannon: Can you tell us about the early days of the band and how you came to create this one-of-a-kind musical legacy?

[2:30] Robert Bannon: I’m really interested in how Japanese culture has influenced your music and identity as a band.

[3:00] Robert Bannon: What has kept HIROSHIMA going strong for more than five decades?

[3:30] Robert Bannon: I know you have some amazing stories to share about the songs and the experiences you’ve had along the way.

[3:53] Robert Bannon: And for our listeners in Detroit, you’re going to be performing live at the Aretha Franklin Amphitheatre!

[4:00] Robert Bannon: I can’t wait to hear more about that and what it means for you to still be on stage doing what you love.

[4:30] Robert Bannon: So, let’s get into it!

[5:00] Robert Bannon: Dan, welcome to The Roundtable!

[5:30] Robert Bannon: Let’s start with your journey. How did HIROSHIMA come to be?

[6:00] Robert Bannon: What were some of the challenges you faced in the beginning?

[6:30] Robert Bannon: And how did you find your unique sound?

[6:50] Robert Bannon: I’m sure our audience would love to hear about the evolution of your music over the years.

[7:00] Robert Bannon: What do you think has changed in the music industry since you first started?

[7:30] Robert Bannon: And how has HIROSHIMA adapted to those changes?

[8:00] Robert Bannon: I’d love to hear about some of your most memorable performances.

[8:30] Robert Bannon: What stands out to you from your time on stage?

[8:35] Robert Bannon: And what do you hope audiences take away from your shows?

[8:40] Robert Bannon: Let’s talk about your upcoming performance in Detroit.

[8:45] Robert Bannon: What can fans expect from the show at the Aretha Franklin Amphitheatre?

[8:50] Robert Bannon: I know it’s going to be an unforgettable experience!

[8:55] Robert Bannon: So, Dan, let’s dive deeper into the music itself.

[9:00] Robert Bannon: What are some of your favorite songs to perform live?

[9:05] Robert Bannon: And why do those songs resonate with you?

[9:10] Robert Bannon: I’m excited to hear your insights on the legacy of HIROSHIMA.

[9:15] Robert Bannon: What does it mean to you to have created such a lasting impact in the music world?

[9:20] Robert Bannon: And how do you see the future of HIROSHIMA?

[9:25] Robert Bannon: What’s next for you and the band?

[9:30] Robert Bannon: I can’t wait to hear your thoughts on that!

[9:35] Robert Bannon: Thank you for joining us today, Dan.

[9:40] Robert Bannon: It’s been a pleasure having you on The Roundtable.

[9:45] Robert Bannon: Let’s keep the conversation going!

[10:03] Robert Bannon: For more information about HIROSHIMA and their upcoming shows, visit RobertBannon.com.

[10:15] Robert Bannon: And don’t forget to follow me on Instagram @RobertMBannon for updates!

[10:45] Robert Bannon: Thank you for listening, everyone!

[11:15] Robert Bannon: Until next time, take care!

[11:47] Dan Kuramoto: Ultimately, we signed with Larkin Arnall at Arista Records, and that was, so that was 1978. You signed with Arista Records and put out records with Arista and Epic in the 70s and 80s, like Arista as it rose on to be Arista, and with you all and the Manilows and the Whitneys and the big, giant superstars. When Clive was the big boss, but Larkin Arnall was the executive vice president, he just brought Larkin in to diversify the label, and we were, I think, one of the first signings that Larkin ever made. And your first album sells 100,000 copies within the first few months. Is it because you're playing, so you have this sound, this traditional sound with this jazz format. You're merging these sounds of music together.

It is the perfect sound that is original and new. People start to catch on to the music. They love the sound of the music. It's played in clubs and cars and radios and jazz bars and all over. Is it scary to now be a professional musician on the road when this happens? Was it exciting? There's Grammy nominations, there's millions of records sold. You guys are a family, like you are very close to each other at this point. What's it feel like to hit when you hit? Well, it was extraordinary, and it was totally unexpected. And in fact, there was a point at which, you know, Larkin Arnall, who signed us, you know, he pulled me aside and he said, you know, know that there aren't really many Asian American bands out there.

He says, there's one. So he says, so know that you're that one. And he said, know two things. He said, know that it's all going to be uphill. And in fact, there are people at the label telling him, it's a bad signing, it's a waste of money, because Asians don't dance and Asians don't sing. And I mean, you know, this was a while ago, but and Larkin said, he said, well, wait and see, you know, and there were rumors that there were people were betting that we wouldn't sell 25,000 units. And in the first three months, we sold 100,000 units. And it's because, and you're a musician, music is a different language altogether. And it's about humanity. And people feel that and connect that. I mean, and that's why we have somebody like one of the great American artists of all times, Marvin Gaye, he did an album called What's Going On.

And he was able to embrace his culture, the American culture, our way of life, and the issues that we need to deal with, you know, like what is going on, you know, brother, brother, you know, that whole connection. And, and we have a history of that. Bob Dylan sang about that. Joan Baez did. Donnie Hathaway, I mean, his life was dedicated, you know, to those kinds of issues. And so for us, here was the vehicle. I mean, when we got the model of what Earth, Wind and Fire was doing, and they were, you know, and Maurice being a jazz drummer, played with Ramsey Lewis. And then he had this idea for a multicultural, multi-style band in terms of Latin and R&B and jazz and rock and all of those things combined.

And what Santana was doing, bringing up a whole Latin motif, you know, it gave us the hope that maybe we could do something as well. And so we struck out on this. But as you say, yeah, it's frightening. And, and hearing that, yeah, maybe, you know, we're not going to get the kind of support that we might hope for, you know, but Larkin Arnold said this, he said, he said, you may not have the support. He said, even African American folk may not support you at first, because everyone's scrambling for the small piece of the pie. But he said, know this, if you weren't good, I would have never signed you. And that was enough for me. Here was this guy who was the most, other than Barry Gordy, the highest level African American music producer in our industry, in terms of executives, went to Howard University.

You know, he signed acts like Frankie Beverly Mays, Natalie Cole. I remember when he left Arista and went to CBS, which we eventually did to follow him. The first act he signed was Luther Vandross. And they thought he was crazy. They said, Luther only sells to a small segment of R&B. Well, why are you going to try to make him a major act? But see, Larkin had a vision, because that's what America is. You know, it loves Sinatra. It loves Nat King Cole. You know, all of these, you know, you know, Aretha, it's Aretha Franklin. I mean, everything that touches you, everything that motivates you, everyone knows that song. When that moment, there's an association there, you know. And the struggle in the industry, I mean, people don't know, there was a point in Sinatra's career, he could not get a record deal.

I mean, people don't realize, you know, that's the nature of the beast. But the nature of the art form, and you know, that's because why you're so, so involved in it, is that everything comes from the heart. No one's counting dollar bills at the time. Everyone's thinking about, how can I tell this story? How can we relate to each other? And every time we play, we try to establish in that moment, in that venue, you know, a sense of community. And try to share the passions, the ups and downs, what life is with each other in that moment. That's what's incredible about what you do. And while we're talking, I just want people to know, the Aretha.com is where you can get tickets, August 26, Hiroshima, naturally7, talk about a good singing group, is going to open for them.

Half the tickets, over half the tickets are sold, and we have two months left. So you got to hurry and get a ticket because it's big, it's a big giant venue. And the tickets are going fast. So there won't be a ticket to be had if you wait. So go ahead and order and get a ticket. But what I love about what is amazing is that people feel moved by your music. So like if you're going out and you're going to play One Wish, or you're going to play, you know, Go, and you're out on the road, some of these songs have, some of them, there's just a feeling. It's just the music. It's just the instruments. How do you tell a story? How does it connect? What do you think about what you do connects to the people who are not musicians, but are moved by your music? What's the magic?

[18:52] Dan Kuramoto: Well, I think it begins and ends with our koto player, June, and the instrument she plays, and then the absolute soul that she plays it with. And if I can, I'll try to be succinct. The first time we ever got to play on the East Coast, we played at Howard University, and we had, to that point, only played on the West Coast. So we had never even been to D.C. to ever perform, and it was a Friday night, and every big act, it seemed, in the world was playing that Friday night. And we're at Howard University, at Crampton Hall, and it's 1800 Cedar, and there's two shows. And, you know, our tour bus pulls up, and we go, who's going to come and see us? You know, because there's so many other acts that I would like to go see playing in town that night, and then who's going to come and see us?

And why are we playing two shows for the very first time ever in D.C. in an 1800-seat venue? And then we find out that, you know, Howard is, of course, one of the leading Black universities in the world, and that they have the most powerful radio station on the East Coast, WHUR, and that they had, in fact, been playing our music every day, and there was a period where they were playing it almost every hour, one of our songs, my first album. And, you know, we're not even ready for this. So we go, and we're first show, and it's completely sold out, and we play the first song, and after the song, and you know what I mean by flop sweat? Oh, yeah. Oh, yes. The entire place is completely silent. You can hear a pin drop.

I'm serious. And I'm thinking, you know, yes, this is what flops are, because I'm starting to, you know, and we're going to the second song, which is a song that I wrote with our guitar player called Dada, which is an journey of a loss, and gain, and survival in life. And June starts to play this solo, and it was so, it was, you could hear a pin drop. And, but as the solo is going along, people in the audience would start standing one by one. And then when the solo ended, they started to applaud. And then gradually, the entire place was standing and applauding. And then our guitar player, great guitar player, who was set up right behind me, is playing his solo, and guitars are loud. And I'm right in front of him, and I couldn't even hear him play, because the audience was yelling then.

And then they, and this went on through the whole to the end of the song. And it's just this emotional catharsis, you know, because they connected with us, with the way June expressed herself on this instrument that nobody had ever seen before. And it's just the way that she plays it. And after the show, you know, and it was the same way in the second show. And after the show, a large group of people, I would say over 50, waited outside our dressing room just to talk to us and say, you know, we're at this famous black institution. But we have to say that as people of color, we didn't understand that you, our brother, insisted to us that you cry and laugh and love, just like we do. And you express it with so much soul, just like we do.

And that's what June can communicate with her koto. And then we're blessed to have, you know, our traveling band right now is just five, you know, and our keyboard player, Kim McCormack, just moved back from Hawaii. But he was a mainstay keyboard player with Frankie Beverly and Maze, with Al Jarreau, with John Clemmer, with all these great artists. And then our drummer, Lan Richards, when he was seven turned professional, and was playing with all these great Stanley Turrentine and all these, but he played for a long time with, I can't even think of an act he didn't play with. He played with Gladys and the Pips for 10 years.

[23:34] Robert Bannon: Welcome back to The Roundtable! Today, we have a very special guest, Dan Kuramoto, co-founder of the legendary band HIROSHIMA. Dan, it's great to have you here!

[23:50] Dan Kuramoto: Thanks for having me, Robert! It's a pleasure to be here.

[23:54] Robert Bannon: HIROSHIMA has such a unique sound that blends jazz, R&B, pop, soul, and traditional Japanese instrumentation. Can you tell us a bit about how that sound developed over the years?

[24:10] Dan Kuramoto: Absolutely! When we started HIROSHIMA, we wanted to create something that reflected our cultural heritage while also being contemporary. We drew from various influences, and over the years, that blend has evolved into what you hear today.

[24:30] Robert Bannon: That's fascinating! And you've been doing this for over 50 years now. What do you think has kept HIROSHIMA going all this time?

[24:40] Dan Kuramoto: I think it's our passion for music and the connection we have with our audience. We love performing and sharing our stories through our songs. It's a journey that we all share together.

[25:00] Robert Bannon: Speaking of stories, can you share one of your favorite memories from performing?

[25:10] Dan Kuramoto: One of my favorite moments was when we played at the Hollywood Bowl. The energy from the crowd was incredible, and it felt like we were all one big family celebrating music together.

[25:30] Robert Bannon: That sounds amazing! And now you're headed to Detroit's Aretha Franklin Amphitheatre. What can fans expect from that show?

[25:40] Dan Kuramoto: Fans can expect a vibrant performance filled with our classic hits and some new material. We always aim to create an unforgettable experience that resonates with everyone.

[26:00] Robert Bannon: I can't wait! HIROSHIMA has such a rich legacy. How do you feel about the impact your music has had on different generations?

[26:10] Dan Kuramoto: It's humbling to see how our music has transcended generations. We receive messages from fans of all ages who connect with our songs, and it reminds us why we do what we do.

[26:30] Robert Bannon: That's beautiful. And with the influence of Japanese culture in your music, how important is it for you to represent that heritage?

[26:40] Dan Kuramoto: It's incredibly important. We want to honor our roots and share the beauty of Japanese culture through our music. It's a part of who we are, and we take pride in that.

[27:00] Robert Bannon: Thank you for sharing that, Dan. It's clear that HIROSHIMA is more than just a band; it's a legacy.

[27:10] Dan Kuramoto: Thank you, Robert! We're excited to continue this journey and share our music with everyone.

[27:20] Robert Bannon: And for those listening, make sure to catch HIROSHIMA live at the Aretha Franklin Amphitheatre. You won't want to miss it!