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 After ten years with the immensely popular Rippingotns, Jeff Kashiwa did the unthinkable, he left. But after just a few short years, it became clear that there was a new force to be reckoned with in a genre that has been all but taken over by those recording music for elevator rides. In a sea of Kenny G and Sanborn wannabes, Jeff Kashiwa presents with something rare: a truly unique voice. Those that have seen the Rippingotns perform live during Jeff's tenure, have had a glimpse of his abilities, not to mention his magnetic on-stage persona. But those who have seen Jeff as a front man, playing his own material understand his talent to be much deeper than ever displayed in the oft dense Rippingtons arrangements.
Jeff's 1995 debut solo recording, "Remember Catalina" demonstrated Jeff's uncanny ability to blend solid melodies with improvisation, something rare in the contemporary-come-smooth jazz world. 1997's "Walk A Mile" further synthesized Jeff's writing and playing abilities and featured an EWI lead tune "I See It In Your Eyes". But Jeff's real breakthrough was with the aptly titled 2000 Native Language release "Another Door Opens". The writing and producing team of Jeff and Rippingtons' expatriate Dave Kochanski scored a huge hit with "Hyde Park" which enjoyed a lengthy stay at number one on the charts.
Jeff's latest release "Simple Truth" represents Jeff coming into his own as a musician and composer. He wanted this project to be recorded as a group, with all the musicians playing off one another in the studio. So the band recorded as a unit in Germany. Lo and behold, another hit. If you have a radio, you can't help but hear the infectious, hook-driven "Three Day Weekend" on the airwaves now.
Jeff Kashiwa started playing clarinet at age ten. He remembers, only two years later the impact of seeing the saxophone used in a jazz setting and knew at once that it was his instrument. "I switched to the sax at that point and it was like a magnet for me. I couldn't wait to get into a situation where I could play it." Like many of us Jeff was introduced to the EWI in 1986 when he saw Michael Brecker playing with Steps Ahead. "I saw Brecker play the prototype live in LA. What most impressed me was not all the bells & whistles, but the incredible sensitivity and musicality he got out of the EWI."
I'll admit to you that as the writer of this intro, I'm not objective. I'm honored to count Jeff among my friends. But one thing I can tell you without qualification; Jeff is producing some of the richest music in the genre of contemporary jazz. He frequently challenges the listener with sophisticated songwriting and arrangement, but never forgets to interject his most identifiable qualities as a person, sincerity and heart, which ultimately translates to some pretty listenable music.
EWI: When did you start playing the EWI?
Jeff: I started playing the EWI when it first was commercially available by Akai, 1987 or so.
EWI: What influenced you to try it out?
Jeff: I saw Brecker play the prototype live in LA. What most impressed me was not all the bells and whistles, but the incredible sensitivity and musicality he got out of the EWI. He played "In a Sentimental Mood". Man he made that thing SING!
EWI: Which EWI’s have you played?
Jeff: I had two of the original 1000’s and two of the 3020’s. Traveling takes its toll on the EWIs.
EWI: What year did you join the Rippingtons?
Jeff: June 1986. My first gig was in Racine, WI at Harborfest.
EWI: Who did you replace?
Jeff: I was subbing for Brandon Fields, when he didn’t return I got the gig.
EWI: Brandon was not really a wind synth player, but the Rippingtons had used Dave Koz and Judd Miller on past records, do you feel the EWI was a component of the decision to go with you?
Jeff: The EWI was probably part of the reason although Russ used less and less of it as the years progressed.
EWI: What were you doing with the EWI at that time?
Jeff: Basic stuff. No chordal or even sample playing.
EWI: What gear were you using?
Jeff: I had an Oberheim Matrix 1000 and a Korg M3
EWI: What gear are you currently using?
Jeff: Now I’m using my Mac G3/500 Titanium Laptop and Logic EXS 24 to play samples. It sounds nice, but I wish I could change patches via midi instead of by hand. Also, I wish I could layer multiple sounds. I’m sure it’s just a matter of time before all that is possible from a laptop. Because of FAA regulation changes to oversize baggage I have cut back and lightened up. Now all I have in my rack is my 3020 module (soon to be replaced by the Windworks box) and my laptop. I also have a wireless, in ear monitor system, a TLA-50 Tube leveler compressor, Lexicon Jam Man and an Alesis Pico verb.
EWI: Any other pieces of gear you’d like to get your hands on?
Jeff: I would like to get a nice, small EQ for my live rack. I’ve tried a number of preamps w/EQ out there. Presonus makes a few…but I’m looking for a sweeter truer sound.
EWI: What influenced you to switch to the 3020?
Jeff: My 1000’s broke, and I love the fact that it has midi in so that you can change patches with a foot pedal etc.
 EWI: How have you progressed on the EWI since that time?
Jeff: I’m getting back into the EWI. I hadn’t touched it for the past few years. I recently got a Lexicon Jam Man and am having a fun time playing with that and the EWI. It makes practicing fun again…like a game. How many loops can I get going in sync?? Etc.
EWI: What was Rippingtons' leader Russ Freeman’s attitude toward the EWI as an element of his music during your tenure with the Ripps?
Jeff: He liked to use it (particularly the Lyle Mays type sine wave sound) for adding texture to his guitar. It’s a nice compliment because of its transparent nature.
EWI: You have used the EWI in your solo projects, do you foresee using the EWI in future solo projects?
Jeff: I think I will use it on my next cd. There is always a fear of being too synth-sounding. It seems that people can relate more readily to the sax rather than a synth sound. If I can develop my programming to the point where the sounds the EWI plays are more organic sounding as opposed to “just another synth sound” then I’ll feature it as a lead on a tune.
EWI: Other than Rippingtons projects, have you played the EWI on other recordings?
Jeff: I’ve played an EWI solo on Scott Wilke’s first solo cd and some EWI parts on Melvin Davis’s new cd (not yet released).
EWI: Any TV or film work involving the EWI?
Jeff: No not yet. I spoke with Steve Tavaglione recently. He has been very busy doing film scores with his EWI. He told me that the sound of the dragon in “Reign of Fire” is a bass clarinet sample being played through a guitar distortion pedal. Whatever works!
EWI:What players have been influences on your EWI playing?
Jeff: Michael Brecker, Bob Mintzer, Steve Tavaglione and Takeshi Ito.
EWI: “Another Door Opens” has one song that features the EWI, “Best of Times”; tell us what the setup is there and how you recorded in the studio.
Jeff: It was a standard “Harmonica” patch in the Roland XV-5080 that I played into via midi. I didn’t route the output into the ext in of the 3020. I wanted to record the midi information then retrigger it later with just the computer. So I had the 3020 send just volume instead of breath. The TVF was taken down a little bit to shave off the harshness of the patch. I renamed the patch “Harmonica Lewinsky”.
EWI: Do you use the polyphony feature of the EWI?
Jeff: I like to play orchestral pieces with that function. In the past I put the XV-5080 into multi mode and called up an orchestral palette of Bass Clarinet, Bassoon, Oboe, Flutes, Brass section, String section and finally orchestral chimes. By separating those instruments by range and turning the woodwinds from poly to mono mode, the woodwinds would play counterpart lines to the string section. I wrote a fairly dark piece that is called simply, “Debussy”. It is very moody. Another fun thing was to take the orchestral chime part and voice delay it by a few seconds so that the chimes would ring after the strings played their chord. Very “For Whom the Bell Tolls” vibe.
EWI: If you could pass along your design ideas to Akai or Nyle Steiner, what changes would you want to see in the EWI?
Jeff: More breath control in modulating the sound. It seems that the EWI goes from 1-5 in terms of expression as opposed to the sax’s expression of 1-10. A wireless controller that has an LED on it so you can see what patch you are on, like a midi keyboard.
EWI: Do you have any modifications on your EWIs?
Jeff: I painted my old EWI’s years ago. I also added Up and Down patch change switches on the controller itself. Cheap parts from Radio Shack. The only problem was that you couldn’t see what patch you were on unless you turned around and squinted at your rack which was 15 feet behind you!
EWI: Do you do any of your own programming?
Jeff: I do a little programming. Mostly TVF manipulation to make the sounds darker.
EWI: What third party programmers or sound sets do you use?
Jeff: None
EWI: How do you feel the EWI has affected your playing as a sax player, musician and improviser?
Jeff: It has added so much. Just in terms of being technically aware of every movement. You must be very relaxed, yet aware when you play the EWI. I also like to practice late at night at home or in hotel rooms with headphones. My wife (and neighbors) love it!
EWI: You do a major amount of your own writing; do you feel that the EWI has influenced the way you write?
Jeff: Yes . I have been writing pieces specifically for the EWI that are more rhythmic and layered with the use of the Jam Man. I love the work of Steve Reich and Jeff Beal. Their music is poly-rhythmic and textured with many different, but complimentary lines. Very interesting music. I like to set up a loop on the EWI, then start layering other loops on top.
EWI: Have you written songs with the EWI specifically in mind?
Jeff: Yes, but mostly for live performance only at this point. No Smooth Jazz stuff yet.
EWI: Where do you see your EWI playing going in the future?
Jeff: More textural semi-classical pieces. I intend to use it during live performance much more than I have been in the past.
EWI: You’re aware of Windworks’ brainbox and computer interface development, how do you see that affecting your set up?
Jeff: It is going to change my life! I can’t wait to check it out, because I’m tired of lugging around the big and heavy 3020m!!!
EWI: Have you ever tried the Yamaha WX controllers? What was your opinion of them?
Jeff: I have tried them. I like the keys, because they were similar to the sax. I didn’t like the breath control or lack thereof.
EWI: What type
of monitoring system do you prefer?
Jeff: I have in ear monitors by Shure.
EWI: What are your favorite wind controller sound modules?
Jeff: I like using samples of exotic instruments. I use my laptop and Emagic’s EXS24, because I can load in 24 samples at a time.
EWI: For what musical function do you use the wind controller?
Jeff: I like to use the EWI as a solo voice or as a texture to add to sax or guitar.
EWI: What is your opinion of the Yamaha VL series physical modeling synths?
Jeff: It seemed pretty cool and responsive. I don’t own one so I never fully checked out all the parameters. It seems musical, though.
EWI: Anything else you want to add?
Jeff: No matter what gear you use, which EWI you have etc. it still comes down to the heart. The EWI is a wonderful tool, but the message is more important than the tool. What you have to say as a musician is more important than what specific tool you are using to say it.
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