Last
week, I attended a Jake Shimabukuro ukulele concert at the ATT Show Box in Taipei. Previously not even able to spell ‘ukulele’correctly, I had no expectations, but Shimabukuro, a native of Hawaii and accomplished
ukulele player (ukulele-ist? ukulele-r?) delivered
a first
impression of the highest magnitude.

The night started with an upbeat
number, containing harmonics you would have thought a ukulele might produce, that
is, similar to a guitar but still within a ukulele’s natural limits. I found
myself subconsciously settling into how I thought the night’s offering was
going to play out. However, all that was
about to change with
Shimabukuro’s opening follow-up, a rendition
of Adele’s ‘Rolling In The Deep’. It was during this piece that the music
starting taking on a life of its own, with Shimabukuro in
the background, throwing his whole body into making music with the ukulele in
every way fathomable. There was drum beating, string twisting, foot stomping, you
name it, all coming from the petite framed Asian with a miniature guitar in his
hand.
In one set, with the song
‘Dragon’, Shimabukuro played
a tribute to his Rock n’ Roll heroes. This song which was born from his experimentation
with Rock and Heavy Metal, showcased how, with some ingenuity, the ukulele can
be used to produce so many different types of music. Heck, at one point, the
ukulele even transformed into a samisen,
delighting the audience with traditional Japanese tunes.
The possibilities on four strings
and two octaves seem limitless with Shimabukuro. From a newbie perspective, the
traditional sounds coming from a ukulele mostly fail to convey depth of feeling.
However, Shimabukuro’s songs are rich and full, and at no point do you want for
more in the delivery. Where there might be some gaps, Shimabukuro makes up for
it with creative arrangements that play to the ukulele’s strengths.
Shimabukuro’s magnificence lies in his ability to use this entirely different
medium and method to deliver songs that still capture the essence of the
originals, and which are in no way instrumental copies delivered on a ukulele.
In another set, Shimabukuro
performed his song ‘Missing 3’, his accidental composition of only three
strings (missing the third string). It was thoroughly enjoyable, though the
main thing I got from this song was that the third string is really important.
Another
thing that strikes you about the music is that so many notes are being played
at the same time. Eyes closed, you would think there were three ukuleles on the
stage. At times I saw Shimabukuro
flexing his arms on stage, and boy, you bet he needed to, with the way he
was playing that thing. If he had broken his ukulele in half during a song,
fingers bleeding and cramping a la Rafael Nadal at the US Open, I would not
have thought it odd.
At other times Shimabukuro appears
entranced in his own world. The ecstasy Shimabukuro
appears to feel when his fingers come off the strings pushes him further and
further into a sophistication that sometimes produces melodies bordering on art
form. Unfortunately for the audience, and especially for the casual listener,
this is a place they cannot follow. Luckily though, once the ukulele prodigy had captured
everybody’s imagination and had their undivided attention, he offered some lighter fare, pleasant melodies
like a ‘Bohemian Rhapsody’ cover and his original ‘Blue Roses Falling’. All that
seemed missing was some Spanish flavour, and when that was served, my palette
was so content that I felt fine drifting to wherever the music wanted to take me. Soon it
dawned on me that Shimabukuro‘s
ukulele can be oh just so sublimely
comfortable.
It is music that could make the creative
juices flow and coo one into slumber simultaneous.

But before the idea of me running
to buy my very own ukulele fully formed, it was all over. Loitering about
afterwards, I noticed many youngsters in the audience carrying ukuleles, many
in groups, probably from high school ukulele clubs. I was witnessing the
ukulele subculture firsthand. Why did they bring their ukuleles? Did they want
to challenge the master’s superiority in a ukulele battle on stage? Or perhaps
play along from the audience? Was it show of pride and solidarity for the Ukulele
Community? Or more possibly, maybe Shimabukuro
held a ukulele autograph session before the show? Anyhow, regardless of the
reason, it was still a sight to behold.
The whole experience for me was a
journey of ukulele enlightenment, one that has left me a wiser person. On the
downside, I have become a more spoilt wise person because, how can I EVER listen to another ukulele with
satisfaction again after THAT?
Okay,
self-indulgences aside, in the greater scheme of things, at least I will be
more inclined to listen to a ukulele from now on thanks to Shimabukuro,
and that is a win for the Ukulele Community.
With the prowess he possesses on strings, Shimabukuro
could be a pro of any stringed instrument, but so evident his content in his current
medium, Jake
Shimabukuro is the poster boy for the modern
day ukulele, and I’m sure the Ukulele Community couldn't agree more.