One of the exceptional recordings I have had the pleasure of listening to recently is Jake Shimabukuro’s concert release, Live in Japan. This recording marks my first encounter with the Japanese-American ukulele player, born in 1976 in Honolulu, Hawaii. I have to say that I had never taken the ukulele seriously as an instrument until I listened to this album.
Looking like a toy guitar, used mainly to accompany singers in certain genres, it had never managed to capture my attention until recently. Stumbling upon Jake playing this instrument live completely changed my perception of the little string instrument and its capabilities.
As a true admirer of the nylon-string acoustic guitar and a devoted fan of Earl Klugh, I am fascinated by the intimacy of fingerpicking guitar style. Until I heard Jake playing the ukulele, I thought no other instrument could bring such a degree of emotional expression and pure excitement as the acoustic guitar. Now, this sacred place of favour is occupied by Jake’s ukulele and its timbral and tonal perfection, which brings emotion and intimacy to a new level. It is indeed not just a regular ukulele, but a “special one”, as Jake himself likes to say. It is a Kamaka ukulele.
Established more than 100 years ago, Kamaka is the oldest maker of some of the world’s finest ukuleles. Made from Koa wood in the Kamaka family-owned factory in Kaimuki, Hawaii, it is a four-string tenor ukulele characterised by its mellow sound. Jake relies solely on its natural sound, with no effects applied. Live in Japan captures its pure timbral texture and vivid tone colour with remarkable transparency. The ambient sounds and hall reverberations of the concert venue are balanced perfectly, creating an airy, three-dimensional presentation that allows the instrument to shine in its full glory.
Jake is not alone on stage but leads a trio consisting of himself, Nolan Verner on electric bass, and Michael Grande on keyboards. Choosing the trio format turns out to be a very effective combination—nothing is excessive, and nothing is missing. Backed by the bass-and-keyboard rhythm section, the virtuoso alternates complex rhythmic patterns with melodic passages that flow seamlessly into one another.
The record has a spectacular dynamic range, built on the contrast between the low bass notes and the sparkling highs of Jake’s ukulele. The gleaming keyboard mids weave the soft fabric of the harmony, bringing together Nolan’s rhythmically pulsating bass lines with Jake’s rasgueado-like strumming. Both the electric bass and keyboards are highly controlled and never intrude into Jake’s leading role. Even in funky-sounding pieces such as the cover of “While My Guitar Gently Weeps”, there is no trace of aggressive slap bass tones or uncontrolled keyboard strokes. This kind of composed rhythm, topped with Jake’s explosive strumming, gentle accents, and rising melodies, creates a beautiful contrast and makes this music so appealing.
Being only three musicians, there are moments of acoustic silence perceived as a space woven into the fabric of the sound. Sustained keyboard tones and rhythmically simple bass lines form the frame, dominated by Jake’s syncopated strumming, explosive tremolos, and lyrical passages.
My favourite pieces are “Red Eye”, “Kawika”, and “3rd Stream”—compositions dominated by cheerful melodies and playful rhythms. The concert can be listened to with full attention or enjoyed as background music; either way, it will bring pleasure and joy.
Happy listening!