JULY 26: A Musical Moment (Kirei Hachiku + Tsukasabotan Natsu)
Before my dear friend Sid Samberg improvised and performed his piece inspired by Tsukasabotan Senchu Hassaku Reika Nama last August at Sunflower (see: our Pianozake series for more), I told the “story” of the sake to him and the crowd. In his uniquely creative way, Sid took this rich tapestry of flavors, history, layers, and ran with it, translating the sake into sound. This is my attempt to re-tell that story, so that you, too, have the background context to sip, listen, and immerse yourself. —Nina
Tsukasabotan Senchu Hassaku Reika Nama purchase link (active when in stock, ~July-Aug annually)
Tsukasabotan Chokarakuchi Honjozo (year-round)
Every so often we come across a sake that’s so unbelievably rich in history it’s hard to believe that here in Portland, Oregon, USA we get to drink some ourselves and participate in that history in some small way.
So there are a few stories to tell here. The first one is the history of the brewery, now named Tsukasabotan Shuzo, and the people it crossed paths with, particularly in the 1800’s.
The brewery itself dates to the 1600’s, and was successful enough that the owning family managed to purchase goshi status, country samurai. Goshi had the right to bear swords, the right to audience with the lord, and the right to use a surname, but they weren’t actually members of the samurai class. So the brewery continued along until the early 1800’s when they fell into hardship and sold the operation. The family and brewery might have remained an obscure footnote in history had it not been for a second son born in 1835, Sakamoto Ryoma, who would become the hero of Kochi.
In the mid-1800’s when Ryoma came of age Commodore Matthew Perry famously sailed his black ships into Edo harbor and effectively forced the shogun’s hand, demanding Japan open its doors to America. Japan had been under sakoku– isolationism– since the mid-1600s, only allowing Dutch, Korean and Chinese traders through specified ports and America more or less bullied their way in.
Now, Japanese samurai are a proud set, and the way the bakufu (shogun government) more or less rolled over to America’s warships didn’t go over well with the samurai class. They basically said hey, if you don’t let us in and let us dictate the terms of trade we’re going to bomb you to hell and back, it was a very USA 2026 move except that they actually pulled it off.
Ryoma– a goshi, barely even a samurai, with little to lose– wasn’t particularly attached to the shogunate and belonged to an opposition movement, the sonnou joui, which translates to “Revere the Emperor, expel the barbarians.” It didn’t help that the shogun at this time was chronically unhealthy and disengaged from politics, but honestly the bakufu had been in decline for a century at this point. 300 years is a long time to hold hereditary military control while the rest of the world had moved into the modern age. Sonnou joui was the nationalist rallying cry to remove the shogun, and restore the emperor to power.
So, Ryoma. He was a deeply intelligent, thoughtful and balanced thinker, charismatic and perhaps a little lucky. He was a top student at a samurai school focused on international affairs, and over time became connected to people in high places, moving on to naval academy and eventually becoming headmaster of a naval academy in Kobe, right as naval prowess became the world’s leading form of military and economic might. The bakufu, however, knew of Ryoma’s rebellious past and removed him from that school, which prompted him to start Japan’s first private naval shipping and defense firm.
The tension between the Shogun and the Emperor, each backed by clans that had been in conflict in some cases for nearly 1000 years, came to a head in 1865. The bakufu had been leveraging a long rivalry between the powerful Choshu and Satsuma domains to arm the politically moderate Satsuma, and suppress the Choshu. The Choshu had been licking their wounds since the 1600’s, when their forces lost in the decisive battle that brought the shogun to power. Thus Choshu had little political power but remained an important granary: they had an excess of rice, but no access to guns. Conversely, the Satsuma managed the critically important Nagasaki international trading hub and produced most of Japan’s firearms; they had an excess of guns– but no rice.
As a goshi, Ryoma could never have brokered a meeting between these two powerful clans. But as a respected naval contractor with a keen eye for their complimentary needs, as the main shipper running supplies between these regions, he sees an opening. Ryoma is inspired by Britain’s parliament, democratic process, and the declaration of independence— particularly the notion that “all men are created equal.” Growing up a poor country samurai, he wants to see the end of feudalism and a modern government instated with the emperor as its moral and political leader.
It took 3 tries, but at the third meeting between the two domains Ryoma leads the negotiations in person and a deal is made. This is the Satsuma-Choshu Alliance and it would be the critical piece in shifting power back to the emperor after 800 long years. Interestingly, Choshu’s role in the transfer of power is still seen today: politicians from Yamaguchi prefecture are well represented in the Japanese political theatre.
Returning to Tsukasabotan, its flagship brand– the sake you have in front of you– is 船中八策 (Senchû Hassaku), which means “Eight oaths [on board a ship].” Although Sakamoto Ryoma brokered the military alliance between Choshu and Satsuma, he had hoped that force would be a last resort, and preferred to restore the Emperor to power by peaceful means. To that end, Sakamoto drafted an eight point plan that found its way to the top of the Tosa han, his own clan from Kochi. [I’ll include that as an addendum at the end.] These 8 oaths would become the basis of Emperor Meiji’s formative decrees.
Ryoma was assassinated in 1867, right before the final transfer of power and the start of the Meiji Jidai (Meiji era). Although he was born 36 years after his family owned the brewery, he was a lifelong fan of their sake and it fueled his life’s work, the many late-night discussions and machinations Ryoma shared with his peers.
The family brewery was renamed Tsukasabotan in 1918 by Count Mitsuaki, a Kochi native who served PM Osachi “The Lion” Hamaguchi. The lion is the king of beasts, while the peony is the king of flowers. Tsukasabotan is the King of Peonies. Relating this concept, Mitsuaki and Hamaguchi sent a gift of poetry to the brewery.
| The poem | Read another way |
|---|---|
|
Tsukasabotan A foil, beholden; For generations to come |
You are the king of peonies The two are foils for each other: For generations to come |
Now, the sake.
Listen: this is a sake lover’s sake. It’s not for everyone. At worst, you’ll find it a little alcoholic and boring, but you won’t hate it. At best, though, you’ll feel the way I do: touched by endless layers of rose, orange blossom, and almond unraveling on a bed of hidden flavor and luxuriously dense, yet light body. The sake is brewed mid-winter and matured at near-freezing temps for 6 months before release in Summer. That compacts the flavors into an impossibly tight layer cake…kind of like a Saint Joseph syrah, if that’s your thing. So if it’s not showing you much, let it rest in the fridge. Honestly, Tsukasabotan seasonal nama gets so wound up when it travels from Japan, it takes weeks or even months to fully blossom.
Addendum: 船中八策 (Senchû Hassaku)
- Political power should be restored to the Imperial Court and all decrees should be issued by the Court.
- Both upper and lower legislative houses should be created and government policies should be decided by this legislative body.
- “Men of ability” from the former daimyô, nobles and general population should be appointed councilors. Traditional posts of power that existed under the baku-han system should be abolished.
- Foreign affairs should be conducted in accordance with regulations agreed upon on the basis of general consensus.
- Rules and regulations created during Japan’s feudal days should be abolished and a new, modern legal code should be created.
- Naval forces should be enlarged.
- An Imperial Guard should be established for the purpose of defending the capital.
- The value of goods and silver should be aligned with the going rates in foreign countries.
Source: samurai-archives.com/wiki/Eight_Point_Plan
Kirei “Hachiku” (89) Junmai Muroka Nama Genshu
Now let’s turn to Kirei Hachiku, a real kaleidoscope, ripe with fruity notes and creative interpretation. The brewery that makes it is itself an exercise in contrast. In the famous sake brewing town of Saijo, Hiroshima, Kirei is led by 6th gen president Ishii Eitaro, who impresses the importance of sake’s role in the preservation of a traditional Japanese culture, while Ishigaki Masahiro Toji bucks the Saijo trend of soft, sweet sake and commits himself fully to deep complexity. Hachiku embodies that commitment: this Muroka Nama Genshu is made with 89% koji rice (vs. a typical 20-30%) and 5 steps of water and rice additions (vs. the standard 3). Koji inoculation is how the proteins and starches of the rice are transformed into amino acids and sugar, and is largely responsible for sake’s hallmark umami and chestnutty notes. A standard method sokujo requires 3 additions to the main mash of water and sake over roughly two weeks, but Ishigaki Toji draws the fermentation out with extra rounds, giving the brew the opportunity to develop and mature.
In past editions of club we’ve had fun playing with pairing, from exploring the foundations of how to help flavors work with different sake to letting the beverage sing outside the parameters of washoku. But this month, let’s get a little more conceptual. After witnessing Sid take in Tsukasabotan Senchu Hassaku Reika Nama in all its flavors, feelings, history, and philosophy, and weave it into something subjective, yet oh so true, I couldn’t help but ponder how my song would’ve sounded. After all, one of the joys of sitting behind the counter at Sunflower is pouring the same sake for twenty people and hearing twenty different tasting notes. For your listening pleasure while you enjoy a glass (or heck, the bottle), we’ve put together a playlist of sounds inspired by Hachiku. Contributions were made by Sunflower Sake’s staff (Nina, Molly, Chiharu, Will), our friends Kryston and Devon of the singular Reggie’s Manga Shop, and Bryan of Fifth Taste Sake, without whom none of us would be drinking this stuff! —Molly
Listen here: YouTube // Apple Music // Spotify
Contributor Notes
Nina, Sunflower Sake
Ruben Gonzales / Melodia del Rio
Romantic, sugarcane rum + Cuban cigars, beautiful old tiles and dancing shoes, nuanced and layered, frozen in time, tropical fruit, revolution & rising from the ashes, an expression of the soul without words.
On a purely vibes level, riding my bike through the neighborhood yesterday, I felt such levity and joy when Melodia del Rio came on. I don’t know how to salsa, but I wanted to salsa. Melodia del Rio winds through the romance of legs sashaying, weaving in and out, a buttoned-up and restrained choreography punctuated with real human vulnerability: sideways glances, flittering eyelashes, “The gentleman over there bought you a drink.” Musical catharsis, arising from my imagination. I wanted to smell the heady incense of a Cuban cigar, drink a Cuba Libre. I thought to myself that in an alternate universe, Hachiku isn’t so far off from rum and coke: the sweetness of spices and caramel, layered nuances of tobacco and tropical fruits, acidic and balanced.
When I returned home from my ride, I tried the pairing myself and was whisked away. Under light inebriation, my thoughts went to unusual parallels. Island nations playing a complex role in the political and military treachery of American imperialism, or the self-destructive consequences of unfettered nationalist ambition. Havana…Saijo, Hiroshima. Warm and friendly people. Amazing pork and seafood. The preservation of a complex history. The persistence of human joy. Incredibly skilled local craftsmanship. Havana… Hiroshima.
Johnny Cash / Solitary Man
Wistful, powerful and gritty yet soft and sweet, Kentucky bourbon + Southern Comfort, one of a kind, creativity + soul, nostalgic, baritone, the brilliance of human skill.
Bright yet gritty, like a light shining through a dusty parlour window. A solitary man playing guitar in a lonely room. A dried rose imbued with memories. A heartfelt love song written and performed over a weekend. An authentic show of craft from the heart: skill expressed earnestly through fingers, acting almost on their own.
Johnny’s singular voice, particularly toward the end of his life, is ragged yet softened by a lived-in sweetness, like a comfortable leather jacket. For all his foibles, Cash was a Good and Honest Man, a man’s man, marked by deep, admiring friendships with contemporaries like Neil Diamond and Bob Dylan; tributes across genres; powerful and lighthearted performances for inmates at Folsom Prison and San Quentin; a famously passionate and complicated love story with June Carter Cash.
That earnestness, soul, craftsmanship, being one of a kind in this world, being honest and for the everyman, an expression of beauty for hands roughened by a difficult life…this is where Hachiku takes me. I’m the kind of person who’s always one inch away from feeling too deeply, and Hachiku feels right for that sort of tightrope.
Molly, Sunflower Sake
Utada Hikaru / Kremlin Dusk
The way I’m inundated with layers of bananas foster on rum on ras el hanout on hickory smoke on diet coke, reminds me of how Utada pours out that desperate human yearning for permanence, rooted on a layered foundation of industrial, gothic organ, Poe and pop.
In an interview, Kuramoto Ishii once lamented, “Japanese people hardly wear kimonos anymore. Even if they own them, they’re mostly just for display. I’m worried that sake, which is also unique to Japanese culture, will similarly gradually fade away. For example, why was wine served at the Okinawa Summit?”
How does one reconcile a duty to the preservation and transmission of a culture, with no power over whether the audience will take it or leave it? As the number of sake breweries dwindle, rice gets more challenging to grow and expensive, labor is harder to come by, what can we do for those who choose to inherit that burden?
Well anyway, it hits just right whether I’m feeling glum and existential, or reveling in the miracle of being here at all. Am I talking about the sake or the song?
m-flo loves DOUBLE & TOKU / Life is Beautiful
Well maybe I’m asking too many questions. It’s summer! Contemplating over a glass on a sunny July afternoon, the high toned acid sang with the juncos outside my window, the suggestion of over ripe fruits felt sticky on my lips. I wanna celebrate the outcome of such meticulous labor.
The m-flo loves… project came about when vocalist Lisa split off to pursue a solo career. Taku Takahashi and Verbal opened themselves to collaboration with artists spanning the genres of pop, R&B, hip hop, and jazz. For this track, they teamed up with industry vets saxophonist TOKU and DOUBLE, the solo project of jazz singer Takako. Sun-shiny and exuberant with a serious bent. "Days move fast, imagine what if this day was your last."
When this came up on the shop playlist, I instinctively started humming along, then did a little gasp. Nina and I looked at each other and she pointed to the speaker. Minutes before, I’d been worrying aloud that I was overthinking my choices. Don’t think, just enjoy the moment.
Chiharu, Sunflower Sake
Dave Brubeck / Blue Rondo a la Turk
I was looking for music inspired by the numbers 8 and 9 in the name of this sake.
The first piece I chose was “Blue Rondo à la Turk” by Dave Brubeck, which is based on a 9/8 time signature. With every sip, this sake reveals a new layer of flavor. Just as the music unfolds with changing rhythms and dynamics, the sake continues to evolve on the palate. That’s why I think this piece is a perfect match for this sake.
Yoshida Brothers / Tabidachi
As I mentioned to Molly last time, I experienced this sake as having three distinct layers of flavor. First, it is rich and full-bodied. Then the alcohol becomes more pronounced. Finally, it finishes with a smooth, creamy texture.
- Rich and full-bodied: Start – 0:47
- Alcohol becomes more pronounced: 0:48 –
- Smooth, creamy texture: 1:22 –
I think this sake is best appreciated by letting it linger on your tongue rather than simply drinking it. If you take your time and really savor it, you’ll notice even more of its rich umami. I encourage you to enjoy it slowly, one small sip at a time. (*^-^*)
Will, Sunflower Sake
Will’s notes on Hachiku: “Layered, bass forward, a little bit fuzzy sticky. Drinks like a dankly sweet contact high in the middle of a daydream.” This impression was the basis for his song choices.
Devon, Reggie’s Manga Shop
Boards of Canada / Dayvan Cowboy
The light distortion paired with the delayed hard panned guitars and distant cymbals that introduce this track remind me of the initial taste the sake imparted on me. A light yet warm and fuzzy feeling that first made its way down my tongue. As the song transitions to the deep strummed guitar chords bathed in tremolo with the much more pronounced percussion and airy strings I am reminded of how the erthy notes and umami revealed themselves as I let the sake sit in my mouth. The tail end of the track with its bright percussion and eerie yet beautiful melody mirror the slightly sweet end note I caught as the sake left my palette. The song fades gently just as the flavor of the sake lingered with me after it was gone. The sake and song both left me with a strong feeling of nostalgia and warmth like a beautiful sunset on a warm day.
Kryston, Reggie’s Manga Shop
Taeko Ohnuki / YAMAZAKURA
This sake reminded me of sitting outside in a soft breeze, thinking of soft memories and getting a little misty eyed remembering good times.
Bryan, Fifth Taste Sake
Two from the year 1989, a great year for Summer songs. Bryan’s picks celebrate the rich, fun and funky side of Kirei Hachiku!
