If you'd walked into the LA Music Academy classrooms during mid—January, you might have thought the school had been transported to Japan. First hosted by the school in 1997, the "Kenshu" Program returned to the Academy this year.

For five days, from January 14th through the 18th, the school's grounds, and the City of Pasadena for that matter, were energized by the infusion of hundreds of excited Japanese students, eager to soak up all they could from the experience of being in the States and learning from the LA Music Academy's accomplished roster of instructors. Thanks to the hard work of the school's teachers and staff, as well as guest "star" instructors Pat Torpey, drummer for the legendary Mr. Big, and Tony MacAlpine and Derek Sherinian, guitarist and keyboard player, respectively, for the Progressive Fusion band, Planet X — not to mention, several interpreters — the program was a huge success. LA Music Academy President and Executive Director Tom Aylesbury said, "We went all out this year. We gave them the 'Cadillac' program." That program came complete with personal instruction, songwriting workshops, music business classes, a professional recording studio experience, and a final dinner and concert performance. And true to the impressive team effort that prevailed over the days that followed, Aylesbury even pitched in to ferry some students back and forth from the school's grounds to the recording studio in one of the production vans rented for the occasion.

Kenshu, which is Japanese for "short program," is an adrenaline—filled five days in which the Japanese students are immersed in music education in a distinctly American environment. Longtime Kenshu instructor Philip Bynoe says, "Some of the kids get intimidated by having to do so much in such a short period of time. It really is all about the translator. If you have a good one, then you're able to communicate what you are saying to the kids and they're able to get it. I've traveled quite a bit and musicians are musicians — no matter where you go in the world. And they're just as eager to learn as the American students. The Japanese students do tend to be a little more taken aback and starstruck by the staff we have at the LA Music Academy — people like Ralph Humphrey and Kevyn Lettau and Mike Shapiro, who have done such great things — walking down the halls."

Eleven interpreters were needed for the program. And watching the proceedings, it took a slight adjustment when hearing an instructor make a joke in a songwriting seminar, then waiting for the translator to say it in Japanese, followed by a smattering of appreciative laughter from the kids. It's like having an enforced tape delay on the proceedings that, if anything, adds to the happy surreal aspect of the event. As the instructor entertainingly demonstrated, no matter what language you speak, English or Japanese, everyone reacts equally to a boring song on the radio — they turn it off. And if it's good — they turn it up.

Having come from schools throughout Japan, the students were treated to the best the LA Music Academy had to offer — including an opportunity to record a song in a professional recording studio. Emmy nominated music producer Philip Giffin led group after group of eager young Japanese musicians through the recording process. Coaxing each musician to become a cohesive part of their "band" as they recorded their version of Creedence Clearwater Revival's "Proud Mary," you were reminded — as you were constantly throughout the program — of how easily music leaps the boundaries of language. Of the experience, Giffin said, "This is incredible. These musicians — they are beginners — but they have the spirit; they have the attitude and the will of a seasoned professional. They are really respectful. We had one guy that was such a beginner. He came here from Japan with his guitar and stood in the studio with his guitar plugged in but just didn't play. He didn't want to mess up the take. And I thought that was so touching. On the other hand, we've had some players that are really good — close to even entering the level of the professional world. There is quite a variety of ability." When asked about the challenges of teaching the Japanese students, Giffin added, "The simplest concepts — something that takes two seconds to convey to a band that speaks English — takes a long time. Like if I say, "Only do the chorus once, instead of twice." That communication can take ten minutes. And we only have fifteen minutes per band. So the instruction from me is kept — really — to the minimum. Giffin commented on the Japanese students' work ethic. "I'm always so pleasantly surprised at how genuine the Japanese students are. How they really will work and the amazing team effort. What's best for you, Phil? What's best for the team?" Giffin concluded with a thought that echoed throughout the school: "I hope they go back with a really good and positive first time experience in a state—of—the—art professional studio — I just want their first time to be in really good hands, to send them off in the right direction."