Hikashu Appreciation Society

Minna No Senkan

2012-01-29T15:04:00.014+09:00

While waiting the new album, we have chance to see Hikashu among other new acts in February.

It's an event called "Minna No Senkan," [Everybody's Battleship] held on February 11-12 in Shinjuku, Tokyo. It's a sort of showcase gig, the 24 bands will appear. What interesting is that most of the bands booked are emerging, post-two-thousands musicians, and Hikashu is the only act from 1970s (or even 1980s). We think this means something.

And the venue is also interesting - a cabaret called "New Japan" in Shinjuku. Cabaret used to be very popular and influential place for socializing in post-WWII Japan, but the culture dwindled after 1980s. Shinjuku New Japan was one of the most famous, and one of the few surviving spot today. Although now it is no longer a "cabaret," its facility is still intact and the atmosphere of the golden period is well-preserved. Experience the good old days of Showa retro at Shinjuku New Japan.

February 11-12, 2012
"Minna No Senkan"
@ New Japan
Shinjuku, Tokyo
open 12:00 - start 13:00
adv 3,800 yen for each day, 6,800 yen for 2 days ticket
(one drink order minimum)
Ticket available at eplus - 1day ticket 2days ticket
Note: Hikashu will perform on February 11 only. Their time-slot is 17:30-18:00.
Minna No Senkan official site (Japanese)

New Japan, Shinjuku, Tokyo

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Tabaimo the Artist

2012-01-01T23:12:00.005+09:00

The cover of Hikashu's upcoming album will feature an artwork of Tabaimo, a young female artist who has been recognized internationally as a sensational new voice in contemporary art scene. Her English bio is here.

Many of her work depicts modern, daily life of ordinary Japanese, which is often tedious, mundane, and just plain boring. She makes such humdrum things into wonderful arts.

There is an interesting story regarding the origin of her name: "Tabaimo" is a nickname endowed by the friends of her sisters (she is the middle of three sisters). "Taba" is a short of "Tabata," which is her family name, and "imo" means "younger sister." So she uses a nickname of tender years as artist name, which is a kind of unusual in the world of art, but it surely gave her some merit because that childlike name is very easy to remember in Japanese, regarding its pronounciation. Moreover, she gave one more twist: the selection of kanji characters. That is, she applied the unusual kanji characters to artist name. She choose "束" [bundle] for "taba," and "芋" [potato] for "imo." This selection is also childlike, and it even gives an impression of somewhat unrefined or unsophiscated, but that was probably her intention.

She is now preparing the artwork for Hikashu. Let's look forward the finished piece.

"Hatsuimo," the first film document of her work, made in 2001.

Recent exhibition held at an American gallery

New album will be out in April 2012

2012-01-01T23:11:00.003+09:00

The release date of Hikashu's upcoming album, tentatively titled "Uragoe," is now set on April 8, 2012. Uragoe means "falsetto" in Japanese.

The album was recorded at EastSide Studio NYC in May, 2011. It contains, at least, four compositions plus collective improvisation.

Some of the tunes are already performed live regularly. "Uragoe," the title track, is a mid-tempo song features Makigami's adventurous vocals. "Fude o fure, Kanata-kun" [Wave the Brush, Kanata-kun] is a fast and fierce tune, and contains an extended interlude jam in 4/4. "Yuugata No Iesu" [The Affirmation of Evening] is also a long, dynamic tune with an impressive, dreamlike introduction played by Shimizu Kazuto. And "Umaretate No Hana" [A Newly Born Flower] is a solemn ballad.

All the tunes are written during their NYC stay in last May, so everything is new. As far as we could tell, all the previewed songs are just great music with interesting lyrics, as always.

In short, the material is unlike of their previous efforts, but the Hikashu-ness is still intact and well-preserved. All we could do is to support the unique, veteran band which daringly continues to seek new directions after 30+ years of its existence. Hurrah for Hikashu!

Related Entry:
Tabaimo the Artist

Shakuhachi

2011-12-29T17:26:00.026+09:00

While Sakaide Masami observing, Makigami Koichi played Shakuhachi in the Hikashu concert at National Drama Theatre, Golno-Altaysk, on October 1, 2011.

This year, Makigami Koichi got a new bag to play with. It's Shakuhachi, a traditional vertical bamboo flute of Japan. Along with Shamisen and Koto, it is one of the most popular instruments for Hougaku, the generic term of traditional Japanese music. A wikipedia entry of Shakuhachi is here.

Shakuhachi has a long history. Some says its root could be traced back in 6th century. Legend has it that even Prince Umayado, a very famous Japanese politician from 6th century (wikipedia), played that one.

Shakuhachi also has an image closely connected with calmness, serenity, and tranquility. This is mostly because it has been traditionally played by Komuso (wikipedia), a school of Zen buddhist monk.

Shakuhachi is also widely used for contemporary music, in Japanese and western forms, especially classic and jazz.

Takemitsu Toru - Eclipse (1966), a composition for shakuhachi and biwa.

Yamamoto Hozan played Dave Brubeck's "Take Five." Yamamoto, living National Treasure appointed by Japanese Government, is one of the representative contemporary player of the instrument. He has also been very positive playing jazz, and has recorded with musicians like Helen Merill, Tony Scott, and Gary Peacock.

Kitajima Saburo - Yosaku. An immensely popular tune of 1978 by the great balladeer. Shakuhachi is often used for popular music and this one is a nice example.

In early 2011, Makigami prepared for the performance in Tuva in March for cultural exchange event, and he thought it's nice opportunity to start playing Shakuhachi because it's a representative instrument of Japanese music.

But his choice is unordinary - he got a shakuhachi made in plastic. Normally, Shakuhachi is made from bamboo. It was just recent that plastic shakuhachi was introduced. Certainly it has some merit; fairly affordable, its sound is bright, and most of all, it boasts outstanding durability. Shakuhachi is not easy to maintain - in particularly, it's very easy to crack if air humidity is low. This fragility is often problematical, especially for playing the instrument outside Japan. One need not to worry about that with plastic shakuhachi.

There's another problem; That is, shakuhachi is notorious being very hard to play. But this didn't apply to Makigami; he has been practicing a flute for more than 20 years (although he has never played it in public), and that helped a lot. He succeeded to made a sound immediately when he played it for the first time - and it's something exceptional. He soon started to use it at concert and recording, and we expect to listen to his shakuhachi playing on the forthcoming album of Hikashu which will be released in spring of 2012.

Makigami Koichi performed a voice shakuhachi with Ondar Mongun-ool in Tuva, March 2011.

Hikashu - Kawatteru (1996)

2011-12-29T17:23:00.005+09:00

Hikashu - Kawatteru [Changing like Myxomycetes]

1. At the End of the 20th Century
2. Ningen No Kao [Human Faces]
3. Utaenai Uta [Unsingable Song]
4. Tengoku o Nozokitai [I Want to Grimpse the Heaven]
5. Teicho Na Omotenashi [Courteous Hospitality]
6. Pike
7. Mottainai Hanashi [A Waste of Inspiration]
8. Biro Biro
9. Chimera
10. Nihon No Egao [The Smiles of Japan and its 14 variations]

Hikashu:
Makigami Koichi - vocal, cornet, jaw's harp
Mita Freeman - guitar
Nomoto Kazuhiro - reeds, flute
Torsten Rusch - sampler, piano
Yoshimori Makoto - synthesizers, piano, hammond organ, accordion
Sakaide Masami - bass
Niida Kozo - drums, percussions

Okura Shonosuke - otsuzumi
Isso Yukihiro - nokan, dengakubue
Yagi Michiyo - koto

The Drummers:
Kajiwara Tetsuya, Kobayashi Masayuki, Suzuki Toshiyuki, Tomita Kyoko - drums

Nagata Sachiko - marimba, percussions
Hasebe Novko - chorus
Slovak Radio Symphony Orchestra Bratislava conducted by Robert Stankowsky

Recorded in September-November 1996

Released in December 1996
Remaster edition released on October 10, 2011

In 1996, Hikashu added two members, the drummer Niida Kozo and the keyboardist Yoshimori Makoto. So they became a septet. It is the biggest line-up in the history of the band, and "Kawatteru" is the one and only full album the band ever released.

"Kawatteru" is sort of the best album; it is a collection of new recordings of the songs selected from the band's entire catalogue. But all the arrangements is revised and some are so radically changed it succeeded to give a refresh impression on old songs.

For example, "At the End of the 20th Century" was recorded with five drummers playing simultaneously. This recording featured a group called "the Drummers," a percussion ensemble which Niida led at that time. Their participation gave the track thunderous effect.

"Ningen No Kao" features the instruments of Hogaku, the traditional Japanese music. This version was arranged by Makigami who intended to do "punk rock with traditional Japanese music feel." The result is a unique one indeed - you cannot hear the thing like this anywhere else.

"Nihon No Egao" has some delibarate variations of its theme composed by Torsten Rusch who also did the orchestration. This track was recorded in Slovakia - Mr. Rusch went to the country with the score and two ADAT recorders, managed to record the music with the orchestra in four hours, and returned to Tokyo. Then Makigami dubbed vocals.

Actually, the arrangement is pretty complicated and very hard to sing along. Of course Makigami nailed it but even he admitted it was difficult. Anyway it turned out to be a great reinterpretation of the composition which once seemed perfect and unchangeable. The whirling sounds coming out of orchestra is so thrilling.

The album's cover and artwork features the photos of myxomycetes. According to Makigami, myxomycetes and Hikashu has some resemblances in essence. Myxomycete could be categorized both animal and plant. It is a very strange being intrinsically - so is Hikashu.

The title's meaning - in Japanese, the word "Kawatteru" has two meanings: "strange; weird; peculiar" or "to change; to be transformed; to be metamorphosed." Makigami said both the meanings applied to the band, and the word was also appropriate for the album which is the re-recordings of the older tunes.

Certainly this album is so changing and so strange. But it's beautiful too. And, as usual, the remastering by Ono Seigen improved its sound a lot. A nice addition to your sound library. Grab while it's hot.

Available worldwide via HMV Japan. here

Related Entry:
Short Clip of "20th Century" (1996) a short PV from the album
What Happened in 1996 historical background of the album

What Happened in 1996

2011-12-29T17:16:00.013+09:00

The year of 1996 looks prolific for Hikashu. There were three releases of the group related; "Retroactive" in August, "1978" in November, and "Kawatteru" in December. And one thing to be pointed out - all those releases were from Toshiba-EMI, one of the biggest labels in Japan, and the company which signed the band for their first record contract, back in 1979.

The contract expired in 1983, upon the release of a single "Watashi Wa Baka Ni Naritari" [I Want to Be Like a Fool]. In 1998, Makigami Koichi produced a tribute album of Kraftwerk for the label, and it included two tracks of Hikashu, but it was a one-shot deal.

In October 2011, the remaster edition of "Kawatteru" was issued and it included a note written by Makigami. It revealed some interesting facts so we would like to paraphrase it here for you. By the way, the note's title is "Why we had to re-record our old songs in late 1996 - What we really wanted to do at that time was to record a new album, and actually we tried to do that but didn't succeed."

In spring 1996, an A&R man from Toshiba-EMI approached the band. He had an idea - releasing a remix album of early Hikashu recordings by up-and-coming techno artists.

At that time, the band had no record contract. Their last release then was "Acchi No Me Kocchi No Me" [Dazzling Eyes] in 1993. In the meantime, they performed regularly and wrote new songs. In beginning of 1996, the band spent some time at studio and tried to make some demos for an album, with no particular label for release in mind.

So there was no contractual obstacle for that remix thing. At first, Makigami was dubious. To him, the whole idea just sounded not worthwhile. But he finally agreed and consented to access the original multi-track master by the remixers. He was still reluctant, but thought that it might attact new audience from younger generations. Also, there was a tacit understanding between them - if it turned out good, a new album might be recorded and released from the label.

Around that time, Makigami was preparing to release their famous demo tape from 1978 for themselves, but Toshiba-EMI undertook the title as a publisher. Then, releasing a best album was proposed. Makigami was hesitated to that idea, too. It just sounded silly to him, and his top priority was a new thing. But he agreed to do that in time. He dared to commit, hoped it to taking the band's turn for the better. There was a tacit understanding between them - if everything went good, a new album was to be recorded.

The remix album, entitled "Retroactive," released in August. It had nothing to do with the band, except being the original artist. All the Hikashu members did nothing on the album; selecting the artists for remix, supervising the sound and the artwork, all done by the record company.

"Retroactive," an ill-fated derivative

Makigami was not happy with the result. Actually, he disliked it and publicily said so. It was a understandable opinion because the album is just a remix for remix sake. Maybe good for the fans of the remix artists, but not for the original band's audience.

The following two releases were welcomed by the audience of the band, but that's it. Regarding the "Kawatteru" album, the band was so intent on making it but the commercial result was not satisfying. The A&R man looked unconvinced, the idea of recording new album fizzled out. And we had to wait another album from the band for ten years.

"I like being in band. Especially, I prefer band which plays a kind of music produced only by a close interaction between its members, to one-leader-and-the-rest thing." - Makigami Koichi, 2011

Related Entries:
Hikashu - 1978 (1996)
Hikashu - Kawatteru (1996)

The line-ups of Hikashu (Family Tree)

2011-12-29T17:01:00.010+09:00

Formed in 1978, Hikashu has some changes in its personnel during their 30+ years of existence.

The following is a chronologically listing of various line-ups of the band. This is not strictly accurate, and provide here only for referential purposes. The work is still in progress, and subject to be revised any time when needed. Hope this helps.

Please note: "Release" is not complete, selected titles only.

Hikashu #0 (Winter 1977 to Summer 1978) also later known as Pre-Hikashu

Personnel:
Yamashita Yasushi (synthesizer), Inoue Makoto (synthesizer), occasionally with 2-8? musicians on various ethnic instruments including Wakabayashi Tadahiro (sitar), Sakasegawa Seiji (tabla), and choirs

Release:
Pre-Hikashu (Transonic, 2004) a collection of live recordings in 1977-1978

Strictly speaking, this is the original Hikashu. The group played improvising ambient music, sometimes flavored with ethnic timbre. They had no leader, also the personnel and the instrumentation were always in flux (only Yamashita and Inoue were the permanent members). Dissolved after several performances in public, they had never been in recording studio, but some live recordings are survived and later issued. Pre-Hikashu is the name dubbed afterward for making a distinction of them from the -other- Hikashu. The partnership between Yamashita and Inoue still continues. Also, Wakabayashi and Sakasegawa has been active as musician and educator to this day.

Hikashu #1 (August 1978 to Fall 1980)

Personnel:
Makigami Koichi (vocal, bass, cornet), Mitama Masamichi (guitar), Yamashita Yasushi (synthesizer), Inoue Makoto (synthesizer), Tobe Satoshi (alto saxophone, guitar)

This is the first line-up of Hikashu as we all know. From the start, contrary to Pre-Hikashu, the group had a leader, Makigami Koichi. All the members were Makigami's friends. At first he gathered them to make a musical accompaniment for his underground theater troup, Ulysses. They worked together nicely and Makigami decided to form a band instead of theatre, and concentrate on music. Upon a suggestion of Yamashita, the band called themselves Hikashu. In 1978, they rented a small house in residential area of west Tokyo, lived together, started composing, experimentating, and recording various demo tapes which were later issued as the 1978 album. Their communal living continued almost a year.

Release:
Hikashu (Toshiba EMI, 1980)
Natsu [Summer] (Toshiba EMI, 1980)
1978 (Toshiba EMI, 1996)

Hikashu #2 (Fall 1980 to late 1981)

Personnel:
Makigami Koichi (vocal, bass, cornet), Mitama Masamichi (guitar), Yamashita Yasushi (synthesizer), Inoue Makoto (synthesizer), Tobe Satoshi (alto saxophone, guitar), Sensui Toshiro (drums)

There is a general impression that early Hikashu was a drumless group. But actually they employed several drummers at the first recording session for Toshiba-EMI in fall 1979, and started using a drummer for gigs in spring 1980.
Sensui Toshiro is a drummer, played for various new-wave bands including Halmens and 8 1/2, and he became the first regular drummer for Hikashu in autumn 1980. In late 1981, Tobe decided to quit the band, and retired from music.

Release:
Uwasa No Jinrui [The Human Being] (Toshiba EMI, 1981)

Hikashu #3 (early 1982 to late 1982)

Personnel:
Makigami Koichi (vocal, bass, cornet), Mitama Masamichi (guitar), Yamashita Yasushi (synthesizer), Inoue Makoto (synthesizer), Sensui Toshiro (drums)

Release:
Minzoku No Saiten [Festival of Nations] (Toshiba EMI, 1982) Makigami's first solo album

In early 1982, Makigami recorded the first solo album with Hikashu, plus some guests.

In late 1982, Sensui decided to quit the group. Since his departure, the band had been using various drummers (and saxophonists). This mobilization of the personnel continued for several years.

Hikashu #4 (December 1982 to February 1983)

Personnel:
Makigami Koichi (vocal, cornet), Mitama Masamichi (guitar), Yamashita Yasushi (synthesizer), Inoue Makoto (synthesizer), Sakaide Masami (bass)

Release:
Watashi Wa Baka Ni Naritai (Toshiba EMI, 1983) single
Watashi No Tanoshimi [My Pleasure] (Balcony, 1984) music for fashion show

Sakaide Masami, a young session musician, joined the group in December 1982. So Makigami no longer had to play bass and concentrate on vocal and cornet.

In Februrary 1983, Yamashita parted with the group and decided to pursue different direction of music. His partnership with Inoue continued under a new name, Inoyama Land.

Hikashu #5 (March 1983 to late 1984)

Personnel:
Makigami Koichi (vocal, cornet), Mitama Masamichi (guitar), Inoue Makoto (synthesizer), Sakaide Masami (bass)

Release:
Nihon No Egao [The Smiles of Japan] (Spinoza, 1983) maxi single
Mizu Ni Nagashite [Forget and Forgive] (Eggman, 1983)

Around this time, Inoue started solo activity called Godzilla Legend. It was a reinterpretation of the music from classic Japanese monster movies, and all the Hikashu members participated in it. The response for the project was enormous, and it spanned three albums and a video eventually.

Hikashu #6 (early 1985 to late 1988)

Personnel:
Makigami Koichi (vocal, cornet), Mitama Masamichi (guitar), Inoue Makoto (synthesizer), Sakaide Masami (bass), Nomoto Kazuhiro (reeds), Taniguchi Masaru (drums)

Release:
Soba De Yokereba (Balcony, 1985) instrumental music for a ballet troup
Ningen No Kao [Human Faces] (Crown, 1986)
Live (Puzzlin, 1988)

Nomoto and Taniguchi already took part in recording sessions of Hikashu circa late 1983. It could be interpreted that they officially joined the band in 1985, because "Soba De Yokereba," released in that year, they were credited as regular member.

Unfortunately, "Ningen No Kao" is the only full album by this line-up since Taniguchi suddenly passed away in 1988. It was a tremendous loss for the band. "Live," a selection from various live recordings in 1987-1988, was a release dedicated to his memories.

Hikashu #7 (early 1989 - late 1991)

Personnel:
Makigami Koichi (vocal, cornet), Mitama Masamichi / Mita Freeman (guitar), Inoue Makoto (synthesizer), Sakaide Masami (bass), Nomoto Kazuhiro (reeds), Tsuno Ken (drums), Otomo Yoshihide (turntables, 1990 only)

Release:
Teicho Na Omotenashi [Courteous Hospitality] (Vap, 1990)
Hanauta Hajime (Vap, 1991)

Tsuno, a young jazz drummer, joined the group. In 1990, Otomo came to play with the band through Nomoto, his old friend, and had been a regular member only during that year. Around 1991, Mitama Masamichi renamed himself as Mita Freeman.

Hikashu #8 (early 1992 - late 1995)

Personnel:
Makigami Koichi (vocal, cornet), Mita Freeman (guitar), Sakaide Masami (bass), Nomoto Kazuhiro (reeds), Tsuno Ken (drums), Torsten Rusch (keyboard)

Release:
Acchi No Me, Kocchi No Me [Dazzling Eyes] (Tokuma Communications, 1993)
Orguss 02 OST (Tokuma Communications, 1993) soundtrack for an animation series

Inoue, an original member, left the group. His replacement was Torsten Rusch from Germany.

Hikashu #9 (early 1996 - 2002)

Personnel:
Makigami Koichi (vocal, cornet), Mita Freeman (guitar), Sakaide Masami (bass), Nomoto Kazuhiro (reeds), Torsten Rusch (keyboard), Niida Kozo (drums), Yoshimori Makoto (keyboard)

Release:
Kawatteru (Toshiba EMI, 1996)
Carp and Gazpacho (Makigami, 2009) maxi single, overdubbed in 2009

Circa 1995, Tsuno left the group. Niida Kozo, a veteran rock drummer mainly known for his tenure with a popular rock band called RC Succession, and Yoshimori, a young keyboard player, became the regular members.

Shortly after leaving the group in 2002, Nomoto passed away by cancer. In the same year, Yoshimori left the band too.

Hikashu #10 (2003 - late 2004)

Personnel:
Makigami Koichi (vocal, cornet, theremin), Mita Freeman (guitar), Sakaide Masami (bass), Niida Kozo (drums), Shimizu Kazuto (keyboard, bass clarinet), Sato Masaharu (percussion)

Torsten Rusch decided to go back to Germany, then Makigami recruited Shimizu and Sato. They were veteran musicians, mainly known for their activities in progressive rock and improvised music scene. So, for a while the group had two percussionists. Then Niida left the group in late 2004.

Around this time Makigami started playing a theremin in public, after several years of preparation.

Hikashu #11 (early 2005 -)

Personnel:
Makigami Koichi (vocal, cornet, theremin), Mita Freeman (guitar), Sakaide Masami (bass), Shimizu Kazuto (keyboard, bass clarinet), Sato Masaharu (drums)

Release:
Ten Ten (Makigami, 2006)
Ikirukoto (Makigami, 2008)
Ten Ten Ten (Makigami, 2009)

This is the current line-up of Hikashu. The history continues.

Charan-Po-Rantan

2011-12-28T09:33:00.002+09:00

Charan-Po-Rantan is a sisters duo, consists of an accordionist and a singer, formed in July 2009. They performed at the Hikashu's Tokyo concert on December 25, 2011.

Koharu, the older sister, was interested in accordion at the tender age of 7. Soon she got a one for herself and started to play. Since then, as a proficient musician, she has got many awards. For example, she was chosen as the best Japanese player of the year at Roland's v-accordion contest in 2009. Shortly thereafter, she teamed up with her younger sister, Momo, to form a duo and billed themselves Charan-Po-Rantan.

Now they have been active as a live unit mainly in Tokyo area. In August 2010, Charan-Po-Rantan released their first album "Tada Soredake," recorded with a brass group called CanCan Balcan. The album is available worldwide via HMV Japan - see here.

Charan-Po-Rantan Official Site (Japanese)

Charan-Po-Rantan with Cancan Balkan - "Mustafa" A cover of a traditional Egyptian folk song called "Ya Mustapha." Japanese singer Sakamoto Kyu made this song a hit in 1961.

Charan-Po-Rantan - "Hymne à l'amour" on April 24, 2011 Yokohama.

Kyushu tour 2012 announced

2011-12-05T09:59:00.005+09:00

It just announced that Hikashu will do a Kyushu (wikipedia) tour in January next year.

The dates are:

January 27 - AT Hall, Oita
January 28 - Space Terra, Fukuoka
January 29 - Voodoo Lounge, Fukuoka
January 30 - CIB, Kumamoto

January 27, 2012
AT Hall
@ Oita
other acts: Akashi Momoka and others
open 19:00 start 19:30
adv 3,000 yen - at door 3,500 yen
(one drink order minimum)

AT Hall, Oita

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January 28, 2012
Space Terra
@ Fukuoka
start 19:00
adv 3,000 yen - at door 3,500 yen
(one drink order minimum)
ticket now avilable via Ticket Pia

Space Terra, Fukuoka

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January 29, 2012
Voodoo Lounge
@ Fukuoka
other acts: nontroppo, Kurachi Fumio, Adachi Sendensha, Denshi Takuan
open 18:30 - start 19:00
adv 3,000 yen
(one drink order minimum)
for inquiries, mail at yokotin_b@hotmail.com (in Japanese)

VooDoo Lounge, Fukuoka

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January 30, 2012
Restaurant Bar CIB
@ Kumamoto
opening act: the Fruits
adv 3,000 yen - at door 3,500 yen
(one drink order minimum)
for inquiries, mail at coomodirdo@ybb.ne.jp (in Japanese)

Restaurant Bar CIB, Kumamoto

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The 45 minutes restrained exhilaration - Makigami Koichi interpretation of Christian Marclay's Manga Scroll

2011-12-04T21:24:00.004+09:00

Christian Marclay's Manga Scroll
interpreted by Makigami Koichi
October 22, 2011
@ BankART studio NYK
Yokohama

The place was packed. A corner of the ground floor, a huge warehouse at seaside in Yokohama. It was like a spacious gallery, but the ceiling was exceptionally high, and there was no art piece hanging on the wall.

There were about 50 people sitting on chair, and they was surrounded by more people standing. Everybody was gazing a man at the bottom of the space. The man was Makigami Koichi, dressed in all black, making various non-verbal noises out from his vocal apparatus, while watching a wide paper in front of him. And everybody was silent and watching the man anxiously, including the author, Christian Marclay himself, who sat in the first row.

It was a premiere performance of Marclay's grandiose piece called "Manga Scroll" in Japan. Manga Scroll is a collage work. The author choose many onomatopoeia in comics, all from translations of Japanese comics, then placed them on a scroll which is 18 meters (60 feet) long. For public performance, a vocalist is to recite onomatopoeia watching on "the score," while two assistants are to roll up the scroll.

For the Japanese premiere, Makigami Koichi was chosen as a performer. It was taken as a matter of course. For such an important task, undoubtedly, he is one of the best persons around. Besides being a world-class vocal performer himself, he started a singing career professionally as a lead vocalist of a band called Hikashu, and the band's early repertoire included songs having onomatopoeia as its title, namely "Puyo Puyo" and "Doro Doro." Such conduct is pretty unusual, even for Japanese, and he has been singing them for over thirty years.

The event itself formed part of a big art event called Yokohama Art Triennale, and the demand was high. The numbered ticket for entrance started passing out a few hours before the event. People made a waiting line before then, and the tickets were quickly gone.

Apparently there was overwhelming demand, and the staff had to deal with the problem. And their action was pretty appropriate; They changed the policy to admission free.

So the place was congested. Everybody was quiet, but there was heated atmosphere.

It was a quite challenge, even for Makigami. He had to see the score while performing. His solo performance is usually based on improvisation, and the piece was exceptionally long, and written in English.

Eventually, the performance continued for 45 minutes. Many performers did the piece in the past, but most of them did it for about 15 minutes. Makigami's performance is one of the longest - probably only second to Phil Minton, who did it for an hour.

When Makigami finished it, there was a huge applause.

Fter the performance, the audience was allowed to see the piece in close, while the assistants rolling back it, and the people quickly flocked around it. It was like a graphic score. The characters were pretty decorated, and partly patterned. There were parts more than one stream of words. Although the piece was a reproduction, prepared for public performance, it showed clearly what it was like.

Shortly after the performance, Makigami and Marclay were interviewed with journalists on the spot. Marclay was apparently glad - his response seemed positive. The people stayed there for long time, conversing what they just experienced, while seeing the piece. And that's how it ended. It was truly the event of a lifetime.

Now an exhibition of the Marclay's works being held at Gallery Konayagi of Ginza. You can see "Manga Scroll," the real one, for yourself there.

"Christian Marclay: Scrolls"
October 25 - December 22, 2011
@ Gallery Koyanagi
Ginza, Tokyo
12:00-19:00
Note: closed on Mondays, Sundays, and national holidays
Gallery Koyanagi website (in English and Japanese)

Gallery Koyanagi, Ginza

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There is an article about the event. It was in Japanese but you can see some photos of the event. here.

The Intense Christmas Legend

2011-11-18T19:00:00.005+09:00

"Godzilla, Radioactivity, Hikashu ... The Intense Christmas Legend"
December 25, 2011 (Sunday)
@ Daikanyama UNIT
Tokyo
open 17:00 - start 18:00
adv 4,000 yen
Ticket be available on November 19, 2011
via Ticket Pia (154-397), Ticket Lawson (78667), e+, Gamban
For inquiries, call SMASH at 03-3444-6751 SMASH website

Appearance:

Hikashu with Inoue Makoto
Makigami Koichi (vocal, theremin, cornet), Mita Freeman (guitar, vocal), Sakaide Masami (bass), Shimizu Kazuto (piano, bass-clarinet), Sato Masaharu (drums), Inoue Makoto (synthesizer)

Godzilla Legend
Inoue Makoto (synthesizer), Makigami Koichi (vocal), Mita Freeman (guitar), Sakaide Masami (bass), Shimizu Kazuto (piano), Sato Masaharu (drums), Fuwa Daisuke (bass), Yoshigaki Yasuhiro (drums), Tatsumi Mitsuhide (trumpet), Yoshida Ryuichi (baritone saxophone), Koharu (accordion, vocal), Momo (vocal)

Special Session
Yoshigaki Yasuhiro [Vincent Atomics, Orquesta Nudge! Nudge!, ROVO etc.) wikipedia
Fuwa Daisuke [Shibusashirazu Orchestra] wikipedia
Mukai Shutoku [Zazen Boys] wikipedia
Tabu Zombie [Soil & "Pimp" Sessions] wikipedia

Charan-Po-Rantan
Koharu (accordion, vocal), Momo (vocal)

Semba Yuki

Since 2008, the year-end concert with guest artists has been an annual event for Hikashu, and as always, this year the roster is pretty impressive. Hikashu will be augmented with Inoue Makoto, an original member. Godzilla Legend, led by Inoue, will be also an extended line-up, with female choruses and all. Special Session with the members from the internationally-known bands is the first time performance, and it'll probably never be united again, an only-for-this-time formation. Charan-Po-Rantan is a bright singer-accodionist unit by real sisters, and Semba Yuki is that lady, graced the front cover of the "Hanauta Hajime" album.

Without a doubt, this will be an incredible night. The ticket will be on sale tomorrow. Be sure not to miss!

Daikanyama UNIT, Tokyo

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Currents: Winter 2011

2011-11-03T12:35:00.018+09:00

Here's some updates about Hikashu.

The November Concert in Kichijoji: On November 15, Hikashu will perform at Star Pine's Cafe in Kichijoji, Tokyo. Although the band did a few gigs in October, it will be the first full-set concert since the Russia Siberia tour. So naturally we can expect their reminiscences about the tour, plus some tunes from the forthcoming album. A must-see for any fans.

November 15, 2011
"Hikashu's Autumn, 2011"
@ Star Pine's Cafe
Kichijoji, Tokyo
adv 3,600 yen - at door 4,000 yen
(one drink order minimum)
Ticket now available via eplus or SPC office

Star Pine's Cafe

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The Reissue Project Continues: This winter it is planned that three albums of Hikashu from 1990s get reissued.

"Kawatteru," a 1996 effort, has already released on October 10 and available now. It is the sort of the best album - the band picked up some tunes from their repertoire, got them rearranged and rerecorded.

Maybe it sounds horrible, but do not misunderstand. It's not a hacked job, like ones done only for an A&R man's favor. The album is not like that at all. Yes, it's a commissioned work from the record company, but Hikashu gave remarkable treatment for their older songs. You'll be surprised that the familiar tunes of the band are radically, and successfully, changed. It's also an important work for being the sole full album by the late 1990s formation of the band, so-called "the Niida-Yoshimori period." And even the cover artwork is redone for the reissue. Get while it's hot. Available worldwide via HMV Japan here.

The other two albums, "Teicho Na Omotenashi" (1990), and "Hanauta Hajime" (1991) will be released on December 1, 2011. HMV Japan already lists them too. See here and here.

And the New One: Then you might ask, "what about the new one?" Yes, we have announced here some months ago that the new album is near. We are sorry to say that, to begin from the conclusion, we cannot say anything concrete about it at this stage. We don't know any release plan or which songs will be in it. No information except "it will be out soon."

The recording for the album is completed. They have spent some time in studio since last summer, and in March this year, they recorded some tunes (and improvisations) at EastSide Sound Studio of New York City with Marc Urselli, the Grammy-awarded engineer, and the session for the new album is finished with that. Now they have enough recorded material to fill an album. So we assume that they are being in the process of selecting material.

The band knows we're anxiously awaiting and they're working on it. Give them some more time and see what happens. It will be surely great one.

The Christmas Concert: The year's end concert, a regular annual event of the band, is planned for this year and just officially announced. It will be held at Daikanyama UNIT in Tokyo on December 25, 2011. The precendent concerts were all featured some guest artists and the same goes for this year. And lots of them, including the extended Inoue Makoto's Godzilla Legend Ensemble, with female vocalist and all. This will be definitely an once for all event so be sure not to miss it. More on this later.

The Kyushu Tour 2012: It's likely that the band will tour the Kyushu Islands in January next year. Right now only two dates are informed - January 28 and 29 in Fukuoka, the largest city of the islands. The venue is unknown and maybe some more dates will be added. We'll let you know when more info is available so stay tuned.

The Living Room Trio Danish Tour with Makigami Koichi

2011-10-31T21:30:00.002+09:00

Starting this week, the Living Room Trio, a Nordic jazz unit, will tour in Denmark and they invited Makigami Koichi for the tour.

The dates are:

November 1 - Odense
November 2 - Århus
November 3 - Wundergrund Festival, Copenhagen
November 4 - Makigami's voice workshop at Rytmisk Musikkonservatorium, Copenhagen

Note: some sources says that November 1 is Århus and November 2 is Odense. Be sure to check beforehand.

The Living Room Trio was formed by three Nordic musicians in 2009. The members are:

Torben Snekkestad - saxophone
Thomas Strønen - drums
Søren Kjærgaard - keyboard

Makigami has already played with the trio in Norway so this tour is a sort of reunion for them.

This time it will also be held a voice workshop of Makigami at a music school in Copenhagen, called Rytmisk Musikkonservatorium (Rhythmic Music Conservatory). It is a rare opportunity for European students so check it out. The institute's site is here (Danish, English).

Regarding the tour, refer to the following quote from the Wundergrund site:

The Living Room moves in playful shuttle between superior improvisational abilities and lyrical tonal experimenting. The trio consists of three of the most highly profiled musicians, pianist Søren Kjærgaard, drummer Thomas Strønen and saxophonist Torben Snekkestad, and tonight they are extraordinarily visited by none less than Japanese vocal artist Koichi Makigami. Makigami has worked with John Zorn, Ikue Mori, Otomo Yoshihide and David Moss, and is known for his abnormal, vocal span combining age-old Japanese throat-singing techniques with experimental improvisational patterns. There will also be an album-release of the debut album from The Living Room, published at ILK.

Wundergrund Festival (English)
The Living Room Trio Official Site (English)
The Living Room Trio MySpace

Christian Marclay's "Manga Scroll" Japan Premiere

2011-10-19T20:21:00.007+09:00

This weekend, a Christian Marclay's piece, entitled "Manga Scroll," will be performed in Yokohama. It is to be held as a part of the Yokohama Triennale and this is the premiere performance of the piece in Japan.

The work requires a vocalist, and the one whom chosen is no other than Makigami Koichi.

The concept of the work is that the performer is to express oneself with voice while reading various words in the score, which is a long scroll with graphical onomatopoeias.

Christian Marclay's "Manga Scroll"
performed by Makigami Koichi on voice
October 22, 2011
at Bank Art mini
Yokohama
open 18:20, start 18:40
attendance: 50 people only
Note: The numbered ticket for entrance is to be issued on 16:00 at the venue. To obtain the ticket, you have to show a ticket of Yokohama Triennale 2010.

For the venue and access information, see the official site of the Triennale.

Yokohama Triennale 2011 official site (in English)

See the following clips to get what it's actually like.

We all know this kind of thing is Makigami's field of expertise indeed.

One more thing: Wallpaper, a UK's art magazine, will feature a lengthy article about Marclay in current issue and Makigami contributed it, along with the people like David Moss, Phil Minton, and Shierry Hirsch.

Wallpaper Magazine

The Russian Siberia Tour Completed

2011-10-19T19:51:00.004+09:00

The Russian Siberia tour successfully finished.

Except for Makigami, all the members visited the country for the first time. They are utterly impressed with the people and the country, and hope to revisit there in the near future.

Alexey Aygi - special guest of the Moscow concert

2011-09-22T02:58:00.001+09:00

Alexey Aygi is a violinist and a composer based in Moscow. He's known to be a member of a musical group called Ensemble 4'33 and wrote a lot of film music.
He was scheduled to play in Japan in mid March but it didn't happen for the reasons we all know.

His playing is so fierce and explosive as you could see it from the video clips as follows.

With him, the first Moscow concert of Hikashu will surely a great one.

Related Entries:
DOM in Moscow
The Russia-Siberia Tour

Jazz Byobu After Dark

2011-09-10T14:40:00.001+09:00

Club Jazz Byobu, "the smallest jazz venue in the world" operated only at Jazz Art Sengawa, are mainly placed outside during daytime. After the dusk comes, the byobu would be moved inside the Sengawa Theatre and opened for musicians.

The video quoted here is recorded on July 11, 2010 - the last day of the year's festival. The musicians, including Mita Freeman and Shimizu Kazuto from Hikashu, were jamming and amused themselves.

Club Jazz Byobu continues this year. Experience the intimacy with musicians, and nice acoustics of the space.

Related Entry:
Jazz Art Sengawa 2011

Shiraishi Kazuko - the Great Dame of Japanese Literature

2011-09-08T20:55:00.007+09:00

It has been known that Jazz Art Sengawa features literary figures in its program. The tradition continues this year: Jazz Art Sengawa 2011 has a reading of Shiraishi Kazuko.

Simply put, she is one of leading poet in Japan. Her work is renowned outside the country and many of her pieces are translated in English and other languages.

She is also known to be deeply connected in jazz. She wrote about the music many times and performed with jazz musicians in public.

Recently turned 80, she is alive and kicking. Her voice is strong, her presence is so huge, and her reading is eloquent and imaginative.

For those who are interested, there are biographies of her in English available online:

Kazuko Shiraishi - Poetry International Web

Kazuko Shiraishi — internationales literaturfestival berlin

There is an interesting article about herself and her connection with jazz in Japan Times:

POETRY'S LONE STAR Kazuko Shiraishi does it her way (Japan Times)

Don't miss the opportunity. Just come to Jazz Art Sengawa this friday and listen to Shiraishi Kazuko, the Great Dame of Japanese Literature.

Related Entry:
Jazz Art Sengawa 2011

Jazz Art Sengawa 2010 video digest

2011-09-08T06:35:00.004+09:00

The video clip of Jazz Art Sengawa 2010 is just surfaced.

The following is the listing of the people in the clip, in order of appearance:

Art Parade

Tanikawa Shuntaro (poetry) at Jazz Byobu

Tanikawa Shuntaro (poetry), Tanikawa Shunsaku (piano) plus Sasaki Mikio Voice Space

Haco (vocal, electronics), Sakamoto Hiromichi (cello), Arai Ryoji (live painting)

Nanao Tavito (vocal, guitar), Makigami Koichi (voice)

Fujiwara Kiyoto (bass), Komatsu Reiko (percussion)

Umezu Kazutoki (alto saxophone), Tanaka Min (butoh), Yamashita Yosuke (piano)

Right now there is only the video of day one uploaded. We'll post here if the clips of other days are available online.

Jazz Art Sengawa 2011 is coming this weekend. See here for information.

DOM in Moscow

2011-08-17T11:22:00.011+09:00

On September 23, Hikashu will perform at the DOM cultural center in Moscow, Russia.

There is already a notification of the event in the center's site:

http://www.dom.com.ru/event/2011/09/23/ (Russian)
http://www.dom.com.ru/eng/event/2011/09/23/ (English)

DOM was founded in May 1999. Its aim is to present performing arts, especially avant-garde and ethnic music.

In November 2000, Makigami Koichi performed there as a duo with a pianist Hojito Ryoji. It turned out quite a success, much-acclaimed performance. In 2002, the recording from the concert was released as an album called "Idu Tuda - Over That Way" by Long Arm, the recording company based in Moscow.

There is an article in English about the history of the center by a DOM's staff:

Official culture centers of parallel cultural activity

To the fans in Europe: How about considering to attend the DOM show? Moscow could be reached by about 4-hours flight from most major cities in Europe. It's uncertain when the band come to Europe next time and it's a nice chance to see them in action.

DOM Cultural Center
Bolshoi Ovchinnikovsky Pereulok, 24,
building 4
113184 Moscow
RUSSIA
Tel: 7 095 953 72 36
Fax: 7 095 953 72 42
E-mail: info@dom.com.ru
Site: www.dom.com.ru

DOM Cultural Center, Moscow

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The reissue project reconvenes

2011-08-16T03:15:00.012+09:00

Since the re-release of the remastered "Ningen No Kao" album last December, there has been no release from the band. And finally we'll see some, very interesting material.

The reissue project of Hikashu will reopen this fall and it's going to be a huge deal. Three albums have already been remastered and now waiting to be released.

In October, the "Kawatteru" will be reissued. Originally released in 1996, it's a sort of the best album, the popular tunes of the band were re-recorded with new arrangement, and some of them were drastically altered. It contains "Pike" "Ningen No Kao" "At the End of the 20th Century" "Teicho Na Omotenashi (Courteous Hospitality)", "Biro Biro" et al. It's notable that it comes with a booklet containing English translation of the lyrics.

The other two titles are also to be out later this year.

"Hanauta Hajime" is the album originally released in 1991 and features the original version of the ever-popular track, "Biro Biro." It's very jazzy album, and filled with ungrounded, impenetrable happiness. Pastoral. Or some might feel it's euphoric. Anyway, this is their representative piece of work in 1990s, so you have to get a copy.

"Teicho Na Omotenashi" is the 1990 effort and it opens with a 5-minutes totally improvisational piece of music called "Kashiwade" (The Clap). The title track is a very tight, immaculately constructive funk tune, penned by Mitama Masamichi. An album cut "Chimera" set the album's tone - dark, serious and monotonous, in a good sense. Also "Daikoukai" (The Grand Voyage), written by Inoue Makoto, is outstanding - its grandiosity only rivals to "Nihon No Egao," the other masterpiece of Mr. Inoue.

Of course, all the titles are remastered by Ono Seigen under the supervision of the members and come with a cardboard paper sleeve.

Those 1990s albums are hard to find for a while and it's advisable to get them as soon as possible. In fact, some recent reissues are now scarce and not available, especially the "Hikashu Super" album (Fortunately, the album is going to be pressed again but it takes some time.) So get them while supplies last.

The Russia-Siberia Tour

2011-08-15T19:06:00.013+09:00

It's official. Hikashu just announced that they set to embark on a Siberia tour at the end of this summer. The dates are:

September 23 - DOM, Moscow (guest: Alexey Aygi on violin)
September 27 - Kyzyl, Tuva (guest: the Masters of Khoomei)
September 30 - Altai (with Bolot Bairyshev)
October 1 - The National Drama Theatre, Gorno-Altaisk, Altai (with Bolot Bairyshev)
October 3 - a camping site near Gorno-Altaisk, Altai (the band will perform at a cultural event as guest)
October 4 - Club Agarta, Balnaul (with Bolot Bairyshev) venue info
October 5 - Club Tass, Novosibirsk (with Bolot Bairyshev) venue info

(note: the tour info updated on September 14)

This is the first time to be in Russia for the band. Makigami has been visiting the Siberia region every year since early 1990s, but the band themselves have never been in the country.

It's also the first time for the band to play with throat-singers. Especially a gig with Bolot Bairyshev is notable. He has been a frequent collaborator with Makigami and Sato for years, and throughly interesting to see him perform with the band. It's gonna be a majestic show.

Take the opportunity and experience the band!

Related Entry:
DOM in Moscow

Jazz Art Sengawa 2011

2011-07-09T08:06:00.023+09:00

The 4th Jazz Art Sengawa, simply the best Jazz and Improvising Music event for the advanced minded in Japan, will be held on September 9-11 in Chofu, Tokyo. The producers are Makigami Koichi, Fujiwara Kiyoto and Sakamoto Hiromichi.

The festival will take place at the three venues in Sengawa: Sengawa Theatre, Kick Back Cafe and Jenny's Kitchen.

The ticket plan is much simpler this year. You buy tickets for each day and it's valid for all the venue, all the program (there are some exceptions - see notes below)

The line-up, which shown below, is a killer.

September 9, Friday

@ Sengawa Theatre

17:20-
Art Parade

18:00-18:30
Opening Ceremony

19:00-19:40
Shiraishi Kazuko (poetry reading), Ino Nobuyoshi (bass), Makigami Koichi (theremin)

20:30-21:20
Hosoe Hidenori (photo screening), Fujiwara Kiyoto (bass), Umezu Kazutoki (reeds), Yoshida Ryuichi (baritone saxophone), Ono Yoshito (butoh)

@ Kick Back Cafe

19:30-21:30
Sato Masaharu and his friends - Jazz Art Special
Sato Masaharu (drums, voice, guitar), Ota Keisuke (violin, voice), Kido Natsuki (guitar), Kira Tomohiko (guitar), Sakaide Masami (bass), Yanagiya Koharu (shamisen, vocal), Izumi Kunihiro (alto saxophone)

September 10, Saturday

@ Sengawa Theatre

11:00-11:40
Voice Play for Children
Hachiya Maki (voice), Rocket Matsu (keyboard), Ishikawa Koji (percussion)

12:30-13:10
Hihokan
Saito Ryo (drums), Kouketsu Masayo (alto saxophone), Suga Dairo (piano), Sato Erika (bass), Atami Houko (secrecy)

14:00-14:40
Kaze
Christian Pruvost (trumpet), Tamura Natsuki (trumpet), Fujii Satoko (piano), Peter Orins (drums)

15:30-17:00
Free Improvising Open Session moderated by the producers #1

17:40-18:20
Fujiwara Kiyoto Jump Monk Bass Band Special (Jump Monk BBS)
Fujiwara Kiyoto (bass), Kuriyama Yuuki (trumpet), Miyaki Kensuke (baritone saxophone), Hirose Mariko (guitar), Ito Kazuki (guitar), Matuyama Osamu (drums), Endo Osamu (bass), Kakimoto Ronri (bass), Suzuki Hajime (bass), Kato Hisashi (bass)

19:10-19:50
Sakai Shun (vocal), Ishibashi Eiko (vocal, piano), Yamamoto Tatsuhisa (drums), Sakamoto Hiromichi (cello)

20:30-21:10
Hikashu with Fujiwara Daisuke
Makigami Koichi (vocal, theremin, cornet), Mita Freeman (guitar, vocal), Sakaide Masami (bass), Shimizu Kazuto (piano, bass clarinet), Sato Masaharu (drums), Fujiwara Daisuke (tenor saxophone)

@ Kick Back Cafe

14:00-15:30　
Arai Ryoji (guitar, vocal), Moon Mama aka Pika (guitar, vocal, drums), Sakamoto Hiromichi (cello)

19:30-21:30
NON BAND - Hirosaki Unit
NON (bass, vocal), Ishida Hajime (guitar), Tsushima Shouta (percussion) with the guests: Tamagishi Rinnnosuke, Tamagaki Mitsuru, Sasaki Emi

@ Jenny's Kitchen

13:10-13:50　
Oncenth Trio
Kurita Taeko (piano), Iwami Keigo (bass), Ikezawa Ryusaku (drums)

14:50-15:30
Hachiya Maki (voice), Rocket Matsu (keyboard), Ishikawa Koji (percussion)

16:10-17:10
Soejima Teruto Jazz Art Talk Session "Japanese Free Jazz and the World"

18:20-19:00
Giovanni Di Domenico (piano), Takaoka Daisuke (tuba) duo

September 11, Sunday

@ Sengawa Theatre

11:00-11:45
Sunday Matinée Concert:
Sakamoto Hiromichi (cello)

12:30-14:00
Free Improvising Open Session moderated by the producers #2

15:00-15:40
Yagi Michiyo Double Trio
Yagi Michiyo (koto), Tanaka Noritaka (drums), Sugawa Takashi (bass, cello), Honda Tamaya (drums), Todd Nicholson (bass)

16:30-17:10
Sakata Akira (reeds, vocal), Jim O'Rourke (guitar), Pika (drums, voice), Takaoka Daisuke (tuba)

18:00-18:40
Sato Masahiko (piano), Ota Keisuke (violin, voice), Imabori Tsuneo (guitar), Makigami Koichi (voice, theremin)

20:00-21:30
John Zorn's Cobra "Sengawa Operation" Kanda Yoshiko Unit
Arima Sumihisa (computer), Ohishi Masanori (saxophone), Kanda Yoshiko (percussion), Kinowaki Dougen (flute), Sakamoto Hiromichi (cello), Sato Masahiko (piano), Shiba Tesu (pianica), Tanaka Yumiko (gidayu, shamisen), Nakamura Hitomi (hichiriki), Hashimoto Shinya (tuba), Fujiwara Kiyoto (bass), Matudaira Takashi (baritone saxophone), Honda Tamaya (drums), Makigami Koichi (prompter)

@ Jenny's Kitchen

14:10-14:50
Izumi Kunihiro (alto saxophone) solo

15:40-16:20　
Katayama Hiroaki (tenor saxophone), Fujikake Masataka (drums), Makigami Koichi (voice, theremin)

17:10-17:50
Sakamoto Hiromichi (cello), Kita Naoki (violin), Pearl Alexander (bass)

18:50-19:30
Sakata Akira (alto saxophone) solo

1 day Ticket:
4,000 yen for September 9
5,000 yen each for September 10 ~~and 11~~
The 1-day ticket applies for all program (except "Voice Play for Children" on September 11, which required 500 yen separately - Free admission for children under 5 years old. Free Improvising Open Session and Sunday Matinee Concert are admission free.). The prices here are for advance - plus 500 yen each at door.

Sep 7 update: 1 day ticket for September 11 (Sunday) is now sold out. You can still buy the ticket for each program of the day. Its price is 2,500 yen and available at the Sengawa Theatre office (open at 10:00 AM). The quantities are strictly limited (and each person can buy up to 2 tickets only), so come early.

Please note: you can't see the shows if you have just the 1-day ticket only! You need both a pass (issued for each day) and a numbered ticket (issued for each program).

To see the shows, follow the step:

1. Exchange your 1-day ticket with the day's pass at the Sengawa Theatre office. Don't hurry - You should get the pass if you have the day's ticket.

2. Get a numbered ticket for the program you'd like to see, at the venue of the program. If you want a good seat, be in a hurry - it's "first come, first served" basis.

3. Wait in a line at the venue. When your turn comes, show your pass and numbered ticket at the entrance.

The 1-day tickets are now available at Sengawa Theatre office. For details, call the office at 03-3300-0611 (Japanese Only)

Here's the manifest for this year's festival;

Get back the life!
That's the theme for the festival this year.
It's a core of improvisational performance;
Disappear when it's born,
and bore when it disappears;
It's a sense of magic.
Pump up the shrinked world.
Fill up the earth with the vitality.
The music is not to heal.
The music is not to help.
The music is not to deceive.
The music is not to be over.
The music is not to de defeated.
The music is to stir up the soul.
The soul of jazz refuses to be an economic slave.
The future is here.
Or try to pretend a prophet who says;
There comes a time generating electricity with music.

Makigami Koichi

Jazz Art Sengawa official site (in Japanese)

Sengawa Theatre

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Kick Back Cafe, Sengawa

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Jenny's Kitchen, Sengawa

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Related Entries:
Jazz Byobu After Dark
Jazz Art Sengawa 2010
Jazz Art Sengawa

An electro rendition of Puyo Puyo

2011-07-02T15:59:00.002+09:00

プヨプヨ by Les Rois Tourbillonnants

I just found that les Rois Tourbillonnants, a French electro unit, did a cover of Puyo Puyo.

Surprisingly, they sang it in Japanese. A nice effort.

Mori Ikue 'Kibyoshi' Japan Tour

2011-06-10T16:20:00.006+09:00

Next week, Makigami Koichi will participate in the Japan tour of Mori Ikue's "Kibyoshi" performance.

It's a mixed media presentation based on Kibyoshi, a genre of Japanese picture book produced from 1775 to the early 18th century (wikipedia).

About 20 years ago, John Zorn gave her a book regarding Kibyoshi and she was soon fascinated with it. She vaguely envisioned for making a piece of work about it some day. In 2000, she started making music and animation with computer. At first she used a Bali art for motif and gradually turned to her roots, Japanese Culture. "Kibyoshi" is the latest project she committed.

For "Kibyoshi" DVD, Mori created animation and laid the basic tracks for herself, then Makigami and Marc Nauseef overdubbed their parts.

In this tour, Mori and Makigami are the regular member, and there are some musicians participated as guest so the personel is different for each date.

The tour dates are:

June 15 - Oriental Hotel Chapel, Hiroshima
June 16 - Dainana Geijutsu Gekijo, Osaka
June 17 - Uplink Theatre, Shibuya, Tokyo
June 18 - Uplink Theatre, Shibuya, Tokyo
June 19 - Cinema Maebashi, Maebashi, Gunma
June 21 - Hinoki Charity Hall, Yugawara, Kanagawa
June 22 - Shimokitazawa Alley Hall, Shimokitazawa, Tokyo

The work and performance sound pretty interesting and it's surely a must-see.

June 15, 2011
@ Oriental Hotel Chapel
Hiroshima
personnel: Mori Ikue (animation, electronics), Makigami Koichi (narration, theremin, mouth harp), Yoshimi (percussions)
open 18:30 - start 19:00
adv 4,000 yen - at door 4,500 yen
call for reservation at 082-240-9463 (in Japanese) 11:00-20:00

Oriental Hotel, Hiroshima

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June 16, 2011
@ Dainana Geijutsu Gekijo
Osaka
personnel: Mori Ikue (animation, electronics), Makigami Koichi (narration, theremin, mouth harp), Yoshimi (percussions)
open 19:00 - start 19:30
adv 3,000 yen - at door 3,500 yen
Tickets now available at Ticket Pia

Dainana Geijutsu Gekijo, Osaka

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June 17, 2011
@ Uplink Theatre
Shibuya, Tokyo
personnel: Mori Ikue (animation, electronics), Makigami Koichi (narration, theremin, mouth harp), Uchihashi Kazuhisa (guitar, daxophone), Jim O'Rouke (guest)
open 19:00 - start 19:30
adv 2,500 yen - at door 3,000 yen

June 18, 2011
@ Uplink Theatre
Shibuya, Tokyo
personnel: Mori Ikue (animation, electronics), Makigami Koichi (narration, theremin, mouth harp), Uchihashi Kazuhisa (guitar, daxophone), Nakahara Masaya (guest)
open 18:30 - start 19:00
adv 2,500 yen - at door 3,000 yen

Uplink Theatre, Shibuya, Tokyo

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June 19, 2011
@ Cinema Maebashi
Maebashi, Gunma
personnel: Mori Ikue (animation, electronics), Makigami Koichi (narration, theremin, mouth harp), Uchihashi Kazuhisa (guitar, daxophone)
open 18:30 - start 19:00
adv 3,000 yen - at door 3,500 yen
call for reservation at 027-231-8000 (in Japanese)

Cinema Maebashi, Gunma

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June 21, 2011
@ Hinoki Charity Hall
Yugawara, Kanagawa
personnel: Mori Ikue (animation, electronics), Makigami Koichi (narration, theremin, mouth harp), Uchihashi Kazuhisa (guitar, daxophone), Motonaga Taku (shakuhachi), Kanda Yoshiko (percussion)
open 18:30 - start 19:00
adv 3,000 yen - at door 3,500 yen (student 1,000 yen)

Hinoki Charity Hall, Yugawara

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June 22, 2011
@ Shimokitazawa Alley Hall
Shimokitazawa, Tokyo
personnel: Mori Ikue (animation, electronics), Makigami Koichi (narration, theremin, mouth harp), Uchihashi Kazuhisa (guitar, daxophone), Motonaga Taku (shakuhachi), Kanda Yoshiko (percussion), Jim O'Rourke (synthesizer)
open 19:00 - start 19:30
adv 4,300 yen - at door 4,800 yen

Shimokitazawa Alley Hall, Tokyo

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note: Jim O'Rourke (June 17) and Nakahara Masaya (June 18) are talk session participants and will not perform.

Godzilla Legend 2009

2011-06-10T04:25:00.002+09:00

Tomoda Shingo, the drummer of the Godzilla Legend concert in this June, also uploaded a set of clips from the Godzilla Legend performance in 2009.

In some of the clips, the percussions are rather high in the mix. Maybe it has something to do with the fact that the event was originally planned for demonstrating Highleads, an electric drum kit which Tomoda designed.

Related entry:
The Godzilla Legend Concert in Kichijoji

The Godzilla Legend Concert in Kichijoji

2011-06-10T03:50:00.007+09:00

This month, Inoue Makoto will play a set of the repertoire that he loved most, the soundtrack from the early monster movies including Godzilla. It will be held as an attraction of the film festival called "Bakuon Film Festival."

The performance itself will be a 40 minutes set and then a screening of the first Godzilla movie follows.

Tomoda Shingo, the drummer, uploaded a video from a rehearsal for the concert. In it he played Highleads, a percussion kit which he designed.

In 2009, Inoue did a small gig of his Godzilla music for the first time in over 20 years. It wasn't much publicized and many fans didn't even notice it. It's unsure he will do it again near future, so don't miss the opportunity.

June 27, 2011
"Godzilla" with the Godzilla Legend Concert
Inoue Makoto (synthesizer)
Tomoda Shingo (Highleads electric drums)
Yoshida Tomomi and Bukimisha (choir)
@ Baus Theatre
Kichijoji, Tokyo
20:15 open - 20:30 start
adv 2,500 yen
Tickets now available via Ticket Pia

Kichijoji Baus Theatre

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Das Nasobem and Hi-Ai-Ai Island

2011-06-04T04:57:00.006+09:00

In the 2011 spring tour, Hikashu regularly played "Hi-Ai-Ai Island," an album cut from the 1988 "Ningen No Kao" album. The song was revived at their gig after a long absence.

The arrangement was basically the same with the live version found in "Hikashu History," but this time it preceded a recitation of a poem by Mita Freeman. The poem is "Das Nasobēm" by Christen Morgenstern (wikipedia). Mita read it in original German.

Das Nasobēm

Auf seinen Nasen schreitet
einher das Nasobēm,
von seinem Kind begleitet.

Es steht noch nicht im Brehm.
Es steht noch nicht im Meyer.
Und auch im Brockhaus nicht.

Es trat aus meiner Leyer
zum ersten Mal ans Licht.

Auf seinen Nasen schreitet
(wie schon gesagt) seitdem,
von seinem Kind begleitet,
einher das Nasobēm.

The Nasobame

Striding on its noses
there comes the Nasobame,
with its young in the tow.

It isn't yet in Brehm's
It isn't yet in Meyer's
And neither in Brockhaus'

It trotted out of my lyre
when it came first to light.

Striding on its noses
thereon (as I've said above),
there goes the nasobame.

The lyrics of the song, penned by Makigami, was based on a strange book called "Bau und Leben der Rhinogradentia" by Harald Stümpke (wikipedia). It's about Hana Aruki, an imaginary creature described in the book. "Hana Aruki" is the Japanese name, endowed by Hidaka Toshitaka, the renowned scientist and the translator of the book. In original German, it's called Nasobēm. In English, it's called Rhinogradentia (wikipedia).

The original notes on the album, uncredited but probably by makigami, explains the song as follows:

Based on a book called "Bau und Leben der Rhinogradentia" by H. Stümpke, the song is about the descriptions and the impressions of Rhinogradentia, a creature walking by its nose.

The island which completely browned out by an atomic bomb experiment and the study of Rhinogradentia make a mockery of the common sense vividly. Also pretty inspiring. A mysterious song.

The Japanese edition of the book was published in 1987 and soon recognized as a minor classic by the connoiseurs. Makigami, an avid reader, was quite impressed with the book and wrote a song based on it.

Hi-Ai-Ai Island
words - makigami, music - mitama

The amazing nostrils
The spur of life
The warmness of nature
Hana Aruki
Hi-Ai-Ai

The living nostrils
Morgenstern was surprised
and wrote a poem about it.
Hana Aruki
Hi-Ai-Ai
Hi-Ai-Ai

The island was full of noses.
I wanna know your nice secrets.
Tidings on noses
Hi-Ai-Ai
Hi-Ai-Ai
Hi-Ai-Ai

Hana Aruki in despair
A pointless experiment was executed,
Then everything sinked
and disappeared.
Hi-Ai-Ai
Hi-Ai-Ai
Hi-Ai-Ai

The poem Morgenstern wrote referred in the song is no other than "Das Nasobēm."

Related Entry:
Hikashu - Ningen No Kao (1988)

The 2011 Spring Tour

2011-05-26T16:53:00.003+09:00

This week, Hikashu will set off a four-cities tour. The band has just recorded some new materials in New York City, and we could expect some of them will be performed in this tour, for the first time in public.

The tour dates:

May 26 - Club Quattro, Nagoya
May 27 - Taku Taku, Kyoto
May 28 - Shinsai-Bashi Soma, Osaka
June 2 - Club Quattro, Tokyo

Shinohara Tomoe and Steve Eto, the guests for the NYC gig, will be back for the Tokyo concert on June 2, 2011.

Update: Time Out Japan recommends the Tokyo concert. The article is here. They says that "Hikashu really deserve to be a lot better known." Yes indeed.

May 26, 2011
@ Club Quattro
Nagoya
open 18:00 start 19:00
adv 4,000 yen (plus 500 yen for a drink)

Club Quattro, Nagoya

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May 27, 2011
@ Taku Taku
Kyoto
open 18:00 start 19:00
adv 4,000 yen (plus one drink charge at door)

Taku Taku, Kyoto

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May 28, 2011
@ Shinsai-Bashi SOMA
Osaka
open 18:00 start 19:00
adv 4,000 yen (plus one drink charge at door)

Shinsai Bashi SOMA

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June 2, 2011
@ Club Quattro
Tokyo
guest: Shinohara Tomoe, Steve Eto
open 18:00 start 19:00
adv 4,000 yen (plus one drink charge at door)

Club Quattro, Tokyo

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Photo Galleries - New York and Ottawa - May 2011

2011-05-26T16:27:00.004+09:00

Hikashu in New York City on May 13, 2011. The red-yellow badge in front of the theremin says, "Nuke Power? No Thanks."

Downtown Music Gallery (website), the record store for connoiseurs in Manhattan, has released a photo collection of the Hikashu concert in New York City on May 13, 2011. It's huge - over 300 photos.

The Photo Collection of Hikashu in New York City, May 13, 2011.

Also, A/B series (website), the organization presented an A Я concert in Ottawa, put some photos and video clips on line from the performance.

Makigami & Sato duo

Bairyshev & Makigami duo

Sato Masaharu solo

AR Concert in Ottawa - Photo Gallaries

TOKYO TAIGA concert in the A B Series, May 18 - a set on Flickr

Flickr: pesbo's stuff tagged with tokyotaiga

Video Trailer for AR's Canadian Tour

2011-05-18T11:06:00.009+09:00

A Я, "world music power trio" consisted of Makigami, Bolot Bairyshev and Sato Masaharu, is now visiting Canada. AB Series, the venue in Ottawa, prepared a video trailer for the concert.

The soundtrack is "Ano Sora" from "Tokyo Taiga" CD.

The tour date:

May 18 - AB Series, Ottawa website, blog
May 19 - Festival International de Musique Actuelle in Victoriaville, Québec website

Meet les trois messieurs and experience the otherworldly music from Asia!

Related article:
The AR Trio Goes To Canada
Makigami Koichi - Tokyo Taiga (2010)

Shizuoka Shimbun

2011-05-16T10:55:00.008+09:00

The today's morning edition of Shizuoka Shimbun (wikipedia), a daily newspaper, carries an article about Makigami Koichi, regarding throat singing and his activities in Tuva. The website of the paper has also the related videos of him as follows.

Makigami strumming a Typshool, string instrument from Tuva, and practicing throat singing.

From his latest visit in Tuva, a week after the earthquake. The first song is a cover of "Koi No Vacance" ("Vacances de l'Amour") by the Peanuts (wikipedia), the big hit of 1963. It's also a very popular tune in Russia.

The Peanuts singing "Koi No Vacance," NHK-TV, 1965.

A duo of Makigami and Onder Mongun-ool followed (the longer version is here), and "Sakura Sakura," the Japanese folk song (wikipedia), performed by Makigami, Yanagiya Koharu on shamisen, and Shika Udai on cello.

"Sakura Sakura" by Hibari Children Choir.

"Sakura Variation" for three kotos, one of the most popular interpretation of the song, arranged by Miyagi Michio (wikipedia), 1961.

The NYC gig was finished

2011-05-14T11:08:00.007+09:00

They played to sold-out crowd and the response was enthusiastic.

Unfortunately, that was the only US date but the Canadian tour of Makigami's group AR will soon follow.

The band will spend a few days in the city and plans to record some material for new album.

Tomorrow, at last!

2011-05-12T15:17:00.001+09:00

Hikashu & Tomoe Shinohara Live in Concert, NYC

(The live segments are from Jazz Art Sengawa and Fuji Rock, both in 2010)

Hikashu & Tomoe Shinohara in Concert at Japan Society

(All the band's photos are from 2010.)

Friday, May 13, 7:30 PM
at the Japan Society, New York City
http://www.japansociety.org/event_detail?eid=2204fc6b

Go see them and show your support!

Shinohara Tomoe & Steve Eto - the guests for the NYC gig

2011-05-12T14:43:00.001+09:00

There are special guests for the upcoming NYC gig - Shinohara Tomoe and Steve Eto. Though both they have a long career as performer, it is the first time they perform with Hikashu in public.

Shinohara Tomoe concert in 2010 with Steve Eto (in far right)

Shinohara Tomoe

Her profile is already mentioned on the Japan Society notification so here I'll write about her connection with Hikashu.

It was Ishino Takkyu, her producer, who turned her to Hikashu. A few years ago he found her not knowing the band and he strongly recommended that she surely love them. Indeed she did. (Ishino appeared in the video above, a guy with Devo's energy dome.)

Now she regularly attended their concert in Tokyo area and also befriended with the members. Then she was offered for the gig and graciously accepted.

Shinohara and the Hikashu members, after a concert in Shibuya, 2010.

Shinohara and Hikashu at rehearsal for the NYC gig, April 2011.

(Both photoes are from Shinohara's blog - note she wore the official Hikashu T-Shirt.)

Shinohara Tomoe Official Site (Japanese)

Steve Eto

A veteran percussionist and a member of Demi Semi Quaver, experimental rock combo with a distinctive vocalist Emi Ereonola. He's been very active as a session musician and a solo performer for years.

He's also an eminent improviser and you could see him improvising on the video follows.

Steve Eto with his percussionist brother, Leonard Eto

Steve Eto joined a Papaya Paranoia gig as a last-minute participant and improvised

Steve Eto Official Site (Japanese)
Steve Eto YouTube Channel - performance and travelogue

Deliberate video

2011-05-12T13:54:00.001+09:00

Makigami recently uploaded a video of Nyunen (Deliberate) on YouTube. It is the single version, released in 2007.

Actually, it was very old song, already performed at gigs in mid 1990s as far as back. Encouraged by positive feedback of the audiences, the band made several attempts to capture it in studio with different personnels. And finally, they completed it and released as single. It was also on their 2008 album called Ikirukoto with different take.

With its philosophical lyrics, manic rhythm and attactive hooks, the song has been played regularly at gigs for years and becomes a crowd-pleaser now.

The single is available worldwide via HMV Japan.

Related Entry:
Hikashu - Nyunen (2007)

Techno-pop (or not)

2011-05-10T09:17:00.013+09:00

Just recently the examiner.com (wikipedia) published an article about the upcoming NYC gig of Hikashu, and surprisingly, this humble blog got mentioned in it.

First of all, I just want to say thanks for the author. It gives the band more exposure in media, and regarding this blog, there are some people coming here via the article.

Here I would like to point out two things.

One correction: Hikashu made their US debut in 2005. In the year they performed at the Stone in New York City. Not this year.

And the other: I have some disagreement that Hikashu being labeled as "techno-pop." (Sorry for being so sensitive, but this is a fan blog after all.) Let me explain this.

Which bands do you associate with Japanese techno-pop? I'd say, P-Model, Polysics, and Yellow Magic Orchestra. Nope, I have nothing against them. Nor I don't want to alienate the fans of those bands, neither (In fact, many of them is also the hikashu's audience). I just think that putting the band with them in the seemingly rigid genre is no longer valid. Very broad term like J-Pop is okay, but techno-pop is not.

Why I'm taking the trouble to make such a remark? Here's the reason:

I've long held that they're out here, the latent audience for Hikashu, the undiscovered audience for them. I'm convinced there is a broader audience for their music, especially outside Japan. That's why I started this blog. I just wanted to fill the gap. And in my opinion, the possible audience is no longer in the so-called Techno-pop vicinity, and labelling them as "techno-pop" might alienate such people. I fear that.

Certainly, there was a period that Hikashu was commonly considered techno-pop and the band themselves accepted it. After all, they made a debut as a techno-pop act and became widely known as such. Having said that, I believe describing their current music is techno-pop is, again, somewhat misleading.

I don't intend to make a definition of "techno-pop" here. That's beyond my capability. Instead, I restrict myself to indicate some element of the style.

My understanding that techno music mainly uses pre-configured, steady rhythm.

Contrary to that, the rhythm of Hikashu's live performance changes all the time, extend and contract as the collective thinks fit, like a jazz ensemble. Interplay, improvisation and spontaneity are the main elements of their performance. And I doubt most of so-called techno-pop fan generally enjoy such kind of thing.

I hasten to add that it's not the problem right or wrong. It's just a matter of taste.

In my opinion, it is only the first few years that Hikashu could be described as techno-pop. After that, they mutated themselves something else. Or maybe, in the first place, they have never been as such.

Regarding Theremin, I don't think using that instrument means techno. It's the question how it is used. For example, listen to Makigami's solo album called "Moon Ether." It is an album only using his voice and theremin. And it's not techno, but very intimate, so humane music.

* * *

Sorry being so picky. Dismiss it as just another mumbo-jumbo if offended. I have to admit myself being such a fan.

So Hikashu is techno-pop, or not? I already expressed my answer here. How about you? Now it's your turn. Make a judgement for yourself, at the Japan Society. Go see them, and have fun!

Ticket now available for the NYC gig

2011-04-25T13:09:00.007+09:00

Japan Society just posted a promotional video for the forthcoming Hikashu concert on May 13.

Update: It turned out the clip was uploaded sans the band's approval and now suspended.

No complaint but I wonder why they choose very old material.

And they advertised the event as techno pop. It is somewhat misleading because there is not much so-called "techno pop" element for the band's performance.

But anyway, I'm sure something wonderful to happen. The band is in excellent shape and will do great. It is a rare opportunity for them to play outside of their country so do not let it pass.

Ticket is now available via the society. See the official website for the information.

Related Entry:
Hikashu in NYC May 2011

Makigami and Mongun-ool duo

2011-03-28T07:54:00.007+09:00

Makigami has uploaded a video of duo performance by Onder Mongun-ool and himself, recorded at Kyzyl Theater of Tuva in March 18 2011.

Mongun-ool is an outstanding performer of younger generation in Tuva. He won the Grand Prix in the 1992 International Throat Singing Competition at age 16. Having established himself as a solo artist, he is also a member of the Tuvan group called Chirgilchin. (wikipedia)

In 1998, Makigami produced a solo album of Mongun-ool entitled "Boidus Tolu - Khoomei Rainbow" which is available worldwide via HMV Japan. See here for the information.

Mongun-ool in New York

Regarding Makigami's recent visit to Tuva, there is an article in Russian. I provide a link to the original and google translation.

Related entry:
Building a cultural bridge between Tyva and Japan

The Cho-Kayou 2011 Spring Tour

2011-03-26T04:00:00.016+09:00

In April 2011, Makigami Koichi organizes a Japan tour of his Cho-kayou (super kayou) concert. It features the repertoire from his Japanese songbook albums, "Minzoku No Saiten" (1982) and "Koroshi No Blues" (1991), plus other things including jazz, klezmar, electro, tuvan throat singing, and collective improvisation.

His entourage for the tour is the musicians whom he has been played with and trusted for years - the members from Hikashu or his cho-kayou ensemble.

Cho-Kayou is the term that Makigami coined in early 1990s. It is his own interpretation of Kayou, which roughly means Japanese popular songs from 1920s-1980s (Actually, "Kayou" is not a genre - its scope is so wide and vague, and there is no exact definition for it). There is an article about Kayo (or kayo-kyoku) in wikipedia, here.

Originally, in April 2011, Makigami planned to do a Japan tour of Food, an electro jazz unit consisted of Thomas Strønen and Iain Ballamy, also Nils Petter Molvaer on trumpet, and the vocalist-organizer himself would join as guest. Unfortunately, the ongoing earthquake and nukes problems prevented them to come. But Makigami didn't want to give up the opportunity and felt the importance of making music at this difficult time. So he decided and promptly arranged a tour of his own instead.

In the past, Makigami seldom did his cho-kayou concert outside Tokyo (in early 1990s he did a cho-kayou concert in NYC but that's an exception). So do not miss it.

The dates and personnel are as follows;

April 11 - Shinjuku Pit-Inn, Tokyo*
April 13 - Club Quattro, Nagoya
April 14 - Rag, Kyoto
April 15 - Chicken George, Kobe
April 17 - Space Terra, Fukuoka
April 20 - Aoyama Cay, Tokyo*

* Tokyo dates might be cancelled if the condition is not suitable.

The personnel:
Makigami Koichi (vocal, cornet), Shika Udai (cello), Sato Masaharu (percussion) [all dates except Aoyama], Sato Yoshiaki (accordion) [Shinjuku, Nagoya, Kobe and Aoyama], Shimizu Kazuto (piano, bass clarinet) [Nagoya, Kobe and Aoyama], Hayashi Masaki (piano) [Shinjuku and Fukuoka], Yanagiya Koharu (shamisen) [Aoyama], Mita Freeman (guitar, vocal) [Aoyama]. Also Sakaide Masami (bass) on some dates.

Flyer of the tour. The PDF file can be obtained here.

April 11, 2011
@ Shinjuku Pit-Inn
Shinjuku, Tokyo
open 19:00 - start 20:00
adv 4,000 yen - at door 4,500 yen
official site (English)

Shinjuku Pit-Inn, Tokyo

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April 13
@ Club Quattro
Nagoya
open 18:00 - start 19:00
adv 4,000 yen - at door 4,500 yen
directions - official site (English)

Club Quattro, Nagoya

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April 14, 2011
@ Rag
Kyoto
open 18:00 - start 19:30
adv 4,000 yen - at door 4,500 yen
Rag official site (Japanese with English translation)

Kyoto Rag

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April 15, 2011
@Chicken George
Kobe
open 19:00 - start 20:00
adv 4,000 yen - at door 4,500 yen
Chicken George site (Japanese)

Chicken George, Kobe

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April 17, 2011
@ Space Terra
Fukuoka
open 17:00 - start 18:00
adv 3,000 yen - at door 3,500 yen
Space Terra (Japanese)

Space Terra, Fukuoka

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April 20, 2011
@ Aoyama Cay
Tokyo
open 18:00 - start 20:00
adv 4,000 yen
Spiral - Aoyama Cay (English)

Aoyama Cay, Tokyo

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John Zorn organized benefit concerts for Japan

2011-03-20T00:38:00.005+09:00

John Zorn, a prominent saxophonist, composer, record producer and collaborator of Hikashu, organized FIVE benefit concerts for Japan, in New York City.

March 27 @ Miller Theater - SOLD OUT

April 8 @ Abrons Arts Center (6:30pm, 9:30pm)

April 9 @ Japan Society (1pm, 6pm)

Its roster is truly incredible: Yoko Ono, Cibo Matto, Marc Ribot, Sonic Youth, Ikue Mori, Milford Graves, Lou Reed, Bill Laswell and much more.

See the complete lineup and more information at the John Zorn MySpace site. It is not directly operated by Zorn or any Tzadik personnel but under the permission from the party, and pretty informative about Zorn and his activities.

100% of the admission sales from this events will go to the Japan Earthquake Relief Fund.

We would like to express our foremost gratitude to Mr. Zorn.

Earthquake

2011-03-11T21:52:00.004+09:00

Today huge earthquake hit Japan. Makigami was in his home and said he's okay via twitter. He also said that he probably have to give up going to Tyva this weekend.

March 13, 2011
Fortunately, Makigami succeeded to catch a flight to Peking. He's now in Krasnoyarsk, and going to Tyva.

March 19, 2011
Having successfully completed all the performances in Tyva as scheduled, Makigami and his company are en route to Tokyo. Also, it is announced that the Shibuya gig on March 21 will take place accordingly.

Monsieur Delire on "Ten Ten Ten"

2011-03-08T16:41:00.005+09:00

Unbeknownst to me for quite some time that Monsieur Délire, the radio program of advanced music in Quebec, has reviewed "Ten Ten Ten" on last January.

Here's what they said:

This Japanese avant-rock group (experimental vocalist Koichi Makigami's main vehicle) has been around for a long time, and yet 2009's Tententen is my first foray into their discography. I'm favourably impressed. Hard to make comparisons, since this is less “extreme” than most of my Japanese references (Ground-Zero, Boredoms, Koenjihyakkei, Melt-Banana). Songs with creative and expressive arrangements, occasionally complex rhythms, jaw's harp gets a lot of spotlight time, and Koichi's vocals of course. Not striking (given the preceding references), but I do like Makigami's voice, and this is convincing enough to warrant a more thorough investigation.

Nice review. The band needs to be exposed in overseas media in order to have a proper appreciation outside Japan, so the opinion like theirs is precious and very encouraging. Hopefully more to come.

The original entry is here.

To the people of Ottawa and Victoriaville: On coming May, Makigami and his company will go to your place to perform. Just check out the article here.

An Evening of Japanese Music

2011-03-08T14:07:00.005+09:00

On March 21, Hikashu will appear at La Mama in Shibuya, Tokyo. The date is a triple bill program, and actually quite an interesting one, because the other two acts represent the musical tradition of Japan respectively.

Isso Yukihiro - Tsuboy Akihisa duo

Isso Yukihiro is a player of noh-kan, a sort of wind instrument. Noh-kan is used in Noh, a traditional play that has been performed since the 14th century (wikipedia). Isso was born in a family of long musical tradition in Noh and made his first public performance at age nine. Also he has been highly motivated and very active for exploring other fields, performed with musicians in various genres. For example, he has recorded an album with Peter Brötzmann, the free jazz giant from Germany.

For the Hikashu fans, he is known to be one of the guest musicians who took participated in "Kawatteru," the group's album released in 1996. In it, he played a radically rearranged version of "Ningen No Kao."

Isso Yukihiro official site (English)

Tsuboy Akihisa is an electric violin player, deeply rooted in western progressive rock of 1970s. Now mainly active in jazz field, he combines an electric violin with various effects and succeeded to establish a distinctive sound of his own. He is also a member of the Isso Yukihiro group.

Tsuboy Akihisa website (Japanese)

Oedo Sukeroku Taiko

Oedo Sukeroku Taiko is a Taiko (Japanese drum) ensemble formed in 1956. Their music was started as an accompaniment of Bon Odori - a traditional festive dancing in Summer, and later they established themselves an independent musical ensemble of high regard for themselves.

They have various formations, but for the event, it is a quartet, and all the four principle members get together for the date.

Oedo Sukeroku Taiko Official Site (English)
Facebook - Oedo Sukeroku Taiko (mainly Japanese)

March 21, 2011
Hikashu
@ La Mama
Shibuya, Tokyo
Supporting Acts: Oedo Sukeroku Taiko, Isso Yukihiro-Tsuboy Yoshihisa duo
open 18:30 - start 19:00
adv 2,500 yen - door 2,800 yen (one drink order minimum)
La Mama Official Site (Japanese)

La Mama, Shibuya

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Building a cultural bridge between Tyva and Japan

2011-03-07T15:25:00.004+09:00

Next week Makigami Koichi is going to perform at the Drama Theater in Kyzyl
of the Tyva Republic with the two other musicians from Japan, Isono Yoko (shamisen) and Shika Udai (cello).

Recently The Tyva-Japan Friendship Association "Kargyraa" is approved as an official organization from the Tyvan government. And there will be held a ceremony for celebrating the approval on March 16, then a commemorating concert on March 18. Makigami and his company are invited to the event.

The relationship between Makigami and the country is a long and deep one.

In 1994, he witnessed the performance of a Tyvan ensemble of throat singing for the first time. Profoundly impressed, he asked them for teaching the singing on the scene. Being fascinated the musical tradition of the country, he formed the Japan Tyva Khoomei Association in 1996 and started to produce the recording and concert tour of the Tyvan artists in Japan. Meantime, he has been visiting the country every year since mid nineties.

Now being one of the most famous Japanese in the country, Makigami is not only a musician but sort of an independent cultural ambassador for Japan. Simply put, it is a matter of course to say he is right person for the position. Besides his qualification as an artist, what he has been trying to do is to build a cultural bridge between both the countries.

And this time, he will fulfill the role once again - celebrating the musical culture of Tyva.

There is an article about the music of Tyva in wikipedia. See here.

One interesting gig in March

2011-02-20T08:45:00.006+09:00

On March 4, Hikashu will perform at Kichijoji Star Pine's Cafe, where they hold a gig regularly. It is for supporting their latest release, Nikoseron Part Three.

You should see the gig. And I could tell you why.

If missed, you would have to wait to see them for months. Right now, other than this there are no announcement for any live date in Tokyo area (except March 21 at La Mama in Shibuya, which is a triple bill - nevertheless it is an interesting program for itself. More later on this), although they plan to do a three-cities tour at the end of May.

And unfortunately, keyboardist-Shimizu Kazuto cannot fully attend to the concert for some reasons. Instead, Inoue Makoto, an original member, will sit in with the band. So naturally, it is going to be something special.

Do not look the other way.

Hikashu
March 4, 2011
@ Star Pine's Cafe
Kichijoji, Tokyo
guest: Inoue Makoto (synthesizer)
open 18:00 - start 19:00
adv 3,600 yen - door 4,000 yen
(one drink order minimum)

Star Pine's Cafe

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Hikashu - Nikoseron Part 3 (2011)

2011-01-31T15:10:00.022+09:00

Hikashu - Nikoseron Part 3 (2011)

1. Nikoseron Part 3
2. Hung On Tomorrow
3. Blue On Blue
4. Nikoseron super mix

Lyrics - Makigami, Mita (3)
Music - Makigami (1,4), Mita (2,3)

Recorded in Tokyo and Yugawara, 2010
Released on January 25, 2011

Hikashu:
Makigami Koichi (vocal, theremin, cornet, programming)
Mita Freeman (guitar, vocal on 3)
Sakaide Masami (bass, programming, mix)
Shimizu Kazuto (piano, synthesizer, bass-clarinet)
Sato Masaharu (drums, percussion)

The latest release from Hikashu is a 4-track single. All the titles are recently written and regularly featured at their live performance these days.

1. Nikoseron part 3

Basically this is a condenced version of previous ones but not a simple, edited down thing. You could perceive new elements here and there. The arrangement is not altered much, although Makigami adapted new lyrics and the vocal is entirely re-recorded. A refreshing rendition of the Hikashu funk.

2. Hung On Tomorrow

Being merry and uplifting, this number has been used as an opening number at their concert lately.

Mita conceived a basic idea for this 20+ years ago but left unfinished and forgot it. Last year he happened to find a memo, which has only riffs and chord sequence. Being interested, he decided to work on it again, added a bridge and complete it. Then Makigami applied lyrics.

The song has sheer driving feel with strong hooks. As of the arrangement, obligato lines played by synth and a little clapping are subtle but effective embellishments. The lyrics is vague, lots of rhyming and word play, and hard to pin down its meaning, but yet interesting and surely you could feel it filled with positivity. Soundwisely, it is just a great, irresistible groovemaker.

3. Blue On Blue

You will be surprised with this one. In intro, the arrangement is so skeleton and lots of programming, quite unusual for the band. Of course it is intentional.

The song features Mita Freeman, the guitarist and the other frontman of the group. He even took lead vocals here.

Mita is quite a character. But his uniqueness refuses to be explained easily. Reminds of Peter Sellers in pink panther movies ... tentatively, let's say he could be both serious and funny at the same time. In fact, his stage persona is filled with ambiguity, even surreal, utterly unexplained and beyond the word.

The Japanese title is "Ao Sugiru Jersey" which literally means "Too Blue Jersey". In Japanese, "Jersey" is a general team which means sportswear using synthetic fiber. Of course it is a loan word from English. It is also a common symbol of pubescence in Japanese culture because school children often wear tracksuits.

Mita sang the difficulties of being the awkward age here, hence "too blue." It filled with humor and in fact it is so funny, but it is certain there are some seriousness too.

Mita likes to use religious terms, especially Buddhism, in his lyrics. This time the word "Shaba" (娑婆) is frequently used for chorus and outro. It is "Sahā" in original Sanskrit. As of its meaning, here I quoted from an entry of Buddhist cosmology in encyclopedia.com (original) as follows:

Sahā is the most important of the Impure Lands—although from another perspective, Sahā may be considered a "mixed" land, alternately ornamented (pure) and unornamented (impure). Located in the region of the south, Sahā is our universe and is the field of the Buddha Śākyamuni.

4. Nikoseron Super Mix

At first glance, some of you might be bothered with this one. No wonder thinking like that, because remix thing in single is often no more than a shameless filler. But I can assure you that this one is definitively not as such and, quite the contrary, you'll be pleased with.

This one is over 7-minutes long but after hearing it I bet you would feel it is too short. A great re-construction.

Meticulously constructed by Sakaide, who also mixed the recent Hikashu releases. Besides the previous versions, the mix incorporated a live recording of the song, although uncredited. The live portion is from the Kumamoto concert, held on June 18, 2010.

The artwork featured recent photos of the band, including in performance at Jazz Art Sengawa (2009) and Fuji Rock Festival (2010).

Overall, excellent as always. Just go out and buy this thing.

Available worldwide via HMV Japan.

Related Entry:
Next New Release - "Nikoseron 3"

Kibyoshi

2011-01-10T02:26:00.003+09:00

One of Makigami's ongoing projects is Kibyoshi, a theatrical piece with animation video and live music. At the project, he teamed up with Ikue Mori and Mark Nauseef.

The first DVD is going to be released in February 2011 on John Zorn's Tzadik label. The introductory website is here.

Currently the trio plans to do a Japanese tour in June this year.

Hikashu in NYC May 2011

2011-01-01T00:08:00.005+09:00

Hikashu will perform in New York City this year. There is only one date so DO NOT MISS IT!

May 13, 2011 Friday
Hikashu
@ Japan Society
New York, NY
USA

Japan Society, NYC

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The details is not still announced yet so keep watching the society's site.

Japan Society Official Website
Japan Society - Google Maps

Related Entry:
Live in the USA

It's been a great year

2010-12-31T21:25:00.018+09:00

Hikashu, 2010. From left to right: Sato Masaharu, Sakaide Masami, Mita Freeman, Shimizu Kazuto, and Makigami Koichi.

At the year's closing, I would like to express my gratitude for all the visitors.

Since August 2009, this blog has been visited from 59 countries, including the United States, the United Kingdom, Germany, Greece, Russia, France, Italy, Canada, Brasil, Mexico, et al. Thank you all.

2010 is a great year for Hikashu fans.

As of release, we have three reissues. "1978" and "Watashi No Tanoshimi" had never reissued before, and "Ningen No Kao" had been out of print for years. Now they are back in print, as remastered edition, and welcoming addition to the catalog.

The reissue project continues to the coming year. Right now, Makigami expressed that the band is considering "Hikashu Super Two" (a compilation of singles and rare recording) and much-awaited "Uwasa No Jinrui" for 2011.

And new ones. The mastering of the "Nikoselon Three" EP is now completed and is waiting to be released on January 25, 2011. The new album is now in works too.

As of live concerts, the fuji rock appearance was absolutely splendid. They performed superbly and proved themselves again being a strong live act.

And the December concert with Inoyama Land and Kinoco Hotel was very vital and really one of a kind (Marianne Shinonome from Kinoco Hotel made a guest appearance at the Hikashu's set and provided hell of screams in "Yochu No Kiki"). The "Intimate Hikashu" concert at Yokohama Airegin was also important. It filled with improvisation and showed a refreshing approach. The regular dates at Kichijoji Star Pine's Cafe were always great and never fall short of expectations from the audience.

There are already some dates announced for 2011 and we can expect them being an active live ensemble in the coming year.

Let's hope 2011 will be a fruitful year for all of us.

The AR Trio Goes To Canada

2010-12-31T20:21:00.006+09:00

It is officially announced that АЯ will perform in Canada next spring.

АЯ (pronounced a'ya), the trio with Makigami-Bairyshev-Sato, has been performed for years and their first album "Tokyo Taiga" is just released this year on John Zorn's label, Tzadik.

Soon after released the album, they toured Altai and did 8 concert dates.

Now they became a seasoned ensemble and fans in nearby area should not miss the performance. Experience the otherworldly music from Asia.

Tour dates:

May 18, 2011 - A/B Series, Ottawa official site
May 19, 2011 - Festival International de Musique Actuelle de Victoriaville official site

Makigami expressed to play more dates in Canada if possible. If you have something in mind or are interested in booking the trio, contact him via mail or twitter.

Speaking of Canada, a radio show "Délire Actuel" in Quebec selected "Tokyo Taiga" as number 10 on their "2010 Demanding Music Top 30." See here for the listing.

From their review of the album (the original entry is here):

Absolutely splendid! Released earlier this year, and overlooked, Tokyo Taiga is a gem of a record. Makigami presents a Siberian/Japanese trio of vocals, throat singing, jaw’s harp, percussion, trumpet, khaen, and delicate electronics (including a theremin). All original compositions, but you’d swear they were some kind of traditional folk music from a place cold outdoors and very warm indoors. The jaw’s harp playing is very creative and atmospheric; moving arrangements; lively melodies. For fans of Tany Tagaq and K-Space, although Tokyo Taiga is softer than either.

АЯ in Altai

Makigami and Sato tried out some instruments in Altai

Related Entry:
Makigami Koichi - Tokyo Taiga (2010)

Hikashu - Ningen No Kao (1988)

2010-12-31T19:20:00.006+09:00

Hikashu - Ningen No Kao

1. Ningen No Kao
2. Zo Azarashi
3. Nannimo Nai Otoko
4. Tengoku O Nozokitai
5. Cryptobiosis
6. Sate No Nukumori
7. Hotoke No Deguchi
8. Hi-Ai-Ai Tou
9. Detarame Na Yubi
10. Neko Ni Roman
11. Shaka
12. Indian Ga Otozureru
13. Shikisai Wa Inishie
14. Kore Wa Boku Ja Nai

lyrics - Makigami
music - Mitama (1, 3, 6, 8, 9, 13), Nomoto (2, 4), Inoue (5, 14), Makigami (11), Sakaide (12), Hikashu (7)

Hikashu:
Makigami Koichi - vocal, cornet, toys
Mitama Masamichi - guitar, vocal on 9, euphonium on 14
Inoue Makoto - synthesizer, piano
Sakaide Masami - bass
Nomoto Kazuhiro - alto saxophone, bass clarinet, flute, guitar, harmonica
Taniguchi Masaru - drums, toys

Produced by Hikashu

Originally released in 1988 on Nihon Crown Records
The remastered edition released on December 23, 2010 on Bridge Inc.

"Ningen No Kao" ["Human Faces"] is the representative work of Hikashu in the latter part of 1980s. It contains a lot of important tunes and concert favorites among the fans still today.

The four years had passed since the last album, Mizu Ni Nagashite ["Forget and Forgive"], and in the meantime, although not having a chance for recording in studio, the band performed regularly and wrote lots of new songs.

It is also the first original album with Nomoto Kazuhiro and Taniguchi Masaru as a regular member. Both started supporting Hikashu in 1983 and became full member in 1985.

Nomoto was still early 20s when he joined the band. Started to play electric guitar in high school, later in college he had an interest in improvising, switched to saxophone and played jazz. Soon after the graduation, he had an opportunity to participate a recording session with Hikashu through acquaintance and started supporting them in live concert. He quitted the band in 2002 and passed away next year.

Taniguchi was also still in 20s when he joined Hikashu, but he already an established musician then. He had been playing drums professionally since early teens. Being quite experienced both in live and studio, he contributed the band greatly. Unfortunately, he passed away in 1989.

Titles in English:

1. Human Faces
2. Elephant Seals
3. The Man of Emptiness
4. Want to Glimpse the Heaven
5. Cryptobiosis
6. The Warmness of Sate
7. The Exit of Buddha
8. Hi-Ai-Ai Island
9. The Erratic Fingers
10. The Cat and Romanticism
11. Shaka
12. Here Came the Indian
13. The Colors Are Past
14. This Is Not Me

"Ningen No Kao" is quite a lively and energetic album. And the remastering by Ono Seigen is very effective - you can hear the sounds you have never heard in the previous editions. An essential Hikashu stuff which no fan should be without.

Available worldwide via HMV Japan

Related Entry:
Tanikawa Shuntaro on "Ningen No Kao"

All the original members to play together for "Psychedelic Christmas"

2010-12-24T05:34:00.004+09:00

On December 26, Hikashu will make a last appearance of this year with all the original members; Inoue Makoto, Yamashita Yasushi and Tobe Satoshi. Inoue and Yamashita have been making music together since 1977. Tobe, being retired from music after quitting the band in 1981, is going to play on stage again with his saxophone.

The special concert at year's end with the original line-up was held in 2008 and 2009, and this is the third time around. The last two times the band did a set of rarely-played numbers and this time surely going to be a memorable evening again.

December 26, 2010
Hikashu
"Psychedelic Christmas"
with Inoyama Land (Inoue Makoto and Yamashita Yasushi on synthesizers) and Tobe Satoshi (alto saxophone, vocal)
opening act: Kinoco Hotel
@ Daikanyama UNIT
open 17:00 - start 18:00
advance 4,000 yen - door 4,500 yen
Daikanyama UNIT website

Daikanyama UNIT

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Related Entry:
Kinoco Hotel

Kinoco Hotel

2010-12-24T04:45:00.005+09:00

Kinoco Hotel is an all-female rock band formed in June 2007 and they are going to play at the Hikashu's concert on December 26 as an opening act. Its members are Marianne Shinonome (vocal, organ), Isabelle-Keme Kamogawa (guitar), Emmanuel Kominato (bass) and Fabienne Inawashiro (drums).

Being distinctive with its look and sound with organ and fuzz guitar, Kinoco Hotel (Kinoco means "Mushroom" in Japanese) is soon recognized as an emerging new act and landed a contract with major label, Tokuma Japan Communications. Their first album entitled "Marianne no Yuutsu" ["The Melancholy of Marianne"] was released in February 2010.

Actually, they are a concept band. All the members conceal their real identities and are playing some characters instead. The concept is that they are all working for an imaginary accomodation facility called Kinoco Hotel, which Marianne Shinonome is "the manager."

Shinonome, the leader, is known to be a fan of Hikashu so naturally she is quite motivated playing with the band.

Kinoco Hotel - "Moetsuki Taino" ("Wanna Get Fired Up") PV

Kinoco Hotel - "Mayonaka No Angel Baby" ("Angel Baby in Midnight") PV

Kinoco Hotel - "Moetsuki Taino"

Their first major TV appearance.

The album "Marianne no Yuutsu" is now available via HMV Japan.

Related Entry:
All the original members to play together for "Psychedelic Christmas"

Ikirukoto live in November 2010

2010-12-15T02:14:00.006+09:00

Makigami recently uploaded a video of "Ikirukoto." It was recorded live on November 4, 2010 at Star Pine's Cafe in Kichijoji, Tokyo. Currently the number is usually played at early part of their concert. On the day, It was played after the opening, lengthy improvisation of the first set.

"Ikirukoto" is the title number of the album released in 2008. On the album, its duration is about 5 minutes, but at concert, it gradually stretched as the band played it. Occasionally they played it over 15 minutes.

The composition has a sort of open-form and now also works as a vehicle of collective improvisation. That's the reason why it tends to be played extendedly.

The video quoted here represents well how the number is played at their concert, and also included some essential elements of the band's performance, which are a) collective improvisation, b) non-verbal voice performance, c) an extensive use of unconventional instruments for rock music (like toys, thermin and mouth harp), and d) a prevailing sense of humor.

4:42 - Makigami blew a mysterious kazoo-like pipe, instead of the cornet which he usually uses at the break.

5:37 - There was a public announcement (or a message of initiation) to the audience: "Welcome to our concert. Just relax, of course I know you couldn't. Probably you all embarassed being here but there is no help. Just give it up ... The door was closed and nailed! You could do nothing but sit down and listen to this thing!"

5:48 - the band started a music like matsuri-bayashi (Japanese traditional music for festivals), and along with it Makigami quoted the famous opening remark ("Jikan Kurumade Tsutome Masho" - "We'll do our best until the due time comes") of the brothers comedy team from 1960s called Toyo Hidemaru and Asahimaru.

Toyo Hidemaru, Toyo Asahimaru

6:36 - Makigami quoted a lyrics of "Tokyo Ondo," a big hit of 1933 and still immensely popular dance tune for bon odori, a popular dance for traditional summer festival in Japan (If you would like to know the dance more, see the Bon Dance Gallery). Although it was out of context here and probably he did it without any reason, the band quickly picked it up and provided a proper accompaniment. Of course it was all done spontaneously. It is a good example that everything could happen at their concert.

A dance instruction video, using Tokyo Ondo for accompaniment.

As of musical quotation, the members practice it occasionally. For instance, there was an another example from the same concert. On "Nannimo Nai Otoko" ("The Man of Emptiness"), which is a number from the "Ningen No Kao" album, Shimizu Kazuto quoted the CM music of Kani Douraku, the famous crab restraunt chain, composed by Kida Taro. Kida is a very popular composer, who is also known as "The Mozart of Naniwa." (Naniwa is a nickname of Kansai region)

Kani Doraku CM

There is another video of "Ikirukoto" in December 2007 at the band's MySpace account. It is one of the earliest performance of the composition, fairly short and no stretched improvisation. For comparison, I provide a link to the video, here. Just take a look at how Makigami moved his eyebrows at introduction.

Ikirukoto ["To Live"]
words & music - Makigami

To live
To eat
To breath
To weep

Being here unknowingly
While not having a thing to know

To detour
To slide
To knit brows
To become worn

Dabida Dabida Sharishariba
Dabida Dabida Sharishariba

To live
To move
To travel
To dream

Turn into a flower when want to cry
Turn into a wind when being dull

To mimic
To persuade
To lose understanding
To flutter

Dabida Dabida Sharishariba
Dabida Dabida Sharishariba

A Short Film and Solo Performance on Mouth Harp

2010-12-09T08:38:00.003+09:00

Makigami recently uploaded a short film about mouth harp, which he made in 2001, on YouTube.

He has been playing mouth harp for over 30 years and now one of the authorities for the instrument in Japan. For instance, he played it on the first album of Hikashu, recorded in 1979. And his mouth harp solo is a regular attraction of Hikashu's concert. He even did that at Fuji Rock and got applauded.

Next week, the 69th meeting of Japan Koukin Association will be held in Tokyo, and Makigami will play the instrument for the event. (Koukin is a Japanese name of mouth harp)

He said he will bring various types of the instrument in rarity and play them, so if interested do not miss the opportunity.

Makigami Koichi solo Koukin performance
in conjunction with the 69th meeting of Japan Koukin Association
December 12, 2010
@ Emban
Koenji, Tokyo
open 18:30, start 19:00
charge 1,500 yen (with 1 drink)
Emban website (Japanese)

Koenji Emban

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Colour Out of Space 2008

2010-12-06T01:38:00.003+09:00

In 2008, Makigami Koichi performed a solo set at a festival called "Colour Out of Space," held in Brighton, UK.

The performance was documented on video by the organizer of the event. There are two parts of it and the latter part just turned up recently on YouTube.

You might think some parts of the performance are in Japanese. Alas, no. This is completely non-verbal.

Theremin is really a difficult instrument to play, notoriously hard one to keep in pitch. And look how he controlled it here. Not only that, but simultaneously using his voice. I have to say this is just insanely great.

The Shin-Okubo Gentlemen

2010-12-05T23:12:00.007+09:00

"Another World Of Hikashu" is a concert series which aim is to introduce various side-projects from the members to royal audience of the band. The sixth installment will be coming next week, and this time a group called the Shin-Okubo Gentlemen will appear.

So what the band sounded like? Well, it's hard to describe, because what they're doing are not solely jazz, rock or whatever. Simply put, they play various kind of music, including jazz, rock, east european music (like Klezmar) and even Hawaiian. And some of them feature vocals.

The group was formed in 1994 by Umezu Kazutoki, Shimizu Kazuto and Ohta Keisuke, et al., and released three albums. There were several changes for the band's personnel in the past and now the band is officially billed as "the third incarnation." The members for the event are:

Umezu Kazutoki (reeds, vocals)
Shimizu Kazuto (piano, bass-clarinet, vocals)
Shika Udai (cello, alto saxophone)
Sato Masaharu (percussion, voice)

You might notice that all the members have some connection with Hikashu; Needless to say, Shimizu and Sato are the members of the band, Umezu has been a frequent collaborator of them for years, and Shika is a regular participator of Makigami's Cho-Kayou concert.

Also, as always for the event, there are guests; this time are Makigami Koichi (vocal) and Oka Sawaka (dance).

Another World Of Hikashu #6:
The Shin-Okubo Gentlemen
Umezu Kazutoki (reeds, vocals), Shimizu Kazuto (piano, bass-clarinet, vocals), Shika Udai (cello, alto saxophone), Sato Masaharu (percussion, voice)
guest: Makigami Koichi (vocal), Oka Sawaka (dance)
December 8, 2010
@ Aoyama CAY, Tokyo
open 18:00, start 20:00
advance 3,500 yen - at door 4,000 yen
Aoyama CAY website

Aoyama CAY

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The Shin-Okubo Gentlemen at Shinjuku Pit-Inn on August 13, 2010. The band played "Koshikudake -'ole i pau ka'i'ini-" a Hawaiian tune composed by Shimizu Kazuto.

Also, there are videos from the series:

Series #4: Arepos (Shimizu Kazuto and Reichi) with Sato Masaharu on percussion played "Cyfri'r Geifr," an original composition with Welsh lyrics, at Aoyama Cay on August 18, 2010.

Series #5: Kuro Yagi Shiro Yagi (Sakaide Masami and Sato Masaharu) with Umezu Kazutoki (reeds) and Douguchi Yoriko (vocals) played "Jenny wa gokigen naname ["Jenny Got Moody"]," a popular number of a new-wave band called Juicy Fruits, at Aoyama Cay on October 27, 2010.

Related Entries:
Shimizu Kazuto and AREPOS
Kuro Yagi Shiro Yagi Teams Up with Umezu and Douguchi

Hikashu and Jang Gi Ha performed "Ningen No Kao" together

2010-11-24T03:32:00.005+09:00

Last night, the first Japanese gig of Jang Gi Ha and his company, an emerging indie act from South Korea, was held at a venue called Lush in Shibuya, Tokyo. The place was pretty packed and lively. That's always a good sign.

Hikashu was called in as guest and performed first. There were not much time so unfortunately, no stretched improvisation. But aside from that, it was dense, tightly 40+ minutes. Of course, it turned out great.

The band appeared and swiftly kicked out their set by a new, unreleased song called "Ashita Ni Kaketa" ["Taking a Chance on Tomorrow"]. It's an uplifting, mid-tempo number with many humorous word-play in its lyrics, and always works great as a starter.

The next tune was "Tengoku o Nozokitai" ["Want to Glimpse the Heaven"], a christmas song (well, sort of). In interlude, lots of christmas-related tunes were quoted one right after the other. It went kinda overplay (the time was limited) and eventually Makigami had to hold it, then the band went back to the part where it should be and completed the tune. After that, "Ikirukoto" and "Nyuunen" were performed. Somewhat shortened, but sharp as always.

Then "The Curry Master" followed. It is the featuring number of Mita Freeman, the philosopher of the group. As a preamble, Mita preached about the importance of Cardamom as an ingredient of curry, then performed it. As always, in the midst of guitar solo, he shouted "Curry!" and the song went into climax.

At this moment, introduced by Makigami, Jhang Gi Ha appeared as a guest and performed "Ningen No Kao" with the band. He must spend some time for preparation; he sang the lyrics well in Japanese and there were no misses. And so that he made the stage debut in Japan with a Hikashu's song, as Makigami noted it on the scene. That's great, indeed.

After that, the band went into "Pike" and concluded the set.

Jang Gi Ha and the Faces played about an hour. Their set was very entertaining, not exactly I anticipated, but anyway it was great. Makigami also appeared at their set briefly and performed. It seemed that Jang Gi Ha and his company had already established a strong fan base here and a bright future was awaiting them in the country also.

As for the Hikashu's set, I would say that seeing them perform is always quite an experience and the event proved it again. Their next appearance is on December 26 with all the original members. Apparently they prepare a special program for the date and I'm looking forward to seeing them again.

Note: A blog of Hasegawa Yohei has a photograph of Hikashu and Jhang Gi Ha in rehearsal. See here for the photo. Mr. Hasegawa is a Japanese musician who has been active in South Korea for years, and he came to Japan with them for supporting as an additional guitarist.

Related Entry:
Jang Gi Ha and the Faces invite Hikashu for their first Tokyo gig

Next New Release - "Nikoseron 3"

2010-11-21T09:45:00.011+09:00

While we are anxiously awaiting for the "Ningen No Kao" reissue, it is just announced that the next new recording from Hikashu is going to be an EP, and its title track is a newly-recorded rendition of "Nikoseron."

"Nikoseron" is released for the first time as the opening and closing number of their latest album, Ten Ten Ten. Almost coincidentally with the release of the album, it was performed at their concert. It was remarkable; not only performance wise, but for the arrangement.

More precisely, the premiere performance of the composition before audience was at the Shibuya Quattro concert on December 26, 2009. From the beginning, the arrangement was considerably different; for the two studio-recorded version, the bass-clarinet of Shimizu Kazuto was prominently featured, and Sato Masaharu played mostly with brushes. Instead, at the live premiere, Shimizu settled with piano, and Sato played entirely with sticks.

At the performance, Shimizu commenced to reproduce the distinctive, sequenced rhythmic pattern with a concert grand, and subsequently he even took a solo with it. In a good sense, it was grandiose - fairly fast, but never lose or miss the rhythmic feel of the composition.

Even after that, the arrangement was changed many times - I suspect most of them are not preconceived but spontaneous - and nowadays it usually includes a drum solo but not restricted with it. For example, as I reported here before, at the Fuji Rock performance, in the concluding part of the drum solo, there was a short but memorable obliggato with bass-clarinet and cornet, and it even followed Sato singing the main melody in falsetto while playing the drums - it was incredible to see he masterfully sang the melody and kept the complicated rhythm at the same time.

It is highly likely that "Nikoseron 3" (both part 1 and 2 are on the "Ten Ten Ten" album, hence the name) has a revised arrangement, but I cannot tell it is the same with live performance. (and in the first place, which one?)

Anyway, Hikashu fans are in for a treat again.

Its release date is tentatively set on January 25, 2011, which is also Makigami's birthday. Rejoice!

Note: You could listen to the part 1 at Hikashu's MySpace account. Here.

Nikoseron (part 1)
words & music - makigami

It was yesterday evening when I became patient
Throwing questions to a fragment of transience

Stairway in station
Mails are prohibited
It must be on sunday;
to select the future

What infected was a life of inertia
Looked like being square;
inside it was rotten

Do not step on a flower in roadside
Take off your earbuds and turn the wheel

Who inflated is a genie of "before long"
Maybe it wants to catch onto the whiteness of udon*

It's nice to eat oranges
It's nice to keep walking like this also

Nikoseron
Nikoseron

I want to admit you
I want to absolve you

There are the seagulls above the sea, delivering prayer
It's not love
It's not peace

* udon (wikipedia) is a popular sort of noodle in Japanese cuisine.

Tanikawa Shuntaro on "Ningen No Kao"

2010-11-17T06:52:00.008+09:00

Needless to say, Tanikawa Shuntaro (wikipedia) is one of the most important figure in Japanese modern poetry. And recently he made a comment on the Hikashu album "Ningen No Kao" ["Human Faces"] which is to be reissued soon. Here I translated and quoted it;

So many voices, so many sounds. The lyrics are want to cease being printed words and be naked. It seems like there are boys and grannies in the cd. Nice to listen to in a field or an alley. The cd would send out the words and the music diligently if disposed as nonburnable garbage or launched to the space by a rocket.

Tanikawa Shuntaro

The release date of the album is December 23, and HMV Japan already listed it Here.

"Fushigi o Mitsumete" is just re-released as a part of compilation album

2010-11-16T08:19:00.006+09:00

various - Groovin' Showa 7

1. The Starlin - Romantist (Naked Mix)
2. Aburadako - S 60
3. S.O.B. - Ego Fix
4. Coa - Much
5. Friction - Crazy Dream
6. Totsuzen Danball - Drinco
7. P-Model - Ressha
8. Boredoms - Thalidomide Car
9. Yamamoto Seiichi and Phew - Masao No Yume
10. Hikashu - Fushigi o Mitsumete
11. Here is Eden - Memento Mori
12. Shakushain - Kill Them All
13. Omokage Lucky Hole - Sukina Otoko No Namae, Compass no Hari de Kaita
14. MiLK - Sukidake Nano Watashi Dake Sonja Nai
15. Hana Densha - Woo Rock
16. Ai Hiyo (Haino Keiji) - Sekai Wa Futari No Tame Ni
17. Moriyama Takeo - Mana

Released on November 10, 2010.

As I noted here earlier, the compilation album, which having now a kind-of-rare Hikashu track "Fushigi o Mitsumete," is just released. It is the seventh volume of the series entitled "Groovin' Showa," which is a selection of punk and new-wave tunes from the vault of Tokuma Japan Communications.

Tokuma Japan Communications is the record company which issued two Hikashu albums, "Acchi No Me, Kocchi No Me (Dazzling Eyes)" and "Orguss 02 OST," in early 1990s. Both album has been out of print for years and now hard to find. "Fushigi o Mitsumete" is the featured number from the latter album.

The song is just perfect. Pretty imaginative, lots of anticipation. Listen to it, and be impressed.

Available now via HMV Japan.

Fushigi o Mitsumete ["Watching The Wonderment"]
word - Makigami, music - Sakaide

Sometimes the world becomes mysterious,
Because of the dream which the light delivers.
Knowledge shines a light on the fragments,
But the mysteries deepen.

I want to know where it is.
You are far off in the distance,
smiling and waving to the concept called time.

To be sure, I'm watching the wonderment.

I'm stirring the world with the flat of my hand.
The vision center has been amid the fog.
The space is on the brink of going confuse,
And you are to become a little star.

The structure of living torments me.
My senses go paralyzed,
And the only thing I sensed is just you, shining.

To be sure, I'm watching the wonderment.

Jang Gi Ha & the Faces invite Hikashu for their first Tokyo gig

2010-11-16T08:09:00.006+09:00

In November, Jang Gi Ha & the Faces, an emerging indie rock group from South Korea, will play in Japan for the first time, and they invited Hikashu for their first gig in Tokyo.

The group was formed in 2008. The first single "Cheap Coffee" was released in May from independent label and sold 14,000 copies. It was exceptional figure for indie rock scene in South Korea and the hit eventually endowed the band some prestigious awards. In February 2009, they released the first album "Living without any trouble" (available at HMV Japan) and it sold more than 40,000 copies. After having performed some rock festivals, the band is now preparing the next album.

In Japan, it is planned that their first album is to be released in November. And Jang Gi Ha, the vocalist and the leader of the band, visited Japan for the first time for promotion in August. Also, having been interested in Hikashu for years, he succeeded to attend their concert in Kichijoji.

He must be impressed. Although it was a seated event, he eventually couldn't help but standing up and dancing while the band was performing. After the concert, he met the Hikashu members, bought some CDs and got them autographed. He also expressed to invite Hikashu for their upcoming Tokyo gig and the band graciously acceded to it.

Jang Gi Ha & the Faces - Cheap Coffee

Jang Gi Ha & the Faces
guest: Hikashu
November 22, 2010
@ Shibuya LUSH, Tokyo
open 18:00 - start 19:00
adv 3,300 yen - door 3,800 yen
(one drink order minimum)
LUSH website (Japanese)

Shibuya LUSH

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2010 Fall Tour, upcoming gigs and releases

2010-10-27T15:40:00.010+09:00

Tomorrow Hikashu will embark on the third (and last) tour of the year, heading for the west. See Live Schedule page for venues, directions et al. They will be back to Tokyo and perform at Kichijoji Star Pine's Cafe on November 4, as the tour's final.

Also, it is planned that there is a special concert for the year's end. It will be held at Daikanyama Unit, Tokyo on December 26, and all the original members - Inoue Makoto, Yamashita Yasushi and Tobe Satoshi - will be united again. In December 2008, Hikashu with all the original members played at the very place, and that was utterly special, nearly 3-hours performance. Surely this time it will be a memorable evening as well.

Regarding the upcoming releases, it is officially announced that the next reissue will be "Ningen No Kao" ["Human Faces"]. The band has already completed the remastering process. The release date is December 23. The album was originally released in 1988 and has been dropped from catalog for years so this is welcoming reissue.

It would seem that "Fushigi o Mitsumete" ["Watching The Wonderment"] will be included in a compilation album of Japanese new-wave. The Makigami-Sakaide number was originally released as the lead track of the "Orguss 02" OST album in 1993. Unfortunately, the album is hard to find now and became very pricey. A live recording of the song was issued in "Hikashu History" but the original studio version will be chosen for the forementioned compilation. Makigami recently expressed that the OST album will be re-released in near future but there is no concrete plan for that. So maybe it is advisable to get the compilation, which is slated to be out at the end of the year. I will let you know when it is available.

And new ones - it is likely that a new release from the band will be a 3-song EP. They are still working on it, and it would be out in December if everything went smooth. We can only wait and see.

Kuro Yagi Shiro Yagi teams up with Umezu, Douguchi and Eleonola

2010-10-21T11:48:00.006+09:00

"Another World Of Hikashu" is a concert series which aim is to introduce various projects from the members to royal audience of the band. The fifth installment will be held next week, and this time the event features Kuro Yagi Shiro Yagi, an improvisational bass and drum duo from the band's rhythm section.

The series usually brings in some guests. This time, saxophonist Umezu Kazutoki and actress Douguchi Yoriko are to make an appearance on the date. Umezu have performed with Hikashu many times in the past and Douguchi regularly plays with the Sakaide-Sato team in her uklele outfit, Paititi.

Also, the duo is to organize an event in November. It is called "RIZM" and it features a guest, Emi Eleonola.

Eleonola is known to be the front person of the band called Demi Semi Quaver, and she is just une chanteuse extraordinaire. Her singing style, which is to improvise interminably using made-up language, is something to see.

Demi Semi Quaver - Aozora (Blue Sky) PV

Another World of Hikashu #5:
Kuro Yagi Shiro Yagi
Sato Masaharu (percussion, sampler, voice), Sakaide Masami (bass, laptop)
guest: Umezu Kazutoki (reeds), Douguchi Yoriko (vocal)
October 27, 2010
@ Aoyama CAY, Tokyo
open 19:00, start 20:00
advance 3,500 yen - at door 4,000 yen
Aoyama CAY website

Aoyama CAY

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Kuro Yagi Shiro Yagi presents "RIZM"
Kuro Yagi Shiro Yagi:
Sato Masaharu (percussion, sampler, voice), Sakaide Masami (bass, laptop)
guest: Emi Eleonola (vocal, accordion)
November 13, 2010
@ 3.2.8
Nishiazabu, Tokyo
open 20:00
at door 2,500 yen (one drink order minimum)
3.2.8 website (Japanese)

Nishiazabu 3.2.8

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Related Entry:
"Paititi The Movie" Premiere

various - ON Associates CM Works (2010)

2010-10-19T10:46:00.001+09:00

various - ON Associates CM Works

contains 40 tracks by Makigami Koichi, Kamijo Tsunehiko, Onuki Taeko, Yoshida Minako, Yano Akiko et al.

Released on September 22, 2010

The album is a compilation which consisted of the music used for various TV advertisement, produced by a company called ON Associates.

ON Associates is a music publishing company which made a series of music which graced some of the ever-popular TV advertisement in Japan, like the first Sony Walkman ad in 1977, which is also included here. The album featured a collection of their representative works and many of the selection are not available elsewhere.

It is noteworthy that it actually contains two tracks by Makigami, "Heisei Jaran Bushi" and "100 Nara Dekiru."

"Heisei Jaran Bushi" was a commissioned piece for the TV advertisement of a travel magazine called Jaran (which is still in operation). It was also released on 3-inch CD single under Makgami's name in 1990, and has still been regularly featured on his Cho-Kayo recital. I don't confirmed for myself yet, but it is possible that the version on the compilation is edited. The advertisement itself was used to be available on YouTube for a long time but seems recently gone, unfortunately.

"100 Nara Dekiru" was used for TV advertisement of a gas product called Idemitsu 100 Gasoline. The piece is available for the first time. Having never seen the advertisement myself, I cannot tell what it is like, but according to Makigami, on the advertisement, the song was buried in the mix and almost inaudible. So we could listen to it at last.

If you are a collector, it is advisable you should get this one. Makigami recently expressed his intention for rereleasing "Heisei Jaran Bushi" but apparently the negotiation with the copyright holder was not fruitful. And it is unlikely that "100 Nara Dekiru" sees the light of day anytime soon again.

The album is now available on HMV Japan.

By the way, Makigami did a lot of TV advertisement thing, singing and narration, in the past. This one is for cold tablets, 1990.

Makigami Koichi - Tokyo Taiga (2010)

2010-10-19T08:57:00.008+09:00

Makigami Koichi - Tokyo Taiga

1. Ano Sora
2. Chakanzirme
3. Tsumuji
4. Kak Paporotnik
5. Tundra
6. Chadaae Ba
7. Yume (Dream)
8. Makkoto
9. Bolor
10. Tokyo Taiga
11. Alkysh

1, 8 - Makigami
2, 7, 11 - Bairyshev
3 - Makigami, Sato
4, 6, 9, 10 - Makigami, Bairyshev, Sato
5 - Bairyshev, Makigami

Makigami Koichi - vocals, cornet, theremin, slike kubis
Bolot Bairyshev - vocals, altai traditional kai, topshuur, shoor, khomus
Sato Masaharu - percussion, khaen, voice
Shika Udai - cello on 5

Recorded in December 2007
Released in May 2010 on Tzadik label

Although the album is credited as Makigami solo, it is actually the first effort of the group called AЯ. AЯ is a trio of Makigami, Bolot Bairyshev from Aitai (wikipedia), and Sato Masaharu on percussion and voice.

It represents Алтай (Altai) and Япония (Japan). Also, in Russian alphabet, A is the first word and Я is the last. Makigami explained that the name of the trio also implies, to represent "everything between the two - everything between the beginning and the end".

So what is the music like? I would like to describe it as "spacious," in a good sense. The music sounds like the wind through vast plain, and there is nothing plastic here.

Although many instruments of traditional origin were used, this is not traditional music of any kind. All the composition are original written by its members, and certainly it sounds contemporary.

A partnership between Makigami and Bairyshev started in 1998. They happened to met in a music festival in Austria and played together. They immediately hit it off, and the collaboration began. Bairyshev visited Japan in 2000 for the first time under the arrangement by Makigami, and since then he frequently came and performed in the country. In 2007 Sato joined the duo and AЯ was born.

Recently the trio toured Japan in March and April. And this summer they have just completed a tour in Altai, including a concert date in Gorno-Altaysk, the capital city of the republic.

Available via amazon.com on CD and mp3

AЯ in Altai

There is a newspaper article in Altai reporting the trio's tour. Google translation is here.

Ano Sora ("The Sky")

Words & Music - Makigami

In the sky
In the sky

There was something that wandered in the sky
met a probable god here

Welcome
Welcome

It was written on the air above water

There was something that veered off the road
met a mere, natural pebble here

In the dream
In the dream

What a surprise
What a surprise

In the sky
In the sky

Related Entry:
The AR Trio Goes To Canada May 2011

Jam-Jam New-Wave '80

2010-10-04T18:34:00.005+09:00

Recently the excerpt from a TV-program "Jam-Jam New-Wave '80" was uploaded at YouTube. It was recorded live on February 25, 1980 at Science Museum, Tokyo. Hikashu performed "At the End of the 20th Century" and then-unreleased "Shiroi Highway" (Unfortunately, Yamashita was invisible throughout the performance). After a short skit, Plastics followed, playing "Digital Watch" and "Delicious." The latter was mistakenly credited as "Top Agent Man."

"Shiroi Highway" ["White Highway"] was Hikashu's 2nd single, backed with "Puyo Puyo," released in March 1980. It was also used for TV advertisement of in-car audio system of Clarion.

The song has an interesting episode. Demanding a catchy tune for single, Toshiba-EMI immured Makigami and Mitama at a meeting room of the company's building. Struggling for a while, they squeezed out a tune, which was "Shiroi Highway".

Shiroi Highway PV

Hiraoka Masaaki and Yokohama Jazz Promenade

2010-10-04T10:38:00.011+09:00

This Saturday Hikashu will perform at Yokohama Jazz Promenade. Their appearance of the jazz festival is second time. Last time in 2008, and it was realized upon the recommendation by the late Hiraoka Masaaki, a veteran jazz critic, and a long time supporter of the band.

Hiraoka was born in Tokyo in 1941. Engaged in student activism, he dropped out the college (where he majored in Russian literature) and started writing. His first book, entitled "the Tatars Manifesto," was published in 1964. In 1968, he wrote a book "Jazz Manifesto" and went into jazz criticism. Being a charismatic figure , he also had been a high-profile individual as a new-left activist in 1970s.

Basically he had been regarded as a music critic (mainly jazz) but he actually covered a vast genre of culture and show-business in general. In particular, he liked to treat so-called outpost artist and expression. Having been a prolific writer throughout his career, he authored over 120 books.

His connection with Hikashu started in 1981. That year the band released the 3rd album, "Uwasa No Jinrui" [The Human Being]. It was met with harsh criticism by Nakamura Toyo, an influential music critic. Hiraoka strongly disagreed with Nakamura's assertion and spoke very highly of the album. Shortly after that, Hiraoka formed a relationship with the band and even toured together in 1984. In 1990s he moved to Yokohama and engaged in various regional events including Yokohama Jazz Promenade. He passed away with cerebral infarction in 2009.

I saw him in person once. It was the Hikashu's set at Yokohama Jazz Promenade in 2008. He seated in the front row, with his wife, seeing the band performing with smile. He looked pretty contented. I will return to the same venue this weekend, and it will surely bring back the fond memories for me.

Hikashu
October 9, 2010
Yokohama Jazz Promenade
@ Kannai Hall
Yokohama
19:20 - 20:20
advance - 4,000 yen, at door - 5,000 yen (for one day admission of the festival)
YJP Official Site

Kannai Hall Yokohama

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Four Interesting Gigs on the Same Day

2010-09-11T10:51:00.009+09:00

It is called unfortunate. As I reported here earlier, on september 18, there will be held an film premiere which Makigami and Sakaide are to perform. But the event coincides with another *three* Hikashu-related gigs in Tokyo. So everybody have to make a tough decision on the day.

First, there will be an duo performance of Makigami Koichi and Shimizu Kazuto. It is a part of an event called Ftarri Doubtmusic Festival. As far as I know, as a duo, they have never performed together before, so it will be surely interesting. Fortunately, their appearance is scheduled around 15:30, so it's not the same time with the other gigs.

On the same day, Sato Masaharu will perform as "Hari Usagi," a unit with Saga Yuki. Saga is a singer and improviser who performed at Jazz Art Sengawa this year. Hari Usagi, which means "spiny rabbit", is to play various kinds of music, from nursery rhyme to free-form improvisation.

Last but not least, Inoyama Land will make a rare appearance on the day. They performed a 30 minutes set at the Hikashu concert last month and it was splendid. There are three units scheduled on the gig. The first appearance is a unit called "Highleads Missions." It is consisted with Inoue and a drummer, Tomoda Shingo, who was also a support member of Hikashu in 1983.

Makigami Koichi + Shimizu Kazuto
as a part of "Ftarri Doubtmusic Festival"
September 18 (Saturday)
@ Super Deluxe
Roppongi, Tokyo
open 14:00 start 15:00
4,000 yen (advance), 4,500 yen (at door) plus one drink minimum
3 days ticket available
See here for festival details.
Super Deluxe Site

Roppongi Super Deluxe

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Hari Usagi
Sato Masaharu (percussion, voice), Saga Yuki (vocal, keyboard)
September 18 (Saturday)
@ Field
Shinagawa, Tokyo
open 18:00 start 18:30
2,500 yen plus one drink minimum

Shinagawa Field

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"Ino To Yama"
Highleads Missions: Inoue Makoto (synthesizer), Tomoda Shingo (percussion)
Ambient Store: Yamashita Yasushi (synthesizer), Sekiguchi Takashi (synthesizer)
Inoyama Land: Inoue Makoto (synthesizer), Yamashita Yasushi (synthesizer) with guest Taguchi Fumihito
September 18 (Saturday)
@ Emban
Koenji, Tokyo
start 19:00
2,000 yen

Koenji Emban

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Related Entry:
"Paititi The Movie" Premire

"Paititi The Movie" Premiere

2010-09-11T08:39:00.016+09:00

On September 18, there will be held a premiere event of the film "Paititi The Movie" in Shibuya, Tokyo. It is a documentary film of Paititi, a musical ensemble of uklele formed by Douguchi Yoriko (wikipedia), an actress, and Ishida Hidenori, a film creator. Makigami Koichi and Sakaide Masami from Hikashu made some appearances on the film and they will perform at the event as a guest.

Douguchi is an actress who has a long and prolific career in film and television. After having had a cervical cancer (wikipedia), she has also been an activist, serving to ignite social awareness of the disease.

Douguchi started to play uklele in 1999 and, in the same year, she formed Paititi with Ishida. They released a single in 2007 and an album in the following year.

Sakaide and Sato Masaharu from Hikashu went to play with Paititi as a support musician circa 2007. The group also did an opening act at the Hikashu's gig in June 2008, which Makigami and Sakaide joined as a guest, and they performed "Pike."

Paititi on MySpace

"Paititi The Movie" Trailer

Sakaide appears at 1:13.

"Paititi The Movie" Premiere + Paititi Live
guest: Makigami Koichi
September 18 (Saturday)
@ Uplink Factory
Shibuya, Tokyo
open 18:30 start 19:00
charge: 3,000 yen (plus one drink order minimum)

The event is to reserve a seat via e-mail. For information, see here (Japanese).

Uplink Factory

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32 years ago today

2010-08-29T02:10:00.011+09:00

On August 29 1978, Hikashu made a stage debut at Raoya, a free jazz joint in Kichijoji.

Having spent a month to rehearse, the quintet took on stage and played some originals including "20th Century" "Losing My Future" and "Weeping For The Earth" (an unreleased composition written by Mitama). They also played covers of Devo and Kraftwerk.

Shortly after that, Raoya renovated itself as a restaurant of indian cuisine which offered live ethnic music, under the management of Wakabayashi Tadahiro (profile). Wakabayashi was a friend of the band, a member of the first Hikashu (later called Pre-Hikashu; I plan to write an entry about it) and actually he played a sitar on Hikashu's first album. He later became an authority and renowned educator in ethnic musical instruments. Raoya is sadly now defunct, closed circa 2000.

Having encouraged by positive reactions, the band went on to make a demo tape, which was later released as "1978".

According to the liner note of the 1978 album, Makigami still have the recording of the gig. Maybe someday it will see the light of day. We can only hope.

Related Entry:
Hikashu - 1978 (1996)

Every Package Is Unique

2010-08-19T06:29:00.019+09:00

On August 20, the reissue of "Watashi No Tanoshimi" ("My Pleasure") will be finally out. There is something unique about the release so here I will explain it.

First of all, there is no identical package about the release. The reissue reproduced the stamped cover of the original. The stamps were affixed on cardboard jacket by hand work so there are no identical copies of each package.

And there is two kind of the disc itself. One featured a picture of planet earth on its label and the other is the moon. And you cannot distinguish which one is inside, from the package. Even the matrix number is the same. So you have to open the seal to find out the picture of the disc inside.

Initially, there would have been one kind of the disc, and it would have been one of the first double-sided picture cd, just as the original. The original vinyl release was a picture disc; side A featured a photo of planet earth, and side B was the moon. The former was called Earth Side and the latter Moon Side, and it is planned that the reissue is to reproduce it exactly.

It seemed to be difficult to print anything on the readable surface of compact disc because it may interrupt picking up the laser signal.

Actually, it is possible now, thanks to the advancement of technology. But quality-wise, there must be still some problems. Because apparently the band tried it but not satisfied with the result. So they decided to abolish the idea and take a different approach.

Anyway, it is minor problem and the fact remains that this release is a must-have for fans; Two unreleased bonus-tracks are added, some tracks are restored in full form which originally edited down in the vinyl due to the physical limitation, and the sound itself is entirely remastered from the original 1/4 master tape with 5.6MHz DSD technology and significantly improved. And in the first place, picture vinyl has generally not the best sound quality.

There are some interesting facts about the album. Fortunately, the reissue comes with the long interview of Makigami and Inoue as a liner note and it is very informative. Based on it, I plan to write an another entry about the album anytime soon.

HMV Japan now accepts pre-order worldwide. See here for details.

Related Entry:
The Reissue of "Watashi No Tanoshimi"

Shimizu Kazuto and AREPOS

2010-08-14T03:24:00.019+09:00

As reported here earlier, this year Hikashu has started a concert series entitled "Another World of Hikashu." It is a showcase event which aim is to introduce the member's solo activities to the Hikashu audience. The concert #4 is coming next Wednesday and it is a turn of Shimizu Kazuto.

Shimizu started his career as a support member of Shingetsu, a progressive rock band, in late 1970s. Around the time he also participated in sessions of free jazz musicians like Takayanagi Masayuki. After then, he played with the bands like Chakra, Killing Time, OU, Shakushain, Semba Kiyohiko Group et al. Also, he has been active as a composer and session musician.

In 1990, he released a solo album "yet somehow..." which is reissued last year and now available worldwide via HMV Japan (the product information page is here).

Here are some of the groups he currently involved as a regular: Precambrian Clarinet Quartet, the Sleepwalkers and Shin-Okubo Gentlemen. He joined Hikashu in 2003.

AREPOS is a group which Shimizu formed with vocalist Reichi in 1988. Its name is after a latin palindrome, SATOR AREPO TENET OPERA ROTAS (wikipedia).

S	A	T	O	R
A	R	E	P	O
T	E	N	E	T
O	P	E	R	A
R	O	T	A	S

Anton Webern, the composer, had some peculiar obsession with the phrase and it is inscribed on his gravestone. (See here for details).

The music of AREPOS is just beautiful music with beautiful singing, with twists of their own. Although Shimizu is a multi-instrumentalist and Reichi is also a transcendent drummer, as for AREPOS, they concentrate on piano and vocal, respectively. They have released four albums; AREPOS (1989), Kokodake No Hanashi (1995), Aoi Flask (1999) and other Colours (2005).

Please note: Spiral Hall, which houses CAY, now closed until August 15, so if you make a call, wait until the day after tomorrow.

Another World Of Hikashu #4: AREPOS
Shimizu Kazuto (piano), Reichi (vocal)
with guest, Sato Masaharu (percussion)
August 18, 2010
@ Aoyama Cay
open 19:00, start 20:00
advance 3,500 yen - at door 4,000 yen
Aoyama CAY website

Aoyama CAY

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Related Entries:
Lu Inchi - the first time in 24 years
Makigamisantachi and Ru-Inchi

Fuji Rock Festival 2010: Fanfare Of Joy

2010-08-02T10:38:00.015+09:00

Hikashu did an hour set at Orange Court on July 30. It was a dense, special and highly energized performance. They nailed down the audience quite literally. As of weather, there were some worries; the forecast told it would rain around the noon. Fortunately, occasionally got clouded, there was no raining during their stage.

It was different from the beginning. As always, the band started by improvising. The difference was its length and style. Unlike thoughtful and lengthy improvisation of their regular opening, it was fairly short, about a minute and half, and its sound was so aggressive. At that moment, it was clear that the band had the intention to take an unusual approach and try to utilize the oppotunity to the fullest. While the rest of the band were careful and subdued playing, Sato Masaharu battered the sharp, thundering shots and Makigami Koichi hit a series of high note on his cornet. It sounded like a fanfare.

After a swift decrescendo, Mita Freeman abruptly started cutting his guitar at high volume. It was the opening codes of "Alternative Sun". The band quickly reacted and the audience acclaimed. It was an appropriate choice; not only the song bears a strong driving feel but also it is the opening track of their 2nd album called "Natsu," which means, summer.

The next tune was "Ikirukoto." As always, it worked as a vehicle of collective improvisation inbetween and the audience exposed to the intermissive performance of unrelenting imagination. In "Nyuunen," Mita, the other frontman of the group, was moving around in the west wing of the stage; he kicked, jumped and made a face to the audience while taking a guitar solo. The piano-bass-drums interplay in the interludes of "Digital Frankenstein" was acute and sharpening as ever.

"Carp and Gaspaccio," the number I wanted to hear the most in the festival, was rightfully picked. An open-air stage under the hot sun of summer makes the perfect situation for the latin song in middle tempo. Mita did a series of aggressive actions again during a guitar solo. In latter part of the song, Shimizu Kazuto executed a comping with latinized syncopation, and upon it Makigami played the brisk notes with his cornet. It was so beautiful to listen to the mariachi sound in the mountain plateau.

From the latest album, "Nikoseron" was chosen and it was considerably extended. The funk number has been featured a drum solo since last May, and this time it incorporated soli of drums, bass clarinet and bass guitar, in that order. In the middle of the bass solo, Shimizu on bass clarinet and Makigami on cornet started to play a simple phrase in unison as obbligato, and while Shimizu was away from electric piano, Sato sang the main melody (and its variations) of the composition in falsetto while keeping the complicated rhythm. The transition was so smooth that it was beyond all recognition how much it was prepared or improvised from scratch.

Then the biggest surprise of the day came. After "Nikoseron" was finished, the members gathered around the drum riser and discussed something for a while. Presumably a point of agreement was reached and Makigami announced "the next song we play called "Yokisenu Ketsugo" ("The Unexpected Unification")." It was a song from the "Uwasa No Junrui" ("The Human Being") album, released in 1981, and probably it was for the first time that the current formation of the band play that tune. Of course there was no marimba but, except for that, the arrangement they have played retained almost the same elements as the original. The band played it fast, Mita screamed and Sato took a drum solo; it was utterly impressive.

The time had come for that signiture song. Sakaide Masami took a step forward, suddenly strummed his bass with heavily distorted sound for a minute, then stopped and asked "Do you know this thing?" And he backed to take a solo, this time it was the manic bass line of "Pike". After a chorus, the band ignited with the whole thing. The fast number was truly a killer, the ever crowd pleaser and this time was no exception.

The last tune was "Puyo Puyo." Sakaide launched that persisting line and it filled the area. Makigami handed the microphone and roamed around while singing. Next to him, Mita continuously portrayed the lyrics; he played a sicken, a preacher and an amorphous creature, et al. Later Makigami laughed, cried and screamed while the band making a crescendo, and at its end, he fell down to the floor.

Although it had to be a sort of digested form due to the time constraint, the band showed their essentials. They improvised, showed a sense of humor and tried to communicate with the audience. Makigami took a mouth harp solo and executed throat singing. At the quieter moments, Mita occasionally rubbed a pink plastic bag to the microphone and practiced a musique concrète of his own. The rhythm section was tight and flexible as usual.

It was a success; Hikashu proved themselves again they could treat superbly with a bigger stage. Hopefully there will be a chance to see the band at the similar situation again in near future.

The Japan Times has a short comment for the performance
That's 'pataphysics for you

The official website of Fuji Rock Festival carries some photos
Fuji Rock Express

Related Entry:
Fuji Rock Festival 2010

The Japan Times Praises Hikashu

2010-07-23T19:43:00.008+09:00

Today's the Japan Times carries an interesting article entitled "Hikashu to take 'pataphysics to Fuji Rock". It's also available online. See here.

In it, Makigami talked about their intention to the Fuji Rock performance. Avoid if you do not like being exposed to any kind of "spoiler".

"They are bound to amaze at the 2010 Fuji Rock"

Yes, indeed.

Makigami Koichi live with Sengawa-related musicians

2010-07-15T22:41:00.020+09:00

In late July, Makigami Koichi will perform with the musicians who appeared at Jazz Art Sengawa this year. For both the groups, this is to be the first performance.

July 25, 2010 (Sunday)
Makigami Koichi (voice, cornet), Kaneko Yasuko (trombone), Tonchi (steel pan)
Jazz Bar Lady Jane
Setagaya, Tokyo
start 19:30
music charge - 2,700 yen
Jady Jane Live Schedule (Japanese)

At Jazz Art Sengawa 2010, Kaneko performed as a member of a brass duo called Yamaneko San. Tonchi is a steel pan player who has studied the instrument in its birthplace, Trinidad. She has a MySpace account (here) where you could listen to some of her recordings. There is something with her non-verbal singing.

Jady Jane is a jazz bar with long history. It established in 1975 and started to offer live music in 1979. They have three policies for booking music: something new, experimental, and unfinished. It reflects well in their live schedule. Also the pub is famous for the actor, the late Matsuda Yusaku (wikipedia) being a frequent customer.

Jazz Bar Lady Jane

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July 27, 2010 (Tuesday)
Makigami Koichi (voice, cornet), Tamura Natsuki (trumpet), Fujii Satoko (piano)
Jazz Spot Dolphy
Sakuragicho, Yokohama
start 19:30
advance 2,700 yen, at door 3,000 yen
Jazz Spot Dolphy site (Japanese)

At Jazz Art Sengawa 2010, Fujii performed with her own orchestra which has Tamura as its member. Fujii has been active in Japanese jazz scene as a pianist and band leader for years. Also she used to study in New England Conservatory under the pianist Paul Bley. Tamura is a trumpeter who has also a prolific career in jazz. The website of Tamura and Fujii has fully English contents so just take a look at here.

Dolphy is established in 1990 and offers mainstream jazz. Occasionally the club ventures adventurous booking. For example, Makigamisantachi once performed at this place in 2005.

Jazz Spot Dolphy

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Jazz Art Sengawa 2010: Day Three and Afterthought

2010-07-15T17:33:00.020+09:00

On the last day, the weather turned sour. Sometimes it rained heavily. The byobu had to retreat inside the theatre but there were still bright moments on it.

Yamaneko San

The brass duo of two female musicians took an unique approach for the set. Priorly they prepared the notes which have short motif of music. In performance, they would take a note and read it. Then they are to play the motif as a starting point and based on it they develop an improvisation.

All the pieces are in mid tempo, swingy and even sounded like pastorale. Affected with their personalities, there was an atmosphere of tenderness and intimacy. Overall, everything was well suited and appropriate to the festival.

Ito Atsuhiro

The subject of Jazz Art Sengawa was not limited to musician. As being evident in this year's program, it includes poets, dancers and performing artists like Ito Atsuhiro (profile). He uses fluorescent light and makes a series of interesting sounds. As he started to perform, the light flashed profusely and the sounds like thunder vibrated the air. It was quite an experience and wanted to be there longer if possible. But unfortunately I had to bail out in the midst of the performance due to the scheduling. Maybe next time.

Ito Atsuhiro with Shin Yoichiro on drums, Sony Walkman advertisement

Hikashu

The rhythm section of the group was on bandstand and had already started improvising when the gate was opened. As the audience got seated, Mita and Makigami appeared and the band went into a brand new song called "Ashita Ni Kaketa" ("Take a Chance on Tomorrow"). The uplifting number was premiered live in last May, at Star Pine's Café, and since then featured as a concert opener.

This time they were allowed only 40 minutes so everything had to be quick. It seemed that the set list was preconcerted and actually there was no lengthy improvisation between compositions. But that was not problem at all. They performed a series of the uptempo numbers mainly and there was no feeling to be something shortened or hastened.

They also did not forget to communicate with the audience. Makigami, the producer of the event, asked support for the festival. The audience responded them with warm applause.

The highlight of the set was Digital Frankenstein. In general, songs grow and evolve themselves upon repetive performance, and the number is a fine example. Usually the interplay of the rhythm section on this doom-ish song was full of dynamics but the day it was truly on astonishing level.

Overall it was a short but satisfying performance. They are always above my expectations.

John Zorn's Cobra, Otomo Yoshihide Unit

Finally came the grand finale. Cobra (wikipedia) is a game piece invented by the composer John Zorn and it regularly featured as the last repertoire of Jazz Art Sengawa.

It was Otomo who cast the musicians and the personnel was pretty interesting indeed. Besides the musicians from jazz and improvisation genre, There were people like Suneohair (vocal and guitar) and Yakushimaru Etsuko (voice) from pop field, Aya (electric bass guitar) and OLAibi (drums) from a band called OOIOO. Ishikawa Ko (profile) is a renowned player of sho (wikipedia), an 8th century wind instrument of traditional Japanese music.

As a prompter, Otomo conducted a piece at each set, but basically he concentrated on overseeing the ensemble while playing a percussion and occasionally guitar. Most of the time Makigami played the prompter. As always, he did it splendidly. It is no suprises because he knew a lot of the piece. Moreover, he has been one of the most ardent supporter of it for years and is the one who kept the torch alive in Japan, as an organizer and a prompter, at the expense of great effort. In fact, he is the only authorized prompter of Cobra, approved by John Zorn himself.

For the performer's side, Suneohair and Yakushimaru occasionally threw humorous remarks (which Makigami quickly reacted and developed) and got applauded. Also the notables are Aya and OLAibi who have been to the point thoughout the sets. Cellist (and one of the producers of the festival) Sakamoto Hiromichi took extraordinary actions, which are his trademark, and contributed to create a festive atmosphere in the room. All in all, the performance was success and so appropriate for closure.

Atferthought

This year I came to realize that Jazz Art Sengawa works well as a grand showcase of artists. One can argue that the same thing was applied for any music event in general, but in the case of Jazz Art Sengawa, the crowd are different and exceptional. To a degree, they are eclectic; a kind of people having a vast interest in various genres - not only mainstream jazz but rock, avant-pop, traditional music and free improvisation. Even it doesn't limit to music; it incorporates other field like modern poetry or contemporary dance. As far as I know, in the country, there is no other festival like Sengawa. And that also means that by appearing in Jazz Art Sengawa, performer would get an exposure to such people. From the standpoint of artist, it is of great merit.

Anyway, from the look of things, it seems that the festival of this year has already stirred strong interest among concert-goers in general. That means it is no longer for a few connoisseurs and the competition for the tickets is going to be more fierce in future. All the more reason it is advisable to get in quick next time.

In sum, it was quite a wonderful event and I really enjoyed myself being there. All kudos to Jazz Art Sengawa.

Things were getting weirder and weirder in the evening of the last day... Musicians, including the members of Fujii Satoko Orchestra Tokyo, were improvising inside and around the byobu. Shimizu Kazuto and Mita Freeman from Hikashu were also present. Shimizu was on bass clarinet and Mita "played" Mawari Shogi, a traditional board game of Japan (a brief description is here). For over 30 years, Mita has been pursuing the game and eventually have developed some philosophies of it.

Metropolis, an English free magazine based in Tokyo, has an article about the festival (here). It will be gone after a while so save it if needed.

Related Entries:
Jazz Art Sengawa 2010: Jazz Byobu Renovated and Art Parade
Jazz Art Sengawa 2010
Jazz Art Sengawa

Jazz Art Sengawa 2010: Day Two

2010-07-15T05:21:00.020+09:00

It was a typical day in summer. The weather was sunny and it was great for Club Jazz Byobu. During the daytime, a lot of children hang around the byobu and all enjoyed themselves with it.

Free Session for Improvisation, moderated by Makigami Koichi

At first, I was surprised the venue was pretty crowded. Compared to the past two years, the number of the musicians and the size of the audience were exponentially grew. It was a good sign. Apparently the event became more popular than ever.

At the same time, it also means that the moderator has to have some burdens. Indeed, there were some moments of difficulties but Makigami handled the situations properly. Each performance was for about five minutes and between them, Makigami added comment. He also frequently talked to the audience and tried to keep the atmosphere favorable. It was appropriate and very encouraging indeed.

And I hasten to add there were brightful moments, of course. Besides amateur improvisers, there are some professional musicians participated and it gave some positive effect to the scene.

Samm Bennett

He did a short but nice set with handmade instruments. Having witnessed his solo performance in the past, I was looking forward to the set very much (First I recognized him as a proficient percussionist, so I was somewhat surprised to know his singing so good). And he responded to my expectations by singing magnificiently a number of the Americana songs he penned. He had a style and his singing is pleasant to listen to. Go see him if there's a chance.

Sakata Akira

Besides playing his instruments profusely, the veteran saxophonist rang bells, made hollers and rocked the house pretty hard.

Yagi Michiyo (12 and 16 strings koto) and Jim O'Rourke (guitar) were mostly to reserve themselves in supportive role but Pika (drums) was not. She even occasionally came to the front and sang proficiently. With two extended pieces of ferocious improvisation, they hit the audience to the core and at the end of the performance there was a huge applause.

Kokopelli

Unfortunately, as I rushed to the venue, the set was about to end. The voice-piano-drums trio was basically doing improvisation but the last number was a composition. It was a ballad, and the vocalist Saga Yuki sang about the stars and the skies. Solemn, impressive, and a nice treat to close a long day of the music instinct with life.

Related Entries:
Jazz Art Sengawa 2010: Jazz Byobu Renovated and Art Parade
Jazz Art Sengawa 2010
Jazz Art Sengawa

Jazz Art Sengawa 2010: Day One

2010-07-14T05:34:00.019+09:00

It was extraordinarily three days. The followings are my sentiments over some of the performances I have attended.

Fujiwara Kiyoto and Komatsu Reiko

Fujirawa played splendidly on this set. His double bass sounded so warm and full. I cannot help but immersed myself into the sound. And his partner, the percussionist Komatsu, brought an exotic instrument.

On the bandstand, there was a huge metal frame, hanging dozens of black stone. The instrument were called Sanukite (or Sanukitophone), a sort of Lithophone (wikipedia). The stones are a rare kind of granitoid and famous for its beautiful sound. Indeed, the sound was unique and profound.

Tsuchitori Toshiyuki played "Sanukaito Stone Music", recorded live in 1984.

Also I found an academic paper about the instrument. You can read the PDF version of it here.

Regarding the performance, the duo showed a very interesting approach. The music was all composed and on beat but otherwise I could feel much freedom on their playing. Later on the set, Komori Keiko (reeds) and Yoshino Hiroshi (bass) joined but the music was still having never dull moments and kept its edge. I had to give up Tanaka-Yamashita-Umezu Trio but it was well worth for that. Definitively, this set was one of the highlights of this year's festival.

Luzazul featuring Komatsu Reiko played "Pavane pour une infante défunte" per Maurice Ravel on December 14, 2009.

Nanao Tavito with Makigami Koichi

It seemed that Nanao enjoyed himself talking to the audience as well as playing. He was open, talkative and easygoing youngster who talked about the subjects like music, his life, up and down of being artist. Being solo, he could sing and talk as much as he would like to.

His new album "Billion Voices" was just released so I assume he mainly played tunes from the album. But it was not. Instead, he played a lot of other people's tunes, like Elton John's "Your Song" and Lou Reed's "Walking on the Wild Side" with Japanese lyrics. His guitar play was economical, sometimes even skeletical, but never lost the feel. Contrary to that, the words are abundant; His adapted lyrics are respectful to the originals and added with his own expression as well.

In midst of the 1st set, Makigami arrived. Soon the two embarked themselves in an improvisation of voices. Makigami occasionally played cornet and Nanao used sampler sometimes but basically, it was all non-verbal voice duo. It was wonderful. I was thrilled to see them spelling out mystical voices each other and apparently they enjoyed themselves doing that. After playing 20 minutes, Makigami left with the audience cheered.

It was well into the 2nd set. All of a sudden, Nanao put down his guitar, and got down to the floor; he became invisible from the audience. Then he started to tell a tale.

It was a story about the beginning of house music and its creators. Most originators of the music was gay people, who had so much emotion of joy and sorrow in their life. For them, clubs were the sactuary and dancing to the music was a way to take away the blues of grim realities.

Sans any accompaniment, occasionally teasing with the audience, Nanao told the tale using voices of various tones through an alteration filter for about 20 minutes. It was humorous, and sad story.

After that, he took his guitar again and launched "If you want to be a rock star," a tune from the new album. It is a story of a man who aspires to be a rock musician. He quitted day job, abandoned his family and went somewhere else to pursue his dream. There was no mention what became of him.

It was the last number of the night. The time was running out and I have to leave. I felt tired but it was pleasant.

Related Entries:
Jazz Art Sengawa 2010: Additional Concerts
Jazz Art Sengawa 2010
Jazz Art Sengawa

Jazz Art Sengawa 2010: Jazz Byobu Renovated and Art Parade

2010-07-03T12:45:00.017+09:00

Club Jazz Byobu renovated

Club Jazz Byobu is a removable concert space, operated only for the festival and being proudly self-described "the world's smallest live venue". Consisted of four walls (which can be folded or opened) with wheels, it is specifically designed and built based upon Makigami's idea. According to him, its aim is to provide an "intimate musical experience" for the audience ("intimacy" is the theme of the festival). He also said that, being placed outdoor in daytime, it works like street theatre of Terayama Shuji (wikipedia), one of the most influencial playwriter in post-WWII Japan.

I myself experienced it several times. The space is very small and could accomodate about 5 persons. The audience is to be literally vis-à-vis with performer. For myself, felt somewhat a little awkward first but it grew gradually something else. Maybe tension or seriousness. Because once the music started, you cannot do nothing but face to the performer. So naturally I concentrated to it. It must have influence over the performer's side, too. I don't remember what I felt then exactly, but what I can tell with certainty is that it was a very unusual experience for listening to music.

Samm Bennett playing in the Byobu at the unveiling, showcase event, near the Sengawa station, July 2008. Mr. Bennett is going to play for Jazz Art Sengawa again this year. Also there is a very interesting interview of him in 2007 - see here.

And this year the byobu is completely re-designed and rebuilt.

Then

and Now

The new one is painted white, and its inside is now mirrored entirely. So it must be more perplexing, and exciting.

Though there is a moderator, the byobu takes a guerilla approach. Both its place and the performer are always in flux. So if you spot the thing, just try it. It surely gives you an unusual and very memorable experience.

Art Parade

As an opener, there is a parade of the festival staff and others. It is called "Art Parade" and marching through the main district of the Sengawa town. The participants wear a hand-made hat like this:

The parade will start about 16:00 of the first day. Although there is no announcement where it starts but it will probably be the front square of Sengawa station (wikipedia), as the former two years were. They are also going to do some performances, probably voice related, so come and see it.

Sengawa Station

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Jazz Art Sengawa 2009 Digest Clip. Hikashu (with guest Umezu Kazutoki) appeared briefly at 4:35.

Related Entries:
Jazz Art Sengawa 2010: Additional Concerts
Jazz Art Sengawa 2010
Jazz Art Sengawa

The Hikashu's Merchandise

2010-07-01T02:07:00.006+09:00

At concert, there is usually a counter selling CDs and various goods where you could buy some souvenirs. Hikashu is no exception. Along with CDs, they have prepared some official goods for fans and selling them at concert.

Right now Hikashu has T-shirts and cotton bag which have the band's name on it for sale. Size and availability vary and always are in change so consult the counter staff if you have any questions, in Japanese or plain English.

Hikashu T-Shirt - 3,000 yen
Color: Black, Pink, Purple, Yellow, Green, Light Blue
Lettering: Silver or Gold (Some colors have only silver lettering)
Size: XXL, XL, L, M, S, XS

Hikashu Bag - 2,500 yen
Size: slightly larger than A4 (wikipedia entry about paper size - here)
Variation: Black with gold lettering, or Cotton white with red lettering

All the profits go directly to Hikashu so buy them all and support the band.

Jazz Art Sengawa 2010: Additional Concerts

2010-06-30T22:30:00.025+09:00

There is an official announcement that three additional concert will be offered for Jazz Art Sengawa 2010. The artists are Nanao Tavito, Ogawa Mishio and Umezu Kazutoki. Curiously, all of them happened to have some connections with Hikashu and already performed with the band in the past.

Please note: All those concerts are not covered with Jazz Art Sengawa 2010 ticket - you have to buy tickets or make reservations for each concert separately. But you will get some discount with showing Jazz Art Sengawa 2010 ticket.

Nanao Tavito

Nanao Tavito is a singer-songwriter, born in 1979 and debuted as a solo artist in 1998. Always relaxed, Nanao seems to be a man of easygoing but the power of his narrative singing is so immense and hard to resist. You have to listen to him for yourself.

In January 2009, he performed a solo set as an opening act for Hikashu concert. I myself witnessed the performance - he was always smiling, frequently joking with the audience and sang a lot of songs - to me, it's like he was telling one long story continuously in various successive songs and it left me an impression that he is a modern day minstrel. After the solo act, he again appeared at the Hikashu's set, and performed 20+ minutes improvisation with the band and the other guest, violinist Ota Keisuke (he will also perform a solo set in Jazz Art Sengawa 2010). In the performance, he used no words - just voice and some effects - and I was greatly impressed.

At Jazz Art Sengawa, he will perform a solo, and duo set with Makigami Koichi follows. He wrote an entry in his blog that performing with Makigami is a great challenge to him and looking forward to it. The seats are strictly limited so the reservation is recommended.

Nanao Tavito with Makigami Koichi
in the conjunction of Jazz Art Sengawa 2010
July 9, 2010 (Friday)
Kick Back Cafe
Sengawa, Chofu
Tokyo
open 18:00 start 19:00
advance 3,000 yen - at door 3,500 yen
(one drink order minimum)
Reservation: Call Kick Back Cafe at 03-5384-1577 or e-mail info@kickbackcafe.jp
Note: 1,000 yen deduction by showing other Jazz Art Sengawa ticket
Kick Back Cafe website

kick back cafe

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Nanao Tavito sang "Terraplane" on May 29, 2009.

Nanao Tavito and Jim O'Rourke dancing on John Zorn's Cobra, Jazz Art Sengawa 2009.

Ogawa Mishio

Ogawa is a singer, debuted in 1980 as a vocalist of new wave band, Chakra. She is one of the best songstresses emerging from Japanese New Wave scene in late 70s - early 80s. Turned solo in 1984, she continues to perform in various projects to this day.

For the festival, she will perform with her band, The Sproutrapus. The band's personnel is Ogawa (vocal), Yoshimori Makoto (keyboard), Okawa Shunji (bass), whacho (perc) and Kobayashi Takefumi (drums). Yoshimori is an ex-member of Hikashu.

She has played with Hikashu many times in the past. The latest is in June, 2008. The band invited her and Inoyama Land their concert at Kichijoji Star Pine's Cafe and performed together.

Chakra performed "Fuku no Tane" ("The Seed of Happiness") and "Sensei" ("My Teacher") in 1980. You might notice Hikashu members dancing in the audience.

Ogawa Mishio with The Sproutrapus
in the conjunction of Jazz Art Sengawa 2010
July 10, 2010 (Saturday)
Kick Back Cafe
Sengawa, Chofu
Tokyo
open 18:00 start 19:00
advance 3,000 yen - at door 3,500 yen
(one drink order minimum)
Reservation: Call Kick Back Cafe at 03-5384-1577 or e-mail info@kickbackcafe.jp
Note: 1,000 yen deduction by showing other Jazz Art Sengawa ticket
Kick Back Cafe website

Umezu Kazutoki

Started as an avant-garde saxophonist, Umezu is now one of the most popular reed player in the country. Besides jazz, he covers various musical style - rock, pops and so-called world music. The roster of his past collaborators is very long list - including RC Succession (he was a regular tour member of the very popular rock combo), Ian Dury & The Brockheads, and of course, Hikashu.

He has appeared the festival in the past. In 2009, he performed a solo set, consisted entirely of Japanese Enka songs. Also he was guested in the Hikashu's set.

This year he is going to perform solo again. In the notification of the event, there is no explanation of the performance itself so probably he will do free-form set.

Umezu and His Kiki Band, 2006.

Umezu Kazutoki solo concert
in the conjunction of Jazz Art Sengawa 2010
July 12, 2010 (Sunday)
atelier DingDong
Sengawa, Chofu
Tokyo
open 18:30
charge: 2,000 yen
Reservation: Call atelier DingDong at 03-5879-7897
Note: 1,000 yen deduction by showing other Jazz Art Sengawa ticket
atelier DingDong website - event notification

atelier DingDong

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Related Entries:
Jazz Art Sengawa 2010 update
Jazz Art Sengawa 2010
Jazz Art Sengawa

Short Clip of "20th Century" (1996)

2010-06-22T13:44:00.010+09:00

Here is just recently uploaded a short clip of "At the End of the 20th Century". It is for promoting the 1996 album, Kawatteru (Changing Like Myxomycetes). The album is a sort of the best, entirely consisted of the old favorites of the band. All the tracks are completely re-arranged and re-recorded.

The version of "20th Century" featured additional musicians, four drummers playing together, for fattening the rhythm. Here you could listen to the edited down, short version of the track.

At that time, Hikashu was Makigami Koichi (vocal, cornet), Mita Freeman (guitar), Sakaide Masami (bass), Nomoto Kazuhiro (reeds), Torsten Rusch (sampler), Yoshimori Makoto (keyboard), and Niida Kozo (drums).

The reissue of "Watashi No Tanoshimi"

2010-06-17T09:58:00.004+09:00

Bridge Inc., the distributor of Hikashu albums, officially announced that the release date of "Watashi No Tanoshimi" ("My Pleasure") is August 20, 2010.

It is basically an instrumental album and intended for fashion show of designer, Jurgen Lehl. It was released in 1984 and have never been reissued before.

Originally it was a picture record, each side featured a photo of Planet Earth and the moon. It will be reproduced for the CD reissue - I don't know how but it is possible, at least so told am I. Also it comes with cardboard sleeve replica of original LP artwork.

And two bonus tracks will be added. Both are unreleased recordings from the same session.

Of course it is remastered, using high resolution 5.6MHz DSD technology.

HMV Japan already listed the album. See Here.

And there will be a concert held at Kichijoji Star Pine's Cafe for commemorating the reissue (and the Fuji Rock appearance) in late August, with various guests including Inoyama Land. More details on this to follow.

Hikashu with Jurgen Lehl in 2005 (just scroll it down)