Monday, August 18, 2014

New Nambu(8) “Kouenbosatsudaizishikoukei (Also sprach Zarathustra) ”


<I shorten and rewrite the article which will be appeared on G-modern No.30 at this time. Because it’s not clear when this issue will be published, whether paper medium or on-line. This topic reflects the circumstance of the world. I was approved by Mr.Ikeezumi of Modern Music, when this article will be appeared on G-modern, I will rewrite taking the passage of good long time into account. Let’s get started.>

“Well, this is a picture of Keizou Miyanishi, isn't it?”

Two middle-aged women who were passing through the deserted amusement area in broad daylight stopped. One of them reacted the flyer stuck in front of the shop I set up as the venue. ( I see. I think there are latent Keizou Miyanishi fans still.) I would pursue them to invite the gig, but they unfortunately moved off. It was spring of 2010.  

In the early of 2012, I planed Onna, the band of Keizou Miyanishi and the duo of Keiko Higuchi and Shinichirou Kanda to come. Although it’s hte first time for Kanda to come to Morioka, I’d love to him to come. He was a member of my first leader album “The unsaid (Bishop records, 04), and the pianist of the trio who shared “one of the best moment” of my performance.

It was decided the continuous performance will be held on Apr 21, 22. Miyanishi always demands two straight days. I asked him to name the title of the gig. Then, he immediately replied “Kouenbosatsudaizisikoukei”. He said this was the Chinese translation of Nietzsche’s “Also sprach Zarathustra ”The venue on 21st was old “Bateren-jaya” where was the prominent jazz café in Tohoku district. It was some hundreds year old storehouse, ivies were closely entangled on the wall. It already passed 20 years since it was closed down, they lent us there as the venue sometimes.

In first, Doshimasu-sinfonia performed. The formation was electric guitar, drum (only a snare and a floor tum), percussion, 2 violins, piano, sax, tuba, vocal and a conductor. Members of this ensemble were a really different age, gender also. In regard to their background, someone received the professional education of classic music, someone was a member of wind ensemble, of course someone has played rock music.

There was a background that such mixed group was formed. In February 2010, the contrabass player, Jun Kawasaki (one of the my best co-performers, along with the percussionist, Tatsuya Nakatani) organized “The workshop of composing” on 3 straight days. Many of members at this time participated in Doshimasu-sinfonia, later. In February 2012, the duo by a percussionist in the US, Tatsuya Nakatani and Swedish guitarist, David Stackenas performed the gig as improvisational ensemble in addition to Shyomyo (Buddahism chanting) by a local monk and the local performance group at the same temple. This performance group included almost all member of Doushimasusymphonia.

The performance of Doshimasu Symphonia was ”tousei” composed by Yasumasa Morita who was a representative of hardcore punk in Morioka (He is active as a guitarist in Mortal Family). The performance started from the refrain by the voice of all members, and the guitar and the drum hand over it, instruments are gradually heaped up making layers. The melody like Chinese which was completely different from that appeared there, sax and tuba alone remain to repeat that phrase. A singer was shouting somewhat Chinese lyrics. And the ensemble resound like covering the phrase as if waves wash reefs. The violin participated in the melody not to be erased somehow. Suddenly, the piano went toward to glissando, everyone rushed in the first refrain. Instruments gradually diminished as if it was come off. Only the guitar and the drum remained to be playing the solo part like last glitter, and it finished.

Then, the duo by Keiko Higuchi and Shinichirou Kanda appeared. They released the cd “Shusi no Kakera”. Higuchi is a solo performer, and she frequently plays abroad, I hear she co-performed with Hiko ( a drummer of Gauze). Kanda mainly composes for controlling improvisation and has various co-performers, he released three cds of “Ongaku-bigaku (Aesthetics of music)” which is a group plays songs by himself. Moreover, they has advanced into the field of theater through offering composition and performance to corporate with Umptemp company since 2009. The expression of this two is contrastive. Higuchi showed bold and radical expression. Kanda played the piano so delicately and notably.

As if they were Milva and Piazzolla. Where did the amplitude of this duo converge? The voice and the piano tangled each other like dialectic of stillness and motion. This was the moment of erotic. Although the piano in Bateren-jyaya wasn’t good because it wasn't usually used, Kanda summoned sylphs who had hidden there. On the other hand, Higuchi widened wings like Harpy and palsied our audible sense with her various voice, then she sowed seeds in our brain in that time.

Finally, Onna appeared. The first words of Miyanishi were “Please listen to the slut song.”. Miyanishi like androgynos come to murmur before it was not broken the spell of Higuchi. I wonder whether it was Henjyodanshi or Henjyojyoshi. Gibson of Miyanishi was dying the stagnant air in the old storehouse into the sound of the blood color as well as his Gibson’s body. As an expert of blues guitar Roiki not only support him but also exactly hemmed the phrase Miyanishi repeated and was sewing that.

The song of Miyanishi was never the communication. If you sympathized it, the product by voices and words like viruses you were infected with. Then, they would be revived in the memory and dream someday. Once, I reviewed Miyanishi as Sherman. It was a fault. Miyanishi was a priest, and we were sacrificed to his world. Which god? It was not a muse. Perhaps, gods of Kturu who had been forgotten their name, who had been beaten by Zeus, or had been thrown into the inside of Ginungagap. They weren’t gods but gods who hide in a trunk in a garret.

The curtain was down by the guitar leaving trails long and the groaning of Miyanishi. On next 22nd the ritual was moved to a place "Kaiun-bashi no Johnny” (Kaiun-bashi means Fortune bridge, and the venue is near to this bridge, really exits in Morioka), close to Morioka Station and it continued. (This shop was in Rikuzentakada city of Iwate Prefecture coast as "Johnny of Rikuzentakada" once, but relocated to Morioka in ’01, also moved in '13 and is in business now.) . The opening act was "Rien jail " which was organized by four members. They say. "Rien and Jail. There was the world between these.”

Impressive rhythm beaten by Onnyk. I wonder this was “ Satori pt.2” by Flower travellin’ band. A bassist,Yuji kept the beat was “Love supreme” by Coltrane. What an anachronistic combination. A skinhead guitarist, Yoneyama shouts “Love Supreme” with howling. And a female violinist, Nicolleta repeated the phrase of “Satori”. The performance closed to “Love supreme” and returned to “Satori”

The duo by Keiko Higuchi and Shinichirou Kanda appeared the same as yesterday. Pianism of Kanda was more sharpen. The extraordinary skill of Kanda which he resounded minimum sound just as it was clear was quite obvious that his origin was different from jazz or rock pianists. He gave the audience who tended to enchant a warning by mixing not only graceful but extraneous harmony Higuchi was also full of presence more than the previous day or more. The theatrical figure or even like a Butoh was enough to remind us how Damia and Barbara had been. Yes, she filled the atmosphere of chanson noir somewhere. But the voice of Keiko Higuchi held a formidable strength in the range from Billie Holiday from to Diamanda Gallas.

However, I’d not like to say anything about Onna, or Miyanishi now. The guitar by Roiki run through around the priest Miyanishi as if it was a court musician or a clown, with coming and going freely the front and back of the refrain and stealing the tempo. Voice of Miyanishi was integrated with the guitar, how far he aimed to hell not heaven. However, it was sure that sound satisfies the basement of the store, it was sure that it boiled "The soup of ecstasy" using the audience as ingredients. I thought " Sister Ray " by Velvet Underground in heyday might be like this. No, I wonder it was something rather than that. Miyanishi himself would have opened his eyes of the inside in the trance. "I’m not me. Not something that had been called once, but everything. I don’t exist. Because, I’m ubiquitous. You're me. I am opened eyes for the god to see himself. Miyanishi chose the name called Onna (means woman in Japanese) as a symbol of all existence which were scorned. In addition, he there were bodies of women as radical form of all arts.

And according to Lacan, women (=Onna) don’t exist. Women are Phallus, subjects of desire, and the body of mothers. So, women drawn by Miyanishi are made by many penises. Then, what do it make songs of Miyanishi and the sound? It was never "semen". Because, Miyanishi never gets to acme. I should have recommend ladies who were interested in music of Miyanishi by seeing the flyer sticked out to enter rolling up the hem of her skirts. Because it's the entrance to moving around hell like a endless rond. (cont’d)

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