Anno IVxiii Sol 17° 04' Virgo Luna 24° 18' Scorpius
VI Swords inverted, XVX The Sun inverted
Do what thou wilt shall be the whole of the law
日本語訳はもう少し待っていて下さい。
今もう寝る
とりあえず、爽やかな感じだった。
小任ずけど小部屋でちょうどよかった。
みなゆっくりしてきた。
持ちよりライブピクニック。
平和だったやっぱり
じゃあ朝、明後日演奏を詳細な説明する。
ヨロシク
Kato Yoshiki - electric guitar
Imaoka Yuichi - tabla
S. Sha - acoustic guitar
Space Jii, Kakuozan, Japan
Heiwa ヘイワ
Faded Green
Mon 門
---------
30 min?
---------
Free #1
Bossa Tabla -> Nice Space
---------
Casablanca
Autumn Leaves
---------
Jimmy Page double stop bend
Quiet
slight rain
beeeeeeee
nice space
familiar phrases
Don't Do it
settled in おちついた
ochituita
annshinn tabla 安心タブラ
Bop Kordz
This Guy Kato really reminds me of my own playing, only more polished.
11 guests in a room for 30 or so, refreshments all self-provided.
First a duet with S. Sha and Imaoka Yuichi,
then a duet with Kato Yoshiki and Imaoka,
finally a short trio comprised of the three musicians.
The evening centered around percussionist Imaoka.
Sha performed two original nubers and a kind of guitar raga written
with Imaoka.
After about a 15min. set break Kato took the stage
with Imaoka for a free duet washing colors of quiet and even sparse
digital and analog guitar over the tabla. This developed into
an erratic, stop and start single note solo with a hint
of blues and swing, but without the blues hamonies.
This is where the 'Jimmy Page double stop bend' above comes from.
Kato and Imaoka locked in tight for the following number
which started life as a bossa nova with tabla accompaniment.
The mood slowly moved into a nearly abstract display of
sparse tabla and electronic effects. Kato Yoshiki's smooth
and warm lines accented with some wah and delay
created a really nice atmosphere throught the fully improvised pieces.
At times it was very meditative, other times, noisy and punkish and then
there were times where you wanted to get up and dance.
Very creative and open. Attentive.
After a last short break to regroup the three musicians took the stage
with a twelve minute time limit for the final set.
Here the introductions were set aside and the group set down to
some real business. Clearly the evening was built up from the beginning
culminating in the full group work which, though shorter that the previous
stages, condensed the ingredients set before the audience into
a delicate main course. Kato took the lead with Sha's Casabanca number
as Sha droningly arpegioed away at the circular melody throughout
as Imaoka and Kato flitted about over and through raga style
variation on the refrain melody from Kashmir. The original song was
utterly unrecognizable to both the audience and the performers.
Finally for the last number, Autumn Leaves, Sha took a daredevil solo
as Kato skillfully wove the chords around the melody, Joe Pass style.
Imaoka actually had a swing going on the tabla.
This left the audience comfortable and happy and they lounged about
on the floor cushions long after the performance had ended.
After the show, an audience member was quoted as saying,
"Those guys are real men."
What exactly was meant by this, aside from it's literal conotations,
is quite unknown, but seems to be the ultimate compliment
among Cuban street musicians.
Love is the law, love under will
VI Swords inverted, XVX The Sun inverted
Do what thou wilt shall be the whole of the law
日本語訳はもう少し待っていて下さい。
今もう寝る
とりあえず、爽やかな感じだった。
小任ずけど小部屋でちょうどよかった。
みなゆっくりしてきた。
持ちよりライブピクニック。
平和だったやっぱり
じゃあ朝、明後日演奏を詳細な説明する。
ヨロシク
Kato Yoshiki - electric guitar
Imaoka Yuichi - tabla
S. Sha - acoustic guitar
Space Jii, Kakuozan, Japan
Heiwa ヘイワ
Faded Green
Mon 門
---------
30 min?
---------
Free #1
Bossa Tabla -> Nice Space
---------
Casablanca
Autumn Leaves
---------
Jimmy Page double stop bend
Quiet
slight rain
beeeeeeee
nice space
familiar phrases
Don't Do it
settled in おちついた
ochituita
annshinn tabla 安心タブラ
Bop Kordz
This Guy Kato really reminds me of my own playing, only more polished.
11 guests in a room for 30 or so, refreshments all self-provided.
First a duet with S. Sha and Imaoka Yuichi,
then a duet with Kato Yoshiki and Imaoka,
finally a short trio comprised of the three musicians.
The evening centered around percussionist Imaoka.
Sha performed two original nubers and a kind of guitar raga written
with Imaoka.
After about a 15min. set break Kato took the stage
with Imaoka for a free duet washing colors of quiet and even sparse
digital and analog guitar over the tabla. This developed into
an erratic, stop and start single note solo with a hint
of blues and swing, but without the blues hamonies.
This is where the 'Jimmy Page double stop bend' above comes from.
Kato and Imaoka locked in tight for the following number
which started life as a bossa nova with tabla accompaniment.
The mood slowly moved into a nearly abstract display of
sparse tabla and electronic effects. Kato Yoshiki's smooth
and warm lines accented with some wah and delay
created a really nice atmosphere throught the fully improvised pieces.
At times it was very meditative, other times, noisy and punkish and then
there were times where you wanted to get up and dance.
Very creative and open. Attentive.
After a last short break to regroup the three musicians took the stage
with a twelve minute time limit for the final set.
Here the introductions were set aside and the group set down to
some real business. Clearly the evening was built up from the beginning
culminating in the full group work which, though shorter that the previous
stages, condensed the ingredients set before the audience into
a delicate main course. Kato took the lead with Sha's Casabanca number
as Sha droningly arpegioed away at the circular melody throughout
as Imaoka and Kato flitted about over and through raga style
variation on the refrain melody from Kashmir. The original song was
utterly unrecognizable to both the audience and the performers.
Finally for the last number, Autumn Leaves, Sha took a daredevil solo
as Kato skillfully wove the chords around the melody, Joe Pass style.
Imaoka actually had a swing going on the tabla.
This left the audience comfortable and happy and they lounged about
on the floor cushions long after the performance had ended.
After the show, an audience member was quoted as saying,
"Those guys are real men."
What exactly was meant by this, aside from it's literal conotations,
is quite unknown, but seems to be the ultimate compliment
among Cuban street musicians.
Love is the law, love under will
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