梵人譚 西日本ツアー2018 坂田+オルーク+ディ・ドメニコ+山本

2018/06/11 月曜日

Bonjintan West Japan Tour 2018 'Sakata + O'Rourke + Di Domenico + Yamamoto'梵人譚 西日本ツアー2018 坂田+オルーク+ディ・ドメニコ+山本

Open: 19:30 | Start: 20:00 - 22:00

SuperDeluxe

前売/Advance: ¥0.00 | 当日/Door: ¥3,300

ドリンク別/Plus drink

予約する/Reserve

出演:
■ 梵人譚(坂田明、ジム・オルーク、ジョヴァンニ・ディ・ドメニコ、山本達久)+ 中山晃子(Alive Painting)

出演者詳細:

坂田明(reed, vo)
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広島県呉市広長浜生まれ。広島大学水畜産学部水産学科卒業後、1969年に上京し「細胞分裂」を結成。1972年から1979年にかけて山下洋輔トリオに参加し、1979年末まで在籍。激しいサックス演奏で知られるようになる。同トリオを脱退後は、さまざまなグループの結成・解体を繰り返し、2000年から「坂田明mii(みい)」を中心に活動。現在は「坂田明Trio」、「坂田明&chikamorachi」でのレギュラーユニットの活動と同時に、内外のミュージシャンとのフリー・セッションを行なっている。
www.akira-sakata.com

ジム・オルーク(wood bass)
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1969年シカゴ生まれ。Derek Baileyの音楽と出会い、13才のジム少年はロンドンにBaileyを訪ねる。ギターの即興演奏に開眼し実験的要素の強い作品を発表、John Faheyの作品をプロデュースする一方でGastr Del SolやLoose Furなど地元シカゴのバンドやプロジェクトに参加。一方で、小杉武久と共に Merce Cunningham舞踏団の音楽を担当、Tony Conrad、Arnold Dreyblatt、Christian Wolffなどの作曲家との仕事で現代音楽とポストロックの橋渡しをする。1998年超現代的アメリカーナの系譜から『Bad Timing』、1999年、フォークやミニマル音楽などをミックスしたソロ・アルバム『Eureka』を発表、大きく注目される。1999年から2005年にかけてSonic Youthのメンバー、音楽監督として活動し、広範な支持を得る。2004年には、Wilcoの『A Ghost Is Born』のプロデューサーとしてグラミー賞を受賞、現代アメリカ音楽シーンを代表するクリエーターとして高く評価され、ヨーロッパでも数々のアーティストをプロデュースする。また、日本文化への造詣が深く、近年は東京に活動拠点を置く。日本でのプロデュース・ワークとしては、くるり、カヒミ・カリィ、石橋英子など多数。坂田明、大友良英、山本精一、ボアダムスなどとの共同作業や、武満徹作品『コロナ東京リアリゼーション』(2006)など現代音楽に至る多彩な作品をリリースしている。映像作家とのコラボレーションとしてWerner Herzog、Olivier Assayas、青山真治、若松考二などの監督作品のサウンドトラックを担当。(Jim O’Rourke photo by Ujin Matsuo)
ジム・オルーク Bandcamp

ジョヴァンニ・ディ・ドメニコ(P.f, key)
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ローマ出身のGiovanni Di Domenicoは常に旅をしながら音楽を演奏してきた。Arve Henriksen、坂田明やJim O’Rourkeなどを始めとして様々なジャンル(モダンジャズ、即興、エクスペリメンタルポップ)の音楽に関わってきた。今回の来日でも極上の音楽を届けてくれる事であろう。
Giovanni di Domenico official

山本達久(drums)
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1982年山口生まれ。07年まで地元のbar印度洋を拠点に音楽活動と並行しさまざまなイベントをオーガナイズするなど精力的に活動。ジム・オルークとの様々な活動をはじめカフカ鼾、NATSUMENなどのバンド活動、UA、カヒミ・カリィ、坂田明、木村カエラなどのサポート多数。演劇の生伴奏・音楽も手掛ける。11年、ロンドンのバービカンセンターにソロとして招聘されるなど、海外公演、録音物も多数。

中山晃子(Alive Painting)
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画家。液体から固体までさまざまな材料を相互に反応させて絵を描く「Alive Painting」というパフォーマンスを行う。科学的、物理的な法則に基づくあらゆる現象や、現れる色彩を、生物や関係性のメタファーとして作品の中に生き生きと描き、空間や感情に触れる。近年ではTEDxHaneda、DLECTRICITY ART FESTIVAL 2017 (US Detroit) 、Ars Electronica Fes 2016(Austria)にも出演。
akiko.co.jp

Live:
Bonjintan (Akira Sakata, Jim O’Rourke, Giovanni Di Domenico, Tatsuhisa Yamamoto) + Akiko Nakayama (Alive Painting)

Artist information:

Akira Sakata (reed, vo)
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Akira Sakata was born in Kure-city, Hiroshima in 1945. Studied marine biology at Hiroshima university. Formed a group Saibo-bunretsu (Cell fission) in Tokyo in 1969, and was also performing with various free-jazz musicians during this time. Since the late 1960s, Sakata has been a constant figure in jazz and creative music scenes as an ever evolving and adventurous, multi-instrumentalist, and member of classic groups such as Yamashita Yosuke Trio, from 1972 till 1979, and Wha-ha-ha plus many of his own, like the Sakata Akira mii. He has recorded with Chris Cosey, Peter Brotzmann in Last Exit, DJ Krush, Yoshimio, and others. In 2005 he began peforming with guitarist Jim O’Rourke, drummer Chris Corsano and acoustic bassist Darin Gray. They’ve since released three albums together. Friendly Pants is the first American release by Sakata in more than 20 years. It pairs the 65-year-old traveler alongside bombast Chikamorachi (Corsano/Gray) and O’Rourke as the producer.
www.akira-sakata.com/

Jim O’Rourke (wood bass)
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Born 1969 in Chicago. O’Rourke encountered the music of Derek Bailey as youngster and began visiting him in London at the age of 13. Eyes opened to the power of improvisational guitar, he released several of his own highly experimental works and has worked closely with John Fahey and Loren Mazzacane Connors. During his long association with the Chicago experimental and improv scene O’Rourke participated in several bands and projects including Gastr Del Sol and Loose Fur. His work with Takehisa Kosugi music director of the Merce Cunningham Dance Company as well as Tony Conrad, Arnold Dreyblatt, Christian Wolff and others built bridges between contemporary and popular music. O’Rourke’s release of landmark albums Bad Timing and Happy Days in 1997 and Eureka in 1999 garnered much attention. From 1999 to 2005 he was a member of Sonic Youth, playing bass, guitar and synthesizer as well as recording and mixing the band. In 2004 he won a Grammy Award for his production of Wilco’s A Ghost is Born. O’Rourke has also earned a loyal following for his participation in numerous albums by various artists around the world. He has a deep knowledge of Japanese culture and currently lives in Tokyo. Some of his many production credits in Japan include Quruli, Kahimi Karie, and Eiko Ishibashi. He also continues to be a consummate collaborator, working with Akira Sakata, Merzbow, Yoshihide Otomo, Seiichi Yamamoto, Boredoms and others. His recordings of Toru Takemitsu’s Corona for pianists Tokyo Realization was awarded the Agency for Cultural Affairs Arts Festival Award for Excellence in 2006. He has also scored films by Werner Herzog, Olivier Assayas, Shinji Aoyama, Koji Wakamatsu and others. His own short films have been part of the 2004 and 2006 Whitney Biennial and the 2005 Rotterdam Film Festival. O’Rourke is a diverse and powerful artist. Always searching, his borderless activity goes beyond the common labels Alternative, Post-rock, Experimental-pop, Film music, Free music, Jazz, Americana, Contemporary music and continues to defly classification. (Jim O’Rourke photo by Ujin Matsuo)
Jim O’Rourke Bandcamp

Giovanni Di Domenico (P.f, key)
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Giovanni Di Domenico, pianist, performer, composer, was born in Rome on the 20th July 1977, a significantly tempestuous period in socio-political terms, featuring hostile polarizations and an ostensive paramilitarism, mutinous ideological confrontations and bloody terrorist attacks, rendered infamous in the description ‘Years of Lead’. In that particularly caustic summer, the so-called ‘Movement of 1977’, non-aligned, without any ties to the Parliament and non-violent, broke into the scene of prevalent conspiracy-steeped paranoia condemning the repressive, discriminatory and authoritarian tendencies of the Italian State and demanding equality for minorities and further civil rights. The coinciding liberalization of the media market, putting an end to RAI’s monopoly, further defined this period as the prime moment for pirate radio, with the consequence of a libertarian fragmentation of youth culture, epitomised by punk. One could argue that Giovanni, self-taught until the age of 24, inherited – in philosophy, politics and artistically – the most benign and affirmative traits of that period, diversifying his action in the context of a recently unified Europe, promoting improbable connections, exploring varied geographies, comfortably manoeuvring aesthetical fringes and making a commitment to live performance at its most liberating and engaging. Surprisingly, the path that lead him to that point had an unexpected detour: following his father’s consecutive assignments as a civil engineer he actually lived out his first decade in Africa – until he was five in Libya, from then until his eight anniversary in the Cameroons and until ten in Algeria. His far off native country was not synonymous with civil unrest as much as with opera, whose arias he would memorize with his siblings in order to practice the language and provide some family entertainment. The condition of expatriate had a strong influence in his education – he clearly remembers the calls of the muezzin, the sound of exotic musical instruments in local markets, the ritualistic expression music took in the streets of Yaoundé, or the songs he heard from his nanny in the Cameroons. When he finally enrolled in music school – majoring in ‘jazz piano’- he further built on an encyclopaedic technique; rhythm, harmony and tone are informed by non-western traditions yet equally sensitive to Debussy’s “Préludes”, Luciano Berio’s “Sequenzas”, to the ‘ambi-ideation’ heard in Borah Bergman’s Soul Note recordings, Cecil Taylor’s polissemic density, Paul Bley’s bruised transparency and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis. A distinction – one would call it generational – he shares with many of the musicians he has crossed paths with recently, of which we could enumerate Nate Wooley, Chris Corsano, Arve Henriksen, Jim O’Rourke, Akira Sakata, Alexandra Grimal, Tetuzi Akiyama, João Lobo or Toshimaru Nakamura. Di Domenico has founded his own label, Silent Water, home of an eclectic and occasionally unclassifiable production. He lives in Brussels.
Giovanni di Domenico official

Tatsuhisa Yamamoto (drums)
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Akiko Nakayama (Alive Painting)
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Visual artist Akiko Nakayama creates installations, live performance and photographic works dealing with energy cycles, movement and colors. Employing a wide range of techniques, her unique approach to live painting results in melting landscapes, kaleidoscopic patterns and surreal and saturated vistas. Working in collaboration with some of Japan’s most distinctive improvising artists, including Keiji Haino, Akira Sakata and Hiromichi Sakamoto, she pursues what she titles ‘alive painting’, in which she aims to find the ‘existence of life’ in the act of creating out of nothingness.
akiko.co.jp

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