[FUJIROCK 2026]
Artist Name：
2026/09/08 (Tue)
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485
2
2026/09/07 (Mon)
0
2026/09/06 (Sun)
0
2026/09/05 (Sat)
0
2025/9/5(sat) 吾妻光良 & The Swinging Boppers @新宿Pit Inn (昼)
お年頃の私たちに優しい着席ライヴだけれど、踊り出したくなるのが予想できたので
スタンドしやすい最後方に着席して聴く。2部の "フォトじじい" で我慢できなくなり、
場所柄に配慮して控えめにスタンド。それに続くカリプソナンバーから終盤の "150から300"
まで踊りあげる。じじいらしく控えめに。
Straight, No Chaser を引用した "フォトじじい" にはモデルがいるそうで、同窓会で
久しぶりに再会した同級生がカメラ/写真マニアになっていて、集合写真を撮る時の構図に
凝って撮影に20分くらいかかったというエピソードから来たそうだ。その同級生はいまでも
時々、時候の挨拶と共に野鳥（カワセミ）の写真などを送ってくれるのだそうで、長年やって
いると写真の腕もあがるものだなと吾妻さんは思ったそう。
家に帰ってからその話を妻にしたところ、妻が以前住んでいた方南町の近くの公園にカワセミの
棲む川があって、野鳥マニア/写真マニアが集まり、場所取り競争で時々殺気立っていることが
あったのだそうだ。その中にもしかすると、フォトじじいのモデルの方がいたのかも？
などと想像を逞しくした我々である。
---
2025/9/5 (Sat)
Mitsuyoshi Azuma & the Swinging Boppers @ Shinjuku Pit Inn (afternoon show)
It was a seated show, which was kind to people of our age, but I could
already tell that I'd eventually want to get up and dance. So I took a
seat at the very back, where it would be easy to stand up when the time
came.
During the second set, I finally couldn't hold myself back when they
played "Photo Jijii." Mindful of the venue and the people around me, I
stood up discreetly. From the calypso number that followed all the way
through to "150 kara 300" near the end, I danced my way through the rest
of the show—discreetly, as befits an old man.
Apparently, "Photo Jijii," which quotes Straight, No Chaser, was based
on a real person. Azuma-san said that he had recently reunited with an old
classmate at a class reunion and discovered that the man had become a
camera and photography enthusiast. When it came time to take a group
photo, the guy became so particular about the composition that the whole
process took around twenty minutes.
Even now, the former classmate occasionally sends Azuma-san seasonal
greetings along with photographs of wild birds, such as kingfishers.
Azuma-san said he thought to himself that after doing it for so many
years, the man had really improved his photography.
When I told my wife about this after I got home, she said that there was a
river where kingfishers lived near Honancho, where she used to live. Wild-bird
enthusiasts and photography buffs would gather there, and competition for the
best spots could sometimes become rather intense—almost murderous!
So we let our imaginations run wild: perhaps the real-life model for
"Photo Jiji" was somewhere among them?
お年頃の私たちに優しい着席ライヴだけれど、踊り出したくなるのが予想できたので
スタンドしやすい最後方に着席して聴く。2部の "フォトじじい" で我慢できなくなり、
場所柄に配慮して控えめにスタンド。それに続くカリプソナンバーから終盤の "150から300"
まで踊りあげる。じじいらしく控えめに。
Straight, No Chaser を引用した "フォトじじい" にはモデルがいるそうで、同窓会で
久しぶりに再会した同級生がカメラ/写真マニアになっていて、集合写真を撮る時の構図に
凝って撮影に20分くらいかかったというエピソードから来たそうだ。その同級生はいまでも
時々、時候の挨拶と共に野鳥（カワセミ）の写真などを送ってくれるのだそうで、長年やって
いると写真の腕もあがるものだなと吾妻さんは思ったそう。
家に帰ってからその話を妻にしたところ、妻が以前住んでいた方南町の近くの公園にカワセミの
棲む川があって、野鳥マニア/写真マニアが集まり、場所取り競争で時々殺気立っていることが
あったのだそうだ。その中にもしかすると、フォトじじいのモデルの方がいたのかも？
などと想像を逞しくした我々である。
---
2025/9/5 (Sat)
Mitsuyoshi Azuma & the Swinging Boppers @ Shinjuku Pit Inn (afternoon show)
It was a seated show, which was kind to people of our age, but I could
already tell that I'd eventually want to get up and dance. So I took a
seat at the very back, where it would be easy to stand up when the time
came.
During the second set, I finally couldn't hold myself back when they
played "Photo Jijii." Mindful of the venue and the people around me, I
stood up discreetly. From the calypso number that followed all the way
through to "150 kara 300" near the end, I danced my way through the rest
of the show—discreetly, as befits an old man.
Apparently, "Photo Jijii," which quotes Straight, No Chaser, was based
on a real person. Azuma-san said that he had recently reunited with an old
classmate at a class reunion and discovered that the man had become a
camera and photography enthusiast. When it came time to take a group
photo, the guy became so particular about the composition that the whole
process took around twenty minutes.
Even now, the former classmate occasionally sends Azuma-san seasonal
greetings along with photographs of wild birds, such as kingfishers.
Azuma-san said he thought to himself that after doing it for so many
years, the man had really improved his photography.
When I told my wife about this after I got home, she said that there was a
river where kingfishers lived near Honancho, where she used to live. Wild-bird
enthusiasts and photography buffs would gather there, and competition for the
best spots could sometimes become rather intense—almost murderous!
So we let our imaginations run wild: perhaps the real-life model for
"Photo Jiji" was somewhere among them?
2026/09/04 (Fri)
0
所用で大塚のセントラルオフィスへ。
少し前からオフィス内が禁煙になったとのこと。近くのタバコが吸える昭和レトロな喫茶店・
いちこしで休憩する。グループのためのメダル、翻訳改訂版の12&12、自分の投稿が載った
BOX最新号などを購入。明日はにしおぎの新しい仲間が１ヶ月メダル。
下北沢に移動して、いーはとーぼで休憩。
煙草が吸える店だったのだけど、こちらもイマドキらしく電子タバコのみ可になっていた。
あわよくばいっぷくしたかったけれどそちらは我慢、一番の目的はこのお店に来ることだったので。
お店の一角のレコード箱で2枚、デキシーランドJazzの Bix Beiderbecke は、村上春樹さんの
「ポートレイト・イン・ジャズ」で紹介されていたもの。もう一枚はネオアコの el レーベルの
コンピレーション London Pavilion Vol.2。他にもラテンの7インチ数枚など。
いずれも、今年３月に亡くなった前マスター・今沢裕さんの所蔵品ではないかと思う。
以前から中古レコードを扱っていて何枚か購入したことがあるけれど、この日は今沢さんの
形見分けのつもりで譲り受けた。お店には奥様の直子さんが立たれていた。
---
2026/9/4 (fri) @下北沢SHELTER NICKEY & THE WARRIORS
・NICKEY(vo)/本間章浩(g)/穴井仁吉(b)/東川元則(ds)
SHELTERで Nickey & The Warriors のライヴ。1987年に代々木公園のインディーズ
FESTIVALで観て以来、約40年ぶりに観る。
87年のその日のライブ、当時19歳の私は Nickey & The Warriors みたいなバンドは好みじゃ
なくて、対バンのばちかぶりが目当てで観に行った。田口トモロヲが下半身をベロンと出して
いたな。同じく対バンの The Privates も全く好みじゃないんだよなと思いながら、いちおうは観た。
翌月の雑誌・宝島のライブ写真に、最前列にいる私が小さく写っていて嬉しかったな。
こじれまくっていた19歳の私。
音楽でも何でも、自分がわからないものに対しては、私にはそれがわからないのだという
謙虚さを持ち、理解しようという姿勢があるならやがて理解できるようになり、理解した分
自分の引き出しが増えるのですよね。わからないものを理解したいと思えるかどうかは、
可能性に対してオープンな気持ちを持てるかどうかだと思う。わからないものをバッサリと
切り捨てることなく、好奇心を持ち続けること、ネコチャンのような慎重さと共に。
... ってなことを19歳のプライドが高いだけの私には理解できるはずが無かったですが、
もちろん現在の私は The Privates も大好きです。
少し前に Nickey さんが現役で活動されていると知り、観に行こうと思ったこの日のライブ。
最高やった、グッときた。以前観た時は割とハードなパンクの印象だったけれど、現在は
力を抜いたルーズなロックンロールという感じ。ルーズなロックンロールを歌う蓮っ葉な
Nickey 姐さんは最高にカッコいい。年季が入っている。そしてすごくシンプルな、あなたの
笑顔が好きよ、愛してるわ、というような事をまっすぐに歌っている。とても勇気をもらった。
こういうまっすぐな歌って、拗れた19歳の自分は受け取れなかったのですよ。でもこの歳になると
そういうふうにシンプルに素直に、自分も変わって来たのですよね。やっぱ愛と思いやりだよ
なぁ、みたいな。この日の私はピアサポの仲間が作った UNITED という言葉が入ったTシャツを
着て行った。Nickey & The Warriors が Sham 69 の "If the kids are united" を日本語で
カバーしていた。Sheena & The Rokketsでも演奏されていたベースの穴井さんが、MCで
鮎川さんならこう言うよね、というジョークを言ってた。
Nickey & The Warriors の次のライブは11/2(mon)に、高円寺HIGHにて
年いちペースでやられているという「GO-GO NICKEY」というライブがあるようです。
また観に行こうかな。
ところでもうお一方、もし現在も活動されているのなら観てみたいのが GAS/
Narumi & The Misters のナルミさん。調べてみたら現在は音楽ではなく他の分野で活躍
されているようです。
---
I had some business to take care of at the Central Office in Otsuka.
I heard that smoking had been banned inside the office for a while now,
so I took a break at Ichikoshi, a nearby Showa-retro coffee shop where
smoking is still allowed.
I bought some anniversary medallions for the group, the revised
Japanese translation of Twelve Steps and Twelve Traditions, and the
latest issue of BOX, which includes one of my posts. Tomorrow, a new
member of the Nishiogi group will be celebrating one month of
sobriety.
I then headed to Shimokitazawa and stopped at Ihatovo for a break.
It used to be a place where you could smoke cigarettes, but, in keeping
with the times, it had also become a vape-only establishment. I had
hoped to sneak in a cigarette, but I had to resist. My main reason for
coming to the place was something else anyway.
I found two records in a box of vinyl in one corner of the shop. One was
a Dixieland jazz record by Bix Beiderbecke, which had been introduced in
Haruki Murakami's Portrait in Jazz. The other was London Pavilion
Vol. 2, a compilation from the neo-acoustic EL label. There were also
several Latin 7-inch singles among them.
I suspect that all of these records may have belonged to the shop's
former master, Hiroshi Imazawa, who passed away this March.
The shop had been dealing in used records for some time, and I had
bought a few records there before. But on this day, I received these
records as if they were keepsakes being passed on to me in memory of
Imazawa-san. His wife, Naoko-san, was running the shop that day.
---
2026/9/4 (Fri) @ Shimokitazawa SHELTER、Tokyo
NICKEY & THE WARRIORS
・NICKEY (voc) / Akihiro Homma (g) / Jinkichi Anai (b) /
Motonori Higashikawa (ds)
I went to see NICKEY & THE WARRIORS live at SHELTER. The last time
I saw them was at the Indies Festival in Yoyogi Park in 1987, so this
was my first time seeing them in nearly 40 years.
At that show in 1987, I was 19 years old, and a band like NICKEY & THE
WARRIORS wasn't really my thing. I went mainly to see the other band on
the bill, Bachikaburi. I remember Tomorowo Taguchi exposing his lower
half onstage. I also watched The Privates, another band on the bill,
even though I thought to myself, "They're not my thing at all, either."
The following month, I was happy to find a tiny picture of myself in
the front row in a live photo published in the magazine Takarajima.
What a thoroughly messed-up 19-year-old I was.
Whether it's music or anything else, when it comes to something I don't
understand, if I have the humility to admit that I don't understand it
and the willingness to try to understand it, eventually I can begin to
get it. And whatever I come to understand adds another drawer to my
own repertoire.
Whether or not I can want to understand something I don't understand, I
think, depends on whether I can keep an open mind toward possibilities.
In other words, it's about keeping my curiosity alive, without simply
dismissing something I don't understand, and doing so with a little
caution, like a cat.
Of course, there was no way my proud, 19-year-old self could have
understood any of that...
These days, of course, I love The Privates, too.
A little while ago, I learned that Nickey was still actively performing,
and that's what made me decide to come see this show.
It was fantastic. It really moved me. When I saw them before, I remember
them as having a fairly hard punk sound, but these days they have more
of a laid-back, loose rock'n'roll feel. Nickey, singing that loose
rock'n'roll with her brazen, no-nonsense attitude, is just incredibly
cool. You can hear all the years she's put into it.
And she's singing such simple, straightforward things, like "I love
your smile" and "I love you." She sings them without any hesitation or
irony. It gave me a lot of courage.
I couldn't have received songs that direct when I was that
twisted-up 19-year-old. But at my age, I've changed too, and I've
learned to be that simple and honest myself. In the end, I guess it's
all about love and compassion.
That day, I went to the show wearing a T-shirt with the word "UNITED"
on it, made by some of my peer-support friends.
NICKEY & THE WARRIORS were covering Sham 69's "If the Kids Are United"
in Japanese. Anai, who also played bass with Sheena & The Rokkets, made
a joke during the MC along the lines of, "That's what Ayukawa-san would
say, right?"
NICKEY & THE WARRIORS' next show seems to be "GO-GO NICKEY" on
November 2 (Mon) at Koenji HIGH. Apparently, it's an annual event.
Maybe I'll go see them again.
By the way, there's one other person I'd love to see perform again, if
she's still active: Narumi of GAS / Narumi & The Misters.
I looked her up, and it seems that these days she is active in a field
other than music.
少し前からオフィス内が禁煙になったとのこと。近くのタバコが吸える昭和レトロな喫茶店・
いちこしで休憩する。グループのためのメダル、翻訳改訂版の12&12、自分の投稿が載った
BOX最新号などを購入。明日はにしおぎの新しい仲間が１ヶ月メダル。
下北沢に移動して、いーはとーぼで休憩。
煙草が吸える店だったのだけど、こちらもイマドキらしく電子タバコのみ可になっていた。
あわよくばいっぷくしたかったけれどそちらは我慢、一番の目的はこのお店に来ることだったので。
お店の一角のレコード箱で2枚、デキシーランドJazzの Bix Beiderbecke は、村上春樹さんの
「ポートレイト・イン・ジャズ」で紹介されていたもの。もう一枚はネオアコの el レーベルの
コンピレーション London Pavilion Vol.2。他にもラテンの7インチ数枚など。
いずれも、今年３月に亡くなった前マスター・今沢裕さんの所蔵品ではないかと思う。
以前から中古レコードを扱っていて何枚か購入したことがあるけれど、この日は今沢さんの
形見分けのつもりで譲り受けた。お店には奥様の直子さんが立たれていた。
---
2026/9/4 (fri) @下北沢SHELTER NICKEY & THE WARRIORS
・NICKEY(vo)/本間章浩(g)/穴井仁吉(b)/東川元則(ds)
SHELTERで Nickey & The Warriors のライヴ。1987年に代々木公園のインディーズ
FESTIVALで観て以来、約40年ぶりに観る。
87年のその日のライブ、当時19歳の私は Nickey & The Warriors みたいなバンドは好みじゃ
なくて、対バンのばちかぶりが目当てで観に行った。田口トモロヲが下半身をベロンと出して
いたな。同じく対バンの The Privates も全く好みじゃないんだよなと思いながら、いちおうは観た。
翌月の雑誌・宝島のライブ写真に、最前列にいる私が小さく写っていて嬉しかったな。
こじれまくっていた19歳の私。
音楽でも何でも、自分がわからないものに対しては、私にはそれがわからないのだという
謙虚さを持ち、理解しようという姿勢があるならやがて理解できるようになり、理解した分
自分の引き出しが増えるのですよね。わからないものを理解したいと思えるかどうかは、
可能性に対してオープンな気持ちを持てるかどうかだと思う。わからないものをバッサリと
切り捨てることなく、好奇心を持ち続けること、ネコチャンのような慎重さと共に。
... ってなことを19歳のプライドが高いだけの私には理解できるはずが無かったですが、
もちろん現在の私は The Privates も大好きです。
少し前に Nickey さんが現役で活動されていると知り、観に行こうと思ったこの日のライブ。
最高やった、グッときた。以前観た時は割とハードなパンクの印象だったけれど、現在は
力を抜いたルーズなロックンロールという感じ。ルーズなロックンロールを歌う蓮っ葉な
Nickey 姐さんは最高にカッコいい。年季が入っている。そしてすごくシンプルな、あなたの
笑顔が好きよ、愛してるわ、というような事をまっすぐに歌っている。とても勇気をもらった。
こういうまっすぐな歌って、拗れた19歳の自分は受け取れなかったのですよ。でもこの歳になると
そういうふうにシンプルに素直に、自分も変わって来たのですよね。やっぱ愛と思いやりだよ
なぁ、みたいな。この日の私はピアサポの仲間が作った UNITED という言葉が入ったTシャツを
着て行った。Nickey & The Warriors が Sham 69 の "If the kids are united" を日本語で
カバーしていた。Sheena & The Rokketsでも演奏されていたベースの穴井さんが、MCで
鮎川さんならこう言うよね、というジョークを言ってた。
Nickey & The Warriors の次のライブは11/2(mon)に、高円寺HIGHにて
年いちペースでやられているという「GO-GO NICKEY」というライブがあるようです。
また観に行こうかな。
ところでもうお一方、もし現在も活動されているのなら観てみたいのが GAS/
Narumi & The Misters のナルミさん。調べてみたら現在は音楽ではなく他の分野で活躍
されているようです。
---
I had some business to take care of at the Central Office in Otsuka.
I heard that smoking had been banned inside the office for a while now,
so I took a break at Ichikoshi, a nearby Showa-retro coffee shop where
smoking is still allowed.
I bought some anniversary medallions for the group, the revised
Japanese translation of Twelve Steps and Twelve Traditions, and the
latest issue of BOX, which includes one of my posts. Tomorrow, a new
member of the Nishiogi group will be celebrating one month of
sobriety.
I then headed to Shimokitazawa and stopped at Ihatovo for a break.
It used to be a place where you could smoke cigarettes, but, in keeping
with the times, it had also become a vape-only establishment. I had
hoped to sneak in a cigarette, but I had to resist. My main reason for
coming to the place was something else anyway.
I found two records in a box of vinyl in one corner of the shop. One was
a Dixieland jazz record by Bix Beiderbecke, which had been introduced in
Haruki Murakami's Portrait in Jazz. The other was London Pavilion
Vol. 2, a compilation from the neo-acoustic EL label. There were also
several Latin 7-inch singles among them.
I suspect that all of these records may have belonged to the shop's
former master, Hiroshi Imazawa, who passed away this March.
The shop had been dealing in used records for some time, and I had
bought a few records there before. But on this day, I received these
records as if they were keepsakes being passed on to me in memory of
Imazawa-san. His wife, Naoko-san, was running the shop that day.
---
2026/9/4 (Fri) @ Shimokitazawa SHELTER、Tokyo
NICKEY & THE WARRIORS
・NICKEY (voc) / Akihiro Homma (g) / Jinkichi Anai (b) /
Motonori Higashikawa (ds)
I went to see NICKEY & THE WARRIORS live at SHELTER. The last time
I saw them was at the Indies Festival in Yoyogi Park in 1987, so this
was my first time seeing them in nearly 40 years.
At that show in 1987, I was 19 years old, and a band like NICKEY & THE
WARRIORS wasn't really my thing. I went mainly to see the other band on
the bill, Bachikaburi. I remember Tomorowo Taguchi exposing his lower
half onstage. I also watched The Privates, another band on the bill,
even though I thought to myself, "They're not my thing at all, either."
The following month, I was happy to find a tiny picture of myself in
the front row in a live photo published in the magazine Takarajima.
What a thoroughly messed-up 19-year-old I was.
Whether it's music or anything else, when it comes to something I don't
understand, if I have the humility to admit that I don't understand it
and the willingness to try to understand it, eventually I can begin to
get it. And whatever I come to understand adds another drawer to my
own repertoire.
Whether or not I can want to understand something I don't understand, I
think, depends on whether I can keep an open mind toward possibilities.
In other words, it's about keeping my curiosity alive, without simply
dismissing something I don't understand, and doing so with a little
caution, like a cat.
Of course, there was no way my proud, 19-year-old self could have
understood any of that...
These days, of course, I love The Privates, too.
A little while ago, I learned that Nickey was still actively performing,
and that's what made me decide to come see this show.
It was fantastic. It really moved me. When I saw them before, I remember
them as having a fairly hard punk sound, but these days they have more
of a laid-back, loose rock'n'roll feel. Nickey, singing that loose
rock'n'roll with her brazen, no-nonsense attitude, is just incredibly
cool. You can hear all the years she's put into it.
And she's singing such simple, straightforward things, like "I love
your smile" and "I love you." She sings them without any hesitation or
irony. It gave me a lot of courage.
I couldn't have received songs that direct when I was that
twisted-up 19-year-old. But at my age, I've changed too, and I've
learned to be that simple and honest myself. In the end, I guess it's
all about love and compassion.
That day, I went to the show wearing a T-shirt with the word "UNITED"
on it, made by some of my peer-support friends.
NICKEY & THE WARRIORS were covering Sham 69's "If the Kids Are United"
in Japanese. Anai, who also played bass with Sheena & The Rokkets, made
a joke during the MC along the lines of, "That's what Ayukawa-san would
say, right?"
NICKEY & THE WARRIORS' next show seems to be "GO-GO NICKEY" on
November 2 (Mon) at Koenji HIGH. Apparently, it's an annual event.
Maybe I'll go see them again.
By the way, there's one other person I'd love to see perform again, if
she's still active: Narumi of GAS / Narumi & The Misters.
I looked her up, and it seems that these days she is active in a field
other than music.
2026/09/03 (Thu)
0
2026/09/02 (Wed)
1
2026/09/01 (Tue)
3
2026/9/1(tue) 栗田妙子(p), 外山明(ds) @神保町試聴室
音楽が好きな人なら、音楽に心を奪われる経験をした事がある人は多いのではないかと思う。
あるいは心よりももっと深い部分、魂が震えるような体験をした事がある人も多いのではない
かと思う。もちろん私にもそういう体験がある。音楽に魂を奪われてしまうと考えると、それ
はちょっとおっかない話ですね。現在その演奏を生で聴く事が出来る演奏家で私が最も好きな
ピアニスト・栗田妙子さんの音楽に含まれる、おっかない部分を感じ取る事が出来たライブ
であった。Fear of music.
私が音楽に怖さを感じたのは、ローリング・ストーンズ (Rolling Stones) の「悪魔を憐れむ
歌」で、あれはおっかない曲だと思う。題名の通り Devil を扱った歌で、単なる絵空事ではな
くてそういった魑魅魍魎が跋扈するバンドの状況から生まれた歌だと思うから、本当に恐ろしい。
そういうものって、人を通して働きかけてくるものだと思うから、実際の血肉を持った生々しい
怖さを感じる。
川の曲が多い栗田さんの音楽に感じるのは、怖さというよりは、畏れ。川の源流を目指して
山林に分け入った時に感じるような、自然に対する畏れ。そういうところとつながっている
音楽ではないかと思った。欧米のジャズの文脈で、バップの誰それという言い方で言い表そうと
してもしっくり来ない、もっと土着的な土台があるように感じる。土着の舞台は、この小さな
島国の自然が豊かな各地方なんじゃないかな。例えば僕の故郷のアイヌモシリ（北海道）が
舞台だとしたら、コロポックルがひょっこり顔を出しそうな。
ところで川の源流を見たことがありますか？僕は子供の頃にふと、川の始まりはどうなっている
んだろう？と思い立って、故郷の川（余市川）の上流を目指してどんどん歩いてみた事があります。
もちろん、子供の足で源流に辿り着く事は出来ず途中で引き返しましたが。
あの時、熊さんやあるいはもっとおっかないものに出会わなくて良かった。
もうひとつ思い出す川の話は、心がこんがらがった20代の頃、実家で静養していた時に、営林
署勤務の父が気晴らしにヤマメの渓流釣りに連れて行ってくれて面白いくらい沢山釣れた事。
母が天ぷらにしてくれてとても美味しかった幸せな思い出があります。心というのは、時には
こんがらがるものですからね。でも大丈夫、頭なんかちょっとくらいおかしくたって生きて
行けますよ。魂さえ見失わなければ。
魂に響く音楽を聴いた事は何度もありますが、幸いなことに私の魂はまだ奪われておらず、私の
心と身体に納まっているようです。魂を奪うのではなく、むしろどこかに漂ってしまいそうな魂を、
繋ぎ止めておいてくれる役目をしているのが私にとっての音楽なのかもしれません。
雨垂れか夕立の音のような外山明さんのスネアロールがグッときたな。２部のピアノの、ブル
ース・マナーなのだろうか、同じフレーズが延々と反復される部分には持っていかれそうになり
ました。あと、バップの誰それとは思わなかったけれど、古いクラシックのカザルス・トリオ
(Casals Trio) みたいな色調をライブの前半に感じました。くっきりとした輪郭を持った画で
はなく、セピア色にぼやけた、SP盤レコードみたいな。後半から、音の表面の下にある部分の
凄みや怖さが聴こえてきて、これって一体なんだろうと考えながら聴いていて、上に書いたよう
な愚にもつかない想像に至りました。
... ってなことを試聴室からの帰りの電車内でダァーっと書いていたら、乗り過ごしてあやうく
多摩川まで連れて行かれそうになりました。怖っ。
---
September 1, 2026 (Tue) — Taeko Kurita (p), Akira Sotoyama (ds)
@ Jimbocho Shicho-shitsu, Tokyo
I imagine that many people who love music have experienced having their hearts
completely captivated by it. Or perhaps, even deeper than the heart, they have had an
experience that made their very souls tremble. Of course, I have had experiences like
that, too. Thinking of it as having one’s soul stolen by music makes it sound a little
frightening, though. This was a live performance where I was able to sense the
frightening side of the music of Taeko Kurita, my favorite pianist among those I can
still hear perform live today.
Fear of music.
The first time I felt fear in music was in the Rolling Stones’ “Sympathy for the Devil.”
I think that is a frightening song. As the title suggests, it deals with the Devil, but I
don’t think it was simply a product of someone’s imagination. I think it was born out
of the actual circumstances surrounding a band in which all sorts of strange and
sinister things were running rampant, and that makes it genuinely terrifying. I believe
that things like that work through people, which is why the fear feels so visceral and
real, like something made of actual flesh and blood.
What I sense in Kurita’s music, with its many songs about rivers, is not so much fear
as awe. The kind of awe you feel toward nature when you venture deep into the
mountains and forests in search of the source of a river. I felt that her music might be
connected to something like that. Trying to describe it within the context of European
or American jazz, by saying this is so-and-so from bebop, just doesn’t quite fit. There
seems to be a more indigenous foundation underneath it. Perhaps the setting for
that indigenous world is the various regions of this small island country, so rich in
nature. If, for example, the stage were my native Ainu Mosir (Hokkaido), I can almost
imagine a Koropokkuru suddenly poking its head out.
By the way, have you ever seen the source of a river? When I was a child, I suddenly
wondered, “I wonder what the beginning of a river looks like?” and decided to walk
farther and farther upstream along the river in my hometown, the Yoichi River. Of
course, I couldn’t reach the source on my little kid’s legs, so I eventually turned back.
I’m glad I didn’t run into a bear—or something even more frightening—back then.
Another river story that comes to mind is from my twenties, when my mind was all
tangled up and I was recuperating at my parents’ home. My father, who worked for
the forestry office, took me mountain-stream fishing for yamame as a way to cheer
me up, and we caught so many fish it was almost comical. My mother deep-fried them
as tempura, and I remember it as a very happy time because they were absolutely
delicious.
The mind can get tangled up sometimes, after all. But it’s okay. You can keep living
even if your head is a little screwed up. As long as you don’t lose your soul.
I have heard music that resonates in my soul many times. Fortunately, though, my soul
hasn’t been stolen yet. It seems to have remained safely housed within my heart and
body. Perhaps, for me, music’s role is not to steal my soul, but rather to keep it
tethered when it might otherwise drift away somewhere.
I really loved Akira Sotoyama’s snare rolls, which sounded like raindrops—or the
sound of a sudden summer shower. In the second set, there was a section in which
the same piano phrase was repeated endlessly—perhaps it was a blues manner of
playing?—and I felt as though I might be carried away by it.
Also, although I didn’t think, “Oh, this is so-and-so from bebop,” I sensed a tonal
quality in the first half of the performance that reminded me of the old Casals Trio.
Not a sharply defined picture, but something blurred and sepia-toned, like an SP
record.
From the second half onward, I began to hear the power and even the frightening
quality lurking beneath the surface of the sounds. I listened while wondering what on
earth it was, and eventually arrived at the more-or-less silly imaginings I’ve written
about above.
... And while I was writing all this in a mad rush on the train home from Shicho-shitsu,
I missed my stop and almost ended up being carried all the way to the Tama River.
Now that was scary.
音楽が好きな人なら、音楽に心を奪われる経験をした事がある人は多いのではないかと思う。
あるいは心よりももっと深い部分、魂が震えるような体験をした事がある人も多いのではない
かと思う。もちろん私にもそういう体験がある。音楽に魂を奪われてしまうと考えると、それ
はちょっとおっかない話ですね。現在その演奏を生で聴く事が出来る演奏家で私が最も好きな
ピアニスト・栗田妙子さんの音楽に含まれる、おっかない部分を感じ取る事が出来たライブ
であった。Fear of music.
私が音楽に怖さを感じたのは、ローリング・ストーンズ (Rolling Stones) の「悪魔を憐れむ
歌」で、あれはおっかない曲だと思う。題名の通り Devil を扱った歌で、単なる絵空事ではな
くてそういった魑魅魍魎が跋扈するバンドの状況から生まれた歌だと思うから、本当に恐ろしい。
そういうものって、人を通して働きかけてくるものだと思うから、実際の血肉を持った生々しい
怖さを感じる。
川の曲が多い栗田さんの音楽に感じるのは、怖さというよりは、畏れ。川の源流を目指して
山林に分け入った時に感じるような、自然に対する畏れ。そういうところとつながっている
音楽ではないかと思った。欧米のジャズの文脈で、バップの誰それという言い方で言い表そうと
してもしっくり来ない、もっと土着的な土台があるように感じる。土着の舞台は、この小さな
島国の自然が豊かな各地方なんじゃないかな。例えば僕の故郷のアイヌモシリ（北海道）が
舞台だとしたら、コロポックルがひょっこり顔を出しそうな。
ところで川の源流を見たことがありますか？僕は子供の頃にふと、川の始まりはどうなっている
んだろう？と思い立って、故郷の川（余市川）の上流を目指してどんどん歩いてみた事があります。
もちろん、子供の足で源流に辿り着く事は出来ず途中で引き返しましたが。
あの時、熊さんやあるいはもっとおっかないものに出会わなくて良かった。
もうひとつ思い出す川の話は、心がこんがらがった20代の頃、実家で静養していた時に、営林
署勤務の父が気晴らしにヤマメの渓流釣りに連れて行ってくれて面白いくらい沢山釣れた事。
母が天ぷらにしてくれてとても美味しかった幸せな思い出があります。心というのは、時には
こんがらがるものですからね。でも大丈夫、頭なんかちょっとくらいおかしくたって生きて
行けますよ。魂さえ見失わなければ。
魂に響く音楽を聴いた事は何度もありますが、幸いなことに私の魂はまだ奪われておらず、私の
心と身体に納まっているようです。魂を奪うのではなく、むしろどこかに漂ってしまいそうな魂を、
繋ぎ止めておいてくれる役目をしているのが私にとっての音楽なのかもしれません。
雨垂れか夕立の音のような外山明さんのスネアロールがグッときたな。２部のピアノの、ブル
ース・マナーなのだろうか、同じフレーズが延々と反復される部分には持っていかれそうになり
ました。あと、バップの誰それとは思わなかったけれど、古いクラシックのカザルス・トリオ
(Casals Trio) みたいな色調をライブの前半に感じました。くっきりとした輪郭を持った画で
はなく、セピア色にぼやけた、SP盤レコードみたいな。後半から、音の表面の下にある部分の
凄みや怖さが聴こえてきて、これって一体なんだろうと考えながら聴いていて、上に書いたよう
な愚にもつかない想像に至りました。
... ってなことを試聴室からの帰りの電車内でダァーっと書いていたら、乗り過ごしてあやうく
多摩川まで連れて行かれそうになりました。怖っ。
---
September 1, 2026 (Tue) — Taeko Kurita (p), Akira Sotoyama (ds)
@ Jimbocho Shicho-shitsu, Tokyo
I imagine that many people who love music have experienced having their hearts
completely captivated by it. Or perhaps, even deeper than the heart, they have had an
experience that made their very souls tremble. Of course, I have had experiences like
that, too. Thinking of it as having one’s soul stolen by music makes it sound a little
frightening, though. This was a live performance where I was able to sense the
frightening side of the music of Taeko Kurita, my favorite pianist among those I can
still hear perform live today.
Fear of music.
The first time I felt fear in music was in the Rolling Stones’ “Sympathy for the Devil.”
I think that is a frightening song. As the title suggests, it deals with the Devil, but I
don’t think it was simply a product of someone’s imagination. I think it was born out
of the actual circumstances surrounding a band in which all sorts of strange and
sinister things were running rampant, and that makes it genuinely terrifying. I believe
that things like that work through people, which is why the fear feels so visceral and
real, like something made of actual flesh and blood.
What I sense in Kurita’s music, with its many songs about rivers, is not so much fear
as awe. The kind of awe you feel toward nature when you venture deep into the
mountains and forests in search of the source of a river. I felt that her music might be
connected to something like that. Trying to describe it within the context of European
or American jazz, by saying this is so-and-so from bebop, just doesn’t quite fit. There
seems to be a more indigenous foundation underneath it. Perhaps the setting for
that indigenous world is the various regions of this small island country, so rich in
nature. If, for example, the stage were my native Ainu Mosir (Hokkaido), I can almost
imagine a Koropokkuru suddenly poking its head out.
By the way, have you ever seen the source of a river? When I was a child, I suddenly
wondered, “I wonder what the beginning of a river looks like?” and decided to walk
farther and farther upstream along the river in my hometown, the Yoichi River. Of
course, I couldn’t reach the source on my little kid’s legs, so I eventually turned back.
I’m glad I didn’t run into a bear—or something even more frightening—back then.
Another river story that comes to mind is from my twenties, when my mind was all
tangled up and I was recuperating at my parents’ home. My father, who worked for
the forestry office, took me mountain-stream fishing for yamame as a way to cheer
me up, and we caught so many fish it was almost comical. My mother deep-fried them
as tempura, and I remember it as a very happy time because they were absolutely
delicious.
The mind can get tangled up sometimes, after all. But it’s okay. You can keep living
even if your head is a little screwed up. As long as you don’t lose your soul.
I have heard music that resonates in my soul many times. Fortunately, though, my soul
hasn’t been stolen yet. It seems to have remained safely housed within my heart and
body. Perhaps, for me, music’s role is not to steal my soul, but rather to keep it
tethered when it might otherwise drift away somewhere.
I really loved Akira Sotoyama’s snare rolls, which sounded like raindrops—or the
sound of a sudden summer shower. In the second set, there was a section in which
the same piano phrase was repeated endlessly—perhaps it was a blues manner of
playing?—and I felt as though I might be carried away by it.
Also, although I didn’t think, “Oh, this is so-and-so from bebop,” I sensed a tonal
quality in the first half of the performance that reminded me of the old Casals Trio.
Not a sharply defined picture, but something blurred and sepia-toned, like an SP
record.
From the second half onward, I began to hear the power and even the frightening
quality lurking beneath the surface of the sounds. I listened while wondering what on
earth it was, and eventually arrived at the more-or-less silly imaginings I’ve written
about above.
... And while I was writing all this in a mad rush on the train home from Shicho-shitsu,
I missed my stop and almost ended up being carried all the way to the Tama River.
Now that was scary.
2026/08/31 (Mon)
1
2026/08/30 (Sun)
3
2026/8/30 (日) ＠七針 (昼)
佐藤幸雄, てあしくちびる(from 栃木), レザニモヲ(from京都)
プログレッシブという切り口でこの日のライブをまとめる向きに対して、いや我々はプログレではなく
パンクである、とてあしくちびるの河内伴理さんが発言していた。
てあしくちびるを観るのは３回目だけど、明らかに演奏力が向上して音楽の存在感が太く強くなっていた。
音数が減ってタイトになった印象を受けたのは、実際に音数が減ったのではなく ... G&Voの河内伴理さんと、
Violin&VoのKUCCIさんという編成は変わっていないので ... 出す音やフレーズの無駄の無さ/必然性という事から
そう感じたのだと思う。ライブ後に少しお話を伺ったら、自分たちの音楽はジェンガ（木のブロックを抜いていく
ゲーム）のようなバランスで成り立っているという事を仰っていた。だとしたら見事な抜きっぷりだと思う。
パンクという事で言うと、2026年の現在において一聴して「ああパンクですね」と感じるような音楽は、
既にパンクではないのではないだろうか。好きな方には申し訳ないがハイスタとか、フォーマットはパンク
だとしても Attitude としてはそうではなくなっているっしょ。もちろんフォーマット自体の楽しみもよく
わかるしそれが音楽というものが持つ強みだと思うけれど。てあしくちびるがパンク系のライブに出る時は
むしろ「引き」の存在感が出せるのだと仰っていた。お二人が口笛を吹く場面があって、口笛の上手いミュージシャン
は信頼できるのではないかと思った。自分が口笛を吹こうとしてもさっぱり良い音が出ないので、尚更そう思う。
良いミュージシャンは口笛も上手い（はず）
佐藤幸雄さんの音楽の好きなところは、僕は幸雄さんの声や歌い方が好きなのだなと、この日はっきりと思った。
ご本人にそう伝えたところ、そう感じるのだとしたら、私の声は私の声ではないのだと幸雄さんは仰った。
色々なものごとによって歌わされてしまう、役割のようなものだろうかと尋ねたら、役割というよりは
お当番かな、と仰った。お当番という言い方を幸雄さんは時々する。役割としてずっとそれを引き受け続ける
のではなく、順ぐりに次の誰かに引き継いでいくところにポイントがあるのだと思う。役割にしてもお当番に
しても、そういうふうに歌わされてしまう（自分は人前で歌は歌わないが）ことって、自分にもあるのでよくわかる。
北海道弁に「〜さる（自分に意志ではなくそうなってしまう）」という言い方ある。料理が美味しすぎて
食べるのが止まらなくなってしまう事を「食べらさる」、音楽がご機嫌でつい踊ってしまうことを「踊らさる」と
言う、その感じ。歌わさる、しゃべらさる、そういうことってある。
そしてそれは自分の力ではない何かの作用でそうなってしまっているので、自分の声は自分の声ではなくそこで
パーソナリティは重要では無いのだよと幸雄さんは言う。その感覚もよくわかる。にもかかわらず私が惹かれるのは
歌わされてしまった歌や音楽そのものだけではなく、それを歌う歌い手と垣間見えるパーソナリティが等しく大きい。
わたしたちが運んでいるのは、無味乾燥のテキストではなく、血肉を持ったメッセージなのではないだろうか。
私が惹かれるのはそういう部分である。小型アンプを会場の各所に配して四方八方から音が飛んでくる「フジヤマ
店頭スタイル」が、完成の域に達しているとこの日は思った。そして七針の音響がとても良かった。
昼の部も夜の部も音デカかったですよね。これくらいがいいと僕は思った。
2026/8/30 (日) ＠七針 (夜)
Pocopen + Nishiwaki, komori + yusa
Pocopen + Nishiwaki のお二方が企画されたというこの日のライブ、対バンのkomori + yusaは西脇さんが
指名されたのだと思う。２バンドとも男女DUOの編成。佐藤幸雄さんが企画された昼の部のてあしくちびると
レザニモヲも男女DUOなので、この日のライブの裏テーマは「いい夫婦の日」かなと友人に話したら、ご夫婦では
ない方もいると思うので「おしどりの日」と呼んだら良いと思うと、なかなか上手い事を言った。
元sakanaのPocopen + Nishiwakiのお二人の最近の演奏や新作アルバムは、失礼な言い方かもしれないけれど
まさに円熟期に入っていて素晴らしい。アホみたいな例えだけど黄金色に輝く田園風景の中で夕陽を浴びながら
聴いているような気分になり、Glory、ハレルヤと感謝したいような気持ちになる。私たちが今こうして生きている
ことへの感謝である。私の琴線に触れまくるフレーズとメロディ、リリックから垣間見える物語の数々。二曲目の
バウンティフリーで目から水が出た。ありがとうありがとう。
---
2026/8/30 (Sun) @ Nanahari (Afternoon)
Yukio Sato, Teashi Kuchibiru (from Tochigi), Rezanimo (from Kyoto)
In response to those who might try to sum up the day's live show from the
angle of progressive music, Banri Kawauchi of Teashi Kuchibiru said, “No,
we're not progressive rock. We're punk.”
This was my third time seeing Teashi Kuchibiru, and their playing had
clearly improved, giving their music a fuller and stronger presence. I got
the impression that there were fewer notes and that the sound had become
tighter, but it wasn't actually that there were fewer notes ... the lineup
of Banri Kawauchi on guitar and vocals and KUCCI on violin and vocals hasn't
changed ... so I think what gave me that impression was the lack of
unnecessary sounds and phrases, and the sense that every sound and phrase
was necessary. After the show, I had a chance to talk with them briefly,
and they told me that their music is built on a balance like Jenga, the
game where you pull wooden blocks out one by one. If that's the case, I
think they're remarkably good at knowing what to take out.
As for punk, I wonder whether music that makes you think, “Oh, that's
punk,” at first listen can really still be punk in 2026. Sorry to those who
like them, but take Hi-Standard, for example. Even if the format is punk,
their attitude isn't really punk anymore, is it? Of course, I understand
the pleasure of the format itself, and I think that's one of the strengths
of music. Kawauchi said that when Teashi Kuchibiru plays on punk-oriented
bills, they can actually make their presence felt through “holding back.”
There was a moment when the two of them whistled, and I thought that
musicians who are good at whistling might be trustworthy. I feel that even
more strongly because when I try to whistle, I can't produce a decent sound
at all. Good musicians are good whistlers too (I think).
On this day I realized clearly that what I love about Yukio Sato's music is
Yukio's voice and the way he sings. When I told him so, he said that if
that's how I feel, then his voice isn't really his own voice. I asked
whether it was something like a role, in which various things make him
sing, and he said that rather than a role, perhaps it was more like being
“on duty.” Yukio sometimes uses that expression, “on duty.” I think the
point is that you don't keep taking on a role permanently; instead, you pass
the duty on to someone else in turn. Whether you call it a role or being on
duty, I understand that feeling of somehow being made to sing (though I
don't sing in front of people myself).
There is an expression in the Hokkaido dialect, “-saru,” meaning that
something happens to you without it being your intention. When food is so
delicious that you can't stop eating, you might say “taberasaru,” and when
the music is so good that you can't help dancing, “odorasaru.” That's the
feeling. “Utarasaru,” “shaberasaru”—those kinds of things happen.
And because something other than my own power is causing it to happen,
Yukio says that his voice is not really his own voice, and that personality
is therefore not important. I understand that feeling too. And yet, what
draws me in is not only the songs and music that seem to have been made to
come out through the singer, but also the singer who sings them and the
personality that can be glimpsed at the same time. Perhaps what we carry is
not a dry, lifeless text but a message with flesh and blood. That is the
part that draws me in. On this day, I felt that the “Fujiyama storefront
style,” with small amplifiers placed around the venue so that sound comes
flying from all directions, had reached a fully realized form. And the sound
at Nanahari was really good. The sound was pretty loud both in the
afternoon and at night, wasn't it? I thought this was just about right.
2026/8/30 (Sun) @ Nanahari (Evening)
Pocopen + Nishiwaki, komori + yusa
This evening's live show was organized by Pocopen + Nishiwaki, and I think
Nishiwaki was the one who invited komori + yusa as the other act. Both bands
are male-female duos. Since Teashi Kuchibiru and Rezanimo, who played the
afternoon show organized by Yukio Sato, are also male-female duos, I joked
to a friend that perhaps the hidden theme of the day's shows was “Good
Couples Day.” My friend came up with a pretty good answer: since some of
them aren't married couples, perhaps we should call it “Mandarin Duck Day.”
The recent performances and new album by the two former members of sakana,
Pocopen + Nishiwaki, are, perhaps presumptuous of me to say, simply
wonderful—they have clearly entered a period of maturity. It's a silly
comparison, but listening to them makes me feel as though I'm sitting in a
golden field at sunset, bathing in the evening light. It makes me want to
say Glory, Hallelujah, and give thanks. Thanks for the fact that we are
alive here and now. The phrases and melodies that touch my heart again and
again, and all the stories glimpsed through the lyrics. The second song,
“Bounty Free,” brought tears to my eyes. Thank you, thank you.
佐藤幸雄, てあしくちびる(from 栃木), レザニモヲ(from京都)
プログレッシブという切り口でこの日のライブをまとめる向きに対して、いや我々はプログレではなく
パンクである、とてあしくちびるの河内伴理さんが発言していた。
てあしくちびるを観るのは３回目だけど、明らかに演奏力が向上して音楽の存在感が太く強くなっていた。
音数が減ってタイトになった印象を受けたのは、実際に音数が減ったのではなく ... G&Voの河内伴理さんと、
Violin&VoのKUCCIさんという編成は変わっていないので ... 出す音やフレーズの無駄の無さ/必然性という事から
そう感じたのだと思う。ライブ後に少しお話を伺ったら、自分たちの音楽はジェンガ（木のブロックを抜いていく
ゲーム）のようなバランスで成り立っているという事を仰っていた。だとしたら見事な抜きっぷりだと思う。
パンクという事で言うと、2026年の現在において一聴して「ああパンクですね」と感じるような音楽は、
既にパンクではないのではないだろうか。好きな方には申し訳ないがハイスタとか、フォーマットはパンク
だとしても Attitude としてはそうではなくなっているっしょ。もちろんフォーマット自体の楽しみもよく
わかるしそれが音楽というものが持つ強みだと思うけれど。てあしくちびるがパンク系のライブに出る時は
むしろ「引き」の存在感が出せるのだと仰っていた。お二人が口笛を吹く場面があって、口笛の上手いミュージシャン
は信頼できるのではないかと思った。自分が口笛を吹こうとしてもさっぱり良い音が出ないので、尚更そう思う。
良いミュージシャンは口笛も上手い（はず）
佐藤幸雄さんの音楽の好きなところは、僕は幸雄さんの声や歌い方が好きなのだなと、この日はっきりと思った。
ご本人にそう伝えたところ、そう感じるのだとしたら、私の声は私の声ではないのだと幸雄さんは仰った。
色々なものごとによって歌わされてしまう、役割のようなものだろうかと尋ねたら、役割というよりは
お当番かな、と仰った。お当番という言い方を幸雄さんは時々する。役割としてずっとそれを引き受け続ける
のではなく、順ぐりに次の誰かに引き継いでいくところにポイントがあるのだと思う。役割にしてもお当番に
しても、そういうふうに歌わされてしまう（自分は人前で歌は歌わないが）ことって、自分にもあるのでよくわかる。
北海道弁に「〜さる（自分に意志ではなくそうなってしまう）」という言い方ある。料理が美味しすぎて
食べるのが止まらなくなってしまう事を「食べらさる」、音楽がご機嫌でつい踊ってしまうことを「踊らさる」と
言う、その感じ。歌わさる、しゃべらさる、そういうことってある。
そしてそれは自分の力ではない何かの作用でそうなってしまっているので、自分の声は自分の声ではなくそこで
パーソナリティは重要では無いのだよと幸雄さんは言う。その感覚もよくわかる。にもかかわらず私が惹かれるのは
歌わされてしまった歌や音楽そのものだけではなく、それを歌う歌い手と垣間見えるパーソナリティが等しく大きい。
わたしたちが運んでいるのは、無味乾燥のテキストではなく、血肉を持ったメッセージなのではないだろうか。
私が惹かれるのはそういう部分である。小型アンプを会場の各所に配して四方八方から音が飛んでくる「フジヤマ
店頭スタイル」が、完成の域に達しているとこの日は思った。そして七針の音響がとても良かった。
昼の部も夜の部も音デカかったですよね。これくらいがいいと僕は思った。
2026/8/30 (日) ＠七針 (夜)
Pocopen + Nishiwaki, komori + yusa
Pocopen + Nishiwaki のお二方が企画されたというこの日のライブ、対バンのkomori + yusaは西脇さんが
指名されたのだと思う。２バンドとも男女DUOの編成。佐藤幸雄さんが企画された昼の部のてあしくちびると
レザニモヲも男女DUOなので、この日のライブの裏テーマは「いい夫婦の日」かなと友人に話したら、ご夫婦では
ない方もいると思うので「おしどりの日」と呼んだら良いと思うと、なかなか上手い事を言った。
元sakanaのPocopen + Nishiwakiのお二人の最近の演奏や新作アルバムは、失礼な言い方かもしれないけれど
まさに円熟期に入っていて素晴らしい。アホみたいな例えだけど黄金色に輝く田園風景の中で夕陽を浴びながら
聴いているような気分になり、Glory、ハレルヤと感謝したいような気持ちになる。私たちが今こうして生きている
ことへの感謝である。私の琴線に触れまくるフレーズとメロディ、リリックから垣間見える物語の数々。二曲目の
バウンティフリーで目から水が出た。ありがとうありがとう。
---
2026/8/30 (Sun) @ Nanahari (Afternoon)
Yukio Sato, Teashi Kuchibiru (from Tochigi), Rezanimo (from Kyoto)
In response to those who might try to sum up the day's live show from the
angle of progressive music, Banri Kawauchi of Teashi Kuchibiru said, “No,
we're not progressive rock. We're punk.”
This was my third time seeing Teashi Kuchibiru, and their playing had
clearly improved, giving their music a fuller and stronger presence. I got
the impression that there were fewer notes and that the sound had become
tighter, but it wasn't actually that there were fewer notes ... the lineup
of Banri Kawauchi on guitar and vocals and KUCCI on violin and vocals hasn't
changed ... so I think what gave me that impression was the lack of
unnecessary sounds and phrases, and the sense that every sound and phrase
was necessary. After the show, I had a chance to talk with them briefly,
and they told me that their music is built on a balance like Jenga, the
game where you pull wooden blocks out one by one. If that's the case, I
think they're remarkably good at knowing what to take out.
As for punk, I wonder whether music that makes you think, “Oh, that's
punk,” at first listen can really still be punk in 2026. Sorry to those who
like them, but take Hi-Standard, for example. Even if the format is punk,
their attitude isn't really punk anymore, is it? Of course, I understand
the pleasure of the format itself, and I think that's one of the strengths
of music. Kawauchi said that when Teashi Kuchibiru plays on punk-oriented
bills, they can actually make their presence felt through “holding back.”
There was a moment when the two of them whistled, and I thought that
musicians who are good at whistling might be trustworthy. I feel that even
more strongly because when I try to whistle, I can't produce a decent sound
at all. Good musicians are good whistlers too (I think).
On this day I realized clearly that what I love about Yukio Sato's music is
Yukio's voice and the way he sings. When I told him so, he said that if
that's how I feel, then his voice isn't really his own voice. I asked
whether it was something like a role, in which various things make him
sing, and he said that rather than a role, perhaps it was more like being
“on duty.” Yukio sometimes uses that expression, “on duty.” I think the
point is that you don't keep taking on a role permanently; instead, you pass
the duty on to someone else in turn. Whether you call it a role or being on
duty, I understand that feeling of somehow being made to sing (though I
don't sing in front of people myself).
There is an expression in the Hokkaido dialect, “-saru,” meaning that
something happens to you without it being your intention. When food is so
delicious that you can't stop eating, you might say “taberasaru,” and when
the music is so good that you can't help dancing, “odorasaru.” That's the
feeling. “Utarasaru,” “shaberasaru”—those kinds of things happen.
And because something other than my own power is causing it to happen,
Yukio says that his voice is not really his own voice, and that personality
is therefore not important. I understand that feeling too. And yet, what
draws me in is not only the songs and music that seem to have been made to
come out through the singer, but also the singer who sings them and the
personality that can be glimpsed at the same time. Perhaps what we carry is
not a dry, lifeless text but a message with flesh and blood. That is the
part that draws me in. On this day, I felt that the “Fujiyama storefront
style,” with small amplifiers placed around the venue so that sound comes
flying from all directions, had reached a fully realized form. And the sound
at Nanahari was really good. The sound was pretty loud both in the
afternoon and at night, wasn't it? I thought this was just about right.
2026/8/30 (Sun) @ Nanahari (Evening)
Pocopen + Nishiwaki, komori + yusa
This evening's live show was organized by Pocopen + Nishiwaki, and I think
Nishiwaki was the one who invited komori + yusa as the other act. Both bands
are male-female duos. Since Teashi Kuchibiru and Rezanimo, who played the
afternoon show organized by Yukio Sato, are also male-female duos, I joked
to a friend that perhaps the hidden theme of the day's shows was “Good
Couples Day.” My friend came up with a pretty good answer: since some of
them aren't married couples, perhaps we should call it “Mandarin Duck Day.”
The recent performances and new album by the two former members of sakana,
Pocopen + Nishiwaki, are, perhaps presumptuous of me to say, simply
wonderful—they have clearly entered a period of maturity. It's a silly
comparison, but listening to them makes me feel as though I'm sitting in a
golden field at sunset, bathing in the evening light. It makes me want to
say Glory, Hallelujah, and give thanks. Thanks for the fact that we are
alive here and now. The phrases and melodies that touch my heart again and
again, and all the stories glimpsed through the lyrics. The second song,
“Bounty Free,” brought tears to my eyes. Thank you, thank you.
2026/08/29 (Sat)
2
2026/08/28 (Fri)
5
2026/8/27(木) 後藤篤(tb)+栗田妙子(p) @アケタの店, 西荻窪
数曲聴いて、今日のライヴのサブテーマは "Conversation" だと思った。
栗田妙子さんは川の名前を付けた曲が多いのだけど、前半に "多摩川 Tama River" を演り、
朝に多摩川まで散歩をした私は、その風景を思い出しながら聴いた。優しいタッチのピアノ
なんだけど、それだけでなく急いたりこんがらがってややこしくなったりもする展開が面白い。
初めて聴くトロンボーンの後藤篤さんも面白かった。ボサノヴァ風のオリジナル曲（曲名は
「光化学スモッグ」？）があったり、二部の最初に演ったジャズっぽくないリズムの曲も
後藤さんだろうか。相手の言葉をじっくり聴いてから話し始めたり、言葉をかぶせたりの、
お二人の対話が実に面白かった。私はそれを傾聴する第三の者としてその場にいさせてもらった。
最近はどのライブを観てもそのような気持ちで、それを受け取る者として演奏の一端に加え
させてもらっているような気持ちになる。誠に僭越ながら。
終盤にカーラ・ブレイ(Carla Bley) の "The Lord Is Listenin' To Ya, Hallelujah!" を取り上げた
のは先日亡くなった渋谷毅さんへの思いを込めてのことだと思う。悲しみというよりは
偉大なる音楽家の生涯を祝福するかのような演奏だと思った。
ニューオリンズの葬送のパレードみたいに、悲しくない送り出しっていいなと思う。
もちろん身体が無くなることは悲しいことではあるけれど、その人が生まれて来て
生涯を全うしたことを祝うような送り出し方。そういうのがいい。
私自身、もちろん長生きをしたい（あわよくば90歳くらいまで）と思うけれど、もし
明日倒れて死ぬことになったとしても悔いは無い。「帰天」という言葉の通り、生涯を
終えるということは、ひとつの区切りとして誉むべきことなのかもしれない。
法政大学でやったJAGATARAの江戸アケミさんの一周忌のライブの時に山口冨士夫さんが、
来年からは追悼じゃなくてアケミのHappy Birthdayにやろうぜって言っていたな。
帰天でもうひとつ思い出したのが、あるカトリック教会で神父様の説教を聞いた時に、
直前に亡くなった神父様のお母様の話をされていて、帰天というのは喜ぶべき事だと話しながらも、
神父様が涙を流されていたのを思い出す。誉むべきことと言いながらも、悲しいものはやはり
悲しいものだ、当然である。私はそういった矛盾を含んだ、人間というものを愛しく思う。
アケタの店はレーベル（Aketa's Disk）を持っているので、渋谷さんの音源が無いか尋ねた
ところ、裏の事務所からソロ・ピアノのCDを探してくださって購入出来た。
オリジナルは1983年発売の「渋やん」というアルバムの再発CD。ライナーノートによると
身体を壊し一時期ジャズの演奏をやめていた渋谷毅さんが、アケタの店の明田川荘之さんの
ピアノ演奏を聴いて再びジャズの演奏を始めたのだそうだ。「渋やん」は1982年にアケタの店で
録音されたもの。現在お店にあるピアノも、おそらくその時と同じものではないかと思う。
今日の演奏は栗田さんと後藤さんの対話だったが、ソロ演奏というのは対話ではなく独白である。
一人で思い語ることは、言ってみれば私がこうやって駄文を書き散らしているのも独り言である。
もう一人の人との対話というのもまた豊かなものであり、私にとって必要なものである。
「ひとり」も「誰かと共に」も、どちらも私にとって必要なものである。
家に帰ってカーラ・ブレイの "The Lord Is Listenin' To Ya, Hallelujah!" が収録されたライブ
LPを聴こうと思ったけれど、どこかに埋もれてしまって盤が見つけられなかった。
記録データ（つまりこのサイト）にも無い。おかしいな、確かに買った記憶がありジャケットも
覚えているのだけれど、私の記憶もあてにならない。宅内における音盤との一期一会。
---
August 27, 2026 (Thu) — Atsushi Goto (trombone) + Taeko Kurita (piano)
@ Aketa No Mise, Nishi-Ogikubo, Tokyo
After listening to a few pieces, I felt that the secondary theme of today’s live show
was “Conversation.”
Taeko Kurita has written quite a few pieces named after rivers, and she played
“Tama River” in the first half. I had taken a walk along the Tama River that morning,
so I listened while remembering the scenery I had seen. Her piano has a gentle touch,
but it’s not just gentle—the way the music sometimes hurries along, gets tangled up,
and becomes complicated was fascinating.
Atsushi Goto on trombone, whom I was hearing for the first time, was also
fascinating. There was an original piece in a kind of bossa nova style (was the title
“Photochemical Smog”?), and I wonder if the piece with the distinctly un-jazz-like
rhythm that opened the second set was also Goto’s.
I found the dialogue between the two of them really fascinating: sometimes one would
listen carefully to what the other was saying before beginning to speak, and
sometimes one would talk over the other. I was allowed to be there as a third person,
listening attentively to their conversation.
Lately, I’ve been feeling that way at almost every live show I see. I feel as though,
simply by being there to receive what the musicians are giving us, I’m somehow being
allowed to take part in the music myself. It may be presumptuous of me to say so.
Toward the end, they played Carla Bley’s “The Lord Is Listenin’ To Ya, Hallelujah!” I
think they chose it as a tribute to Takeshi Shibuya, who passed away recently.
Rather than expressing sadness, I felt the performance was more like a celebration of
the life of a great musician.
I like the idea of seeing someone off without sadness, like a New Orleans funeral
procession.
Of course, losing someone physically is sad, but I like the idea of sending them off in a
way that celebrates the fact that they were born and lived their life to the fullest.
That’s the kind of farewell I would like.
I certainly want to live a long life myself (if I’m lucky, perhaps to around 90), but even
if I were to collapse and die tomorrow, I don’t think I would have any regrets. As the
Japanese expression kiten (“returning to Heaven”) suggests, perhaps the end of a life
can be seen as something worthy of being honored—a natural milestone marking the
completion of one’s journey.
I remember that at the first-anniversary memorial live show for JAGATARA's Akemi
Edo at Hosei University, Fujio Yamaguchi said, “From next year on, let’s not make it a
memorial. Let’s celebrate Akemi’s Happy Birthday instead.”
Another thing that comes to mind when I think of kiten is something I heard at a
Catholic church. A priest was speaking about his mother, who had passed away
shortly before. He said that returning to Heaven was something to be rejoiced in, but
even as he said this, I remember seeing tears running down his face.
Even if we say that death is something to be honored and celebrated, sadness is still
sadness. Of course it is. I find something deeply endearing about us human beings,
with all our contradictions like that.
Aketa No Mise has its own record label, Aketa’s Disk, so I asked if they had any
recordings by Shibuya. Someone went into the back office and found a solo piano CD
for me, which I was able to buy.
It’s a reissue on CD of the album “Shibuyan,” originally released in 1983. According to
the liner notes, Takeshi Shibuya had taken a break from playing jazz for a while
because of health problems. After hearing Aketa’s Disk owner Shoji Aketagawa play
the piano, he was inspired to start playing jazz again. Shibuyan was recorded at
Aketa’s Disk in 1982. I suspect the piano currently at the venue may even be the
same one that was there at the time.
Today’s performance was a conversation between Kurita and Goto, but a solo
performance is not a conversation; it is a monologue. To speak one’s thoughts aloud
alone is, in a sense, just talking to oneself—as I am doing now, scattering these
clumsy little pieces of writing.
But dialogue with another person is also something rich, and something I need. Both
being alone and being with someone are necessary to me.
When I got home, I thought I would listen to a live LP that includes Carla Bley’s
“The Lord Is Listenin’ To Ya, Hallelujah!”, but it must have gotten buried somewhere,
and I couldn’t find the record. It isn’t even in my recording database (in other words,
on this website). Strange. I distinctly remember buying it, and I even remember the
cover, but apparently my memory isn’t entirely reliable.
A once-in-a-lifetime encounter with a record, somewhere inside my own home.
数曲聴いて、今日のライヴのサブテーマは "Conversation" だと思った。
栗田妙子さんは川の名前を付けた曲が多いのだけど、前半に "多摩川 Tama River" を演り、
朝に多摩川まで散歩をした私は、その風景を思い出しながら聴いた。優しいタッチのピアノ
なんだけど、それだけでなく急いたりこんがらがってややこしくなったりもする展開が面白い。
初めて聴くトロンボーンの後藤篤さんも面白かった。ボサノヴァ風のオリジナル曲（曲名は
「光化学スモッグ」？）があったり、二部の最初に演ったジャズっぽくないリズムの曲も
後藤さんだろうか。相手の言葉をじっくり聴いてから話し始めたり、言葉をかぶせたりの、
お二人の対話が実に面白かった。私はそれを傾聴する第三の者としてその場にいさせてもらった。
最近はどのライブを観てもそのような気持ちで、それを受け取る者として演奏の一端に加え
させてもらっているような気持ちになる。誠に僭越ながら。
終盤にカーラ・ブレイ(Carla Bley) の "The Lord Is Listenin' To Ya, Hallelujah!" を取り上げた
のは先日亡くなった渋谷毅さんへの思いを込めてのことだと思う。悲しみというよりは
偉大なる音楽家の生涯を祝福するかのような演奏だと思った。
ニューオリンズの葬送のパレードみたいに、悲しくない送り出しっていいなと思う。
もちろん身体が無くなることは悲しいことではあるけれど、その人が生まれて来て
生涯を全うしたことを祝うような送り出し方。そういうのがいい。
私自身、もちろん長生きをしたい（あわよくば90歳くらいまで）と思うけれど、もし
明日倒れて死ぬことになったとしても悔いは無い。「帰天」という言葉の通り、生涯を
終えるということは、ひとつの区切りとして誉むべきことなのかもしれない。
法政大学でやったJAGATARAの江戸アケミさんの一周忌のライブの時に山口冨士夫さんが、
来年からは追悼じゃなくてアケミのHappy Birthdayにやろうぜって言っていたな。
帰天でもうひとつ思い出したのが、あるカトリック教会で神父様の説教を聞いた時に、
直前に亡くなった神父様のお母様の話をされていて、帰天というのは喜ぶべき事だと話しながらも、
神父様が涙を流されていたのを思い出す。誉むべきことと言いながらも、悲しいものはやはり
悲しいものだ、当然である。私はそういった矛盾を含んだ、人間というものを愛しく思う。
アケタの店はレーベル（Aketa's Disk）を持っているので、渋谷さんの音源が無いか尋ねた
ところ、裏の事務所からソロ・ピアノのCDを探してくださって購入出来た。
オリジナルは1983年発売の「渋やん」というアルバムの再発CD。ライナーノートによると
身体を壊し一時期ジャズの演奏をやめていた渋谷毅さんが、アケタの店の明田川荘之さんの
ピアノ演奏を聴いて再びジャズの演奏を始めたのだそうだ。「渋やん」は1982年にアケタの店で
録音されたもの。現在お店にあるピアノも、おそらくその時と同じものではないかと思う。
今日の演奏は栗田さんと後藤さんの対話だったが、ソロ演奏というのは対話ではなく独白である。
一人で思い語ることは、言ってみれば私がこうやって駄文を書き散らしているのも独り言である。
もう一人の人との対話というのもまた豊かなものであり、私にとって必要なものである。
「ひとり」も「誰かと共に」も、どちらも私にとって必要なものである。
家に帰ってカーラ・ブレイの "The Lord Is Listenin' To Ya, Hallelujah!" が収録されたライブ
LPを聴こうと思ったけれど、どこかに埋もれてしまって盤が見つけられなかった。
記録データ（つまりこのサイト）にも無い。おかしいな、確かに買った記憶がありジャケットも
覚えているのだけれど、私の記憶もあてにならない。宅内における音盤との一期一会。
---
August 27, 2026 (Thu) — Atsushi Goto (trombone) + Taeko Kurita (piano)
@ Aketa No Mise, Nishi-Ogikubo, Tokyo
After listening to a few pieces, I felt that the secondary theme of today’s live show
was “Conversation.”
Taeko Kurita has written quite a few pieces named after rivers, and she played
“Tama River” in the first half. I had taken a walk along the Tama River that morning,
so I listened while remembering the scenery I had seen. Her piano has a gentle touch,
but it’s not just gentle—the way the music sometimes hurries along, gets tangled up,
and becomes complicated was fascinating.
Atsushi Goto on trombone, whom I was hearing for the first time, was also
fascinating. There was an original piece in a kind of bossa nova style (was the title
“Photochemical Smog”?), and I wonder if the piece with the distinctly un-jazz-like
rhythm that opened the second set was also Goto’s.
I found the dialogue between the two of them really fascinating: sometimes one would
listen carefully to what the other was saying before beginning to speak, and
sometimes one would talk over the other. I was allowed to be there as a third person,
listening attentively to their conversation.
Lately, I’ve been feeling that way at almost every live show I see. I feel as though,
simply by being there to receive what the musicians are giving us, I’m somehow being
allowed to take part in the music myself. It may be presumptuous of me to say so.
Toward the end, they played Carla Bley’s “The Lord Is Listenin’ To Ya, Hallelujah!” I
think they chose it as a tribute to Takeshi Shibuya, who passed away recently.
Rather than expressing sadness, I felt the performance was more like a celebration of
the life of a great musician.
I like the idea of seeing someone off without sadness, like a New Orleans funeral
procession.
Of course, losing someone physically is sad, but I like the idea of sending them off in a
way that celebrates the fact that they were born and lived their life to the fullest.
That’s the kind of farewell I would like.
I certainly want to live a long life myself (if I’m lucky, perhaps to around 90), but even
if I were to collapse and die tomorrow, I don’t think I would have any regrets. As the
Japanese expression kiten (“returning to Heaven”) suggests, perhaps the end of a life
can be seen as something worthy of being honored—a natural milestone marking the
completion of one’s journey.
I remember that at the first-anniversary memorial live show for JAGATARA's Akemi
Edo at Hosei University, Fujio Yamaguchi said, “From next year on, let’s not make it a
memorial. Let’s celebrate Akemi’s Happy Birthday instead.”
Another thing that comes to mind when I think of kiten is something I heard at a
Catholic church. A priest was speaking about his mother, who had passed away
shortly before. He said that returning to Heaven was something to be rejoiced in, but
even as he said this, I remember seeing tears running down his face.
Even if we say that death is something to be honored and celebrated, sadness is still
sadness. Of course it is. I find something deeply endearing about us human beings,
with all our contradictions like that.
Aketa No Mise has its own record label, Aketa’s Disk, so I asked if they had any
recordings by Shibuya. Someone went into the back office and found a solo piano CD
for me, which I was able to buy.
It’s a reissue on CD of the album “Shibuyan,” originally released in 1983. According to
the liner notes, Takeshi Shibuya had taken a break from playing jazz for a while
because of health problems. After hearing Aketa’s Disk owner Shoji Aketagawa play
the piano, he was inspired to start playing jazz again. Shibuyan was recorded at
Aketa’s Disk in 1982. I suspect the piano currently at the venue may even be the
same one that was there at the time.
Today’s performance was a conversation between Kurita and Goto, but a solo
performance is not a conversation; it is a monologue. To speak one’s thoughts aloud
alone is, in a sense, just talking to oneself—as I am doing now, scattering these
clumsy little pieces of writing.
But dialogue with another person is also something rich, and something I need. Both
being alone and being with someone are necessary to me.
When I got home, I thought I would listen to a live LP that includes Carla Bley’s
“The Lord Is Listenin’ To Ya, Hallelujah!”, but it must have gotten buried somewhere,
and I couldn’t find the record. It isn’t even in my recording database (in other words,
on this website). Strange. I distinctly remember buying it, and I even remember the
cover, but apparently my memory isn’t entirely reliable.
A once-in-a-lifetime encounter with a record, somewhere inside my own home.