darko: dkcd05

CD front pic

Duets – Waving Views – Ryoji Hojito + Tomo Yamaguchi

二重奏 – Waving Views – 宝示戸 亮二 + 山口 とも

01 月波 tsuki-nami|4’35”
02 ツチノコ tsuchinoko|5’34”
03 ありがとう arigato|5’45”
04 どぶねずみ dobunezumi|3’15”
05 晩餐会 bansankai|4’18”
06 不死鳥 fushicho|4’56”
07 座敷童との育み nature among zashiki-warashi|9’34”
08 パチンコ屋 pachinko-ya|1’42”
09 クマゲラとニワトリの文句 kumagera and niwatori are having something to say|4’37”
10 オーそら見よ oh sora miyo|6’12”
11 月雨 tsuki-ame|7’59”

total time 58’23”

[soundcloud url=”https://api.soundcloud.com/tracks/300862925″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

[soundcloud url=”https://api.soundcloud.com/tracks/280849366″ params=”color=cc3703&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]




宝示戸 亮二 | Ryoji Hojito: piano, toys, voice, etc.
山口 とも | Tomo Yamaguchi: percussion, voice, etc.

All music were improvised in live at the studio at once, no overdubs and no edit, except the first half of #03 and the latter half of #10 were composed by Ryoji Hojito, arranged by Ryoji Hojito and Tomo Yamaguchi.

recorded on February 5 & 6 and mixed on March 22 & 23, 2012, mastered on February – March 2014 at GOK Sound Studio, Kichijoji, Tokyo

engineered by 近藤 祥昭|Yoshiaki Kondo(GOK Sound)
assistant engineer: 渋谷 文太郎|Buntaro Shibuya(GOK Sound)
piano tuning by 丸山 富枝|Tomie Maruyama
percussion assistant: 小出 裕也|Yuya Koide(TOMO OFFICE)

photographs by 菊池 修|Osamu Kikuchi
design by 本間 貴士|Takashi Homma

recording producer: 野田 茂則|Noda Shigenori(Callithump)
associate producer: 本間 貴士|Takashi Homma
executive producer: 寳示戸 嘉子|Yoshiko Hojito(darko)

thanks to
五味 俊哉|Toshiya Gomi(TOMO OFFICE)
菅原 佐枝子|Saeko Sugawara
あずた えつこ|Etsuko Azuta

2016年7月発売 価格 2,000円+税



Yoshiyuki Kitazato

By some miraculous power, a pianist Ryoji Hojito and a percussionist Tomo Yamaguchi happened to meet to make such a perfect match. Hojito’s piano looks like a food stall with quite a lot of boisterous toys hanging all over it. Those toys and dolls are used for his performance including ; playing the piano directly by its strings, playing inside of it putting tools to create “touching” noise on the strings, or even standing up and walking off the piano in the middle of the performance. In the similar way, Yamaguchi also has his drum set build out of scrap such as trash cans, umbrellas, etc. Each piece of junk has its own story to be there and the bank of memories surrounds him up when he plays. The piano and the recycled drum are obviously different in shape, but somehow similar enough to say they are two of a kind. As if conspired by each other, the two instruments create surprisingly wide palette of sound.

Their performance looks comical on stage, not to make the audiences laugh, but to make sounds that cannot be created otherwise. In some situation, their bodies can speak volumes of the music more than the sound. That is why they play in the same style even in the recording studio with no audiences. Their performance is very unique and humorous. Lyrical phrase of Jazz shows Hojito’s origin in music, but playing a duet, since it is no longer a complete Jazz, gives the music a sense of depth (not variety). Two people make music without any patchy sounds and the energy of their harmony flows just so smoothly.

What is most common between the two is the immediacy of sounds, or their passion for the primary harmony, rather than variety of tones. Just like how children learn the world by touching toys, dolls, scraps, and whatever around with bare hands, their duet seems to express their love for the world by touching sound for the first time. When the simple desire to hold the world with bare hands or to reach out to touch the blue sky makes an impromptu, the sounds of nature itself appear from roll of drum or piano, and the emotions of nursery rhyme prototype get so verbal that it starts to shine sometimes sentimental and sometimes passionate. In order to play such truthful music persuasively, a sense of honesty without tactics must be there. I believe that honesty is what brought those two artists meet together.

The English translation by Silvestre Vargas


出会うまでは想像もできなかったが、出会ってしまえば、これほどしっくりくる共演者が他にいただろうかと思わせる、そんな奇跡的な出会いを重ねてきたのが、ピアニスト宝示戸亮二とパーカッショニスト山口とものふたりである。宝示戸が弾くピアノのまわりは、音の出る玩具がつりさがって屋台のよう。ピアノの弦を直接引っかいたり、《さわり》 のノイズを響かせるグッズを弦のうえに載せて内部奏法したり、はたまた演奏途中で立ちあがり、楽器を離れて歩きだすパフォーマンスをするときの玩具や人形であふれかえっている。かたや、ゴミ箱やら傘やら、がらくたを集めて作った山口のドラムセットもまた、そのひとつひとつが彼のもとにくるまでの物語を持ち、あたかも記憶の堆積のようにして演奏者をとりまいている。ピアノと廃品ドラム、姿形は違うのだが、これがどことなく似ている。おなじ臭いを放っている。ふたりの楽器から生み出されるサウンドパレットは、驚くほど広い。まるでふたりして示しあわせたかのようだ。