Ryoji Hojito

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06: Strange Days

darko: dkcd06/Improvising Beings ib56

Strange Days
Ryoji Hojito, Hugues Vincent

01 Hello | 02:16
02 Joue A La Baballe (Play With Ball) | 02:02
03 For Sun | 03:00
04 Rain Is Coming | 03:11
05 Sweet Morning | 05:11
06 Rock In The Farmyard | 03:42
07 Mystery | 05:44
08 Heavy Day | 01:56
09 Dream | 03:49
10 Dans Les Marais | 02:40
11 La Loirev02:53
12 Promenade | 03:18
13 Flight In Fa | 03:17
14 Goodbye | 06:25

Ryoji Hojito: piano, toys, voice | Hugues Vincent: cello, effects

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Recorded by Terence Briand at Studio Nyima, Orléans, France, October 12-13, 2015
Art work: Miyo Hojito

Improvising Beings ib56
Executive production: Julien Palomo

Improvising Beings
Paris, France

DUETS – Studio Recording – photo set 01

Studio Recording – photo set 01
– photo set 02 is here

recorded at GOK SOUND
photographs by 菊池 修|Osamu Kikuchi



DUETS – Studio Recording – photo set 02

Studio Recording – photo set 02
– photo set 01 is here

recorded at GOK SOUND
photographs by 菊池 修|Osamu Kikuchi


月雨 tsukiame + ありがとう arigato

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from new CD  Duets – Waving Views –


darko: dkcd03


Aciu!: Live at Vilnius Jazz Festival 1999

A Man from the East Series, Vol. 3

01 Introduction (4:26)
02 My Treasure (8:53)
03 Improvisation-1 (2:35)
04 Improvisation-2: The Earth (8:38)
05 Improvisation-3 (3:49)
06 Arigatou (4:41)
07 Final Improvisation for Vilnius (8:50)
08 Encore (3:37)

All music composed and performed by Ryoji Hojito
Ryoji Hojito: piano, small instruments, voice, etc.

Recorded live by Masami Suzuki at the Vilnius Jazz Festival on October 10, 1999
Sound improvements and mastering by Yoshihiro Tsukahara in Sapporo, January-March 2000
Cover painting: Akira Asahi
Photography: Takashi Homma
Design: Takashi Homma
Includes liner notes by Masami Suzuki in Japanese and English (English translation: Cathy Fishman and Yoshiyuki Suzuki)

Released July, 2000


Masami Suzuki
(Russian literature scholar)

The people who come to the performance can enter this world themselves, and live in it as characters in the story. At the Vilnius Jazz Festival performance recorded on this CD, the audience was completely absorbed in Hojito Ryoji’s story; I know because I saw it with my own eyes and felt it with my whole body. It was as if the entire room had become one living thing, attaining a state of pure happiness. The digital camera set for instant recording (as the DAT being used was in poor condition) no doubt resonated with this happiness. Even the heartbeat of the camera’s internal motor accelerated, so this sound was also preserved for the record. Listening to this CD, you will surely resonate with the sound as well. You will feel that you have become a camera, seeing the performance in minute detail.

When I started to talk about Hojito’s music I ended up telling a fairy tale, and I think the reason has to do with the roots of improvised music. It is said that in ancient times, the sermons chanted by novice ascetic monks became the spirits of chants, flowing through the air and eventually dissolving into it; and that even after thousands of years they still exist, floating in the atmosphere. If true music comes from somewhere, then when we ourselves become mediums who catch these chants and chant-spirits and express them with our own bodies and voices, the result is improvised music. The piano is an extension of the musician’s body–just as the voice is. Issunboshi, rampaging inside the demon’s stomach, becomes one with the demon and mallet, and the lovely princess, and produces improvised music. Since the birth of life on Earth, the primitive music of various voices, sounds, and chant-spirits have filled the Earth’s atmosphere, waiting for the day when they become sounds that can be heard by human ears. But for the very reason that these sounds are complete strangers to Hojito, his music is made more vital by mistakes and chance. Simply becoming aware of the sounds would instantly turn improvised music into something commonplace. Changing the cluster of chaotic sound into the cosmos requires the body itself, transcending consciousness. Hojito’s improvised music is inside Hojito; and it is also his attempt to make a part of his being the innumerable musics existing in the air all around him. The attempt is transformed into visible motion, and the movement of the body itself can be heard and seen by the eye as wonderful music. The music of the cosmos, which ranges from the tracks of elementary particles to the movement of the heavenly bodies, on stage becomes Hojito’s body, and thus becomes reality.

February 14, 2000

English translation by Cathy Fishman and Yoshiyuki Suzuki


初めて宝示戸亮二の演奏に接した時の印象は「まるで一寸法師みたいだな」というものだった。なにしろ一寸法師の相手ときたら並みのプロレスラーより大きく、体重も数百kgある黒鬼で、88本もある牙をむき出してピアノ奏者に挑んでくるのだ。しかも243本もある弦のおのおのには100kgの張力がかかっているから、黒鬼全体で20トン以上の巨大パワーを持っている怪物だ。これに立ち向かう宝示戸は針の刀ならぬ素手とオモチャ、ガラクタたちを武器に鬼の外から攻め立て、やがて口の中へ飛び込み、お腹の中で暴れまわる。黒鬼はたまったものではなく、呻き、噎び、泣き、叫び、喚き、笑い、よじり、ねじり、めぐり、ひっくり返り、こけつ転び、はずれ、はじけ、次々と声を上げる。二人の闘いを観ている観客たちは胴間声しか出さないものと思っていた黒鬼が、こんなにも表情豊かな声の持ち主だったのか と驚愕する。しかも一寸法師自身の気合やつぶやき、歌声までこれに重なるのだ。やがて降参した黒鬼は打出の小槌を差し出す。すると一寸法師は突然うるわしく心優しいお姫様となって小槌を振りながら美しい声で歌い出す。単純なメロディーの繰り返し。それは子守歌のように懐かしく、せつない。一寸法師は大きくなったり小さくなったりしながら、闘いの緊張と子守歌の安寧という二つの世界を同時に、そして自在に生きている。宝示戸亮二とはそんな物語世界なのだ。

彼の演奏の場に関わる観客たちもこの物語世界の中で自らも登場人物として生きていくことができるのだ。今回のこのCDの舞台となったヴィリニュス・ジャズ祭で聴衆が宝示戸の物語にどっぷり浸っている様子を私自身この目で見、全身で感じたのだから、間違いない。あの時は会場全体が一つの生き物と化したかのように、生の喜びに満ちていた。録音のために用意していたDATが故障したため、急きょ録音専用となったデジタル・カメラも、その喜びに共鳴したのだろう。心臓部であるモーターの鼓動まで高まり、結果としてこの音までが記録に残されることになった 。このCDを聴く人はきっとこの音にも共鳴するはずだ。あなた自身がカメラとなってこの時のステ-ジをつぶさに見ていると感じることだろう。

宝示戸の音楽について語ろうとした時になんとなくおとぎ話になってしまったのは、即興音楽というものの根元に関わっているせいだと思うのだ。こんな話がある。古代の修行僧たちが唱えた真言が、言霊となって宙を飛び交い、やがて宙に融け、それは何百年何千年たってもどこかに存在し、宙を浮遊しているのだと。本当の音楽がどこかからやって来るものだとしたら、こうした真言(声)や言霊たちを私たち自身が霊媒となってキャッチし、それを自身の声や身体で表現する時、それが即興音楽になるのだろう。ピアノという楽器も身体の延長であり、奏者の声や身体と同じものなのだ。鬼のお腹の中で暴れまわる一寸法師は、鬼や打出の小槌、うるわしき姫とすべて一体になり、即興音楽を生み出す。地球上で生命の営みが始まって 以来、地球を取り巻く大気にはさまざまな声、音、言霊たちの原音楽があふれている。それらは人々の耳に聞こえる形になる日を待ち望んでいるのだろう。それらが宝示戸にとってまったく未知のものであるからこそ、間違いや偶然性が即興音楽をより生き生きとさせてくれる。単純に意識化するだけでは即興音楽はすぐに陳腐なものになってしまう。カオスのような音の群れをコスモスに変えるのには、意識を超えた身体そのものが要求される。宝示戸の即興音楽は自身のうちにもあり、また 自身を取り巻く宇宙に無数に存在する音楽たちを自ら身体化しようとする行為なのだ。行為は目に見える運動となり、身体の動きさえもすばらしい音楽として目に聞こえ、見えてくる。素粒子の軌跡から天体の運行に至る宇宙の音楽は、ステージの上で宝示戸の身体となって実現するのである。




02: Pliocine: Live at Tampere Jazz Happening 1998

darko: dkcd02



Pliocine: Live at Tampere Jazz Happening 1998


01 Introduction (3:08)
02 My Treasure (9:36)
03 Improvisation-1 (2:55)
04 Improvisation-2 (5:19)
05 Improvisation-3: The Earth (6:15)
06 Improvisation-4 (4:25)
07 Improvisation-5: Try and Error (2:17)
08 Final Improvisation for Tampere (6:35)

All music composed and performed by Ryoji Hojito
Ryoji Hojito: piano, small instruments, voice, etc.

Recorded live by Tapio Ylitalo at the Tampere Jazz Happening, Finland on November 1, 1998
Sound improvements and mastering by Yoshihiro Tsukahara in Sapporo, January-March 2000
Cover painting: Miyo Hojito
Photography: Yoshiko Hojito and Takashi Homma
Design: Takashi Homma
Includes liner notes by Daisuke Fukuchi in Japanese and English (English translation: Cathy Fishman and Yoshiyuki Suzuki)

Released July, 2000

Released July, 2000


Daisuke Fukuchi
(assistant curator of Kushiro Art Museum, Hokkaido)

Hojito Ryoji is a musician who practices a form of musical expression that makes use of the entire piano, thereby expanding the expressive range of the piano as an instrument. His playing style looks highly eccentric. To obtain a unique sound, he puts various and sundry objects inside the piano–a wooden block, a piece of foam styrene, a bowl of coffee beans, an electric toothbrush, and so on–having predicted their effect on the sound. These objects unite with the strings and frame of the instrument; and then the strange resonance they produce turns into novel and unforgettable harmonic overtones which are conveyed into listeners’ ears.

The piano is an instrument which normally is played by hitting the keys on the keyboard. Although it is a very large instrument, players generally use a very limited part of it for musical expression–the keyboard and pedals. But it seems only natural to conceive of extending the instrument’s expressive power by manipulating the strings or hammers, which are the actual sound generators. It seems natural, I should say, provided one does not regard the inside of the golden frame, surrounded by the jet black board with its mirror-like reflection, as the forbidden world of a Buddhist family altar.

In fact, in countries where people have never seen or heard of Buddhist altars, there was nothing new about handling the internal structure of the piano. John Cage composed a work for prepared piano 60 years ago. Going further back, Henry Cowell in the 1920s innovated the technique of plucking and tapping the piano strings. Cage’s work for prepared piano came into being when he had to use the piano in place of percussion instruments in composing music to accompany performing arts. First he considered various sounds coming out of the prepared piano as substitutions for the tones of percussion instruments; and then he attempted to produce rhythms which would enhance the richness of these tones.

Cage brought an element of uncertainty to music. In the world of music, any form of expresson is OK as long as it is based on a clear theory; and originators are respected. Guided by this way of thinking, which at first glance seems rather rough, Cage broke new ground, making a remarkable contribution to the liberation of music from an area closed in by musical grammar. Ironically, however, the practitioners of academic contemporary music did not take advantage of this newly obtained freedom to move toward the creation of a new world where the range of human sensitivity would be expanded. Rather, it attached greater importance to the verification of the environment in which music comes into existence, and tended toward analytical expression and the exclusion of the composer’s and musician’s consciousness and subjectivity from the composing and playing processes. Thus, the prepared piano was buried along with most of 20th-century experimental music, lost its life force as a tool of musical expression, and remained in people’s consciousness only as a term recalled from musical history.

Such were the prevailing musical conditions when Hojito Ryoji–coming from a completely different background–began his musical activity with a mode of expression making use of the entire piano. He attempts to eliminate traditional tonality and rhythm from his melodies and tone, but at the same time there is a very lyrical side to his playing. This is undoubtedly because he did not create his style via a methodology of pure experimentation with technique and tone; rather, he arrived at his style via the profound emotion which he wants to express, and the motifs which he wants to develop.

For example, in pieces that begin on just the keyboard, there are motifs which convey feelings such as tenderness and nostalgia. In particular, the expression in the first motif of the second tune “My Treasure,” with its pentatonic progression, seems very natural for a contemporary Japanese person. This is not an orderly form of expression based on an individual concrete memory or everyday feeling; it is a form of expression that comes from the primordial chaos which exists inherently in the human heart. The substance of Hojito’s improvised expression lies in the music which a player reproduces through the filter of sensitivity, by subconsciously capturing outlines of images from the deepest part of the universal human consciousness.

In the fifth tune on this CD, Hojito makes a fat sound (playing a cylindrical instrument(?) with a saxophone mouthpiece). The call of a humpback whale provided him with the inspiration for this sound. The low-pitched, melancholy phrases effectively express the grief that lies deep within the hearts of whales and other living creatures whose habitats have been destroyed. This kind of expression could never be the product of superficial cleverness or a haphazard idea.

Listening to Hojito’s performance you will undoubtedly experience many delicate moments that sparkle like jewels, provided you pay attention not to the the unconventional playing style or the power of the performance, but to what can be expressed only in this style, and to the feeling it produces. If you do, you will surely discover the process in which each sparkle–that is, each motif–develops with richness and breadth.

The performance on this CD was recorded at the Tampere Jazz Happening ’98 in Finland in October of that year. Hojito played on the final day of the festival. Not only was his performance very well received by the audience, it also made a strong impact on the staff and other musicians who participated in the festival. His music caused such a sensation that the following day the Finnish newspapers gave him extensive coverage; and apparently, many of the people who were taken with his performance at Tampere hurried to go and see the concert held a little later at KIASMA (Museum of Contemporary Art, Helsinki, Finland).

The Finns have always appreciated the kind of clear-toned, expansive expression exemplified in the works of Sibelius and Palmgren. Hojito’s performance in that time and place must have touched the hearts of the Finnish people in a different way than it touches the hearts of Japanese.




事実、仏壇なぞ見たことも聞いたこともない人々の住む国では、ピアノの機構を操作するということ自体は決して目新しいことではなかった。ジョン・ケージはすでに60年前にはプリペア―ド・ピアノの作品を作曲している。更にケージの師ヘンリー・カウエルがピアノの弦を素手で弾く、たたくといった内部奏法を始めたのは1920年代のことであった。 プリペア―ド・ピアノ作品の誕生は、彼が関わっていたパフォーミング・アート上演用の伴奏音楽作曲に際して、打楽器の代わりにピアノを用いざるを得なかった事情にも由来している。すなわちケージはプリペアード・ピアノのつむぎ出す多様な響きを打楽器の音色の代替物としてまず認識し、その音色がより豊かに響くリズムを創造しようとしたのであった。



例えば鍵盤のみの演奏ではじまるモチーフは、「やさしさ」や「なつかしさ」ともいうべき情感を伝えるものとなっている。特に曲2目『My Treasure』最初のモチーフに見られるペンタトニックな進行などは、現代の日本人にとっては非常に自然な表現であろう。こうした表現は、個人の具体的な記憶や日常の感情に基づいた秩序だったものではなく、人類が心の中に本能的に備え持つものとしての根源的な混沌(カオス)から来たものである。宝示戸の即興表現の本質は、個人ひいては人類が持つ普遍的な意識の底にある深層的なイメージの輪郭を演奏者が無意識に汲み取り、感性のフィルターにかけて再創造した音楽という点にこそ存在する。

また、5曲目で宝示戸が太く響かせる音色(サックスのマウスピースをつけた筒状の楽器? を用いている。)は、ザトウクジラの唄に触発されたものであり、低く沈鬱に広がるフレーズは、生息する環境を追われた鯨に限らず生きとし生けるものの心の底にある悲しみを表わすものに昇華されている。こうした表現は小手先の浅知恵で作り出せぬものであり、また全く考え無しのいきあたりばったりの発想からも決して生まれ得ないものである。  宝示戸亮二の演奏に接する時、演奏スタイルの奇抜さやパフォーマンス性の強さではなく、このような奏法でしか表現出来ない事柄や、この奏法によって生み出される情感とは何か?という点について注目するならば、奔放と感じられる演奏の中に宝石のようにきらめく繊細な一瞬をいくつも感じ取ることが出来るであろう。そしてそれらのきらめきの一つ一つとでもいうべきモチーフが豊かに大きく展開していく過程を必ずや発見することが出来るに違いない。

この演奏は1998年10月フィンランド、「タンペレ・ジャズ・ハプニング ’98」での演奏を録音したものであり、宝示戸の出演はプログラムの最終日であった。聴衆の好評を博したことはもとより、彼のアグレッシヴなパフォーマンスと深い音楽性は音楽祭のスタッフや参加した音楽家に多大な衝撃を与えるものであった。また、フィンランド国内で翌日の新聞に大きく紹介されるなど宝示戸の音楽は大きな波紋を呼び、後日ヘルシンキのフィンランド国立現代美術館KIASMA(キアズマ)で開催されたコンサートでは、タンペレでの演奏に魅せられた人々も急遽方々から駆けつけたという。






darko: dkcd06/Improvising Beings ib56
Strange Days
Ryoji Hojito + Hugues Vincent
MAY. 2017 | ¥2,000


darko: dkcd05
Duets – Waving Views –
Ryoji Hojito + Tomo Yamaguchi
JUL. 2016 | ¥2,000
liner notes: 北里義之 | Yoshiyuki Kitazato


darko: dkcd03
Aciu!: Live at Vilnius Jazz Festival 1999.
A Man from the East, Vol. 3.
liner notes: 鈴木正美 | Masami Suzuki


darko: dkcd02
Pliocine: Live at Tampere Jazz Happening 1998.
A Man from the East, Vol. 2.
liner notes: 福地大輔 | Daisuke Fukuchi


darko: dkcd01
A Man from the East: Solo Piano in Russia 1993.
A Man from the East Series, Vol.
liner notes: 大友良英 | Yoshihide Otomo

01: A Man From The East: Solo Piano in Russia 1993

darko: dkcd01 + dksd01



A Man From The East: Solo Piano in Russia 1993

A Man from the East Series, Vol. 1

1. Introduction 3:44
2. “HIROSHIMA” 4:33
3. “MY TREASURE” 5:13
4. “KAIYU” 5:48
5. Improvisation 1 2:55
7. Improvisation 2 3:24
8. Ending 4:07
total time 37:19

9. Introduction 1:31
10. “HIROSHIMA” 4:12
11. “MY TREASURE” 4:16
12. Improvisation 1 1:54
13. “KAIYU” 2:16
15. Improvisation 2 2:23
16. Ending 4:39
total time 29:27

3″ CD
Solo Piano in Cherepovets
1. The Earth (5:04)
2. My Treasure (7:56)

Ryoji HOJITO piano, compose, small instruments, etc.

All tracks recorded by Yoshiko HOJITO

Tracks 1-8 : at the Contemporary Art Center in Moscow, Russia, May 30, 1993. Recorded direct to 8mm video camera using spot stereo microphone.
Tracks 9-16 : at Art Center “Studio-8″ in Novosibirsk, Russia, June 5, 1993. Recorded direct to DAT using spot stereo microphone.

レーベル:darko(ダーコ)規格番号:dkcd01 + dksd01 (CD & 3″ CD set)
Released July, 2000
Originally released 1994 from Trigram label (without 3” CD)

The bonus single “The Earth” Solo Piano in Cherepovez Sep 28, 1994 In early winter of ’94 we were travelling, heading to the north of Russia, to the holy floating island of on the white sea. 300km from Moscow in a small city of cherepovez there was a piano which was untuned and left beyond everybody’s memory waited Hojito. The piano cried that day and also Hojito cried.

Yoshihide Otomo

Hojito Ryoji is a pianist living in Sapporo. This is, in fact, a big deal. In Japan, a musician will carry a great handicap just by not living in Tokyo.

Sapporo is a metropolis with a population of over 2 million. Despite this, there is no existing music scene to which someone like Hojito can belong. No place, no journalism, no independent labels that might release music such as his. You may conclude from this that in Sapporo there is only a commercial music scene, but no. There is hardly even a commercial music scene, either.

It may be hard for people not living here to grasp, but in Japan almost all things are centered in Tokyo. If you are a musician, then you must be in Tokyo to acquire any recognition. Unless, of course, you can say that your work is abroad in Paris or New York, places where Japanese often vaguely judge to be higher than Tokyo. It feels pretty dumb to have to write this, but its the way things are in this country. Notwithstanding the quality of what you do, it you do not acquire your recognition in Tokyo or some better place, you will never be top notch. In other words, Hojitos position in Japan would be second rate.

Which, if you listen to this CD, you will understand to be complete bollocoks.

Well then, how wonderful is the music scene in Tokyo itself, where absolutely everything is? There is one society of those with thick wallets, product of the bubble economy. Another, of fine professor-types who have graduated from fine arts universities, and have gone on to study abroad, i.e. Europe. The rest is made up of poor rockers and jazz know-it-all otaku spitting on the very ground where they stand. And almost all of the above exist to do imitations of the music of places which everyone vaguely accepts to be higher; if you want to understand jazz you gotta go to New York, that sort of thing. Obviously, then, these people would not take notice of some local scene considered to be lower then Tokyo. The greater part of the Japanese music scene is built upon this sad level of intelligence.

The fact that Hojito Ryoji lives in Sapporo means that he is constantly working in a cultural situation with odds against him. Sapporo is a pathetic little Tokyo which has had this situation forced upon it.

Despite this situation, Hojito has chosen not to spit on his own ground, but to draw each music one at a time from ties he has created with people close to him. Looking over his Special Thanks, I know that those are the names of such persons. The performance is solo, but I consider this to be a quiet ensemble formed of the fruits of his relations with others.

This album would not have been possible without in(ter)dependent networks formed with Numayama Yoshiaki and Kanazawa Shiro, who have continued creating opportunities and a place for Hojito when there were none. Although the state of music scenes in local cities may be far from good, a movement towards forming and placing possible for one local scene to become involved with another. In Tokyo too, there is a growing independent movement against the present closed state. That Hojito from Sapporo has gone to Russia to perform, and then release an album from a Tokyo record label for the entire world to hear is a demonstration of this.

National pride and racial identity mean nothing to these independent movements. It is up to his such efforts, our efforts, to nullify the rigid structure from the past with has established the impoverished present. We are responsible for forging that structure. This, I believe, is the underlying significance of this album.

March 16, 1994
translation: Haruna ito

These past six years have been more than any other, a period of intense change for me. This has not so much to do with my own personal history, rather, I feel it is connected to transformations occurring within the entirety of music, including the structure of society itself. The situation that I expressed such impatience against which I wrote of here remains unchanged, but my own attitude towards it certainly has. Now, I would not have spoken like this. To be precise, I would not have chosen to position this music in the center of the social background to which it belongs, and appraise it with such romanticism. This may sound like a somewhat closed attitude, but now my interest directs itself more toward the generation of sound phenomena itself. I feel that there is a definite something to be found in the details of its structure and the organizational logic. And Hojito’s music, listening to it from this perspective, is again good. I especially love his extended technique of playing within the body of the piano. The manner in which this machine, called the piano–which is not merely physical substance–is exposed, is especially good. What happens when he focuses on this aspect in performing his work? I am extremely curious to find out.

February 1, 2000





では、何もかもが集中する東京の音楽シーンは素晴らしいところかってえと、とんでもない、とんでもない。大金かかえたバブル野郎のうごめく世界と、立派な芸術大学を出て海外(主に欧州のこと)に留学したえらい先生達のつくる世界の二つの他は、貧乏なロック野郎やスノッブなジャズオタクがツバをはいているだけの所だ。その大部分は、皆が漠然と”上”だと思っている”本場”の音楽のコピーで成り立っている訳で…、ジャズをやるならニューヨークに行かなきゃ…って具合にね。だからこそ、彼らは、東京より漠然と”下”だと思っているローカルな所には目が行かない。日本の音楽シ ーンの大部分は、こんな程度の貧しい知性で出来上がっているのだ。






この6年間は、私にとってこれまでのどの時期よりも激しい変化の時期で、それは多分、単に私の個人史の話ではなく、社会構造も含めた音楽のあり方が変化してきていることに無関係ではないと思う。ここに書いたような、私がいらだちを感じていた状況は、今も変わらずあるが、その事に対する私の態度は、 確実に変わってしまった。今ならこういう書き方はしない。正確には、その音楽が置かれている社会状況を中心にすえ、音楽を評価するロマンチックな方法を選択しない。やや自閉的に見えるかもしれないが、私の興味は音響の生成そのものに向かっている。その細部の中に見いだせる構造や、組織論の中にこそ、なにかがあるように思えるのだ。そうした視点で改めて聴いてみても、宝示戸の音楽はいい。特に彼の内部奏法は好きだ。ただの物質でしかないピアノという機械があらわになる感じがいい。この部分に焦点を当てた作品を現時点で彼が演奏したらどうなるか、ぜひ聴いてみたい。


05: Duets – Waving Views –

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”

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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.


© 2024 Ryoji Hojito. All rights reserved.

テーマの著者 Anders Norén.