haino keiji/yamasaki ami - live

Lady Jane, shimokitazawa

Yamasaki Ami in duo with Haino Keiji -- unique moments occured. I wrote things in a notebook at the time, so here is a rendition of a transcription(I could not really read the handwriting), plus extra things as evidence for or to the contrary: Yamasaki began by blowing bubbles via a toy-shop-type implement, I suppose it was. Interestingly a bubble landed on our table right beside a glass of water that was a sort of free gift when ordering a whiskey. I naturally thought of object-oriented philosophy, in misguided romantic vision of it, imagining the bubble (that lasted almost an hour on our table) in sympathy to its fellow similarities in the water glass. The next thing she did was place a candle stub in her palm, held flat before her. She sang to it, in a sort of utterly gentle babble, like cooing; either she was singing to the flame, or she was imagining how the flame may be sounding its own self if it had appeared as the main act in a little wierd jazz bar live house. ______ (in the meantime haino keiji was being very quiet and unusually supportive, sat at a table, subtly manipulating what I take to be some sort of tone generator ((plus occasional close-miked percussive things) ) _______ (Yamasaki seems to be quite a young artist, I am thinking she is around 30, because I recognise in her that (mine too) generation's capacity for all-sorts, the similar in the multitude of experiences flung towards the artist (for the first time this sort of expansive action from the outside itself, towards those who may make things of it?) -- - bird song, the wine glass trick -- I recall no-one moving, at a moment of something like irish song? . . . the memories of widows . . . a period of vocal counting ( 1. . . . . 13, 14 . . . . . 15 ) caused a wierd pause, it went on enough not to be countdown -- there was a continuing sense of this "literalness" (as a sort of performance art? -- I don't know enough yet to judge the self-consciousness of it -- either way, it worked) in contrast to Haino Keiji's "ultimately-from-music" approach -(of course, all statements from Haino Keiji are best understood from a literal basis as referring to music as the all expansive subject

__________ As I always say, Our interaction with them brings life even unto those objects which are not living beings. The reverberation of this Fushitsusha breathes life into non-living sound reproduction equipment. ________ _ ____ ↑ (something from the booklet of a Fushitsusha album, it seems relevant) yamasaki ami used to have an very interesting blog but it has gone now -- this was where it was anyway, perhaps it will come back? yamasaki ami's blog

but didn't you know that already -- I don't feel I am saying anything intellegible to people who would not already know what I was saying. I can't decipher much more of my notes. I recall Haino Keiji began a version of "akai kutsu (red shoes)", a famous japanese pop-song/almost lullaby, and traded vocals with Ami-san. Here there was the impression of a jovial teacher, he hoped for her to reach a more-and-more ferocious voice.

photos stolen from here (the person loads too many photos on the one page so it is very slow, be careful)

anyone care to identify these devices?
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