Jazz and Far Beyond

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Concerts/Live ShowsNo. 231

#960 喜多直毅クアルテット〜”Winter In A Vision 2”リリース記念コンサート』
Naoki Kita Quartette: celebrating concert of the release “Winter In A Vision 2”

2017年6月10日(土)東京・求道会館 Kyudo-Kaikan,Tokyo/June 10 (Sat), 2017

Reported by 伏谷佳代 Kayo Fushiya

音楽とヴァイオリン:喜多直毅 Naoki Kita (Music & Violin)
バンドネオン:北村聡 Satoshi Kitamura (Bandoneon)
ピアノ:三枝伸太郎 Shintaro Mieda (Piano)
コントラバス:田辺和弘 Kazuhiro Tanabe (Contrabass)

1. 鉄条網のテーマ Theme of Burbed-Wire
2. 燃える村 The Village in Flames
3. 疾走歌 Speeding Song
4. 峻嶺 Steep Peaks
5. 夏の星座 Summer Constellation

残された空 Nothing Except the Sky



I hadn’t listened to the Naoki Kita Quartette for about six months, when I caught up with them on the day of a concert celebrating the release of their 2nd album, which was also the final night of their West Japan tour. The performance was a medley-style in which the whole live set was turned into a one-act play. The venue, a meeting place for the Buddhist True Pure Land sect, was a splendid landmark, and the dark atmospheric lighting only added to the theatrical feel of the evening.

The very first time I heard one of their performances, I was aware of a feeling of rushing expansion and continued tension, but at this concert, I physically and completely experienced the group’s progress and their journey to ripe maturity. The speed is maintained, yet the details are closer to the audience and more realistic. More than anything else, the viscosity of their tightly constrained rhythms, provoking of excitement, and profound depth have really multiplied, along with the struggle between the tailwind and headwind created by piecemeal beats and the ensuing swirling “desolation.” The violin texture forever skirting the edges of emotion; the droning reverberation of bandoneon’s bellows freezing the moment; the momentary changing of the piano’s solidity; and the locus of the double bass recasting sounds into human voices and bodily pulses —all these individual sensitivities blend together in dense melodies and release sublime fragrances. In contrast, the continuous sound of high notes lying at the edges of music and noise, and tone clusters cracking the ground thrust a harsh reality into the heart of the audience. Scores requiring high-level performance resulting in stoicism; only mastery and breaking through them can lead to absolute freedom; and a tranquil panorama. This is extra-territorial music, but the pathos gently fluttering in unexpected moments is certainly an archetypal image that the DNA of the Japanese cannot help but respond to. It may be hyper-realistic, but it is at the same time intensely nostalgic. It is a drama where all kinds of contrasts are maneuvering within the spaces of a monolith, and what to project on such a drama is infinitely open to the listener. The solemn and deep atmosphere at the end of the live performance left the auditorium filled with the imperceptible resonance of countless invoked stories.
(June 11, 2017 Kayo Fushiya)

Naoki Kita Quartette at Kyu-do Kaikan © Atsushi Yamaguchi
Naoki Kita © Nah Seung-yull
Satoshi Kitamura © Tsutomu Yano/Disc Classica japan
Kazuhiro Tanabe
Shintaro Mieda





伏谷佳代 (Kayo Fushiya) 1975年仙台市出身。早稲田大学卒業。欧州に長期居住し(ポルトガル・ドイツ・イタリア)各地の音楽シーンに通暁。欧州ジャズとクラシックを中心にジャンルを超えて新譜・コンサート/ライヴ評(月刊誌/Web媒体)、演奏会プログラムやライナーノーツの執筆・翻訳など多数。


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