FEB.14 2015 SOLO LIVE&SESSION LIVE with FREE ELECTORO at NAVARO

2015年2月14日(土)
熊本NAVARO
“近藤等則 LIVE IN KUMAMOTO 2015”
OPEN 20:00 
Door:¥2500(+1drink order)

●Special Live
近藤等則 SOLO LIVE
SESSION LIVE with FREE ELECTORO (近藤等則 with Eiji Shibata & Yama a.k.a Sahib
●Support Live
志娥慶香
★Support DJ
Katsumi(SGK )
MZMNTB(Karma sounds)
★VJ
POPEYE(caprice)
熊本市 中央街5-17熊本中央ビル地下
096-352-1200

www.facebook.com/events/373888952784169/?notif_t=plan_user_invited

FEB.11 2015 「超意識/Super Consciousness」at LIVEGATE TOKYO

LIVEパンフ

僕は24歳で新体道に出会い、稽古に励みました。精神と身体を解放したかったからです。新体道のメソッドと同時に、青木宏之先生の人柄、思想に直接大いなる影響を受けました。僕の音楽は、この影響なしにはあり得ませんでした。
今までも青木先生とは「地球を吹く」等で何度か共演させて頂きましたが、それらの経験を昇華させた21世紀にふさわしい表現芸術を今回のライブで実現したいと思っています。
青木先生の思想の根幹にある「絶対無」を、頭ではなく、全身全霊で感じてもらえれば、と思うのです。それこそが21世紀に生きる全ての人達への「福音」になるにちがいないと希求するからです。
近藤等則

「超意識/Super Consciousness」
〜近藤等則、青木宏之が体の中の宇宙をクリエイティブに表現する。ツールはラッパ、刀、書である。この空間を共有するみんなは六感「眼・耳・鼻・舌・身・意」をフルに開き、体全体で感じてもらい、演者、観客が融和し一体となり超意識の次元に至る。〜

・日時:2015年2月11日(祝) 19:00開場/19:30開演
・会場:東京都渋谷区東3-14-19 オークヒルズB1F
  LIVE GATE TOKYO
・チケット:前売り3,500円/当日4,000円(ドリンク代 別途500円)
・チケット申し込み:TEL :03-3400-9001
:メール
info@livegatetokyo.com  (LIVE GATE TOKYO)
mail@tenshinkai.jp  (天真会事務局)

近藤等則新体道を語る その一

近藤等則新体道を語る その二

近藤等則新体道を語る その三

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Photo of Toshinori Kondo:(c)Teruyuki_Yoshimura at LIVEGATE TOKYO on Dec.15,2014

JAN.15 2015 on Sale! “Blow the Earth in Israel ”

Now I start to release the sounds of “Blow the Earth” on Toshinori Kondo Recordings.
The music of 20th century fell into human centric.It became only a tool of human communication.I wanted to blow trumpet in the Nature to let musical imagination free into the different dimension.
From artificial cities to Creator’s nature.
I wanted to start “Blow the Earth” in Negev desert where is navel of the Earth,the crossing point of Europe,Asia and Africa.
The lucky thing happened.NHK,Japanese national broadcast asked me,“Where do you wanna go to make our TV program which is called Wagakokoronotabi?” I immediately answered,”Israel”.
In the early morning of December 1993 I improvised electric trumpet in Negev desert.It was the opening of 18 year’s journey “Blow the Earth” to seek the sounds to resonate with Nature which is the source of all the lives.
I am happy to release “Blow the Earth in Israel”after 21 years.
Please enjoy “Blow the Earth in Israel”.

Toshinori Kondo

“Blow the Earth in Israel”

ON SALE! TKRecordings→

1.Negev Desert part 1
2.Negev Desert part 2
3.Negev Desert part 3
4.Negev Desert part 4
5.Kyoushu in Negev Desert
6.A Melody by Lake Galilee
7.Doom Stone at Bedouin tent
8.Conversation with Tomer Ron on the phone
9.Live in Jersalem
10.Cosmic Vib.
11.Space Temple

Recorded in December 1993
Recorded by Eiji Mori
#10 were recorded in Amsterdam in July 1994
Recorded by Shuichi Ikebuchi
Mixed at Kondo Soundbody studio in Kawasaki,January 2015
Edited & filed by Kazunori Takiguchi
Special thanks for NHK Enterprise,NHKBS,Documentary Japan
& Tomer Ron

wav file, 48KHz, 16bit, Stereo. Total time 50:46

JAN.15 2015 on Sale! “Blow the Earth in Israel |地球を吹く in Israel ”

いよいよ「地球を吹く」を公開してゆく。
人間中心主義の都市音楽としての20世紀音楽から、音楽の想像力を異次元へと飛ばすには、都市を離れ、地球の大自然の中で吹いてみるしかない、と思った。
人工都市から創造主の自然へ。いのちの大元と共振・共鳴する音を求めて「地球を吹く」の旅を始めたい熱情に駆られた。
まず、アジア・ヨーロッパ・アフリカ大陸が交差する地球のへそ、ネゲブ砂漠で吹きたいと思っていたら、幸運にも、NHKBSTVの番組「わが心の旅」でイスラエルにいけることになった。
1993年12月、早朝のネゲブ砂漠でただひたすら夢中になってエレクトリックトランペットで即興演奏した。
ここから18年に渡る「地球を吹く」の旅が始まった。
その記録、「地球を吹くin Israel」を21年の時空を超えてここに発表出来る事に感謝せずにはいられない。
皆さん、どうかお楽しみください。

近藤等則

地球を吹く in Israel
“Blow the Earth in Israel”

ON SALE! TKRecordings→

1.Negev Desert part 1
2.Negev Desert part 2
3.Negev Desert part 3
4.Negev Desert part 4
5.Kyoushu in Negev Desert
6.A Melody by Lake Galilee
7.Doom Stone at Bedouin tent
8.Conversation with Tomer Ron on the phone
9.Live in Jersalem
10.Cosmic Vib.
11.Space Temple

Recorded in December 1993
Recorded by Eiji Mori
#10 were recorded in Amsterdam in July 1994
Recorded by Shuichi Ikebuchi
Mixed at Kondo Soundbody studio in Kawasaki,January 2015
Edited & filed by Kazunori Takiguchi
Special thanks for NHK Enterprise,NHKBS,Documentary Japan
& Tomer Ron

wav file, 48KHz, 16bit, Stereo. Total time 50:46

Jan 6, 2015 Jazz trumpeter Kondo challenges today’s artists

Searching for a new sound: Jazz musician Toshinori Kondo feels a lot of today’s music hasn’t changed much from what was being created in the past century. His ‘Blow the Earth’ project looks to nature in search of fresh ideas. | JAMES HADFIELD

Jazz trumpeter Kondo challenges today’s artists
by James Hadfield
Special To The Japan Times
www.japantimes.co.jp/culture/2015/01/06/music/jazz-trumpeter-kondo-challenges-todays-artists/#.VKvuP9E9Kpq

On a chilly Friday afternoon in December, trumpet player Toshinori Kondo reclines in the clutter of his Kawasaki recording studio, pours out two cups of shōchū liquor, and starts to explain what prompted him to abandon a lucrative career in Japan and move to Amsterdam in 1993.

“One thing is, I got f-cking bored with any music that was created in the last century — the 20th century,” he says, in fluently coarse English. For Kondo, the once-thrilling momentum of popular music — from Delta blues to jazz to rock — had sputtered out: too much money, too many rehashes, too many songs about love. So he took his electric trumpet and box of effects pedals, broke up his band and wandered, quite literally, into the wilderness in search of “the next century’s music.”

In December 1993, Kondo headed to the Negev Desert in Israel with an NHK film crew and recorded a series of solo improvisations, al fresco. Using a language of slow, plangent tones and electrified trills, he attempted to start a dialogue with his surroundings — sometimes freaky, sometimes beautiful, sometimes a bit new age-y. It was the first volley in an ongoing project, titled “Blow the Earth,” that has since taken him to locations such as Peru’s Machu Picchu and the Ladakh Himalaya region in India.

More recently, Kondo performed at scenic spots throughout Japan between 2007 and 2011 (he moved back here permanently in 2012). On a DVD compilation released in 2013, you can see him serenading the sunrise at Mount Aso in Kumamoto Prefecture, playing a tortured lament on the tsunami-ravaged coast of Kirikiri, Iwate Prefecture, and duetting with a Shugendō mountain priest on the snow-swept slopes of Mount Yudono in Yamagata Prefecture.

“It was a very simple idea — but then I started to do it,” he says, with a croaky laugh. “This is the difference between me and other musicians. Other musicians would have (better) ideas, but unfortunately most musicians wouldn’t do it — because of money. They have to survive. If you follow new ideas, you cannot survive anymore.”

And what about Kondo: How does he survive? “Man,” he says in a slow drawl, and laughs again. “We need some drugs to start to talk about this kind of deep side, you know!”

Early into the project, Kondo discovered that the blistering techniques acquired during his reign as one of Japan’s foremost free-jazz musicians didn’t serve him as well for communicating with nature. Rather than using short, sharp bursts of breath — designed, he says, “to kick the ass of human beings” — he began to favor longer tones that resonated better with the landscape.

At the same time, he remained wedded to the electronic hardware that he’s used since the late 1970s, allowing him to conjure a panoply of unearthly sounds from his horn — and crank the volume up.

“The Negev Desert is so wide, so huge . . . if I play just a small f-cking acoustic trumpet, (it’s a) tiny sound,” he says. “No correspondence.”

Kondo first started to play electric trumpet in 1979, while he was living in New York and gigging in the city’s avant-garde music scene. Having already mapped out every sonic quirk and extended technique the conventional trumpet had to offer, he was already eager for a change. So after getting drowned out during a particularly noisy show with bassist Bill Laswell, drummer Fred Maher and guitarists Fred Frith and Henry Kaiser, he turned up for the next gig with an electric pickup fitted in his trumpet, and jacked himself straight into a Marshall amplifier.

Following the example of Miles Davis, Kondo inserted his pickup into the shank of the trumpet’s mouthpiece, rather than in front of the bell, allowing him to capture the subtler nuances of his playing. He draws an analogy with traditional Japanese wind instruments like the hichiriki and shakuhachi, where the sound reflects the contours of each breath.

“Most trumpet players think the trumpet is a musical instrument to make sound with breathing,” he says; “but I found (it) is a musical instrument to express breathing.”

He sees a parallel here with meditation, a practice in which breath control is also paramount.

“To meditate, breathing is the most important,” he says. “To contact with another energy, humans use breathing . . . I like to say ‘Blow the Earth’ is also my own meditation, in nature.”

Though Kondo had conceived his “Blow the Earth” project as a solitary pilgrimage, the NHK documentaries of his sessions in the Negev Desert and at Machu Picchu found a wider audience. The Dalai Lama was particularly impressed, and contacted him in 1997 to ask him to organize the Japan leg of a globe-straddling music event, the World Festival of Sacred Music.

At the peak of Kondo’s celebrity, when he appeared in credit card commercials and co-starred in popular TV dramas, this might not have been such a stretch. But that was then. “I’m just a musician,” he recalls saying; “I left human society, I have no f-cking money.” After repeatedly demurring, he eventually relented and arranged to hold the festival on Hiroshima Prefecture’s picturesque Miyajima Island in 2001. But when the financial support he says was promised to him by a Japanese advertising behemoth failed to materialize, he had to cover the costs himself.

“I lost f-cking tons of money,” he says. “More than $300,000.” Fourteen years on, he’s still paying off the debts.

All the same, Kondo insists that it wasn’t financial motivations that compelled him to start selling music downloads via his website recently. The genesis for Toshinori Kondo Recordings, which treats paying subscribers to an album’s worth of unreleased material each month for an entire year, was actually a “stupid bicycle accident” that happened last May.

Kondo sustained nerve damage to his neck in the crash that left him unable to play the trumpet for a couple of months. While convalescing in a bedsit next to his studio, he began to delve into the archive of solo and group recordings that he’d amassed during the previous two decades.

“I wasn’t satisfied with my sound back then,” he says, switching briefly into Japanese. “I’d always be asking ‘What’s next?’, so even when I made recordings, I didn’t make much effort to release them at the time.” Listening back, he realized that he’d been sitting on a few dozen albums’ worth of material. After making his belated Facebook debut over the summer and finding himself inundated with friend requests, he decided to try his luck with his online audience, and launched the subscription service in September.

Now fully recovered from the accident, Kondo is back on the live circuit, and gigging with a fervor that he hasn’t shown for decades. But after 20 years of playing only sporadic shows in Japan and overseas, he says he’s been disappointed to find how little has changed at music venues. Why, for instance, do so many places still only have speakers at the front of the house?

“What a stupid idea!” he snorts. “Most of the concert halls, they put two f-cking speakers — sound just comes from the front, there’s no sound from the back. But if your body is surrounded by sound, it can have a better feeling.”

“Listening to music is like making love on the bed,” he continues, with an impish grin. “Almost the same. Which means for musicians, for club owners, they have to set up the best sound situation for lovers. But only just two ways of speakers — not enough! She never comes!”

Although he continues to play the odd gig with old pals like Laswell, drummer Tatsuya Nakamura and free-jazz titan Peter Brotzmann, Kondo says that in the future he’ll be seeking out new collaborators online. He’s particularly excited about the prospect of finding young producers and beatmakers who’ve severed their ties with the music of the past 100 years.

“From now, I really want to say to younger musicians in the world: ‘F-ck the last century’s music,’ ” he says. “You guys should make this century’s music.”

tkrecordings.com