quos vult perdere dementat




good morning. i played a show last night at ringoya in ikebukuro. it was my first show in collaboration with nozomi iwashima, not counting cubic star.


those of you who were there, it was a pleasure to see you. and as always, i'm grateful to the venue for having us, and to the other artists who played.

if this is the hurricane, let me in the eye


the first to play was a male-female duo called egusa yuko egusa keita. female vocals with shamisen and piano accompaniment. pop music, easy on the ears, with heavy okinawan influences. their site is here.


  1. 逃げ窓
  2. 象徴的両性具有化儀礼
  3. 液体
  4. 悲しみは知識である
  5. 不意討ち休日
  6. 着物と墓穴
  7. 妄想力
  8. 惚れ薬

then us. our set list, with commentary:

  1. nigemado
    nozomi added minimal, atmospheric melodica. i'm never sure if the lyrics to this song aren't too easily misinterpreted.
  2. shochoteki
    nozomi's full-bodied piano gave the song depth. we sang this one together.
  3. ekitai
    this one also featured prominent piano. her chord sense and mine are a bit different, which made the song sound pleasantly alien to me.
  4. kanashimi
    nozomi played both melodica and sax (not simultaneously).
  5. fuiuchi kyujitsu
    we messed around with guitar/sax "free" bits which i figured would weird people out, but some folks seemed to like it.
  6. kimono to boketsu
    with space for a proper piano solo, at last. took a second shot at the falsetto bits that i screwed up at the show the night before.
  7. mosoryoku
    we layered arpeggios, going for a delicate momentum.
  8. horegusuri
    emphatic, blues-accented piano with bowed acoustic guitar—a bit of an unusual arrangement.


and then masamitsu uehara's duo closed the show. male acoustic SSW with a second guitar and harmonies. soft, old-school folk.
















nozomi and i approach practice differently.


i practice music in a repetitive way, in order to find and polish what seems one best way of doing it. but with nozomi, as you'd expect from a jazz musician, performance is about momentary inspiration. so when we practice together, we're really doing two different things.


in my view, for her the question of what to play is immaterial. she simply needs to discover the form and feel of the song, and then what she wants or needs to play will naturally come into focus.


for me, who when playing solo have to create the entire song, the question is, what to omit, what to break apart, how to respond to the unexpected sounds nozomi lobs to me. in other words, i have to get used to her presence. i'm unpracticed at this sort of thing, but it's an interesting and meaningful operation.


i think this has resulted in some good music. when you get a chance to play with someone capable, who's tuned in and on whom you can rely, it's a joy, and i think that joy is transmitted to the listener.


nozomi is a much more highly skilled musician than me. when you play with someone better than you, it spurs you to improve. (bizarrely, there are musicians out there who decline to collaborate with anyone they feel is more skillful than them. what a waste.)




so anyway. i don't know when nozomi and i will play our next show together, but my next solo show is on the fifteenth of this month. the incomparable iori shiranui is also on the bill. details here.


and then on the twenty-fifth, hashigo will join an event in kita-sando. at that show, we'll unveil our new album, which won't be in stores in tokyo until the end of september. details are on the hashigo site.


and finally, for your divertissement, a few unrelated songs.