2005text
一月一ー六日
紅白も見ずに寝たのに鼻詰まり気味で新年を迎える。a song of the ascents（上って行くときの歌）。 I shall raise my eyes to the mountains / from where will my help come?(pslm121:1,2） BS2で「街道を行く」の朝鮮編をやっているので観る。サヤカという日本の武将が秀吉の朝鮮出兵のとき朝鮮側について戦った、慕夏堂先生と慕われ今でも国中の儒学者が年に一度集まる、移民で弱小なのだから栄達を望まず人間らしく生きるようにという彼の教えを守って今でも四〇〇人余りの子孫が農業をしている。犀から改まったメール。午前中メールはそれのみ。ＢＤＪの楽譜の整理。夕方サンフラワー号で志布志に向かう。明石大橋が右手に見え、「お台場よりいい」を思い出して切なくなる。携帯はじきに圏外となる。姉たちと生まれて初めて一等船室に泊るが二等の雑魚寝の人々を見ると心苦しい。レストランは混んでいたがヴァイキング方式なのに油濃くなく三〇種類くらいありおいしい。朝は日の出を見る前に並んで食事を済ませる。七時に太陽が昇る。人を撮るか太陽を撮るか迷いながら撮る。写真を送る。バスで霧島に向かう。髪をひっつめた女の子がビデオを覗きながら参道を登っていく。示現流の上段を構えたら似合いそうな目で屋台の豚バラを食べている。我慢して売店の裏の杉の木に触っていると頭がじーんとした。バスでえびな高原の韓国（からくに）岳の麓にある温泉にいく。朝鮮から連れてこられた陶工たちが祖国を見ようと上ったのでその名がついた。山は女仏が寝そべった形をしている。長い髪の毛や目や鼻、唇、肩、腋の下、胸、腹までリアルで、流し放しの露天風呂から見つめていると「わたしのおなかもわすれないでね」という声が聞こえた。内側に赤い漆を塗った大小の杉の桶を買う、三五〇円と三〇〇円。あと竹のコップ一〇〇円、押し大豆三五〇円、いい民芸品を見ると生きていて良かったとその時だけ思う。そのあと焼酎工場へ行き、地ビールを飲み、出産祝いにチェコ製の木の鳥の玩具を買う。竜馬とおりょうが寺田屋事件のあと西郷に招かれて泊まったという塩浸温泉を通る。二〇日後に京に戻り、その後やはり殺されるのだが、薩摩に滞在したその二〇日間の濃密さを思う。日本初の新婚旅行だったらしい。夕方また船に乗り込む。スチール写真の戦後史という番組を見る。イデオロギー対立ではなくもはやイスラムが鍵だということが明白に分かる。メールはずっと圏外だったのが心残り。犬星・・読み終える。百合子さんのように心2Lげることは自分にはできないと思う。竹内好と泰淳がスウェーデンでポルノに騒ぐ記述には閉口する。「めまいのする散歩」に移る。靖国法案に対する記述などから、泰淳の、どこにも組しようのない曖昧さを半恍惚と呼んでいるのだなと分かる。公園で「勇ましく進め」と歌っている一団の記述あり、「富士」の一二章が「勇ましく進め」である理由も理解できた。彼にも終わりの日が影を落としている。彼らはまだいい。一瞬次の主題を捕まえたと思ったが知ってしまっている自分はいまさら彼の主題を主題にすることができない。
朝大阪湾の朝焼けを見る。やっとメールチェックする。梅田に出てJR西日本が総力を挙げて立ち上げたという感じのikariというカンティ―ンでコーヒーを飲む。去年は移動中の楽譜が重すぎて左膝を痛めたが急に右膝も痛くなる。今年の冬服は大阪なのに黒が多い。大型書店の詩のコーナーの貧弱さに呆れる。谷川俊太郎の一人勝ちとはどういう時代なのだろう。宝塚に帰って「街道を行く」を暫く観る。米沢藩の甲冑の愛の字のデザインは愛という字が否定的な意味でなく用いられた最初の例だった。嵯峨。石田光成。丹波。今日はそれほどは面白くない。民芸の場合もそうだが、無私の気持ちで夜郎自大にならず人のために生きたという人々の話を聞くとそのときだけ麻痺して気持ちがもって行かれる感じがする。本質から逸れたまま生きていけそうな気がしてくる。一瞬の間だけだが。夜有馬温泉の金泉に浸かりに行く。六五〇円。銀泉と合わせれば一〇〇〇円だが銀泉は行かなかった。まっ茶色のお湯。新札が使えないので女の係員が白いコートを着込んでコイン式駐車場にずっと立って出入りする車に声をかけている。行きの道は雪が解けていなくて危なかったが、帰りに有料道路を通ったらもっと危なかった。料金所を出たあたりなど雪かきもしてなかった。おまけに迷って西宮に出てしまう。「めまいのする散歩」。百合子さんの出自が明らかになっていく。どんどん自分の母と似てくる。同じ世代なのだ。最後の二編は「犬星・・」をただおっかけただけの記述で、晩年の泰淳が百合子さんにほとんどを負っていることが明白となる。読みかけで寝る。朝鮑（ただ堅い）など食べ、楽譜を整理して出発する。今朝は道徳観念についての怖れの意識あり姉に額に皺が寄ったままになっているのに気付かれる。空港に姉を送ったあと岡山の牛窓に寄ってみる。日本のエーゲ海という触れ込みにしては漁村だなあと思って走っていたが、中心から外れていたことが分かる。オリーブ園がある。そのまま海沿いの細い道を苦労して岡山市方面に向かう。タヌキが2匹轢かれていた。二号線沿いのインディゴというイタリアンでランチを食べる。マルブンのほうが先鋭的だがここも悪くはない。四国に渡ると空気があおい。東温市はTo-on cityと表記され、ma-onみたいで楽しい。空は金色で、ひらひら羽を動かすカラスはをたまじやくしのちぎれた尻尾のように黒い。家に帰りつくと年賀状は二、三枚来ている。あとceramic review誌。夜、上からの知恵はまず貞潔でなければなら2 ﾈい、という言葉にいきなり駄菓子を与えられた子供のような眩暈を覚えて一瞬軽くなる。「めまいのする散歩」あと数ページだったのを読み終える。共犯としての口述筆記、つまり舞台裏を明らかにして散文を自由にする、という彼のやり方は、今の自分とすこし似ていると思う。「口述筆記GIG」などというタイトルを考えつく。犀からわけのわからないメール。酔ってるみたいな。抜き忘れたお風呂のなかに玉のような藻のようなものがあるのでムシさんに新種発見のメールを、と思って水を抜いて良く見ると去年の柚子湯の柚子だった。犀にそれをメールする。普通の返事。夢でツアーしている。歌詞はないがdream baby dreamふうのベースライン。午前中姉から注文されたパスタ皿を作る。ムシさんから忌中だが挨拶が来て、今度は粘菌の説明をさせてくださいという。午後街に出て紀伊国屋に行く。「夜のピクニック」が松山では一位になっているのに驚く。黒田さん編集の三輪和彦の出ている新刊、「愛情生活」、ダモのインタヴュー等を立ち読みしてスタバに寄って幸福はバランスの問題なのか原則の問題なのか考えながら帰る。倉本君から春のツアーの日程確認のメール。夜川内温泉に行き、帰りに白井さんにopenfieldの楽譜、はらださんに夜稲のジャケットなどコピーする。白井さんに展覧会用の文章を書いて寝る。明け方紙をビービ―吹く暗いオーケストラの夢を見る。ビルの口笛の曲をやっている。幾つか磁土を手捻りで成型する。楽譜を送る。灯油を買いに出る。さびしいのでmixiをみていると曲を忘れた。裏窓から去年とはうって変わった脱力の賀状。うーれいへいさんの工場は暖房がないのに作業服しか許可されてなくて寒い。昼は食べない。
一月三日
昼蕎麦吉に行ったら岡本太郎の壁画の修復のえみーるさんとスタッフの人々が来ていた。
一月二四日
「犬星・」のなかに、晩年のチェーホフの部屋を訪れたという記述がある。最後にそこで「桜の園」を書いて死んだ。泰淳も竹内好もその旅行から帰ってじきに死んだ。チェーホフと医師と妻が死ぬ間際にシャンパンで乾杯するようすがレイモンド ･カーヴァ‐のこれも最後の短編となった「使い走り」という作品に描かれている。作家魂の炸裂、という感じだ、と村上春樹は書いている。
百合子さんの本は他にちくま文庫で
ことばの食卓
遊覧日記
というのがあります
中央公論社の「武田百合子全作品」は品切れ中
2005.6.2 interview
>Tell me all that you want about Maher S H B. now.
I have been thinking about my “sound system” each time.
>Are you working in new music?
Last year I had an concert titled “what is melody?” based on theoretical achievement of Curt Sachs.
>Are you always working about new music?
I am now working in old music and playing Diego Ortiz as an collective inprovisational format.
>Are you working with more people?
I am organising mahers especially at where the ending of the name of the city finishes as M. For instance, after my playing in Matsuyama, Hiroshima, or Roma, I organise Matsuyamaher, Hiroshimaher, and Romaher.
>And about you: Are you planing to release more music under others name?
I have one band and one name while many musicians have many projects and many bands now a days.
>What others things are you doing?
I am making pots for others.
>+ questions:- Do you like to talk about your music?
Yes, I do. It is sometimes bitter, though.
>- Do you feel that your music is close to some others musics?
Yes, there are many similar forms.
>- Do you use to hear the music that you make?
No, hardly ever I have played them through again.
>- Do you like to listen other people music? A lot? A few?
Very few. I can not listen to music while doing other things.
八月
exhibition FALL quick throwing, short lives speed of life” pottery
2005.9.16 interview
–I have read your music described as an esthetics of failure. would you see your work (with Maher Shalal Hash Baz and beyond) as an ongoing experience with trial and error?
I can not decide what I should do for a show. So the members can read scores after the show begins. Error as goal is a gnostic excuse.
–What is your connection with Australia? How did the tour come about?
I was thinking people were walking backward and doing handstand in the Southern Hemisphere, and I found its reversing phenomenon is fairly true when Guy Blackman said “!ailartsuA ot emoC”
–Does touring internationally with large groups of musicians cause many problems?
Nothing would be a problem if the band holds its inspiration during being in abroad.
4.
I do not believe this Japanese superstition concerning with number 4
–As the Maher Shalal Hash Baz line up is in constant flux, what can we expect to see from Maher Shalal Hash Baz when you tour Australia?
You may expect that I invite passers by in Melbourne and Sydney.. I hope so.
–What is your connection with the band The Tenniscoats whom you are touring Australia with?
They are one of my satellites of love.
–What new music from Japan would you recommended curious Australians to investigate?
gendaikazokuhttp://www.k3.dion.ne.jp/~mnt.web/gendaikazoku.html
–While so many groups stick to very rigid concepts of what constitutes a 窶話and窶・(stable line ups, stable setlists etc.) are there particular reasons or feelings why you choose to forego these?
I think there is not so many stable things in last days and I just hold fast my reality at any cost until someone falls upon me.
2005.10.4
-Can you explain your choice of the band name, Maher Shalal Hash Baz? The Jewish encyclopaedia defines it as: (Hebrew) “=the spoil speeds, the prey hastens], in the Bible, name of Isaiah’s son, symbolizing hope for Judah during the Assyrian attack on Damascus and Samaria.” (from Isaiah 8:3 – “I went to the prophetess, and she conceived, and bore a son. Then said Yahweh to me, “Call his name ‘Maher Shalal Hash Baz.’ ) Does this have any particular meaning for you? What are the other associations of the name?
The footnote of Jerusalem bible says it means “quick spoil, speedy booty”. I happened to see this longest name and liked its sound.
-Your music seems to have an emphasis on innocence, almost a child-likeapproach – is innocence a quality you value? what is the relationship between music and innocence?
Heterophony, is often considered as an expression on innocence, but it is a technique of ancient music. I dare say that the neat unison of orchestra is childish.
-Please tell me about your creative partnership with your wife, Reiko. Is it good for your marriage to work and create together?
I have been working with her since TENNO/NOISE LP (1981), and she is still a small tenno.
-What are some of your songwriting processes, and have they changed over the years?
Melodies have been written down super-quickly on convenience store’s receipt found in my car while waiting at the crossing. I can not always read them again, though.
-You have said that Maher’s music is based on punk. Who are your punk inspirations? How does the punk aesthetic apply in your work?
In front of me in my teens it seemed there were two types of music, music for playing and music for listening. It seemed both had never been mixed. It seemed like a spiritual battle around the matter of freewill and compulsion. Being easy yet unique seemed to be a key for playing the music for playing, while transcendency and mysticism could often be seen in playing the music for listening. I do not believe dictates like “our side”or “not our side” in music now, but at that time decadence seen in those life -size rockers seemed to be easy yet unique for me, that was all I knew.
-What reception do you get from American audiences, and how does this compare to Japanese audiences?
There are no city like Olympia or Glasgow in Japan. I have come to know that a band or a label could change the whole image of the town.
-What sort of a music “scene” is there in Japan? do you feel that you belong to a musical community of kindred spirits?
In Japan, a visional critic living around Koenji station is choosing who is real “underground” since 70’s.
-Is it possible in Japan to make a living from music and art? what are the challenges facing Japanese artists?
Nobody shan’t succeed unless succeeding some succession here dear.
-Could you please tell me a bit about your background? Where did you grow up? What was your family life like – do you come from a musical family?
I grew up in a rural area surrounded by nature. My grandfather was a painter and my father is a potter/designer and my mother is a modern artist. She likes buying instruments but do not play them often.
-Who were your formative musical influences as a young person? What music were you exposed to on the radio, and through other people’s record collections?
The Beatles, T-Rex, and so on.
-Please tell me about your involvement with The Anti Japanese Movement and/or Eastern Asia Anti-Japanese Armed Front. What are/were these organisation/s’ goals, why did you join and why did you leave? What are your political beliefs now?
Our propaganda was that any Japanese should had ceased to exist as being one of Japanese. One said that the intelligence of North Korea may led the movement at its very beginning. Some activists are now working for homeless people around Shinjuku station. I think it is still a nice idea to stop being one of members of a nation. I hate borderlines and manmade countries.
-I understand you make pottery, what other artistic pursuits are you involved with other than music?
Drawings.
-Where are you living now? (please describe your home & surroundings)
I am living in an open field. I have not got much time for vegetation.
-You have spent a lot of time and recorded in Scotland, do you feel a particular connection with Scottish people and artists?
A root of Japanese music came from Scotland when Japan opened its door to foreign country in 19th century. Celtic influence is still seen in child songs. That is why I like James Kirk because of his simple melody.
-Can you tell us what to expect from your Australian shows? What instruments are you bringing with you? Will your sets be largely improvised?
A kind of Australian pub rock will be played.
-What do you communicate with the audience when you are on stage and what do you get back from the audience?
Once someone contact with me, it means that he/she is invited to become a member of maher,
-Any other comments you would like to add:
……….an u.
2005.10.24 interview
-Growing Up[For example, what is your key childhood music memory? What kind of musical household did you grow up in? What did you listen to as a kid? What about your parents? Were they musicians too? Did you rebel and listen to Sex Pistols just to annoy them? How do you think your childhood affected you as a musician now?]
I liked Cesar Franck, and Gabriel Faure, that formed a core of my nursery rhyme. My parents’ principle of art for art’s sake had a bad influence on me.
-Inspirations[who are your favourite musicians? Why? Do you remember the first time you heard their albums? Do you love the music or their attitude/clothes/lovers too?]
AEC with Brigitte Fontaine’s Comme A La Radio forms the core of my lyricism. I heard it when I was in a punk band called “worst noise”.
-Your Band[So, tell us about your band. Who’s in it, when did you meet, what connects you? Any major different musical opinions? How long have you been together? Who’s the shy one, the joker, the Casanova etc.]
I could say that I certainly had members before but now I have just a loose network.
-The Music You Make[OK, start listing styles, name-check your contemporaries and tell us about your releases. Who did you record with and where?]
I made 50 copies of cdr “unify my heart” last year and it would be my first and last album I made successfully.
-Music, Right Here, Right Now[What do you think of the music scene at the moment? What are the obstacles musicians have to overcome? What’s the best thing about the local scene? What bands have you seen lately that have impressed you? What do you think the future holds?
I am living in an unseen scene where is always in the doldrums. If 6 people liked you in net, it means you are more famous than the Beatles.
-MAHER SHALAL HASH BAZ How did you arrive at the name of your band? Do you think it still relates to what you are trying to achieve? Has your understanding of what it means changed over time?
I think modern Assyria still would like to beat modern Samaria. I would not like to belong to neither but want to be a ship that loads the booty of Samaria as a sacrifice of music.
-There is a certain amount of mystery associated with Maher Shalal Hash Baz. Is this something that you actively encourage?
Things that have no connection with each other often happen inevitably. But it must not be a mystery for me and I have been trying to swim against such kind of flow of the river.
-What interests you in working with untrained musicians, how do you recruit people to play with?
I like recording some music using my score with children living near my house.
-When I listen to Blues du jour, it seems quite carefully arranged, there are even elements of Bacharach, whereas in your live performance in aoiheya 2003 I had the sense that anything could happen, the music could go in any direction, it might work or fall apart at a moments notice. Is this something you want to achieve? If so why?
I have no time to arrange.
-How would you describe the music you are making?
It is a kind of storming mercy judge with importunities.
-Do you compose all of the music yourself or do you play spontaneously with the band to compose? And how much improvisation occurs when you play live?
Free improvisation is always the matter because inspiration is basicaly a personal affair.I had once tried to share our inspiration in the band. Each members’ compositions were played while their diary site on the day of a taihoon called maon were shown on the wall through a projector. And I have come to know that any music does not stand on such kind of man-made democracy.
-I have read that you previously played in noisy bands like a Suicide. I would think that Maher Shalal Hash Baz is almost the opposite of this music. Do you see any links between the two?
Sometimes I am noisy but sometimes not. It depends on my spirituality.
-I understand that at times you have had from 2 or 30 people involved in the band. How many people are coming to Australia and what can we expect?
I have to make some new music after I come to Australia with someone new who I will meet up there.