Continuing Improvised Music:
Takayuki Hashimoto and Takashi Masubuchi
Saturday 07/11/20 - Shinagawa, Tokyo @ Permian
by Takeshi Goda
During the Covid-19 emergency quarantine, without any live concerts being held, I wasn’t the only one who spent more than two months in a depressed mood. Even with the quarantine lifted, it is difficult for live houses to operate normally, and it is doubtful whether we can enjoy live concerts again as in pre-Covid times. As some music-related people say with a somewhat self-deprecating tone, it's rare for improvisational and underground music venues to become "densely packed" regardless of Covid. Even with so-called "live with no audience" performances being not uncommon, in light of the general public's “view of live houses”, their image as only “cluster sources” or “dangerous zones” persists without any persuasive power or sympathy.
With respect to enjoying improvisational music in ways that aren't limited to live performances under current circumstances, I contributed a report called "Improvised Music in the Remote Age" to JazzTokyo Website (*Black Editions will post a translation of this shortly). It is a proposal for ways that underground music can exist in the post-Covid era by presenting the following four actual examples of the forms: Live with no Audience/Video Delivery, Remote Collaboration, Remote Improvisational Music Production of American guitarist Ross Hammond as an example, and Virtual DJ Collaboration by myself. ⇒Jazz Tokyo Special Issue Performance Delivery and Post-Covid No. 266 Improvisational Music in the Remote Era
However, these remote-era methodologies are established only because there are "real live performances", and are methods that complement and extend the existence of the "real live scenes" after all. The urge to experience the "live scene" which is the basis of everything was swelling in my mind every day. The idol scene was NECRONOMIDOL and the former NECRONOMIDOL, and I was able to experience it for the first time in three and a half months, although there were restrictions such as social distance, wearing masks, and prohibiting vocalization. And finally, the day came when I could experience the improvisational music live scene which is another home.
Takashi Masubuchi (guitar)