3.10.2010

(#video) Tamoro from Japanese Modern Jazz Opera Interviews Miles Davis (and I'm in Heaven) #YouTube and #Facebook

Author: I found in an old box some of my past ...Image via Wikipedia







http://www.youtube.com/watch?v=fJDjgUsAJEM
モダン・ジャズ・オペラ 桃太郎


Bird Miles Monk Coltrane I'm not kiddin'! This is the best video!

10:00
Japanese Modern Jazz Opera - Simply the best thing i've ever seen
http://whatgetsmehot.blogspot.com/2010/03/video-japanese-momotaro-modern-jazz.html

Momotaro: Modern Jazz Opera
FEATURING:
Charlie Parker
Kenny Dorham
Miles Davis
Thelonious Monk
Horace Silver
Bill Evans
Art Blakey and The Jazz Messengers
Sonny Rollins
Benny Golson
Bud Powell
Herbie Hancock
Clifford Brown
Charles Mingus
John Coltrane
-----------------
"Now's The Time"
"Lotus Blossm"
Milestones
Misterioso
"Blue Monk"
"Sister Sadie"
"Waltz For Debby"
"Blues March"
Doxy
"Five Spots"
"After Dark"
"Cleopatra's Dream"
"Comin' Home"
Baby
"Donna Lee"
Cherokee
"Fables of Faubus"
"'Round Midnight"
"Moment's Notice"
"St.Thomas"
--------------------------
DOWNLOAD MP3 HERE:
http://media.theworld.org/audio/02172010.mp3
http://www.theworld.org/2010/02/17/japanese-jazz-opera/
--------------------------------
The standard view of Japanese popular culture, at least here in the United States, is that it’s wacky, chaotic and impossible to fathom. That’s the first reaction you might get from a video doing the rounds online. It features actors dressed up as traditional Japanese peasants performing some sort of story to the accompaniment of American jazz standards. Which they sing. With Japanese lyrics.

At first glance it’s just funny. But The World’s Alex Gallafent digs a little deeper.

So a colleague sent me a link to a video. It had been forwarded to him by another friend: you know how it goes.


The video is titled: “Japanese Jazz Opera”.

And here’s how it begins. Yep, that’s ‘Now’s The Time’, by Charlie Parker. Only in the video it’s sung by an old peasant couple, with Japanese lyrics.

The setting is a kind of studio version of an olden-days Japanese village. They seem to be actors in some kind of elaborate comedy skit.

But before you have a chance to consider what might be going on, they move on to Miles Davis. Superficially the video, which runs to about ten minutes, is just spectacularly odd.

But still, what IS it?

I turned for help to Roland Kelts. He’s the author of Japan America – and splits his time between Tokyo and the US. It didn’t take Kelts long to recognize the actor playing the part of the old peasant woman — a middle-aged man in sunglasses.

KELTS: “In Japan, this guy Tamori
, the comedian behind this video, this show, is everywhere, he’s ubiquitous.”

OK, progress: so we know it’s a skit starring one of Japan’s biggest celebrities.

KELTS: “If you can imagine someone… posters… beer… that you see on TV every night in Japan.”

And this video clip, Kelts says, comes from Tamori’s nightly variety show, an edition from March 1986. It was called ‘What a Great Night’. Kelts recognizes the subject of the skit too.

Turns out it’s a take on Momotaro, or the Peach Boy – one of the all-time classic Japanese fairy tales.

KELTS: “It follows the narrative very closely, it hews quite close to the narrative, but everything is done tongue-in-cheek.”

The first part of the story goes like this. There’s a poor old couple. They can’t have kids. One day, a giant peach floats down the river to their village. The old couple take the peach home and try to eat it. But when they cut it open, they find a boy inside.

In Tamori’s version, this is where they sing Thelonius Monk’s Misterioso.

So now we’ve got a Japanese T-V variety show from the 1980s doing a tongue-in-cheek version of a classic fairy tale.

But why the jazz?

It starts to make a bit more sense, says Roland Kelts, when you know that Tamori – the comedian – was born in August 1945.

That makes him the archetypal post-war boomer.

Kelts: “That generation grew up idolizing America pop culture. They read American novels, they listened to America jazz, they watched Am TV. So knowing those specific numbers and who created them, who composed them would be a point of pride.”

And Kelts thinks that back in the 80s, that self-aware sophistication — knowing relatively obscure jazz tunes like this one, Bill Evans’ Waltz for Debby — fit into a broader sense of Japan’s place in the world.

Tamori’s TV show took full advantage.

Kelts: “That was a time when Japan’s economy was expanding… show that was perceived to be how far Japan had come… can poke fun…. at ourselves… best known fairytale in Japan.”

In Japan, but not here in the States. Here’s how it ends. The peach boy grows up. And, along with some animal friends, he travels across the ocean – um, to the Herbie Hancock tune, Maiden Voyage.

The peach boy arrives at the island of the ogres — they’ve been stealing from the villagers. In Tamori’s skit, the chief ogre is painted red from head to toe, wears glasses and sings the bebop tune Donna Lee. In the end, the peach boy defeats the ogres and returns home with a load of treasure. In Japan it’s about as well-known a story as you can get.

But Roland Kelts says that for younger Japanese today, the only thing they’d understand would be the story.

Today their focus is domestic not international — in music and in other things.

Kelts: “It’s a symbol or a sign of how pessimistic younger Japanese feel. Tamori’s generation, they were looking to a Japan that continued to grow and the growth seemed endless. Your real estate holding would grow in value, forever. Some people said back then we’d all work for a Japanese company. It seems absurd now.”

So did the video when I first watched it. But it turns out to be much more than anonymous Japanese TV comedians singing jazz tunes in peasant costumes. It’s really a historical document of a Japanese attitude — one that’s slipping away.

And maybe the United States can relate to that feeling… a feeling that something’s been lost: that carefree sense of being on top of the world.

--For The World, I’m Alex Gallafent.
-------------------------------

http://people-vs-drchilledair.blogspot.com/2010/03/japanese-modern-jazz-opera.html

http://www.facebook.com/video/video.php?v=104855712877114
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WATCH Japanese Modern Jazz Opera (モダン・ジャズ・オペラ 桃太郎) Pts. 1 - 2

Modern Jazz Opera

Wild Japanese Jazz Opera
Music by

Miles Davis, John Coltrane and Charlie Parker

• Momotaro •

• モダン・ジャズ・オペラ 桃太郎 • 1/2


962 views
Aug 17, 2018
Momotaro: Modern Jazz Opera

FEATURING:
Charlie Parker, Kenny  Dorham, Miles  Davis, Thelonious  Monk, Horace  Silver, Bill  Evans, Art  Blakey and The Jazz  Messengers, Sonny  Rollins, Benny  Golson, Bud  Powell, Herbie  Hancock, Clifford  Brown, Charles  Mingus, John  Coltrane ----------------- "Lotus Blossm" Milestones Misterioso "Blue Monk" "Sister Sadie" "Waltz For Debby" "Blues March" Doxy "Five Spots" "After Dark" "Cleopatra's Dream"  "Comin' Home" Baby "Donna Lee" Cherokee "Fables of Faubus" "'Round Midnight" "Moment's Notice" "St.Thomas"

The standard view of Japanese popular culture, at least here in the United States, is that it’s wacky, chaotic and impossible to fathom. That’s the first reaction you might get from a video doing the rounds online.

It features actors dressed up as traditional Japanese peasants performing some sort of story to the accompaniment of American jazz standards. Which they sing. With Japanese lyrics.

    At first glance it’s just funny. But The World’s Alex Gallafent digs a little deeper.

So a colleague sent me a link to a video. It had been forwarded to him by another friend: you know how it goes.

    The video is titled: “Japanese Jazz Opera”.

    And here’s how it begins. Yep, that’s ‘Now’s The Time’, by Charlie Parker. Only in the video it’s sung by an old peasant couple, with Japanese lyrics.

    The setting is a kind of studio version of an olden-days Japanese village. They seem to be actors in some kind of elaborate comedy skit.

    But before you have a chance to consider what might be going on, they move on to Miles Davis. Superficially the video, which runs to about ten minutes, is just spectacularly odd.

    But still, what IS it?

    I turned for help to Roland Kelts. He’s the author of Japan America – and splits his time between Tokyo and the US. It didn’t take Kelts long to recognize the actor playing the part of the old peasant woman — a middle-aged man in sunglasses.

    KELTS: “In Japan, this guy Tamori, the comedian behind this video, this show, is everywhere, he’s ubiquitous.”

    OK, progress: so we know it’s a skit starring one of Japan’s biggest celebrities.

    KELTS: “If you can imagine someone… posters… beer… that you see on TV every night in Japan.”

    And this video clip, Kelts says, comes from Tamori’s nightly variety show, an edition from March 1986. It was called ‘What a Great Night’.

Kelts recognizes the subject of the skit too.

    Turns out it’s a take on Momotaro, or the Peach Boy – one of the all-time classic Japanese fairy tales.

    KELTS: “It follows the narrative very closely, it hews quite close to the narrative, but everything is done tongue-in-cheek.”

    The first part of the story goes like this. There’s a poor old couple. They can’t have kids. One day, a giant peach floats down the river to their village. The old couple take the peach home and try to eat it. But when they cut it open, they find a boy inside.

In Tamori’s version, this is where they sing Thelonius Monk’s Misterioso.

    So now we’ve got a Japanese TV variety show from the 1980s doing a tongue-in-cheek version of a classic fairy tale.

 But why the jazz?

    It starts to make a bit more sense, says Roland Kelts, when you know that Tamori – the comedian – was born in August 1945.

    That makes him the archetypal post-war boomer.

    Kelts: “That generation grew up idolizing America pop culture. They read American novels, they listened to America jazz, they watched Am TV. So knowing those specific numbers and who created them, who composed them would be a point of pride.”

    And Kelts thinks that back in the 80s, that self-aware sophistication — knowing relatively obscure jazz tunes like this one, Bill Evans’ Waltz for Debby — fit into a broader sense of Japan’s place in the world.

    Tamori’s TV show took full advantage.

    Kelts: “That was a time when Japan’s economy was expanding… show that was perceived to be how far Japan had come… can poke fun…. at ourselves… best known fairytale in Japan.”

    In Japan, but not here in the States. Here’s how it ends. The peach boy grows up. And, along with some animal friends, he travels across the ocean – um, to the Herbie Hancock tune, Maiden Voyage.

    The peach boy arrives at the island of the ogres — they’ve been stealing from the villagers. In Tamori’s skit, the chief ogre is painted red from head to toe, wears glasses and sings the bebop tune Donna Lee. In the end, the peach boy defeats the ogres and returns home with a load of treasure. In Japan it’s about as well-known a story as you can get.

    But Roland Kelts says that for younger Japanese today, the only thing they’d understand would be the story.

    Today their focus is domestic not international — in music and in other things.

    Kelts: “It’s a symbol or a sign of how pessimistic younger Japanese feel. Tamori’s generation, they were looking to a Japan that continued to grow and the growth seemed endless. Your real estate holding would grow in value, forever. Some people said back then we’d all work for a Japanese company. It seems absurd now.”

    So did the video when I first watched it. But it turns out to be much more than anonymous Japanese TV comedians singing jazz tunes in peasant costumes. It’s really a historical document of a Japanese attitude — one that’s slipping away.

    And maybe the United States can relate to that feeling… a feeling that something’s been lost: that carefree sense of being on top of the world.

--For The World, I’m Alex Gallafent.
-------------------------------

 今夜は最高!
 危険な関係のブルース
 処女航海
Published
See Ya at What Gets Me Hot 1/15/11

• Modern Jazz Opera

Peach Boy arrives at the Island of Ogres - they've been stealing from the villagers.

The chief Ogre is painted red from head to toe, wears glasses and sings the bebop tune Donna Lee.

In the end, Peach Boy defeats the Ogres and returns home with a load of treasure.

In Japan, THE STORY is well-known.


Japanese Modern Jazz Opera

• モダン・ジャズ・オペラ 桃太郎 •




2•2





cleopatra's dream 5:51 mdsld 3 3
ppppp






:タモリ

:団しん也


:マリーン

:中村誠一

:斉藤晴彦


: Tamori
: Shinya Dan
: Marine
: Seiichi Nakamura
: Haruhiko Saito


 https://youtu.be/nyWVLnyeV24




STOLEN by Marc Campbell at DangerousMinds.net 3.1.2011
Poached on Dangerous Minds 3.1.2011

dangerousminds.net

Cosey Fanni Tutti, Throbbing Gristle, Art, and Porn

Cosey Fanni Tutti


 

Cosey Fanni Tutti is the ideal artist to start our new series on art and music, having worked across the two mediums since 1969. In this film, interspersed with live footage from her bands Throbbing Gristle and Chris and Cosey, she talks about her distaste for decorative art and how her music is all about emotion. She also discusses her work from the 1970s, in which she modeled for glamour magazines as a way to explore the commodification of sex. It would have been hypocritical, she explains, to use images of other people when she could have done it herself. Moving seamlessly between the sex, art and music industries, Cosey puts herself at the heart of her artistic output.
 This year seemed to have a weird stop start feel to it with projects hovering around then falling away. Now focussing in is possible as confirmed exhibitions and events move ever closer. My recent lectures and in conversations have been so enjoyable and thought provoking - new ideas placed to one side while I pay full attention to present works.
I will be announcing live work and exhibitions shortly as soon as dates have been finally confirmed. I'll post all on my web site as well. In the meantime I'll be working hard in my studio and with Chris in our sound studio for a live audio visual installation in Italy at the end of May. Those restless undercurrents of creativity are bringing a fantastic feeling of expectation and excitement. There's nothing quite like it.
Cosey


Cosey Fani Tutti en el Tate

El Tate es seguramente uno de los museos mas modernos del mundo, punto de referencia y sobre todo espacio vivo ... y hasta el 14 de mayo se puede ver en Londres la muestra "Magazine Actions 1973–1980", fotografías, performances y live actions de la polémica Cosey Fani Tutti, una de las agitadoras de la escena británica y miembro de la mítica Throbbing Gristle.
Cosey Fanni Tutti
La cuestión es que durante aquellos años la Cosey desplegó una tremenda actividad en el porno art, con una doble vida que compaginaba con sus famosos latigazos industriales TG, para algunos un fenómeno mas importante que los propios PiXXXtols.
Por aquí tenemos alguna foto de las que retiró hace 2/3 años de su web, ojo (aviso legal) = sólo como muestra y sólo para adultos -hardcore- (y si no procede y Cosey nos lo pide, las retiramos inmediatly)


[Mas:]
emmm ... antes de nada y para ambientarse ... aquí un interesante y recomendable podcast-mp3 de una actuación en directo con su inseparable Chris Carter en ResonanceFM en Nov 2004, Spitz venue de Londres dentro de una serie de actos de WIRED WOMEN.
COSEY
performances :
Cosey Fanni Tutti
Cosey Fanni Tutti
live-actions :
Cosey Fanni Tutti
Cosey Fanni Tutti
Cosey Fanni Tutti
magazines :
Cosey Fanni Tutti



Realtime results for James Chance - The Contortions

James White & The Contortions, 1981, Berlin: SO 36Image via Wikipedia

Realtime results for James Chance - The Contortions

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Tony Alamo - Mr. Machine