Half the Sky: Music of Lindsay Cooper
22 June 2017, Cafe OTO, London, 19.30 https://www.cafeoto.co.uk/events/half-the-sky/

25 June 2017, Avantgarde Festival, Schiphorst, Germany, 14.15 http://www.avantgardefestival.de/TICKETS.html

Half the Sky: Music of Lindsay Cooper (Yumi Hara, Chris Cutler, Miwazow, Wataru Ohkuma, Mitsuru Nasuno, Chloe Herington, Dagmar Krause)
plus DJs (at Cafe OTO only)
James Larcombe (North Sea Radio Orchestra, William D. Drake, Stars In Battledress etc)
Marina Organ (The Other Rock Show)

‘… a solid ensemble with the music perfectly rehearsed but also with an unusual warmth ...…a very emotional finale to the festival...' Victorio Calvo

ABOUT LINDSAY COOPER:Lindsay Cooper (1951-2013) brought the bassoon and the compositional techniques of 20th century art music into the world of ‘70s experimental rock. She was a musical polyglot, equally fluent in classical, rock, jazz, and free improvisation and the author of many film and theatre soundtracks. She was a member of the groups Comus, Henry Cow, National Health, David Thomas and the Pedestrians and the Mike Westbrook Orchestra. She co-founded News from Babel and the Feminist Improvising Group and led her own projects Music for Films and Oh Moscow. She lived for many years with multiple sclerosis, which eventually forced her to retire from performing in the 1990s.

PROGRAMME:A selection of Lindsay’s compositions for the groups Henry Cow and News From Babel and Music for Films, 1978 – 1982.

Yumi Hara: arrangements, piano, keyboards, lever harp, voice (The Artaud Beats, you me & us, Jump for Joy! etc)
Miwazow: koto, ching-dong percussion, voice (CICALA-MVTA)
Chlöe Herrington: bassoon, soprano sax, melodica (Knifeworld, Chrome Hoof, VÄLVĒ)
Dagmar Krause: voice (Henry Cow, News from Babel, Slapp Happy etc)
Wataru Okhuma: alto sax, clarinet (CICALA-MVTA)
Nasuno Mitsuru: bass (Korekyojinn, Altered States, etc)
Chris Cutler: drums (Henry Cow, News from Babel, The Artaud Beats, etc)

In 2013, soon after Lindsay Cooper passed away, Matthew Watkins made a call for arrangements of her mini-composition Slice for a special edition of his podcast ‘Canterbury Sans Frontières: Episode 8’. I made a transcription of the piece and recorded it for solo clavichord. Chris Cutler and I also played it in Japan and NY. A little later, inspired by the three memorial concerts Chris Cutler organised in 2014 with the original bands, I put Half the Sky together to play Lindsay’s music in Japan. The gender split follows Lindsay’s general practice and the example of the original bands - Henry Cow (50% female) and News from Babel (75% female).

With the exception of Slice, it was only after - and because of - the 2014 concerts that any working scores for the Henry Cow pieces became available, having been painstakingly assembled from Lindsay’s notebooks, original band-members’ surviving parts and careful analysis of the recordings. A handful of the News from Babel songs – none of which had ever been performed live – had already been reconstructed for the memorial concert by Zeena Parkins; the rest I had to work out from scratch – as well as rearranging everything for a mixture of occidental and oriental instruments. This programme is approached very much as a music of the present - and not as an academic reconstruction. (YH)

photos and audio/video recordings policy for Half the Sky:
Members of audience are allowed to take photos and make audio/video recordings as long as they:

don't use flash and make any shutter sound
don't cause any disturbances for other members of audience (i.e., no standing and walking around)
give us raw data immediately and allow us to use the data whatever we like for no charges
don't sell
if they want to upload on the internet, they must let us know and if we don't like, they must take them down

‘Women hold up half the sky’ Mao Tse Tung


At our forthcoming London (22 June) and Schiphorst (25 June) performances, we will be playing UK/Germany premieres of News from Babel pieces including Dry Leaf, Arcades, Heart of Stone, Banknote and Auschwitz/Babel which were transcribed by myself and specifically arranged for Half the Sky which includes Japanese instruments (koto and ching-dong percussion) and three parts vocal harmony by Dagmar Krause, こぐれ みわ and myself, not only truthfully recreating the original multi-track recording, but also extending it...you have never heard anything like this...don't miss!!

Now we are very pleased to announce that we will have brilliant DJs to set the mood and atmosphere, before, after and in between our sets...and not too loud so that the music will not intervene your socialising (well, this will surely become a big socialising opportunity for our audience!) ... Please welcome Marina Organ of The Other Rock Show (Resonance FM) and James Larcombe of Stars In Battledress, North Sea Radio Orchestra, William D. Drake, etc! Expect music that you want to hear but "The music the record companies don't want you to hear", of course
# by YumiHaraCawkwell | 2017-06-13 06:24 | Half the Sky | Comments(0)
Japanese Gardens and Sounds
Japanese Gardens and Sounds
Yumi Hara

I decided to put some pieces of information and my thoughts together here because the research process itself would be interesting, I thought, and I could add information easily as I find.

Chris Cutler asked me, for his podcast series ‘Probes’:
‘interested in a source for the philosophy of garden/water sounds in japan and a condensed history if such a thing exists - or whatever you can tell me..’

It took me a couple of email exchanges to find out exactly what he wanted to know…clarifying what he meant by ‘garden/water sounds in Japan’ to begin with. So I asked him whether he was talking about these things:

and his reply was ‘yes, but is there a firm tradition, with a philosophy behind it? are there rules?’

I still wasn’t quite sure, so I asked:
‘do you mean musically/sound aesthetics-wise? (such as the sound must be like this, rhythms have to be like this, etc?) or construction? (how to build and where they are placed) both?’

And his reply:
‘yes, those things but more importantly is there a philosophy - a why it is good to do this and what aspect of the sounds for instance, is beneficial; what purpose does it serve? what tradition does it belong to? where did it originate and why?’
‘maybe these are wrong questions or questions that can’t be answered…’

I got an idea more or less, and as for most things Japanese, I did know of these and how they sound, how they look like, how they work and how people appreciate them, but no idea about ‘philosophy behind’ them, probably because they are just there, like the sound of cicadas and crickets, also wind chimes in summer…This reminded of me Tadanobu Tsunoda’s theory…Japanese speakers (n.b. not genetically Japanese, but people whose first language is Japanese) perceive and process nature sound such as water sound and insect by the left (language) brain (see Yumi Hara Cawkwell Identity, Ethnicity and the International Music Scene: Oriental composers and Western expectations pp.23-26). This theory has been controversial, but I guess everyone would agree, at least, that people in Japan do appreciate and enjoy these sounds to the extent that no other culture does. It is so culturally embedded…onomatopoeia of these sounds appear in songs for children and we grow up with these. They appear in classic and modern literature. The Ministry of Environment designated ‘100 Soundscapes of Japan’ to hear such sounds in 1996.

On the following day Chris asked me, David Toop was mentioning in his Facebook entry that the background ‘music’ in a Japanese restaurant where he was dining in Tokyo was the sound of ‘suikinkutsu’. I don’t normally see the word that often…probably once every 10 years or so…

One of good things living in foreign country: people ask you about ‘your own culture’, and you'd have to find out about it and ended up gaining more knowledge than living in home country, although sometimes I’m not quite sure whether some things actually belong to ‘my own culture’ or not. Japan is a big country and actually very diverse. Anyhow, I did know about these and became curious, I decided to gather some information for Chris and write this little article so he can refer to, as these things are easier to find in Japanese language, and not a lot of them are translated in English.

And I am really amazed that the first thing I found was that:
the first ever suikinkutsu unearthed and properly researched exists within walking distance from where I grew up in Tokyo, the same area as the rehearsal studio Half the Sky used in 2015. It was built in a garden of a large house now is part of local history museum http://www.city.shinagawa.tokyo.jp/jigyo/06/historyhp/en/hsindex.html

Apparently suikinkutsu was long forgotten device until prof. Hirayama published an article in a gardening specialist journal in 1959, at that time there had only two suikinkutsu been found, neither of them produced any sounds. His article was the first ever mentioning the term ‘suikinkutsu’. He heard about it in 1920s and actually saw one in Tottori prefecture in 1937, then in Shinagawa ward in Tokyo (the one I mentioned above) in 1956. In 1981, Shinagawa ward local authority commissioned Tokyo Agricultural University to research it, and it was reported in Asahi Shinbun (national newspaper), then in 1983, the paper mentioned it twice, from then on, it became known to wider Japanese public. In 1986, suikinkutsu in Gifu prefecture was discovered and reconstructed, and a documentary TV programme was made and NHK broadcast nationwide, since then it really came to public knowledge and nowadays there are many newly created suikinkutsu in Japan.

It seems like most of the research and articles are in the field of gardening and acoustics (how it produces sound), and discussions have not been done in philosophical or musicological way. So below are rather random findings I have come across, but may be of interest:

Hikaru Tamura, maker of modern suikinkutsu and gardener, says 'suikinkutsu itself is not visible, only the tiny sound is heard, that’s wabi-sabi aesthetics. Most of the unearthed suikinkutsu are from Edo period, and there is no literature found from that time, so probably it is thought to be not that popular and the skills to built it was kept secret which is probably why it was forgotten and no tradition was passed down. (pp8-9, Nihon Suikinkutsu forum journal vol.7, 2003, translation by Yumi Hara, originally in Japanese) http://www.suikinkutsu.com/suitoha.htm

Ryoichi Ohashi, an owner of newly built modern suikinkutsu, says ‘there is no water in my garden so I wanted this instead. I guess that was one of the functions of it: imagining water by hearing the sound of water which should be in Japanese garden’. (NHK 'Bi no Tsubo: Mizu no aru Niwa', translation by Yumi Hara, originally in Japanese) https://www.nhk.or.jp/tsubo/program/file172.html)

Japanese gardens tend to represent the nature, so water is one of the important elements. Even if there isn't any, there is a desire to express water (karesansui in Ryoanji, for example).

Another reason why water is important in traditional Japanese gardens is that the guests need to wash their hands before tea ceremony, so there must be hand washing facility at the entrance of gardens…there came suikinkutsu idea. The excess water from the wash basin was utilised to make the sound.

According to Asahi Shinbun, crock (which was used in suikinkutsu) was also buried under Noh stage, Buddhist temple bell and even Judo gym. I guess it must have been used as amplifier with 'effect unit'.

Since the rediscovery and construction of modern version of Suikinkutsu, it has already been used for collaboration with musical instruments such as shakuhach and (western) harp, and soundscape community is showing interests.

In contrast to long-forgotten suikinkutsu, shishiodoshi (‘device to scare lions’) seems to have much clearer aesthetical idea from the very beginning of the introduction to Japanese gardens. The first person who introduced this to garden (it had been deterrent for wild animals), Jozan Ishikawa
(1583–1672), stated that 'If there was no sound, silence is not impressive, but the sound of bamboo tube hitting the stone emphasise the silence in between the sounds' (NHK 'Bi no Tsubo: Mizu no aru Niwa', translation by Yumi Hara, originally in Japanese) https://www.nhk.or.jp/tsubo/program/file172.html

Jozan Ishikawa's garden is in Shisendo temple in Kyoto https://en.wikipedia.org/wiki/Shisen-dō

I haven’t found any comprehensive literature about sound and Japanese gardens in Japanese language. In English, although I haven’t actually read it, probably this may be the most comprehensive book about the matter: http://www.transcript-verlag.de/978-3-8376-2568-4/sound-worlds-of-japanese-gardens

# by YumiHaraCawkwell | 2017-04-30 12:19 | Others その他

ユミ5月日本ツアー日程 <全日程禁煙です>


5月18日 (木) 福岡箱崎水族館喫茶室 19:30 2000円(ド別)
ユミ・ハラ (p, vo) &佐藤行衛 (g, toys) with 武井庸郎 (d), 参加者とのジャムセッションあり  〒812-0053 福岡市東区箱崎1-37-21
http://www.hakosui.net/ 予約: 092-986-4134
18 May 2017 Fukuoka, Hakozaki Suizokukan Kissashitsu Yumi HARA & SATO Yukie, with Tsuneo Takei (ds)

5月19日(金)大分AT HALL



出演:Yumi Hara&佐藤行衛/PROJECT G/あかしももか/NINJAMAN


〒870-0035 大分市中央町2-6-4 エムライフシティビル3F


19 May 2017 Oita, AT HALL Yumi HARA & SATO Yukie

5月20日(土)神戸BIG APPLE

ユミ・ハラ (p, vo) &佐藤行衛 (g, toys) 、Andmo' (児島佐織: テルミン、菊池誠: テルミン, g) 、炭鎌悠(solo electronics)

20 May 2017 Kobe, Big Apple Yumi HARA & SATO Yukie, Andmo' (Theremin duo), Haruka Sumikama (electronics solo)
18:30 open 19:30 start 前2800円 当3000円 〒650-0003 神戸市中央区山本通3丁目14-14 ト-アハイツB-1 http://www.geocities.jp/kbigapple/予約: kbigapple@yahoo.co.jp 078-251-7049

5月21日 広島OTIS!『プログレッシヴ・即興の権化たち』 
ユミハラ (PIANO) ロンドン  佐藤行衛 (GUITAR) 韓国  小林義男 (GUITAR) pm6:30オープン  p.m7:30スタート 前\2,500/ 当日\2,800 広島市中区加古町1-20 TEL 082-249-3885 http://otis.world.coocan.jp/live.html 
21 May 2017 Hiroshima, OTIS!, Yumi HARA & SATO Yukie, Yoshio Kobayashi

5月22日(月) 19:30~ 2500円 
Yumi Hara+佐藤行衛、 リョウガイ [小埜涼子(fl)+ガイ(g)]
22 May 2017 Nagoya, Nan'ya, Yumi HARA & SATO Yukie, Ryogai (Ryoko Ono & Gai)   http://www.nanyagokiso.com/ 
〒466-0022 名古屋市昭和区塩付通1-47-4     ☎052-762-9289  
ロンドン在住のユミ・ハラ(key, vo, へんなもの)とソウル在住の佐藤行衛 (g, おもちゃ, へんなもの) が両方とも日本里帰り中のときだけ成立する先輩後輩デュオと、異能の天才小埜涼子(sax)と名古屋の天皇ガイさん(g, 語り)による無敵の脱力癒し系デュオ、リョウガイが、いくら脱力してもかまわないなんやの2階のお座敷で繰り広げる特濃即興演奏の一夜  マスターのpuyoさんの笑顔が嬉しい、アジア料理がいただけるお店です!
5月23日(火)代々木Barbara Hot Ratz presents Sweet Lady Night vol.1 陣羽織亭(The Tabard)plays カンタベリー名曲集 (ユミハラ: vo, p 清水一登: vo, key, ルイス稲毛: b, 長部悠也: dr) with 佐藤行衛 (g)、 Roomdinerz カンナ (vo) Junji (G) くぅた (B) Minoru.K (P)
Open 18:30 Start 19:00 前売2500円 +1D 当日3000円 +1D 〒151-0053 東京都渋谷区代々木1丁目42−4 代々木P1ビルB1

23 May 2017, Yoyogi Barbara, Tokyo The Tabard (Yumi Hara, Kazuto Shimizu, Louis Inage, Yuya Osabe) with guest SATO Yukie play Canterbury Favourites, Roomdinerz

5月24日(水)所沢MOJO ユミ・ハラ&佐藤行衛with 須藤俊明, ×PCPC ×ノイズの友  
Open/19:00 Start/20:00 予約2500円 当日3000円(ドリンク別、えびせん食べ放題) 04-2023=3323 埼玉県所沢市東住吉7-9 T.ingビル201 
石橋英子、ジム・オルークらのベーシストとして、またMachine and the Synergetic Nutsのドラマーや現ナスカ・カーの「音楽的な部分を主として受け持っている」マルチプレイヤーとして名高い須藤俊明が参加します!


24 May 2017 Tokorozawa MOJO, Yumi HARA & SATO Yukie, with Toshiaki Sudoh (b) more tbc

5月25日(木)大阪心斎橋Rock Bar Starless なにわ友あれプログレファンクラブ&Rock Bar Starless PRESENTS:レコメンデッド&アヴァンギャルドナイト guest:ユミ・ハラ 
7:30pm 1000円+バーチャージ500円(1ドリンク別)
大阪市中央区東心斎橋2-7-22 日宝シルキータワー4階5号 06-6484-7027、080-4709-7960
レコードをみんなで一緒に聴きお話をするのと、皆で一緒にO Caroline (Matching Mole) と Anno Mirabilis (News from Babel)を歌う企画進行中です ユミが責任もって歌唱ご指導いたします。珍しい物販物も持参いたします、よろしくお願い申し上げます。
5月26日(金)山口湯田温泉Organ's Melody ユミ・ハラ ソロ
19:30 open ¥2,000/¥2,300(drink別) 学生\500-off 山口市湯田温泉3-7-7 090-2809-8136

26 May 2017 Yamaguchi Yuda-onsen Organ’s Melody Yumi Hara solo

5月27日(土)萩 玉ネギ畑 「菊ヶ浜音楽夜会 SideB」
出演: Yumi Hara / たくまる / 竹内ゆえ / ピアノぼんじ / カンズ / おおたにあき

open 18:00 start 18:30 ¥2500 (1D付) 
758-0052 山口県萩市今魚店町106-2   080-5610-5996  

27 May 2017 (SAT) Hagi, Tamanegibatake, Yumi Hara solo


5月31日(水)名古屋バレンタインドライブ ユミ・ハラ ソロ 出雲麻紀子ソロ  鵜飼恭子 ソロ 
open 18:30  start 19:30 2,000-
〒464-0850 愛知県名古屋市千種区今池1-9-3 西今池ビルB1F 052-733-3365
31 May 2017 Nagoya Valentine Drive, Yumi Hara / Makiko Izumo / Kyoko Ukai 

<撮影、録画、録音について> いつものユミ関係のライヴと同条件です、よろしくお願いいたします! 写真撮影、ビデオ録画、録音は、ただちにデータを無条件、無償でお渡し下さる方に限り許可いたします。 インターネットへのアップなどは必ずご連絡下さい、ほとんどの場合不許可にはしませんので、安心してご連絡下さい。
写真撮影に関して:フラッ シュ使用は厳禁です。一眼レフは大きい会場で音が大きい場合、あるいは消音カバー使用など以外はご遠慮下さい。小さめの会場で、静かな場面での一眼レフカ メラの使用は厳禁です。シャッター音が他のお客様のご迷惑になります。コンデジとかの場合、シャッター音とAF補助光(ピントを合わせる際にオレンジに光 るやつ)が出ないように設定して下さい。

18 May 2017

Fukuoka, Hakozaki Suizokukan Kissashitsu

Yumi HARA & SATO Yukie, with Tsuneo Takei (ds)

19 May 2017

Oiata, AT HALL

Yumi HARA & SATO Yukie, more tbc

20 May 2017

Kobe, Big Apple

Yumi HARA & SATO Yukie, Andmo' (Theremin duo), Yu Sumikama (electronics solo)

21 May 2017

Hiroshima, OTIS!

Yumi HARA & SATO Yukie, more tbc

22 May 2017

Nagoya, Nan'ya

Yumi HARA & SATO Yukie, Ryogai (Ryoko Ono+ Gai)

23 May 2017,

Yoyogi Barbara, Tokyo

The Taberd (Yumi Hara, Kazuto Shimizu, Louis Inage, Yuya Osabe) with guest SATO Yukie play Canterbury Favourites,


24 May 2017

Tokorozawa MOJO

Yumi HARA & SATO Yukie, with Toshiaki Sudoh (b) more tbc

25 May 2017

Osaka Shinsaibashi STARLESS, ReR & Avant night, guest: Yumi Hara

26 May 2017

Yamaguchi Yuda Onsen Organ's Melody

Yumi Hara solo

27 May 2017

Hagi Tamanegi Batake

Yumi Hara solo

31 May 2017

Nagoya Valentine's Drive

Yumi Hara solo, Makiko Izumo solo

# by YumiHaraCawkwell | 2017-03-20 00:44 | Performance ライヴ関係のお話
Half the Skyのコンサートレビュー掲載予定
ユーロロックプレス今月末発売号にHalf the Skyのコンサートレビューが掲載される模様です 
Half the Sky concert review will be published in EURO ROCK PRESS (Japanese language) on sale 27 Feb.




R.I.P. John Wetton
R.I.P. Greg Lake

Trey Gunn
Trevor Rabin
Duncan Mackay

HALF THE SKY: Music Of Lindsay Cooper

ISBN 978-4-434-23067-7

# by YumiHaraCawkwell | 2017-02-14 04:17 | Half the Sky