2022年7月23日土曜日

書籍　：　永田耕衣関連

A5判　144p 並上本　
永田耕衣の作品20余句掲載。耕衣の第一句集『加古』の上梓はこの翌年。
小野蕪子（おのぶし）■新興俳句弾圧事件の首謀者。本名小野賢一郎。
いわゆる京大俳句事件から始まった新興俳句弾圧事件（昭和15年2月14日の
第一次「京大俳句」弾圧事件から、18年12月6日の「蠍座」（秋田）弾圧事件
までの、4年間）に関わっていた黒幕であることは小堺昭三や川名大の一連の
調査研究で明かになった。本書発行の翌９年には三橋鷹女も夫、東謙三と入会
するが、共に俳句弾圧前の昭和14年に退会。なぜ、鷹女や耕衣がこのような
人物の門下生となったのかは、小野蕪子は俳句は二流だったが、書画骨董や絵
にかけては見識のある趣味人でそこに惹かれたのではないかというのが通説。
小野撫子と三橋鷹女のつながり、小野撫子と永田耕衣のつながりについては、
俳壇の中では抹殺する方向にあって、その後の研究が進んでいないのが現状。

合同句集「塔」小野撫子/永田耕衣/村上鬼城/他　初版箱　鶏頭陣社　昭和8年

書籍　：　永田耕衣－愛虚集（湯川書房刊）

書籍　：　永田耕衣－路上跳躍

永田耕衣－路上跳躍

大正15年刊

装〔相生垣秋津〕　加古刊

2022年7月21日木曜日

音楽　：　ESP-Disk' 関連

音楽　：　OZ DAYS LIVE ’72-’73 Kichijoji: 50th Anniversary Collection

アルバムについて

OZ DAYS LIVE was originally released in 1973 as a private press two-disc set, packaged in a brown paper bag with its album title hand-stamped in rainbow-colored ink. The self-distributed record was made to commemorate the closure of OZ, the now-legendary venue located in the Kichijoji neighborhood of Tokyo.

Operating out of a small upstairs space just around the corner from the train station, OZ was a scruffy, DIY affair that lasted not much more than a year. Over the course of its short existence from June 1972 to September 1973, the cafe and performance space became the nerve center for the city’s burgeoning underground and counterculture set. The OZ DAYS LIVE LP, now an incredibly rare collector’s item, featured five different artists spread over four vinyl sides, on recordings made right at OZ.

Now, 50 years after OZ first opened its doors, we are incredibly excited to offer OZ DAYS LIVE ‘72-’73 Kichijoji: The 50th Anniversary Collection, a reconfigured special edition of the original LP. Available as a 3CD set, the new collection includes all the tracks from the recently released Les Rallizes Dénudés’ The OZ Tapes, plus bonus tracks from the same sessions that were first released in 2022 on a limited edition 12”. The set also includes newly remastered versions of the Masato Minami and Miyako Ochi tracks from the original release, plus over 40 minutes of previously unreleased OZ recordings from Acid Seven, newly unearthed from reel-to-reel tapes that had been stored away for half a century by OZ manager Minoru Tezuka. A newly written 100-page oral history, compiled from hours of interviews, provides first-hand accounts of what made the OZ scene so special.

“I think that a record is a nutrient for the soul, and each one allows people to see (and hear) a particular situation,” Tezuka told The Shinpu Journal (The New Music Journal) at the time of OZ DAYS LIVE’s release. “That makes it ‘music’ purely by definition, and it can’t possibly be anything else.” It may be a bit difficult to decipher what he meant by these existential musings, but one thing is clear: that music is timeless, and records like OZ DAYS LIVE allow us to participate in an experience that would otherwise be lost to time.