JAPAN TOUR-PRINT MEDIA

Some fine examples of assorted ads, flyers, announcements about the Cinema Soloriens program.

Flyer from TOKUZO, Nagoya
Flyer from UPLINK, Tokyo
Rear of flyer from SUPER-DELUXE, Tokyo

JAPAN TOUR
THE POSTER FOR THE LECTURE/PERFORMANCE AT TAMA ART UNIVERSITY

This is the poster I told you all about from TAMA. They did a beautiful poster. It was very touching the effort they put into the poster.

They gave me two copies which I was grateful to recieve. I new it was going to be tricky carrying this poster around while trying to get back to Tokyo with all the gear-many trains and subways to get there.

We went to this Japanese snack-joint, and I new when the sake, beer and seat changes got goin', that I was certainly gonna forget this beauty, as chairs back into the curled up poster, gently crushing sections-owww. What do you think happened? I left it there!!

Mike worked hard to get me another copy. It was looking bleak while on the road but when we got to Super-Deluxe, the Director at Tama brought me a tubed copy. Many, many thank you's! It got back safe-tube makes a difference.

JAPAN TOUR-ARTWORK FROM NAGOYA

Here is a drawing, done on the spot by an artist at the club we did the program, TOKUZO in Nagoya. Her name is Phirip, and she is a visual artist and dancer that introduced herself to us after the show and presented us with drawings after asking us to sign the tour CD.

She was very nice, a mystical creature with gamine, almost elvin features. Her accent when speaking English was otherworldly and hypnotic to listen to. Kei took two very beautiful pictures of her. We told her that the CD was already signed by all of us, she looked as we pointed to the signatures on the CD sleeve, then said, "sign again please". We asked her to sign her drawing then later invited her to come out and eat with us . She caught up with us later at that Korean joint in Nagoya that Kent-o took us to. Wonder how Kent is doing, he flew out mid-tour to catch the some World Cup action-Japan vs Brazil. We caught the World Cup fever too.

Anyway here is her drawing. Enjoy!

JAPAN TOUR-DAY 11
THE FINAL PROGRAM AT SUPER-DELUXE

We got up early Thursday morning. Deb and I had a wonderful breakfast at the hotel restaurant. We met up with Bob to hit Shibuya for some shopping before the sound check. We were on a tight budget, but we were able to find some affordable fun things for the children. We were also on a search for Cigars. I had already read that good Cigars were hard to come by in Tokyo. After many questions and map drawings and false leads, we were about to give up when we found a very small, ultra modern, super cool little cigar bar. I helped Bob make some selections for his dad. We picked out some great cigars at a very reasonable price. The two young ladies that worked there were very helpful. They admired Deb‘s Native American jewelry, saying they had never seen anything like that before. They spoke limited English. Deb told them their English was very good and asked if they had ever been to America. “No,” the girl replied. “Just New York.”

We took the subway back to the hotel, an hour walk, a 10 minute ride. We made it just in time to go back out and walk to the club, Super Deluxe in Roppongi. Deb stayed in the hotel and relaxed.

Sound check went well, without a hitch. Mike’s staff, as usual is very organized and helpful. The highlight was finding out that my films were going to be projected simultaneously on three screens. It was also great to hear a Master Shakuhachi player doing his sound check, while my films were still running. I looked forward to hearing his full set.

Back to the hotel, quick shower and cool threads for our final show.
We took a cab to Super Deluxe, no more walking, especially with Deb’s killer high heels. Much of the audience was already assembled. The mood was set with candles flickering in the dark corners. The audience was a mix of young hipsters and older arty hipsters with young girlfriends, and everyone else in between. The first opening act was a duo of stand up base and a crazed madman on an electric guitar. Their sound was an interesting blend of improv and space rock/jazz with much energy and complexity.

The Master Shakuhachi player came on next. He was amazing. He not only played exquisitely, but gave a lesson on the different rudimentary styles that are played on his instrument. It became very clear to me that he uses breath, not sound as a medium for self expression. I could really visualize the air all around him as he manipulated it, shaping it through this bamboo tube. He appeared in traditional attire and sat on an elevated platform while playing. I could listen to him for hours.

After his set it occurred to me why I felt out of it. I thought it was nerves, which was weird since I hadn’t been nervous for any of the other shows. But I now realized that I was sad because we were at the end. This was the last show of the tour and there are a lot of people that I’m going to miss. Realizing that fact now becomes a source of motivation to give my performance everything I have.

9:00 hits and I am briefly introduced to the cultural liaison of the American Embassy. He gave a small introduction to the audience expressing appreciation and saying that with the sponsorship of our film/music performance, this would usher in a higher standard of cultural programming being brought into Japan. With that he started the show, “And now, Cinema Soloriens and the Cosmo Drama, I love that name by the way!”

We opened to the Green Lion as usual. Marshall chooses his little toy Casiotone keyboard to start things off for him. It is so hard to start out with that. The 3 of us initially occupy our own little spaces, but after about 10 minutes we fall right into sync largely due to the fact that Marshall starts listening to what Bob is playing. And since I often listen to Bob’s rhythmic structure, it’s easy for me to accompany him making it all gel together.

During the show, I managed to slice my finger open while playing drums. Little droplets of blood soaked into the drum head, which I now proudly display. Strangely, Marshall also cut his finger open while playing.

While playing a very rapid drum beat on the tuned log drum, to the film “The Thompson-Neeley House,” the mallet head came off. A sustained rapid beat was required for this piece and it can’t be done with just one mallet. I kept the beat with one hand, and grabbed one of Marshall’s mallets that was an arms reach away. As soon as the first strike of the new mallet hit the drum head I quickly realized his mallet head was not made of rubber, like mine, it was made of hard wood, which created a whole new beat structure. But hey, it worked.

The rest of performance went great. The films were very well received by the audience, many times applauding after each films ending, or yelling out “Yeah!” when the films and music worked together to bring them to a certain place in their minds. After the films ended we continued to play with dark intensity that left the crowd speechless, and wanting more. Their applause went on for quite a time. Ater the gig, Marshall says to me, "Jamie, you were blowin' boy, really blowin'!", I never thought I would hear that from him, but during this trip Marshall has told me a great many things.

It seemed after the program no one wanted to leave. After the performance so many came up to me to thank me for bringing my films. Because of the language barrier, some didn’t know what to say, so they just grabbed me and hugged me. It was very touching. I was moved and appreciated their gestures a great deal.

After the set, we had another interview. This time with a TV program called “Space Shower TV.” When the interviewer asked about the title of the program and what it meant, Marshall quickly responded about the Cosmos and Nothingness and 12 bar measurements, the square, and outside the square, and the Cosmos and then something else about the Cosmos. Then he made grandiose gestures in the air indicating time and space and squares. He was like Yoda on a 6 pack. I was interpreting the interviewers questions to Marshall and Marshall’s responses to the interviewer, all, unfortunately, on TV. The camera caught me rolling my eyes at one point. The only lucid moment occurred when Bob responded to the question which he answered carefully and thoughtfully. This would be the last time Bob, or myself would ever speak during this interview as Marshall continued to wax on about the cosmos and more about the cosmos. I would love to get a copy of that interview. I know it’s beautiful. It was time to lighten up, it’s the end of the tour.

We finished packing up our gear. Bob took a taxi with a load of equipment back to the hotel, while Mike and staff prepare food for Marshall, Deb and I. It was the hungriest we had been since we got to Japan. We had fish and chips, curried rice, fried fish balls (so good), and much beer. The curried rice was by far the best thing I had ever had. I know it was Yoshi’s recipe. We were very happy he made it to tonight’s show. All of us kept hugging each other not wanting to leave. We met Yoshi’s girlfriend. A lovely woman, who he hopes to marry this year. It was difficult to say goodbye. It was our last night in Japan. We were sad.

Back at the hotel, Deb is finishing the packing while I work on the blog. It was a wonderful day. I have a great sense of accomplishment and fulfillment. I am thankful to all those that made this tour a reality.

ALLITTLE MORE EXTREE...

a small blurb. Note incorrect info-"former Sun Ra Arkestra member", still going strong as leader, misspelled "Mohoney", should read Mahoney, no mention of my films, except for not suprising, The Sun Ra connection.

"Don't measure the press by what they say about you but by how many inches."
paraphrase quote by ANDY WARHOL

SUN RA Re-Incarnation in Tokyo - via film
I went to see and listen to a wonderful thing last night. My friend and manager of Super Deluxe Tokyo, Mike Kubeck, organised a Japan tour of 'Cinema Soloriens & The Cosmo Drama', with former Sun Ra Arkestra Alto Sax player and leader, Marshall Allen leading. James Harrar, who also plays bamboo flute, has been re-compiling footage of Sun Ra from the 1960s and 70s into amazing short films. These were projected on three walls in Super Deluxe, with Allen, Harrar and R.E. Mohoney on guitar and drum, accompanying.

The sounds were free and 'out'. Allen played alto sax, a small electronic sax and a tiny Casio keyboard, sitting beside one of the projections and occasionally responding to the images. Mahoney would sometimes bang the single floor drum in tribal-beat like patterns creating intense sequences, which would then fold back into minimal passages. The projections showed a mix of abstract patterns, Sun Ra interviews, stage performances and people putting beads around their heads. Thanks Mike, for getting this together....a rare treat.

EVEN MORE EXTREE-THE DAILY YOMIURI
Article on me and Marshall regarding the program and mostly Marshall, with great comments. Enjoy!

Marshall Allen-Still Traveling The Spaceways
Frank Spignese / Special to The Daily Yomiuri

In 1957 saxophonist Marshall Allen met composer-pianist Sun Ra. Allen was soon asked to join Sun Ra's radical Arkestra and the two formed a relationship that found them traveling the "spaceways" for nearly 40 years.

To call Sun Ra's Arkestra "ahead of its time" would be an understatement. From its inception, the big band played jazz that incorporated bop, avant-garde and world music within a framework deeply steeped in the tradition. At times they sounded like an extraterrestrial Duke Ellington Orchestra.

After Sun Ra's passing in 1993, Allen assumed direction of the Arkestra and has forged on into the 21st century.

But Allen has his own project, too. He just spent the last week touring Japan, accompanying the silent films of experimental auteur James Harrar. Along with Harrar, on a number of instruments, they were joined by guitarist R.E. Mahoney. The music, like the music of the Arkestra, veered from meditative cacophony to celestial serenity. Later, at a grilled chicken joint outside Tokyo, the 82-year-old Allen swigged sake and smoked cigarettes like a fledgling salaryman. He spoke of fronting the Arkestra, the need for older artists to nurture the young and his dedication to Sun Ra's vision.

"It feels good to be back in Japan. Nice people, courteous, quiet. The food is good and really it's a healthy environment...healthier than my environment. I'll put it that way," he said with a laugh.

The 20-piece Arkestra finished a tour of Canada before Allen landed in Tokyo. One of the most striking aspects of the current incarnation is the number of young musicians and seasoned veterans playing collectively.

"We have to bring the younger musicians into the band to indoctrinate them in a sense, to get them out of the box that they were taught in," he said. "To get out of the box you have to break those rules. Sun Ra didn't want the musicians for what they know; he was trying to develop what they didn't know. He would always say 'That's right, but it's not what I want.' Which is very frustrating for a well schooled musician, and that was the hardest thing in my life: to get out of that box."

Allen has played with many rock-rap artists, including Sonic Youth, Phish and Digable Planets. Can jazz itself still reach young people?

"All the people we play for now are young people" he said. "This generation that's here now, whatever we play, they feel it. We have all the young people at the concerts and they just go wild! Sun Ra's music lives because it's all over the world like he said it would be."
"I've been in bands all my life" he continued. "I've played with the best players, the non-best players, I've played with everybody. But once you're at the helm, it's another story. After Sun Ra died, it came my turn to step up. Not that I wanted to, but it was a must to carry the music on. So my determination was to do what I've always done: play with all my heart and mind."

The films of James Harrar that Allen accompanied last week are imbued with a contemplative mysticism that mirrors the aesthetic of the Arkestra itself. Allen was impressed with Harrar's work and took the artist under his wing.

"I met James at a gig in the '90s" he said. "He was a young man and I like to help the young people. I introduced him to the band and that way he knows about Sun Ra. I'm not Sun Ra, but I've been taught by him and do my best to be one of his disciples. Sun Ra was interested in people who have ideas, so we invited him around to see what he was doing, then he came up with his films and he needed someone to help, so I said that I would."

Harrar says that he approaches film much like Allen approaches music.
"In my image making I'm dealing with discipline and sincerity. I want to capture some very profound spiritual states of mind but in a very simple way, without rhetoric, and Marshall and the Arkestra have a long history of taking jazz and blowing it up into something completely unique to themselves, but at the same time very traditional and in the discipline."

(Jun. 24, 2006)

MORE EXTREE, EXREE, READ ALL ABOUT IT!
METROPOLIS

Here is an announcement of my program in Metropolis, Japan's leading English-speaking publication, and I thank you.

Enjoy!

http://64.233.161.104/search?q=cache:8DvyokhXJn8J:metropolis.japantoday.com/tokyo/recent/agenda.asp+james+harrar+cinema+soloriens&hl=en&gl=us&ct=clnk&cd=8

JAPAN TOUR-DAY 10
BACK TO TOKYO

It was very hard to leave beautiful Kyoto. The previous day was spent with me and Deborah enjoying ourselves at the famous Ryoanji Garden. Beautiful, considered to be the ultimate expression of Zen philosophy. We got there before the full rush of tourists-it did take us awhile to get there, we got alittle lost (I keep leaving my travel guide behind), a shop owner did send us in the wrong dirction, turns out we were only about two blocks from the Gion District, we both felt Gion in our bones when we were in the area-we had the feeling, just didn't listen to it, keep thinking we are getting lost-so, we are in Kyoto, and the weather is great, so no problems.

We spent most of the day at Ryoanji, also stopping for some tea, miso and some other trad. food. We were the only people in the place-which overlooked an amazing garden amist shoji screens. There was this huge, old fish that from time to time would leap above the water in the garden causing a loud splash. Was he a sea monster. How old to Koi live? 70 years?

So now it is next day and time to depart to Tokyo. The tour is in light speed now as I knew it would be. Many rest stops this time, which means much eating and snacking. Deb got her first experience with the Japanese rest stops. She loved chowing on unagi and tasty crackers, ice cream and Japanese Coke's rebuttal to Pocari Sweat, Aquarious. Very good beverage, like what you would want Gatorade to taste like.

We arrive in Tokyo by around 6PM. Me and Marshall have about an hour before we do an interview in the hotel lobby (back at the Asia Center-where the whole tour began). We go down, doing our press thing with thoughtful questions and relaxing answers with Michael Pronko of The Japan Times.

Deb and I hit the Roppongi district with heat! First, we must eat. Read afew menus-Korean, Italian, trad. We settle on a real local noodle-shop joint. Very delicious sliced pork, aromatic broth, little pot stickers-boiled, not fried. Very good, washed down with some Sapporo beer.

Got lost in Roppongi-I knew it too, right when we got to this huge 5 points and started taking different streets-up and down intersecting roads.

We found a great bookstore. I picked up a book on the Japan exhibition of Stan Brakhage's filmwork before he left the planet. Turns out on of the exhibition curators was the gentleman that brought me to lecture at Tama Art University, I could see his face in the book. We browse many shops and head back late to the hotel for some sleep, not before bringing Marshall a sandwich while he was attempting to finish some laundry (he did at about 4AM).

JAPAN TOUR DAY #8 and 9 Continued-THE RETURN OF DEBORAH and more great times.

After absorbing the beauty of Kyoto, it was time to trek off to Osaka Airport to pick-up my wife, Deborah. I have been looking forward to finallly catch up with her. Is there gonna be a challenge finding her?

She flew into Narita, Tokyo with a 6 hour lay over! What kind of condition is she gonna be in? Then she takes the puddle jump to Osaka.

I took the train in with Kei. A-million thanks to him. I would have been screwed attempting this one solo. Which train is local, which is express, how do i even select which ticket, how do i work this machine... The more local the train station, the less English signage it seems.

After several beers we were off. I think Kei was looking forward to meeting Deb too, wondering what could James' wife be like. Very hip guy, and i dig him very much. After our many beers, I told him about the expression "all hopped up!" We were on our way, boy.

More beer, conversation and now some food at the Osaka Airport while waiting for Deb.

Me, I am constantly watching the exit terminal to see her, finally, there she is and I take off running. Cue romance movie soundtrack, but, yeah, life is great, and so very happy to be holding her. A very long distance to travel just to meet up on the other side of the world.

Another dream realized.

So happy, but no pics, no digital camera with us, just some old school film (we post those later). Kei was excited to meet her. Great to meet new people anywhere.

We went out for a great meal, pretty much an all-you-can-eat fried food fest, and more beer, then a great small Jazz bar, meeting up with Yoshi and Mike. Good times with much Charlie Parker in the background. The bar, called, "The Jazz Bar", sat about 10 people at the most, smelled of ancient cedarwood, and was packed with vinyl albums of the best jazz behind the bartender. He was an older fellah, that loved his music. He spoke little English but expressed to me that young people today have no appreciation for jazz and the fact that we are here wanting to listen to Charlie Parker, his favorite, brings him much happiness, as he shook my hand many times. I hope I see him again upon my next visit. I had alot to drink that night, including some Japanese spirit a bit more potent and similar to sake. Close to seeing double after that drink. We stumble back to our Machiya, getting lost along the way and finally off to sleep arm and arm with my Deb.

Off to a magical bed in quiet Kyoto.

Wed. morn. we both got up VERY well rested. Enjoyed the dreamy morn contemplating the splendor and quiet beauty of the garden with Marshall. I shot an hour of digital footage meditating on the whole thing-ending with a bee drinking some water out of a ceramic bowl and flying off. There is no way you can shoot a bad composition here.

That eve. we went out for some victuals with Marshall, Deb and Kei. As you can clearly see, Marshall is really decked out for our night on the town in the lastest hip fashion from Neptune, and we dig it very much-that hat, shit, no one hipper than Marshall, NO ONE! Great time and much laughing. Our bill was settled up on an abacus.

JAPAN TOUR, DAY #8-BACK IN KYOTO
ANOTHER DREAM REALIZED

If you have ever been fascinated by old Japanese culture? Study ukiyo-e, read Shogun, you know if you are into it-ninjas, anything, than this is the dream. This is where we stayed-a Meiji era townhouse, called a Machiya. Back in the day they were called "the dark houses", pretty common lower class houses that had a storefront in the main lobby we entered into, then an office/storage room, and the living quarters of the entire family.

These dark houses were considered tough living and very cold during the Kyoto winters. I would love to see snow in Kyoto. Anyway, these homes were also real fire hazards, made of mostly wood and paper, they no longer fit into a modern world, and since Japan is always reinventing itself, became unnecessary. So, the wrecking ball for the old townhomes, make room for modern construction.

Until recently, people became more outspoken about leveling these places. The idea to restore them was brought up. With regard to the place we are staying at, I believe a British architectural design team led the restoration, along with several others, complete with period furniture, ceramics, screens and artwork, but also modern plumbing, kitchen facilities (primarily for tea ceremony), wireless internet and Western toilets.

Our beloved first lady attended tea ceremony right were we stood on her visit to Kyoto.

The design team did an excellent job restoring this special place. The garden was the kicker. So simple, yet a universe of contemplation. We took our time taking it all in.

One morning, when Marshall got up, upon refection in the garden, he said to Deb, "whatever I do this morning, I'am making more noise than everything around me in this place!".

Here are the pictures. Enjoy!

JAPAN TOUR-DAY #7, SUNDAY, YAMAGUCHI, Y-CAM
IT DOESN'T GET ANY BETTER THAN THIS FOR THE ARTIST! THE DREAM REALIZED!

After a quick breakfast at the hotel, we dash to a 5 hour drive to Yamaguchi-Yamaguchi Center for Arts and Media. Great drive, catching up on sleep. Made a-million attempts to contact Deb, starting the night before to an early wake up to try to call her at 5AM, no luck, tried on the road, no dice.

Great drive, but i really wanted to get her before she left US to meet up with me.

We ate great road food. The rest stops here are fantastic! The roads are smooth as silk too. Better be too since some of our hard earned dough went to one toll-was about 100bucks USD for each car (2) on the tour, yikes!

We get to Yamaguchi, beautiful city. The weather got so nice. Sunny, hot and the blue sky. Great after all that rain.

We have to sound-check. So we see Y-CAM. It is the greatest art and media center, I have ever seen-possibly, THE WORLD!

My films are going to be projected on a screen about 50Ft diagonal. AMAZING!

Y-CAM allowed me to contact Deb from there. So great to talk to Deb. It has been about a week since we last spoke to each other. I can't believe I'am going to see her Monday. We catch up, and much love all around.

Seiichi Yamamoto-mystic guitarist and ex-Boredoms member. He opened for us in Kyoto, in a power trio that was smokin'. He played solo for the Y-CAM show. Amazing sensitivity to electricity and sound. I enjoyed listening to him-I felt very relaxed, almost too relaxed. Y-CAM took great care of us, great staff and sound crew.

We play very "out". Opening with crazy solar sound heat before the curtain opens. I am to signal to mike with the "thumbs-up" for the curtain to open to the screen. We are playing another space cord opener, the audience is dumbfounded and I keep signalling inbetween blowin'-mike is no where to be found.

Turns out that he is trying to usher the people in-during the set change the audience when to hit the beer. Mike got them back in to receive "the signal".

So off we go into the strata. I really liked the set we did. Hungry, passionate, expressive, aggressive, sensitive, poetic. In the beginning of The Green Lion, I felt we were all in our own individual space, but gradually got to meet in a great head space.

I love Marshall's keyboard work and I really felt like we were complimenting each very well while bob kept the glue going.

The audience was into the program, and the visuals-to see my work projected on the largest scrren with the best rear screen projection facilities in the word-what a dream. So happy to see such support. I felt very connected and humbled. Yamamoto came up to me on my way out and said simply, "you are mysterious!"

Y-CAM hosted an after party in our honor with special posters made for the event. It was held at a restaurant/club called FRANK, with an F for the sign. They served some mean Egyptian food. Lotsa youing people, I felt another kind of "lost in translation" moment since Marshall and Bob decided not to come, but it was very cool to just hold court with many interesting people. Abe, the Executive Director of Y-CAMtold me he really enjoyed the program and had a-million questions. Yamamoto has many questions too. Very interesting man, kind and intense. Gifted. I made another new friend. Would love to do work with him down the road.

Y-CAM made a great poster for the show which they wanted us to sign for the office. Marshall made the joke, "Jamie, remember what Sun Ra said, first comes the glory-then we say in unison-then come the shame!" We crack up.