B10 Live, North District of OCT-LOFT
原田依幸 Yoriyuki Harada – 钢琴 Piano
望月英明 Hideaki Mochizuki – 低音提琴 Double Bass
石冢俊明 Ishizuka Toshiaki – 鼓 Drums
石冈秀雄 Tokioka Hideo – 次中音萨克斯 Tenor Saxophone
原田依幸生于1948年，是一位自学成才的钢琴家。他在日本国立音乐大学学习的是单簧管，很快他就开始对古典音乐的条条框框感到不满。一毕业，原田依幸就和他的校友，同时也是即兴搭档梅津和时奔赴纽约，并以“生活向上委员会纽约支部”为名录制了他们的第一张专辑；1976年回国后，他们和森顺治、菊池隆共同组建了“集団疎開（集体疏散）”四重奏；2年后，他们集结了更多的乐手，将四重奏扩展为“生活向上委员会大管弦乐团”，以他们幽默的形象赢得了广大日本乐迷的喜爱。离开大乐团后，原田依幸和Andrew Cyrille、Tristan Honsinger、 Henry Grimes、Tobias Delius和富樫雅彦等众多爵士即兴乐手都有过合作。
Yoriyuki Harada Quartet is lead by Yoriyuki Harada, the founder of Japanese legendary Jazz Orchestra “Seikatsu Kōjyō Iinkai Orchestra”. The quartet ascribed to the elite of Japanese free jazz scene. Japanese critics call him the Monster pianist. When he is on stage, his fingers dash on the keyboard like a lightning bolt.
Yoriyuki Harada (b. 1948) is a self-taught pianist. He graduated from the Kunitachi Music College as a clarinetist, but before long started feeling dissatisfaction with strict canons of classical music. Upon graduation, he and his schoolmate and improvisation partner Kazutoki Umezu went to New York, where they made their first recording in the name of Seikatsu Kōjyō Iinkai New York Branch. After returning to Japan in 1976, the two friends formed Shudan-Sokai quartet with Mori Junji and Kikuchi Takashi. Two years later they have gathered together other compatriots and the quartet grew into Seikatsu Kōjyō Iinkai Orchestra, the collective that earned recognition throughout Japan for its humorous appearances. After quitting his work in the Orchestra, Yoriyuki Harada collaborated with Andrew Cyrille, Tristan Honsinger, Henry Grimes, Tobias Delius, Togashi Masahiko and many other improvisers.
However, he has never tried to live on music or seek any type of support from the music industry because this would be boring. For almost 30 years Yoriyuki Harada has performed in Japan just once a month and only in his favorite venue jazz club Aketa-no-mise. According to the pianist, to appear more often would be difficult, because every performance requires a special inner state. He does not own piano, since he decided to come into contact with the instrument only on stage.
“Never have any motif in my music and I never think about my music,” says Harada. But the audiences chew on his performances long after they are over.
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