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再入荷

HONEST JON'S所属の日本の音楽に造詣の深いハワード氏が手掛けた渾身の浅川マキ、コンパイル。

浅川マキを愛するJAPAN BLUESことハワード、渾身のコンパイル。寺山修司が作詞を手掛けた「眠るのがこわい」の幻妖な神楽笛で幕開け、浅川マキの世界へといざないます。 (サイトウ)

▼ Tracklisting

A1. Nemuru No Ga Kowai sample
A2. Chicchana Toki Kara (Live) sample
A3. Blue Spirit Blues sample
A4. Fushiawase To Iu Na No Neko sample
A5. Govinda sample
B1. Chicchana Toki Kara sample
B2. Boro To Furutetsu sample
B3. Aisa Nai No Aise Nai No sample
B4. Uramado sample
B5. Kamome sample
C1. Machi sample
C2. Gogo sample
C3. Zenkamono No Christmas sample
C4. Hikkoshi sample
D1. Cabaret sample
D2. Konna Fūni Sugite Iku No Nara sample
D3. Onna sample
D4. Yuki Ga Furu sample

A good place to start... Her basic sound and image were interior-life bohemian, and in some ways she was cagey with her talent. She didn't belt or improvise broadly. She picked a limited range of notes and climbed into them, applying a pinch of vibrato, letting her voice fade and crackle. These tracks clearly demonstrate her guiding desire, which was to explore the possibilities of the slow blues in the late 20th century, whatever that might mean. Some of the most intense recordings she made were English-language covers or Japanese rewrites of American jazz standards, blues songs and spirituals, backed by only acoustic guitar and drums. She sang slowly, as if there were weights on her. And after a while of her working and your listening, you?ll hear it: the way she connects intimately with her task but keeps something private for herself? (New York Times).

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