Tom Waits / Osaka 1977 & 1978 / 3CDR

Tom Waits / Osaka 1977 & 1978 / 3CDR / Uxbridge

Live At Koseinenkin Kaikan, Osaka, Japan 15th January 1977

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A shocking item that summarizes the sound source of the legendary performance of Japan’s Tom Waits! He visited Japan in 1977 and 1978 in a row, but after that, he never visited Japan, and he has become an artist who has no relation to Japan. As if to prove it, when the 2011 album “BAD AS ME” was released and interviewed for Japan, “My goal is to perform again in Japan” and release lip service However, nearly ten years have passed since then.
This release features Tom’s rare and rare performances in Japan. First recorded is the stage in Osaka since the first performance in Japan in 1977. This is a monaural audience recording, but this is what the “vintage audience” fits perfectly. This sound quality is also addicted to Tom’s sound, and the immersive experience of showing off that one and only world in Osaka comes through.
Despite the fact that the first album was popular among music fans in Japan, it was recorded well. The feeling of distance in the performance is just right, and the intimate atmosphere of the gig held at the Osaka Welfare Pension Hall in the middle hall instead of the large hall is also real.
A stage that reflected a big change in the style that he started singing with a roaring voice that became a trademark even further toward the jazz sound in earnest with the album “SMALL CHANGE”. Therefore, fans who expected him from the time of the first album seemed uncomfortable, but he emphasized Tom’s artistry, such as holding a press conference with an American magazine as a motif and a tour brochure and a jazz cafe. The first visit to Japan was a great success due to hospitality. After returning to Japan, he himself was proudly talking that he was treated as a big star in Japan.
Listening to the sound source left in this way, the taste of the stage performed with jazz musicians in the background is exceptional. What is most impressive is that the live is very lively. Did the fact that the Osaka performance was in the middle of the schedule of the first visit to Japan was also successful? He’s a country that doesn’t speak English, so while his live performances are modest and his performances continue, the audience’s reaction is very high. The excitement in “Pasties And A G-String” is the peak of the live performance.
And at the time of release, a drastic adjustment of the pitch that is typical of vintage audiences was thoroughly adjusted. This makes it easier to hear than the original sound source.
The third piece is recorded in 1978, the last performance so far in Japan. In the first place, the set list itself has not been known at this time in Japan, and I get the impression that it is wrapped in a veil compared to the first visit to Japan. However, what is recorded on this disc is a surprising sound board recording.
This is a valuable sound source that has recently appeared on the internet, but the recording time is less than 30 minutes. However, the recorded data does not have a detailed date other than March, and instead has the name of the Royal Horse, a jazz bar in Osaka. In that case, it is possible that the gig was not held at the Sankei Hall on the 9th, but at the bars before and after that. If that happens, the recording time will be short and the score will be good.
Surprisingly, it sounds like a gig at the bar, and the very intimate presence of the sound is recorded on the PA out sound board. You can guess that it was recorded from the PA in the bar.
The content of the performance was jazzy and full of atmosphere over the previous year, especially if it became a jazz bar performance. Also, a guitarist is added to the performance, but Tom’s band does not have a guitarist. So it may have been a session at the bar, and it’s backed up by playing the standard “Sumertime” first.
However, since “Muriel” and later, Tom is playing the piano and this is an excellent product. It’s really lively and addictive when a performance with few notes is captured by a PA-out sound board. It is also a scene that reminds me of the early sounds above all, and I am sure that it is a tearful sound source for fans. The first shock and the second time, the shock release that couples each super valuable sound source!

Live at Koseinenkin Kaikan, Osaka, Japan 15th January 1977

トム・ウェイツ伝説の来日公演の音源をまとめた衝撃のアイテムが登場!彼は1977年と78年に連続で来日していましたが、その後になるとわが国へ訪れることもなく今や、すっかり日本と縁遠いアーティストとなってしまいました。それを証明するかのごとく、2011年のアルバム「BAD AS ME」がリリースされて日本向けのインタビューに応じた際には「俺のゴールはまた来日公演を行うこと」とリップ・サービスを放っていたものの、それからも10年近い歳月が経ってしまった。
彼がアルバム「SMALL CHANGE」で本格的にジャジーなサウンドへと向かい、それ以上にトレードマークとなる唸り声で歌い始めたスタイルの大きな変化をそのまま反映したステージ。それ故にファースト・アルバムの頃の彼を期待したファンなどは違和感を覚えたようですが、アメリカの雑誌をモチーフにしたツアー・パンフレットとジャズ喫茶で記者会見を行うなど、トムのアーティスト性を重視したもてなしによって初来日公演は大成功に終わっています。帰国後に彼自身も「日本じゃ大スター扱いさ」と自慢げに話していたという。
こうして残された音源を聞いてみても、ジャズのミュージシャンをバックに従えて行われたステージの味わい深さは格別。何と言っても感動的なのは、ライブが非常に盛り上がっているということ。大阪公演が初来日の日程で中盤だったことも功を奏したのでしょうか。英語が通じない国ですので、普段の彼のライブのような語りは控えめで演奏が進みつつも、オーディエンスの反応は非常にアツい。中でも「Pasties And A G-String」での盛り上がりはライブのピーク。

Live at Koseinenkin Kaikan, Osaka, Japan 15th January 1977

Disc 1 (46:45)
01. Step Right Up
02. Eggs And Sausage
03. Depot Depot
04. Jitterbug Boy
05. Pasties And A G-String
06. San Diego Serenade
07. Fumblin’ With The Blues
08. Cupid – The Heart Of Saturday Night
09. Band Introduction
10. Invitation To The Blues

Disc 2 (56:26)
01. Emotional Weather Report
02. The Piano Has Been Drinking
03. New Coat Of Paint
04. I Can’t Wait To Get Off Work
05. On A Foggy Night
06. Virginia Avenue
07. Warm Beer And Cold Women
08. The One That Got Away
09. Small Change
10. Band Introduction
11. Tom Traubert’s Blues
12. OL’ ’55

Tom Waits – Vocals, Guitar, Piano
Chip White – Drums
Dr. Fitzgerald Jenkins – Bass
Frank Vicari – Tenor Saxophone

Live at the Royal Horse, Osaka, Japan March 1978

Disc 3 (26:22)
01. Summertime
02. Annie’s Back In Town
03. I Never Talk To Strangers
04. Pasties And A G-String
05. Muriel
06. Jitterbug Boy


Tom Waits – vocals, acoustic guitar, piano.
Frank Vicari – tenor saxophone.
Noah Young – upright bass.
Chip White – drums.

Uxbridge 1236


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