•
Rating: At a seven hundred and twenty-two days of chrono-distance from the original and musically overflowing, extraordinary, engaging first appearance of the incendiary Landsknechte of the Rising Sun in S. Anna Arresi, the unexpected Shirazu-rentrée occurred in (Gola Profondesca) grand style for the opening of the XXII Edition of "Ai Confini Tra Sardegna e Jazz" organized by the truly visionary Cultural Association "Punta Giara"; the truly numerous attendees gathered in the shadow [even though it was late in the evening] of the Paleozoic Nuraghe of the same, marine hosting urban agglomeration had the opportunity to (re) [for those who participated in the previous musical frenzy] savor, exceptionally divided this time into two distinct, tumultuous evenings, the extraordinary and pentagrammatically itinerant Shibusaense show.
The sparkling, clattering, multiform, I dare say multigrade, Orchestra Shibusa Shirazu (for those who were not aware) is a phenomenal artistic agglomeration (not just musical) at 370° which all-encompasses inside its agitated and devised interior a bit of everything (not only Japanese): besides the classic busload of potentially, massively and programmatically unruly musicians (15/20/30 today it depends on the occasion/space available) the smoky Mr. Daisuke Fuwa (conductor of insane dances & amusing parades) holds together, at times really with difficulty, a large and layered group of mind-boggling agitators/vocalists/panhandlers/actors/dancers/healthy-banana-carriers [with & without frills] and so forth, constituting a colorful and calamitous potpourri both from the purely musical point-of-view and visually speaking, almost spectacular.
Two consecutive nights (it was wandering) almost perfect under every musical latitude with a slight inclination (these are trifles, naturally) for the second of the two, where I personally believe, they really and more recklessly, congruently brought about the most musically uninhibited aspects and the audience-shattering characteristics typical of Shibusa-performances: the dense fragments extracted from the substantial and mostly qualitatively remarkable discography, become for the nth time live portentous, expanded, scrambled, and eucharistic/collective deliria/crescendos pushed, especially in the most convulsive and captivating moments, to the extreme musical consequences.
Compared to the performance of the last biennium, the purely musical setup has undergone a (let's say) equalizing optimization: out theremin, two keyboardists, and tuba, in instead grand piano (for enjoyment), double electric bass as well as the usual and unison double set of percussion drums.
With such rich premises, the two nights, each about two hours long, concluded, after some understandable and natural, self-defensive hesitation, in general delirium among the light fluttering of huge flying dragons and Japanese amenities of all sorts, in an agitated and amused, jovial dance both under the tiny (to contain them all) stage [where a sort of human-containment basin was created for the purpose] and in the semicircle constituted by the tightly packed and satisfied audience perched on the steps facing.
I hate to repeat myself (but): who can now go to see/hear any ensemble with all this impressive heap of Japanized blessings imprinted (in fire) in their buttered ears?
Loading comments slowly
