Tom Waits/Osaka,Japan 1977 & 1978

A shocking item that compiles the sound source of Tom Waits’ legendary performance in Japan is now available! Although he visited Japan consecutively in 1977 and 1978, he never visited our country after that and is now an artist who is completely disconnected from Japan. As if to prove this, when his 2011 album “BAD AS ME” was released, he gave an interview to Japan and paid lip service, saying, “My goal is to perform in Japan again.” However, nearly 10 years have passed since then. This release includes Tom’s extremely valuable performance in Japan. The first recording is the stage in Osaka from the first performance in Japan in 1977. This is a monaural audience recording, and the description “vintage audience” fits perfectly. This sound quality also perfectly fits Tom’s sound, and the sense of reality that showed off that unique world in Osaka is clearly transmitted. Even though their first album was popular among music fans in Japan, they often recorded it. The sense of distance in the performance was really well balanced, and the intimate atmosphere of the gig, which was held in the middle hall of the Osaka Welfare Pension Hall instead of the large hall, was also realistic. The stage directly reflected the major change in his style, when he turned to a full-fledged jazzy sound with his album “SMALL CHANGE” and started singing with his trademark growling voice. For this reason, fans who expected Tom from the time of his first album may have felt a sense of discomfort, but the tour pamphlet was modeled after an American magazine and he held a press conference at a jazz cafe, emphasizing Tom’s artistry. Thanks to their hospitality, their first performance in Japan ended in great success. After returning to Japan, he himself proudly said, “I’m treated like a big star in Japan.” Even if you listen to the sound source left behind in this way, the depth of the stage performed with jazz musicians in the background is exceptional. What is most impressive is that the live performance is so exciting. Was it also a success that the Osaka performance was in the middle of their first visit to Japan? Since this is a country where English is not widely spoken, the audience’s reaction was very enthusiastic, even though his performance progressed with a low-key tone like his usual live performances. Among them, the excitement of “Pasties And A G-String” was the peak of the live performance. And upon release, we thoroughly adjusted the large pitch deviations that tend to occur in vintage audiences. This makes it much easier to listen to than the original sound source. The third disc includes the second and currently last performance in Japan in 1978. In the first place, the set list itself for this visit to Japan is not known, and I get the impression that it is veiled compared to the first visit to Japan, which attracted a lot of attention. However, what is included on this disc is an amazing soundboard recording. This is a valuable sound source that recently appeared on the Internet, but the recording time is less than 30 minutes. However, the recording data does not contain any detailed dates other than March, and instead lists the name of a jazz bar in Osaka called Royal Horse. If so, it is possible that the gig was held not at the Osaka performance held at Sankei Hall on the 9th, but when he stopped by a bar before or after the performance. If that’s the case, the short recording time will make sense. And I was surprised that the very intimate feeling of being there, as if it were a gig at a bar, was clearly conveyed even though it was recorded on a soundboard with a PA out. We can also assume that it was recorded from the PA in the bar. The content of the performance is jazzy and full of atmosphere, echoing the previous year’s, and it is even better if it is performed at a jazz bar. Also, a guitarist is included in the performance, but Tom’s band does not have a guitarist. Therefore, there is a possibility that it was held as a session at a bar, and the fact that the standard “Summertime” is played at the beginning supports this. However, after “Muriel”, Tom shows off his piano playing, which is exquisite. When a performance with a small number of sounds is captured on a soundboard with a PA output, it looks really vivid, and it’s addicting. Above all, it is a scene that is reminiscent of the early sounds, and I can assure you that it is a sound source that will make fans cry. A shocking release that combines super valuable sound sources from the first and second visits to Japan! Disc 1-2: Koseinenkin Kaikan, Osaka, Japan 15th January 1977 TRULY AMAZING SOUND Disc 3: The Royal Horse, Osaka, Japan March 1978 SBD!! 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 Aftershow at Sankei Hall on 3/9 or the day before on 3/8 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 SOUNDBOARD RECORDING Tom Waits – vocals, acoustic guitar, piano. Frank Vicari – tenor saxophone. Noah Young – upright bass Chip White – drums.