牧野琢磨
ギタリスト。エレクトリックギターを演奏する。2003年よりバンド「湯浅湾」のメンバー。07年から09年よりイベントスペース「GRID605」の運営に携わる。08年ソロアルバム『in the suburbs』をリリース。同年よりバンド「NRQ」を始め今に至る。

A guitar player. Plays alomost a electric guitar. Makino Takuma began his performing career as a member of the band “YUASAWAN” in 2003. From 2007 to 2009, he was a manager of Otomo Yoshihide’s event space “GRID605”. From the time, he started free improvisation. In 2008, he released the solo album “In the suburbs”, which included the duo improvisation with Ito Atsuhiro (Optrum). In 2008, Makino and Yoshida Yuki (erhu) and Hattori Masanori (contrabass) and Nakao Kanji (drums,sax,clarinet) formed an instrumental band “NRQ”. “NRQ” stands for “New Residential Quarters”. In 2012 he was invited korean improvisation music festival “Dotolimpic”. After a while he stopped free improvisation. And now.

　
　
中村としまる Toshimaru Nakamura
舞台音響技術、遊戯施設の効果音および音楽制作、或いはまた楽団でギターを弾くなどの２０歳代を経てたが、結句、何物も身につかなかった。唯一、ひょんなことから興じていったオーディオ・ミキサーを用いたフィードバックの演奏のみが、手に馴染み且つ精神との整合も取れるものとなり、それが我れも演奏家の端くれであるという大胆な誤認を自らにもたらす。この悲劇的な思い上がりを前提として、演奏の機会が与えられればこれに応じ、現在に至る。

Toshimaru Nakamura’s instrument is the no-input mixing board, which describes a way of using a standard mixing board as an electronic music instrument, producing sound without any external audio input. The use of the mixing board in this manner is not only innovative in the the sounds it can create but, more importantly, in the approach this method of working with the mixer demands. The unpredictability of the instrument requires an attitude of obedience and resignation to the system and the sounds it produces, bringing a high level of indeterminacy and surprise to the music. Nakamura pioneered this approach to the use of the mixing board in the mid-1990’s and has since then appeared on over one hundred audio publications, including nine solo CD’s.

He has performed throughout Europe, North America, Argentina, New Zealand, Australia, Korea, China, Singapore and Malaysia, performing and recording both as a soloist and in collaboration with numerous other musicians.

As an active organizer of concerts in Tokyo, Nakamura has helped many musicians coming to Japan find places to perform, both with himself and with others. From 1998 to 2003 Nakamura and Tetuzi Akiyama ran the concert series Improvisation Series at Bar Aoyama and then later the Meeting at Off Site series of concerts. Both these concert series were crucially important in exposing a new manner to improvised music (referred to as Electro Acoustic Improvisation) to the Japanese public and to foreign musicians visiting Japan, making Tokyo one of the global hotspots for this new approach to music.