月: 2021年2月

富澤えいちの執筆担当記事の紹介です。

Yuko Takenaka, “Polka Dots Notes”.

Yuko Takenaka’s debut album, “Polkadots Note,” is a collection of her original compositions and album title, “Polkadots,” which means polka dots in Japanese. Polkadots” in the title of the album and the original song means polka dots, which apparently represents her goal notebook (the pattern on the cover), but it is the “academic” element that embodies the musical inspiration she has learned and experienced so far. It may be a symbol that reflects her “academic” nature, which embodies the musical inspiration she has learned and experienced. As a type of musician who is more interested in the beauty of musical composition than emotional melody, I look forward to his future activities. This is a duo that I feel is on the verge of going beyond salon jazz.
Eichi Tomizawa

竹中優子『ポルカドッツ・ノート』をAmazonでチェック！
 

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富澤えいちの執筆担当記事の紹介です。

A collection of works that expresses the drummer’s emotional landscape in his original compositions.

The third album by Kazuki Yamashita, an up-and-coming drummer born in 1978, features Eiji Nakayama on bass guitar, bringing his distinctive style and individual playing style together to create a more complete work. Nakayama played in Elvin Jones’ Jazz Machine (1982-83), in a duo with Don Friedman (1986-1990), in a duo with Richard Davis (1990), and in Roland Hanna’s Chamber Jazz Trio (1990) and duo (1991-2002). Yamashita’s drumming has a strong image of a straight-ahead style of playing, and his drumming, which he calls “master” and admires, has a similar power style of scrambling toward the goal line, or a more aggressive style. If you know that Yamashita studied drumming under Hiroshi Yamazaki, you might imagine a spiritual style of playing. Of course, there are many solos throughout the song, but they are not meant to be a “competition of skills”, but rather a presentation of each member’s interpretation of the song based on a shared image of the song. The melody does not collapse even in the development part. This album, which is made up of originals, is the result of the leader’s conviction and skill, as well as encounters with members who understand this.
Eichi Tomizawa

山下一樹『ジ・アザー・ミー』をAmazonでチェック！

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富澤えいちの執筆担当記事の紹介です。

1．MAE.SUN／Vol.2:Into The Flow

MAE.SUN／Vol.2:Into The FlowをAmazonでチェック！

2．We Are Sent Here By History／シャバカ・アンド・ジ・アンセスターズ

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3．SOURCE／Nubya Garcia

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4．Answer Me(Live from Budapest)／キース・ジャレット

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5．Suite:April 2020／ブラッド・メルドー

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6．トレース（痕跡）ピアノ即興作品集／ハクエイ・キム

トレース（痕跡）ピアノ即興作品集／ハクエイ・キムをAmazonでチェック！

7．TrioSamadhi／ユキ・アリマサ、鈴木央紹＆原大力

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8．All for Love／渡辺ファイアー＆進藤陽悟

All for Love／渡辺ファイアー＆進藤陽悟をAmazonでチェック！

9．Invisible Garden／透明な庭

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10．Mixing Colours／ロジャー・イーノ＆ブライアン・イーノ

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The Lost Year of the Afro Wave and the Duo Wave

Eichi Tomizawa

It seems that in Ichinoseki, Iwate, a secret agreement has been made to pretend that the year 2020 never happened, but if we pretend it never happened, we won’t be able to choose the best album, so let’s take a look back. As I started to pick up some of the albums that caught my attention, I noticed that the trend of jazz coming from the U.S. was becoming more and more African, like world music. This is reflected in the first three tracks. These sounds reminded me of King Sunny Ade’s first visit to Japan in 1984 and Salif Keita’s Overnight Stage in around 2000, so there may be a strong marketing revival element in the 15-20 year cycle. 4 to 7 were piano-focused selections in light of the news of Keith Jarrett’s difficult comeback. In May, when the clocks stopped all over the world, Keith released this unreleased live performance recorded in 2016 to commemorate his birthday, which should also be passed down as his legend. I’m also looking forward to seeing how piano jazz will be transformed under his influence. 8-10 are duo pieces. I remember mentioning in last year’s summary that the duo is undergoing a remarkable change, and I look forward to seeing a novel approach that takes advantage of the physical constraints of “music that does not become dense.

Translated with www.DeepL.com/Translator (free version)

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富澤えいちの担当記事の紹介です。

水戸と横浜をZoomでつないでのテレインタヴュー。

山下一樹さんはキャリアの早い時期にしっかりと方向性を備えた作品づくりができる環境に恵まれたことが伝わってきました。

運がいいというのは、それだけの行動をしているということ。次も楽しみに待ちたいと思います。

ディスク・レヴューはこちら。

山下一樹『ジ・アザー・ミー』をAmazonで見つける→https://amzn.to/3d5JWKp

jazzLife 2021年2月号の購入はこちらから

jazz Life (ジャズライフ) 2021年 02月号 雑誌 /ジャズライフ

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