【英日対訳】ミュージシャン達の言葉what's in their mind


英日対訳:「ダウンビート」キース・ジャレットへのインタビュー (11) 2005年8月 (2/2)

August 2005  

Out of Thin Air  

Keith Jarrett reinvents his approach to the piano, and looks to do the same for his reputation   

By Dan Ouellette  




キース・ジャレット ピアノへの自らのアプローチを再構築の上 








From the sacred to the profane:

the matter of the coughs. Anyone who attends a Jarrett show, solo or with his Standards Trio, knows full well to stifle or muffle any coughing to ward off a potential wrath-of-Keith moment. But on Radiance, a few coughs in all their humanness survived the mix. Initially ECM chief Manfred Eicher requested the coughs be excised; upon hearing the mix, Jarrett disagreed.   




“I’m the one who demanded the coughs back,” he says with a laugh, as if to say, can you believe it? “To get his mix Manfred had to close down some of the mikes in the house. I listened to what he did and it didn’t sound right. During those shows the coughs had been cues to what I did next. For example, there’s one cough that determined where the end of a piece should be. I was playing very softly and I could have gone on, but that cough told me it’s about ready to resolve. So, it was like getting messages from the audience.”   

「咳払いの音を残すよう要求したのは、他ならぬ僕なんだよ。」彼は “信じられるかい?” と言わんばかりに笑ってこう言った。「マンフレートのミックスだと(咳を消すために)ホールのマイクをいくつか閉じなければならなかった。彼がやったのを聴いてみて、これは違うと思ってね。あの日のコンサートでの咳払いは僕にとって、次に何をするかの合図になってたんだ。例えばある咳払いは、曲の終わりを適切に決めるきっかけになった。その時はとても穏やかに演奏をしていて、そのまま続けることもできたんだけど、その咳払いが “そろそろ終わりだよ” と教えてくれた。つまり観客からメッセージを受け取ったようなものだ。」 


Jarrett says that he told trio bandmate bassist Gary Peacock about this part of his “epic saga of working on the live mix.” And Peacock said, “I thought you didn’t like coughs in the mix.” Jarrett said, “You’re right, but it was weird. When they were gone, I wanted them back.”   

ジャレットはこの “ミックスにまつわる壮大な物語” をトリオのベーシスト、ゲイリー・ピーコックに話したそうだ。 




Peacock’s response: “Keith, you’re even more Zen than I am.”   

Jarrett laughs.   




So, on the record, is Jarrett now encouraging his audience to give auditory cues?   



“No, good point. I don’t need voluntary coughing. Besides, I can tell the difference.”   



Was he also surprised by the lack of applause between pieces?  曲の間で拍手が起きなかったことにも驚いたのだろうか。 


“No, when that happened, I gave a little silent thank you. I was glad that the audience was uneasy. They expressed it by not applauding. They didn’t know when to clap and that was so great. That was special. I knew the Japanese audience would give me a chance to try something different. Even though they weren’t sure if they should clap, they were content to just sit there. That was wonderful to me because that’s what I was experiencing at home in my studio. When I stopped, there was just a pause to let the next [musical] thing occur to me.   



In an interview a few years ago, Jarrett said he used to believe that his solo shouldn’t last, but self-destruct by a certain date. The old Keith would disappear, not to be confused with the new. Does he feel the same way about Radiance?   



“No,” he says flatly. “This is my position paper on what I feel I can and cannot do at the keyboard. The whole language is intact. There’s an electricity because it was live. This album has something to do with my composition in a way that others did not. When you finish listening to it, it’s not like you’ve experienced a transient event. What’s happening here is closer to the coalescing of personal philosophy and music than a shot-in-the-dark concert. I can support this release more than any other that I can remember.”   



Plus, Jarrett adds, each listen reveals even more about the music he created out of thin air on those two evenings in Japan. “Usually, after going through the process of getting an album ready for release—certifying the sound, dealing with micro-volume differences—I might be tired of it already. With Radiance, my interest in what I was hearing went up every time I listened to it. This kept happening after I wrote the linear notes, otherwise I would have lightheartedly suggested that the music be listened to at least 26 times before making any judgments.”   



Jarrett’s bucolic western New Jersey home that he shares with his wife, Rose Ann, is closer to his Allentown, Pa., birthplace than to New York City, which is a 90-minute drive away. He’s lived here since 1971, has bought up surrounding land and takes refuge here in his house, office and studio, which is in a separate building. There’s a small brook that runs close to the house. He seems rested here and says his only trips to the big city are to go to the airport.   



Upon arrival at his residence, Jarrett is sitting in his low-ceilinged kitchen eating a rice cracker with peanut butter and drinking sparkling water to wash down several vitamins he takes to keep his CFS at bay (later, during the interview, he swallows several toxin-cleansing charcoal pills, a part of his daily regimen against the bacterial parasite that nearly permanently sidelined him.)   



A few minutes later, a chiropractor who lives nearby bicycles to the house, and Jarrett excuses himself for 15 minutes for some adjusting that helps with this shoulder pain. Two hours later, at the conclusion of our conversation, the chiropractor returns.   



Jarrett’s upstairs office is sound-system central, with hi-fi equipment strung together with thick black cables resting on Styrofoam cushions the size of wine-bottle corks. The ceiling is red-orange and has track lighting. His dark-wood desk is scattered with paper, as well as several model cars, including a red Ferrari and a gray Porsche 911 Carrera S. Underneath the desk is a box set of CDs, Sinatra—The Capitol Years.   

ジャレットの2階のオフィスはオーディオが中心だ。黒く太いケーブルで繋がれたハイファイ機器が、ワインボトルのコルクほどの大きさのスタイロフォーム(発泡ポリスチレン)クッションの上に置かれている。トラックライトが付けられた天井は赤っぽいオレンジ色で、ダークウッドの机には書類が散乱しているほか、赤いフェラーリやグレーのポルシェ911カレラSといった、車の模型もいくつか置かれている。そして机の下にはボックスセットのCD『Sinatra - The Capitol Years』があった。 


Jarrett settles into his desk chair. After being congratulated on his upcoming birthday, he smiles and says that this year promises to be full of significant events. “It wasn’t a master plan that I know of,” he says. “It just happened.”   



While Radiance is his crowning moment, the CD is only the first project that will roll out between now and this fall. The double disc includes the Tokyo concert tracks, 30 minutes worth, because “that was part of the same concert in Osaka. After the first show I took a train to Tokyo, had a day off and the next thing I played were the four parts in Tokyo.”   



The full Tokyo concert (including an encore of standards) will be released by ECM as a DVD. And in support of the DVD release, Jarrett will perform his first solo concert in the United States in more than a decade, Sept. 26 at Carnegie Hall. This is his only North American solo show.   


(訳注:キースはこれまでも北米でソロ公演をやっているので、これはダン・ウーレットの勘違いか。それとも05.9.26カーネギー公演がこの時点で発表を前提とした計画であることを知っていたのか。だとすれば確かに、後に発表された『The Carnegie Hall Concert』は、唯一の北米ソロ作品ではある。) 


Also slated for the fourth quarter is Columbia/Legacy’s long-awaited six-CD box set Miles Davis—The Cellar Door Sessions 1970, which features Jarrett on electric keyboards. In the tape archives since the 1970 performance at the Washington, D.C., club, the box captures the trumpeter stretching further into the fusion zone in the company of Jarrett, saxophonist Gary Bartz, bassist Michael Henderson, drummer Jack DeJohnette, percussionist Airto Moreira and guitarist John McLaughlin (who’s heard on two of the six discs—the second and third sets of the Dec. 19, 1970, show). Some of the material was used in the LP Live/Evil, but this set features more than five hours of never-released music.   

また、この第4四半期に発売が予定されているのが、コロムビア/レガシーからの待望の6枚組CDボックスセット『Miles Davis: The Cellar Door Sessions 1970』だ。エレクトリック・キーボードのジャレットがフィーチャーされている。このボックスには1970年にワシントンD.C.にあるクラブで行われたマイルス・バンドのステージを収めたテープ・アーカイヴから、ジャレット、サックスのゲイリー・バーツ、ベースのマイケル・ヘンダーソン、ドラムのジャック・ディジョネット、パーカッションのアイアート・モレイラ、ギターのジョン・マクラフリン(6枚中2枚、70年12月19日のセカンド・セットとサード・セットのみ参加)と共に、マイルスがフュージョン音楽へと領域を拡大してゆく姿が捉えらえており、一部にはLP『Live / Evil』に素材として使用された箇所も含む、5時間以上に及ぶ未発表演奏を収録したものだ。 


If Jarrett’s Radiance is best sipped in the quiet of a listening room, then The Cellar Door is made for frenetic driving over the George Washington Bridge back into Manhattan, then down the Henry Hudson Parkway. It’s hot, fast, exhilarating and dangerous. Jarrett contributes to the set’s liners, writing, “You don’t usually see this kind of comet go by more than once or twice in a lifetime.”   

『Radiance』はリスニング・ルームで静かに、時間をかけて1曲1曲をじっくりと味わうのが最高だとするなら、『The Cellar Door Sessions 1970』は、ジョージ・ワシントン橋をぶっ飛ばしてマンハッタンへ入り、ヘンリー・ハドソン・パークウェイを下る熱狂的なドライブのために作られたものだ。その音楽は熱く、疾走し、刺激的でハイで、危険な何かがある。ジャレットはライナーノーツにこう寄稿している。「これは一生に1度か2度、見ることができるかどうか分からない彗星のようなものだ。」 


Jarrett is pleased with the release, especially since it’s the only recorded documentation of the group without McLaughlin. “I wouldn’t have written any liner notes if I didn’t like it,” he says and laughs, “even though the Fender Rhodes was off its game during that gig. I would not have played that gig without Miles, who knew I was only there temporarily, because I had my own thing.”   



Jarrett disagrees with Marcus Miller’s assessment of that period as Davis just wanting a funk band. “Then why was he still playing such wonderful scales that have nothing to do with funk?” Jarrett questions. “I believe Miles wanted us all because he knew we could get funky, but not go over the edge and become a funk band. He wanted the band to play exciting things, to surprise him. Sometimes he’d look at you and you’d think he was mad at you, but what he was doing was looking like, ‘Wow!’”   



Was that your last time playing electric keys?   





(訳注:正確には、キースが最後に電子楽器を弾いたのは72年10月、フレディ・ハバードCTI録音『Sky Dive』でのセッションだが、キース的には単なる「お付き合い参加」なのでマイルスバンドが最後、ということでも大した問題はない。)  


Do you own electric keyboards today?   



“No. Totally not. Not interested. I still don’t think they’re anything but toys. I can get toys in a toy shop. It’s hard enough getting the right audio system to represent a certain moment in music. Why bother getting an instrument to squeeze itself through wires and then pretend a volume control means something? I like the electric guitar, but applying the concept to keyboards sucks.”   


(訳注:おそらくキースは電子キーボードが半音階楽器であることの不自由性(ベンドノートで豊かな表情が付けられない)に加え、音が貧弱なのは言うまでもないが、タッチによるダイナミクスのコントロールもままならず(ローズはできるがピアノほど豊かではなく、オルガンはできなかった)、ダイナミクスはアンプによるボリュームコントロールで不自然につけなければならないことをバカバカしく思っているのだろうと思われる。キースがマイルスバンドで弾いていたローズやオルガンはピッチベンドできなかったし、まだ鍵盤にタッチセンサーも付いていなかった。もちろんキースは電気による人工的なベンドノートやダイナミクスなどバカげている、という人だが、マイルスバンドのキーボードにそうした機能があったら彼はそれをうまく使って、さらに素晴らしい演奏をしていただろう。キースはそこに洗濯板しかなかったら、それを駆使して音楽をやる人なのだ。さて、そんなキースが苦労した電子キーボードに比べて、エレキギターは構造上かなり自由度が高いので、キースも納得している。キースがただやみくもにエレクトリックを嫌ってるわけではないというのがよく分かる。キースが楽しそうにエレキギターを弾いている極私的作品『No End』をまだ聴いていない人はぜひ一聴をおすすめする。長くなったが最後にこれだけは言っておきたい。それでもキースの弾くローズはアメイジングの一言だ。) 


So, with a milestone album on his hands, what’s the future look like for Jarrett? He has no plans to expand the trio, nor to work with any other artists outside his comfort zone (“I haven’t heard consciousness coming through players in so long that I’m addicted to my own band”).   



While he says he wishes he heard something new among the players he’s listened to, Jarrett’s disappointed. “I can only listen to a couple of minutes of performances and I have to turn them off. Unfortunately it sounds like people don’t know what they’re doing.”   



So, what’s on the horizon personally?   



“I don’t look ahead.”   



No plans?   



“No, never have, and if I did I would have probably missed out on things that did happen. If I had plans, even the sketchiest of blueprints, I could be stuck with the remnants of a bad idea, rather than waiting for these new things that come through the flux all by themselves. Those little nanoseconds. That’s what’s radiant. It’s like seeing people fishing in the stream and you can see the water glimmering.”   



Jarrett pauses and smiles. He says, “Maybe if I have a secret, that’s it: Don’t have plans.”  








Ask Keith:   

Q. Based on your experience, what advice could you give to an aspiring artist?   



I’ll negatively answer your question by way of an anecdote. I used to be—and still am—renowned for being pointedly honest to people backstage after concerts. My ex-wife used to get on my case. She’d say, “That’s not very nice.” So, one day, I decided to be a little nicer.   



I was playing on the West Coast and this guy came up to me. He had been playing the piano and guitar and decided to stop playing. So, as Mr. Nice Guy, I changed what I would have probably said, which was, “That’s OK if you don’t want to play anymore. Don’t do it.” But I didn’t say that. I said, “You should keep playing.”   



So, he went back home, started to play again, made an album, sent it to me and asked for my opinion. Well, I thought it was complete trash and totally derivative. He asked me to be honest, so I sent him an honest appraisal.   



First I was god, then I was the devil.   



Five or 10 years later, Gary Peacock, Jack DeJohnette and I were playing in Copenhagen. Before the show we were eating in this garden area outside the concert hall, and this guy comes up to our table. He said, “Mr. Jarrett, do you remember me?” And I said, “No, I’m sorry, I don’t.” And then he pulled my letter out of his pocket. And I said, “I remember the letter and now I remember you. And excuse me, but we have a concert to play.”  



Being positive and giving people advice has probably done more harm than good. The right thing I should have told him backstage was, “That’s fine. Stop playing.” Then the ball’s in the real court where it belongs. It tells a person to be responsible for themselves and not rely on someone else. The creative thing is to leave someone on their own.   




Schools cannot create innovation. Innovation and schools are almost diametrically opposed. A jazz player cannot study with jazz people because you become a part of who you study with. So, you can’t become yourself. No one will help you on that issue. If you’re improvising and it’s not coming from you, it’s not worth playing because it’s been played before, probably by the people who taught you.   



And, as for the school of thought of emulating people to find your own voice, I don’t think so. All a pianist needs is a piano teacher to teach you how to use the instrument. After that, it’s nobody’s game but yours. —D.O.