第五トラディショナルno.26 New Orleans Jazz

先日11/10-11(土日)と行われた
新宿三丁目トラッドジャズフェスティバル、今年も盛会に終わる。

新宿三丁目界隈のトラッドジャズ文化、

ぜひともより一層共有されるべきだと思う。

そこで今回は上記トラッドジャズフェスティバルの
メインテーマの1つでもあるニューオリンズ・ジャズに迫りたい。

 

今回も引き続いてゲストはdatakestra先輩
_MG_8103

プロジェクト大山の単独公演
2012年12月8日(土)~9日(日)@池袋あうるすぽっと
もどうぞ宜しくお願いします。

 

 

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iTunes等でのpodcast登録はこちらのアドレスをご利用下さい。

itpc://feeds.feedburner.com/fifth-traditional

 

一人目はBunk Johnson
(写真右はLeadbelly!)
bunkjohnsonleadbelly

Willie Gary "Bunk" Johnson (December 27, 1879? – July 7, 1949) was a prominent early New Orleans jazz trumpet player in the early years of the 20th century who enjoyed a revived career in the 1940s.
unk received lessons from Adam Olivier and began playing professionally in Olivier’s orchestra. Bunk probably played a few adolescent jobs with Buddy Bolden, but was not a regular member of Bolden’s Band for any length of time (contrary to Bunk’s claim). Bunk was regarded as one of the top trumpeters in New Orleans in the years 1905–1915, in between repeatedly leaving the city to tour with minstrel shows and circus bands.


In 1931 he lost his trumpet and front teeth when a violent fight broke out at a dance in Rayne, Louisiana, putting an end to his playing. He thereafter worked in manual labor, occasionally giving music lessons on the side when he could.

In 1938 and 1939 the researchers/writers of the first book of jazz history, Jazzmen, interviewed several prominent musicians of the time, including Louis Armstrong, Sidney Bechet, and Clarence Williams, who spoke very highly of Bunk in the old days in New Orleans. The writers tracked down Bunk’s address, and traded several letters with him, where Bunk recalled (and possibly embellished) his early career. Bunk stated that he could play again if he only had new teeth and a new trumpet. A collection was taken up by writers and musicians, and Bunk was fitted with a set of dentures (by Bechet’s dentist brother, Leonard) and given a new trumpet, and in 1942 made his first recordings.
(wikipedia)

”See See Rider”

(Traditional)

31 July 1944 New Orleans, Louisiana

Bunk Johnson;tpt

Jim Robinson; tmb

George Lewis; clt

Laurence Marrero; bjo

Baby Dodds; dms

なお、日本語で書かれた”初期のジャズ”というサイトもとても詳しく親切な解説が書いてあります。ご参照下さい。

 

初期のジャズ

 

 

 

 

そして二曲目はGeorge Lewis

georgelewis

George Lewis (13 July 1900 – 31 December 1968) was an American jazz clarinetist who achieved his greatest fame and influence in the later decades of his life.Contents 

Lewis was playing clarinet professionally by 1917, at the age of seventeen, working with Buddy Petit and Chris Kelly regularly as well as the trombonist Kid Ory and other leaders. At this time, he seldom traveled far from the greater New Orleans area.

During the Great Depression he took a job as a stevedore, continuing to take as many music jobs after hours as he could find, a schedule that often meant he got very little sleep.

In 1942, when a group of New Orleans jazz enthusiasts, including jazz historian Bill Russell, went to New Orleans to record the older trumpeter Bunk Johnson, Johnson chose Lewis as his clarinetist. Previously almost unknown outside of New Orleans, Lewis was soon asked to make his first recordings as a leader on American Music Records, a label created by Russell to document the music of older New Orleans jazz musicians and bands.

(wikipedia)

“Burgundy Street Blues”

(George Lewis)
July 29, 1944 New Orleans Louisiana

American Music V-254
George Lewis (cl)

Lawrence Marrero (bjo),

Alcide ‘Slow Drag’ Pavageau (b)

 

 

 

ちなみにこの一連の録音を行ったビル・ラッセル。
歴史家として知られていますが、そもそもは現代音楽の作曲家で
ジョン・ケージと同世代。打楽器を用いた曲を得意としたそうで、ケージも影響をうけたんだとか。
やはり、トラディショナルと現代音楽は肉薄しているのかも知れません。

http://en.wikipedia.org/wiki/Bill_Russell_(American_Music)

 

 

 

 

三曲目は1973年のPreservation Hall Jazz Band

preservationhall

Preservation Hall Jazz Band is the name for numerous groups of Dixieland Jazz and traditional jazz bands at Preservation Hall in New Orleans, Louisiana, and on tours as organized by the Preservation Hall.

The purpose of the Hall has been to preserve the heritage of both New Orleans traditional and Dixieland jazz music born in New Orleans and common to the Riverboats plying the Mississippi River, which spread throughout the South until the early 20th century.

The musicians in the groups have varied during the years since the founding of the hall in the early 1960s.

Bands of the Preservation Hall Jazz Band perform at Preservation Hall on 726 St. Peter Street in the French Quarter, and tour around the world for more than 150 days a year.

wikipedia

 

”Amen / This Little Light Of Mine”
(traditional)

1973

Sing Miller p/voc

Cie Frazier d

Allan Jaffe tu

 

 

 

 

最後はコンテンポラリーなところから、
Stooges Brass Band
stooges 

The Stooges Brass Band has been one of the elite brass bands in New Orleans but only recently are receiving the accolades and well deserved recognition of their importance to the music scene of New Orleans.
stoogesmusicgroup.com

“Wind it Up”

 

 

同じ曲を地元最大のフェス、Jazz&Heritageで演奏。

 

 

筆者はこのちょうど二週間後に下記Hi-Ho Loungeのライブに行きました。
録音の中でも言っていますがとてもトランシーな体験でした。

http://www.hiholounge.net/

 

 

 

次回は11/27(火)配信予定です!

バックナンバーはこちら

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”第五トラディショナル公開収録の

お知らせ”

2012年12月14日(金)
開演20:00-
於:荻窪ベルベットサン

http://www.velvetsun.jp/

第五トラディショナル公開収録会
–事故物件からこんばんは–

出演
渡邊恭一(司会、サックス・クラリネット奏者)
ダニースミス(解説、The Danny Smith Project主宰)
ゲスト:大谷能生(音楽家、批評家)
日時
料金
予約2000円+ワンドリンク、当日2500円+ワンドリンク
学生各500円引き

 

 

ゲストには音楽家・批評家の大谷能生さんhttp://www.ootany.com/ を迎え、
いつものダニースミス、渡邊恭一の出演です

トーク&音源紹介の収録は勿論、
当日は一部からカルト的な評価を得ている番組BGMの公開収録も予定しています。
大谷さん、私のサックスその他、そしてダニースミスの太鼓は一体どんな物語を語りかけるのか。
併せてご期待ください。

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