Pastorius_Jaco

2021/06/25

ELEGANT PEOPLE / WEATHER REPORT

ジャズ史上に大きな足跡を残した”Weathe Report” 偉大なバンドの歴史が詳細に綴られた書籍”Elegant People”が出版された。
Img_8567s Img_8571s 500ページにわたって神秘的なバンドの詳細が記され 1978年以降 後期のセクションに僕の写真が多用されて 偉大な活動の記録の一部に参画出来たことが嬉しい。

著者 CURT BIANCHI は Weather Report や Joe Zawinul のwebサイト作成者でありながら、音楽のみならず多くのテーマを手がける著述家。カートに僕を紹介してくれたのは、かつてWeatherのバンドメンバー(この本の序文も)ピーター・アースキンだった。

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2021/05/09

Interview: Shigeru Uchiyama

英国のジャズ・ジャーナリスト George Cole のサイト “The Last Miles” 「マイルス・デイビスにもっとも近づいた日本の写真家:内山繁、オン・ステージ、バック・ステージはもとより、多くのプライベート・シーンをも捉えた彼の素晴らしいキャリアとマイルスとの緊密な関係について尋ねた。」とするインタビュー記事

10年間にわたる僕とマイルスの親交がたっぷり紹介されています。英語で書かれるとなおさら格好良く読めるところ 非常にくすぐったい内容になってます。

いい加減な日本語の答えを ちゃんとした英語に直してくれた 平間久美子さんに感謝です、ありがと〜!

https://www.thelastmiles.com/interviews-shigeru-uchiyama/

Interview: Shigeru Uchiyama

It is fair to say that few photographers got closer to Miles than Japanese photographer Shigeru Uchiyama. His stunning of images of Miles captured him on-stage, backstage and in many informal moments. The Last Miles.com was fortunate to ask Shigeru about his amazing career and his close relationship with Miles.

Shigeru Uchiyama in 2021 © Shigeru UchiyamaShigeru Uchiyama in 2021 © Shigeru Uchiyama

The Last Miles: You started out as a freelance photographer, initially doing commercial photography, but I understand, that in 1975, it was suggested that you should photograph jazz artists. Can you recall the first jazz artist you photographed and where it took place?

Shigeru Uchiyama: It was in autumn 1975. I was asked, ‘Would you try shooting jazz scenes?’ My first assignment was the Tokyo performance of Dave Liebman and Lookout Farm.

TLM: Why do you like photographing jazz artists?

SU: I got obsessed with taking photos of the stages of famous musicians. I was learning to be a commercial photographer, but I changed my direction to jazz photography.

Miles and Shigeru Uchiyama in 1985 © Shigeru Uchiyama Miles and Shigeru Uchiyama in 1985 © Shigeru Uchiyama

TLM: Can you list some of the many jazz artists you have photographed over the years?

TLM: I started my career too late to take photos of Satchmo [Louis Armstrong], [Billie] Holiday, [John] Coltrane, or [Duke] Ellington, but a lot of jazz giants were still playing actively. When Miles came back to the scene in the 1980s, jazz was very vibrant. A lot of musicians came to Japan for jazz festivals or concerts at huge venues, so if I waited for them in Tokyo, I was able to take almost all the famous players, including, [pianist] Bill Evans, Chick Corea, Herbie Hancock, Keith Jarrett, Count Basie, Charles Mingus, Ray Brown, Jaco Pastorius, Art Blakey, Tony Williams, Joe Pass, Jim Hall, Paco DeLucia, Dizzy Gillespie, Chet Baker, Stan Getz, Sonny Rollins, Dexter Gordon, Wayne Shorter, Ella Fitzgerald, Sarah Vaughan, and of course, Miles Davis!

TLM: Do you know how many images you have in your total jazz archive?

SU: There are more than 5000 rolls of monochrome films (most film rolls have 36 images) and approximately 18,000 reversal [slide] films and I’ve been digitising them. I am planning to finish the countless scanning works before I die.

Miles © Shigeru UchiyamaMiles © Shigeru Uchiyama

TLM: Do you know how many images of Miles Davis you have in total?

SU: 120 rolls of black and white film and 1120 reversal films. These contain images of Miles not only on stage, but also backstage, and some very private shots, when he was really relaxed.

TLM: How many books, CDs or posters have used your images?

SU: I was taking photos for the Japanese monthly jazz magazine Swing Journal for about 30 years since 1975. I have published three photo books: Miles Smiles (1993), No Picture! (2016), and Jaco (2017). There are so many vinyl records, CDs, concert programmes, and posters I contributed to that I really cannot count the numbers. Unfortunately, there are a lot of websites and CD covers that have used my photos illegally.

Shigeru Uchiyama: No Picture! coverShigeru Uchiyama: No Picture! cover

TLM: Can describe what equipment you use to photograph jazz concerts?

SU: For shootings at concert halls and clubs, where mobility is critical, I used a Canon SLR film camera (F-1, New F-1), Hasselblad (500C and 500 EL), Leica (M3). I don’t remember much about digital cameras because I often changed cameras. Probably, the first one was a [Canon] D30. For portraits photos for vinyl, CDs, magazine covers, I used middle-sized Hasselblad, and for the musicians who played very quietly like solo piano or the ones who hated noise, I occasionally used Leica because the shutter sound was softer. After 2000, I shifted totally to digital.

TLM: Has any of your work ever been exhibited in Japan or anywhere else in the world?

SU: The first exhibition was Jazz A to Z in 1985 [note that English titles are approximations of the original Japanese exhibition title]. Others include, MPA photo exhibition SCINE; Live Under The Sky; The Best to Best Miles; Miles Davis Artwork exhibition; Miles Smiles; Portraits of Jazz Pianists; Portraits of Jazz Guitarists; Portraits of Jazz Bassists; Portraits of Jazz Drummers; Portraits of Jazz Horn Players; Portraits of Jazz Vocalists; Mount Fuji Jazz Festival; Trajectory of Mt. Fuji Jazz Festival; New York; Paris; Merry Xmas New York; Jazz Through the Viewfinder; Emperor of Jazz Miles Davis; No Picture!; and Jaco. Sculptor Koichiro Tokumochi and I did Portraits of Jazz / Jazz Sculptures and Jazz Meets Art.

Miles © Shigeru UchiyamaMiles © Shigeru Uchiyama

TLM: I understand that you are also a resident photographer for Blue Note club, Japan. Could you please tell me how you got this position and what it is like photographing jazz artists in a club situation?

SU: In 1988, when Blue Note started business in Tokyo, I had many portraits of the musicians Blue Note were planning to book for the club. It seemed an advantage for the organisers that they could use my photos for advertisements. The launch of Blue Note Tokyo became a driving force, and jazz clubs like Keystone Korner Tokyo and Blues Alley Japan started business one after another. Jazz was booming and I was hired as a house photographer for this reason. Therefore, I was super- busy and was able to make a lot of money.

TLM: Can you please share any memorable moments while working at the Blue Note club?

SU: I was not only taking stage photos, but I also had many opportunities to get to know the musicians and learn about their opinions of music. I had some opportunities to take some musicians who had an interest in photography to camera shops, and also took some to instrument stores to assist them. These are memorable moments for me. At Blue Note Tokyo, the photography area was really limited to narrow space around the PA equipment, that was positioned behind and high above the audience. Even though it was difficult for the people on stage to find me, there were a lot of musicians who willingly looked towards my camera. This was because I let them know where I would be shooting from when I visited them backstage before the gigs. Tony Bennett pointed at my camera repeatedly and it was as if he was singing to me. None of the audience noticed that because they couldn’t see into the PA area.

Miles © Shigeru UchiyamaMiles © Shigeru Uchiyama

TLM: Miles Davis said in his autobiography that Japan was one of his favorite places to visit and that the Japanese people treated him very well. Can you explain to a non-Japanese person what Miles Davis and his music meant to many people in Japan?

SU: Not only Japanese people, but the world knows that Miles accomplished the greatest achievements in jazz history. If there is anything Miles’ music is appealing especially to Japanese people, it may be his pauses (not playing super difficult phrases with a lot of notes, but having many quiet moments effectively). This syncs with the Japanese ‘wabi-sabi’ aesthetic. Religiously speaking, it’s like drifting between ‘emptiness’ and ‘ambivalence.’ Another reason why Miles loved Japan was that Japanese people paid very expensive performance fees by cash without negotiating!

TLM: Your latest book No Picture! starts with a photograph of Miles Davis arriving at Narita airport on September 29 1981. Was that the first time you photographed Miles Davis? Can you recall anything about the event?

SU: After coming to Japan in 1975 to record [albums] Agharta and Pangaea live performances, Miles had been quiet for six years. Therefore, I thought it would be impossible to take Miles’ photos. People thought Miles couldn’t come back on stage because of health reasons, but in September 1981, I was at the arrival hall at the airport waiting for Miles who were visiting Japan to play again. For jazz photographers, photographing Miles was a feather in the cap (something to be very proud of) and it was equal to receiving a medal. A very long time had passed since the arrival time [of Miles’ flight], and when I found Miles at the Immigration floor in the distance through a glass, I was already very nervous and excited. I felt relieved when I saw him talking to an [airport] escort staff with a smile. In the past, Miles got arrested for possessing guns or drugs, and there were times when concerts were canceled because he was not allowed to enter Japan.

When he showed up, he wasn’t with [his personal] escort staff, but with the actress [and soon wife-to-be], Cicely Tyson, who was said to have a lot of positive influences on him to start playing again. He was smiling, holding her hand.

Miles © Shigeru UchiyamaMiles © Shigeru Uchiyama

TLM: What was the first Miles Davis concert you photographed? Do you have any memories about it that you can share?

SU: The first concert was at the stage set up among buildings in the city centre. The concerts were held over three days, and audiences of 10,000 people enjoyed them daily. Miles was limping around the stage and 60 photographers were chasing him frantically going right and left.

I realized that staying in the closest position may not always be a good idea, so after going right and left with others, I quietly left the pack and went to the back of the stage. When I inserted my camera lens between the black curtains, I could see Miles giving directions to the band members about rhythms. Also, I could see him asking for a cigarette at the stage wing during a very short break between songs.

TLM: Can you tell us about the first time you met Miles Davis?

SU: After the concert on the final day of the Tokyo performances, I took a group shot where all the members were backstage (in the dressing room). After a few shutter sounds, Miles walked to the exit without saying anything [and] without any expression, and I felt intimidated. Miles arrived at a hotel in Nagoya for concerts. When I pointed my camera toward him, he stared hard at me, walked to me, and said: “No picture!” with a hoarse voice and a piercing look. They were the very first words uttered by Miles towards me. I stood frozen on the spot. I was dreaming about pointing a camera lens at Miles, but I got frightened and overwhelmed with fear.

Miles © Shigeru UchiyamaMiles © Shigeru Uchiyama

TLM: Looking at your amazing photographs, it is clear that Miles had a deep trust and respect both for you and for your work. Can you explain how you built up this incredible relationship with Miles Davis? Did he ever tell you why he liked you so much?

SU: When Miles came to Japan in 1981, I was just one of the press photographers who annoyed him. However, he might have seen my photos in jazz magazines and perhaps realised that the person who took those photos was me, who chased him around all the time. Two years later, when he came to Japan again for another Japan tour and I got close to him again, he grabbed my arm and said, “I’ll show you shadowboxing. Follow me.” He beckoned me to a swimming pool and said: “Why don’t you have a camera while I am swimming!?” When he saw sumo wrestlers, he said: “I’d like to take photos with them.” He used to hate being photographed, but his attitude toward photography had changed greatly. He said he showed his smiley photos to his friends telling them: “Jap made me smile so nicely.”

TLM: How did you approach photographing Miles?

SU: I almost never asked Miles for permission to take photos. As a photographer with a camera near him, it was obviously my intention to take his photograph. Miles rarely told me to take photos or not to take photos, because I am a photographer who has a great sense of when to shoot and when not to. If I had tried taking photos at a wrong moment, he would have kicked me out on the spot.

TLM: I am amazed at the many photographs you took of Miles at home or in a hotel room. How long did it take for Miles to allow such access to his personal life?

SU: He rarely accepted requests of interviews and photo sessions even if the requests were by famous (and authoritative) jazz magazines. Also, even if a request was accepted, he used to cancel it at last minute, or he changed the time and/or place – and usually, the new time and place were impractical for the interviewer. If an interviewer gave up on meeting him, then Miles would never see them again. The editor of an authoritative jazz magazine – a music journalist who is a big fan of Miles – and I passed a lot of unforgiving tests to get close to Miles.

Miles © Shigeru UchiyamaMiles © Shigeru Uchiyama

TLM: When you visited Miles Davis’s home, how long did you stay there?

SU: In spring 1985, three of us were invited to his holiday house in Malibu. We flew from New York to LA to spend time just three hours with him. Miles let me take photos of him drawing pictures on his drawing pads and showing me each of his rooms: bathroom, kitchen, and his yellow Ferrari at the garage. It was a long daytrip. In summer 1986, we visited his place in Manhattan. He showed me his bathroom cluttered with his shaver and brush, his bedroom with his clothes and belts. Again, he didn’t try to hide his private life – he showed me everything.

TLM: No Picture! includes photographs of Miles at the Decoy sessions in A&R studios in New York. Did you photograph any other recording sessions and do you have any memories of them that you can share?

SU: In July 1983, I received information that Miles was coming to A&R studios so I went there. Later, Miles showed up and invited me into the studio saying “Follow me.” It was a month since I had last seen him at a concert in Japan, but he didn’t say hello and there were no handshakes. When I was listening to the recording at the control room, I suddenly got kicked out of the room. When Miles’ playing started getting good vibes, he suddenly said: “Get rid of that Jap!” It was only the time I saw Miles’ at a recording session.

TLM: I purchased your book Miles Smiles when I was in Japan. It is a superb but very rare book to find. How many copies were printed? Are there any plans to republish it?

SU: Miles Smiles was published in 1993, and the 3000 copies were all sold out, but there are no plans for a reprint. If there are any publishers who wish to publish the book in English or French, please let me know.

Shigeru Uchiyama: Miles Smiles coverShigeru Uchiyama: Miles Smiles cover

TLM: Can you tell us how many copies your latest book No Picture! have been printed?

SU: As you know, “No Picture!” were the very first words from Miles to me, who was chasing around and annoying him. 3000 copies were printed.

TLM: In No Picture! there is a striking photograph of Miles standing astride over a person lying on their back. Can you tell us who that person is and what is happening the picture? 

SU: After concerts, Miles used to listen to the concert tapes very loud in his hotel room. After the concert in Tokyo in 1985, his nephew, Vincent Wilburn Jr., came to Miles’ room and Miles gave him some advice as he was listening to the evening’s recording. Miles let him hear the same part repeatedly, then playfully held him down, and pointed out some parts that could be improved. I was very surprised to see him teaching his nephew so enthusiastically.

TLM: Do you have any favorite photographs of Miles?

SU: The cover photo of Tutu by Irving Penn is amazing. The art director was a very famous Japanese graphic designer, Eiko Ishioka.

Miles Davis TutuMiles Davis: Tutu

TLM: What was Miles Davis’s reaction when he saw your photographs? Did he have any favorite images you took?

SU: This goes back to an earlier question. He said he showed his smiley photos to his friends telling them: “Jap made me smile so nicely.” It was a smiley photo of Miles opening his arms widely looking at the Pacific Ocean from his holiday house in Malibu.

TLM: Do you have any memories you can share about any of Miles Davis’s band members over the years?

SU: When Miles was still very cautious about me, Al Foster (I had known him for a while then) gave me some opportunities for taking band members’ group shots and some off-stage photos of Miles. The person who gave me the information about the secret recording in New York was Darryl Jones. After he joined Rolling Stones, I asked him to give me an opportunity to meet Mick Jagger, but it hasn’t happened yet. Other members like [saxophonist] Bill Evans and Mike Stern have been welcoming when I’ve seen them at concerts, and they willingly let me take their photos.

TLM: When was the last time you photographed Miles Davis?

SU: In the 1990s, Japan seldom hosted small venue gigs by super famous musicians like Miles. As a house photographer of Blues Alley Japan, that had newly opened in Tokyo, I took photos of his gigs for four nights in a row, and at an outdoor concert organized by the same club. And it was the last time I photographed Miles.

Miles © Shigeru UchiyamaMiles © Shigeru Uchiyama

TLM: Can you recall the last time you saw Miles Davis?

SU: In summer 1991, I was at Avery Fisher Hall in New York, not holding a camera, but a concert ticket. It was three months before his death. I really enjoyed his concert as a member of the audience, without a camera, and I burned the experience into my heart. It was the last time I saw Miles and I didn’t even visit him backstage.

TLM: Are you planning any more books or new exhibitions about Miles Davis?

SU: I am hoping to hold photo exhibitions in London and Paris before I die.

TLM: Can you share some of your favourite memories of Miles Davis please?

SU: Miles often canceled interview appointments at the last minute. When I visited him at a hotel room with an editor, a writer, and a Japanese celebrity as an interviewer, he looked uneasy, walking around the room, going into his bedroom, and coming back. He said: “This is my day, not your day. I won’t let you interview me or take photos.” He mumbled some complaints repeatedly and we were kicked out. As I was leaving his room, after everyone else had left, he casually put his hand on my shoulder. It was as if he was saying: “I know you understand me. Please come again.” I just nodded. It was a happy cancellation memory for me.

Miles © Shigeru UchiyamaMiles © Shigeru Uchiyama

TLM: Can I also ask you about Jaco Pastorius? Can you share some of your memories of photographing him and what he was like as a person?

SU: One day in 1981, I got a call from a person in charge of jazz in a record company. He sounded upset and asked me if I could come to a photo studio in Yotsuya [a neighborhood in Tokyo]. He said they had reserved a photo studio to take Jaco’s photos for an advertisement, but he didn’t like the photographer they had assigned, and kept insisting that they should call Uchiyama. I rushed to the studio and took a lot of photos of him from various angles within a limited time by changing background colors and being creative with lights. Jaco showed me many different appearances: changing his shirts, tying his long hair, and untying it. When I said I’d like to capture the photos with his bass guitar blurred, he shook the neck of the bass again and again. This is one of the unforgettable photo sessions for me.

Jaco Pastorius © Shigeru UchiyamaJaco Pastorius © Shigeru Uchiyama

Jaco and I were both born in 1951. Ever since I covered Weather Report’s Japan tour right after Jaco joined them as a new member, we had been really getting along as friends of the same age. “Let’s go to instrument stores together.” “I’m going to bring my bass with me, so please take my photos with my instrument on the street and on the subway,” he would say with an impish smile. A few days later, when I showed him the photos, he happily wrote a lot of “J”s on the contact sheets with a red pen. When I saw him at a jazz club in New York, he introduced me to his band members saying, “This is the world’s best photographer who photographed the world’s best bass player.” That was hilarious and it made me happy! He often used the expression “world’s best.”

The last time I met Jaco was at an outdoor concert held at a pier of Manhattan. I don’t know why he was there. He looked a little woozy, but was happy about finding me, and he gave me a can of beer. I drank it feeling confused. The following year, he passed away from such a sad incident [In 1987, Jaco was beaten to death by a club bouncer]. Jaco had mental health issues, but he was a genius. He was really a good guy who cherished friendship.

Miles © Shigeru UchiyamaMiles © Shigeru Uchiyama

Many thanks to Shigeru for taking the time to answer my questions, and thank you to Kumiko, for all her hard work in translating our words.

You can see our review of Miles Smiles here and our review of No Picture! here.

Many of Shigeru’s great images can be seen on his Flickr page and Shigeru’s Facebook page is here.

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2021/02/06

27歳の新米カメラマン

1978年5月に開港したばかりの真新しい成田空港ロビーで ジャコ・パストリアスとピーター・アースキンを加えた新生ウエザー・リポートを乗せたJAL61便を待っている 27歳の新米カメラマン・・・後にピーター・アースキンがこの時の記憶を綴った嬉しいコメントをくれた。
19780618_0793c6s19780618_0792e6s
 僕と同じ年頃の若い写真家、彼は愛用のSLRのファインダーを覗くのに便利なように野球帽を後ろ前にかぶっていたが、おかげで彼が写真を撮っていない時には、絶やさぬ笑顔と目のきらめきがよく見えた。彼の名は内山繁。日本の音楽雑誌「スイングジャーナル」に雇われてバンドの撮影に来ていたカメラマンで、バンドの写真を撮るにあたっては「一線を越えない」よう求められても不思議はなかったのに、僕らの行くところすべてについてきて、バンドから諸手を挙げて迎え入れられたのだ。
 何故かって?僕の記憶では、ジャコと僕はすぐシゲルが気に入った。彼は僕らの仲間だった。僕ら三人の年齢はジョーとウエインのほぼ半分だったのだ。僕らは子供だった。未来だった。見つめることでできる限りすべてのことを学び取ろうとしていた。そしてシゲルは他の誰よりも注意深く見つめていた。
 彼のカメラと視線はウエザー・リポートのこの歴史的なツアーの間の大事な瞬間を一つも残さず捉えていた。その後のすべてのウエザー・リポートのツアーでもそうだった。僕らはシゲルを友達として好きだった。彼の写真が大好きだった。だが何より大切なのは、僕らが彼を信頼していたいうこと。彼が音楽を録音するのと同じようにバンドの姿を捉えようとしていたことを、僕らは知っていた。彼がシャッターを切るタイミングは常に完璧だった。僕らのOKをとるために彼が差し出した最初の写真のセレクションを見て、僕らはそれを確信したのだ。ダメな写真は一枚もなかった!ウエザー・リポートを喜ばせるのは容易ではないが、シゲルの写真は必ず僕らをよろこばせてくれた。
 シゲル、君の友情と優れた目と確かな手に感謝。- ピーター・アースキン -


Bss ピーターがくれた嬉しい賛辞はまだまだ続きます。駒草出版刊 ジャコ・パストリアス写真集「JACO」の中に 天才ベース・プレイヤーと彼を擁した伝説のバンドの貴重な写真記録と共に掲載されていますので、手に取っていただけたら嬉しいです。


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2018/06/18

はい・・・ジャズ中毒です

JACO-T 4種完成・・・販売開始!WATERFALL 限定コラボ Tシャツ
第一弾はジャズ写真家:内山繁が撮影した最強ベーシスト「ジャコ・パストリアス」のフォトTシャツ
Img_5379s Img_5381s Img_5382s Img_5385s
ジャズ界だけでなく音楽界に多大な影響を与えたベーシストの貴重なワンシーンを切り取った他では手に入らない『JAZZ ADDICT』シリーズです。
Jacot
WEB STORE はこちら https://waterfall.stores.jp

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2017/09/13

新発売! JACO平積みなう!

ジャコ・パストリアス写真集「JACO」 本日(9/13)一斉に全国の書店に並んでます!

170913c 170913d 書店で見つけた方へ 平積みになってない場合は 店員に見つからないよう こっそり平積みにしといてください 昨年末刊行の マイルス・デイヴィス写真集「NO PICTURE!/撮るな!」を並べてもNICE!
本書に掲載の特別寄稿 by ピーター・アースキン(元Weather Reportのドラマー)いいこと書いてくれてます 嬉し過ぎて倒れそうです

音楽キャスター:ピーター・バラカン氏も いかしたメッセージを寄せてくれて ダブル・ピーターの読み物ページも充実 35年という短い生涯を駆け抜けた 天才ベーシスト=ジャコ・パストリアスの素顔に迫る写真集は “amazon”でも買えるようです
https://www.amazon.co.jp/JACO-ジャコ-パストリアス写真集-内山繁/dp/4905447852/ref=sr_1_10?ie=UTF8&qid=1505279526&sr=8-10&keywords=JACO

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ジャコ・トーク 9月15日 ON-Air!

ジャコ・パストリアス写真集「JACO」の出版に Goodタイミングで TOKYO FM番組ゲストとしてお招きいただきました。

写真集にも いかしたメッセージを寄せてくれた 音楽キャスター:ピーター・バラカン氏の番組「The Lifestyle Museum」は 9月15日(金) 18:30〜19:00 オンエアです

170913a 170913b 収録スタジオのガラス越しボケブレ写真 by nao ^^;
ジャコ・マイルス・ジャズと写真のこと喋ってます・・・diskunion Jazz TOKYOの ジャコ・トークに行けなかった方は こちらでお楽しみください。

聴き逃してもMonday Night!(問題ない!) “radiko”では 放送後1週間 タイムフリーで ポッドキャスト(http://www.tfm.co.jp/podcasts/museum/)でもお聴きいただけます

なお お茶の水 diskunion Jazz TOKYO では ジャコ・パストリアス写真展を10月1日まで開催中! どうぞお立ち寄りください。

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2017/09/12

ジャコ・トーク × ピーター・バラカン

ジャコ・パストリアス写真集「JACO」の出版を記念して 音楽キャスター:ピーター・バラカン氏とのトーク・イベント(9.11 @ お茶の水 diskunion Jazz TOKYO)
170911b
ジャズ・フロアを埋め尽くすほど多くの皆さんの前で ジャコとウエザー・リポートとの出会い・想い出・音楽のこと・写真のこと・・・
170911c170911d

Photo by Toru Takashita(上) by Mitsuru Yamazaki(下2枚)

脱線気味な僕のトークを バラカンさんに軌道修正いただいて ジャコ/ウエザー…/ジョニ・ミッチェルの曲など聴きながらの2時間半

サイン会にも長蛇の列! ご来場の皆さま ピーターさん ありがとうございました。

同店で開催中の ジャコ・パストリアス写真展は 10月1日までご覧いただけます お楽しみください。

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2017/09/06

ジャコ・パストリアス写真集 JACO

Img_4411s_2 ウエザー・リポートが新メンバー構成になって来日した 1978年 ジャズ専門誌「スイングジャーナル」の専属カメラマンとして 僕はバンド追跡撮影の命を受けた。

僕は27歳、ジョー・ザヴィヌルとウエイン・ショーターは僕の倍ほどの歳だったから それ以前から面識はあったけれど 初めて会った同年代のジャコとピーター・アースキンとのほうがウマが合っていた。

その後も来日のたびに会って 写真を撮る機会は続いたけれど・・・1987年の不幸な出来事で 僕らの交友が絶たれてから もぉずいぶん時が経った。

今年がジャコの没後30年にあたるのを機に 早逝した天才ベーシストの記録と想い出をまとめておきたいという僕の熱意を こうして写真集のかたちで実現することが出来て 写真家として 嬉しい達成感をいま感じている。

ウエザー・リポートと 朋友ジャコとの交友を綴った著書「No Beethoven」からの記述引用を快諾してくれたピーター・アースキンは 僕とジャコとの温かい想い出メッセージを本書のために寄せてくれた。

僕たちの友情が 亡き友 ジャコに届きますように・・・

02 ジャコ・パストリアス写真集 JACO は 9月13日には 全国の書店に並ぶほか。 お茶の水 diskunion Jazz TOKYO では 9月11日に 刊行記念のインストア・イベント(ピーター・バラカン氏との対談)を開催して 先行販売

同店では 内山繁 写真展 JACO を(10月2日まで)開催中です。

また 三軒茶屋 Jazz & Café Gallery "Whisper”のライブにご来店のお客さまは 9月7日から(部数限定)お求めいただけます どうぞご期待ください。

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2017/09/02

マイルスとジャコと美代子さん

「ウチヤマさ〜ん! マイルスがプールで泳いでるよぉ・・・早く行かなきゃ!」って 教えてくれたのは 三浦美代子さん 1983年5月 大阪ロイヤル・ホテルでのこと。
19830527_2773b1s_2 170902a_2

 
 L:プール上がりのマイルスを笑顔で迎えた美代子さん

 R:プール・サイドで「さあ撮れ!」とポーズしてみせるマイルス

美代子さんがあのとき声を掛けてくれなかったら 僕はプール・サイドで笑顔のマイルスに会うことができなかった・・・プールで泳ぐマイルスの貴重なショットを撮れなかった。

マイルス専属の通訳としてだけではなく ツアー中は常に一番近いところにいて身の回りを気遣うアテンダーでもあった美代子さん・・・新しい衣裳のパンツを本番用に裾上げを手伝ったとき マイルスの片脚が(事故後の手術のせいで)数センチも短かったこと、靴のヒールも左右高さが違ってたと 当時の想い出を話してくれた。

Bs 間もなく刊行される ジャコ・パストリアス写真集「JACO」のために(元Weather Reportのドラマー)ピーター・アースキンが寄せてくれたメッセージを 心温まる思いをそのまま日本語訳してくれたことが(ジャコの大ファンでもある)美代子さんとの再会のきっかけになった。

ピーターと奥さま睦子さん そして美代子さんとの温かい友情に感謝します、ありがとうございました。

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2017/08/11

ピーター×ピーター&僕

 ピーター・アースキンには、新メンバー構成のウエザー・リポート来日の時にジャコと同時に初めて会った。自身の音楽人生とウエザー・リポート、そしてジャコとの交友を綴った著書「No Beethoven」からの記述抜粋使用を快諾してくれたピーターは、僕とジャコとの想い出メッセージを本書のために寄せてくれた。

170811c 170811d
 Blues・R&B・ソウル系に精通した音楽キャスターとして知られるピーター・バラカン氏、なかなかどうしてジャズにも造詣が深く豊富な知識と経験談を本書に掲載させていただきました。(ピーターが二人いてややこしい)

バラカン氏とジャコ そして僕はともに1951年生まれの同い年。アースキンは3個下

● ジャコ・パストリアス写真集『JACO』は 9月13日発売
● ジャコ写真展 をお茶の水diskunion JazzTOKYOで(8/11〜10/1)開催中
● ピーター・バラカン(+僕)がジャコを語るジャコ・トーク 9/11に開催します。

diskunion Jazz TOKYO HP
http://diskunion.net/shop/ct/jazz_tokyo

diskunion Jazz TOKYO Twitter
https://twitter.com/JazzTOKYO/status/895879012836229120

diskunion Jazz TOKYO BLOG
http://blog-jazztokyo.diskunion.net/Entry/30438/

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