Villa-Lobos Recording

この間少しホームレコーディングしました。ブラジルのエイトル・ヴィラ=ロボスの音楽すごく好きからヴィラ=ロボスのピアノ曲を試したかった。
I've been doing a bit of recording at home. I've recently been getting into Villa-Lobos, and decided to attempt some of his piano music (on the tuba)

"A moda da carranquinha" & "Tira o seu pesinho" from Brinquedo De Roda by Héitor Villa-Lobos (1955). Gideon Juckes- Tuba gideonjuckes.com Ⓒ2018 All Rights Reserved

New Release! Mariko Hamada "Lounge Roses"

 
 

I recorded a session for the great musician/producer Makoto Kubota. It’s the opening track “Tokyo Dodompa Girl” from Mariko Hamada’s new album “Lounge Roses”, which was released last month by Columbia Japan. The song has a laid-back New Orleans-style groove, and was a lot of fun to record!

素晴らしいミュージシャンとプロデューサーの久保田 麻琴さんからリクエストが来ました。久保田さんプロデュースのアルバム『LOUNGE ROSES -浜田真理子の昭和歌謡』のトラック「東京ドドンパ娘」に参加させていただきました。いいニューオーリンズグルーブだった!久保田さんありがとう!

New Release! Shun Ishiwaka Songbook3

 
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石若駿と一緒にスガダイローのマハゴニーシティバンドをやります。特別な素晴らしいミュージシャン達が勢揃いです。

駿くんからSongbook3の曲をOldfriendzIIにてレコーディングを

お願いして頂きました!すごく嬉しかったです!どれも本当にとても面白い曲だと思います。

そして更に、佐藤采香さんのとても素敵なユーフォニアムと一緒にレコーディングができました!同じ時間にレコーディングができたわけではないけど、また是非今度会いましょう!

I think Shun Ishiwaka is emerging as one of the most important musicians of his generation. He’s an astonishingly original drummer, working mostly in Jazz, but also a wide range of other music. And his compositions, which can be heard on his Songbook albums, are really original and important, in my humble opinion.

We first worked together in Suga Dairo’s band, assembled for Shirai Akira’s production of “The Rise And Fall of The City of Mahagonny” at KAAT in 2016, and I was delighted when he asked me to play on the song OldfriendzII on his new album, Songbook3. Also, although we didn’t get to play together in the same room on the same day, and we’ve actually yet to meet, it was a great pleasure to play the opening chorale with Ayaka Sato, and her excellent multi-tracked euphonium. I hope we get to play together some time, in the same room!

 

Things I've Learnt Part 2

I actually thought long and hard before posting my previous blog post “Things I’ve Learnt”, because if there’s one thing which isn’t lacking on the internet, it’s opinions. I try to avoid giving too many opinions on social media, so I was a bit unsure about publishing a list of things I’ve learnt in the course of my career as a performing musician. 

 

But I’m so glad I did it, as it immediately initiated responses from some of my very favourite musicians. I’m grateful and genuinely touched that there are musicians which I respect greatly who are eager to discuss both music, and what it takes to be a performer. 

 

It was remarkable that, although all hail from different musical and cultural backgrounds, each of them mentioned one important aspect I had failed to mention:

 

The Intangible Connection

 

“Feeling fellow musicians’ vibrations through our skin.” 

“Watching our sounds, not through our eyes but using some kind of sense”

“Listening to the spirit as well as the music”

 

My friends have clearly thought about this deeply, and are able to touch on something intangible. They have set me thinking and I wish I could express exactly what this elusive element of music making is. 

 

If I had to try to express it in words, I would say it is related to my previous point about listening. But it’s as though we listen so deeply that we go beyond sound, beyond just the vibrations entering our ears. Just as many of us learn to read the atmosphere in a room full of people, really opening ourselves musically to our fellow performers enables us to feel something of their musical intention and of their spirit. 

And that can lead to amazing moments of deep communication. I’ve managed to feel that sense of communion in duets, in small groups, in bands playing to thousands of intently listening fans, and sometimes even stronger energy with large ensembles and symphony orchestras. 

I don’t know if I can really express this intangible element of music making. But I hope we can discuss it more, as it’s really fascinating. 

SOUND

Last time I backed away from discussing SOUND. I’m still a bit reluctant to get into this, because it is a huge subject, especially for tuba players. 

Sound is everything.   

There’s that old song, “Silence is Golden”. That is so true. Silence is one of the most beautiful, pure things we can ever experience. Silence is so good for the heart and soul. But here we are, living on a crowded planet, full of noise. 

So what I want to say is, if you are going to break that silence, it had better be for a very good reason. And therefore, let’s consider the sound we are making. 

I am continually trying to create the sound I hear in my mind, and I’m constantly thinking about it when I play. Of course, there are many types of sound I want to use in different situations, but in terms of my personal “voice” on the instrument, I want to play with a warm dark sound , but also with lightness in the right situation. Many things influence my sound. For instance, recently I find myself thinking of the sound of the actor Mark Rylance’s voice when I play. I wish I could have tone and phrasing like him!

 

That brings me on to my final point, for the time being. 

 

Have you ever considered what your job is, in completely simple terms?

 

Even with the amount of careful consideration which I try to put into playing music, I often stop and remind myself of the absurdity of what it is I do. My job, indeed my life’s work, is to blow raspberries down approximately 4 metres of metal tubing. If, in the process of doing this, I manage to make the air vibrate in a certain way, it can provoke an emotional response in the listener. This can be desirable, and people can pay me money for providing this service. 

 

Life on this planet can be truly strange and beautiful!