about Keith Jarrett and Miles Davis's ensemble


Scattered Words(3)キース・ジャレット"Scattered Words"より




I knew Gary and Jack had gone through standards as I had – in the prime of our lives – and they became second nature to us. Like a cocktail pianist knowing two hundred tunes, all the bridges at the flip of a coin. I thought we could all share this as a tribal language we were given; a world of wonderful little melodies. We had dinner the night before the (first recording) session ... I talked about our spiritual involvement in something that is not our own. Something beautiful that is not ours; and we will make it ours, but we will not try. And what we ended up with is incredible. 15 



cocktail piano旋律だけを与えられて、自分で伴奏や対旋律などをつけながら展開してゆく奏法 




When you're playing Monk or Johnny Mercer it's more than interpreting. It's expanding. 16 






Standards are underestimated because I don't think people understand how hard it is to write melody. Not only that, but many musicians have no idea what we are talking about when we talk about melody ... Most of the composers I've recorded (on the Standards albums) are not considered “serious” but yet they occupy a space that no one in serious composition could possibly occupy; the ability of the serious composers would stop as soon as they were confronted with that little melody form. 17 




I thought someone could show that music wasn't about material, it was about what you bring to the material. I wanted to say that we don't possess this, this isn't our music. You'll hear us relating to it as seriously as if it were ours, but not changing it into some other thing. 18 






I'm always accompanying Gary and Jack! 19 





(On Bye Bye Blackbird) We were trying to build a hologram of what was left of our realizations of Miles. It was actually trying to get into his ears. We were making him appear as a listener. Miles was a player, but one of the few players that listened. Sometimes he even forgot to play. We had all played with him and felt strongly for the man, so instead of taking advantage of his death by doing a silly tribute, we needed to do something deeper. And we had to do it very soon, a week after he died, because we wanted to be able still to feel this change in the world. As for the material, we focussed mainly on the 60s because all of us felt that was the incredible period - although we hear his sound all the time, no matter what period. 20 

(「Bye Bye Blackbird」制作に際し)僕達は、自分達がマイルス・デイヴィスというものをどう認識していたか、自分達の中に残っていたものを、ホログラムのように立体的に表現してみようとしました。このアルバムを聴く人の立場に立って、制作に当たったのです。マイルスは演奏家です。しかも、とびきりの聴く力を持つ、数少ない演奏家です。それが度を越して、本番中自分が吹くのを忘れてしまうこともあったくらいです。僕達は全員、かつて彼と演奏を共にし、彼に対しては強い思いがあります。なので、彼が亡くなったことをいいことに、くだらないトリビュートアルバムを作る気など、サラサラありません。もっと深いものを作らないといけないのです。しかも急ぐ必要がありました。彼が亡くなって1周間が経っていました。彼が亡くなったことによって、世界が変わってしまった、ということを、実感できる間にやりたかった。彼の遺したサウンドは、いつの時代のものであっても、僕達は耳にする機会があります。でも僕達は、素材を60年代のものを中心にしました。当時のものは大変素晴らしい、というのが僕達の一致した考えだからです。 



I feel we are an underground band that has, just by accident, a large audience. I don't mean literally “by accident”, but it is in some way beside the point that we have this audience. Because we are never conformists, we are always radical, even though we may be playing what people think they know, and therefore they are comfortable momentarily or maybe even during the whole piece. But what we are doing in those pieces is a non-conforming thing. 




When the trio started to play standards, nobody was thinking it was the right thing to do, everybody had to have their own material. If you have a new band, you are playing your shit. And when I talked to Gary, it even shocked him. It was radical: as classic and traditional as it is, it was radical. Now, at the moment, when everybody is saying: “Oh, Gee, the trio can't go anywhere from here, they can't keep playing standards,” Inside Out comes out, and Always Let me Go comes out. There are subversive, subliminal messages in this that have to do with retaining our integrity and retaining our freedom under all circumstances. 21 

このトリオがスタンダードナンバー扱い始めた頃は誰も僕達がまともなことをやっているとは、思ってくれませんでした。ミュージシャンたるもの、オリジナルの素材を扱え、というわけです。新たにバンドを結成するなら、独自の曲を演奏するでしょ、て話です。そういう状況ですから、僕がゲイリーにスタンダードナンバーを扱おうと言った時は、彼ですらショックを受けていました。常識をひっくり返すような取り組みでした。高尚な音楽や伝統的な音楽を扱うのに、やっていることは常識をひっくり返すようなことなわけです。それが今や、皆からこんなことを言われています「あらあら、このトリオは身動き取れなくなっているぞ。スタンダードナンバーを演奏し続けている場合じゃないだろう。」で、その最中にリリースされたのが、「Inside Out」であり「Always Let Me Go」です。これまでの雑音を覆すような、心の閾下に訴えかけるようなメッセージがこれらには込められています。それは、いつのどんな時代に在っても、音楽に対して誠実に取り組み、自らは常に自由であり続ける、という僕達の姿勢です。 




KJ: Accompanying is a subject all to itself, very unmentioned, but it’s another art form. 

BP: Neither of you is particularly an accompanist. KJ: Well, I feel like I am. 

DG: Yeah, me too. 

KJ: I’m always accompanying Gary [Peacock] and Jack [DeJohnette]! [laughter] I played for numerous vocalists in the early stages of pianism and I wouldn’t know what to trade it [for]. There’s something about doing that, especially with a voice, with words. You’re dealing with pauses that would never exist in an instrumental—elasticity and dynamics. 

【from “The Keith Jarrett Archives” May, 1992】 

Keith Jarrett伴奏という行為は、ほとんど注目されませんけれど、それ自体一つの演奏分野です。芸術的行為だというのが僕の意見です。 

Becca Pulliam:お二人とも、伴奏を専門になさっているわけではないですよね。 

Keith Jarrettいやぁ、僕的にはそういうのもいいかな、思ってますよ。 

Dave Grusin:僕もですよ。 

Keith Jarrett:現に、ゲイリーやジャックの伴奏をいつもやってますからね!(笑)ピアノを始めたばかりの頃は、数え切れないくらいヴォーカリスト達の伴奏をしました。この経験に代えられるものを僕は知らないですね。伴奏には何かしら得るものがあります。特にヴォーカル、それも歌詞がついた歌の伴奏はね。楽器のソロにはない「間」を扱うわけですから、演奏には順応性とダイナミクスが必要です。