月別アーカイブ: 2016年9月

Claude Lelouch and Francis Lai(2)

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Photo above of Francis Lai by Official site of the concert

At Invalides Square in Paris September 2014 a terrific event had held as a national major cultural event.

Claude Lelouch director movie had been revived as new cinema-concert by beautiful score of Francis Lai composer.

The French New Wave film “A Man and a Woman” came out in the summer of 1966.

The film won several awards, including the Palme d’Or at the 1966 Cannes Film Festival.

Then the film was selected for screening as part of the Cannes Classics section at the 2016 Cannes Film Festival.

In 1965 he was hired to help write the score for the film A Man and a Woman.

The film’s theme song was created with music by Francis Lai and lyrics by Pierre Barouh

The score was a great hit with the piece ‘chabadabada’ by Nicole Croisille and Pierre Barouh

Recently I read an interesting article by Marc Myers.Go here

Here is A Man and a Woman (Original Soundtrack LP 1967)

 

Claude Lelouch and Francis Lai(1)

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Photo above of Claude Lelouch by Official site of the concert

 

September 20, I will go to a concert performed by the Osaka Festival Hall.

“Claude Lelouch en Musique!”

When I was a junior high school students, France cinema work had been a big hit in Japan.

The French film “A Man and a Woman” was directed by Claude Lelouch in October 1966.

This year is the 50th anniversary.

This concert will be held as a special commemoration in Japan.

Each movie were re-edited from some famous scene.

As a result it will be screened as a new cinema work.

Their scenes will be resurrected by live music of orchestra.

The main movie is the following,and they have described Japanese title.

男と女 (1966)                        Un homme et une femme
パリのめぐり逢い(1967)     Vivre pour Vivre
白い恋人たち(1968)             13 Jours en France
あの愛をふたたび(1969)     Un homme qui me plaît
愛と哀しみのボレロ(1981)  Les Uns et les Autres

and 17 other works.

 

 

 

 

Yosuke Yamashita interview on radio in Osaka(5)

Yosuke Yamashita co-starred with legend Cecil Taylor who he was a longing.

They talked together about music four hours in Cecil’s home in NYC.

Next day finally Yosuke Yamashita could play piano.

There was a musical score written in an alphabet.

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In September 2006, at the home of Cecil Taylor

He had began playing piano and Cecil Taylor sat next to him.

So he played a duet without his noticing it.

Then they had meeting several times for Cecil’s Japan concert.

In 2007 January,they held duo concert at Tokyo Opera City Hall in Japan.

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He enthused about their rehearsal on that occasion on a radio broadcast.

Their duo concert was scheduled to be 45 minutes.

They did a rehearsal about 90 minutes.

He had good enough at that rehearsal,but Cecil Taylor was not satisfied.

After a toilet break they also did a rehearsal about 90 minutes.

Eventually duo concert time had ended in 43 minutes.

Encore was played in just two minutes.

He said that it was most difficult to end in free jazz improvisation.

He is a lecture theme of the university for two minutes of Encore.

Now he lectures a class of Kunitachi College of Music about “Encore of two minutes”.

He wrote an article for The Nihon Keizai Shinbun about Cecil Taylor.

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2008年日本経済新聞夕刊文化欄 “Japanese newspaper”

This is Yosuke Yamashita plays Greensleeves

Yosuke Yamashita interview on radio in Osaka(4)

He was not satisfied with his modern jazz style.

In 1969 he had turned to free jazz style from modern jazz.

In addition, he had started new playing style by elbow.

In those days he thought that free jazz playing was made up of two important elements.

Free jazz musician must play improvisation and can interact freely with any musician.

He has played with musicians of all genres.

He said a following name.”The Art Ensemble Of Chicago” and “Eitetsu Hayasi(林英哲)” and “Cecil Taylor”.

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In 2006 March,he participated in Ornette Coleman Quartet Japan tour as the opening performance.

Ornette Coleman called on him to play at encore,and played “Song X”.

This song was Ornate Coleman’s favorite tune composed by Pat Metheny.Go Here

Next day,I want to post about collaboration with Cecil Taylor.

This is The Art Ensemble Of Chicago.

This is Eitetsu Hayashi and Yosuke Yamashita plays Bolero(ボレロ)
September 18, 1999, In Suntory Hall,Tokyo.

Yosuke Yamashita interview on radio in Osaka(3)

When Yosuke Yamashita was high school,he decided to become a musician.

He hoped to enroll at Kunitachi College of Music.

Please refer to Kunitachi College of Music.Go here

However he could not read the musical at that time.

Unfortunately he failed his college entrance exams for the second time.

In other words he was working as a professional jazz pianist without reading music score.

He was enrolled at the department of composer at the time of the 20-year-old.

In 1965, Jazz Live house was born in Tokyo.

Ginza “Jazz Gallery 8”  and Shinjuku “Pit-inn”.

“Pit-inn” has been held a live performance every day even now.Go here

Fortunately Yosuke Yamashita joined Sadao’s session in Pit-inn.

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Sadao and Pit-inn’s owner Yoshitake Sato(佐藤良武)

Below, I supplement with my research.

In 1965 on November 15, Sadao Watanabe was returning from the United States.

Next day , Masahiko Sato trio was playing in Ginza “Jazz Gallery 8”.

Sadao Watanabe took part in Sato’s trio without submitting his entry beforehand.

Sadao gave a shock to all the audience in “Jazz Gallery 8”.

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Yosuke Yamashita also was in Ginza “Jazz Gallery 8”.

Sadao watanabe wanted to instruct New Jazz theory to many Japanese musicians.

So he had called out to young musicians with his session in Tokyo.

This is Yosuke Yamashita(山下洋輔) plays Bud Powell

Yosuke Yamashita interview on radio in Osaka(2)

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Why woke up to modern jazz ?

In those days they had been a part time job in a dance party at university and college in Tokyo.

One day in intermission he was listening to the piano performance of other band.

The pianist was playing modern jazz.

He found something in modern jazz not having his performance.

There was a special improvisation in modern jazz.

Unfortunately he could not play such as improvisation at that time.

Eventually he noticed that it was blues of 12 bar.

Suddenly, he exclaimed in a loud voice, “Oh, That’s a blues”.

He was impressed some complex chords and phrasing on simple blues tune.

Jazz Musicians Play At Open Door

 Charles Mingus , Roy Haynes,  Thelonious Monk and Charlie Parker (Photo by Bob Parent/Getty Images)

He began playing modern jazz and studied the chord progression of ‘Bird’.

Also he had copied many piano records by his ear.

He thoroughly imitated the piano style of Hampton Haws.

When he was Azabu high school,he made his debut cabaret and dance hall as professional pianist.

Here is Hampton Hawes – I Got Rhythm (1955)

Yosuke Yamashita interview on radio in Osaka(1)

I am looking forward to listen the jazz program on every Sunday night.

My favorite program is WORLD JAZZ WAREHOUSE.

Yosuke Yamashita was the first time appeared in this program.

I heard his interesting story at that night.

This week I’ll post this interesting story I heard on radio program.

Yosuke Yamashita told about his introduction to jazz.

First he talked about his boyhood piano performance.

When he was junior high school two years( in1956) he was start a jazz piano by request of older brother.

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Their performance style was from Louis Armstrong era to Eddie Condon era.

Because his brother adored ‘New Orleans style jazz’ , they did not play modern jazz.

The first song that he played with students’ band was ‘On the Sunny Side of the Street’.

He decided to not listen absolutely modern jazz under the influence of brother.

In radio program he was talking eagerly about New Orleans style jazz.

In particular, he had heard well Eddie Condon’s records.

Here is Louis Armstrong, On the Sunny Side of the Street