2010年12月31日

1. Obama Barcarolle I

小浜の舟歌 I (Bフラット、変調)


1978年の後半、わたしはキャメルと6ヶ月に渡るツアーに乗り出しまし、1979年1月には、米国に向かう途中に日本に到達したのです。
自由行動の日に京都を訪れ、ある場所に深く感銘を受けたのです[注]。そこに滞在できたのはごく短い時間だったのですが、それにもかかわらず私はいつかこの場所へ戻ってくることを誓ったのでした。

ツアーのあと英国へ戻ってからも、日本の記憶は心のなかに新鮮に保たれてたまま、作曲を続けておりました。
その時期の楽曲の一つが、最終的に小浜の舟歌 I になったのです。その時には未完成でしたが、その曲は数年に渡って私の心のなかに燻っていたのです。

26年後、ついに日本への移住を果たしたあと、私は定期的に日本国内のあちこちを旅行して回りました。そのうちの一つが、2006年2月、日本海沿岸の街、小浜へのだったのです。
小浜の歴史と自然の美しさに大いなるインスピレーションを得た私は、京都に戻った直後に曲を完成させる強力な動機付けを得たのでした。

2010年 秋 デイヴ・シンクレア


[注]龍安寺の石庭
http://www.ryoanji.jp/
posted by Crescent Label Master at 21:07| ライナーノーツ翻訳

Pianoworks I 序章

デイヴは永い年月をかけて、非常に個性的なピアノ演奏様式を築いてきましたが、現在に至るまで、ピアノソロのライヴや録音はほとんど行われてきませんでした。
1980年から2005年の間、デイヴはカンタベリー近郊で、アコースティック・ピアノを修理、販売するピアノショップを経営して家族を養っていました。それ故、この時期にはグループ活動と疎遠となり、必然的にピアノ演奏が以前にも増して独特なものとなっていったのです。

2005年、日本移住後、Aadbeg社はデイヴにアコースティック・アルバムの録音を持ちかけました。制作の契約がなされましたが、Aadbegから、フル・バンドヴォーカル付きのスタジオ録音盤と、ピアノソロ・アルバムの2枚の制作を提案したため、契約が変更となりました。
これは幸運な方針転換でした。なぜならば、デイヴは永い間、友人や支持者達から、ピアノソロ・アルバムを録音するよう薦められていたからです。
デイヴは、書き貯めてあった膨大な楽曲のストックが、他の様式で近日中に日の目をみることがなさそうなことを理解して、京都のホームスタジオでそのうちのいくつかを録音する準備を整えたのです。

当初、東京で特別に選んだスタインウェイ(アルバムの写真参照)を使用するつもりでしたが、結局、スタジオや東京までの距離的条件のために、実行不可能となりました。
最終的にデイヴは、よりリラックスした環境である自宅のスタジオで録音することを選びました。

元々多くの曲には歌詞が付いていましたが、メンデルスゾーンの「無言歌集」にならって、ソロの器楽演奏用の修正を加えるようデイヴに推奨しました。
デイヴの様々な才能を使った、楽器に関する永いプロとしての関わりからして、「ピアノワークス」は、アルバムのタイトルとして理想的であるように思えました。

ヴォーカルも歌詞もなかったので、デイヴは何らかの曲の背景を示すのが適当であると結論付けました。それで、個々の曲に関する彼自身の解説を掲載した次第です。

最後に、音楽はMIDIを使わずリアルタイムで録音され、編集を最小限に抑えたことに言及しておきます。

2010年秋 制作責任者 安藤貴紀
posted by Crescent Label Master at 21:01| ライナーノーツ翻訳

Jim Morton

Three out of the four Dave Sinclair albums being released on the new Crescent label have artwork done by Jim Morton. (The fourth, for piano solo, features a dramatic photo of the Fox glacier in New Zealand as its front cover.)

Jim Morton is an American artist who came to live in Kyoto, Japan nearly 40 years ago in order to study za-zen and calligraphy, and has remained there ever since.

It is a well known fact that many of the progressive rock albums from the 60s and 70s have conceptual themes running through them, and their artwork tends to display the same kind of imagery. Quite often it is possible to guess who the artist is just by seeing the accompanying front cover artwork. Looking back, it seems that the cover design could almost be seen as the trademark label of the band or artist. (This was also apparent in the logos that were used by the artists and bands of that time.)

This was very much in the back of my mind when I set out to find a suitable artist to produce artwork of a similar kind for the Stream album.

But not long after I started my search, Dave phoned me to say that a friend of his, whom he often went walking with, was keen to prepare the artwork for this new album and had already made a few sketches.

At that time Dave and I didn’t realise just how great a talent this friend had for the visual arts, but all the same we later decided to have a meeting with him.

Dave and Jim both live near to each other on the eastern side of the city at the foot of the slope which leads to the mountains up behind their homes. (In fact mountains almost completely encircle Kyoto.)

Soon after moving there, Dave - who has always been a keen sportsman and sailor as well as a former high-jump champion - was soon frequently walking up the slope to the mountain base and climbing the remaining 700 steps to the summit as a daily exercise.
(I tried it one time with him, but wouldn’t attempt it again in a hurry!)

During those walks Dave would sometimes pass another European man, quietly greeting him with a courteous nod or wave. Eventually they started speaking and came to be on friendly terms with each other. The other man’s name is Jim Morton.

Later, after Dave visited Jim’s home and saw some of his work lying around, he instantly realised that Jim would be exactly the right person to do the artwork for his Stream album, and therefore decided to play Jim some of the music from it (which at that time was still only in demo form). After that, Jim started working on the front-cover and soon had a rough impression for Dave and me to look at.

Looking back to that first meeting, Jim arrived on his bicycle with a very large shoulder bag. Once inside the house he opened the bag and showed us what he had done so far.
I’ll never forget the moment when I looked at the picture for the first time. It showed an image of two women in water, one with an outstretched arm with a Buddha-like hand.
The eyes seemed to stare right through me. But what amazed me most of all was the blending of Western and Eastern art in a way I had never seen before. This was extremely beautiful and individual work accomplished by using traditional Japanese brushes and paper, and it was exactly what I had been looking for.

I decided at once to ask Jim to complete the work for the Stream album, just altering a few details to fit our requirements.

stream%20jacket%20mini[1].jpg


Another time when I visited Jim’s house I was able to see him working on his calligraphy seated in the seiza position and wearing traditional Japanese working clothes. In this room, hanging from a roof beam, there was a very large selection of expensive looking fude brushes ranging in size from tiny to very large. Also there was a striking carved figure of a Buddha in the corner of the room completed by Jim many years ago. Looking at that carving I could better understand why he was able to produce such amazing work for the Stream cover. The accompanying “Dave Sinclair” lettering work had also been accomplished after years of practising with the fude brush, and again showed Jim’s originality as well as his skill.

Later, when we had tea in another room, Jim pulled out an old European instrument from a case and started to play it. It was the lute.

Jim and Lute (320x240).jpg


So now I feel that just as the connections between Paul Whitehead and Genesis, Roger Dean and Yes, and Hipgnosis and Pink Floyd are legendary, I have the same feeling about Jim Morton and Dave Sinclair. This is the reason why I also asked Jim to work on the En-Circle and Moon Over Man albums. All three albums show Jim’s distinctive calligraphy, using the “Dave Sinclair” lettering set into a cloud form.

en%20circle%20jacket%20mini[1].jpg

moon%20over%20man%20jacket%20mini[1].jpg


Also, all three pictures are double-jacket size (i.e. only half of the picture is being shown in these web pages), and of course they can be better appreciated in their full form.
In fact, the original front-cover picture for the Stream album is now on the inside but will open out in such a way that it forms a single, continuous image with the front-cover artwork. (All will be revealed after purchasing the album!)

But anyway, here is a hint of what to expect: Think back to King Crimson’s classic album In The Court Of The Crimson King, where the gatefold cover opens out to reveal the man’s screaming face on the front receding into interstellar space on the back!
posted by Crescent Label Master at 05:36| English Version