梅雨は何処へ行ったのでしょう？
私は二ヶ月間の仕事から解放され、明日から小旅行に出かけます。仕事仲間がドイツから商用で日本に来ていますので、一緒に明日から来週迄鹿児島へ行きます。鹿児島には共通の友人がいますので、再会が楽しみです。さて、今夜は Ｊａｚｚ ＭａｎのMiles Davisに付いて投稿したいと思います。Ｊａｚｚ好きの方には堪えられない彼のトランぺット、最高ですね。
Both as a trumpeter and as a bandleader, Miles Davis was one of the half-dozen or so most important figures in Jazz history, and he was the only musician active in the 1940's whose work continued to incite controversy four decades later (in fact, the jury is still out on his 1986 funk album, Tutu, represented here by the title track). Only Louis Armstrong, Charlie Parker, and Ornette Coleman ever altered the course of the music more abruptly, and only Duke Ellington had as far-ranging and long-lasting an influence. The son of a prosperous black dentist with political ambitions, Davis was born in Alton, Illinois in 1926. He made his first important recordings as a 19-year-old sideman with Charlie Parker in 1945, after having briefly attended the Julliard school of Music. ( By the time of Davis's own "Donna Lee", recorded in 1947, he had overcome his earlier diffidence in playing with Parker.) Enrolling at Julliard had been something of a ruse anyway; a way to get to New York, where Parker and Dizzy Gillespie were spearheading a revolution in Jazz with a new style nicknamed bebop.
An early mark of Davis's singularity was that soon after becoming Gillespie's protege and Parker's side-man, he also became their loyal opposition. "Diz and Bird played a lot of real fast notes and chord changes because that's the way they heard every thing...fast and in the upper register, Davis later recounted in Miles, his 1989 autobiography ( written with the poet and journalist Quincy Troupe). Their concept of music was more rather than less. I personally wanted to cut the notes down.
Davis became one of the most inimitable soloists in Jazz, an achievement that seems all the more remarkable light of his seeming technical limitations at a time when modern jazz was assumed to require a high degree of virtuosity. sticking close to the horn's middle register and wisely avoiding long, multi-noted runs, Davis showed that less could be more- that swing was a matter of note placement and most crucial aspect of an improvised solo was a player's success in evoking deep feelings. Though he excelled on ballads, he was no hothouse flower; he swung hard and projected a forceful masculinity that made his as much a role moder as Frank Sinatra or Ernest Hemingway.
As identifiable as Davis was as a soloist, perhaps his greatest accomplishment was as a bandleader an bellwether of new trends. Most Jazz innovators, including many who live to a ripe old age and enjoy long careers, exert a noticeable influence on their fellow musicians for a relatively brief period, usually when they are young and new on the scene.
Davis set the pace in Jazz for several decades. In a sense, his entire career can be seen as an ongoing critique of bop: the origins, or at least the popularity, of so-called cool jazz(his collaborations with the arranger Gil Evans in 1949 and 1950, represented here by "Boplicity") , hard bop or funky jazz ( his 1954 recording of Walkin with its echoes of gospel and Horace Silver's sanctified piano, modal improvisation the track Milestones in 1958 and the 1959 album Kind of Blue, represented here by So What with Davis, Bill Evans, John Coltrane, and Cannonball Adderley showing how many different approaches the style could accommodate, and Jazz -rock fusion ( In A Silent Way and Bitches Brew, both record in 1969) can be traced to his efforts to pare bop to its essential.
マイルズは客の機嫌を取る事を拒否した最初のＪａｚｚスターの一人です。ステージでは殆んど喋らなかったし、ミュージシャンの名前も、演奏曲目も一切アナウンスしませんでした。また、しばしば客席に背を向けて演奏し、他のメンバーがソロを取っている間はステージを離れていました。
添付写真はＢ社で一緒働いていた採点ＯＢ達です。皆、英語の採点者達でした。Ｋ君が久しぶりに関東から帰福したので食事を一緒にしました。Ｋ君、Ｓ君とはお付き合いがかれこれ１０年以上になります。
私は二ヶ月間の仕事から解放され、明日から小旅行に出かけます。仕事仲間がドイツから商用で日本に来ていますので、一緒に明日から来週迄鹿児島へ行きます。鹿児島には共通の友人がいますので、再会が楽しみです。さて、今夜は Ｊａｚｚ ＭａｎのMiles Davisに付いて投稿したいと思います。Ｊａｚｚ好きの方には堪えられない彼のトランぺット、最高ですね。
Both as a trumpeter and as a bandleader, Miles Davis was one of the half-dozen or so most important figures in Jazz history, and he was the only musician active in the 1940's whose work continued to incite controversy four decades later (in fact, the jury is still out on his 1986 funk album, Tutu, represented here by the title track). Only Louis Armstrong, Charlie Parker, and Ornette Coleman ever altered the course of the music more abruptly, and only Duke Ellington had as far-ranging and long-lasting an influence. The son of a prosperous black dentist with political ambitions, Davis was born in Alton, Illinois in 1926. He made his first important recordings as a 19-year-old sideman with Charlie Parker in 1945, after having briefly attended the Julliard school of Music. ( By the time of Davis's own "Donna Lee", recorded in 1947, he had overcome his earlier diffidence in playing with Parker.) Enrolling at Julliard had been something of a ruse anyway; a way to get to New York, where Parker and Dizzy Gillespie were spearheading a revolution in Jazz with a new style nicknamed bebop.
An early mark of Davis's singularity was that soon after becoming Gillespie's protege and Parker's side-man, he also became their loyal opposition. "Diz and Bird played a lot of real fast notes and chord changes because that's the way they heard every thing...fast and in the upper register, Davis later recounted in Miles, his 1989 autobiography ( written with the poet and journalist Quincy Troupe). Their concept of music was more rather than less. I personally wanted to cut the notes down.
Davis became one of the most inimitable soloists in Jazz, an achievement that seems all the more remarkable light of his seeming technical limitations at a time when modern jazz was assumed to require a high degree of virtuosity. sticking close to the horn's middle register and wisely avoiding long, multi-noted runs, Davis showed that less could be more- that swing was a matter of note placement and most crucial aspect of an improvised solo was a player's success in evoking deep feelings. Though he excelled on ballads, he was no hothouse flower; he swung hard and projected a forceful masculinity that made his as much a role moder as Frank Sinatra or Ernest Hemingway.
As identifiable as Davis was as a soloist, perhaps his greatest accomplishment was as a bandleader an bellwether of new trends. Most Jazz innovators, including many who live to a ripe old age and enjoy long careers, exert a noticeable influence on their fellow musicians for a relatively brief period, usually when they are young and new on the scene.
Davis set the pace in Jazz for several decades. In a sense, his entire career can be seen as an ongoing critique of bop: the origins, or at least the popularity, of so-called cool jazz(his collaborations with the arranger Gil Evans in 1949 and 1950, represented here by "Boplicity") , hard bop or funky jazz ( his 1954 recording of Walkin with its echoes of gospel and Horace Silver's sanctified piano, modal improvisation the track Milestones in 1958 and the 1959 album Kind of Blue, represented here by So What with Davis, Bill Evans, John Coltrane, and Cannonball Adderley showing how many different approaches the style could accommodate, and Jazz -rock fusion ( In A Silent Way and Bitches Brew, both record in 1969) can be traced to his efforts to pare bop to its essential.
マイルズは客の機嫌を取る事を拒否した最初のＪａｚｚスターの一人です。ステージでは殆んど喋らなかったし、ミュージシャンの名前も、演奏曲目も一切アナウンスしませんでした。また、しばしば客席に背を向けて演奏し、他のメンバーがソロを取っている間はステージを離れていました。
添付写真はＢ社で一緒働いていた採点ＯＢ達です。皆、英語の採点者達でした。Ｋ君が久しぶりに関東から帰福したので食事を一緒にしました。Ｋ君、Ｓ君とはお付き合いがかれこれ１０年以上になります。
がウソの様です。日中は気温が３０度近くあり、真夏日の様でした。それに湿気もありました。
Ｍｒ．＆Ｍｒｓ Ｔ夫妻の結婚式で撮った時のです。久しぶりの再会、皆さん立派な社会人になっていました。（皆さんの大学生時代が懐かしく感じました）
に恵まれて最高の行楽日和でした。
が近づくと、町の郵便局に大量の封書が届きます。同封したカードに同局の消印を押して欲しという手紙です。今年来たカードのうち、一万通はイラクやアフガニスタンに駐留する兵士宛て
だったとの事。町の名は１８８２年２月１４日に鉄道が開通した事に由来するそうです。
三十八歳の桑田真澄投手の挑戦は渋くて光ります。英語を話す能力でも話題になっています。二十代で大リーグにあこがれ独学で勉強して来たそうです。同僚の外国人選手とは日本語抜きで付き合って来ました。今回のパイレーツ球団との入団交渉も自分でやったとの事です。桑田投手が話しているのはニホン英語。子音、母音がはっきりしています。日本人は模範にすべきです、と英語教育学者がおっしゃています。
こんな状態で、体調を崩す人達も多いのでは？？？？？？？
今回はHay Fever（花粉症）に付いて投稿します。
頭部
身体
その他
Have you had that kind of headache before?
Do you have any allergies?
を福岡市内のＡビルＢ２の中華レストランで催しました。
Ｎ君（九州の電力マン）が鹿児島からわざわざ歓送会に参加
、楽しいひと時でした。
Ｍさんは私と同じく、Ｂ社の採点業務に携わって来ました。Ｍさんが私の良きアシスタントとして頑張って下さったので私も１３年間Ｂ社で楽しく勤務する事が出来たと思います。Ｍさんには本当に感謝しています。横浜へ転居しますが、時々福岡に遊びに来て下さいね。さて、今夜は電話の決まり文句について投稿します。Ｓさん、Ｋさん本日のレッスンのおさらいですので、頑張りましょう。