kenichi kurosawa : 黒沢健一オフィシャルサイト


prize for efforts

I think he would be (or is)proud of his fans for their efforts.

Kenichi has very impressive fans!

Brian Peck

 

今回メールを寄せて下さいましたみなさまからのアイデアと

ブライアン先生のお返事をアップさせていただきます。*メール着順にて掲載

 

Y.Nishimuraさん

私が真っ先に思いついたアイデアは
一番最後の曲「19 Aug,1987」です。

The first idea I came up with
The last song “19 Aug, 1987”.

この曲は歌詞がありませんよね。
曲だけだからなのか、アイデアが即思いつきました。
This song has no lyrics.
The idea came up immediately, probably because it was just a song.


私は高校生の頃からですが、音楽で物語を創るという
ことをやってました、
物語を書くことが、私は好きです。
I started from high school, but I used music to create stories
I was doing something,
I like to write stories.

と言っても、ノートに書く程度で同級生から反響があったり
ブログに公開する程度です。
There was a response from my classmates just to write in the notebook
Just publish on the blog.

この曲を聴いてて思ったのが、切ない感じの曲だったので
ドラマとかCMなどでの「切ないシーン」に合っているなと
感じたわけです。

その思いついた物語は、L⇔Rの3人が主役で
実在する人物で、事実が多少あるものなので
許可を取らないと公開できないので、断念しました。

I was listening to this song and I thought it was a sad song
It ’s a good match for a “scene” in a drama or commercial
I felt it.
The story came up with three people from L⇔R
Because it ’s a real person and there are some facts
I gave up because I can't release it without permission.

切ないけど、どっか前向き。健一さんらしい感じに
仕上がっているなと思いました。
どっかのドラマかCMで使われればいいのにって思ったのです。


I'm sorry, but somehow forward. To feel like Kenichi
I thought it was finished.

I thought it should be used in some drama or commercial.

2つ目のアイデアは、9曲目の「Winds Blow(demo)」です。
正にこれは、健一さんでないと出来ないであろう
一曲に感じました。
とても迫力あるボーカルと、その思いはどういう思いなのか?
この曲は英語の歌詞なので、繙くのにちょっと時間がかかりました。


The second idea is the 9th song "Winds Blow (demo)".
This would not be possible without Kenichi
I felt it in one song.
What are your thoughts and the very powerful vocals?
This song is in English, so it took me a while to hear it.

ブライアンさんに質問なのですが、日本語訳をして
初めて詞の意味を知りました。
「孤独な少女」というのは、誰のことを仰ってるのでしょうか?
早い話、これは好きな人ともっと距離を縮めたいという気持ちの歌詞なのかな?
とも思いました。

この曲は、今までの健一さんのアルバムに採用するには
意味深過ぎたから、収録されてなかったのかな?とも思いました。

I have a question for Brian.
I learned the meaning of the lyrics for the first time.
Who are you talking about as a "lonely girl"?
Early story, is this a lyric that you want to be closer to your favorite person?
I thought both.

To adopt this song on Kenichi's album so far
Was it not recorded because it was too meaningful? I thought both.

全曲大好きなのですが…他にも、好きな曲があります。
13曲目の「Rainin' in my heat」
恐らく、健一さんの経験からの歌詞なのかなとも思ったわけで。

健一さんの曲は、基本「切なさも含んだ前向きな感じ」の
曲が多いように思ったのです。
単純に聴けば理解しにくいのですが、繙くと
何とも奥が深いですよね。

I love all the songs ... There are other favorite songs.
The 13th song "Rainin 'in my heat"
Perhaps I thought it was lyrics from Kenichi's experience.

Kenichi's song is based on the basic “feeling positive, including intuition”
I thought there were so many songs.
It ’s hard to understand if you listen to it simply.
It ’s really deep.

 

Hello Nishimura-san,

Thank you for your response and for sharing your thoughts with us.
You ask about the “lonely girl" in “Winds Blow (demo)” - it’s a difficult question.

I regret to say that I don’t know what Kenichi was imagining when he sang this song, but I was hearing “silly lonely girl” in his voice.
I imagined a girl who was near and dear to the singer.
They shared a closeness that was promising but somehow painful.
Maybe they are not as close now, but he still feels empathy towards her, and he worries that she is too idealistic for the realities of this world.

That is the rendering I created, but someone else may hear something different.
Maybe someone will hear “still the only girl” or “still alone we go” (instead of “silly lonely girl”).
Or maybe they will hear a different language - maybe even Japanese.

Kenichi left these fascinating possibilities for for us to explore through his voice.
I hope people will let their imaginations find some other そらみみ-fications for these songs.

Give it a try if you feel inspired.

All the best to you,
Brian Peck

 

 

 

YAMADAさん

Wind Blowの最後の部分です。

Don't recall it little grows to now, so when I'll retain.

 

Hello Yamada-san,

Thank you for lending your ears to the Hear Me Again Challenge. 
Your idea (for the last line of “Wind Blows”) is short but remarkably good.
You have a very good ear and imagination.
Your words are faithful to the sound of Kenichi’s voice, and you have been creative in choosing them.
Actually, I prefer some of the words you chose over mine.
Thank you for sharing them with us.

All the best to you,
Brian Peck

 

 

 

Y.MATSUDAさん

Please my baby tonight 

She says rain where’re partner?
Till with me feeling, Cause I don’t talk when lose for you
Where I don’t know what to do to me

I saw rain, there water
See with me feeling 
I don’t talk when lose for you 
I don’t know what to do to me

He said I don’t talk to make feel easily
Sa don’t talk loving you
I don’t talk to make feeling 
Please my baby tonight

Cause so rain where’re a driver?
You till with me sleeping 
I don’t talk when lose for you
I don’t know what to me 
She says rain where’re a driver?
She will be wondering
I don’t talk when lose for you , I don’t know what to me

She says I don’t talk to make feeling
Can’t stop loving you
So don’t love to make easy
Please my baby tonight

She says I don’t talk to take it easy
Can’t talk loving you
Sa Don’t talk to make please me, Please my baby tonight
Please I don’t want to make feel easily 
Can’t talk loving you
I don’t talk to take easy , Please my baby tonight
She says I don’t talk to take easily
Can’t talk loving you, so don’t know to please easily
Please my baby tonight  

 

Fontana

Ah I wanna make that chance in the new way, That’s my girl.
I’m falling in love 
I wanna make that chance in the new way, That’s my girl.
I’m falling in love.  I’m falling in love.

~ ~ ~ like for the truth
I would stop her crying
Stop, the meaning of crying

 

Hello Matsuda-san,

Thank you for responding so wholeheartedly to the Hear Me Again Challenge. 
I never imagined someone would rewrite an entire song! 
It’s a real labor of love - and your sensitivity to the commitment is obvious in your word choices.
You mention the difficulty of grammatical considerations.
It’s always difficult to decide when to bend the grammar rules and when to bend Kenichi's sound, but you are bold in your choices and I really admire that.
You even managed to slip in some popular English idioms, like “take it easy.”
I think Kenichi would like your interpretations a lot - maybe even better than mine.
He always enjoyed it when peopls brought their imaginations in to play, and that is exactly what you have done.
Thank you for sharing your lyrics with us.
I enjoyed listening to his songs again through your ears and your mind.

All the best to you,
Brian Peck

 

 

 

HITONさん
I choice the song  of Don't Let It Bring You Down. I can hear the lyrics from the first lyrics " I do my life ,oh,as my heart "is ''I do my life -full ask my heart". 
The next," Your tears may gaze me 'cause you Baby,I'm you"the  word of gaze is able to 
listen the word of the kiss.  
At last,it must be solamimi ,but the word of hony from'someday you'llneed my hony,"can  hear hold you.

Hello HITON-san,

Thank you for accepting the Hear Me Again Challenge. 
Every time I listen to Kenichi's songs I hear them a different way.
When I listened for the words you found in "Don'l Let It Bring You Down" I could only nod my head in complete agreement.
Yes, that is what he is singing - or may I say another of the things he is singing.
His words explode in so many directions.
A big "Bravo!" to you for catching some other good ones.
I especially like the "lifefull" line you found.
It sums up the way Kenichi lived more generously than the word I chose.

All the best to you,
Brian Peck

 

 

 

RYOさん

Fontanaの最初のところ

I’m too sick to tell you well that you’re my girl, I’m falling in love
We’ve something tells me that you’re my girl
I’m falling in love, I’m falling in love

Don't Let It Bring You Down
元の歌詞と変わっていないところも多々ありますが、一応全部書かせていただきます。

I do my life, ask my heart
She says I laugh you, it’s ok
I do need quiz that you’ll be true
Why need we do, so if I knew

Sometimes I feel he holds you
I do you still because you “Baby”
Seeing you will bring him brings me down
Someday my eyes will lose you
You choose me, kiss me, ’cause you,baby, I'm you
So don't let it bring you down

Do your beliefs claim and mind my trends?
And since I laugh, I laugh for you
I'm in my crying just as my tree
I do it true, so if I'm you

I miss my tears more call you
I know you still feel, ’cause you, Baby, I'm you
Don't let it bring me down
Someday you’ll need my holding you
I thought you’d steal it, ’cause you, Baby?
I'm you, but don't let it bring you down

Tonight I wanna band it now
Still god what I didn't believe now
Still livin’ in believing love
Just the meanings are continuing love
Both the meanings are believing love

I miss my tears more call you
I know you still feel, ’cause you, Baby, I'm you
Believing it brings me down
Someday my eyes will lose you
Your tears may kiss me ’cause you,Baby, I'm you
So don't let it bring you down

 

Hello Ryo-san,

Thank you for taking on the Hear Me Again Challenge. 
You are one of only a few brave people who tried to write an entire song.
Your ideas are bold and clear - there is nothing laughable about them.
There are many words that we agree on, of course.  
Some of Kenichi's words are very clear.
But you have found some new ideas for the places that are not so clear, and I like them.
I especially like the "your tears may kiss me" line you found.
Another person responded with the same idea (the "kiss" idea) but you remade the entire song - a remarkable challenge!
Thank you for your effort!

All the best to you,
Brian Peck

 

 

 

sproutさん別曲

早口なので無理と思って諦めていたのですが、
11の息抜きとして気軽にチャレンジしてみました。
try? dry? dries? lie? lies? rise? life? stand? strand?
たくさんの韻が散りばめられているようで判別に迷う部分や、
意図的に聴き取りにくくしてある部分もあると解釈しましたが、
そんな謎掛けも含めて、夢のある内容に感じられます。
まだ聴き取り作業が途中なので、全体的に自信がありませんし、
単語にできない部分の “...” は自分への穴埋め問題になっている状態ですが、
全て解けるまでチャレンジを続けたいと思っています。

Fontana
(English Rendering by sprout)

I’mma tune to contain you where
”That’s you, my girl, I’m falling in love” 
Winds are so soon pretending there’s
“That’s you, my girl, I’m falling in love”

Soon … on
Turn … on
Send away the lie for two
And stop to meet her crying

Strand … on
Turn … on
Turn away the dries on two
And stop to meet her drying

Try and feel a ...
… I wanna really do how 

...
Star life with beautiful face so 

Try when you tone those there 
“That’s you, my girl, I’m falling in love”
Winds are so soon pretending where
“That’s you, my girl, I’m falling in love”

Soon again … on
Turn ...on
Stand alone the lie for two
And stop to meet her crying

Stand … on
Turn … on
Stand alone the … two
And stop to meet her crying

When I turn out ...
Do and then I really do high 

Do as wanna really do 
Star life with beautiful face so 

Tune to contain me where 
“That’s you, my girl, I’m falling in love”
Winds are so soon presenting there 
“That’s you, my girl, I’m falling in love”

 

 

 

よしきんさん

"Don't Let It Bring You Down"のAメロの最初の部分です。

I thougt my life to ask my heart.
Since I laugh true, It's OK. Wow...

と聞き取ってみました。
日本語にしようとすると…何のこっちゃ?ですね。

短いですが以上になります。

 

Hello Yoshikin.

I'm glad you were inspired to try a bit of this song.
That's the spirit of the challenge!
"Don't Let It Bring You Down" was the piece that people tried the most.
Maybe it's a bit like a coloring book.
Some words are clear (like the lines in a coloring book), but others can be filled with different choices (like different colors).
I can see that you had fun painting words into Kenichi's lines - and I enjoyed reading your words as he sang.
Thanks for participating - and good job!

All the best to you,
Brian Peck

 

 

 

C.Miyazakiさん

こう聞こえるけどその英語と意味が分からない。。
繋がらない。。と悩める歌詞ですね笑
まぁ繋がらないけどニュアンスでいきます笑
 
 
「Don’t Let It Bring You Down」
 
13行目
I need my clients as my tree
→ But I (need?) my clients task my strage
ニュアンスですが
Clientは歌詞に出てくる彼女でファンの人。
絡まった問題
 
14行目
I do it too, so fit by you
→ I do it too、goodbye you
その問題にさよならする。=
彼女との上手く行かないことにさよならする。
 
・おまけ
9行目 こうにしか聞こえない歌詞です笑
「Your tears may gaze me〜 」
→You ティル ミー? Kiss me、’cause you〜
 
 
・歌詞の概要
彼は彼女のことが好きで彼女も好きだと思っていた。
色んな問題があって絡まっていた。
そのうち、彼女は友達を好きになったのかもしれないと疑った。。
 
ビデオの中とは彼がTVの中の人。彼女と住む世界が違った。
彼女は自分のファンの人だった。ビデオの中で輝いている自分。
その彼への気持ちも彼女の中から消えかけてるのかもしれない。。
 
どこかで自分のことを好きなはず。。でも。。と複雑な気持ち。。
の中に本当は大好きなんだって気持ちが隠れている。
本当は同じ気持ちだよね。。分かって欲しいという心の叫び。
 
 
「Fontana」
この曲を聴くと 楽しそうに踊る男女の姿が目に浮かびます。
聞こえてくる言葉は My Girl、falling in love
 
私的に曲名は「falling love」か「My Girl」なのでは?と思ってます笑
それしか言ってない気がするので 爆
 
彼女とこうなったらいいな〜って幸せを想像した曲で
トゥルトゥルトゥルル〜〜〜の歌詞がない部分は
彼の言葉に出来ない心の叫び。だから歌詞はない。
 
くっつきそうでくっつかない。。もどかしい関係の二人。。
色々あるけど、やっぱり falling in love なんだ!!
って言いたいんじゃないかと思いました☆
彼女のこと大好きなんです笑
 
 
 
今回、この課題があって改めて歌詞や曲を聴いて
深く洞察することが出来たことに感謝致します☆

難題でしたが、素敵な企画だと思います♪
他の人はどう歌詞、曲を捉えて聴いていたのか
知りたいですね。
色々な視点が分かって面白そうです(^.^)
 
 
 
・全体の歌詞で私が思うこと。
(作った時期が同じものについて)
 
彼は愛している人がいた。
彼女も彼を愛していた。
でも側にいる存在ではなかった。
同じ世界ではなかったから。
 
お互い好きだったのに色んなことで上手くいかなかった。
彼女が他の人を好きになってしまったと勘違いした。
彼を愛していた彼女はいなくなってしまったと思った。
前の彼女と同じように。。
 
だから余計怖くて勇気だせずにいた。
自分の好きな気持ちを認めたい。。認めたくない。。
そのうち真実が見えなくなってしまった。
きっと気のせいだ。彼女にもて遊ばれてるのかもしれない。
どこかで大丈夫。。でも違うかもしれない。。
 
彼女はずっと待っていた。何で何も言ってくれないの?
でも彼は言いたいけど言えなかった。
怖かったから。。
 
信じたい気持ちと怖さの中で長い間ず〜っと揺れていた。
諦めよう。。お互いそう思いながらも信じたい気持ちがあった。
心の底で思い合っていたから。。
 
・・・・・・・・・・・・・
 
人は感情に飲まれると心に蓋をします。
思っていることを素直に言えたら未来は変わったかもしれない。
だけど、寿命は変えられない。それがシナリオだから。。
 
でも、彼は彼女の中で生き続けている。
彼もまた彼女の側にいる。離れていても心は繋がっている。
不思議な関係。。

 

Hello Miyazaki-san.

Thank you for your thoughtful approach to this challenge.
Kenichi's voice and words create images a bit like a Picasso portrait.
Some elements are clear and recognizable, but their relationship to each other is open to many interpretations.
Nobody can tell us exactly what Picasso was thinking, so we are free to imagine the meaning ourselves.
I like the way you freed yourself from my text (mostly, I think) and interpreted the song according to your imagination.
That may be the best way to appreciate these songs. 
It is one of the main reasons why I wanted people to try this challenge.
I didn't want my interpretations to limit these songs - there are so many other possibilities.

Two details I want to mention:

1 - I was also drawn to the possibility of "goodbye you" (in the 14th line of "Don't Let In Bring You Down").
I think that's what Kenichi wanted to sing, but when I listened to his isolated vocal track the first letter he sang was "f", not "g".
I think he changed his mind to "googdbye" after he started a different word, and I was afraid the "f" sound would be more noticeable in the mix.
But, like you, I still hear his "goodbye" intention.

2 - Your suggestion for the "Turuturu" section in Fontana is simple but brilliant.
There was no need for me to put words in all of Kenichi's musical phrases.
Giving him the freedom of a "scat" section would have been a nice gift to him and everyone in that section.

Actually, there were other versions that Kenichi sang of this song.
Unfortunately, the vocal track that was chosen for the CD is not the same one that I listened to and interpreted.
There are many little differences here and there that embarrass me, but they are most obvious in the "Turuturu" section.
A scat break would have avoided any problems there.
So your idea is great! 
Thank you for sharing your thoughts and ideas.

All the best to you,
Brian Peck

 

 

M.Nさん

HEAR ME NOW

1番のサビ
Our hearts will be closer. 
/Our heart rhythm will be closer.
Here,we're now.

同繰り返し部分
Our heart rhythm is closer.

ラストのサビ
Our heart rhythm will hold you.
Here,we're now.

わかりにくいですかね?
いずれも彼の音楽のように私たちを包みこんでくれるようなイメージです。
まさしく僕はここにいるよ、敵な。

稚拙な回答で申し訳ないです。
読んでいただいてありがとうございました。
ブライアンさんの詞的センスのすばらしさをあらためて実感しました。
みなさんからのすてきな回答を楽しみにしています。

 

Ah, M.N-san.
That is really very nice ... "our heart rhythm will hold you" ... of course!
What a beautiful idea - and it fits perfectly!
I wish I could have another try at this song's lyrics too.
I'm not sure, but I think two different versions of Kenichi's vocals are used together in this track (one on top of the other) and it gives his words a more mysterious and dreamy quality.
The final effect is softer and open to more interpretations than the isolated vocal track that I interpreted.
It does sound like Kenichi is singing "Here, we're now" - which is also a beautiful thought.
The team and I discussed that title when I was considering the lyrics, but we decided that "Hear me now" was not too far away from the sound - and it was perfect for the spirit of the CD.
Thinking about it again, there seems to be no reason why we couldn't have used both ("Hear me now" in the first or last verse, and "Here, we're now" in the others).
Your words and ideas make me want to write this song again!
Thank you for your inspiration.

All the best to you,
Brian Peck

 

 

| - | 2019.12.25 Wednesday |
And the winner is...

みなさま、お待たせいたしました。優秀賞の発表です!

それと今回エントリーされた全ての回答にブライアン先生がコメントをくださいました。
みなさまと是非共有したいので、追ってfeatureにて紹介いたします。

 


Hello, and thank you for patiently waiting for the results of the Hear Me Again Challenge! It was a high-level challenge, and I worried that nobody would be bold enough to try it. Fortunately, quite a few people tried, so there were a lot of interesting ideas to consider.

Before announcing a winner, I would like to say thank you to everyone who sent in their ideas. Every entry had its own merits. There were probably many more people who thought about participating but didn’t send in anything - and I must say "thank you" to them also. My biggest hope was for people to listen again with an open mind to the songs in “Hear Me Now”  - and I believe that a lot of people did that. So thanks to all the readers who thought about it but didn’t send in any ideas. You made the challenge a success in the most important way.

On this side, I have to thank the Interblend web team for accepting and managing the challenge, and KK staff for coordinating it. 


After reading and listening to all of the entries many times, I judge the winning entry to be Sprout’s version of “Don’t Let It Bring You Down.” That version matches Kenichi’s song perfectly. The words sound remarkably accurate, but the meanings and grammar pull us in many different directions - just like Kenichi’s original. It matches the spirit of Kenichi’s gift, with words that are clear in some ways, but inscrutable in others. Sprout’s lyrics could be the basis for many different versions. In that way, Sprout's lyrics are a beginning, not an end - just like Kenichi’s original was - a beginning, not an end. 

I hope you will all continue to revisit these songs to play with their possibilities, or just to enjoy them. May the gift of Kenichi's music never end.

Big thanks to all, and BRAVO to Sprout!

Brian Peck

 

 

BRAVOに選ばれたsproutさんの回答

 

11. Don’t Let It Bring You Down 

 

できるだけ音に忠実に、言葉を受けとめたつもりです。
とても引き込まれる謎解きでしたが、未だ迷いが多いので、
自信のない箇所を赤字で記し、別案を末尾に記しました。
健一さんの価値観が垣間見える貴重な作品のように感じています。

 

Don’t Let It Bring You Down
 (English Rendering by sprout)

 

I do my lie for ask my part
But since I laugh you it’s ok
I don’t need clues that you’ll be true
One new wait you, so think by you
Sometimes I feel he holds you
I do music be call you
Baby, 
Seeing you withholding him brings me down *1
Someday my eyes will lose you
Your tears may gaze me ‘cause you
Baby, I’m you
These crawl ending bring him down *5

 

When do you leave(s) client mind by plans *2
But since I laugh I laugh for you
One new by clients ask my trade
I’ll do wait you, so think by you

 

I miss my deeds but call you
I know you’ll still feel ‘cause you 
Baby, I’m you
Believing this brings me down *3
Someday you’ll meet my heart in you
I saw few stealy ‘cause you *4
Baby, I’m you
These crawl ending bring him down *5

 

Do you know what I’m bored to know 
Still come up updating them low
Still if you‘re depending on round
Just there’re many contained around
But there’re many for paining around

 

I miss my deeds but call you
I know you’ll still feel cause you 
Baby, I’m you
Believing this brings me down *3
Someday my eyes will lose you
Your tears may gaze me ‘cause you
Baby, I’m you
These crawl ending bring him down *5

 

Alternate versions
*1 Send you, we’ve falling in pleasery town  →pleaseryという単語はなく、時制も合わない
*2 When duty’s client mind my plans  → s の説明はつくが、dutyと聴くには無理がある
*3 Believe in this pleasery town → pleaseryという単語はない
*4 I hope you steal it ‘cause you → hope youと聴くには無理がある
*5 Withholding him bring him down → withholdingと聴くには無理があり、三単現の s もない(採用版も)

 

ブライアン先生からのコメント

 

My goodness, Sprout!
This is quite impressive.
Your sonic accuracy in "Don't Let It Bring You Down" is phenomenal.
You have been faithful to the sound of Kenichi's voice - as far as English words will allow.
In doing so, you have revealed the bewildering magic of Kenichi's gift.
Each new word leads us in a different direction.
In "Fontana" they push and pull us like children in a toy shop - and it is difficult to be strict with them.
Your parttial work on that song captures the joyful chaos.
But it is your work with "Don't Let It Bring You Down" that touches me the most.
It is an honest rendition of the sound of Kenichi's voice, without worrying about syntax or context or intention.
It is a pure, unpretentious portrait of a hauntingly beautiful song.
I don't know what it means, "but … (as you wrote in the second line) … it's ok"
Well done!
Thank you so much for sharing it.

 

All the best to you,
Brian Peck

 

 

 

| - | 2019.12.12 Thursday |
It’s a real labor of love

The Hear Me Again Challenge へのご応募ありがとうございました。
締切日ギリギリの11/30の投稿がほとんどでした!笑


応募して下さった方、ギブアップされた方も、みなさまに。
今回の難題に対し、Hear Me Nowの楽曲と再び向き合って下さったことに感謝致します。
ブライアン先生が、みなさまの回答は"It’s a real labor of love"だと。
「そらみみイズム」(ケンイチの歌ように聴こえること)、   英語力(文法など)  、 芸術性(イメージとバランス)  

そして全体的な印象で選考されますが、優秀なひとつを選ぶことはとても難しいことです。
結果発表までゆっくりお待ち頂けますように。
ちなみに、1番多かったのは “Don’t Let It Bring You Down”の回答でした。

 

 

| - | 2019.12.05 Thursday |
訳;Remembering Kenichi

 

90年代の初め、黒沢健一と知り合えたことは幸運だった。私はNHKや東京の企業に曲を書いたりレコーディングをする仕事をしていた。それが今、私が尊敬する友人、岡井大二氏と繋がることになる。ある日の午後、彼がプロデュースした3人組、L⇔RのFirst CDを持って私のスタジオにやって来た。私達は和気あいあいと意見を交わした。

 

私は彼らの音楽的才能に満ち溢れたCDに感動した。彼らの曲は一見基本的な音楽的語彙を使いつつも、当時の文化的時間枠を超越しているように感じられた。また、彼らの魅力的で温厚な人柄にとても感心していた。こんなにも素晴らしい曲を生み出す控えめで爽やかな彼らと出会えて実に心地良かったことを覚えている。

 

それが彼らに対する最初の印象だった。その後、健一が自身の音楽で成功した後でもその人柄は変わることはなかった。健一は飾らない穏やかな人柄で、L⇔R 3人の中で誰がクリエイティブな部分の中心だったのかは分からない程だった。

 

最初のミーティングの後、健一が私に彼の曲に英詞をつけて欲しいと言った。その曲は「Motion Picture 」となった。私は以前、日本のミュージシャンに歌詞を提供したことがあったが、その時の依頼はそれとは全く違っていた。通常日本語の歌詞が送られてきて、その意味とメロディーに一番合う英語を見付けるという作業なのだが、健一は不思議なサウンドで歌っているデモを送ってくる。その言葉は理解出来るものもあれば、今まで聞いたことがないものもあった。

 

健一が創り出す音楽は私が命名するならば、「POP-lish 」(また、おそらく「rock’n ese 」)。それらは英語や日本語の枠を超えている。「Hear Me Now 」を聴いてみて欲しい。ROCKやPOPミュージックを独自の言語で表現しているかのようなのだ。

 

その後、他の日本人アーティストが似たような手法で歌うデモを聴いたが、健一のようにミステリアスな言語で「流暢に」聴こえてくるのは他にない。健一の「rock’n ese 」はまるで英語の言葉の可能性を吹き飛ばすかのようであり、また、言葉選びの探求を惜しませない世界観があった。唯一難しかったのは、どの可能性を選び手放すか?だった。

 

その難しかったことのひとつに挙げられるのは、「Hear me now 」の曲のタイトルだった。私は健一は「Here we now 」(聴いてみて)と歌っていると思う。英語がぼやけて聞こえるので、「Here we’re now 」か「Here,we now 」かとも思った。どちらもそう聞こえるし、どちらの意味にしても面白い。でも、「Hear me now 」がアルバムのコンセプトに近いし、空耳方式では彼がそう歌っているとする方が近い。健一からの依頼には時々こういった類の難題があった。思えば依頼を断る選択肢もあったのかも?

 

健一の歌では私は出来る限り彼本来の語調やサウンドをそのまま残すようにした。ソングライティングでは、時としてサウンドが言葉の意味よりも大事になることがある。健一の曲はサウンドが特に大切であった。彼には独特の表現力豊かな歌い方があったので、私はいつもそれを維持するように努めた。

 

私は一度だけ健一の作曲の場面を目の当たりにしたことがある。その時私達はLAで「Land of Riches 」のアルバム制作をしていた。L⇔Rのメンバー、岡井大二氏、彼等のマネージャーと私はスタジオ近くの長期滞在型ホテルに宿泊していた。ある夜、ビールを何杯か飲んだ後、1人ずつ順番にギターを廻して歌った。健一の番になって彼は「POP-lish 」な弾き語りを始めた。彼は、落ち着いた流れから徐々にキーやテンポを変化させて行った。そのAメロ、Bメロ、Cメロの一つ一つがヒットソングになり得るメロディーで繰り返しは全くなかった。主題となるモチーフが消えては現れる。彼には絶え間なく流れるような素晴らしいアイディアがあり、様式に囚われない自由さがあると知った。

 

多くのソングライターは曲の初めから終わりまで、降って湧いてくる瞬間がある。それは私の人生においても何度か起きたが、滅多に起こることではない。LAの健一を見て思ったのは、彼の中には常に音楽がある。まるで水道管の中の水のように、蛇口をひねれば音楽が一定に流れ出るように素晴らしいアイディアが溢れてくるのだ。私が思うに、健一が挑戦しなければならないことは、そのアイディアを絞り込むこと。それを彼と同じように取り組めたことは私にとって素晴らしいひと時でもあった。

 

“もう一度聴いてみよう!”

 

さて、ここで私からあなたに問題です。「Hear me now 」のアルバムから健一が歌う「Pop -lish 」や「rock’n ese 」の曲を聴いてみて下さい。曲や曲の一部を選んで、健一だったらこう歌っていたかもしれないと思うあなたの考えを長くても短くても良いので書いて下さい。もちろん私が書いた歌詞と違っていて大丈夫。私とスタッフで読んで優秀なアイディアはこのサイトで発表します。健一の曲を聴いて、あなたのアイディアを送って下さい!

 

| - | 2019.10.21 Monday |
Remembering Kenichi

Brian Peck 氏からメッセージを頂きました。

コラムの最後にBrian氏からの問いかけがあります。

回答は全てBrian氏が読んでくれます。

回答期間は11/30(土)まで。優秀なアイディアは次回のfeatureにて発表致します。

皆様からのアイディアの投稿、お待ちしております!

 

 

 Remembering Kenichi  

 

 I had the good fortune to get to know Kurosawa Kenichi in the early 1990s. I had been writing and recording songs for NHK and a few other companies in Tokyo, which brought me into contact with Okai Daiji, who became a much-respected friend of mine. One afternoon, soon after he produced their first CD, Daiji brought the L⇔R trio to my home studio. We spent the afternoon together companionably, sharing thoughts and ideas.   

 

 I had been extremely impressed by the musical fluency of their CD. Their songs seemed to be based on a musical vocabulary that transcended language and culture divisions of that time. But I was equally impressed by their charm and good nature. I remember thinking how refreshing it was to meet unpretentious people who were making remarkable music.

 

  That was my first impression, and it never changed - even after the many years of success Kenichi had with his music. Kenichi’s unpretentiousness was so easy that, after meeting L⇔R.I had no idea who the main creative force in the trio was.

 

 Sometime after our first meeting, Kenichi asked me to write English lyrics for one of his songs. That song became “Motion Picture.” I had written lyrics for Japanese musicians before, but this was completely different. Usually, artists would send me a song with Japanese lyrics and ask me to find the best English words and phrases to fit the meaning and melody. But Kenichi sent me a demo that he had sung in a mysterious mix of sounds, some of them were familiar and some were like a language that I had never heard before.   

 

  Kenichi often created his music in something that I will call “pop-lish “(or maybe  “rock’n’ ese “). It is beyond both English and Japanese. Listen to his singing on the album “Hear Me Now” – that’s it! It’s like the native language of international rock and pop music. 

 

 Later, I heard some other Japanese artists sing in similar ways in their demos, but I have never heard anyone who was as “fluent” as Kenichi was in that mysterious language. Kenichi’s “rock’n ese” seemed to explode with English word possibilities – and it was a very generous world of choices to explore. The only difficulty was in choosing which possibilities to let go of.  

 

 An example of that difficulty is the “Hear Me Now” song title. In that song I believe Kenichi actually sings “Here we now” (listen to it), but that was too oblique for English. I thought of using “Here we’re now”  (like a short version of “Here we are now”) or “Here, we know” – both sound closer to what he sang, and both were interesting - but “Hear Me Now” was closer to the spirit of the album concept, and close enough to what he sang (in a 空耳way). This was the kind of difficult choice Kenichi’s music often gave me – which good choices should I say goodbye to?  

 

 In Kenichi’s songs I tried to keep as much of his original tones and sounds as possible. In songwriting, the sound is sometimes more valuable than the meaning, and in Kenichi’s songwriting the sound was especially precious. He had a very expressive singing tone, so I always tried to preserve it.

 

 I only watched Kenichi writing song ideas once. We were in Los Angeles, producing the “Land of Riches”album. L⇔R, Okai Daiji, their manager and I were staying in a condo-hotel not far from the studio. One night, after a few beers, we passed a guitar around and played songs for each other. When it was his turn, Kenichi started playing and singing in that “pop-lish”of his. He played a steady flow of ideas that morphed into different keys and tempos. Each idea could have been the A, B or C part of a hit song, but there was no repetition. The motifs disappeared after he sang and played them. I realized that he was “free-styiling” with a long, unbroken stream of brilliant ideas.  

 

  Many songwriters have experienced creative moments when a song comes flowing out, from beginning to end. It has happened to me several times in my life, but those moments are rare. Watching Kenichi that night in L.A. I felt like he had music in him at all times, like water in a pipe. He only had to open up and music would come out in a steady stream – one brilliant idea after another. I guess the challenge for Kenichi was to choose which ideas to develop and which ones to say goodbye to. Choosing words for him was the same kind of challenge for me - but what a wonderful challenge it was.

 

 

*The Hear Me Again Challenge *  

 

So, here is my challenge to you. Listen to any of the songs Kenichi sings in “pop-lish “or “rock ‘n’ ese”on the album “Hear Me Now”. Choose a song or part of a song, and write your own idea for what he might have been singing (of course it should be different from what I wrote). It can be a long idea or a short idea. The staff and I will check your ideas out and post the best ones on this website. So, listen to Kenichi, and send in your ideas!   

 

by Brian Peck 

 

 

 

| - | 2019.10.08 Tuesday |
HEAR ME NOW
LIVETIME BEST “BEST VALUE
LIFETIME BEST “BEST VALUE
黒沢健一 Banding Together in Dreams
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