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日本を含む全世界で高い評価と人気を得た名作、“VOODOO"以来実に14年ぶりとなる注目のニューアルバム。Qティップ(ア・トライブ・コールド・クエストのフロントマン)、ケンドラ・フォスター(ファンカデリックのヴォーカリスト)が数曲歌詞を手掛ける他、クエストラヴ(The Rootsのドラマ―、DJとして知られ、エルヴィス・コステロ、ディアンジェロ、エリカ・バドゥ、ジェイ.Z、アル・グリーン他著名作品にてプロデューサーとしても活躍)、ピノ・パラディーノ(ザ・フーの再結成の際、ジョン・エントウィッスル没後最初にバンドに招かれたべーシストとして知られ、ジョン・メイヤー・トリオのべーシストも務める。) ジェームス・ガッドソン(ビル・ウィザ―ス、クインシ―・ジョーンズ、ハービー・ハンコック他数々の著名アーティストの作品に参加する伝説的ドラマ―)等超豪華ミュージシャンが参加。また、今回のアルバムはそのレコーディングからミキシングに至るまで、ヴィンテージ機材を駆使し、全て完全なるアナログ手法で制作。発売以来日本を含む全20カ国でiTunes総合チャート1位を記録、既に大反響を呼んでいる。

日本盤 歌詞対訳付き

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ディアンジェロが2000年発表の前作『VOODOO』以来14年ぶりにリリースするアルバム。Qティップ(ア・トライブ・コールド・クエスト)、ケンドラ・フォスター(ファンカデリック)が数曲歌詞を手掛ける他、クエストラヴ(Dr/DJ)、ピノ・パラディーノ(B)、ジェームス・ガッドソン(Dr)ら豪華ミュージシャンが参加。レコーディングからミキシングに至るまでヴィンテージ機材を駆使し、全て完全なるアナログ手法で制作した作品。 (C)RS

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★■ディアンジェロが『タヴィス・スマイリー・ショー』に2日にわたり出演(パート1)

2015-09-05 15:01 吉岡正晴のソウル・サーチン
★■ディアンジェロが『タヴィス・スマイリー・ショー』に2日にわたり出演(パート1)
【D’Angelo On Tavis Smiley Show For 2 Days】
インタヴュー。
ディアンジェロが2015年9月2日と3日に放送された『タヴィス・スマイリー・ショー』に出演、インタヴューに答えた。この『タヴィス・スマイリー・ショー』はアメリカのケーブルテレビPBSで毎日放送されている30分のトーク番組。ホストのタヴィス・スマイリーがブラック系のアーティストや関連する作家、エンタテイナー、スポーツ選手など多彩な面々を呼んでトークする番組。これまでにこのソウル・サーチン・ブログでも、タワー・オブ・パワーのインタヴュー、アリーサ・フランクリンの伝記を書いたデイヴィッド・リッツのインタヴューなどを紹介している。
これまでの「タヴィス・スマイリー・ショー」関連記事
PBSでのタワー・オブ・パワー・インタヴュー
2014年10月09日(木)
http://ameblo.jp/soulsearchin/entry-11936254739.html
デイヴィッド・リッツ・インタヴュー
2014年11月06日(木)
http://ameblo.jp/soulsearchin/entry-11948299404.html
通常この番組では1人1日のフィーチャーだが、ディアンジェロは特別に2日にわたって放送された。それだけ期待が高かったことがうかがえる。
すでにその放送分がネットにアップされた。
パート1(2015年9月2日放送分)(約27分)
http://www.pbs.org/wnet/tavissmiley/interviews/singersongwriter-dangelo-part-1/?show=25380
パート2(2015年9月3日放送分)(約27分)
http://www.pbs.org/wnet/tavissmiley/interviews/singersongwriter-part-2/?show=25381
パート2の英文テキストがまだあがっていないが、画面には文字がでている。
おそらく全訳を近いうちに翻訳家の押野素子さんがアップしてくれるようだ。
~~~
プリンス。
パート1では、ディアンジェロが影響を受けたアーティストについて、プリンスを扉にそこからジェームス・ブラウン、スライ&ファミリー・ストーン、カーティス・メイフィールドなどを知っていった、などと語る。
世界各国を回ってそこでライヴに来る人は何に反応しているのかとの問いに、「(自分のパフォーマンスすべて、自分の音楽の)スピリットだと思う。音楽とは、それほどユニヴァーサル(普遍的)なもの、それが僕が学んだことだ。過去3年で5大陸に旅をしたが、(音楽は)言葉や文化の壁を超越している。人々はそのスピリット(精神)を感じているんだと思う」
Dにとって、最初のアイドルはプリンスだった。「もしアーティストなら、好きなアーティストを探すのではなく、そのアーティストが何を考えているかを探求しろ、と言われている。だから、僕もプリンスの音楽を真似るのではなく、彼がどのように考えるかを考える。そこから彼が影響を受けたアーティストを聴くようになった」
Dはプリンスやマイルス・デイヴィスなどの「次に何をするかわからない」その方向性や、ミュージシャン、アーティストとしての矜持にひじょうに傾注していることがよくわかる。
一方でレコード会社やファンはアーティストに売れたことと同じものを求める、アーティストの成長を求めない、アーティストをひとつの型の中にはめようとする、それとはどう戦ってきたのか、という質問に、「(自分の)自信だ」と言い切り、さらに「自分の本心に忠実に、それを恐れずにやること。かなり勇気がいるけどね。何か(他と)違うことをやるとおかしく映るから。最初『ヴードゥー』を出したときは、多くの人に嫌われた。『ブラウン・シュガー』とかなり違っていたからだ。だが、自分の信念で突き進まなければならない」と語る。レコード会社から前のような作品を作って、前と同じようなセールスをあげろというプレッシャーは面倒ではないかと訊かれ、「そんなことは気にしない、気にしてたら、(新作なんか)作れないよ(笑)」と答える。
また今作『ブラック・メサイア』に関しては、「自分の中では今までで一番社会的、政治的コメントが込められた作品だ。今あまり多くのアーティストは『ブラック・ライヴス・マター』について語らないがそれはおかしい。いまこそ声を上げて語るべき時期だと思う」
ただこういう時期だと、聴く側が喜べる作品を作ることと、メッセージを押し付けがましく出すこと(プリーチ)のバランスはどうとるのか、と訊かれ、「そこはかなり考えた。押しつけがましくなることは狙ってない、そうはしようとは思っていない。だがかなり微妙な線だ。ひとつ頭にいれておかなければならないのは、そう見られてしまうかもしれないが、(自分は)教壇の上に立つ聖職者じゃないということかな」
音楽はそうした社会的影響を持つかと訊かれ「もちろんだ」とも答えている。
~~~
パート1の英文テキスト
TRANSCRIPT
Tavis Smiley: Good evening from Los Angeles. I’m Tavis Smiley.
Tonight, part one of a rare conversation with multiple Grammy Award-winning soul singer, D’Angelo, on his first extended talk show appearance in over a decade now.
The R&B artist shocked the world when, in December, he dropped his long-awaited third album, “Black Messiah”, which has since earned the number one spot in more than 20 countries.
We are glad you’ve joined us. Night one of our conversation with R&B artist, D’Angelo, coming up right now.
[Walmart Sponsor Ad]
Announcer: And by contributions to your PBS station from viewers like you. Thank you.
Tavis: Been waiting on this a long time. I am honored to welcome the multiple award-winning musician, D’Angelo, to this program. This past December, without any warning, the talented artist released his long-awaited third album, “Black Messiah”, which went on to top music charts around the globe, in fact.
Before we start our conversation, though, first a look at his Saturday Night Live performance of the song, “Really Love”, from the new album.
[Clip]
Tavis: What is it that you think or hope, what is it that your upper register conveys, to the audience? When you’re hitting that upper register, what are you conveying? What do you hope to convey with that?
D’Angelo: Sensitivity, affection.
Tavis: Yeah, because you’re range is so cold.
D’Angelo: Oh, thank you, brother.
Tavis: That upper register, though, that makes sense to me.
D’Angelo: I love–you know, I’m a big fan of Prince and Curtis Mayfield and Smoky Robinson. It’s something to be said about a man who can be very masculine, but still display that sensitive side and that falsetto does it perfectly.
Tavis: Yeah. Prince has certainly been a guest on this program many times. I love him to death. I love him to life in another way.
D’Angelo: Yes, absolutely.
Tavis: Prince certainly has gotten his accolade. Smoky Robinson, greatest songwriter ever perhaps. Smokey’s gotten his accolade. Curtis Mayfield, to this day, still does not get the respect he deserves. What do you make of that? And tell me more about your fascination, your love of his gift.
D’Angelo: Wow. I would have to agree with you on that. I think that Curtis, to the masses, is a bit underrated. That’s funny, because…
Tavis: But not the songwriters, though. I didn’t mean to cut you off.
D’Angelo: The songwriters…
Tavis: You’re right. The songwriters dig Curtis Mayfield.
D’Angelo: Musicians and, surprisingly, a lot of like white rockers, rock and roll cats, really, really respect Curtis Mayfield. I mean, that’s how me and Eric Clapton met actually. We were doing a tribute for him right before he died.
He was getting inducted to the Rock and Roll Hall of Fame. We did the induction and he wasn’t able to attend. He gave his acceptance speech via satellite and not too long after, he died. I called Eric that night and, you know, told him that Curtis had passed.
But the thing I love about Curtis so much, the history with the Impressions and everything, but those songs–he was one of the forerunners with Bob Dylan as far as like protest songs and I think a lot of people sleep on that or forget that about him because he gets so known for the Super Fly thing, you know. But, wow, he was a great song…
Tavis: I remember talking to Sinead O’Connor one time on this program and she couldn’t stop talking about Curtis Mayfield. He was kind of like–Sinead O’Connor loves–I mean, I appreciated her appreciation of Curtis, which leads me to ask, I was just blown away with–I was thrilled is a better word–to see how well this project, “Black Messiah”, has been received around the globe.
When you travel outside of the country, what is it about your music, about that groove, that the audience internationally responds to? I know what our tradition is, but what are they grooving to?
D’Angelo: I think the spirit of it, you know, more than anything. I think music is such a universal language and it’s one thing I’m learning. In the past three years, we’ve been to like five different continents, you know, and that was one of the things that I really see. You know, it crosses all barriers of language and culture and I think people really feel the spirit of it.
It’s funny to me. I know both of us are from Pentecostal backgrounds and, when we’re on the stage, that’s exactly where we’re going. We’re going straight to church with a lot of the songs and it doesn’t matter where we go. We could be in Japan. We could be from Japan to Poland and people will connect and feel that spirit, you know.
Tavis: Somebody told me years ago that what comes from the heart reaches the heart. I think that’s true of your music.
D’Angelo: Absolutely.
Tavis: They feel what it is that your words are trying to take them. Since you went to the church, I’m going to follow you through the doors of the church and go there. I know the journey that I have had to traverse coming out of that Pentecostal experience, and mine was so didactic.
I don’t know about yours, but mine was so didactic and at times I felt so boxed in by my own faith. That’s another show for another night. This ain’t about me. It’s about you.
But I am curious, though, as to what the takeaways have been for you growing up in that Pentecostal experience. When we hear your stuff, what are we hearing? Just talk to me about your upbringing in the Pentecostal church. This is different than the Baptist church, in the Methodist church, the A.M.E. church. It’s a whole different thing.
D’Angelo: This is a whole other world, that’s right.
Tavis: When I first heard your music, the first thing I said was, “This Negro been in a Black church somewhere” and then a Pentecostal church somewhere…
D’Angelo: That’s right [laugh].
Tavis: I was not at all surprised to find out the way you hit that groove where you had come from. But talk to me about that experience.
D’Angelo: It totally forms everything that I do. When I go out on the stage, I bring that with me. It’s that thing about–everyone has their own way of reaching that place, but my way has always been that because I feel like, when I come on the stage with that authority from that source, there’s nothing that can touch that.
And a lot of times before we go out onstage, pretty much every time, we pray. Me and The Vanguard, we pray and, before we start a prayer, I sing an old spiritual song from way back in the woods, you know.
Tavis: You’re singing this in your prayer circle?
D’Angelo: Yes.
Tavis: Wow.
D’Angelo: Yeah. We start off with a song and we get in the spirit, then we pray, then we go out there.
Tavis: Put you on the spot. I got my old favorites. Like give me–I’m not gonna ask you to sing unless you want to. I’m just curious in terms of songs, what might you be singing? Give me one of them old songs you reach back for backstage.
D’Angelo: “Old Ship of Zion”. That’s a song my grandmother used to sing all the time, God bless her. “Prayer Changes Things”. Whatever I’m feeling that night, that’s what’ll come out. “I Know it Was the Blood”.
Tavis: “One day when I was lost, he died upon the cross.”
D’Angelo: He died on the cross.
Tavis: “I know it was the blood that saved me.”
D’Angelo: That’s right.
Tavis: How does that experience, that Pentecostal experience, show up in your music? When I hear it, it takes me back to church because, as you know, we could get into a song and it’d go on for 30 minutes.
And the more you sing it, the higher the spirit gets and the Holy Ghost just descends and falls and everybody’s moved by that in ways that is indescribable that will scare people who ain’t never had that experience before.
D’Angelo: That’s right.
Tavis: So when I hear you lay on a groove and you will stay on that thing and stay on it, it just builds, like lathers. It just grows and grows. That’s what I hear, but what’s your assessment of your work and how that experience shows up artistically?
D’Angelo: That’s a good question. Well, it’s one of the things that I admire. My favorite artists that I really look to like Prince, James Brown, Sly and the Family Stone, Parliament Funkadelic George Clinton, that’s what was happening to me, you know.
I think Prince is more in the lines of what we’re talking about like Pentecostal. So is Sly. Whereas, George to me was more tribal, but it was still going to the same place, you know. I just think it’s about, yes, it’s tribal and it’s instinctively where we come from as Black folk, you know. You just can’t get around it.
And I think when we’re using modern music, rock and roll, rhythm and blues, to take it right back there, we’re using it in the secular realm, but it’s going right back to the source.
Tavis: How’d you find the freedom, though? How did you find the freedom, to use your phrase, to use the gift that you’ve been blessed with to inspire people, to empower people, to uplift people, even to entertain people in that secular realm when there might have been those who judged you in the spiritual realm for even hanging out over there?
D’Angelo: That’s right.
Tavis: How’d you find that freedom?
D’Angelo: My grandmother. I got to say, Miss Alberta, because when I was growing up, coming up in the church, that’s all I heard and everyone would pull me to the side after church service was over. I was so young. I started like when I was five playing for the choir.
After church service, you know, sister so-and-so, mother so-and-so grabs you and says, “The devil gonna come at you” and they would point their finger at me like that [laugh]. “Don’t you go out there and use God’s gift for the devil.” You know, kind of like trying to shake you up, trying to scare you. I got it all the time as a kid.
My grandmother never, ever, ever, not once did that to me. Matter of fact, she encouraged me to go out there. She’d say, “You go out there and do that. Bring that with you and take it out there.” That frees me up right there…
AUDIO/VIDEO DROPOUT: 01:12 TO 01:17
It’s the thing about my good friend, Kamaal Fareed, Q-Tip, always says that. It’s like we’re not trying to preach to the converted. So, you know, it’s about getting the message to the people that need it the most, you know.
Tavis: We were talking about freedom a moment ago. The flip side of freedom, one could argue, I think, is doubt and that doubt leads to fear and then you end up being frozen by your fears. Artistically, have you ever had self-doubt? And if so, what were you doubting yourself about?
D’Angelo: Yes. I think every artist goes through that, especially in the beginning when you’re trying to find your own voice. I think shortly after I got signed, it just started to dawn on me that I had something to say and that Yahweh put something in my heart to share with the world.
Once you have conviction, then the fear don’t mean nothing. It’s just a thing. But every time, I’ve noticed that I persevered through that fear and you come out on the other side golden. So it’s just something that you learn to trust.
Tavis: I think part of what’s wrong with the world is that there’s so many copies. There ain’t no originals no more.
D’Angelo: Yes, sir.
Tavis: And you have found a way to distinguish your own sound. You put your own song stylings on it. You turn the radio on, you hear a D’Angelo track. Even before I hear that falsetto, you hear that groove, you know it’s a D’Angelo track. So you’ve been able to find your own voice, but you started out copying somebody like we all do, trying to imitate somebody.
D’Angelo: That’s right.
Tavis: Tell me about the journey of discovering your own sound.
D’Angelo: That’s the thing. I’ve heard this from actually my brother—whose my oldest brother— was like my first idol. You know what I mean? He used to always to say imitation leads to creation. Like with Prince, you know, that was my first like idol. I’ve heard somewhere else too where if you’re an artist, they say don’t seek them, but seek what they sought.
So Prince, in my adoration of his artistry, me seeking what he sought, that led me to James Brown and other things that influenced him that was obvious influences on Prince, like Sly Stone, George Clinton. So he kind of was like, you know, the key that opened that door.
Tavis: I suspect you’ve been asked more times than you care to remember what took so long from the last project to this one. So I don’t want to ask what took so long because I believe that art comes in its own time, number one. And the flip side to asking what took so long is that something this brilliant only took this long. There’s another way to kind of look at that. You know what I’m saying?
D’Angelo: Bless you, brother, bless you.
Tavis: So I don’t want to go there, but I do want to ask, though, how you navigate those years. As an artist, what are you doing in that 13, 14-year span when we’re waiting on the next project? Artistically, how are you–are you touring? Are you writing? What’s happening in that period that feeds your own artistic soul?
D’Angelo: I’m always writing and learning. It’s about growth. So I’m growing as a musician, as a guitarist.
Tavis: Which you did on this one.
D’Angelo: Absolutely. You know, of course, I’m still growing and still learning. You always want to have–you never want to be at a place where you feel like you’ve arrived. It’s always an upward incline, you know. That’s what a true artist is supposed to be doing and constantly growing and finding new territories. Those are the type of artists that I love.
Prince, you never knew what to expect from him from one album to the next. Miles Davis was like that. You know, once you get used to one style, boom, he switched it and, you know, switched gears on you. So those artists are very exciting to me, very exciting to follow their path, you know, and their journey.
Tavis: The challenge to that is–you know this better than I do because you’re the artist, I’m not–the challenge to that is that artistically you want to grow, but your fan base wants more of the same. And not just your fan base, but the record company really don’t want you to grow.
D’Angelo: The record company.
Tavis: They want you to put out the same that you did last time that hit so hard.
D’Angelo: That’s right.
Tavis: So you break out with “Voodoo” and you break out with “Brown Sugar” and you break out with–you know, Negroes ain’t checking for that new stuff. They want to hear more of what you put out.
D’Angelo: They want you to stick to a formula, yeah.
Tavis: Right. So how do you not get boxed in by your fans and by record labels?
D’Angelo: Confidence. You got to stay true to your heart and just not be afraid. It takes courage because, when you’re doing something different, it was funny because when I first dropped “Voodoo”, a lot of people didn’t like it initially because it was different than “Brown Sugar”. You just have to walk with that conviction.
Tavis: When sales aren’t the same from one project to the next, artistically you have followed what your heart, you know, is tugging on you to do, but how do you juxtapose those two things following your artistic muse, but sales might not be the same as they were on another project or what somebody wanted at the record label? Or does that not bother you?
D’Angelo: It doesn’t, it doesn’t…
Tavis: That’s what I expected, yeah [laugh]. If it bothered me, Tavis, I wouldn’t have done it [laugh].
D’Angelo: It all boils down to what you’re in it for, what’s your motivation, what’s your true intent. And my intention is to make art and to, I don’t know, let the spirits, whatever’s guiding me, let that–I just want to be a conduit of that, you know.
Tavis: And with regard to “Black Messiah”, what are you a conduit for? What are you trying to get us to hear?
D’Angelo: “Black Messiah” is, I think, the most–well, I know, the most sociopolitical stuff I’ve done. I think just in lieu of everything that’s been going on in sight of the times, it’s like something needs to be said and there’s so few that’s doing that right now.
That was funny to me because there’s so much going on with all the Black Lives Matter movement that’s going on. You know, Black men and women just getting killed for nothing. And I’ve always been a big reader and fan of history and I love the Black Panthers and all that stuff.
Tavis: Saw you hanging out with Bobby Seale.
D’Angelo: Yes, sir.
Tavis: That’s a nice piece in The New York Times.
D’Angelo: Oh, my God.
Tavis: I loved that piece.
D’Angelo: Aw, thank you.
Tavis: We’ll talk more about that, but go ahead. I’m sorry.
D’Angelo: Yeah, I’m not trying to be, you know, like a poster child or anything of the movement, but definitely a voice as a Black man, you know, as a concerned Black man, as a father as well.
Tavis: How do you find the balance between giving your audience something artistically that they can appreciate, that they can celebrate responding to that call to say something in a difficult moment like this, but not proselytizing, not being preachy? How do you find that balance in your writing and in the studio?
D’Angelo: That’s such a good question, and it’s something that I think about a lot because that’s the one thing I don’t want to do is come off preachy. So it’s a fine line, but I think the biggest thing to do is to remember that you’re not on a–even though people might try to put you on that thing, but you’re not on a pedestal. You’re not in the pulpit. You know what I mean?
That you’re one of the people, so as a voice of the people, I’m never talking to y’all, I’m not talking about us. So you’re including yourself in the whole thing that you’re discussing. So I think that’s a key in that.
Tavis: You mentioned some artists who’ve had a huge impact with the work that they have done, a social impact, a societal impact. You think that music is still pregnant with the kind of power to make a difference in this world the way it did prior to…
D’Angelo: Absolutely, absolutely. That’s the frustrating thing about it because music never loses that power. But the powers that be–Prince will say the gatekeepers, the bean counters, the execs, it’s all about the bottom line. They just want to make money and they want to stick to a certain formula that’s making that money.
I mean, we all know that, but, yeah, music can override all of that, all of the commerce side of the music business, you know. Not just music, but everything as a whole has become so corporatized, you know, and the music business has been no exception in that.
I think it’s even more so. You know what I mean? I think that’s the frustrating thing about it, but it’s really in the hands of the artists and the people, the audience that’s listening to the music.
Tavis:
VIDEO DIFFICULTY AT 12:44
I’m gonna tie this Negro down and not let him go, so we can continue this conversation tomorrow night. D’Angelo’s latest project, D’Angelo and The Vanguard, is called “Black Messiah”. It is a powerful, poignant, beautiful piece of work. Fits awfully nice into his corpus, and I am honored to have him on this program tonight.
And if you tune in tomorrow night, you will see night two of our conversation with D’Angelo. Until then, thanks for watching and, as always, keep the faith.
Announcer: For more information on today’s show, visit Tavis Smiley at pbs. org.
[Walmart Sponsor Ad]
Announcer: And by contributions to your PBS station from viewers like you. Thank you.
~~~~
Black Messiah
Black Messiah
posted with amazlet at 15.09.05
D'Angelo And The Vanguard
RCA (2014-12-23)
売り上げランキング: 922

ブラック・メサイア
ブラック・メサイア
posted with amazlet at 15.09.05
ディアンジェロ & ザ・ヴァンガード
SMJ (2015-02-04)
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