マイルス・デイヴィスは音楽が重要であり、曲名を知っている観客には発表の必要がないと考え、CMをやめた。1954年以前はマイルスはステージで曲名を紹介していたが、パリでのライブは初めてフランス語で曲名を紹介した。ライブアルバムにおいてミュージシャン自身がMCをすることが重要で、ジャズ・メッセンジャーズやソニー・ローリンズのアルバムではメンバーの紹介があった。MCをすることでアルバムの印象が大きく変わり、ミュージシャンの個性や音楽がよく表現される。
Written by Shiji Ikegami
Previously (
Not caring about the title of the song, I thought that the music was important, so I stopped doing commercials at that time. If the audience already knows the title of the song, there is no need to announce it. I thought that they were not coming to listen to me talk, but to listen to the music, so I stopped talking to the customers. Many people thought I was a distant figure, and in reality, I was.
From “Miles Davis Autobiography” by Miles Davis and Quincy Troupe / translated by Yasuki Nakayama / published by Shinko Music Entertainment
It was in 1954. In his memoir from five years earlier, in 1949, he stated, “While in Paris…I went as far as introducing my song titles in French” (supra). Miles Davis, known for his cool image of not facing the audience and doing MC on stage, was different before 1954. Up until then, it was common for him (even Miles) to introduce song titles on stage. Miles’ live performance in Paris was a double quintet with Tad Dameron, and the recorded material for broadcast was later released on record (“Parliamentary Festival International”) [Columbia]). In addition to the radio DJ speaking French during the performance, you could also hear the musicians on stage introducing the song titles, which turned out to be written by Miles (though in English). This was before Miles’ distinctive gravelly voice was known, so when I first heard it, I was puzzled by the difference in image.
The introduction has gotten long, but I think that a live album in which the musicians themselves do MC has a big impact on the album’s image. What do you think?
Let’s gather some live albums with memorable announcements by the musicians themselves.
Blue Note’s “Jazz Messengers at Cafe Bohemia” provides a very detailed introduction by Art Blakey (actually the leader). Blakey must have been very serious. He showed trust in the band members with “the youngest, the finest” Doug Watkins, “the rising star of modern jazz” Hank Mobley, and Kenny Dorham, who “performed with Charlie Parker.” The high expectations for the upcoming music grow. It is also a valuable record that allows you to know the situation at that time.
In “Kenny Dorham (Round About Midnight at Cafe Bohemia)” by Kenny Dorham (CD/Blue Note), which was also present, Dorham starts with “Good Evening, Ladies and Gentlemen” and sings. In response to applause, he gives a very polite announcement, “Thank you, everyone,” which he may have received from boss Blakey. The ballad “Autumn in New York” that follows this announcement is greatly influenced by the calm impression of this narration.
Sonny Rollins’ “A Night at the Village Vanguard” (Blue Note) gives a completely different impression. In this full version CD, you can hear many announcements by Rollins himself, starting not with “Ladies and Gentlemen” but with “Boys and Girls,” which is followed by laughter and lots of conversation during the introductions. The way he engages with the audience is completely different from Blakey and Dorham. His voice’s volume and tone are similar to that dynamic saxophone. When you listen to these albums live, it’s natural for the person’s personality to come through in their speaking style, but in fact, much of their music comes through as well. In jazz, personality and music are inseparable. I’m starting to think it’s not just about the people themselves.
(The descriptions are based on the CD and may vary depending on the product version.)
Written by Shiji Ikegami
Freelance editor and writer specializing in jazz. Currently publishing an e-book series “Learning Jazz History through Subscription”. Author of “500 Great Jazz Vocal Songs by Masahiro Goto” (Shogakukan Shosho), “Miles Davis Encyclopedia by Masahiro Goto” (Shinco Music Entertainment), and “Understanding from Scratch” supervised by Masahiro Goto. Has written “Jazz Introduction” (Sekai Bunka Sha). Also serves as a monthly personality on the jazz program “The World Wants Jazz” on Kamakura FM.