Perry Robinson  by Peter Kuhn

閲覧回数 6,466 回

Perry was a master musician and creative genius. His musical legacy speaks for itself. But what was not recorded was his uncanny ability to play beautifully with anyone in any style of music and elevate the sound with skillfulness and his buoyant spirit. From his early work with The Fugs to the Jazz Composer’s Orchestra Perry’s spirit soared and carried everyone on its lofty wings. While he was mainly known as a “Free Jazz Clarinetist, he had an encyclopedic knowledge of music that crossed all traditions. This was Perry’s art. He was a musical alchemist that could work with whatever elements were available and make an inspiring musical statement. From folk to a variety of rock dynamics, free jazz to show tunes, steel drum to symphony orchestra, Perry played with versatility, appropriateness and his own inimitable style.

When Perry came to visit Nobu and I in San Diego last year I got a call to record sax solos for a man that wrote a musical. Knowing that Perry was better suited for the work and needed the cash more than me, I convinced the composer to go with Perry’s clarinet. It was uncanny to witness Perry playing these original compositions as if he wrote them. Blues, rock, swing, ballads and show tunes, he was spot on right from the first take. This is the mastery of Perry as a musician.

I had played clarinet in Junior High School and thought it a square stuffy instrument that was outdated and no longer relevant to the kind of cutting edge Jazz I enjoyed. Then I heard “The Call” on ESP featuring Perry with Henry Grimes and Tom Price. He played clarinet like a saxophone, like a big horn and it wowed me. I was inspired to pick up the clarinet again because Perry, like a master magician, revealed a new and hidden potential that was there all along but invisible and unknown.

As it happens Perry really was a magician and magic was one of the loves of his life. From card tricks to sleight of hand he loved performing magic for friends and especially children. On his last visit to San Diego he wanted to express his love and gratitude to my wife and I with a special ceremony that embodied the heart of Perry’s spirit, a world of a magical and mystical blessings, joy shared and love honored.

Perry was in some ways too pure for this world. There was an innocence and wonder that is not to be confused with either naivety or ignorance. Perry was brilliant, sharp, funny and insightful but he refused to be seduced by the world of money, fame and business. He saw life as sacred and lived as a free spirit honoring what is good, true and beautiful at all times. He trusted universe to provide and it did.

His generosity was unparalled. When I moved to NYC he invited me to stay in his loft with him until I found my way. He was certainly not wealthy but lived in a world of abundance and never asked me for either rent, food or other contribution in the months I was there. He introduced me to players, invited me to sessions, and looked after me as if I was his long-lost brother. Perry was a man who always saw the best in people. While he did not turn a blind eye to those who might take advantage or were unscrupulous he had the natural ability to nourish what was positive and not get mired in the negativity that consumes many of us.

If there is a word that describes Perry Robinson to me it is Joy. Joy in life, love, music. magic and laughter. He is a man who lifted us all up and never tore people down. Before his heart surgery and in the months of rehab afterwards he remained buoyantly optimistic about bouncing back and playing again. I will miss my friend as many will, but I am glad that he lived as a free spirit, brought so much music, laughter and love into the world and was able to pass at home While the heart is heavy it’s hard not to remember him with a smile.

ペリー・ロビンソンについて  ピーター・キューン

ペリーはマスター・ミュージシャンであり、創造的な天才であった。彼の音楽上の遺産についてはいまさら言うまでもないだろう。しかし、録音されざるものは、音楽のスタイルの如何を問わず誰とでも素晴らしい演奏を展開し、巧みな技術と浮き立つスピリットを持って音楽を高揚させることのできる尋常ならざる能力であった。The Fugs時代の初期の頃からJazz Composer’s Orchestraの時代に至るまで、ペリーのスピリットは高く舞い、仲間を翼に乗せて飛んでいた。


僕は中学校でクラリネットを演奏していたことがあり、クラリネットはもはや時代遅れで自分が演奏している時代の先端を行くジャズとは無関係の融通がきかない堅苦しい楽器だと思い込んでいた。その後、ヘンリー・グライムスとトム・プライスと共演するペリーをフィーチャーしたESP盤『The Call』を聴いて驚愕した。彼はクラリネットをまるでサックスのように、ビッグホーンのように吹いているではないか。僕は想像力を掻き立てられ改めてクラリネットを手にしたものだ。ペリーが手品の名人のように、そこに存在しながら見りことができず、未知のままだった新鮮で隠された可能性に気付かせてくれたからだ。偶然だが、彼は事実、手品師でもあり、マジックは生きる楽しみの一つでもあった。カードのトリックから手を使ったマジックまで、彼は友人やとくに子供達にマジックを見せるのが好きだった。彼が最後にサンディエゴに来た時、彼は僕の妻と僕に対してペリーのスピリットの心、魔法のようで神秘的な祝福、喜びと愛を体現した特別な儀式を以って彼の愛と感謝の意を表したいと言った。