#1456『伊藤志宏トリオ・シンクレティア/毒ある寓話 Shikou Ito Trio Syncretia/Doku Aru Gūwa (A Poisonous Moral Tale)』

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ポニーキャニオン 2017

トリオ・シンクレティア/Trio Syncretia
伊藤志宏 Shikou Ito (p)
坂井紅介 Benisuke Sakai (b)
大儀見元 Gen Ogimi (per)

1. 夜来風雨の声 The twilight breeze whispered trough rain
2. カオスとクロノス Chaos and Khronos
3. スコプトフィリアの愛 #3 Scoptophilia fetishism #3
4. 遠雷 Distant thunder
5. 吸血鬼の輪舞曲 Valse with vampire
6. シンクレティア・サバト Syncretia Sabbat
7. 静寂(しじま)の風 Stillness wind
8. アイテールとカオス Aether and Chaos
9. Dear H from C
10. Valse Hot (bonus track)

Total time:66:43

All composed by Shikou Ito except “Valse Hot” by Sony Rollins
All arranged by Shikou Ito
Produced by Shikou Ito

Director: Hiro Yamashita
Engineer: Kentaro Kikuchi
Recorded at Yoyogi Studio on May 17&18, 2017
Assitant Engineer: Hiromasa Kobayashi
Mixed at Shibuya Studio on June 7&8, 2017
Mastered by Yuya Tada at Pony Canyon Mastering Room in August 2017

Art work & Design: Naoki Ishiyama (NiD)
Photography: Shinichi Takahashi
Sales Promotion: Junji Saito
Release Operation: Hironobu Suzuki

今、日本で最も多忙なジャズ・ピアニストのひとりである伊藤志宏による初のピアノ・トリオアルバム。タイトルからして奮っている。『毒ある寓話』。あまねく表現たるもの毒がなくなってしまったら終わり、という忘れがちな原点をまず痛烈に突かれる。伊藤志宏のピアノは美しい。音が違う。露のような透明度を最速で実現する、頭脳と指先の直結。天衣無縫に広がってゆく突き抜けた飛翔感。ジャズだのクラシックだのといったジャンルの分化以前に、「ピアノ弾き」たる者誰もが憧れずにはおれないものの、到達できる者はごくわずかの天賦の領域。トリオを固めるのはヴェテラン、坂井紅介 (ベース)と大儀見元 (パーカッション)。生音を最大限に活かした血の通ったダイナミズム、重力の巧妙なバランスはさすがの貫禄。個性的な仕様のパーカッションは多彩な音色ながら、すべからく「大儀見の音」としてコレクティヴな音像を練りあげる。バンド名よろしく複合要素が混淆し、物語はめくるめく構築力で回転し繙 (ひもと) かれるが、全体に通底するのはヨーロピアン・ジャズの香気だ。一聴したら脳裏に刻印されるメロディの歌謡性も、ピアニスティックなヴィルチュオジティへと芳醇にとけ込む。砂塵を巻くようなパッセージの蔭に焼きつく哀愁、音域のダイナミクス、放埒な遊戯のなかの優雅なる整合性など、デモーニッシュな魅力に満ちた「カオスとクロノス」(track.2)、「アイテールとカオス」(track.8) がとりわけ蠱惑的。気品と毒性、その危うい匙加減を伊藤志宏のピアノは最大限に見せてくれる。(*文中敬称略。伏谷佳代)

This is the first album of the piano trio led by Shikou Ito, possibly the busiest jazz pianists in Japan today. Before we even hear the music, the album title itself Doku Aru Gūwa is extraordinary enough, roughly translating into English as “A Poisonous Moral Tale”; listener beware. Any kind of artistic expression lacking a hint of bitter poison is soon dead: this often-forgotten starting point is bitingly emphasized. Shikou Ito’s piano is beautiful, the sound is simply different, and his lightning fast direct connection of brain and fingertips creates a dewdrop-like transparency. There is a quality of transcendent freedom soaring naturally ever outwards with no trace of artifice. Before differentiating into the jazz or classical music genre, anyone who considers themselves a “pianist” has no choice but to admire this kind of playing, and acknowledge that only those belonging to a narrow realm of natural talent can attain such heights. His fellow musicians are the veterans Benisuke Sakai (bass) and Gen Ogimi (percussion). A dynamism pulsing with life is created by making the maximum use of live sounds, and the masterly balance of gravity are just what you’d expect from such old hands. The distinctive percussion beats out an array of versatile tone colors, and yet as a matter of course, a collective sound image is polished to become Ogimi’s sound. As shown by the band’s name, many complex elements are mingled together and thanks to their dazzling construction, stories revolve and reveal themselves, but the whole album is still wrapped around by the fragrance of European jazz. The approachable lyrical touch of melodies, once heard, engrave themselves into the listener’s mind, and richly blended in with pianistic virtuosity. Pathos deeply fixed in the shadows of passages as if scattering clouds of finest sand; the dynamics of the register; graceful consistency in unbridled playing; with such demonic bewitchment ‘Chaos and Khronos’ (track.2) and ‘Aether and Chaos’ (track.8) are particularly alluring. Elegance and toxicity—Shikou Ito’s piano always shows us utmost its perilous balance of prescription. (Kayo Fushiya)


*レコーディング風景〜『毒ある寓話』In the studio:



伏谷佳代 (Kayo Fushiya) 仙台市出身、卯年・牡羊座。早稲田大学卒業。欧州に長期居住し(ポルトガル・ドイツ・イタリア)各地の音楽シーンに親しむ。欧州ジャズとクラシックを中心にジャンルを超えて新譜・コンサート/ライヴ評(月刊誌/Web媒体)、演奏会プログラムやライナーノーツの執筆・翻訳など多数。東京都在住。