Full Transcript
https://www.youtube.com/watch?v=AYMIUdJPlds
[00:04] Yeah, like you played Teen Town there.
[00:06] Yeah, like you played Teen Town there.
[00:07] I'm just going to call it out because the first time I heard that, it freaking knocked me on my back cuz at the time I was like, you know, uh maybe 19.
[00:12] I picked up the bass really late.
[00:16] I picked up when I was 18 and I'm like at home, you know, going, you know, you know, trying to get that all down and stuff like that.
[00:28] And then this dude came into work and he was like, "Oh, I've checked out this."
[00:31] And he put on that record.
[00:32] I was like, "Damn you, Marcus."
[00:34] I was like, "I'm just trying to play it finger style and now you're slapping it.
[00:37] You ruined my day." Well, you know, like, oh man, it was so so hard to do with slap, right?
[00:42] How long did it take?
[00:44] Like, what was your Yeah.
[00:45] No, I learned it finger style like everybody.
[00:48] Yeah.
[00:51] But at that point, man, I had been playing like this in so many different situations that it it was actually more natural.
[00:54] And plus, it was on the David Samborn TV show.
[00:57] We had a show called Night Music that was a music variety music variety show and our guest
[01:02] variety music variety show and our guest was Eddie Pomeieri and we were figuring was Eddie Pomeieri and we were figuring what are we gonna do as an encore like what are we gonna do as an encore like as the credits roll and uh somebody said Teen Town, you know, but Eddie had that uh electric acoustic piano, you know?
[01:16] Yeah. Yeah. And he's playing strong, man. The thing is way hot and that that wasn't going to do it, man. I had to come up with some power, you know what I mean?
[01:26] I said, "Okay, that's going to work." You know,
[01:35] I knew Tetown very well, you know. So, it was just about, you know, um figuring out how to to get it to work, you know, and um and maybe I had played it, fooling around when I was practicing, you know.
[01:49] Yeah, I don't remember doing that, but I probably did. But the thing was that we got all these notes written into the TV show. What the hell was that? You know what I mean?
[01:58] Really? Yeah. All these bass players wanted to know, you know, how, you know,
[02:03] wanted to know, you know, how, you know, how to do it.
[02:05] And then there was all this controversy about, you know, it shouldn't be done like that, which was hilarious to me.
[02:08] You know, it shouldn't be.
[02:09] No, no, they I'm laughing.
[02:11] I'm going, okay, I'm putting this on my record just cuz mainly it'll piss Jaco off.
[02:15] You know what I mean?
[02:18] Cuz um it was 91, you know.
[02:20] He had just passed, but he and I had a great relationship, you know, and he was always he's always busting my my balls, you know, about about stuff, you know,
[02:27] uh, you know, Marcus, you think you're hot stuff, you know.
[02:28] I said, man, I'm trying to be like you.
[02:30] Why you on my case, you know?
[02:32] Was he older than you or younger?
[02:34] Yeah. Yeah. Yeah.
[02:36] He was like, you know, uh, let's see.
[02:38] I think he passed when he was 33 and I was probably about 25, 26.
[02:47] So that was a difference, but that's a big difference, you know what I mean?
[02:48] He's a generation before me, you know, and so um he was just he opened me up, man,
[02:53] when I first heard his records because he was a composer.
[02:56] And I don't think most bass players realize the reason they fail as artists is because if
[03:04] they fail as artists is because if you're not writing, if you don't know you're not writing, if you don't know how to write for for your instrument, if how to write for for your instrument, if you just make a song and then you figure you just make a song and then you figure you're going to be you're going to put your bass on top of the song like playing the melody like you're a singer or a sax player, it's not going to work.
[03:17] or a sax player, it's not going to work.
[03:20] You know, it's I mean, you know who? Stanley Clark knows how to write for his instrument, right?
[03:25] He doesn't he doesn't write melodies where you go No. Here goes.
[03:35] That sounds great on the bass guitar.
[03:40] Hey, listen. We're going to be going back to the main video in just a few seconds.
[03:43] But quickly, I wanted to let you know that we have got a special SPL giveaway club that you are going to want to be a part of because it's 100% free to join.
[03:49] Each and every month we give away audio interfaces, strings, bass heads, pedals, cables, multi effects, straps.
[04:00] We even give away bases.
[04:03] And to join the giveaway club for free, all you need to do is go to
[04:06] free, all you need to do is go to splggiveaway.com or just click the link in the description.
[04:10] Now, with that said, good luck in this month's giveaway and let's get back to the main video.
[04:14] That's music for a bass guitar.
[04:15] That's not music for a horn where you're just kind of, you know, playing at an octave lower sounding like a heavy-handed guitar player.
[04:24] No, he knew he had a relationship with his instrument.
[04:25] He knew what sounded good.
[04:27] You didn't hear Jaco playing in the upper register all day.
[04:34] He plays the Wow.
[04:36] You know, he he get a major 7th to sound clear on the bass.
[04:58] [Music] Right.
[05:02] Yeah. That's somebody who knows their instrument and knows what sounds
[05:07] their instrument and knows what sounds beautiful and meaningful and unique on their instrument.
[05:11] you know, a lot of bass players now, they're playing, but they're playing basically um they're not celebrating what's unique about the bass guitar.
[05:18] Yeah, that's really interesting, actually.
[05:21] Yeah. And so, you're at a disadvantage because you're doing stuff that a guitar player can do falling out of bed.
[05:27] You're working hard to do this thing and some some people are doing um a really good job at it.
[05:32] But there's nothing like the revolution that happened when Stanley Clark came out with that school days.
[05:38] You know what I mean?
[05:39] Yeah. Well, when Jacko came out because it's it's just it's stuff that people heard before.
[05:43] It's just on a different instrument, you know.
[05:44] Yeah. What was your relationship with Jacko like?
[05:48] Cuz obviously like both living in around New York and stuff working like I'm assuming like you obviously doing more sessions.
[05:53] Was Jacko really involved in that scene or not?
[05:55] Jaco was in Weather Report.
[05:58] He and Joe Zavo had a lovehate relationship.
[06:00] Yeah.
[06:02] As you can imagine, cuz Joe's very strong personality.
[06:04] So does Jaco.
[06:04] Um, apparently they had a blowup and Jaco
[06:07] Apparently they had a blowup and Jaco quit the band.
[06:10] Michael Erbaniac, who's a Polish violinist, fusion guy who had a good relationship with Joe Zavano, he said, uh, Jaco's not the band.
[06:18] Call this kid Marcus.
[06:20] You know, like I'm 18, 17, 18 years old.
[06:23] And so Michael calls me, "Stay by your phone.
[06:25] Zavano is going to call you to play in Weather Report."
[06:27] I'm like, "You must be out of your mind.
[06:29] I'm not not replacing Jaco and Weather Report.
[06:31] That's a beatd down getting ready to happen.
[06:32] You know what I mean?
[06:34] Well, I'mma come in there and play like
[06:37] like [Music]
[06:42] [Music] right and man people
[06:45] like right.
[06:48] So, I just stayed away from my phone cuz there were no there no cell phones, no no answering, no nothing.
[06:50] You know what I mean?
[06:53] 70s man.
[06:54] So, I just said no man I'm not ready for that.
[06:57] And uh Choco and Zavo eventually, you know, kind of got back together and Zavno invited me to come see them at the Beacon Theater in New York.
[07:02] Oh, fantastic.
[07:05] So I got a ticket,
[07:08] York.
[07:08] Oh, fantastic.
[07:08] So I got a ticket, you know, like invited by them, you know.
[07:10] So I'm sitting there just watching Jaco and just going, "Wow, man.
[07:13] It's incredible.
[07:13] So I go backstage after, right?
[07:15] You know, I like sneak backstage during their last song.
[07:18] So they're coming down and Jaco comes down the stairs and I go, "Hey man, my name's Marcus."
[07:22] Oh, you're the little black kid who plays like me, right?
[07:26] No.
[07:30] Right.
[07:32] Um anyway, uh I thought about it a long time now.
[07:36] You know, at first I just thought, "Oh, no.
[07:38] Please don't tell me he's like that."
[07:39] But I'm sure Zavano when they were fighting said, "I don't need your ass.
[07:42] There's a little black kid who plays like you in New York that I can call."
[07:43] You know what I mean?
[07:45] That sounds more realistic.
[07:46] So Jaku was just repeating what Zavo had said to him.
[07:47] That's what I think really happened.
[07:49] Anyway, um the next time uh I'm playing with Robera Flack, you know, Luther and I are in Robera's band and we're in a hotel in in LA and the phone rings in my hotel room.
[07:52] Marcus Miller said, "Yeah, it's Jaco Pastorius.
[07:58] I'm in 265. Come up here and get your lesson."
[08:09] here and get your lesson.
[08:11] I'm like, "This dude, man, is so arrogant, you know."
[08:13] But I said that as I'm going to 265, I'm going to get my lesson.
[08:15] I'm going to get my lesson, you know?
[08:16] And he was there with his wife, man.
[08:19] Lovely lady, man.
[08:21] And he said, "This is what I'm working on now."
[08:22] He says, [Music]
[08:27] he said, "It gets all your fingers working."
[08:28] You know, it's whole hotel whole tone pattern, you know what I mean?
[08:29] And then he played some other stuff.
[08:31] And he said, "Okay, here now you play for me."
[08:32] And I was like, at that time, man, I was joed out, you know what I mean?
[08:35] Yeah.
[08:37] And at that point, I said, "I feel really stupid playing Jaco stuff to Jaco."
[08:40] Right.
[08:42] Got it.
[08:45] Yeah.
[08:48] Yeah.
[08:50] And I [Music]
[08:55] [Music]
[09:03] went and his wife was like, he takes the bases.
[09:05] I can do that.
[09:08] I just don't.
[09:09] You know what I mean?
[09:11] And I said, "Well, good.
[09:13] Leave leaves
[09:10] I said, "Well, good. Leave leaves something for me to do."
[09:12] You know?
[09:12] Yeah.
[09:14] But it was just uh I was it was like false bravado on my part because you know you you realize man if you're in the heavyweight man you could just sit there and just take get beat up or you at least get a couple swings in before you get beat up you know what I mean?
[09:16] because you know you you realize man if you're in the heavyweight man you could just sit there and just take get beat up or you at least get a couple swings in before you get beat up you know what I mean?
[09:17] if you're in the heavyweight man you could just sit there and just take get beat up or you at least get a couple swings in before you get beat up you know what I mean?
[09:18] you could just sit there and just take get beat up or you at least get a couple swings in before you get beat up you know what I mean?
[09:21] or you at least get a couple swings in before you get beat up you know what I mean?
[09:22] before you get beat up you know what I mean?
[09:23] cuz we were still relatively young men you know what I mean?
[09:25] So there's that whole thing, you know, but uh we became very close, you know what I mean?
[09:27] thing, you know, but uh we became very close, you know what I mean?
[09:30] And uh after his Weather Report run, he moved to New York.
[09:33] And at that time, I was doing I was playing with Miles, but I was also when I wasn't on the road with Miles, I was doing little club gigs, you know, the trio, great piano player named Kenny Kirkland.
[09:34] I was playing with Miles, but I was also when I wasn't on the road with Miles, I was doing little club gigs, you know, the trio, great piano player named Kenny Kirkland.
[09:37] but I was also when I wasn't on the road with Miles, I was doing little club gigs, you know, the trio, great piano player named Kenny Kirkland.
[09:38] I was doing little club gigs, you know, the trio, great piano player named Kenny Kirkland.
[09:39] Yeah.
[09:41] And Lenny White.
[09:43] And we just play, you know, it's out of the way place called the 55 Grand is on Grand Street and that was the address of it.
[09:45] And we just play, you know, it's out of the way place called the 55 Grand is on Grand Street and that was the address of it.
[09:47] Yeah.
[09:50] Anyway, you know, I'd be doing my little gigs and Jo would just show up.
[09:51] wouldn't ask.
[09:53] Just jump on the stage, plug in my amp, turn all the knobs up to 10 and do what he want.
[09:55] And I was like, "Come on, let's go."
[09:57] So, we played um um we played Continuum together.
[09:59] And on the on the Jaco recording of Continuum, he double
[10:10] recording of Continuum, he double tracked it.
[10:12] That's why it sounds the way it does.
[10:14] If you listen to Jaco Pastor's Continuum, he played it once on the fretless, played it again on the fretless, and that's why you get that beautiful chorusing.
[10:18] It's just natural.
[10:21] You know what I mean?
[10:23] So, we played it together and it sounded just like that, man.
[10:27] And I I went home on a on a cloud, you know, but you know, he would um he would give me little digs, you know,
[10:32] Marcus, you think you're good cuz you can improvise.
[10:35] I said, man, I'm just trying to trying to be like you, man.
[10:39] Why you you know, but it's it's an honor, man, when a guy feels like he has to put you down a little bit, you know?
[10:43] I was like, yeah. Yeah. Yeah. Yeah, man. Jaco just insulted me. Yeah.
[10:50] You know, and he but it was it was all love.
[10:52] You know what I mean? It was just like how we relate.
[10:54] Exactly. cuz you know when when they'd ask him about bass players that he respected, he said, "Yeah, Marcus Miller is, you know, it's it's
Full Transcript (Bilingual)
https://www.youtube.com/watch?v=AYMIUdJPlds
Translation: ja
[00:04] Yeah, like you played Teen Town there.
ええ、ティーン・タウンを演奏したように。
[00:06] Yeah, like you played Teen Town there.
ええ、ティーン・タウンを演奏したように。
[00:07] I'm just going to call it out because the first time I heard that, it freaking knocked me on my back cuz at the time I was like, you know, uh maybe 19.
それを呼び出すだけです。なぜなら、初めてそれを聞いたとき、それは本当に私の背中を打ちました。なぜなら、その時、私は19歳くらいでした。
[00:12] I picked up the bass really late.
ベースを始めたのは本当に遅かったです。
[00:16] I picked up when I was 18 and I'm like at home, you know, going, you know, you know, trying to get that all down and stuff like that.
18歳で始めました。家で、知っていますか、行っていますか、知っていますか、それをすべて習得しようとしていました。
[00:28] And then this dude came into work and he was like, "Oh, I've checked out this."
そして、この男が仕事に来て、彼は「ああ、これをチェックしたよ」と言いました。
[00:31] And he put on that record.
そして彼はそのレコードをかけました。
[00:32] I was like, "Damn you, Marcus."
私は「くそー、マーカス」と思いました。
[00:34] I was like, "I'm just trying to play it finger style and now you're slapping it.
私は「指弾きで演奏しようとしているのに、今あなたはスラップしている」と思いました。
[00:37] You ruined my day." Well, you know, like, oh man, it was so so hard to do with slap, right?
私の一日を台無しにした」まあ、知っていますか、ああ、なんてこった、スラップでやるのはとてもとても難しかったですよね？
[00:42] How long did it take?
どれくらいかかりましたか？
[00:44] Like, what was your Yeah.
例えば、あなたのイェアは何でしたか？
[00:45] No, I learned it finger style like everybody.
いいえ、私は皆のように指弾きでそれを学びました。
[00:48] Yeah.
はい。
[00:51] But at that point, man, I had been playing like this in so many different situations that it it was actually more natural.
しかし、その時点で、男、私は多くの異なる状況でこのように演奏していたので、それは実際にはより自然でした。
[00:54] And plus, it was on the David Samborn TV show.
それに、デビッド・サンボーンのテレビ番組に出ていました。
[00:57] We had a show called Night Music that was a music variety music variety show and our guest
私たちはナイト・ミュージックという番組を持っていました。それは音楽バラエティ、音楽バラエティ番組で、私たちのゲスト
[01:02] variety music variety show and our guest was Eddie Pomeieri and we were figuring was Eddie Pomeieri and we were figuring what are we gonna do as an encore like what are we gonna do as an encore like as the credits roll and uh somebody said Teen Town, you know, but Eddie had that uh electric acoustic piano, you know?
バラエティ音楽バラエティ番組で、ゲストはエディ・ポメリアーニでした。そして、アンコールで何をしようか考えていました。クレジットロール中に、誰かが「ティーン・タウン」と言いました。でも、エディはあのエレクトリック・アコースティックピアノを持っていましたね？
[01:16] Yeah. Yeah. And he's playing strong, man. The thing is way hot and that that wasn't going to do it, man. I had to come up with some power, you know what I mean?
はい。はい。そして彼は力強く演奏していました、男。それはとても熱かったです、そしてそれはうまくいきそうにありませんでした、男。何か力強いものを持ってこなければなりませんでした、わかりますか？
[01:26] I said, "Okay, that's going to work." You know,
「よし、それでうまくいく」と言いました。ご存知の通り、
[01:35] I knew Tetown very well, you know. So, it was just about, you know, um figuring out how to to get it to work, you know, and um and maybe I had played it, fooling around when I was practicing, you know.
テータウンはよく知っていました、ご存知の通り。だから、それはただ、それを機能させる方法を考え出すこと、ご存知の通り、そして、練習中にふざけて演奏したことがあるかもしれないということでした、ご存知の通り。
[01:49] Yeah, I don't remember doing that, but I probably did. But the thing was that we got all these notes written into the TV show. What the hell was that? You know what I mean?
はい、それをした記憶はありませんが、おそらくしたのでしょう。しかし、問題は、テレビ番組にすべてのこれらの音符が書き込まれたことです。それは一体何だったのでしょうか？わかりますか？
[01:58] Really? Yeah. All these bass players wanted to know, you know, how, you know,
本当に？はい。すべてのこれらのベーシストは知りたがっていました、ご存知の通り、どのように、ご存知の通り、
[02:03] wanted to know, you know, how, you know, how to do it.
知りたいと思っていました、どうすればいいか、どうすればいいか。
[02:05] And then there was all this controversy about, you know, it shouldn't be done like that, which was hilarious to me.
そして、それはそうすべきではないという論争がたくさんありましたが、それは私にとって非常に面白かったです。
[02:08] You know, it shouldn't be.
知っての通り、そうすべきではありません。
[02:09] No, no, they I'm laughing.
いいえ、いいえ、彼らは笑っています。
[02:11] I'm going, okay, I'm putting this on my record just cuz mainly it'll piss Jaco off.
私は、わかりました、これは私の記録につけておきます、主にジャコを怒らせるからです。
[02:15] You know what I mean?
わかりますか？
[02:18] Cuz um it was 91, you know.
なぜなら、ええと、91歳でした、知っての通り。
[02:20] He had just passed, but he and I had a great relationship, you know, and he was always he's always busting my my balls, you know, about about stuff, you know,
彼は亡くなったばかりでしたが、彼と私は素晴らしい関係でした、知っての通り、そして彼はいつも、彼はいつも私のボールをからかっていました、知っての通り、物について、知っての通り、
[02:27] uh, you know, Marcus, you think you're hot stuff, you know.
ええと、知っての通り、マーカス、あなたは自分がすごいと思っているんですね、知っての通り。
[02:28] I said, man, I'm trying to be like you.
私は言いました、おい、私はあなた のようになろうとしています。
[02:30] Why you on my case, you know?
なぜ私にそんなことを言うのですか、知っての通り？
[02:32] Was he older than you or younger?
彼はあなたより年上でしたか、それとも年下でしたか？
[02:34] Yeah. Yeah. Yeah.
はい。はい。はい。
[02:36] He was like, you know, uh, let's see.
彼は、知っての通り、ええと、見てみましょう。
[02:38] I think he passed when he was 33 and I was probably about 25, 26.
彼は33歳で亡くなったと思います、そして私はおそらく25、26歳でした。
[02:47] So that was a difference, but that's a big difference, you know what I mean?
だからそれは違いでしたが、それは大きな違いです、わかりますか？
[02:48] He's a generation before me, you know, and so um he was just he opened me up, man,
彼は私より一世代前です、知っての通り、そしてだから、ええと、彼は私を開放してくれたのです、おい、
[02:53] when I first heard his records because he was a composer.
彼のレコードを初めて聴いたとき、彼は作曲家だったからです。
[02:56] And I don't think most bass players realize the reason they fail as artists is because if
そして、ほとんどのベーシストは、彼らがアーティストとして失敗する理由は、なぜならもし
[03:04] they fail as artists is because if you're not writing, if you don't know you're not writing, if you don't know how to write for for your instrument, if how to write for for your instrument, if you just make a song and then you figure you just make a song and then you figure you're going to be you're going to put your bass on top of the song like playing the melody like you're a singer or a sax player, it's not going to work.
アーティストとして失敗するのは、あなたが書いていない、楽器のために書く方法を知らない、楽器のために書く方法を知らない、曲を作ってから、曲の上にベースを乗せるつもりだとわかったら、歌手やサックス奏者のようにメロディーを弾くつもりなら、うまくいかないからです。
[03:17] or a sax player, it's not going to work.
サックス奏者のようにメロディーを弾くつもりなら、うまくいきません。
[03:20] You know, it's I mean, you know who? Stanley Clark knows how to write for his instrument, right?
わかりますか、つまり、誰が知っていますか？スタンリー・クラークは自分の楽器のために書く方法を知っていますよね？
[03:25] He doesn't he doesn't write melodies where you go No. Here goes.
彼は、あなたが「いいえ。ここに」と言うようなメロディーは書きません。
[03:35] That sounds great on the bass guitar.
それはベースギターで素晴らしく聞こえます。
[03:40] Hey, listen. We're going to be going back to the main video in just a few seconds.
ねえ、聞いてください。数秒でメインビデオに戻ります。
[03:43] But quickly, I wanted to let you know that we have got a special SPL giveaway club that you are going to want to be a part of because it's 100% free to join.
しかし、すぐに、あなたが参加したいと思う特別なSPLプレゼントクラブがあることをお知らせしたいと思います。なぜなら、参加は100%無料だからです。
[03:49] Each and every month we give away audio interfaces, strings, bass heads, pedals, cables, multi effects, straps.
毎月、オーディオインターフェース、弦、ベースヘッド、ペダル、ケーブル、マルチエフェクト、ストラップをプレゼントします。
[04:00] We even give away bases.
ベースさえプレゼントします。
[04:03] And to join the giveaway club for free, all you need to do is go to
そして、プレゼントクラブに無料で参加するには、あなたがする必要があるのは、〜に行くことです。
[04:06] free, all you need to do is go to splggiveaway.com or just click the link in the description.
無料です。あなたがする必要があるのは、splggiveaway.comにアクセスするか、説明欄のリンクをクリックするだけです。
[04:10] Now, with that said, good luck in this month's giveaway and let's get back to the main video.
さて、それはさておき、今月のプレゼント企画の幸運を祈り、本編の動画に戻りましょう。
[04:14] That's music for a bass guitar.
それはベースギターのための音楽です。
[04:15] That's not music for a horn where you're just kind of, you know, playing at an octave lower sounding like a heavy-handed guitar player.
それは、あなたがオクターブ下で、重厚なギタープレイヤーのように演奏しているような、ホーンのための音楽ではありません。
[04:24] No, he knew he had a relationship with his instrument.
いいえ、彼は自分の楽器との関係を知っていました。
[04:25] He knew what sounded good.
彼は何が良い音かを知っていました。
[04:27] You didn't hear Jaco playing in the upper register all day.
ジャコが一日中高音域で演奏しているのを聞いたことはありません。
[04:34] He plays the Wow.
彼はワウを演奏します。
[04:36] You know, he he get a major 7th to sound clear on the bass.
ご存知のように、彼はベースでメジャーセブンスをクリアに響かせることができます。
[04:58] [Music] Right.
[音楽] 右。
[05:02] Yeah. That's somebody who knows their instrument and knows what sounds
はい。それは自分の楽器を知っていて、何が聞こえるかを知っている人です。
[05:07] their instrument and knows what sounds beautiful and meaningful and unique on their instrument.
彼らの楽器で、美しく、意味があり、ユニークな音を出すことを知っている。
[05:11] you know, a lot of bass players now, they're playing, but they're playing basically um they're not celebrating what's unique about the bass guitar.
ご存知のように、多くのベーシストは今、演奏していますが、基本的にベースギターのユニークなところを称賛していません。
[05:18] Yeah, that's really interesting, actually.
ええ、それは本当に興味深いですね、実際。
[05:21] Yeah. And so, you're at a disadvantage because you're doing stuff that a guitar player can do falling out of bed.
ええ。ですから、あなたは不利な立場にいます。なぜなら、ギター奏者が寝ながらでもできるようなことをしているからです。
[05:27] You're working hard to do this thing and some some people are doing um a really good job at it.
あなたはそれを一生懸命やっていますが、それを非常にうまくやっている人もいます。
[05:32] But there's nothing like the revolution that happened when Stanley Clark came out with that school days.
しかし、スタンリー・クラークが「スクール・デイズ」を出した時の革命のようなものはありません。
[05:38] You know what I mean?
わかりますか？
[05:39] Yeah. Well, when Jacko came out because it's it's just it's stuff that people heard before.
ええ。さて、ジャコが出たとき、それは人々が以前に聞いたことがあるようなものだからです。
[05:43] It's just on a different instrument, you know.
ただ違う楽器で演奏されているだけです、わかりますか。
[05:44] Yeah. What was your relationship with Jacko like?
ええ。ジャコとの関係はどうでしたか？
[05:48] Cuz obviously like both living in around New York and stuff working like I'm assuming like you obviously doing more sessions.
明らかにニューヨーク周辺に住んでいて、仕事もしていたので、あなたはより多くのセッションをしていたと仮定します。
[05:53] Was Jacko really involved in that scene or not?
ジャコはそのシーンに本当に参加していましたか、それともしていませんでしたか？
[05:55] Jaco was in Weather Report.
ジャコはウェザー・リポートにいました。
[05:58] He and Joe Zavo had a lovehate relationship.
彼とジョー・ザヴォは愛憎関係にありました。
[06:00] Yeah.
ええ。
[06:02] As you can imagine, cuz Joe's very strong personality.
想像できるように、ジョーは非常に強い個性を持っています。
[06:04] So does Jaco.
ジャコもそうです。
[06:04] Um, apparently they had a blowup and Jaco
ええと、どうやら彼らは激しい口論をして、ジャコは
[06:07] Apparently they had a blowup and Jaco quit the band.
どうやら彼らは激しい口論をして、ジャコはバンドを辞めたようだ。
[06:10] Michael Erbaniac, who's a Polish violinist, fusion guy who had a good relationship with Joe Zavano, he said, uh, Jaco's not the band.
ポーランド人のヴァイオリニストでフュージョン系のマイケル・エルバニアックは、ジョー・ザヴァーノと良好な関係を築いていたが、彼は「ジャコはバンドにはいない」と言った。
[06:18] Call this kid Marcus.
この子、マーカスを呼べ。
[06:20] You know, like I'm 18, 17, 18 years old.
わかるだろ、俺は18歳、17歳、18歳だったんだ。
[06:23] And so Michael calls me, "Stay by your phone.
それでマイケルが電話してきたんだ、「電話のそばにいてくれ」って。
[06:25] Zavano is going to call you to play in Weather Report."
ザヴァーノがお前をウェザー・リポートで演奏するために呼ぶだろうって。
[06:27] I'm like, "You must be out of your mind.
俺は「正気かよ」って思ったんだ。
[06:29] I'm not not replacing Jaco and Weather Report.
俺はジャコの後釜にウェザー・リポートで入るんじゃない。
[06:31] That's a beatd down getting ready to happen.
それは起こるべくして起こる悲惨な出来事だ。
[06:32] You know what I mean?
わかるだろ？
[06:34] Well, I'mma come in there and play like
まあ、俺はそこに行って演奏するつもりだ、まるで
[06:37] like [Music]
まるで [音楽]
[06:42] [Music] right and man people
[音楽] そうだ、そして男、人々
[06:45] like right.
そう、そうなんだ。
[06:48] So, I just stayed away from my phone cuz there were no there no cell phones, no no answering, no nothing.
だから、電話には近づかないようにしていた。なぜなら、携帯電話も留守番電話も何もなかったからだ。
[06:50] You know what I mean?
わかるだろ？
[06:53] 70s man.
70年代だよ、男。
[06:54] So, I just said no man I'm not ready for that.
だから、俺は「いや、そんな準備はできていない」と言ったんだ。
[06:57] And uh Choco and Zavo eventually, you know, kind of got back together and Zavno invited me to come see them at the Beacon Theater in New York.
そして、ええと、チョコとザヴォは最終的に、わかるだろ、また一緒になって、ザヴォはニューヨークのビーコン・シアターで彼らに会いに来るようにと俺を招待してくれたんだ。
[07:02] Oh, fantastic.
ああ、素晴らしい。
[07:05] So I got a ticket,
それでチケットを手に入れたんだ、
[07:08] York.
ヨーク。
[07:08] Oh, fantastic.
ああ、素晴らしい。
[07:08] So I got a ticket, you know, like invited by them, you know.
それでチケットをもらったんだ、知ってるだろ、彼らに招待されたみたいな感じで、知ってるだろ。
[07:10] So I'm sitting there just watching Jaco and just going, "Wow, man.
それでそこに座ってジャコを見ていて、「うわー、すごいな。」って思ってたんだ。
[07:13] It's incredible.
信じられないよ。
[07:13] So I go backstage after, right?
それで、その後バックステージに行ったんだ、ね？
[07:15] You know, I like sneak backstage during their last song.
知ってるだろ、彼らの最後の曲の間にバックステージに忍び込んだんだ。
[07:18] So they're coming down and Jaco comes down the stairs and I go, "Hey man, my name's Marcus."
それで彼らが降りてきて、ジャコが階段を降りてきたんだ、それで僕は「ヘイ、俺の名前はマーカスだよ。」って言ったんだ。
[07:22] Oh, you're the little black kid who plays like me, right?
ああ、君は俺みたいに弾くあの小さな黒人の子供か、そうだろ？
[07:26] No.
いや。
[07:30] Right.
そう。
[07:32] Um anyway, uh I thought about it a long time now.
ええと、とにかく、ええ、長い間考えていたんだ。
[07:36] You know, at first I just thought, "Oh, no.
知ってるだろ、最初はただ「ああ、いやだ。
[07:38] Please don't tell me he's like that."
彼がそんな奴だなんて言わないでくれ。」って思ってたんだ。
[07:39] But I'm sure Zavano when they were fighting said, "I don't need your ass.
でも、ザヴァーノが喧嘩していた時に「お前なんか必要ない。
[07:42] There's a little black kid who plays like you in New York that I can call."
ニューヨークに君みたいに弾く小さな黒人の子供がいるから、そいつを呼べばいい。」って言ったに違いない。
[07:43] You know what I mean?
わかるだろ？
[07:45] That sounds more realistic.
そっちの方が現実的っぽいな。
[07:46] So Jaku was just repeating what Zavo had said to him.
だからジャコはザヴォが彼に言ったことを繰り返していただけなんだ。
[07:47] That's what I think really happened.
それが本当に起こったことだと思うんだ。
[07:49] Anyway, um the next time uh I'm playing with Robera Flack, you know, Luther and I are in Robera's band and we're in a hotel in in LA and the phone rings in my hotel room.
とにかく、ええ、次にええ、ロバータ・フラックと演奏している時、知ってるだろ、ルーサーと私はロバータのバンドにいて、LAのホテルにいたんだ、そしたらホテルの部屋で電話が鳴ったんだ。
[07:52] Marcus Miller said, "Yeah, it's Jaco Pastorius.
マーカス・ミラーが「ああ、ジャコ・パストリアスだよ。
[07:58] I'm in 265. Come up here and get your lesson."
265号室にいる。ここに来てレッスンを受けろ。」って言ったんだ。
[08:09] here and get your lesson.
ここでレッスンを受けてください。
[08:11] I'm like, "This dude, man, is so arrogant, you know."
私は「この男、本当に傲慢だな」と思いました。
[08:13] But I said that as I'm going to 265, I'm going to get my lesson.
しかし、私は265に行くと言いました、レッスンを受けに行きます。
[08:15] I'm going to get my lesson, you know?
レッスンを受けに行きます、わかりますか？
[08:16] And he was there with his wife, man.
そして彼は妻と一緒にそこにいました、男。
[08:19] Lovely lady, man.
素敵な女性でした、男。
[08:21] And he said, "This is what I'm working on now."
そして彼は言いました、「これが今私が取り組んでいることです。」
[08:22] He says, [Music]
彼は言います、[音楽]
[08:27] he said, "It gets all your fingers working."
彼は言いました、「それはあなたの指すべてを働かせます。」
[08:28] You know, it's whole hotel whole tone pattern, you know what I mean?
わかりますか、それはホテルのホールトーンパターンです、わかりますか？
[08:29] And then he played some other stuff.
そして彼は他のものをいくつか演奏しました。
[08:31] And he said, "Okay, here now you play for me."
そして彼は言いました、「さて、今あなたは私のために演奏してください。」
[08:32] And I was like, at that time, man, I was joed out, you know what I mean?
そして私は、あの時、男、私は疲れ果てていました、わかりますか？
[08:35] Yeah.
はい。
[08:37] And at that point, I said, "I feel really stupid playing Jaco stuff to Jaco."
そしてその時点で、私は言いました、「ジャコにジャコの曲を演奏するのは本当に馬鹿げていると感じます。」
[08:40] Right.
そうです。
[08:42] Got it.
わかりました。
[08:45] Yeah.
はい。
[08:48] Yeah.
はい。
[08:50] And I [Music]
そして私は [音楽]
[08:55] [Music]
[音楽]
[09:03] went and his wife was like, he takes the bases.
行って、彼の妻は〜のようでした、彼はベースを取ります。
[09:05] I can do that.
私はそれができます。
[09:08] I just don't.
私はただしません。
[09:09] You know what I mean?
わかりますか？
[09:11] And I said, "Well, good.
そして私は言いました、「さて、良い。
[09:13] Leave leaves
残して残す
[09:10] I said, "Well, good. Leave leaves something for me to do."
「まあ、いいだろう。私のためにも何か残しておいてくれ」と言いました。
[09:12] You know?
わかるだろ？
[09:12] Yeah.
ああ。
[09:14] But it was just uh I was it was like false bravado on my part because you know you you realize man if you're in the heavyweight man you could just sit there and just take get beat up or you at least get a couple swings in before you get beat up you know what I mean?
しかし、それは私の虚勢に過ぎなかった。なぜなら、ヘビー級なら、ただそこに座って殴られるか、殴られる前に数回パンチを繰り出すことができると気づくからだ。わかるだろ？
[09:16] because you know you you realize man if you're in the heavyweight man you could just sit there and just take get beat up or you at least get a couple swings in before you get beat up you know what I mean?
なぜなら、ヘビー級なら、ただそこに座って殴られるか、殴られる前に数回パンチを繰り出すことができると気づくからだ。わかるだろ？
[09:17] if you're in the heavyweight man you could just sit there and just take get beat up or you at least get a couple swings in before you get beat up you know what I mean?
ヘビー級なら、ただそこに座って殴られるか、殴られる前に数回パンチを繰り出すことができると気づくからだ。わかるだろ？
[09:18] you could just sit there and just take get beat up or you at least get a couple swings in before you get beat up you know what I mean?
ただそこに座って殴られるか、殴られる前に数回パンチを繰り出すことができると気づくからだ。わかるだろ？
[09:21] or you at least get a couple swings in before you get beat up you know what I mean?
あるいは、殴られる前に数回パンチを繰り出すことができると気づくからだ。わかるだろ？
[09:22] before you get beat up you know what I mean?
殴られる前にわかるだろ？
[09:23] cuz we were still relatively young men you know what I mean?
私たちはまだ比較的若い男だったからな、わかるだろ？
[09:25] So there's that whole thing, you know, but uh we became very close, you know what I mean?
だから、そういうこともあったんだ。わかるだろ？でも、私たちはとても親しくなったんだ、わかるだろ？
[09:27] thing, you know, but uh we became very close, you know what I mean?
そういうこともあったんだ。わかるだろ？でも、私たちはとても親しくなったんだ、わかるだろ？
[09:30] And uh after his Weather Report run, he moved to New York.
そして、ウェザー・リポートでの活動の後、彼はニューヨークに引っ越した。
[09:33] And at that time, I was doing I was playing with Miles, but I was also when I wasn't on the road with Miles, I was doing little club gigs, you know, the trio, great piano player named Kenny Kirkland.
そしてその時、私はマイルスと演奏していたが、マイルスとツアーに出ていない時は、トリオで小さなクラブのギグをしていた。素晴らしいピアニストのケニー・カークランドがいた。
[09:34] I was playing with Miles, but I was also when I wasn't on the road with Miles, I was doing little club gigs, you know, the trio, great piano player named Kenny Kirkland.
私はマイルスと演奏していたが、マイルスとツアーに出ていない時は、トリオで小さなクラブのギグをしていた。素晴らしいピアニストのケニー・カークランドがいた。
[09:37] but I was also when I wasn't on the road with Miles, I was doing little club gigs, you know, the trio, great piano player named Kenny Kirkland.
しかし、マイルスとツアーに出ていない時は、トリオで小さなクラブのギグをしていた。素晴らしいピアニストのケニー・カークランドがいた。
[09:38] I was doing little club gigs, you know, the trio, great piano player named Kenny Kirkland.
小さなクラブのギグをしていた。わかるだろ？トリオで、素晴らしいピアニストのケニー・カークランドがいた。
[09:39] Yeah.
ああ。
[09:41] And Lenny White.
そしてレニー・ホワイト。
[09:43] And we just play, you know, it's out of the way place called the 55 Grand is on Grand Street and that was the address of it.
そして私たちはただ演奏していた。わかるだろ？グランド・ストリートにある55グランドという場所で、それがその住所だった。
[09:45] And we just play, you know, it's out of the way place called the 55 Grand is on Grand Street and that was the address of it.
そして私たちはただ演奏していた。わかるだろ？グランド・ストリートにある55グランドという場所で、それがその住所だった。
[09:47] Yeah.
ああ。
[09:50] Anyway, you know, I'd be doing my little gigs and Jo would just show up.
とにかく、私は小さなギグをしていたが、ジョーはただ現れた。
[09:51] wouldn't ask.
頼むこともなく。
[09:53] Just jump on the stage, plug in my amp, turn all the knobs up to 10 and do what he want.
ステージに飛び乗り、アンプを繋ぎ、ノブをすべて10まで回して、やりたいことをやるんだ。
[09:55] And I was like, "Come on, let's go."
私は「さあ、行こうぜ」と思った。
[09:57] So, we played um um we played Continuum together.
それで、私たちはコンティニュアムを一緒に演奏した。
[09:59] And on the on the Jaco recording of Continuum, he double
そして、ジャコのコンティニュアムのレコーディングで、彼はダブル
[10:10] recording of Continuum, he double tracked it.
Continuumのレコーディングで、彼はダブルトラックにした。
[10:12] That's why it sounds the way it does.
だからあのようなサウンドになるんだ。
[10:14] If you listen to Jaco Pastor's Continuum, he played it once on the fretless, played it again on the fretless, and that's why you get that beautiful chorusing.
Jaco PastorのContinuumを聴くと、彼はフレットレスで一度弾き、もう一度フレットレスで弾いた。だからあの美しいコーラスが得られるんだ。
[10:18] It's just natural.
それはただ自然なことだ。
[10:21] You know what I mean?
わかるだろ？
[10:23] So, we played it together and it sounded just like that, man.
だから、僕らは一緒に演奏して、まさにそんな感じのサウンドになったんだ、マン。
[10:27] And I I went home on a on a cloud, you know, but you know, he would um he would give me little digs, you know,
そして僕は雲の上にいるような気分で家に帰った、わかるだろ、でも、彼は僕にちょっとした皮肉を言ったんだ、わかるだろ、
[10:32] Marcus, you think you're good cuz you can improvise.
マーカス、君は即興ができるから自分が優れていると思っているんだろう。
[10:35] I said, man, I'm just trying to trying to be like you, man.
僕は言ったんだ、マン、僕は君のようになろうとしているだけなんだ、マン。
[10:39] Why you you know, but it's it's an honor, man, when a guy feels like he has to put you down a little bit, you know?
なぜ君は、でも、男が少し見下す必要があると感じるとき、それは名誉なんだ、わかるだろ？
[10:43] I was like, yeah. Yeah. Yeah. Yeah, man. Jaco just insulted me. Yeah.
僕はこう思った、イェア。イェア。イェア。イェア、マン。ジャコは僕を侮辱したんだ。イェア。
[10:50] You know, and he but it was it was all love.
わかるだろ、そして彼は、でもそれはすべて愛だった。
[10:52] You know what I mean? It was just like how we relate.
わかるだろ？それはただ僕たちの関係性のようだった。
[10:54] Exactly. cuz you know when when they'd ask him about bass players that he respected, he said, "Yeah, Marcus Miller is, you know, it's it's
まさに。なぜなら、彼が尊敬するベーシストについて尋ねられたとき、彼は「ああ、マーカス・ミラーは、わかるだろ、それは、それは
