EIGHT-JAM 2024年12月15日 トップアーティスト特集
#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
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00:008 Jam
00:05Tonight's 8 Jam is...
00:08Top players who have received countless offers from professional musicians
00:12have gathered here for the first time.
00:14First up is...
00:15Sing!
00:21King Gnu's bassist, Kazuki Arai.
00:25He plays songs from a wide range of genres,
00:28such as Stones and Bando Yuta.
00:33Next up is guitarist, Ray.
00:38He plays songs from many artists,
00:40such as Ilya and Rhymestar.
00:44And...
00:48Yonezu Kenshi.
00:51He plays songs from songs like King Gnu.
00:56A professional soul band,
00:58Wonk's keyboardist,
01:00Ezaki Ayatake.
01:04And three people who are well-known on TV shows.
01:08For the first time,
01:13drummer, Shun Ishiwaka.
01:17What does Shun Ishiwaka think about his playing?
01:21He looks at the whole ensemble and approaches it,
01:24so even as a drummer, he is so objective and precise.
01:28Is he a true musician?
01:31Next up is Kishida, Kururi's vocal guitarist.
01:34He is very open to how the person who made the song is trying to express himself.
01:40Many professionals are praising him.
01:44They are almost the same age.
01:50He is in the same class as me.
01:53Shun Ishiwaka and Ayatake.
01:55You've known each other since you were in college.
01:57We've known each other since we were in high school.
02:02How did you know each other?
02:04I saw a video of him playing jazz piano in Fukuoka.
02:13I was in the video.
02:15When I was in college, I thought he was a real jazz drummer.
02:19You thought he was a real jazz drummer.
02:21I also knew that there was a genius jazz drummer in Sapporo.
02:26We've known each other since we were in middle school.
02:30So when I met him in the art school, I thought he was a real drummer.
02:35So you thought he was a real jazz drummer.
02:38Shun Ishiwaka is 11 years old.
02:41He appeared in the world-famous jazz trumpet player Masa Hinoteru's live performance.
02:45Recently, he also appeared in this work.
02:54The drummer of Kenshi Yonezu, Kanden.
02:58Kingroo Arai is in charge of the performance.
03:03It's completely wrong.
03:05It's completely wrong.
03:08What kind of performance will he show us?
03:17Top players who play a lot of popular artists' hit songs are gathered.
03:26Kenshi Yonezu's Earth Style.
03:29Shun Ishiwaka is a drummer who has participated in 5 Yonezu's works including this song.
03:36Among them...
03:42Kingroo Arai was shocked by this Kanden drummer.
03:49When I heard this song,
03:52there was a scene where Shun was in it.
03:54When I heard it, the phrase of the C melody was...
03:58He was doing something crazy.
04:00When I heard it, I thought it was a little strange.
04:03It's completely wrong.
04:05It's completely wrong.
04:07He was shocked by the fact that Arai Kazuki played such a strange song in Kenshi Yonezu's song.
04:26When I heard Kanden's C melody,
04:29I thought,
04:30Shun is gone.
04:31He can't be found in the world anymore.
04:35He didn't hit anything where he was supposed to be.
04:38That's too abstract.
04:43This is the C melody.
04:53It's crazy.
04:58It's cool.
05:00It's cool.
05:04What's that?
05:14Arai explains what's amazing about this drum play in the studio.
05:21When I look at the sheet music, I can see what he's doing.
05:24He's doing something like that.
05:27Basically, in music beats,
05:30there are snares in 2 and 4.
05:34It's natural that there are snares in 4 and 5.
05:39But he's only playing two bars.
05:45Can you play this?
05:48I don't remember.
05:50You remember the feeling at that time.
05:53What if I ask you to play it live?
05:55Shun can't do that.
06:01So you hit it at the moment of recording?
06:04Yes.
06:05And I think the sound check time was okay in this part.
06:13So you didn't prepare anything for this song?
06:17I don't think this part was in the demo.
06:22But it was a sound check.
06:24So Yonezu-kun chose this part.
06:27Yes, he did.
06:29So you decided to use this part?
06:32Yes, I did.
06:33It's impossible to reproduce.
06:35It's impossible.
06:36But let's try it.
06:38I want to hear it.
06:39Usually, when the drums come in the section,
06:42I'll change the metronome.
06:46The song is different, but I'll play it.
06:49Shun will change the metronome,
06:52and it will sound like electric drums in the end.
06:55That's great.
06:57Let's try it.
06:59Electric drums are difficult to reproduce.
07:03What's the difference in playing?
07:06He will play the general drums, jazz swing, and electric drums.
07:16I've never done that before.
07:19Can you do it?
07:21I'll leave it to you.
07:33Swing.
07:43Electric.
07:48Swing.
07:58That's amazing.
08:00All genres are mixed,
08:02but Shun's unique way of reproducing
08:06can be used to play drums across genres.
08:09I think that's why he's so popular.
08:14I think there are a lot of great drummers.
08:18He's from jazz,
08:21but he plays pop, rock, and funk.
08:24He plays in various genres.
08:27When he plays something that he's not good at,
08:31it's not like he's dressed up,
08:33but it's like he's dressed up for the genre.
08:35It's like he's dressed up for the atmosphere.
08:38As a player, I remember that.
08:41When Shun plays something,
08:43it's like he's dressed up.
08:46No matter what genre?
08:48Yes.
08:49I have a favorite memory of Shun.
08:52At the school festival,
08:55he played the drums of an Anison band.
08:58I went to see that performance.
09:01When I came back after the performance,
09:04I was really depressed.
09:07I was like, why am I depressed?
09:09Even though it was a great performance,
09:11I didn't listen to Anison that much.
09:13Anison should have a cool beat.
09:16I'm really sad that I couldn't follow that beat.
09:23First, I learned how to play the drums,
09:26and then I added my own color to it.
09:30Do you remember that?
09:32I just remembered it.
09:34I just remembered that I played Anison at the school festival.
09:38Ayatage remembers all the important things.
09:45He's like a big brother.
09:47He's the best friend.
09:49He's the best.
09:50I forgot about it, but I remembered it.
09:52Every time we meet, we always talk about this.
09:55You don't remember playing Anison that much, do you?
09:59I don't remember,
10:01but I don't think I had enough rock beats.
10:07I was always approaching Anison with a jazz feel,
10:10so there was something different about it.
10:13If you were to play rock or funk now,
10:16would you play Anison?
10:18How would I play Anison?
10:20The tempo is fast.
10:22The tempo is fast and the number of sounds is high,
10:24and it fits perfectly with the grid.
10:27That's how it feels.
10:29What is it?
10:31It's like this.
10:37It's not a rough, gradated sound.
10:42It's all like this.
10:46It's like this.
10:48It's a lot of feel.
10:50It's all jazz.
10:52It's jazz.
10:56I'm glad you said that.
10:59No matter what you do, there's jazz in the background.
11:08King Gnu's Hakujitsu
11:13Ayatake Ezaki arranged the piano for this song.
11:17There is a question about the performance of Ezaki
11:20to King Gnu's Kazuki Arai.
11:24How did you come up with the bass line
11:27for the piano in the intro of Hakujitsu?
11:30He did the intro of Hakujitsu.
11:34I have the image that if you throw it to Ayatake,
11:37it will come back with a good feeling.
11:41I think the piano of Hakujitsu is the best example of that.
11:45By the way, why did you arrange the intro?
11:48The bass line goes to a different place from the bass I'm playing.
11:53I was wondering what kind of system it was.
11:56I see.
11:58This is the intro of King Gnu's Hakujitsu,
12:01which Kazuki Arai says is full of Ayatake Ezaki's style.
12:19King Gnu's Hakujitsu
12:32How did you come up with this intro?
12:35Ezaki will explain it in the studio.
12:41I was relaxing at my parents' house in Fukuoka at the end of the year.
12:45I got a message from Daiki.
12:48There was a file of music.
12:51It was like drama.wav.
12:54It was just a sound source file.
12:57It said, nice to meet you.
13:00When I opened it, there was a great song.
13:09There was a demo with a basic Japanese-style arrangement.
13:14After that, Kazuki was very kind.
13:17He gave me a follow-up message.
13:20He said, I'm sorry I only sent you the sound source.
13:24I wrote the music score, so I'll send it to you.
13:27He gave me the music score.
13:29That's great.
13:34He told me to do it freely.
13:40I knew it would start with a song and a piano.
13:43I was wondering what kind of melody it would be.
13:46I thought it would be nice if the piano was like another song.
13:55It goes down to here.
13:58The piano goes up.
14:04If you look at the top of the Japanese sound of the piano,
14:08it's a beautiful staircase.
14:11It's more beautiful than the original demo.
14:22If the song goes down, the keyboard goes up.
14:28I thought about the design of two melodies overlapping.
14:34Looking at the whiteboard again,
14:37the melody line and the piano are moving in the opposite direction.
14:54What Kazuki told me was exactly what he said.
14:58I ignored the original demo and bass line.
15:03I thought this melody line was more beautiful.
15:10The head part of the piano is a staircase.
15:15I wanted to convey that the Japanese sound moves along the stairs.
15:23I put the two melodies in between.
15:27I wanted the piano to be like another song.
15:41Based on the story of Ezaki, let's listen to it again.
15:56The story of Ezaki
16:08In addition, Ezaki said that something happened during the recording.
16:15I thought this song was a ballad from the first time I heard it.
16:19It's a beautiful ballad.
16:23After the recording of the piano,
16:26he asked me to play an organ and clavinet.
16:34I was talking to Kazuki.
16:37Kazuki said,
16:39This song is a great funk.
16:42I thought it was a ballad.
16:45I thought it was a funk.
16:48When I heard that, I thought,
16:51It is a great funk song.
16:54I thought it was a ballad.
16:57I thought it was a ballad.
17:00When I made the entire ballad,
17:03half of the band members started saying it was a funk.
17:07Kazuki said,
17:09Please play a good organ and clavinet.
17:12I played a good organ and clavinet.
17:15That's all I remember.
17:16I tried to do it in a good mood, but for me,
17:19putting a good mood on a song that I'm playing with a beautiful, sad feeling,
17:23it's like a person with a lot of emotions.
17:27After it was over, I asked Daiki,
17:28that's a ballad, right?
17:30Oh, it's a ballad.
17:31No matter how you think about it, it's a ballad.
17:33No, it's like someone who says funk.
17:36That's crazy.
17:38That's crazy.
17:40It's more than a ballad.
17:43In addition, about King Gnu's bass arrangement,
17:46Ray has a question.
17:49King Gnu is a band with a lot of information.
17:51If one gear shifts, the musical balance will collapse.
17:55How do you play in the arrangement?
17:58That's the question.
17:59The music of the King Gnu band,
18:02personally, I think it's like the city of Tokyo.
18:07There are a lot of tracks like Yamanote Line.
18:10If the gear shifts for a few minutes,
18:12it's like everything stops.
18:14It's very colorful.
18:16There's a lot of information,
18:18but at the same time, it's precise.
18:21That's the impression I got from the band.
18:26And in that, the bass has a role
18:29to be the core of all ensembles.
18:34It feels like you're adding your own color as a player.
18:39How much do you calculate and how much do you feel?
18:42How about you, Kazuya?
18:44Basically, what I said earlier happens.
18:48I think the recognition is different.
18:52I didn't calculate much.
18:56If I tell you the answer,
18:58everyone will do it naked.
19:01As for the bass,
19:03I try to play as much as possible.
19:06I try to play as much as possible.
19:08Subtract or play?
19:10Play.
19:11I try to play as much as possible.
19:16If the members say it's annoying,
19:18I'll play less.
19:21So basically, it starts with playing too much.
19:25I'm usually told it's annoying.
19:30What kind of bass play did Arai say was annoying to the members?
19:46He plays with the image that the bass is pulling the ensemble.
19:51It's moving.
19:52He moves sideways like Seiji Kameda,
19:55but he tries to make it move.
19:59This is the performance with such a movement.
20:13What is the movement of the bass?
20:17In this song,
20:20the chord itself is...
20:25It's just a single note.
20:27In the meantime...
20:37If you add something like this,
20:41it's a bit of a spice.
20:44It's a strong spice.
20:46Rather than playing like this...
20:49I try to do something like this once.
20:55That's really cool.
20:57I try it once.
20:59But I'm usually told it's annoying.
21:01How much do you reduce when you're told it's annoying?
21:04Now, it's like a live performance.
21:07I'm doing it like a live performance.
21:10Now, if it's too much...
21:12If it's too much...
21:17If it's the sound source...
21:23He's holding back.
21:25He's holding back.
21:27I can't say it.
21:29It's a bit of a package.
21:31He's holding back.
21:38If it's the sound source...
21:43He's holding back.
21:46Next up...
21:51Ayatake Ezaki has arranged piano
21:54for a number of Boundy songs.
21:57Among them...
21:59There's a song with Boundy
22:02that left an impression.
22:05It's...
22:13Tokimeki by Boundy
22:16Tokimeki by Boundy, released in 2021.
22:20Regarding the piano arrangement for this song,
22:23Ezaki says,
22:25it's not really his play style
22:27to play this kind of cheerful,
22:29crisp-sounding piano.
22:31It's like he's asking a hip-hop drummer
22:34to play a rock drum.
22:43Tokimeki by Boundy
22:56Regarding the piano arrangement for this song,
22:59he explains it in the studio.
23:02Before this song,
23:04I've been working with Boundy
23:06on a number of songs.
23:08I've been helping out with the arrangement.
23:11I asked him how he wanted to do it.
23:14When I came back,
23:16he said,
23:18he wanted me to play it rough.
23:20He said it was his weakest point.
23:22He said he couldn't do it at all.
23:24Basically, I don't have a lot of energy.
23:29I see.
23:31I wanted to play it like that.
23:33He said,
23:34it's no good.
23:35He said,
23:36play it until you break the piano.
23:38The result was...
23:42Like that.
23:44He said,
23:45even if the sound is a little off,
23:47it's okay.
23:48It's a memorable song
23:50that I did my best to play.
23:52That's cool.
23:53Then,
23:54if I asked you to play
23:56a song by Boundy
23:58the way you like,
24:00would it be completely different?
24:02I think it would be completely different.
24:08It's completely different.
24:10It's completely different.
24:12It's completely different.
24:13I don't have energy.
24:14I don't have energy.
24:15This is good, right?
24:17Let's listen to it again.
24:19Let's listen to it again.
24:35In addition,
24:36Ezaki, who was in charge of arranging
24:38the piano for Yonezu Kenshi's Lady,
24:41I don't know if you thought
24:43you could play a cheerful piano,
24:46but Yonezu's Lady
24:48is also a cheerful piano.
24:50When I was told about it,
24:52I thought,
24:53wow, it's a cheerful song.
24:59It's a cheerful song.
25:02Here is Lady's piano performance.
25:17Next.
25:24Rei, who has participated in the songs
25:26of many artists,
25:28including Rhyme Star.
25:32Rei and Ishiwaka
25:34have a live session
25:36of Black Banana.
25:43About this session,
25:45Ishiwaka asked this question.
25:50I don't know what I'm doing
25:52in the middle of the live session.
25:54What are you doing?
25:56What are you doing?
25:58During the performance,
26:00Rei was doing crazy things
26:02to our members.
26:04She said,
26:06bass solo, sax solo,
26:08and I was always desperate
26:10to follow her.
26:12Her impulse was so strong.
26:14I was like,
26:16oh no, sax solo, what should I do?
26:18At that time,
26:20I came to Hinada's drum set
26:22and played like this.
26:24I was so desperate
26:26to follow her,
26:28but I was under a lot of pressure.
26:30I was like,
26:32what are you doing?
26:34I was like, what?
26:39What were you doing?
26:41You were like a zombie.
26:45Super Saiyan mode.
26:47When I meet a great player,
26:49I get a lot of inspiration.
26:51I think it's the same for acting.
26:53When I play with Shun,
26:55I get a lot of inspiration
26:57and get excited.
26:59But it's a bit difficult
27:01to ask what I'm doing.
27:05You can't do the same thing
27:07unless it's at that time.
27:09It's Black Banana, right?
27:11That's right.
27:13Can you do a session
27:15like today?
27:17Yes, I can.
27:19So,
27:21Rei and Shun
27:23do a Black Banana session.
27:25Pay attention to
27:27their communication during the performance.
27:33I think I can see
27:35what you're doing
27:37because I can see it clearly.
27:39I can see it.
27:41Here it comes.
28:07guitar solo
28:37guitar solo
28:55drums, bass, & bass guitar
28:57play rock
29:07drums, bass, & bass
29:09guitar solo
29:31applause
29:37drums, bass, & bass
29:39That was great.
29:41The CD was too loud.
29:43It was too loud.
29:45We were talking
29:47when we started.
29:49It was crazy.
29:51I think someone was talking.
29:53No, I wasn't.
29:55I can see it clearly.
29:57I can see it.
29:59Here it comes.
30:01guitar solo
30:03guitar solo
30:07drums, bass, & bass
30:09guitar solo
30:11It was amazing
30:13how you played while observing.
30:15I saw your eyes
30:17like a killer.
30:19Shun was like this.
30:23It was amazing.
30:25You have to keep an eye on it.
30:27You can't miss it.
30:29He is a genius
30:31in both good and bad ways.
30:33Sometimes he changes the beat
30:35to make it better.
30:37That's how we communicate.
30:39Do you change it
30:41to make it better?
30:43Do you feel like
30:45you can't do it?
30:47It's like a prank.
30:49If you do it like this,
30:51I'll do it like this.
30:53First of all,
30:55when we have a session,
30:57it's easier to understand
30:59when we have a conversation
31:01with music.
31:03When we have a session together,
31:05which one is stronger,
31:07the feeling of hugging
31:09or the feeling of fighting?
31:11I think the feeling of hugging is stronger.
31:13Ayatake feels like that.
31:15She is so kind.
31:17What about you, Ray?
31:19I don't care anymore.
31:21I don't care anymore.
31:25Next is a song that changed
31:27the life of a top player.
31:29First,
31:31a song that changed the life
31:33of Kazuki Arai.
31:39Red Wings.
31:41Enren.
31:55In this song,
31:57there is a bass and guitar session
31:59with Takeda-san.
32:01In the first session,
32:03Takeda-san played the bass solo.
32:05He was wondering
32:07how to play the bass solo.
32:09He wanted to improve his technique
32:11so he became a jazz player.
32:13Here is the performance.
32:29I got hooked to the music
32:31when I was 13.
32:33I heard that he played the bass
32:35and just thought,
32:37what kind of technique is this?
32:39He started to play jazz
32:41by playing the bass solo.
32:43I think I saw him playing
32:45with a pair of fingers.
32:47I think I was doing something like this.
32:57I was doing something like this.
32:59I didn't know this at all.
33:01From the moment I started practicing it,
33:04I wondered who was good at slapping.
33:08YouTube came out when we were shooting.
33:13I watched a video of a world-famous bassist slapping.
33:21I was interested in jazz itself.
33:25It was the beginning of the beginning.
33:29Looking back now,
33:31I think this song, Enren, was a turning point.
33:37Shun Ishiwaka's classic famous song
33:52Tchaikovsky, Symphony No. 5
33:58When I was a junior high school student,
34:01I went to Tokyo Gedai Fuzoku High School.
34:05I've been playing jazz for half a year.
34:08When I was listening to classical music,
34:11I listened to this song a lot.
34:14In this song, there is only a timpani,
34:17but it is a spice as a very good accent.
34:21Anyway, the timpani is cool.
34:24Here is the performance of the timpani.
34:44I thought it would be great to play the timpani
34:48in an orchestra of five like this.
34:54When I passed the entrance exam,
34:57I was told that I would play Tchaikovsky No. 5
35:00at the Tokyo Gedai Fuzoku High School
35:03for the first time.
35:05I thought,
35:07I've been listening to it for a long time.
35:10When I played it in the orchestra,
35:13I was so moved and happy.
35:16I still remember it.
35:19Next, Ryuichi Sakamoto's song,
35:22Rei no Bible.
35:25If I can write a melody like this,
35:28I don't care if I die.
35:36Ryuichi Sakamoto's song,
35:39Rei no Bible.
35:43Ryuichi Sakamoto's song,
35:46Thousand Knives.
35:49In this song, Kazumi Watanabe
35:52plays a very weak solo,
35:55but it has a great story.
35:58I thought,
36:00I can write a story like this
36:03even though I don't have a song.
36:12Ryuichi Sakamoto's song,
36:15Thousand Knives.
36:27I think his way of writing a story
36:30is really great.
36:33I want to be able to play a solo like this.
36:36In my generation,
36:39Kazumi Watanabe,
36:42a fusion guitarist,
36:45has a great technique.
36:48Next, Ayatake Ezaki's movie music,
36:51which is said to be as good as the melody.
36:59The theme of love.
37:03A beautiful melody,
37:06like a fairy tale.
37:09I think any genre of music
37:12can be remembered by everyone
37:15in the end,
37:18whether they can sing it
37:21or get courage from the melody.
37:24I'm still conscious of this song
37:27in making songs.
37:37He makes a lot of experimental music,
37:40but I don't think there are many musicians
37:43who can surpass him in singing.
37:46If I can write a melody like this someday,
37:49I feel like I don't care if I die.
37:52This time, the four top players
37:55decided to make such a request.
37:58The four of you are amazing,
38:01so would you like to have a session?
38:04What kind of session?
38:07I was wondering what to do
38:10after hearing this story.
38:13I'm here right now
38:16without deciding what to do.
38:19It's a great opportunity to follow
38:22Shun's beat.
38:25There was a song that seemed
38:28to be easy to session with Ray's song.
38:31It was completely different from the original song,
38:34but I put it together.
38:37This time, the base of the session
38:40is Ray's original song, KILL.
38:51How do the four of you change this song in the session?
38:56At the end, it's Shun's turn.
38:59Can I have a meeting?
39:02Of course.
39:05Shun's beginning, riff, verse.
39:08After that, Ray,
39:11do a session with FUNK as it is.
39:14Do a solo with verse.
39:17Do a solo as it is, and Ayatake when you fall.
39:20Then you come back.
39:23I'll do my best to come back.
39:26While falling and being fluffy,
39:29it's electric.
39:32It's a big deal.
39:35Here is the flow decided by the pre-meeting.
39:38In addition to each solo part,
39:41pay attention to the performance that changes
39:44according to the beat of Ishiwaka.
39:47Wait a minute.
39:50Coke.
39:53I forgot the drink.
39:56Is it Coke?
40:04You can go first.
40:07I'll go first.
40:10I think it's okay.
40:13Let's do our best.
40:16Can I start?
40:23Let's go.
40:53Let's get it on!
41:23piano & drums play softly
41:53piano & drums play softly
42:11That's good.
42:23piano & drums play softly
42:35That's good.
42:38piano & drums play softly
42:53piano & drums play softly
43:07piano & drums play softly
43:23piano & drums play softly
43:29piano & drums play softly
43:41That's good.
43:44Is this just eye contact?
43:47Yes, I did it on the spot.
43:50I did it on the spot.
43:53If you ask them to do the same thing again,
43:56they can't do it.
43:59This is really a conversation.
44:02We send each other autographs,
44:05so if I miss it,
44:08I can't get into the owner's car.
44:11I was very nervous,
44:14but it was fun.
44:17What kind of song did they choose for this year's My Best?
44:25I'm going to take a picture.
44:28This week's My Best will be broadcast on TVER.
44:31Next week, we will show you the My Best of the Year
44:34that professionals choose every year.
44:37Next week, we will show you the My Best of the Year
44:40that professionals choose every year.
44:43She is a world-famous choreographer.
44:46She is a world-famous choreographer.
44:49She is a world-famous choreographer.
44:52She is a world-famous choreographer.
44:55She is a world-famous choreographer.
44:58She is a world-famous choreographer.