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2020-11-120 17:00

Why is the sound of a jazz cafe Visey special?Thorough analysis of audio professionals

小野寺弘滋さん（左）、厚木繁伸さん（右）

Ichinoseki City, Iwate Prefecture, jazz fans and audio enthusiasts from all over the world, a jazz cafe "Vasey", a master of Jazz Cafe Vise Swifty, a documentary movie depicting Masaji Sugawara, is being released.Webdice reports a talk event report on October 18 (Sun) at Kichijoji, an audio critic Hiroji Onodera and Dynamic audio audio advisor Shigenobu Atsugi.Sugawara -san was a friend of the old wisdom, and the two who appeared in the movie talked about the movie and the "Cafe Vacy from the audio professional."

The shop is a creature (Mr. Onodera)

──最初に、本作をご覧になった感想からお願いいたします。

Onodera: There are a lot of photos of Basie and Sugawara, but I think that this movie was the best in this movie that the Bassie store and Mr. Sugawara were left in the form of moving images. With the body, the sound is not the same every day, and the shop is a living thing. Mr. Sugawara says, "Basie is incomplete," but this is the meaning of the store, the sound of the audio, and as a creature every day. However, it was good that I cut out the creatures and left me in the form of a movie. Regardless of whether it is a store or a human, it is impossible for any media to convey the whole picture, but I think it was organized through Director Hoshino's gaze, and not only "jazz cafe bairy", but jazz cafe together. There are many scenes that have lived in, and there are many scenes that are not directly related to audio, jazz, and Mr. Sugawara, but I thought that it was such a popular movie.

Atsugi: I've been to Basie since 1993, but I think it's not an example in the world that jazz cafes can be stored in film in this way this time.Regarding listening to music with audio, I think it is wonderful that the wonderfulness of the Japanese sensitivity remains in this way.Regarding the contents of the movie, the Visey Reading is the same, but I think it is a wonderful space no matter which scene you cut, and even if the master is there, it is a really cool and wonderful place where you take it.And I think that even if the joy of overlapping sound is not transmitted 100 %, it may be more interesting to watch.

Unfortunately, I haven't opened a jazz cafe Visey in such a world, but I don't know the future yet, but for the completion of this movie, the history of Japanese jazz cafes, the history of audio, and itself.I think that it is a really wonderful work because the life of a man who tries to regenerate as music seriously is included in this.

映画『ジャズ喫茶ベイシー　Swiftyの譚詩（Ballad）』©「ジャズ喫茶ベイシー」フィルムパートナーズ

Onodera: I make a book and write a manuscript, but there is a limit of the size of the book.I have a very favorite scene in this movie, and on a snowy night, I shoot a bassy a little away, and Mr. Sugawara comes out at the entrance and looks outside.I can't express it in a magazine, it's small.But when I watched on the screen of the movie theater, that scene came alive, it was cool, just looking at it was good.

Atsugi: One of the most impressive scenes in the movie.After all, the scene where the master put coffee alone at the opening was wonderful.Even if we go to the store, we can't see it at that angle, and it's a really dignified, quiet, quiet feeling, silence, and it's a wonderful cut.In addition, the aunt in the cafeteria brought the food to the bassy with the pork, and took a picture of the scene where Sugawara and the Vase Girls were eating without any customers.That is wonderful.As a bicye fan, I am glad that the two cuts remained.

映画『ジャズ喫茶ベイシー　Swiftyの譚詩（Ballad）』©「ジャズ喫茶ベイシー」フィルムパートナーズ

──そういうところってなかなか普通のお客さんは見られないものなんですか？

Atsugi: Of course.

Onodera: I don't have time before the live, so I eat and eat with the staff alone, but Mr. Sugawara just eats it.I lost a cutlet curry or once, but after that, I was sorry and serious and ate it very quickly, and this time Sugawara was very regrettable (laughs).

──厚木さんは初めての来店が1993年ですよね、ちなみに小野寺さんは？

Onodera: Vacy is located in the southernmost part of Iwate Prefecture, Ichinoseki, but I was from Kesennuma, about 50 kilometers east, and I visited Basie for the first time in 1979.However, I talked to Sugawara 10 years later.I never spoke for 10 years.

──それはどちらからも話しかけることがなかった、ということですか？

Onodera: Yes, that's right.

──ちなみにベイシーでは普段、菅原さんとお客さんはお話しされるものなんですか？

Onodera: Well, there are cases where it is done or not.

──厚木さんはもちろん行ったらお話されているんですよね？

Atsugi: When Mr. Sugawara met Dr. Hisamitsu Noguchi on the Sobu Line trains, he said, "It's Sugawara."When I went to Basie, I gave SHURE's Type III by saying "Atsugi" (laughs).Then, "Where did you come from", "Tokyo", "Sit here".I talked that way.

──最近はコロナ禍ということもありますが、近年では海外のお客さんも多くいらっしゃると聞いています。ちなみにこの劇場のなかでベイシーに行かれたことのある方っていらっしゃいますか？……結構いらっしゃるんですね。みなさんお話とかされるんですか？

Customer: I was scared at first.But I was very kind when I talked.

Onodera: As you really said, I was just a customer for 10 years, but once I got into my pocket, I was a person with an incompetent kindness.I happened to like it, and I was almost involved in Sugawara's work, and I think it was the best thing for me in my life.

──劇場でも販売している「聴く鏡」などですね。

Onodera: Like the "listening mirror", "I and the Gimlan sake and roses", the serialization itself was done in a magazine called stereo sound, and I was in charge of the serialization.When I was still a stereo sound reader, Mr. Sugawara's manuscript was posted in reading, and then joined the stereo sound and said, "Is it okay to serialize Sugawara's manuscript?"He went to the bassy without an appointment, said, "Actually this is what it is," and said, "Would you please serialize?"From there, direct relationships began.

──それが初めてお店に行ってから10年後のことなんですか？

Onodera: That's right.

──それまでずっと黙ってらしたのですね。それはそれで凄いですね。初めてお話をした時が、10年越しで連載のお願いに。

Onodera: That's right.I want to read Sugawara's text."I want to read" is the origin of the motivation of editors' work.It's 89 or 90 years, so it's already 30 years.I quit the stereo sound 10 years ago, so the serialization after that was inherited by the editor -in -chief of Someya, but I often talked with Mr. Sugawara, and a mook called "Visey Reading".I came out in May of this year, but I also took pictures, wrote manuscripts, posted some dialogue, and enjoyed together.

──劇場にも既に購入されている方もいらっしゃるんじゃないでしょうか。だって、もうすごく豪華な内容ですよね。

Onodera: Yes, I did my best (laughs).The editor -in -chief of Someya said, "It's the 50th anniversary and there is a movie, so I want to make a bassy book, but can you help Onodera?""For the time being, it's the top priority, and Mr. Sugawara has a good benefit.Mr. Sugawara often says, "Live in a manner, humanity, heart and romance."I also want to live like that.I thought it was really nice to be able to do the book, or how to make something that Mr. Sugawara is happy with, not a loss.

It is the real evolution to improve without changing (Mr. Atsugi)

──ベイシーができて昭和、平成、令和と菅原さんは50年もお店をやってらっしゃるわけですが、オーディオに関してもお話を聞きたいという方も多いと思います。まず、菅原さんはずっとJBLを使ってらっしゃいますが、JBLを拘って使っている理由はご存知でしょうか？

Atsugi: I'm reading Sugawara's various sentences, but I don't know if I can convey it well, but Mr. Sugawara says, "If there is something better, I will use it," Mr. Sugawara says, but the same thing for 50 years.I think there are various stories and circumstances that only those who have been using it for 50 years know the significance of continuing to use.I want to maximize that.I just want to see it.

Onodera: You don't have to change something that is not dissatisfied, so I think Sugawara's stance is.There must be nothing to buy in comparison, so I chose "good design", "good appearance", "It looks good" in the encounter, so I happened to feel comfortable.It is Sugawara's spirit that it will be bloody and there is no dissatisfaction from there, so it will not be necessary to change it.However, even if it breaks, keep fixing -the amplifiers are doing a lot, but that's right.Don't give up.

Same as I said that I was kind to those who were in my pocket, I think Sugawara's wonderful place is to take care of her underkin or what she is in -law.increase.Isn't that the fundamental reason to use the same thing?

Atsugi: Actually, I have the same preamplifier as Mr. Sugawara and have been using it for 40 years since I was 20 years old.It's broken several times, but when I fix it, it's a modern part, and I think it's good to move, but Mr. Sugawara is not extraordinary, "From the United States, it was still cheap in the late 1970s.I buy a lot of junk products. "When the parts are pulled out from there.It is crazy that the same parts are fixed with satisfactory parts.From me.

Onodera: You're crazy.My speakers are almost similar to the bassy, but Sugawara -san told me to use the amplifier, and I had it lent it and bought it myself, but it still breaks.However, if it is a normal repair, it does not return to the original sound.But Mr. Sugawara can repair it to return to the original sound.Well, it's still crazy, I can't usually do it.

So, I knew that the sound of the amplifier was good, but I thought it would be dangerous if I kept using this amplifier for a long time.If your emotions move, it's dangerous, right?If the emotions are shifted, keeping the life is, and if you get to shake your life on a stick ... I will give up in about a year or two, I will give up in about a year or two, and now it is now a new one.It's been ... it's been about 30 years now, but it's not very good.

映画『ジャズ喫茶ベイシー　Swiftyの譚詩（Ballad）』©「ジャズ喫茶ベイシー」フィルムパートナーズ

──修理をしたり、スピーカーの位置を変えたりと、菅原さんは様々なことをしてらっしゃると聞いています。お二人は昭和、平成、令和とベイシーに行かれていて、その辺りのことをどう感じていますか？ずっと進化を続けているってことなんでしょうか？

Onodera: I think it is the most difficult to maintain that level when you go to a certain level. It is easier to change. It's easy to change your eyes. If you want to be in the same position, you have to go against gravity, and if the wind blows, you will not be able to go somewhere, and you are doing that, so it will evolve to evolve and stay here. It may be deepening because you have to have a deeper roots. After all, what Sugawara is looking for is "the same, what does not change", the device is only a means to embody what he has made, and the ideal thing is properly. Is there? The extreme story, the device can change. However, my understanding is that I keep using the Bassie system because I keep using the Bassie system because it is the best for Mr. Sugawara.

Atsugi: I agree.When I heard from Mr. Sugawara, "No one will say the difficulty of staying," I thought, "I haven't been there."Where are you?I was overwhelmed by Sugawara's words and my own gap without such words.

I work in an audio store and are on the selling side, but if possible, I hope you want to listen to music that is more impressive and want to listen to the more impressive music, but I changed it.Then it's a change.If you say this, it will not be a business, but it is the real evolution to do it without changing.That is Basie.Well, the level where Mr. Sugawara is at the end of Everest on the earth is that even if the wind does not fall, it is sometimes standing upright, even if it is swallowing.I think.That's the coolest.

映画『ジャズ喫茶ベイシー　Swiftyの譚詩（Ballad）』©「ジャズ喫茶ベイシー」フィルムパートナーズ

──厚木さんは映画の中でベイシーのことをかっこいい音と表現されていましたが、かっこいい音ってどういうことなんだと思われますか？

Atsugi: That's the flip that my sound was cool.Listening to the sound of Basie, he said, "Oh, my sound is bad."So I could say that the sound of Basie was cool.Where did she feel it most is the beat and rhythm.My sound had no beats and rhythm.I gave my own money, put my audio together, spend time, listen to music ... but why I was impressed by Basie's music ... I was killed.Cool, for me, the best is beat and rhythm.Why are you so excited, why is it so fun?It was such a coolness that I wanted to stand and dance.

Onodera: At the end of "Basie Reading", there is an article that Mr. Sugawara said in the 1980s.This is an article summarized by the deceased audio critic Fumihiro Asanuma, but I'm talking about the tempo.So Sugawara -san said, "It's cooler to have a slow song. The fast songs are cool."In terms of conductor, when the tempo is fast, get the stick a ramp a little earlier.Then, I'm going more and more.If you get a RBI on the onbeat, you will lose your feeling quickly.So, the relaxed song is still a little delayed.Music is the art of time.The expression of time is very difficult, but few people talk about it in audio.

Atsugi: No matter who buys a record, it's 33 and 1/3 rotations.That's not going crazy for one second.However, it was a mystery why the listening response was so different even though it should be in the same time.

Onodera: I guess that's how many people who use it have a tempo and time, and Sugawara often said, "The rhythm is light and the beat is heavy."If the beat is not put out, there is no point in 4 beats, and what kind of beat do you put out if it is 16?I mean.The dynamism is completely different depending on where you bring the beat.So, if the rhythm is heavy, I think it's one of the reasons for specializing the sound of the bassy because there is a huge sense of time.

Atsugi: I think JBL is sensitive.How about?

Onodera: Because the efficiency is high.Being able to react quickly to a small signal is the biggest characteristic.When measuring the speaker, the basics are the static characteristics that flows the signal continuously, but JBL is dynamic when the signal is taken out, and its reaction is good.I think there are good things.

By the way, the bassy speaker is divided into three bands.The largest box has a bass.It looks like a roof on the top, that's a medium tone.There is something like the centerpiece in the middle, that's a treble.After all, even if the speed of each unit is fast, if you don't have the speed, you'll be jerky.Then you won't get beats.The bass beat is not only the bass, but a high frequency is high on it.

Atsugi: It's very difficult.But Mr. Sugawara says."If you come to Basie, steal instead of imitating."Sugawara -san is said to steal the sound.

Onodera: It is like an unprecedented area to adjust the position of the timing there.Even in the world, no one can do that.

──そうですよね、一般的にはスピーカーって、ユニットが全部一つの箱に組まれているものを買っているわけですからね。

Onodera: Mr. Sugawara has made a very detailed adjustment, but it doesn't usually be a problem, such an error.If you compare it by car, it is designed to be 350km / h, but it is like running 60km.

Atsugi: That's fun.There is also hell.

Onodera: When talking at Basie, it seems that music is flowing quietly, but it's the same as riding a city with a vintage racing car.If you like a car, you can imagine how hard it is to ride a city with a racing car.

映画『ジャズ喫茶ベイシー　Swiftyの譚詩（Ballad）』
全国順次公開中

監督：星野哲也
編集：田口拓也
出演：菅原正二、島地勝彦、厚木繁伸、村上“ポンタ”秀一、坂田明、ペーター・ブロッツマン、阿部薫、中平穂積、安藤吉英、磯貝建文、小澤征爾、豊嶋泰嗣、中村誠一、安藤忠雄、鈴木京香、エルヴィン・ジョーンズ、渡辺貞夫 （登場順） ほか ジャズな人々
エグゼクティブプロデューサー：亀山千広
プロデューサー：宮川朋之　古郡真也
配給・宣伝：アップリンク
2019/日本/104分/1.85: 1/DCP

©「ジャズ喫茶ベイシー」フィルムパートナーズ

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▼映画『ジャズ喫茶ベイシー　Swiftyの譚詩（Ballad）』予告編

Posted by: Webdice Editorial Department

キーワード：

Basie / Jazz / Documentary

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