﨑ちゃんのありがたきお言葉

おはようございます。ドラマーレです。

今更ですが11月号のドラマガに﨑山センセーのインタビューが載ってましたね。
ドラマーの皆さんはすでにチェック済みと思いますが。

「とげまる」のレコーディングについてとか、自身のプレイスタイルについてとか、
3ページにわたってかなり濃く掲載されてましたが、そのなかで印象に残った箇所があったので紹介します。
(自分のための覚え書き、でもあるのだけど)

「ライブでは”ちょっと冷静にレコーディングみたいにいこうかな”というときもあります。
まあ見た目は120%でやっていますけどね(笑)気持ちの中ではレコーディングを
やっているかのようなタッチですね。”燃える自分”だけでは、アンサンブルにならないときがありますから。」

「僕のタッチは決してソフト・タッチではなくて、スネアとかはリム・ショットで
“ガツン”といくのが基本的なスタイルなんです。優しい曲だからってソフト・タッチで
いくんじゃなくて、ある程度ガシッといく存在感は、今回(とげまるでは)
特に意識しましたね。シンプルで気持ち良いグルーヴをバンドで共有している感覚を
出したいという意識や、”俺のタッチは、このタッチだ!”という感覚は常に頭の片隅に
ありました。手数とかフレーズでアピールするときもありますけど、基本的に重要視
しているのはグルーヴとタッチですね。シンプルでも強くっていう部分を
感じてもらえればと思います。」

(﨑ちゃんの”ハネ”のニュアンスについて)「やりすぎるとやらしいし、
あまりさりげなくやってもわからないし(笑)。そういう部分での
サジ加減のコントロールはあります。

最近は、大きな音と小さい音のニュアンスをつけすぎると良くない
っていうのがわかってきましたね。ある程度しっかり音を出して
その上で出すところは出すっていうのじゃないと(全体に)
混ざったときに伝わらない。ワーッとやったあとに引き過ぎても
“どこいっちゃったの?”って感じになりますからね(笑)。
全体の中での一定の存在感っていうのは大事ですよね。
このぐらいだったら全体に混ざりつつ出ているなというのを
感じながらハイハットなどでニュアンスを出していますね。」

「いまだに、バーッと強くしゃべったり、ゆっくり囁くようにしゃべったり、
自由自在に叩きたいっていうのは思っていますけど、最近はそれに加えて良い
グルーヴを提供したいっていう思いがありますね。だから根底には聴いている人や
一緒に演奏している人にちゃんと伝えるグルーヴがあって、その上でいろいろやるという。」

あと、﨑ちゃんがレギュラーで使用しているのはスチールシェルの
スネアなんだって。サブでブラス。逆かと思ってた。
ドラム・シューズはコンバースのオールスター。そこだけ一緒(笑)

本日は久しぶりのスタジオです!楽しんで叩いてきます!!ほなまた。再見!!!

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