Hip Hop世代ではA Tribe Called QuestがRotary Connectionの「Memory Band」をサンプリング。
クラブ・ジャズ世代ではThe New Rotary Connection「I Am The Black Gold Of The Sun」をNuyorican Soulがカヴァーしており、さらに近年ではToshio Matsuura Groupもカヴァーして話題になったり、Terry Callierの復帰や4HeroのMarc Macがフェイヴァリット・プロデューサー/アレンジャーとして挙げているのもお馴染みのCharles Stepney。 David AxelrodやArthur Verocaiなどがそれと似たアレンジャーと言われるが、彼らとはまた違うサウンドを奏で、一聴してチャールズと分かると言える彼のサウンドを特集。
(David AxelrodとArthur Verocaも素晴らしいアレンジャーなのでいつか特集したいと思う)
I'm converting it with translation software. Please understand that translations and sentences are not normal.
A unique producer Charles Stepney ... that created a new era with creative arrangements.
In the Hip Hop generation, A Tribe Called Quest samples the "Memory Band" of Rotary Connection.
In the club jazz generation, Nuyorican Soul covered The New Rotary Connection `` I Am The Black Gold Of The Sun ''. Charles Stepney, a familiar producer and arranger by Marc Mac, is also mentioned.
David Axelrod, Arthur Verocai and others are said to be similar arrangers, but they play a different sound and feature his sound that can be understood as Charles at a glance.
(David Axelrod and Arthur Veroca are also great arrangers so I'd like to feature them someday)
Charles Stepney WorkのSpotifyのプレイリストを作成しました (順不同)
I created a Spotify playlist for Charles Stepney Work. Unordered
因みにChess Recordsの物語を2008年にビヨンセ製作総指揮のもと『キャデラック・レコード』として映画化されている。
Charles Stepneyは出演してないが、ビヨンセ自身エタ・ジェイムス役として登場している。
・ Charles Stepney features and Chess Records
A sound that can be said to be the trademark of the late Charles Stepney "Dense sound using a variety of vocal arrangements and electronic sounds in addition to rich and graceful baroque elements as an avant-garde" Is by far the most creative and artistic of any genre of producers.
Charles Stepney has been sought after by Marshall Chess as a force to rebuild a sloping label and has been greeted by Chess Records . Later, Charles Stepney worked as a producer and arranger. Ramsey Lewis , Terry Callier , The Dells , Muddy Waters and many other artists with Chess Records Cadet board.
By the way, the story of Chess Records was filmized in 2008 as " Cadillac Records " under the command of Beyonce Production.
Charles Stepney hasn't appeared, but Beyonce has appeared as Eta James himself.
Charles Stepneyはありとあらゆる音楽を聴いていた。得た知識をポップス、R&B、ソウル、ジャズに活かそうとするため、とにかくなんでも聴いた。チャールズは耳が鍛えられていたから聴いたものを細かく分析できていた。
また起きてから寝る時間までCharles Stepneyは曲を書いていたようだ。
その彼のCharles Stepneyらしさが出た最初の作品はMinnie Ripertonの『Come to My Garden』だった。
チャールズは音楽の豊富な知識があり本物のクラシックのミュージシャンでもあった。遊びでクラシックを使わなかった。
ジャズ、R&B、ブルース、ソウルといったジャンルをクラシックの中で活かしていく。
彼はクラシックのコンサートにも良くいっていた。「あのストリングスの音、何を表現していたと思う?」と集中し聴いていたようだ。
音楽はチャールズにとって一つの言語であり、ストーリーを語れるものと思っていた。ブラック・ミュージックはクラシックと同等に扱う価値のある本物のアートだとチャールズは信じていた。
ラムゼイ・ルイス・トリオの「Peter and the Wolf」を良く弾いていたようだ。
ジャズというジャンルをシンフォニーの中で見せるということに拘り、その上、ブラック・ミュージックや黒人のアーティストが一つのジャンルに縛られるのを嫌がっていた。
チャールズの根本で最も愛していたのはジャズであった。でもテクニック上達のためにはクラシックのトレーニングも必要だと考えていた。
だからジャズに対する愛情を示すと同時に、より洗練されたリスナーとミュージシャンを育てたかったようだ。
Charles Stepney was listening to all kinds of music. I listened to anything to try to use my knowledge in pop, R & B, soul and jazz. Charles was able to analyze what he heard because his ears were hardened.
It seems that Charles Stepney was writing songs from the time he got up to sleep.
The first film that came out of his Charles Stepney identity was Minnie Riperton's Come to My Garden.
Charles was also a real classical musician with a great knowledge of music. I didn't use classics for play.
Utilize genres such as jazz, R & B, blues and soul in classical music.
He also went to classical concerts. "What do you think the strings sound, what do you think?"
I thought that music was a language for Charles and could tell a story. Charles believed that black music was genuine art worth treating as much as classic.
He played Ramsey Lewis Trio's "Peter and the Wolf" well.
Despite showing the jazz genre in the symphony, he also hated black music and black artists from being tied to one genre.
Jazz was the most beloved of Charles's roots. But he knew he needed classic training to improve his technique.
So he wanted to show his love for jazz and at the same time nurture more sophisticated listeners and musicians.
However, Charles Stepney is one of the top producers in the Earth Wind & Fire formation / producer / composition, working with Maurice White on artists such as Denise Williams and Emotions. Because.
In the meantime, Charles Stepney's ingenious perspective as a producer / arranger was always shining. Use Minnie Riperton 's voice like a theremin, have Maurice White use kalimba, or arrange a female chorus group like Emotions.
At any time, Stepney has an overwhelming power in the studio, pursuing the potential to the limit without compromising, and a work that goes beyond the collection of parts `` A magnificent and extraordinary world of harmony ]. With such a work, the notion that producers are not just producers, but creators who clearly express their personality, has come to the fore.
チャールズは型にはまらない自由な発想を常にしていた。 The Dells/デルズをプロデュースしていた頃には「Stay in My Corner」では時間を気にせずレコーディンをしており、当時としては斬新なことをやっていた。ラジオのオンエアを考えるとリスクが高かったがそれを大胆に行なった。
周囲が嫌がるだろうと意見を振り切ってMuddy Watersにエレキ・ギターを持たせたのもチャールズであった。
Chess Recordsもチャールズにクリエイティブにできるように自由に仕事をさせていたようだ。
・ Charles Stepney's youth-contract with Chess Records and activities.
Young Charles Stepney was taught the piano by Charles's mother. Charles's mother played the organ and taught piano in church. When I was a teenager, I didn't have the money to go to the Conservatory, I worked part-time at a grocery store and bought all the books that students of the Conservatory were likely to buy. I read and studied it carefully and studied arrangements.
After Charles grew up, he needed a stable job because he had a family to feed. Charles was able to read the music so he started copying music for $ 10 a sheet. But gradually, Chess Records hired him, deciding that it would be better to hire him as an employee rather than paying $ 10 each time.
Charles always had unconventional and free ideas.
When I was producing The Dells / Dells , I was recording at "Stay in My Corner" without worrying about time, and was doing something new at the time. The risk was high given the air on the radio, but we did it boldly.
It was Charles who dismissed his opinion that he would dislike others and had Muddy Waters with an electric guitar.
Chess Records also seems to have allowed Charles to work freely to be creative.
Charles Stepney and Maurice White (from Earth Wind & Fire) Earth Wind & Fire seems to have been named Charles. Maurice White, the leader of Earth Wind & Fire, was originally a drummer in the Chess Ramsey Trio, and since then he has been talking about creating a band with a group name inspired by natural elements.
Maurice left Ramsey and moved from Chess Records. Still, Maurice sought Charles' advice on the concept, but Charles had a contract with Chess Records and couldn't help everything.
The fact that Charles' name was not credited on Earth Wind & Fire was related to an agreement that Chess Records should not work with other artists.
Earth Wind & Fire used collage drawings instead of names. That was Last Days and Time.
The idea of Earth Wind & Fire seems to have been based on the existence of Rotary Connection.
Then, after releasing the first two albums, Stepney moved to Columbia, and Stepney became fully involved with Earth Wind & Fire. EW & F started with jazz and turned into a groove-oriented band on the third album. He developed a new market while keeping the same elements as before, and proved it.
The composition of Earth Wind & Fire's songs was Charles and the lyrics were Maurice.
4. Charles Stepneyの様々な楽器へのこだわり
チャールズにとってエレクトリック・サウンドは楽器みたいなものだった。Rotary Connectionに「Pink Noise」、「Black Noise」があり、いつでも使えるようにサウンド・エフェクト音源集も多数持っていた。
また、ウォーター・ドラム、ストリング・ドラム、カリンバがお気に入りだったようだ。
更にはシタールなどの珍しいあらゆる種類の音を欲しがり、マーシャル・チェスがその資金提供をしていた。
アース・ウィンド&ファイヤの最初の二枚のアルバムではカリンバが使われ、sweet lady janeではウォーター・ドラムを使った。
Character Stepney's commitment to various instruments
For Charles, the electric sound was like an instrument. There were "Pink Noise" and "Black Noise" in Rotary Connection, and there were many sound effect collections to use anytime.
He also liked water drums, string drums and kalimba.
He also wanted all sorts of unusual sounds, such as sitars, which Marshall Chess funded.
Earth Wind & Fire's first two albums used kalimba, while sweet lady jane used water drums.
5. Charles Stepney作品のサイケデリックなアレンジ
Charles Stepneyは音楽のサイケデリックな面においても大きな魅力を感じ取っていた。
サイケデリックでハイになる部分、美しいハーモニーと素晴らしい音階、どうすればそういうものを作れるかがチャールズにはよくわかっていた。もちろんサイケデリックなアレンジの背景には時代的な影響もあったでろうが、ロータリー・コネクションなどが狙っていたのはそいういう部分もあった。
Psychedelic arrangement of Charles Stepney's work
Charles Stepney was also fascinated by the psychedelic aspects of music.
Charles knew the psychedelic highs, the beautiful harmony and the great scale, and how to make them. Of course, the background of the psychedelic arrangement may have been influenced by the times, but there was such a part that the rotary connection was aiming for.
・ After transfer to Chess Records
After moving to Chess Records, Cash McCall, Lou Sutterfield, Morris Jennings, Phil Upchurch, Cleveland Eaton and others came to Charles to work together.
They had a vision when they were at Chess Records. I was waiting for a time when I could do what I wanted to do. Also, there seems to be offers from Jackson Five and Elton John at the time.
Emotions and his sister group also liked Charles. Because of their sisters, their voices match well, and harmony that can not be imitated by others can be given out, and if you are a family, the voice quality is similar even if the range is different. I liked working with such groups.
作曲家であるリチャード・ルドルフはシカゴのロック会場で働いており、そこでチャールズとMinnie Ripertonと出会った。リチャード・ルドルフが最初に書いた曲でルドルフ自身も気に入っていた曲は「Come to My Garden」だった。ミニーも曲を気にっており、それをチャールズに聴いてもらい「Come to My Garden」をとても気に入っていたようだ。そこから3人での仕事が始まり、Rotary Connectionへの共同作業が本格的に始まった。
Charles and Minnie Riperton, Richard Rudolph and then.
Composer Richard Rudolf works at a rock venue in Chicago, where he met Charles and Minnie Riperton. The first song that Richard Rudolf wrote was his favorite song, "Come to My Garden." Minnie also liked the song, had Charles listen to it, and seemed to love "Come to My Garden". From there, the work of the three started, and collaboration with the Rotary Connection began in earnest.
Minnie Riperton's part wasn't pre-written by Stepney, but mostly improvised. Charles explained the basic concept and direction of the song, but Minnie Riperton often sang on the fly. In "Occasional Rain" written by Terry Callier, Charles asked Minnie to make the sound of the rain and make it express it beautifully.
He used the song he liked a few times, such as "Les Fleurs", a song written by Richard Rudolph, and took it to another dimension.
Charles also always wanted to make the best. He was always pushing the limits and seeking the best. I knew, however, that there was a limit to the pop frame. Still, Charles, Richard and Minnie were trying to tell a story on the album. It's like traveling. Take the listener on a journey. Charles sees the holes there and connects them to another dimension. Charles didn't know the word "this is it."
At that time, Charles was ahead of the curve in many ways. Of course, he was a talented man, but he was even more a hard worker. That was another charm of Charles. Charles had a wealth of knowledge and information that he had learned and cultivated, so he could freely extract and express it. Instead of snacking and borrowing, something truly artistic could be created. It does not fade over time. It's not just a forcible mix of elements, but it's backed by vast and deep knowledge. But it's easy to listen to and it feels good to the listener.
Unfortunately, at the height of his career, Stepney embarked on a glorious career. In 1976, he died at the age of 43 for a heart attack. I was working on Earth Wind & Fire's Spirit.
MIX work to listen to Charles Stepney work
Honestly there are very few MIX works where you can enjoy the works of Charles Stepney.
Unfortunately, I could not listen anymore, but there was a FREE MIX related to Charles Stepney at FREE PODCAST on 4Hero's Marc Mac (I can not listen anymore at the link below .... I am sorry. There is also a track squirrel I think you can enjoy it) https://www.podomatic.com/podcasts/marc4hero/episodes / 2007-10-17T10_43_35-07_00
When PODDACT was up, I was really influenced by listening to it over and over again, and thanks to this mix, I collected a lot of Charles Stepney LPs, and my own Charles Stepney tribute MIX CD It started me to make Asahi Kurata: Les Fleur-Charles Stepney Tribute.
By the way, sampled HIP HOP etc. are also recorded, and I think that it is a work that can be heard for a long time including netafuri. Details such as viewing links are as follows https://mothermoonmusic.com/?pid=19443395
You can listen to the sound source here for free, but you can enjoy it with a radio style sound source rather than MIX. I personally like the work of Marc Mac, but I also enjoy the cover of famous songs and sampled hip hop.
Jazzanovaによるカット・アップ&ブレンド・ミックスなコチラ秀逸です!ドラムが足されたり、ウワモノをループさせたりと面白い内容デス!!
Here is a cut-up & blend mix by Jazzanova! It is a wonderful content such as adding drums and looping rumor!!
When asked about the process of writing the new album, Solange revealed some musical inspirations she turned to at the time, including Stevie Wonder (and specifically his album The Secret Life of Plants), Steve Reich, Alice Coltrane, and Sun Ra―music that emphasized repetition.
同じくPichforkにてStevie Wonder『Journey Through The Secret Life Of Plants』からの影響を公言している。
Stevieのリリースする作品はソウル、ファンク、ジャズなど黒人音楽を中心にラテン、ブラジル、レゲエのリズムやクラシックの要素を大胆に取り入れ、ソウル、ファンクの枠内に収まらない音楽性に普遍的なメロディーとハーモニーで数々の名作を作っていたが、上記アルバム『Journey Through The Secret Life Of Plants』特に例外な作品だと思う。
当時では珍しいサンプラー、シンセを使い日本人の子供たちが歌う「Ai No, Sono」ではソウルというよりもニューエイジな質感をもっている。また余談ではあるが城秀樹が「愛の園」としてカヴァーし隠れたテクノ歌謡としても有名だ。
また「Voyage to India」ではインド音楽を取り入れ、ソウル、ファンクといった今までのスティービーといったブラックミュージックと違い、欧米、欧州、ラテン、カリブ楽曲に収まらない他国の音楽性までも取り込んでいる。
スティービーのアルバムとして『Songs In The Key Of Life』、『INNERVISIONS』、『Fulfillingness First Finale』に比べ、今回Solangeが影響を公言するアルバム『Journey Through The Secret Life Of Plants』は当時としての実験性もあり今までの作風と変わり世間からはどのような評価であったかはわからないが、スピリチュアルな雰囲気の強い作品で、芸術的な繊細さを感じさせる仕上がりになっている。
ちなみに『Journey Through The Secret Life Of Plants』は同タイトルの映画のサウンドトラックとして、Stevieが3年という時間をかけ完成させた作品(映画は残念ながらお蔵入り)
Pictforkで同じく影響を受けたと発表していた人物として
Alice Coltraneもスティービーと同じくインド音楽を取り込み、日本の琴などアジアの楽器に興味を持ち、それをジャズに融合させていた。
Steve Reichはミニマルミュージック/現代音楽の巨匠としてお馴染み。Alice、Stevieと同じくアフリカ、アジアの他にインドネシアのガムランからの影響を受けていたことは有名。
Sun Raはジャズ界の異彩。上記3人とも同じでアジアの影響とアジア、アラブの楽器、音楽性を実験と共に行っていた。
『When I Get Home』では、Jamireの作品にある『///// EFFECTUAL』と同じ音色と演奏だ。Solangeの作品では音数が少ない、引き算のようなドラム音であるが、そのドラムはサンプリング・ループではなく生演奏であり、それ故にドラムの音色がクオンタイズ・ビートようにわずかに動いて聴こえる。むしろループし聴こえるのはSolangeの歌声でありそれがSteve Reich的。
Jamireは実際にジャズも演奏できるのだが、彼の作品と今回の『When I Get Home』では打ち込みの要な音色が強く、きわめてビートミュージックであり、それが新しいジャズとも言えるかもしれない。それはクリス・デイブ、カリーム・リギンス等のようにビートミュージック的な演奏をできる技術を持つジャズ・ドラム奏者だから出来るものだと思う。そこに彼女が言う「ジャズ」とも言えることと思う。
また重要なのが本作『When I Get Home』で8曲もののプロデュースに携わったているJohn Carroll Kirby。
Solangeの前作『A Seat at the table』、Pharrell Williamsの作品にも関与しており、自らの作品ではアンビエント/ニューエイジ作品を残している。シンセをストリングス風に聴かせる等、様々な鍵盤を使った"疑似な"オーガニック・サウンドではSolangeの作品にも大きく影響を感じる。
『When I Get Home』の「Beltway」ではまさにJohn Carroll Kirby的なアンビエント/ニューエイジ作風でSolangeの声を重ねハーモニーを奏でている。
ちなみに『When I Get Home』のプロデューサーの一人であるChassolもSteve Reich好きであり「Reich & Darwin」をリリースしており、その「Reich & Darwin」のように早いBPMで短く繰り返しているわけではないが『When I Get Home』からミニマルに展開するライヒ的な表現はChassolによるものと感じさせられる。