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2024年10月3日
松浦俊夫｜ジルベルト・ジル 「音楽のもつ多幸感 30年のときを超え」
MUSIC | MUSIC FOR LIFE
MUSIC FOR LIFE 特別編。9月29日に16年ぶりに来日公演を行ったブラジルの至宝Gilberto Gil（ジルベルト・ジル ）の最終公演を鑑賞しに群馬県高崎を訪れました。30年前にロンドンで観た以来のジルは？ライヴ・リポートです。
Text by MATSUURA Toshio
1994年6月1日、ロンドンのロイヤル・アルバートホール。その夜、ジルベルト・ジル、カエターノ・ヴェローゾ、ガル・コスタ、そしてマリア・ベターニアという4人のバイーア人と、50名のマンゲイラが5000人の観衆を圧倒的なエネルギーで包み込んだ。彼らの音楽は、身体を揺らし、心を深く震わせた。
その数日前、我々は同じロンドンで、セカンドアルバム『No Sound Is Too Taboo』のレコーディングを行っていた。しかし、3週間にも及ぶ長期滞在と、慣れない環境の中での制作は、我々3人に疲労をもたらしただけでなく、クリエイティヴな方向性をめぐる対立を生んだ。アイデアの衝突は避けられず、やがて険悪な空気が漂うようになっていた。それでも、音楽に対する情熱だけは冷めることなく、我々を突き動かし、意見をぶつけ合いながらも何とか困難を乗り越え、全員が納得できる形で、ついにアルバムが完成したのだった。
1st June 1994, Royal Albert Hall, London. That night, four Bahians - Gilberto Gil, Caetano Veloso, Gal Costa and Maria Bethania - and 50 members of Mangueira filled the 5000-strong crowd with overwhelming energy. Their music shook the body and shook the heart deeply.
A few days earlier, we had recorded U.F.O.'s second album, No Sound Is Too Taboo, in the same London. However, the three-week long stay and the unfamiliar surroundings not only caused fatigue for the three of us, but also conflict over the creative direction. Clashes of ideas were inevitable and the atmosphere soon became acrimonious. Nevertheless, our passion for the music never cooled, and despite our differences of opinion, we managed to overcome the difficulties and finally completed the album in a way that was acceptable to all of us.
その数日前、我々は同じロンドンで、セカンドアルバム『No Sound Is Too Taboo』のレコーディングを行っていた。しかし、3週間にも及ぶ長期滞在と、慣れない環境の中での制作は、我々3人に疲労をもたらしただけでなく、クリエイティヴな方向性をめぐる対立を生んだ。アイデアの衝突は避けられず、やがて険悪な空気が漂うようになっていた。それでも、音楽に対する情熱だけは冷めることなく、我々を突き動かし、意見をぶつけ合いながらも何とか困難を乗り越え、全員が納得できる形で、ついにアルバムが完成したのだった。
1st June 1994, Royal Albert Hall, London. That night, four Bahians - Gilberto Gil, Caetano Veloso, Gal Costa and Maria Bethania - and 50 members of Mangueira filled the 5000-strong crowd with overwhelming energy. Their music shook the body and shook the heart deeply.
A few days earlier, we had recorded U.F.O.'s second album, No Sound Is Too Taboo, in the same London. However, the three-week long stay and the unfamiliar surroundings not only caused fatigue for the three of us, but also conflict over the creative direction. Clashes of ideas were inevitable and the atmosphere soon became acrimonious. Nevertheless, our passion for the music never cooled, and despite our differences of opinion, we managed to overcome the difficulties and finally completed the album in a way that was acceptable to all of us.
そんな我々の様子を見ていたからだろうか、海外での作品リリースを担当していたTalking LoudのA&R、ジャイルス・ピーターソンは、3人をこの公演に招待してくれた。コンサートは、ガル・コスタとマリア・ベターニアがジルベルト・ジルの「Esotérico」をカエターノ・ヴェローゾとジルの伴奏で歌う1曲目で幕を開け、4人がそれぞれの楽曲を披露しながら、入れ替わり立ち代わり他のアーティストたちも絡む、華やかで目まぐるしい展開が続いていった。
途中、ブラジルの“第二の国歌”とも称される「Aquarela do Brasil」では、観客が総立ちになり、ホール全体がひとつに包まれる瞬間が訪れた。そして、エンディングは4人の思い出深い「O Seu Amor」で幕を閉じた。
その夜、音楽の持つ圧倒的な力がもたらした多幸感は、我々が抱えていたわだかまりをすべて洗い流すかのようだった。終演後、誰からともなく自然にお互いを抱きしめ合い、感謝の言葉を交わした。その瞬間、音楽がもたらす奇跡を改めて実感したのだった。
それから30年が経ち、2025年でのライヴ活動からの引退を発表したジルベルト・ジルは16年ぶりに来日を果たした。東京公演は既に完売しており、残るは京都と高崎の2公演。迷った末に、会場への興味と、群馬県がブラジル人コミュニティの存在で知られていることもあり、ツアーの最終公演となる高崎へ足を運ぶことにした。今回、その姿を見届けるための旅は、自分にとっても音楽と共に歩んできた歳月を振り返る機会となった。
結果として、このショート・トリップは、30年前の思い出を鮮やかに呼び起こす感動的なものとなった。
Perhaps because he had seen how we were doing, Talking Loud A&R Gilles Peterson, who was in charge of releasing our work overseas, invited the three of us to this concert. The concert opened with Gal Costa and Maria Betania singing Gilberto Gil's ‘Esotérico’, accompanied by Caetano Veloso and Gil, and continued in a spectacular and dizzying beautiful, with the four of them performing their own songs, while other artists took turns to get involved. The show continued.
During ‘Aquarela do Brasil’, also known as Brazil's ‘second national anthem’, the audience stood up in unison and the entire hall was enveloped in a single moment. The closing song was ‘O Seu Amor’, a memorable song for the four artists.
The euphoria brought about by the overwhelming power of the music that night seemed to wash away all the rancour we had been carrying around. After the show, we spontaneously hugged each other and exchanged words of gratitude. At that moment, we once again realised the miracle that music can bring.
Thirty years later, Gilberto Gil made his first visit to Japan in 16 years, having announced his retirement from live performances in 2025. The Tokyo show was already sold out and there were only two shows left, in Kyoto and Takasaki, Gunma. After much deliberation, I decided to go to Takasaki, the final show of the tour, due to my interest in the venue and the fact that Gunma Prefecture is known for its Brazilian community. This trip to witness the appearance of the band was also an opportunity for me to reflect on the years I have spent with the music.
As a result, the short trip was a moving one, vividly evoking memories of 30 years ago.
途中、ブラジルの“第二の国歌”とも称される「Aquarela do Brasil」では、観客が総立ちになり、ホール全体がひとつに包まれる瞬間が訪れた。そして、エンディングは4人の思い出深い「O Seu Amor」で幕を閉じた。
その夜、音楽の持つ圧倒的な力がもたらした多幸感は、我々が抱えていたわだかまりをすべて洗い流すかのようだった。終演後、誰からともなく自然にお互いを抱きしめ合い、感謝の言葉を交わした。その瞬間、音楽がもたらす奇跡を改めて実感したのだった。
それから30年が経ち、2025年でのライヴ活動からの引退を発表したジルベルト・ジルは16年ぶりに来日を果たした。東京公演は既に完売しており、残るは京都と高崎の2公演。迷った末に、会場への興味と、群馬県がブラジル人コミュニティの存在で知られていることもあり、ツアーの最終公演となる高崎へ足を運ぶことにした。今回、その姿を見届けるための旅は、自分にとっても音楽と共に歩んできた歳月を振り返る機会となった。
結果として、このショート・トリップは、30年前の思い出を鮮やかに呼び起こす感動的なものとなった。
Perhaps because he had seen how we were doing, Talking Loud A&R Gilles Peterson, who was in charge of releasing our work overseas, invited the three of us to this concert. The concert opened with Gal Costa and Maria Betania singing Gilberto Gil's ‘Esotérico’, accompanied by Caetano Veloso and Gil, and continued in a spectacular and dizzying beautiful, with the four of them performing their own songs, while other artists took turns to get involved. The show continued.
During ‘Aquarela do Brasil’, also known as Brazil's ‘second national anthem’, the audience stood up in unison and the entire hall was enveloped in a single moment. The closing song was ‘O Seu Amor’, a memorable song for the four artists.
The euphoria brought about by the overwhelming power of the music that night seemed to wash away all the rancour we had been carrying around. After the show, we spontaneously hugged each other and exchanged words of gratitude. At that moment, we once again realised the miracle that music can bring.
Thirty years later, Gilberto Gil made his first visit to Japan in 16 years, having announced his retirement from live performances in 2025. The Tokyo show was already sold out and there were only two shows left, in Kyoto and Takasaki, Gunma. After much deliberation, I decided to go to Takasaki, the final show of the tour, due to my interest in the venue and the fact that Gunma Prefecture is known for its Brazilian community. This trip to witness the appearance of the band was also an opportunity for me to reflect on the years I have spent with the music.
As a result, the short trip was a moving one, vividly evoking memories of 30 years ago.
会場はヨーロッパで見かけるような文化的でモダンかつシンプルな素晴らしい劇場だった。
ギター、ベース、キーボード、ドラムスからなるファミリー・バンドとのリラックスした雰囲気の中で、ライヴは私にとって特別な思い入れのある「Expresso 2222」から始まった。特に心に残っているのは、オリジナル版よりも1994年のMTVアンプラグド・ライヴ「Unplugged」のヴァージョンだ。その記憶が呼び起こされるとともに、椅子に腰掛けしっとりと歌い始めたジルの姿がステージにあった。
前半は静かに進行し、途中でソロを挟んだ後、ジルは自ら立ち上がりギターを持ち替え、観客を煽りながら時折軽やかなステップを踏む。その動きと歌声は、82歳とは到底思えないエネルギーに満ちていた。彼自身の楽曲に加え、ガル・コスタやジョビン、エリス・レジーナ、ドリヴァル・カイミ、さらにはボブ・マーリーやヘンリー・マンシーニを取り混ぜながら、彼の長いキャリアを振り返るような音楽の物語が織りなされていく。
そして、2時間を超える圧巻のステージは、1978年の名曲「Toda Menina Baiana」で感動的なクライマックスを迎えた。会場全体が一つとなり、ジルの音楽に浸りながら踊り、歌い、共にその瞬間を共有する人々の姿がそこにはあった。ジルの軽快なギターと力強い歌声が響き渡り、まるで歳月を感じさせないほどのエネルギーがステージを包んでいた。
その瞬間、観客とアーティストが完全に一体となり、音楽の持つ力を改めて実感させられた。これこそが、まさに大団円にふさわしいフィナーレだった。再びあの30年前と同じ猛烈な多幸感に包まれ、彼の歌声とともに私もまた、音楽の旅を追体験していたのだった。
終演後、関係者から「今回の公演の中でも、特に高崎公演が一番盛り上がっていた」と伺い、さらに感慨深い気持ちが込み上げた。
帰路に就く前、劇場のスタッフに勧められた地元名物のスパゲッティを試してみた。高崎はスパゲティで有名だそうだが、私が頼んだ激辛バージョンは予想以上の辛さで、公演中に堪えていた涙が、思わぬ形で溢れ出したのがなんとも可笑しかった。
The venue was a wonderful theatre, as cultured, modern and simple as you would find in Europe. In a relaxed atmosphere with a family band consisting of guitar, bass, keyboard and drums, the show began with Expresso 2222, a song that holds a special place in my heart. It is the 1994 MTV Unplugged live ‘Unplugged’ version, rather than the original version, that particularly sticks in my mind. The memory was evoked and Gil was on stage as she sat back in her chair and began to sing softly.
The first half of the show progressed quietly, and after a solo midway through, Gil stood up on his own and switched guitars, occasionally taking light steps as he encouraged the audience to join in. His movements and singing voice were filled with an energy that made it hard to believe he was 82 years old. In addition to his own songs, he weaved a musical narrative that looked back over his long career, mixing Gal Costa, Jobim, Elis Regina, Dorival Caymmi, Bob Marley and Henry Mancini.
The impressive stage performance, which lasted over two hours, reached a moving climax with the 1978 classic ‘Toda Menina Baiana’. The entire audience became one, dancing, singing and sharing the moment together as they were immersed in Jill's music. Jill's lilting guitar and powerful voice echoed through the air, enveloping the stage with an energy that made it seem as if it had not aged a day.
At that moment, the audience and artists were completely united, and I was reminded of the power of music. This was a finale worthy of a grand finale. Once again, I was enveloped in the same intense euphoria as 30 years ago, and together with his voice, I too was reliving the musical journey.
After the show, I was told by a crew that the Takasaki performance was the most exciting of all the performances, which made me even more deeply moved.
Before heading home, I tried a local speciality, spaghetti, recommended by theatre staff. Takasaki is said to be famous for its spaghetti, and the very spicy version I ordered was even spicier than I had expected, and the tears I had been holding back during the performance unexpectedly welled up, which was quite funny.
Gilberto Gil “Aquele Abraço Japan Tour 2024
Sunday 29 September 高崎芸術劇場 大劇場 Takasaki City Theatre Gunma
Expresso 2222
Viramundo
Chiclete com Banana
Upa Neguinho
Ladeira da Preguiça
É Luxo Só
João Sabino
Garota de Ipanema
Choro Rosa
Moon River
Tempo Rei
Não Chore Mais (No Woman, No Cry)
Esotérico
Sonho Molhado
Vamos Fugir
Back in Bahia
Andar com Fé
Palco
Aquele Abraço
-Encore-
A Novidade
Toda Menina Baiana
Member
Gilberto Gil(vo,g)
Bem Gil(vo,g,b)
Jose Gil(vo,dr)
João Gil(vo,g,b)
Flor Gil(vo,key)
ギター、ベース、キーボード、ドラムスからなるファミリー・バンドとのリラックスした雰囲気の中で、ライヴは私にとって特別な思い入れのある「Expresso 2222」から始まった。特に心に残っているのは、オリジナル版よりも1994年のMTVアンプラグド・ライヴ「Unplugged」のヴァージョンだ。その記憶が呼び起こされるとともに、椅子に腰掛けしっとりと歌い始めたジルの姿がステージにあった。
前半は静かに進行し、途中でソロを挟んだ後、ジルは自ら立ち上がりギターを持ち替え、観客を煽りながら時折軽やかなステップを踏む。その動きと歌声は、82歳とは到底思えないエネルギーに満ちていた。彼自身の楽曲に加え、ガル・コスタやジョビン、エリス・レジーナ、ドリヴァル・カイミ、さらにはボブ・マーリーやヘンリー・マンシーニを取り混ぜながら、彼の長いキャリアを振り返るような音楽の物語が織りなされていく。
そして、2時間を超える圧巻のステージは、1978年の名曲「Toda Menina Baiana」で感動的なクライマックスを迎えた。会場全体が一つとなり、ジルの音楽に浸りながら踊り、歌い、共にその瞬間を共有する人々の姿がそこにはあった。ジルの軽快なギターと力強い歌声が響き渡り、まるで歳月を感じさせないほどのエネルギーがステージを包んでいた。
その瞬間、観客とアーティストが完全に一体となり、音楽の持つ力を改めて実感させられた。これこそが、まさに大団円にふさわしいフィナーレだった。再びあの30年前と同じ猛烈な多幸感に包まれ、彼の歌声とともに私もまた、音楽の旅を追体験していたのだった。
終演後、関係者から「今回の公演の中でも、特に高崎公演が一番盛り上がっていた」と伺い、さらに感慨深い気持ちが込み上げた。
帰路に就く前、劇場のスタッフに勧められた地元名物のスパゲッティを試してみた。高崎はスパゲティで有名だそうだが、私が頼んだ激辛バージョンは予想以上の辛さで、公演中に堪えていた涙が、思わぬ形で溢れ出したのがなんとも可笑しかった。
The venue was a wonderful theatre, as cultured, modern and simple as you would find in Europe. In a relaxed atmosphere with a family band consisting of guitar, bass, keyboard and drums, the show began with Expresso 2222, a song that holds a special place in my heart. It is the 1994 MTV Unplugged live ‘Unplugged’ version, rather than the original version, that particularly sticks in my mind. The memory was evoked and Gil was on stage as she sat back in her chair and began to sing softly.
The first half of the show progressed quietly, and after a solo midway through, Gil stood up on his own and switched guitars, occasionally taking light steps as he encouraged the audience to join in. His movements and singing voice were filled with an energy that made it hard to believe he was 82 years old. In addition to his own songs, he weaved a musical narrative that looked back over his long career, mixing Gal Costa, Jobim, Elis Regina, Dorival Caymmi, Bob Marley and Henry Mancini.
The impressive stage performance, which lasted over two hours, reached a moving climax with the 1978 classic ‘Toda Menina Baiana’. The entire audience became one, dancing, singing and sharing the moment together as they were immersed in Jill's music. Jill's lilting guitar and powerful voice echoed through the air, enveloping the stage with an energy that made it seem as if it had not aged a day.
At that moment, the audience and artists were completely united, and I was reminded of the power of music. This was a finale worthy of a grand finale. Once again, I was enveloped in the same intense euphoria as 30 years ago, and together with his voice, I too was reliving the musical journey.
After the show, I was told by a crew that the Takasaki performance was the most exciting of all the performances, which made me even more deeply moved.
Before heading home, I tried a local speciality, spaghetti, recommended by theatre staff. Takasaki is said to be famous for its spaghetti, and the very spicy version I ordered was even spicier than I had expected, and the tears I had been holding back during the performance unexpectedly welled up, which was quite funny.
Gilberto Gil “Aquele Abraço Japan Tour 2024
Sunday 29 September 高崎芸術劇場 大劇場 Takasaki City Theatre Gunma
Expresso 2222
Viramundo
Chiclete com Banana
Upa Neguinho
Ladeira da Preguiça
É Luxo Só
João Sabino
Garota de Ipanema
Choro Rosa
Moon River
Tempo Rei
Não Chore Mais (No Woman, No Cry)
Esotérico
Sonho Molhado
Vamos Fugir
Back in Bahia
Andar com Fé
Palco
Aquele Abraço
-Encore-
A Novidade
Toda Menina Baiana
Member
Gilberto Gil(vo,g)
Bem Gil(vo,g,b)
Jose Gil(vo,dr)
João Gil(vo,g,b)
Flor Gil(vo,key)
松浦 俊夫｜TOSHIO MATSUURA
1990年にUnited Future Organization (U.F.O.)を結成し、5作のフルアルバムを
世界32ヶ国で発表、高い評価を得る。
2002年にソロ活動を開始後、国内外のクラブやフェスティバルでDJとして活躍。
イベントのプロデュースやホテル、インターナショナル・ブランド、星付き飲食店
など、感度の高いライフスタイル・スポットの音楽監修も手掛ける。
2013年、現在進行形のジャズを発信するプロジェクト「HEX」を始動し、Blue
Note Recordsからアルバム『HEX』をワールドワイドにリリース。2018年には、
イギリスの若手ミュージシャンらをフィーチャーした新プロジェクト「TOSHIO
MATSUURA GROUP」のアルバムをリリース。
2024年、その作品がイギリスBrownswood Recordingsよりアナログ盤として
再リリースされた。
http://www.toshiomatsuura.com
Founding member of United Future Organization (U.F.O.) which was formed in 1990.
The collective established the beginning of Japanese club culture, and released
5 full albums in 32 countries which gained high reputation in 12 years.
After leaving U.F.O. in 2002, he has continued to play as a solo dj at clubs and festivals
internationally and currently produces events and supervises music for notable fashion brands.
He also has produced many remix works of artist in a wide range of genres,
such as James Brown, Astor Piazzolla, Gotan Project, Melanie De Biasio, etc.
In 2013, he gathered talented and forward-thinking artists based in Tokyo to produce
a project called “HEX,” which presents Tokyo’s progressive form of Jazz to the world.
The debut album “HEX” was released from Blue Note Records worldwide.
Recently, his new project "Toshio Matsuura Group" gathered radical musicians from UK
and album was released from Brownswood Recordings 2018.
The album is re-released on double vinyl from Brownswood Recordings in 2024.
His radio show “TOKYO MOON” every Friday 15:00-16:00 (UK) on One Jazz.
http://www.toshiomatsuura.com
https://www.mixcloud.com/toshiomatsuura/
1990年にUnited Future Organization (U.F.O.)を結成し、5作のフルアルバムを
世界32ヶ国で発表、高い評価を得る。
2002年にソロ活動を開始後、国内外のクラブやフェスティバルでDJとして活躍。
イベントのプロデュースやホテル、インターナショナル・ブランド、星付き飲食店
など、感度の高いライフスタイル・スポットの音楽監修も手掛ける。
2013年、現在進行形のジャズを発信するプロジェクト「HEX」を始動し、Blue
Note Recordsからアルバム『HEX』をワールドワイドにリリース。2018年には、
イギリスの若手ミュージシャンらをフィーチャーした新プロジェクト「TOSHIO
MATSUURA GROUP」のアルバムをリリース。
2024年、その作品がイギリスBrownswood Recordingsよりアナログ盤として
再リリースされた。
http://www.toshiomatsuura.com
Founding member of United Future Organization (U.F.O.) which was formed in 1990.
The collective established the beginning of Japanese club culture, and released
5 full albums in 32 countries which gained high reputation in 12 years.
After leaving U.F.O. in 2002, he has continued to play as a solo dj at clubs and festivals
internationally and currently produces events and supervises music for notable fashion brands.
He also has produced many remix works of artist in a wide range of genres,
such as James Brown, Astor Piazzolla, Gotan Project, Melanie De Biasio, etc.
In 2013, he gathered talented and forward-thinking artists based in Tokyo to produce
a project called “HEX,” which presents Tokyo’s progressive form of Jazz to the world.
The debut album “HEX” was released from Blue Note Records worldwide.
Recently, his new project "Toshio Matsuura Group" gathered radical musicians from UK
and album was released from Brownswood Recordings 2018.
The album is re-released on double vinyl from Brownswood Recordings in 2024.
His radio show “TOKYO MOON” every Friday 15:00-16:00 (UK) on One Jazz.
http://www.toshiomatsuura.com
https://www.mixcloud.com/toshiomatsuura/