| John Jackson Alligator Tales vol.78 07-01-04 THU. | え〜正月休みも終わり今日からは通常どおり⋯というところですが、「正月」というビッグ・イヴェントが終わった（あ、商業関係にとってはイヴェントに備える準備、っつう意味ね）ところで、活性は落ちていますから、さほど忙しいこともなく、午後はクライアントをまわって新年のごあいさつ、てなもんですから楽は楽。 いやあ、この正月は急な記事変更やら画像差し替え、なんて事態にもならず、ゆっくりと好きな事をして過ごすことが出来ました。 なんたって大きいのは、雪がほとんど無く、マウンテンバイクで街なかをおサンポ出来た、ってこと。 毎年、12 月の半ばあたりから雪に閉ざされて、自転車は封印されちゃう場合が多いんですが、今年は主要な道路はほぼ乾いてますから、クルマの邪魔しないように気をつければ充分バイク（ bike=bicycle。オートバイやモーターバイクじゃないよ！）で走れるのでございますよ。 そこらの欲求不満を解消できたのが 2007 年の嬉しい「お年玉」ですねえ。 そして、緊急事態に備え、PC と、それをつなぐ Willcom 同伴ではありますが、クルマで五所川原やら黒石へと足を伸ばし、ゆっくりと遊んでまいりました。 お天気も「雲ひとつ無い」までは行かないけど、晴れ＆薄曇りで良かったですね。⋯ってこれが夏場の天候不順の前触れでなきゃいいんですが。 さて、連載中（？）の Alligator Tales、年末の AL-4866、Lone Star Shootout で止まっておりました。 本日はそれに続く AL-4867、John Jackson たらいうひとの Front Porch Blues でございます。 これまでのワタクシの言動からもご推察いただけておることと思いますが、今この時代に「わざわざ」戦前のカントリー・スタイルで「再現」するよな演奏活動をするアーティストに対しては「異常に」辛辣な評価をくだしております。 したがって、この John Jackson に遭遇したときに「またか」と思ったのも事実なのですが、その音を聴いているうちに、「あくまでもワタクシの勝手な主観に過ぎないのですが」こいつだけは、そのほーが売れる、なんてことじゃなく、このスタイルにこそ自分のブルースがある、てな「説得力」を感じました。 実はそれ、以前から一部のコアな（？）ブルースマンには感じていたことでして、たとえば RADIOBLUE の ROIKI、さらに 金田 デルタ 正人、あるいは少し位相が違う部分もあるけれど AZUMI や 日倉士 歳朗といった日本のアコースティック系のブルースマンたちの場合、あるいは以前からのフォーク系のギターいっぽん弾き語りっちゅう「伝統」に則っているせいもあるのかもしれませんが、そこにそれぞれの「必然性」を感じるのです。 そのスタイルでなければ表現できない、という「研ぎすまされたテンション」のようなものを。 その点、この John Jackson では「研ぎすまされた」というよりは、もっと「日常に即した」テンションではあるけれど、同じようにこれがこの人の人生なんだな、っつー説得力のようなものを感じてしまいます。 ま、なんだかんだ言っても、ヒョっとすると、この東海岸寄りの、デルタ系とはひと味ちがった「のほほん」さがワタクシにフィットしただけ、ってえことかもしれませんが。 Google Earth で付近一帯を「飛行」してみましたが、ま、山岳地帯っちゅうよりは丘陵地帯てな感じの Virginia 州 Rappahanock 郡 Woodville の農民で、パーティなどでは演奏もするミュージシャンでもあった両親のもと、1924 年の 2 月25日、7 人目の子供が生まれました。そして彼（そう、男の子ね）が末っ子だった時期はそう長くはなかったようで、その下にさらに 7 人の子供が生まれ（！）、子供たちだけでも総勢 14 人！という大家族となります。 余興で演奏する父親 Suttce Jackson を真似たのか、わずか 4 才でギターをいじり始め、8 才では既に両親の伴奏（母 Hattic Roberta Haney は歌手）を務めるほどになっていたんだとか。 父と兄弟たちで構成されたバンド（ the ancient black string band style とライナーには説明されています）フィドル、ギター二本、時にバンジョーも加わった、独立前のアメリカ東海岸系の「熟成されつつあった」アメリカ独特の音楽の母体がアパラチアン・ミュージックに収束していく以前の「るつぼ」的なサウンドが彼の出発点となっているのかも？ その少し前、両親は「蓄音器」を購入し、それで再生する Blind Lemon Jefferson や Blind Boy Fullar、Blind Blake など、またカントリーの Jimmy Rodgers や The Carter Family を聴いていたのが、ミュージシャンとしての成長に寄与していたのかもしれません。 10 才のときには、自宅近くの現場で使役されていた Happy と称する囚人と知り合い、オープン・チューニングとスライド奏法を教わったようです。 Alligator の Biography によれば「彼は読み書きを習得する前に、農園での労働力として学校に行けなくなった」そうで、それ以降の記載にそれをフォローするものがないので、ずっと文盲のまま、だったのかもしれません。 主に農園での労働に明け暮れ、ときどきパーティなどで演奏する、という生活だったようですが、その彼も結婚して 1950 年には同じ Virginia 州の Farifax へ移り、妻や子供たちのために農園での労働にハゲみ、あまりの忙しさ（農園では料理人であり執事であり運転手、かつ一切の雑用をこなしていた⋯）から音楽とは離れていたようです。 それが 1960 年代に入ってから、友人のひとりがちょっとしたカネが急に入り用になって彼から借りたのですが、その担保に、とギターを置いて行きます。 これが彼と音楽の「再会」となり、少しずつ演奏もするようになって、近所でギターを教えたりするようになり、ある日ガソリン・スタンドで弾いてみせていたところを、たまたま給油に来た Folklore Society of Greater Washington の Chuck Perdue に見出され、すぐさま声をかけられて Washington D.C. のコーヒー・ハウスへの出演が実現します。 つまり、「掛け値なしの」昔っからそれでやってきてる「ほんもの」の伝統芸、ってことだったんでしょうね。 1965 年には Arhoolie に録音し、以後も地道ながら演奏活動を続け、1986 年には National Heritage Fellowship を授与されました。 この Alligator でのアルバム、Front Porch Blues によってさらにまた彼のファンは増えたのですが、2002 年 1 月20日に死亡しています。 なお、このアルバムのライナーにはここに紹介した以上に詳しい生い立ちが載っておりますので、もっと知りたいかたはそちらをご参照くださいませ。なお、ジャケ写ではメタリックなボディのレゾネーター・ギターを構えてますが、この手の楽器に疎いワタクシにはドコのナニか？は判りません⋯ 録音は Maryland 州 Hyattsville の Private Ear（コーヒーハウスでしょか？）で行われ、マスタリングは Virginia 州 Fairfax の Wolfe Productions。 この録音にも Bruce Iglauer は関わっていないようです。 しばし「お休み」をいただいておりました Alligator Tales の久しぶりの復活です。 う〜ん、まだちょっと本調子じゃないかな？ ま、そのうち、っつうことでぼちぼちやっていきましょ。  さて、ネットで知り合ったかたが「みなさんのお雑煮がどんなだったか知りたい」ゆうてましたので、元旦に作ったポトフ雑煮（？）を再現して撮影したのが ↑ の画像です。 ダシはベーコンと野菜ブイヨン。 ニンジン、カリフラワー、ブロッコリィ、キヌサヤにウィンナー、そしてお餅⋯には見えないでしょうけど左手前の薄〜い長方形のもんがおまっしゃろ？それが熱湯に入れたら 15 秒で柔らかくなる！っちゅう「カードお餅」なのでございますよ。 元旦に作った残りにベーコンも再投入してますので、それおより美味しくなりましたでえ。 |
John Jackson was born and reared in Woodville, Rappahannock County, Virginia, where the green rolling hills of the Picdmont join the smoky vistas of the northern Blue Ridge. There the Rappahannock River begins a tumbling meander to the great bay of the Chesapeake. Older residents may have a polysyllabic musical lilt in their speech. John Jackson's family lived there before the Civil War.
His father, Suttee Jackson, was a musical ten- ant farmer who performed on a $4.98 guitar and on mandolin, homemade fife and banjo.
His mother, Hattic Roberta Haney, was a singer with a strong, clear voice. John learned songs from both parents, but not much guitar from his father. “He was left- handed, played upside down and back- wards."
Suttce Jackson and his brothers had a dance band that performed in the ancient black string band styleon fiddle, banjo and two guitars. This is a musical form much older than the blues, onc that can be traced in Virginia to the early Colonial period when the combining of the African banjo and Europcan fiddle created the first Amcrican musical ensemble.
John recalls the rhythmic force of that band as his father and uncles performed such tunes as Walk Down The Devil's Stairs at country dances.
Another family string band, composed of his mother's cousins, was the house band at the famous Panorama Hotel at the summit of the Blue Ridge.
Two of John's older brothers and a sister learned to play blues on Suttee Jackson’s $4.98 guitar. Jack and Dick performed in and around Woodville, and Alice, two years older than John, enjoyed playing guitar for her little brother.
John became serious about music at age five after his sister Mary “Tee” Jackson made enough moncy “taking in washing” to buy him a $3.75 mail order guitar. That guitar came to a bad end a few years later when brother Jack borrowed it for a house party
job and had to use it todefend him self when a brawl erupted.
Left without an instrument， John went visiting his mother's sister who had married a banjo picking Indian in nearby Flint Hill.
John still plays some tunes on banjo learned during that portion of his childhood.
A chain gang trusty and waterboy named Happy taught John open tunings for the guitar during trips to the Jackson family spring.
On the family Victrola John heard the 78 RPM recordings of Blind Lemon Jefferson, Barbecue Bob, Jimmie Rodgers, The Carter Family, and his favorites, Blind Blake and Blind Boy Fuller.
At age 25, John moved his young family to Fairfax County, Virginia, near the growing suburbs of Washington, D.C. Hc took a job on a dairy farm and built a house for his fam- ily with his own hands, working evenings and weckends. He dug graves with pick and shov- cl and did work as a handyman, eventually creating his own small business which he still operates with his son James.
John was holding forth on his guitar at a Fairfax Amoco station in 1964 when guitarist and noted folklorist Dr. Charles L. “Chuck" IPerdue stopped by. The Jackson and Perduc families became instant friends.Chuck .dd Nan Perduc introduced John to the thriving blucs revival of the '60s and the (Ontario Club in Washington,D.C. where the hero's of the blues performed.
Mississippi John Hurt and Skip James literal- ly lived at the(Ontario for a time.John became friends with them and also met and performed with the Rev. Gary Davis, Victoria Spivey, Son House, Furry Iewis, and Big Joc Williams. Sam Chatmon and Buddy Moss stayed with the Jacksons when pertorming in the area. John enjoyed the good company, but he continued to play in the style he had developed as a boy in Rappahannock County. A favorite of President and Mrs. Carter, John performed a memorable concert for them on the White House lawn. He was the bluesman on the tour of Southern Music USA,a globe- trotting event that set a distance record for international touring (47,000 miles in cight weeks). He has performed for the Royal Family in Thailand and in many of the great halls in Europe and North and South America.
In 1986 the National Endowment for the Arts gave John its National-Heritage Fellowship, a “living treasurc” award, the highest honor the nation offers a traditional artist.
The most gentle and good hearted of men, John tends to become embarrassed when paid a compliment. He loves children and talks to them with an unwavering attention and focus that leads them to instantly accept him as a friend who should be taken into their confidencc. He remembers namcs, hugs, friends, and is a careful listener. A lifc- time of hard work has made him physically powerful, and his handshake has vigor and strength.
His eyes turn misty if a departed friend or family member is mentioned.
John is proud that his son James has taken up the family buisiness - including the blues part of it.
He insisted that James sing the last song on this recording.
これはジャケットのライナーの画像からスキャナー・アプリで読み取ったもので、細かいエラーがありそうなので、ホントに詳しく知りたいかたはオリジナルを購入されて、そのライナーでご確認ください。
His father, Suttee Jackson, was a musical ten- ant farmer who performed on a $4.98 guitar and on mandolin, homemade fife and banjo.
His mother, Hattic Roberta Haney, was a singer with a strong, clear voice. John learned songs from both parents, but not much guitar from his father. “He was left- handed, played upside down and back- wards."
Suttce Jackson and his brothers had a dance band that performed in the ancient black string band styleon fiddle, banjo and two guitars. This is a musical form much older than the blues, onc that can be traced in Virginia to the early Colonial period when the combining of the African banjo and Europcan fiddle created the first Amcrican musical ensemble.
John recalls the rhythmic force of that band as his father and uncles performed such tunes as Walk Down The Devil's Stairs at country dances.
Another family string band, composed of his mother's cousins, was the house band at the famous Panorama Hotel at the summit of the Blue Ridge.
Two of John's older brothers and a sister learned to play blues on Suttee Jackson’s $4.98 guitar. Jack and Dick performed in and around Woodville, and Alice, two years older than John, enjoyed playing guitar for her little brother.
John became serious about music at age five after his sister Mary “Tee” Jackson made enough moncy “taking in washing” to buy him a $3.75 mail order guitar. That guitar came to a bad end a few years later when brother Jack borrowed it for a house party
job and had to use it todefend him self when a brawl erupted.
Left without an instrument， John went visiting his mother's sister who had married a banjo picking Indian in nearby Flint Hill.
John still plays some tunes on banjo learned during that portion of his childhood.
A chain gang trusty and waterboy named Happy taught John open tunings for the guitar during trips to the Jackson family spring.
On the family Victrola John heard the 78 RPM recordings of Blind Lemon Jefferson, Barbecue Bob, Jimmie Rodgers, The Carter Family, and his favorites, Blind Blake and Blind Boy Fuller.
At age 25, John moved his young family to Fairfax County, Virginia, near the growing suburbs of Washington, D.C. Hc took a job on a dairy farm and built a house for his fam- ily with his own hands, working evenings and weckends. He dug graves with pick and shov- cl and did work as a handyman, eventually creating his own small business which he still operates with his son James.
John was holding forth on his guitar at a Fairfax Amoco station in 1964 when guitarist and noted folklorist Dr. Charles L. “Chuck" IPerdue stopped by. The Jackson and Perduc families became instant friends.Chuck .dd Nan Perduc introduced John to the thriving blucs revival of the '60s and the (Ontario Club in Washington,D.C. where the hero's of the blues performed.
Mississippi John Hurt and Skip James literal- ly lived at the(Ontario for a time.John became friends with them and also met and performed with the Rev. Gary Davis, Victoria Spivey, Son House, Furry Iewis, and Big Joc Williams. Sam Chatmon and Buddy Moss stayed with the Jacksons when pertorming in the area. John enjoyed the good company, but he continued to play in the style he had developed as a boy in Rappahannock County. A favorite of President and Mrs. Carter, John performed a memorable concert for them on the White House lawn. He was the bluesman on the tour of Southern Music USA,a globe- trotting event that set a distance record for international touring (47,000 miles in cight weeks). He has performed for the Royal Family in Thailand and in many of the great halls in Europe and North and South America.
In 1986 the National Endowment for the Arts gave John its National-Heritage Fellowship, a “living treasurc” award, the highest honor the nation offers a traditional artist.
The most gentle and good hearted of men, John tends to become embarrassed when paid a compliment. He loves children and talks to them with an unwavering attention and focus that leads them to instantly accept him as a friend who should be taken into their confidencc. He remembers namcs, hugs, friends, and is a careful listener. A lifc- time of hard work has made him physically powerful, and his handshake has vigor and strength.
His eyes turn misty if a departed friend or family member is mentioned.
John is proud that his son James has taken up the family buisiness - including the blues part of it.
He insisted that James sing the last song on this recording.
これはジャケットのライナーの画像からスキャナー・アプリで読み取ったもので、細かいエラーがありそうなので、ホントに詳しく知りたいかたはオリジナルを購入されて、そのライナーでご確認ください。
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