住在熊本的吉他手 Shinji Miyazaki 宮崎真司 第 4 張專輯。
宮崎真司是關東和關西的當代爵士樂/即興音樂界非常活躍的音樂家，這專輯收錄了7首他用原聲吉他演奏的全新作品。
專輯讓人想起 Windham Hill 創始人William Ackerman 的作品。從空白中冒出來的空間非常優美和典雅。
混音及母帶後期製作由台灣人熟悉的 Wolfgang Obrecht 負責，更添一份 ECM 式的精雕細琢品味。

Track List
Side A
1 : Light Colored
2 : River
3 : A day in the A(improvisation)
4 : Pictures

Side B
1 : Ghost Peak
2 : 3.30 pm
3 : November

Guitar : 宮崎真司 / Shinji Miyazaki
Mixing & Mastering : Wolfgang Obrecht
Photo : 阿部俊輔 / Shunsuke Abe
Liner note : 大竹研 / Ken Ohtake and 宮崎真司 / Shinji miyazaki
 

Liner note : 大竹研
The first time I saw Shinji Miyazaki perform was five years ago, in January or February of 2017. The first time I saw him was five years ago, in January or February 2017, at Lifetime, a long-established jazz bar in Miyazaki City, where he performed as a duo with Takayuki Kato, one of Japan's leading guitarists. In addition to the duo's improvisational performance, I was able to see Mr. Miyazaki play solo guitar. His blue full-acoustic guitar, connected to a variety of effectors, silently creating an ambient-like sound world, gave off an aura that was different from any other guitarist I've ever seen. He looks much younger than I am, but he doesn't look fresh, and he doesn't look like a smoked silver, brilliant guitarist.



Later, as I listened to his recordings and watched his live performances, I began to wonder, "Could this guitarist be the one? As I listened to his recordings and watched his live performances, I began to think, "Maybe this guitarist doesn't understand what is normal. I thought. After playing in front of people for a long time, you intuitively think, "It's about time I do something like this to make the audience more excited," or "I think this would be popular in this situation," and you play according to your desire, or you dare to take a musical action that is the opposite of your intuitive desire. It is natural for a performer to be influenced by the mood of the audience and the place, and to be sensitive to the atmosphere of the place, for better or worse, but I don't hear him making sounds in that way. Through his guitar, he somehow just spins a kind of "musical cocoon," and the cocoon is completed, and as a result, it just exists in that place. It's there. The way he plays his music has always been clothed with a unique pale color.

As I played with him and talked with him afterwards, my suspicion that he didn't understand what normal was turned into a conviction. Don't get me wrong, I believe that this sense of "not understanding the normal" is a great weapon for anyone making music today. In this day and age, the knowledge needed to improve one's instrument, or to create music that is different and a little more complex, is readily available on the Internet, a textbook accessible to everyone. Of course, I respect and still listen to the great musicians that appear in the textbooks, but I would like to see the musicians of today show us the parts of their music that are outside of the "textbooks," in other words, their own music. I think this will be the era that gives people the power to live. And I believe that Miyazaki is a musician who "goes out of his way to be more and more personal, whether he intends to or not. This is the reason why I think he doesn't have a normal sensibility.

He is now releasing a new album on vinyl, with seven songs on the A-side and B-side, all played entirely by himself on an old Epiphone pick guitar (an acoustic guitar with no pickup, a design with an f-hole often used in jazz guitar). All songs were written by Shinji Miyazaki himself. I would like to describe the songs as seven cocoons of music that he has spun into his own sound world, with an air of continuity that can only be achieved with a single recording without any modifications. Each musician has a different way of playing and a different scene evoked by the sound. When I saw Eiichi Hayashi and Akihiro Ishiwata play, they seemed to be passionately and ruthlessly throwing various colors on a huge canvas. What does Hiroshi Mikami continue to fight against with his voice, words, and guitar? And in the case of Miyazaki, it is as if he is spinning a cocoon with his sound, diligently and at his own pace.

We, the listeners, can enter into this musical cocoon, or we can gaze at it from afar. You may feel a sense of déjà vu that you don't usually experience. You may be reminded of a scene from a movie you saw years ago, or an old friend you haven't heard from in a while may suddenly contact you. What will your dreams be like the night you listen to this album? Personally, since the album is titled "Light Colored," I would like to savor the faint fragility of the album, so I would like to drop the needle on the record in my room alone and quietly between the evening and the night. I want to drop the needle on the record in my room alone in the evening or at night, and after a few years have passed, I want to suddenly remember vaguely, "I was listening to Light Colored back then. It's a very personal thing, but I feel that this is one of the highest blessings from music, and one of the most important warmth in life.


If you listen to this record, I would like you to visit his performance. There are many wonderful musicians out there, but as I mentioned above, there are certain musical experiences that can only be had from Shinji Miyazaki. How you feel when you see him weaving his musical cocoon is up to you. But I'm sure you'll be able to get a sense of "going out at your own pace," if only for a moment.