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souzoushin · 7 years

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[Translation] IDOLiSH7: Rabbit Chat [Kujou Tenn - Märchen Dream] Part 5

Title: Thoughts About the Casting

Participants: Tsumugi, Tenn

Source: Unlocked in game from the Kujou Tenn card released as part of the second Ichiban Kuji card set (September-October 2016), pictured here.

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*** [Previous: Part 4 - TRIGGER’s Youngest] *** [Next: N/A]

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(Tsumugi)

Kujou-san, thank you for your hard work! The First Lottery cards have finally been put up for sale today. Thank you very much for working together with us on so many things yet again!

(Tenn)

Thank you for your hard work, Takanashi-san.

They seem to have attracted quite the hype. Let us stage the best possible performances as well, in order to repay the fans who are kindly buying them for us.

(Tsumugi)

Yes! I’ll make sure to engrave that into my mind all the more strongly...!

(Tenn)

IDOLiSH7′S fanservice comes in extremely varied flavors, so I think the fans were quite happy as well.

(Tsumugi)

I’ve watched TRIGGER’s concerts countless times so far, and the letters on the paper fans often read things like, “Shoot me,” or “Blow me a kiss,” do they not? I think that’s surely because you have many songs with a sexy note.

(Tenn)

Meanwhile, you get things like, “Say goodnight to me,” or “Please jump up and down,” quite a lot.

I think the one who observes the paper fans the most is Izumi Mitsuki, maybe.

(Tsumugi)

That’s right! Mitsuki-san is always saying he wants to do his best so that everyone who came to see us can go home feeling happy after.

(Tenn)

Izumi Mitsuki has a high level of awareness. And I think it’s precisely because he fully knows he must work hard for it, if he wants to be acknowledged, that he was able to wear his outfit perfectly this time around too.

(Tsumugi)

Thank you very much... I believe Mitsuki-san will be really happy to hear what you had to say about him, Kujou-san.

(Tenn)

I’ve only said exactly what I thought during the filming.

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>> 1. Did you watch the short drama we released?

(Tsumugi)

Did you watch the short drama we released?

(Tenn)

I watched it. Nikaidou Yamato and Yuki-san are well-known for their acting already, but I think it turned out well as a whole. Yotsuba Tamaki may have gained some experience from the previous drama too, because his acting got better. But I guess maybe it didn’t matter since his role was a wolf who was bad at communication.

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>> 2. I would be happy if we could get to work together again!

(Tsumugi)

I would be happy if we could get to work together again!

(Tenn)

We’re all extremely busy with work so it might prove difficult, but it was a valuable rare experience. Apparently our manager also feels like there is quite a bit to learn from Okazaki-san and from you, Takanashi-san.

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>> 3. Riku-san was saying that you looked good in your costume as well, Kujou-san.

(Tsumugi)

Riku-san was saying that you looked good in your costume as well, Kujou-san.

(Tenn)

He told me as much in the waiting room several times, too. He was also wondering how it would look if the two of us swapped costumes. Seeing Riku as a witch would be quite a rare occasion, wouldn’t it?

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(Tenn)

Also, I’ll have to ask you to please stop encouraging Ryuu’s incomprehensible, wild fantasies such as me being Cinderella, Snow White being Gaku, and himself being the Little Red Riding Hood.

(Tsumugi)

W-Was it bad!? I just thought that it would be interesting, since it’s such a different image from how the roles went in the drama.

(Tenn)

Let’s say me as Cinderella is still within the limits of common sense, at least.

(Tsumugi)

You have been called a modern-day angel, after all!

(Tenn)

But just what kind of comedy show would that be, with Gaku as Snow White and Ryuu as Little Red Riding Hood? That’s like the quickest possible way to stray from the image we’re marketed with...

(Tsumugi)

I thought it would make for an extremely strong-willed Snow White, and a kind-hearted Little Red Riding Hood. >< And you, Kujou-san, would be a graceful and dream-like Cinderella! [1]

(Tenn)

Why are you talking about it as if you can actually “see” it happening...

(Tsumugi)

It’s just that, as a girl, I really like these things...

(Tenn)

In that case, let me say something as well.

I’d be far more suitable than Izumi Iori for the prince who saves Riku, don’t you think.

(Tsumugi)

Ohhh, may I ask what makes you say that...?

(Tenn)

Because with the way Izumi Iori is doing it, Riku will never be saved. [2]

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[1] -- “dream-like” In original, this is 儚い (ephemeral, transient) which is a specific concept of beauty in Japanese art (where transience in itself is perceived as beautiful and elegant); Tsumugi uses it as 儚げ which is a form similar to adding “-like” at the end in English. The concept of a dreamy image is probably the closest we have to what the idea means to say so I used that.

[2] -- “Because with the way Izumi Iori is doing it, Riku will never be saved.” The literal form of this is more something like “Izumi Iori’s way of doing things can’t save Riku” but that sounds weak in English compared to how forceful it reads in original, so I made it sound more categorical. Leaving this as a note just so people can interpret on their own too.

#idolish7 #kujou tenn #takanashi tsumugi #trigger (i7)#i7: rabbit chat

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jazzworldquest-blog · 7 years

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USA/CANADA: 2 New Ropeadope CDs Due Oct 6 from Pianist/Composer Richard X Bennett

Pianist/Composer Richard X Bennett

Connects Mumbai & New York City

With 2 New Ropeadope Releases,

His First Recordings on an American Label,

Due October 6

Trio Date "What Is Now" &

Indo-Jazz Quintet Album "Experiments With Truth"

Both Feature Rhythm Section of

Bassist Adam Armstrong & Drummer Alex Wyatt

Baritone Saxophonist Lisa Parrott &

Matt Parker on Tenor/Soprano

Are Added on "Experiments ... "

CD Release Show Set for October 11,

Rockwood Music Hall, NYC

August 25, 2017

Since moving to New York from his native Toronto in the 1990s, pianist and composer Richard X Bennett has thrived as a performer in a broad variety of stylistic contexts. Splitting his time between New York and Mumbai, he released a series of acclaimed albums on several Indian imprints, with his last two on Times Music, India's largest label.

Until now, however, Bennett had yet to put an album out on an American label. On October 6, a dual release by Ropeadope Records will mark the pianist's first American recordings -- the trio date What Is Now and the Indo-jazz quintet session Experiments With Truth. Bennett displays his loose, percussive, and conversational instrumental style on the trio album. The raga-infused music on the quintet album is something else again, as stylistically remote from his trio opus as the Big Apple is from Bollywood.

Bennett is joined on both CDs by bassist Adam Armstrong and drummer Alex Wyatt, with baritone saxophonist Lisa Parrott and tenor and soprano saxophonist Matt Parker augmenting the trio on the quintet album. What Is Now presents Bennett as a bold instrumentalist and as a composer of themes that beg for lyrics. The album's mood, energy, and tone range from the tender opener "Vital Grace" to the playful "Go Against the Tide," from the sanctified sway of "Sefrou Soul" to the cinematic scope of "Bittersweet Success." One also gets a taste of Bennett's sense of humor on a distinctly original doo-wop arrangement of "Over the Rainbow."

Bennett describes the quintet's sound on Experiments With Truth as "Mingus meets raga in the 21st Century." Music he originally conceived and performed with North Indian classical musicians is arranged and performed in a jazz context. "As far as I can tell it's the first time it's been done," Bennett says. "I don't claim to be a raga musician, because first off, the piano isn't a raga instrument. I'd say it's raga-based. I like the analogy they use on cooking shows, 'This is my take on a dosa.' As a jazz musician, this is my take on raga," the vast vocabulary of melodic structures, or modes, upon which classical Indian music is based.

"I was always somewhat of a minimalistic player," Bennett adds. "The blues is also like a specific raga, and if you play it academically it won't sound right. You can't just run the scales. With Indian music, everybody else was doing fusions based on complicated rhythmic figures. I'm much more interested in the melodies."

Experiments With Truth opens with "The Fabulist," a long, persuasively surging piece based on a particularly ancient raga (raga malkauns). "Portrait in Sepia" feels like an Ellingtonian tone poem by way of Calcutta, opening with an ominously swaying cadence designed for Parrott's brawny horn. The album's centerpiece is the two-movement "Durga Suite," which evokes dual but very diverse aspects of the warrior goddess Durga (also known as Devi and Shakti). The title track, which borrows its name from Gandhi's autobiography The Story of My Experiments With Truth, is a stimulating and increasingly wild piece inspired by the early morning raga ramkali.

While growing up in Toronto, Richard X Bennett honed his own approach to the piano. His highly personal sound flowed from limited contact with bebop and early exposure to traditional New Orleans jazz and avant-garde combos like the Art Ensemble of Chicago and World Saxophone Quartet. The first jazz he ever saw live was South African pianist Abdullah Ibrahim "and I walked out of the concert being able to play five of his songs," Bennett recalls. "I've always loved that inside/out approach, Jaki Byard and Don Pullen. I don't play bop but I do just about every other jazz style."

He introduced his Indo-jazz concept on the 2009 solo album Ragas on Piano (Dreams Entertainment), and expanded the instrumentation with the late bassist Gaku Takanashi and tabla master Naren Budhkar on 2011's Raga and Blues (Mystica Music). Picked up by Times Music, India's biggest label, he released 2013's critically hailed New York City Swara, with Takanashi, Budhkar, Carnatic violinist Arun Ramamurthy, and drummer Michael Wimberly, followed by the 2015 duo album Mumbai Masala with Hindustani vocalist Dhanashree Pandit Rai. Today Bennett also works with Honk & Tonk, a "N.O.L.A. meets noir" duo with saxophonist Michael Blake, and composes for modern dance, most recently a piece for the Alvin Ailey Company performed at the Essence Festival in New Orleans.

Bennett will celebrate the release of What Is Now and Experiments With Truth in the company of his trio and quintet, at Rockwood Music Hall in New York City on Wednesday, October 11.

Mini-videos from "What Is Now"

Mini-videos from "Experiments With Truth"

Photography: Sean Yoo

Web Site: richardxbennett.com Follow:

Media Contact:

Terri Hinte 510-234-8781 [email protected] terrihinte.com

via Blogger http://ift.tt/2eRNIYe

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