近藤等則

近藤等則（こんどう としのり、1948年12月15日 - ）は愛媛県今治市出身のトランペッター・音楽プロデューサーである。愛媛県立今治西高等学校、京都大学工学部から同文学部英米文学科に転じて卒業。本名は俊則。国際的に活躍する日本を代表するフリージャズトランペット奏者である。トランペットは極めて特徴的かつ激しい吹奏を行うことで知られている。 海外に渡って数々の大物・一流アーティストとセッションを重ね、ノイズ、アンビエント、トランス等のサウンド手法を取り入れたオリジナリティ溢れる演奏は海外でも評価されている。 演奏ライブに留まらず画家とライブペインティングを行うなどプロジェクトなども精力的に進める。 洋画家の智内兄助とは中学高校の同級生であり友人。二人で絵本なども出版している。芸名は20代後半に占い師から「名前を変えた方がいい」と言われたことによるもの。現在東京とアムステルダムを行き来して活動している。by Eugene ChadbourneOf course, like many avant-garde experimenters and musical iconoclasts, Kondos early musical influences were largely straight-ahead jazz, especially hard bop. Indeed, the name of his college band, the Funky Beaters, fairly reeks of hard bop attitude, especially if one subscribes to the theory that the nickname bop came from the sound of a policemans nightstick giving a suspect a beating. Such was the atmosphere during this artists college days, when an enormous upheaval took place in the society, fueled on by the radicalism of the 60s. His first love in jazz was Charlie Parker, but unlike many trumpet players, he did not choose one road or the other between the two brass stylists closely associated with him: Dizzy Gillespie and Miles Davis. Both trumpeters became almost equally grounding influences in his playing, which has always combined the dazzling, sometimes outrageous virtuosity of Gillespie with just about every aspect of Davis career one can think of, from the buzzy nestling of his Harmon mute to the entire electric music direction. The free jazz of Ornette Coleman was the next major influence, but within the spirit of this music, he developed his own frame of reference which was more strongly influenced by his upbringing and religious studies than any particular musical influences. His father had been a shipbuilder, and this mans combination of bouts of hard work and total relaxation became something of a philosophical view. Is great: doing nothing and Best part: no meaning were typical summations of the Kondo world view during an era when his mastery of English was still rudimentary. He played with both British guitarist Derek Bailey and soprano saxophonist Steve Lacy prior to his New York sojourn, and continued straddling the fence between conventional jazz collaborations and the outer fringes of free playing through his varied New York relationships. Another pre-American collaboration was with the free jazz drummer Milford Graves, recorded during a tour of Japan in which Graves collaborated with locals. The aforementioned return to Japan and great economic success eventually led to a decision to relocate to Amsterdam, where his profile became every bit as low as the Tokyo persona had been extravagantly widespread. Only a handful of Dutch musicians know how to contact him when he is in Holland, and he has made absolutely no effort to become involved in that countrys heavily competitive jazz scene; and he is certainly the first immigrant to Holland about which that could be said.