Sam Pomanti

2024年、お疲れ様でした！

僕にとって、昨年2024年は発展の多い一年でした。日本に引っ越してきて2年目でもあって、人生の色んなところにコツコツ植えた種が芽生え始めたような気がし、新しい出会い、そして養ってきた関係に支えられてばかりいました。2024年だけで日本を何回か回ったこともでき、この国の文化の理解が深まったと思いながらも、知りたくなることも増え、ここはもう一つのホームだと少しずつ感じるようになりつつありました。

The end has come to a bright and fast-paced year! 2024 was my second year living in Japan, and I must express my gratitude about the fact that it was a busy and exciting one filled with dynamic and stimulating experiences and great people. Here is a brief overview of what I got up to these past 12 months.

さまざまな現場で活動させていただいたし、それぞれの意味や教えがあって僕の人生を豊富にしてくれたが、やはりセンターピースになったのは稲葉さんの現場でした。ツアーがあったが、僕はアルバム制作にもたくさん参加させていただいたので、稲葉さんの「只者」というチャプターの登場人物だったと勝手に誇らしく思います。稲葉さんの指導の下で、スタッフとバンドの力を合わせて本当に素晴らしい「チャプター」が作り上げられたと思います。

I participated in many different bands and work environments this year, but the one that was the centerpiece of the year was Koshi Inaba’s solo tour and album production. This was my third time participating in a string of live performances with Koshi, the first being the B’z tour in 2019, and the second being Koshi’s solo music for the en3.5 shows in January/February 2023, and once again I was able to witness first hand his dedication to challenge and growth as an artist. The more I perform with him, the more I discover there is to be discovered about his vast heart and talent. This time, too, I was able to contribute heavily to the album’s creation, contributing two arrangements (for “Shutter” and “Kibun wa I Am All Yours”), one string arrangement (“Shutter”), and piano/keyboards to eight of the songs. This album, Tadamono, was his first solo album in 10 years, which made it all the more of an honour to contribute to his catalogue, and debuted at No.1 on Japan’s Oricon and Billboard charts. To start off the tour, we played a string of six shows at a relatively small venue in Tokyo called Zepp Haneda—one night for each of Koshi’s solo albums. Yes, we played one of his albums per night at the residency, and it was easily the most intense preparation I’ve ever had to do. The total came out to a whopping 84 songs, over 350 patches created across 4 different keyboards, and many, many hours locked in my house. Thankfully the band was made up of incredible musicians, and we all helped each other put on a great run of shows which continued with the arena tour we brought around Japan before finishing with a tinydesk performance at NHK’s offices in Shibuya. Truly, it was a summer that will remain a cherished memory for years to come.

enIVの「鍵盤城」。千秋楽の日。At my space station in Hiroshima Green Arena on the last day of tour.

NARITA THOMAS SIMPSONのツアーにも2回も参加させていただき、この新しくて新鮮なプロジェクトの一部になれて嬉しく思います。2回目のツアー「BIG BAND BEAT」のお陰で人生初めてのクリスマスライブもできて、その夜を始め思い出に残る演奏がたくさんできました。

I also toured with NARITA THOMAS SIMPSON not once but twice last year, getting to spend more time in some of my favourite cities around the country. The band featured a killer horn section (as well as a 12-piece big band on the final show on Christmas at Yokohama BUNTAI), and Teraoka-san’s ruthless banter with fellow frontman Narita-san provided for many laughs in the crowd and band alike.

リハーサル前の様子。DURANグッズとHEAVENSTAMPも参加！The stage decoration helpful when one forgets what gig they’re on.

岡聡とやっているプロジェクトAKIMBOも2回ライブをし、森田悠介と工藤誠也の素晴らしいプレイを借りながらバンドの表現力やタイトさをアップし、新曲も足したので、新年に向けてAKIMBOの発展を楽しみにしております。

AKIMBO, my instrumental fusion unit with wonderguitarist Satoshi Oka managed to fit two shows in at Kichijoji’s Silver Elephant, joined by our incredible pseudo-members Yusuke Morita on bass and Seiya Kudou on drums. I wrote several new pieces for this group this year, and I’m looking to forward to see where we can take things in 2025.

トムとサムは昨年インスタライブじゃなく、実際のライブを何回かし、富山で初ホール演奏もできました。あれだけ東京から離れた場所で演奏したのに我々の想像を越えるお客さんが観にきてくださり、びっくりしながらとても嬉しかったです。

Tom&Sam also played a few shows, including our first hall show in a surprisingly well-attended venue out in rural Toyama prefecture. I also wrote several new originals for this unit, and our October show at Akasak’s Bflat was very promising for future shows both in how we performed together and how it was received by the wonderfully attentive crowd.

赤坂Bflatの演奏中 Tom and I performing in October

Heavenstampという東京にバンドともツアーに参加させていただき、初めて中国に行きました。食べた料理や見た景色、「初めて」が多いツアーでした。どの国に行ってもお客さんの反応が少し変わると改めて思ったが、ツアー全箇所で暖かくTomoyaさんとSallyさんの音楽を応援してくれて、音楽の文化を超越する力が目の前に盛り上がっていました。

With Heavenstamp I went to China for the first time, participating in a fast-paced 6-day 5-city tour from Shenzhen to Shanghai. It was a completely new cultural experience for me, but the crowds were extremely warm and welcoming, and it further reminded me of how much music truly transcends social and cultural fences which can otherwise divide people.

すべての現場のことをここで書かないけれど、すべての現場が僕を成長させ、何かを教えてくれました。日本のことに長年興味があると言っても、新しい国に引っ越したというのは事実だけど、こんなに早く友達や音楽仲間に恵まれ、そしてこの国の音楽世界に少しでも貢献できるなんて、どれほど有りがたいことか。2024年でいただいた教えと経験を踏み台にして本年2025年に登り始めるのを楽しみにしております。

I wouldn’t ever be able to cover everything that happened in 2024, so I will end this brief retrospective here. As a last note, I will say that it has been refreshing and freeing to have put distance between social media and myself, and these posts here on my website feel much more personal and even postcard-like. I will work to keep major developments in my work life updated here on my website. I hope everyone had a 2024 with some moments that will either be looked back upon fondly, or strengthen one for the coming year. See you soon!

これからも、よろしくお願いいたします。

2024年回顧談：2024 Retrospective