ヒズ・バンドの人事

オーストラリアのブルース・マガジン "Soulshine" が、ギタリストのデューク・ロバラード（Duke Robillard）が「ディランのバンドに参加するのではないか」という記事を出した



来年、春のオーストラリア、ブルースフェスに参加予定だったデューク・ロバラード・バンド、しかしその公演がキャンセルになってしまった。そのことを、愁いた書き込みがオフィシャル掲示板にあった。

▼Bluesfest Forum


その書き込みに答えるような形でディレクターのPeter Nobleがキャンセルになった理由を書いている。

「ボブ・ディランの新しいギタリストとして、4月1日に行われるリハーサルに参加しなければならないからだ…」

ブルースフェスは3月28日～4月1日まで開かれる。デューク・ロバラード・バンドは28日に出演予定だった。また、5月から6月の間に4本のライブも予定されている。
▼the rosebud agency

▼Duke Robillard cancels Bluesfest tour, joins Bob Dylan touring band instead (Soulshine)



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まぁ相変わらず、すべては噂だ。

彼は、アルバム Time Out of Mind の "Million Miles"、 "Tryin' to Get to Heaven"、 "Can't Wait" でギターを演奏している。

Duke Robillard - Everything Is Broken

Interview: Blues legend Duke Robillard (Something Else!)

DeRiso: You appeared on Bob Dylan’s celebrated late-1990s recording Time Out of Mind, and more recently did a riveting slide-driven cover of his tune “Everything Is Broken.” How does Dylan fit into the blues legacy?

Robillard: I think I can hear the influence of blues all over his music. In the early days, he was influenced by a lot of the acoustic players. I could always pick up on the blues sound in his music. Time Out of Mind was challenging. It’s a great record, though my opinion is that it should have been remixed. There were often 12 or 14 people playing at the same time when the record was made, and that’s too many. (Producer Daniel) Lanois was looking for his signature sound, not really what Dylan had in mind.

DeRiso: How do you mean?

Robillard: His sound is kind of ambient; there’s nothing that’s distinctive -- just a sound behind the artist. That’s why you can’t hear much of me on there! (Laughs.) It’s a funny thing, the way it was mixed. But I think, no matter what you did with those tracks, it was going to come out as Dylan’s finest record from the modern era -- because the songs were so great. Actually, Daniel Lanois did not want me there, but Dylan called me. First of all, I was taking Lanois’ place as a guitar player – and he didn’t want any personality of a particular musician standing out. He wanted his sound, which is kind of a soup, with everything thrown together like a background sound. I spent nine days on that record, working 12 hours a day. He threw me out of the studio repeatedly, then Dylan would bring me back in. It was absurd. But at the same time, it was such an honor to work on that album and work with Dylan that I kept going.

（ダニエル・ラノワは、私にそこにいてほしくなかったが、ディランが呼んだんだ）