分類彙整:聊爵士

MP_GERI ALLEN:一個超勁黑人女性鋼琴手。 (ID:Timothy.L)

Timothy.L 2000-11-5 08:49

GERI ALLEN:一個超勁黑人女性鋼琴手。

她好似嫁了給WALLACE RONEY(小弟再找清楚,核實再拉上來),這樣可算是JAZZ音樂夫婦擋(在JAZZ圈曾有夫妻合拍的,早有MAX ROACH + ABBEY LINCOLN,近有ELIANE ELIAS + RANDY BRECKER 及 PAUL BLEY +CARL BLEY…..,但很多都分手了,唉!)這對夫婦合作可從她近期的力作說起:THE GATHERING(VERVE),這片CD所玩得音樂非常大路,任何類型的JAZZ風格都可從裹面找到,由於有不同HORNS及DRUMS在內,故其琴音不算突出,但她在每個樂手中不停穿插,也蠻特別,幾好聽! 繼續閱讀 MP_GERI ALLEN:一個超勁黑人女性鋼琴手。 (ID:Timothy.L)

MP_追忆—–Hank Mobley (ID:piazolla)

piazolla 2004-3-25 00:49

追忆—–Hank Mobley

hank_mobley

在某一批人群中,Hank Mobley总是被当作既不创新,又无天赋的爵士即兴演奏家。这简直是无稽之谈,Hank Mobley的众多重发作品,将对此给与有力还击。人们对待Hank Mobley的最大谬误缘由,在于他没有幸运的生来就是John Coltrane或者Sonny Rollins。同一时期中已然具备了那么两位令人兴趣盎然和充满天赋的次中音萨克斯手,Mobley也就只能被降级到才艺平平的世俗熔炉中,在那儿,不可计数的爵士音乐家断送了前程,终生湮没无闻。 繼續閱讀 MP_追忆—–Hank Mobley (ID:piazolla)

MP_英國爵士樂教父 (ID:timo)

timo 2004-8-13 09:58

英國爵士樂教父

這個TITLE是BBC封的,說真的,我對英國的爵士樂真的不熟,最多只知道Ian Carr,和晚近的PINE,今晚聽到電視機傳來Jazz Musican這個關鍵字,停下手邊雜事,花了一個小時看了這支BBC做的樂手生平紀錄,順手先把一些看到的內容記下來。

Stan Tracey一九二六年出生於  (沒有記下來,又已經忘記了,但我確定不是倫敦,網路上查到幾個站的資料都說是倫敦,我想是BBC親自訪問的算數),幼時父親總是在他睡著後才從酒吧回來,在他已經去學校後才醒來,並在他還沒回家前又出門喝酒。開始學習爵士樂,是因為鄰居有一台收音機,只要鄰居的收音機傳來爵士樂節目,他便會跑到院子裡把那段節目聽完。 繼續閱讀 MP_英國爵士樂教父 (ID:timo)

Seeing the Perspective of Jazz Field in Taiwan from the Reflection of Thinking in Jazz: The Infinte Art of Improvisation by Paul Berliner

這篇文章是在上學期完成的,也是研究生爵士教學法課程上的其中一項大作業.此書的作者Paul Berliner為民族音樂學家,以非洲音樂以及爵士樂即興演奏的相關研究為其擅長領域.此書是他多年的研究成果之一,內容完整呈現一個專業的爵士樂手從個人,群體到環境的養成過程.其中作者本人也分享他如何練習爵士小號,也提供採譜分析以及不同身分爵士樂人的訪問(包括我的爵士作曲老師Bill Dobbins, 爵士教育家Barry Harris等大師)這些豐富的材料使得這本書完整建立一個樂手養成的資料庫.我相信這本書日後對於台灣爵士樂手的養成相當重要.在此分享給大家.

Paul Berliner’s Thinking in Jazz: The Infinite Art of Improvisation is the 繼續閱讀 Seeing the Perspective of Jazz Field in Taiwan from the Reflection of Thinking in Jazz: The Infinte Art of Improvisation by Paul Berliner

A Review of Teachers Teaching Teachers by Stuart Nicholson

此文章是我在碩一時,在大學部的爵士教學法的課程裡的其中一項作業.這是我第一次對於爵士教育多元性的議題有著相當大的興 趣.Stuart Nicholson為英國著名的爵士樂樂評家,出版的著作包括Jazz: The Modern Resurgence,Is Jazz Dead ?(Or Has It Moved To  A New Address)以及新書Jazz and Culture In A Global Age. 這些著作曾獲爵士音樂史學家Ted Gioia一致好評:”…may be the most perceptive critic writing about jazz today.”的確,Nicholson的著作是少數爵士樂界裡探討近代爵士的著作.這篇評論關於他在Is Jazz Dead一書裡的其中一篇章節:Teachers Teaching Teachers.這篇文章主要說明了當今爵士教育內容的多元性以及在追求傳統與創意之間的爭議.

Since many jazz institutions began to pop up in late 20th century, jazz education has provided opportunities for  students to cultivate themselves to become the most outstanding players in the future. However, there’s a debating issue that jazz education doesn’t put more emphasis on originality and creativity. That leads to educators find difficulty when making decisions between pursuing the spirit of art and conforming with traditional styles, in order to help students achieve their professional goals.

The reason why Jazz education in the U.S considers bebop-hard bop style in 1950~60 to be an important style is that it’ll be beneficial to learn common vocabulary before expanding to next stage where has a variety of perspective in Jazz language. But that causes the effect that students sound the same when following similar teaching methods of stylistic approach. And the lack of originality and creativity will decrease the artistic value of Jazz music and the motivation to become professional musicians.

Stuart quotes several musicians words from famous Jazz educators, such as Charles Beale and Gunther Schuller, to stress again that the formalization of Jazz pedagogy will limit students’ imagination when creating music. In educator’s aspect, he addresses the advantage of bebop is to let students have basic concept of frequent modulation and complicated chromatic enclosures. Nevertheless, students apply the concepts taught in class with only a single way, which means they’re unable to display their individuality. If they use the same patterns applied on tunes with strange chord progressions, irregular rhythms and incomplete forms, their mind will be restricted when acquiring unfamiliar styles in Jazz.

In Jazz learner’s aspect, there are 2 main reasons that students have no choices but imitate the style which can “survive” in the pressure. One is the advanced technology. With quick search results, students can repeat playing soundtracks again and again in order to acquire certain styles in every short time. Depending on certain methods of pattern learning will make students sound too plain and boring. No new stuff coming out from themselves appears. The audience will lose their patience because they can’t find any appreciation of Jazz on them. Consequently, it’ll get harder and harder to see originality from them.

The competitive environment where has peer pressure and group pressure is another reason why young musicians lack originality. They might have higher expectation to see how much they learned from school and how they do perfectly in techniques. This “playing alike” phenomenon can be explained in the situation of jam session. In order to prove themselves to be qualified to reach higher reputation, more attraction from audience, even making better fortune, young students have no choice but compromise with the marketplace to show off their techniques. The disadvantage of jam session is it focuses too much on exhibiting personal skills rather than communicative process. Because musicians have no time to rehearse and look deeper in music, it loses the centrality of group creativity and interactions. This brings alert of misconception on universe of music itself in Jazz field.

Stuart makes a contrast between Jazz education in the U.S and in Europe. In America, Bebop style is regarded as norm of improvisation, while in Europe, musicians tends to be more liberal, concentrating on the artistic value, letting young musicians have more space to develop their creativity. They’re not just following the musical standards to revere masters, but instead they’re trying to build expansive vision to any kinds of music. Classical music training is almost indispensable in internalizing the process of building individuality. Its appreciation of aesthetics can help students establish discipline of presenting melody and its variation of frames leads to open art of Jazz expressionism. What’s more, Jazz education in Europe are also seeking to new identity in their music and develop features which are meaningful to them, even through cultures from other countries. The process which is so-called “transculturation” has influenced on Jazz field in the U.S nowadays.

In Taiwan, Jazz field is facing the pressure from classical music field. Classical music education is dominant among music education in academic environment, while Jazz education doesn’t exist in academic environment but appears everywhere outside the campus. As a result, Jazz musicians are minority groups in music field. We should bring the concepts of Jazz educational system from both Europe and America because there is need for students to experience different genres from different cultures. Since the marketplace in Classical music is very narrow due to low birth rates, relatively, we can see potentials in development of Jazz education in Taiwan. That way, students will be motivated in their originality and creativity.

In short, what could we do if we want to help students retain the basic concepts and creativity at the same time? Although this is a long-term question which is still being discussed, all we have to do is to reach the balance between them so that the artistic meaning and value of Jazz education will be authentically exhibited in teaching.

20141227 布魯斯 威力 Blues Power 世界天團,第一專輯

原文臉書連結

(台北愛樂電台,台北FM99.7,新竹FM90.7,”台北爵士夜”節目,藍調系列專題:布魯斯 威力 Blues Power每週六深夜/週日凌晨24:00,

主持人沈鴻元 Daniel Shen,來賓:蘇重,2010年四月四日首播,本集時間:2014/12/27夜間 24:00 – 12/28凌晨 02:00) 繼續閱讀 20141227 布魯斯 威力 Blues Power 世界天團,第一專輯

20141213 布魯斯 威力 Blues Power 世上寂寞的人啊,別讓披頭不開心

原文臉書連結

 

 

(台北愛樂電台,FM99.7,”台北爵士夜”節目,藍調系列專題:布魯斯 威力 Blues Power每週六深夜/週日凌晨24:00,主持人沈鴻元 Daniel Shen,來賓:蘇重,2010年四月四日首播,本集時間:2014/12/13夜間 24:00 – 12/14凌晨 02:00)

 

世上寂寞的人兒啊,他們都從哪裡來?世上寂寞的人兒啊,他們將歸往何處?

這是披頭四著名的歌詞,我們這次布魯斯威力節目,「重返英倫入侵」之「莫使披頭不開心」系列,就會介紹到這首經典歌曲,當然,就是希望披頭四跟廣大的披頭四樂迷能夠開心。

 

來看這次節目的歌曲: 繼續閱讀 20141213 布魯斯 威力 Blues Power 世上寂寞的人啊,別讓披頭不開心

布魯斯 威力 Blues Power 嗨!布魯斯,你的威力呢?

原文臉書連結

(台北愛樂電台,FM99.7,”台北爵士夜”節目,藍調系列專題:布魯斯 威力 Blues Power每週六深夜/週日凌晨24:00,主持人沈鴻元 Daniel Shen,來賓:蘇重,2010年四月四日首播,本集時間:2014/11/22夜間 24:00 – 11/23凌晨 02:00)

 

本集節目依然為大家介紹美國創作歌手Bruce Springsteen布魯斯史賓斯汀,從他為911事件所推出的專輯「The Rising」開始講,據說,在911之後,美國人心中無限傷痛,有一天史賓斯汀開車上街,停紅燈的時候,隔壁有人敲他車窗:「Hey, Burce, where’s your power?嗨!布魯斯,你的威力呢?」史賓斯汀突然頓悟,知道他該為美國人寫歌,用音樂來撫慰陷入悲傷的同胞們。(那個問句是沈鴻元掰的,其實當時,史賓斯汀的歌迷是跟他說:「Boss, we need you. 」) 繼續閱讀 布魯斯 威力 Blues Power 嗨!布魯斯,你的威力呢?

NPR – Live Jazz

Live Jazz

JazzInfo 臉書連結

A

A Night At The Museum

Dee Alexander’s Funkin’ With Electric Soul: Live In Chicago

B

Jane Bunnett And Chihiro Yamanaka At The Kennedy Center

Dee Dee Bridgewater On JazzSet

C

Billy Childs Quartet Live At The Blue Whale

Anat Cohen & Choro Aventuroso At Jazz At Lincoln Center

Avishai Cohen’s Triveni With Anat Cohen, Live At Newport

Reginald Cyntje Group At Bohemian Caverns

D

‘Miles Davis And Gil Evans: Still Ahead’ On JazzSet

F

Bill Frisell On JazzSet

G

Benny Green Trio On JazzSet

L

Charles Lloyd’s Sangam On JazzSet

Lionel Loueke Trio On JazzSet

Live From Detroit

M

René Marie On ‘Song Travels’

Wynton Marsalis Group: Live In Concert

Nellie McKay On Song Travels

Jason Moran And The Bandwagon At The Kennedy Center

P

Gretchen Parlato, The Cookers On JazzSet

Eddie Palmieri’s Latin Jazz Septet On JazzSet

R

Eric Reed Plays Coleman Hawkins

Marcus Roberts And The Modern Jazz Generation At Jazz At Lincoln Center

T

‘Two Skirts And A Shirt’ On JazzSet

W

Steve Wilson With Strings On JazzSet