mattin

via Junky’s blog

睡觉的时候把Mattin给我的他和Junko(Hijokaidan女vocal)的合作cd当安眠曲,我实在太喜欢了,30分钟的录音里 Junko从头叫到底,有破碎的声音在里面;Mattin只用笔记本的回授做声音,气度不凡,我越来越喜欢Mattin这家伙了,朴素,邋蹋,看起来像工厂的车间主任!他给的另一张唱片还没听,但肯定是我喜欢的,昨天聊天的时候发现彼此喜欢的竟然十分相似,本来这次是要一起合作录音的,但我实在抽不出空, 约好回去后通过interner进行录音合作:)!!他和他的厂牌的网址是:www.mattin.org

Junko&Mattin – 评论和下载(ogg格式) via Junky’s blog

mattin_guionnet_denzler_unami china tour Shenzhen


mattin guionnet denzler unami

-/:.

Mattin – computer
Jean-Luc Guionnet – saxophone
Bertrand Denzler – saxophone
Taku Unami – computer

YES?

One says:
“1 computer and 1 saxophone have nothing to do with each other.”
One also says:
“2 computers and 2 saxophones have no more to do together.”
Another one replies:
“Does one say that because computers and saxophones have nothing in common? Because they have nothing to share? Is that enough to infer such an extreme conclusion?”
And one adds:
“But a computer has nothing to do with another computer… And it’s the same with 2 saxophones. It’s not because they have the same name that… One can even say that 1 saxophone has more to do with 1 computer than with another saxophone.”
But then another one tries to conclude:
“No! As a matter of fact, it’s because things have endlessly nothing to do with each other that they have much to do together: they can never be in the very same place even if they hardly try to do so, that’s why it’s working more than well beetween them 4.”

And, after a while, a crowd of ones and others say:
But what do you mean when you say that they should have to do with each other?
What is this thing they would have to do?
What kind?
What colour?
What shape?
What lengh?
What is it?
What are you talking about?

This is possibly what our music is all about.

NO?

4 musicians, 2 computers, 2 saxophones. From the Basque Country, France, Switzerland, Japan. First meeting as a quartet on September 30, 2004, 9 pm, at Les Voûtes, in Paris, for 66 minutes. First CD -/:. on fargone records, USA. A very special music, UFO-like. A tense space where anything can happen. But doesn’t necessarely do so. So far they managed very well to brake with previous traditions such as the plinky plonk or reductionism. There is a lot of talk about electroacoustic improvisation. But these musicians do not follow trends, they are going their own way into the unknown…

http://www.fargonerecords.com/
http://www.mattin.org/
http://obenoitmusic.free.fr/pguionnet.htm
http://bdenzler.free.fr
http://www.hibarimusic.com/

new released noise stuff from China


1-Mutant Ape/Torturing Nurse-cdr

2-Blast Beat/Torturing Nurse-12″lp

3-Stimbox/Ronez/Lasse Marhaug “3-Way Split”-cdr

4-Lasse Marhaug “It’s Not The End Of The World”-cdr

5-Ronez “Grey Angels”-cdr

6-Hetleveiker “Jazz On Desk”-cdr

mail order:
1&2 contact with [email protected]
http://www.artyouth.org/blog/index.php?blogId=9
3-6 contact with [email protected]
http://noisetoys.yculblog.com/

Soccer World Cup Sound-Art Project

5.1 sound system soccer-sound-art project that now has a name: AUDIO-ELF, the project is part of SCORECOLOGNE , a cultural project organised by the FIFA World Cup city of Cologne with art, film and music and will start happening on june 15th till, July 9 in the Museum für Angewandte Kunst. see here for the sound artrists list.

SCORECOLOGNE
sound, screen, performance
www.scorecologne.net

A cultural project organised by the FIFA World Cup city of Cologne
with art, film and music
11th June – 9th July 2006
Admission: 5–3 Euro, nomadenkino free of charge
For the latest information, visit: www.scorecologne.net

For four whole weeks, everything in Cologne will revolve around the subject of football. SCORECOLOGNE, a cultural programme organised by the FIFA World Cup city of Cologne, will make sure our other senses don’t miss out on the fun. Suspense, surprise, interaction and imaginative fun are guaranteed by the four programme items BrückenMusik12, Audio:Elf, nomadenkino and colourscape. And they all come under one motto: the most important thing is the experience!

BrückenMusik 12
Exhibition and concerts in the “Hohlkasten”
Deutzer Bridge (entrance Markmannsgasse/Altstadt)
13th June – 9th July
Starts: Sunday, 11th June, 16 hrs.
Opening times: Tues. – Sun. 15 – 19 hrs.

Hidden in the depths of Deutzer Bridge and only rarely open to the public is an architectural curiosity: the “Hohlkasten”, or box girder, a succession of three chambers between sky and water, 10 metres wide, between two and a half and five metres high, the middle one almost 180 metres long, the outer ones 130 metres. Cold neon lighting, bare concrete walls, supply pipes, few look-outs, echoes lasting 15 seconds, the unmistakable noise of road traffic and passing boats – for every artist who works here, the Hohlkasten in Deutzer Bridge represents a fascinating challenge.

Within the framework of SCORECOLOGNE, sound artists Akio Suzuki (Japan) and Paul DeMarinis (USA) and visual artist An Seebach (Germany) have been invited to face this challenge at the twelfth edition of the BrückenMusik series. Together, they form a fascinating ensemble with a penchant for experimentation. Suzuki is subtly minimalist, DeMarinis mischievously technological and the German artist narratively rich in images.

The BrückenMusik series has taken place in Deutzer Bridge annually since 1994. The unique blend of audio-visual installations and concerts has earned the event a reputation well beyond the boundaries of Cologne.

The “traffic jam” concert programme held inside the garage in front of the bridge introduces international artists, who make use of the erratic ambient noises as sources of sound and as “duo-partners”.

traffic jam concerts in BrückenMusik 12:
Sunday, 11th June, 19.30 hrs.: “the hub” (San Francisco/Los Angeles), the world’s first computer network ensemble founded in 1987, on tour today with their laptop ensemble: sounding the chat. Joined by Anton Lukoszevieze, violoncellist, from London.

Thursday, 22nd June, 19.30 hrs.: 4 commissioned compositions for live electronic music, especially for the bridge acoustics and background sounds, by Anne La Berge (Amsterdam), Josef Novotny (Vienna), Volker Straebel (Berlin) and Esther Venrooy (Gent). An acoustic contrast is provided by Giovanni Fontana (Rome) with onomatopoeic voice improvisations and recitations of futurist poems.

audio:elf
Audio plays revolving around the subject of balls
Museum für Angewandte Kunst
Starts: Wednesday, 14th June, 19 hrs.
Opening times: 15th June – 9th July, Tuesday to Sunday 11 – 17 hrs.

Sport and music – in the past, this has meant raucous fan chanting and national players’ attempts to sing. As of now, New Music will also play an important role.

Mexican sound artist Manuel Rocha-Iturbide has invited eleven composers from ten non-European countries to translate their thoughts on sport and space into sounds.

Javier Alvarez (Mexico), Rajivan Ayyappan (India), Dickson Dee (China), Christian Galarreta (Peru), Erdem Helvacioglu (Turkey), Suk-Jun Kim (Korea), Mario Marcelo Mary (Argentina), Manuel Rocha Iturbide (Mexico), Atau Tanaka (Japan), Nicolas Vaurchavsky (Argentina) and Edson Zampronha (Brazil).

The result is “Audio:Elf”. Eleven audio plays in 5.1 Surround format, a technology that is currently taking living rooms by storm, put listeners in the very midst of things.

All pieces are commissioned works. After their world debut at the opening event, they can be listened to in the specially equipped Surround room at the Museum für Angewandte Kunst. Via a control panel, the compositions can be selected and information retrieved about the composers and their music.

Nomadenkino / nomadic cinema
Street cinema
In the heart of Cologne and in districts such as Deutz, Kalk, Mülheim, Nippes, Niehl, Ehrenfeld, Sülz, in alternation
11th June – 9th July 2006
At dusk, when dry and not on a daily basis
Admission free

At dusk, cinema nomads take over the city, mingling with passers-by and revelling football fans. The nomadic cinema visits the city’s many historical sites and street cafés and squares, places where people like to gather in the summer.

Its stories are funny, fascinating and long-forgotten.

The itinerary is surrounded by myths and legends. Wherever it turns up, it transforms public spaces into a cinema. The screens are the facades of urban buildings. Stories relate to the nomadic, the fleeting, the temporary – subjects such as FRIENDS in Germany and Love your City. It celebrates film history in the style of the lost nomadic cinema with film rarities, shorts, animated and experimental films, tracked down in international film and internet archives.
Venues and programmes from 9th June under: www.scorecologne.net

Colourscape
Colour sculptures for concerts
Neumarkt
1st – 9th July, daily 15 – 20 hrs.

The tension is rising, the World Cup Final draws nearer, the summer holidays are upon us and it’s also time to make some new discoveries. Apart from sport, what can be more exciting than something that has never before been seen in Cologne?

Only 9 days. This is an experience not to be missed.

In the heart of the city, where it’s all happening, a colourful tent camp has been set up. The walk-in colour sculpture COLOURSCAPE consists of 58 intensive colour chambers and invites visitors to relax, look and listen.

Since 1989, Colourscape, designed by British artist Peter Jones, has fascinated people in many locations all over Europe. British musicians Lawrence Casserley and Simon Desorgher have created an unusual venue for concerts and performances, making accessible music trends that go beyond traditional pop and video culture.

How do we hear in a sea of colours? Do colours influence the way we listen? Colourscape enables us to experience the effect of colours and in the alternating workshop and music programme, provides a welcome and stimulating change from World Cup fever.

Workshops in the Colourscape
A series of workshops is offered to families and children, enabling participants to experience the relationship between sounds, colours and space. A maximum of 25 participants per event. Applications under: www.scorecologne.net

Sunday, 2nd July, 15.40 hrs. and 17.30 hrs: “Hearing colours”, a workshop by Helga Kleinen/actress and Ulrich Kisters/musician and composer. (Schule des Hörens e.V.)

Saturday, 8th July, 14.10 hrs. and 15.40 hrs.: “When everyday sounds become music and toys become instruments” – a workshop that gives adults and children the opportunity to take part in a concert. Leader: Ortrud Kegel (Büro für Konzertpädagogik)

Sunday, 2nd July 14.10 hrs and Sunday, 8th July, at 17.30 hrs.:
“experience colour ” with Gonzo from England (in German)

Concerts in Colourscape
In the midst of this intensive sea of colours, concerts are held daily from 16 to 19 hrs.. The programme ranges from medieval (or ancient Chinese) instruments to DJ music, played or sung in an ironically brash, rebellious way. Some of the events take place simultaneously in the different colour chambers: ad hoc compositions, spontaneous improvisations, released energy in dialogue with the environment. Communication takes place not just between the musicians, singers and their instruments but also with the environment and audience.

“improv. meets eletronics__focus cologne”
Concerts in Colourscape
Neumarkt, 1st – 9th July, 16 – 19 hrs.

Saturday, 1st July:
Dreamworld – experimental atmospheric music for Colourscape
Melvyn Poore (tuba), Lawrence Casserley (computer and percussion) and Simon Desorgher (flutist), Georg Wissel (saxophone).

Monday, 3rd July: “a-musik live – The Ground Below” with C-Schulz (electronics), F.X. Randomiz (electronics), Waltraud Blischke (turntable, cracklebox), Frank Dommert (turntable), Tim Elzer (guitar, flutist) and Schlammpeitziger (keyboards). The six Cologne musicians take part in an electro-acoustic jam. The participants will build on a composition by C-Schulz and F.X. Randomiz based on city sounds and interpret this thematically. In loose succession, individual musicians and DJs will continue and expand upon the theme. Integrated into the basic musical structure are sounds from Neumarkt’s underground.

Tuesday, 4th July: Choir “dietaktlosen” – Cologne’s first gay/lesbian choir – rhythmic, atmospheric, unplugged – an afternoon full of charm and swing. Regional and international pop, jazz, ballads and traditional Kölsch songs as well as experimental sounds. A-Cappella and under the musical direction of Ilka Tenne. www.dietaktlosen.de

Wednesday, 5th July: from experimental improvisation to jazz:
Simon Nabatov (piano), hans w. koch (live electronics), Achim Tang (contrabass), Bettina Wenzel (vocals), Tiziana Bertoncini (violin) and Thomas Lehn (synthesizer).
Accompanied by “Das Elektrische Rad”, a musical tribute to a work of art by Marcel Duchamp: Michael Plewka (live electronics) and Jeffrey Morgan (saxophone)

Thursday, 6th July: Norbert Rodenkirchen (medieval flute, lap harp) and Albrecht Maurer (Gothic fiddle) explore archaic forms of music, new music, colours, space and light with old instruments. They refer to texts by Leonardo da Vinci on colours, frescoes and architecture.

Friday, 7th July: “Xin Yun” (Herzklang) New and traditional music on old Chinese instruments. Gao-Hong, (Erhu/Chin. viola da gamba), Fu-Zhu Meng (Mongolian melodies and horse-head violin), Chao-Ming Tung, (Gu-Zheng/Chin. zither).

Sunday, 9th July: “worringers electro smog” is the name of the Cologne-based sextet consisting of Frenchman Yves Sachot, American Scott Fields, Czech Macieje Sledziecki and the three Germans Jörg König, Dr. Borg and P.A. Worringer. The Cologne electric guitarists present “3facher Doppelpaß”, electro improvisations based on different coloured routes and time zones.

SCORECOLOGNE
sound, screen, performance
a cultural project organised by the FIFA World Cup city of Cologne
with art, film and music
Admission: 5/3 Euro, nomadenkino free
For the latest information, visit: www.scorecologne.net

Organisers: musicArts Köln eV c/o Kulturamt der Stadt Köln
Concept and organisation: hans w. koch and Georg Dietzler
Press: Jürgen Schön
Translations: www.honecker-bootz.de
Graphic design: Christa Marek
Web design: schwarzdesign, Oliver Schwarz

(转)60年来的波兰爵士乐 – [ 红白蓝 ]

via Iphen’s blog
引言

1945 年后,波兰和东欧、中欧的其他国家一样,被斯大林俄国统治——苏维埃当然不欣赏摇摆!!因此,只允许某几种音乐形式活跃,特别是那些带有民族节奏的,没有切分音的音乐。同一个拍子指定给所有人,军乐队重要性大增。1949年之后,政治和文化上的压迫进程加剧,爵士乐作为敌方的音乐是非法的。在斯大林波兰,爵士乐和现代美术、像样的厕纸、出国旅行的权力一道被禁止了。

让人欣慰的是,并非所有的人都跟着党的路线走。不喜欢俄国社会处方和政治教条的波兰年轻人重新发现了爵士乐。由于被禁,有时甚至遭迫害的,爵士乐转入地下,还有个说法是,进入“墓穴(the catacombs)”。爵士乐只能在个人家里或者私人聚会上演奏。从1940年代后期开始,波兰的爵士乐已经包含了独立、异见和世界主义的精神。

有一个乐队在波兰爵士圈的秘密风景中占据中心位置。乐队名叫 Melomani (狂热音乐迷)。这个团体成立于1947 年,由当时对潮流最敏感的乐手组成。他们中很多人是罗兹电影学院的学生,这个学院创立了重要的欧洲电影运动之一,通常被称为“波兰学派”,因而得名。 Melomani的音乐家们聚集在罗兹基督教青年会,那里是1940年代晚期波兰异见者和独立思想家仅存的绿洲之一。

Melomani 的成员不停变化,许多音乐家都曾经参加过这个乐队。因为和西方爵士乐的发展相隔离,也没有任何爵士唱片和出版物,Melomani 演奏他们自己认为是爵士的音乐形式,像是 Jelly Roll Morton 和 W.C. Handy 这样的。音乐的质量、乐手的技术能力和陈旧的曲目还无法达到西欧或者美国任何一家著名爵士俱乐部的标准。但 Melomani 的乐迷毫不介意。他们热情拥抱这个乐团,因为这是非法的、是他们自己的。

当然,波兰电台里还是没有爵士音乐,店里没有爵士乐唱片,也没有书籍和乐谱出售。但是还有愿望、热情和美国之音。爵士乐迷和有抱负的爵士乐手把他们的苏联产收音机调到Willis Conover 的节目,不去听那些关于苏联成就以及造就人间天堂的报道。对1940年代末和1950年代初的波兰爵士爱好者来说,Willis Conover 是音乐救世主。Conover 的节目给渴望不同选择的人提供了途径:那里有合适的作品和真实的情况。永远不能忘记他对波兰爵士的贡献。

1950年代

1953 年斯大林去世之后,波兰对爵士的理解发生转变。人们开始可以听爵士、谈论爵士、写爵士,最重要的是,演奏爵士。波兰电台恢复了摇摆音乐会的全国广播。 1950年代后半段官方爵士音乐节开始出现。首场合法爵士集会1954年11月1日在克拉科夫举行。其他活动随之而来。1956年,第一次官方爵士音乐节在索波特举行,从此形成了波兰定期举办爵士音乐节的传统。

1950年代后期,波兰的爵士乐迷第一次有机会听到国外的音乐家。一切都改变了,特别是对什么是爵士的感受和理解。早期到波兰来的外国音乐家和他们演奏的音乐对波兰爵士的发展有非常重要的影响。Dave Brubeck 是最早来的人之一,于1958年来访。他的“酷派”爵士类型从而影响了一代波兰爵士音乐家和乐迷。

1956年2月,克服了重重困难,波兰第一份音乐杂志月刊Jazz 出版。由主编 Jan Balcerak 创办的 Jazz 杂志成为铁幕背后唯一的爵士乐杂志。波兰记者终于有这样一个论坛,不仅可以写资讯性文字,还可以大胆进行不曾有过的辩论。

1950 年代波兰爵士圈另一个发展是第一家正式爵士俱乐部的创办。其中最突出的有华沙的 Stodola 和 Hybrydy。往后几十年中,这些俱乐部是爵士不断发展繁荣的重镇。热衷爵士的年轻人,像 Jan Borkowski,就是在 Hybrydy ,才有地方可以培养对爵士的热爱和对西方文化的渴望。1950年代末,波兰爵士俱乐部创办了自己的第一个半正式协会:波兰爵士联合会(The Polish Jazz Federation),由贝斯手 Jan Byrczek 领头。

有一个人对爵士乐在波兰的发展特别重要,也是波兰文化景象的重要指标,他就是作家Leopold Tyrmand,一个让华沙文化精英分子难堪的人。他衣着考究,谈吐清晰,激烈地反对共产主义,爵士音乐的知识渊博。 Tyrmand 写了波兰第一篇爵士文章、出版了第一本爵士书,帮助组织最早的爵士集会,而且创办了最著名的音乐节“爵士狂欢节(Jazz Jamboree)”。

1960年代

从婴儿期成长到1960年代,波兰爵士变得更多样、更成熟、更具风格。随着波兰“现实社会主义(real socialism)”的政治稳定,艺术和文化也开始稳定。1960年代,波兰爵士发展出三种基本风格:迪西兰(传统),straightahead(主流)和前卫(自由)。

许多乐队演奏他们自己版本的 “原版新奥尔良风格”爵士,主要是模仿较早在西欧重新流行的迪西兰音乐。他们经常巡演,录制了许多流行的唱片,让波兰爵士得到更大范围接受。随着时间推移,迪西兰爵士变得更加专业,并从中产生了许多优秀的乐手。

对爵士乐逐渐增加的兴趣,也使得更多人能接受那些对爱好者要求更高的类型。1960和1970年代的波兰爵士中,很难在主流和前卫爵士之间划出明显的界限,太多乐手在两者之间来去自如。可能要分析波兰现代爵士,最好的方法就是关注它最主要的人物。

一点都不奇怪,成为领军人物的 Komeda、Kurylewicz 和 Trzaskowski都曾经是Melomani 成员。有趣的是,另一个Melomani “巨人”,“ Dudus” Matuszkiewicz,最开始从事的是更容易谋生的影视流行音乐作曲,不过后来还是回到了他最爱的爵士乐。1960年代,Kurylewicz 和 Trzaskowski都是所谓第三流派的代表,这是爵士和交响音乐的混血儿。这种对更“严肃”的音乐的迷恋,以及现代作曲技法的吸引,与Baird、 Schoefer、Penderecki等同时代的波兰音乐相交迭。虽然备受争议,而且并不总是令人满意,第三流派的实验还是扩充了爵士的语汇,增强了艺术感受和整体形象。

Krzysztof Komeda 在波兰爵士中扮演的角色很难只用几个词来说明。天才、作曲家、预言家、合作者和领导者还不能够完全概括他。这个有医药学位的普通钢琴手、迟钝的即兴乐手怎么会对波兰爵士产生如此重大的影响?为什么所有跟他合作过的音乐家都强调他的音乐和人格有多么不可抗拒的影响?在他38岁不幸去世的30多年后,他的音乐依然活着,不停激励新的艺术家,征服新的听众。 Komeda 的音乐不能简单分类和描述。他一生只发行了一张专辑,Astigmatic,但还没有哪一张专辑对波兰爵士产生过更大的影响。

1962 年,年轻的小号手 Tomasz Stanko 组建了 Jazz Darings,爵士评论人 J.E. Berndt 后来认为这是“欧洲第一支自由爵士乐团”。 1960年代后期,许多前卫波兰音乐家逐渐发现了John Coltrane 和 Ornette Coleman 的自由爵士概念。 有趣的是,由于这个国家的隔绝,波兰的风格是独立发展的。一些新的名字很快变得非常重要,像是小号手 Andrzej Przybielski,贝斯手 Helmut Nadolski, Jacek Bednarek,Czeslaw Gladkowski 和中音萨克斯手Zbigniew Seifert。 1968年,Seifert 加入了新成立的 Stanko 五重奏,很快从吹中音萨克斯改为拉电小提琴,于是欧洲爵士历史开始了下一个章节。1973年,Stanko 五重奏在它创造性潜能的顶峰解散,并在欧洲拥有一批信徒。接下来的几年里这个五重奏的小提琴手Zbigniew Seifert 成为重要的欧洲爵士音乐家,也是第一个“超出” Coltrane音乐精神的小提琴手。不幸的是,他原本在美国和全世界都大有可为的职业生涯,因为1979年白血病去世而突然中止。

60年代慢慢结束,新的天才涌现,新音乐家开始扮演更重要的角色。一些人已经留下自己的印记,像是 Zbigniew Namyslowski 四重奏,Wlodzimierz Nahorny 以及波兰最好的人声团体:NOVI Singers。 还有比如非凡的钢琴手 Mieczyslaw Kosz ,他们将爵士艺术形式遗产带入下一个十年。

1970年代

五个人的名字记录和定义了1970年代的波兰爵士: Zbigniew Namyslowski、 Adam Makowicz、Tomasz Stanko、Michal Urbaniak 和 Jan “Ptaszyn” Wroblewski。他们演奏的是不同风格、各具特色的音乐,但有个共同点:都是世界级的爵士。

1970 年代是Wroblewski 音乐生涯的第三个十年,在不同风格中,他都成为真正不可或缺的元素。 Wroblewski 已经是很多乐队的次中音和低音伴奏乐手,也有自己的小型乐团,这个乐团倾向 straightahead,喜爱 Horace Silver 式乐句。不过由于他和自由爵士以及Jazzowe Polskiego Radia 工作室关系越来越紧密,他在主流音乐方面的造诣变得不引人注意。创办于 1968年的这个工作室是一个独特的混合体:部分是演奏大师独奏家自由表达的聚集地点,部分是音乐家作曲家的研讨会。事实上很难找到哪个重要的波兰爵士作曲家或者演奏家,从来没有和这个工作室发生过关系。音乐家、作曲家和演奏家有机会测试他们自己的想法,和自己同龄的人面对面讨论。如果没有这个工作室和他的领袖 Wroblewski,波兰爵士不会是现在这样。

最开始可能是开个玩笑,或者是为了任意挥霍这些波兰土豆蒸馏出来的美酒,1970 年代Wroblewski 的另一个表达的论坛是 Stowarzyszenie Popierania Prawdziwej Tworczosci (或者叫 Chalturnik), 这也是工作室的自然延伸。不管怎么说, Chalturnik 有更私密和放松的气氛,会用音乐来开玩笑。不过,前提是一样的:试验、直面禁忌、挑战既有判断、用非正统的方式处理那些从没人怀疑的态度。 Wroblewski 也创作了很多热门流行曲,后来成为波兰流行乐的常青曲目,他还做过DJ。

1973年,Michal Urbaniak 发行了破土而出的专辑 Fusion。这张在美国录制和发行的LP,非常准确地捕捉到了Urbaniak,不仅在波兰,而且在美国也是爵士的前沿力量。里面有他艺术个性的所有元素:straight-ahead 表达和斯拉夫民族的纯朴、音乐的活力、当代的表达方式,以及波兰民族音乐的影响,全都天衣无缝地组合进美国爵士音乐的语汇。接下来的几十年,从 1970年代的爵士-摇滚到1980年代的融合与放克,再到1990年代的嘻哈,Urbaniak 继续搜寻锐利的风格、声响、流派和技术,总是在他自己的民族传统中找到灵感,与此同时,在真正独特的爵士艺术样式中创造同源的音乐表现形式。

Adam Makowicz 是波兰爵士真正的天才之一。他辉煌的音乐生涯横跨数十年,直到今天,他的艺术鉴赏力和摇摆感觉总是让爵士乐迷感到惊喜。AsJim Fuselli 曾经在华尔街日报上这样写他:“Adam Makowicz受到Benny Goodman 的称赞,拿他跟 Art Tatum、Erroll Garner 和 Teddy Wilson相比,爵士出版物和整个欧洲都称他为天才。Makowicz先生热烈的风格、坚实的和弦进行,以及快速的、Tatum式的右手乐句,让他完全应该受到更多的赞扬。”

同样热情洋溢的评论也常常被用来描写另一个波兰爵士巨人Zbigniew Namyslowski。Willis Conover的一段话足以表达:“我第一次拜访波兰的时候,完全没有准备好听到如此高水平的爵士音乐家。Namyslowski 无疑是最好的。国际票选证实了,欧洲听众认为,波兰最好的音乐家,在世界任何地方也属于最好的。他遵循三个传统:爵士的、波兰的、他自己的。错过了 Namyslowski 的人就错过了20世纪创造力的一个独特源头。 Namyslowski 是个巨人!”

传奇五重奏结束后, Tomasz Stanko 继续他的个人音乐生涯,他的兴趣主要集中在自由爵士。从1990年代起,在 ECM 厂牌下,他的音乐变得“更可亲近”,得到全世界承认和评论家的一致赞赏。现在 Stanko和其它仍健在的爵士巨人 Wayne Shorter、Sonny Rollins 等人一样,是世界上最重要、最成功、最有创造性的爵士音乐家。

1980-1990年代

1970 年代后期开始,波兰爵士的焦点转变了。新一代音乐家准备好要在爵士版图上求得自己的位置。80年代早期,由作曲家、长笛手Krzysztof Popek 领导的“年轻力量(the Young Power)”运动开始质问现有教条。同时插电乐团像钢琴手 Janusz Grzywacz 的 Laboratorium、小提琴手 Krzesimir Debski 的 String Connection 和吉他手 Jarek Smietana 的 Extra Ball 慢慢吸引了音乐会听众和买唱片的人。

接下来数十年这个过程得到强化。但尽管言论上具有批判性、音乐上喜欢冒险,年轻力量运动很快就烟消云散,并混入现有的谱系。同样的事情发生在Laboratoriums、String Connections 和 Extra Balls 的身上,他们融入了爵士权威人士,并且很快像Extra Ball 的领军人物 Jarek Smietana 那样,接管了寡头的角色。于是,十年过去之后好像什么都没有改变。寡头集团的的人数增加了,但实际上所有事情还是在相同的领导下走相同的道路。

当然这些规则之外也有例外。从70年代晚期开始,随着波兰爵士史上最有创造性和最重要作品的推出,一个平行爵士圈子逐渐发展起来。开始是由不同人为代表的,比如贝斯手 Helmut Nadolski 和鼓手 Wladyslaw Jagiello,还有 Kurylewicz 的 Formacja Muzyki Wspolczesnej (“当代音乐组织”)成员。作曲家长笛手 Krzysztof Popek、萨克斯手 Wlodzimierz Kiniorski 和很多其他有创造力的、跟爵士乐媒体不是那么友好的乐手,比如钢琴手 Wojtek Konikiewicz, 发展壮大起来,并组成了青年力量运动的创造性力量。

新的运动没有领袖,没有单独的观念形态,没有宣言,没有标志,没有简单定义的风格。事实上,各自单独生活和居住的运动成员之间,甚至并没有确认彼此联结。只是后来的几十年证实,这些各自独立但艺术上有关联的艺术家们发展、实验并最终了表达了同样的想法。但整个过程和这些创造了波兰爵士另一面的艺术家们是不可见的,也没有被爵士界正式认定为“隐者(the Invisibles)”。隐者各自不同,也没有任何艺术教义的标准。

很难从人群中把隐者区分出来,但还是有些突出元素。他们更接近 Ornette 而不是Parker,更多独奏和类似大乐队而不是三重奏和四重奏,音乐所受影响更多样而比较少传统划定的界线。此外,很难拿隐者和他们之前的人作比较。隐者从来没有特别突出或受到公认,但是不能忽视他们在创造性的自主、艺术的真挚、音乐的独立方面,对波兰爵士的影响。

80年代逐渐结束,控制波兰生活前景的体系随之结束,不仅是爵士,还有整个政治和社会的体系。

接下来数十年这个过程得到强化。但尽管言论上具有批判性、音乐上喜欢冒险,年轻力量运动很快就烟消云散,并混入现有的谱系。同样的事情发生在融入爵士权威的 Laboratoriums、String Connections 和 Extra Balls 成员身上。下一个十年里历史又一次自我重复,这时甚至 “更年轻的力量”涌现为1990年代波兰爵士最具创造力的一股潮流。他们把自己的音乐称为“jass”以区别通常的“jazz”。 “Milosc(爱)”乐队是这场运动的超级巨星和领导力量。尽管有些夸夸其谈——这主要是在说主要人物的个性而不是音乐原则——jass 仍然是一种即兴音乐,基于相同的规则和爵士乐基本的传统手法。Jass 步年轻力量的后尘,也加入了波兰爵士的主流。

当今的波兰爵士

如果必须用一个词来描述当今波兰的爵士景象,那只能是“多样性”。

这里的爵士景象非常多样、强烈,几代创造性音乐家人数众多。从“老一辈大师”到年轻的天才,从 1980年代的年轻力量一代到1990年代不同的爵士音乐,从传统的迪西兰风格到老练的前卫爵士都没有界限,2005年的波兰爵士是早就跨过了风格和地域边界的艺术形式。

现在,全国有数百家小型充满活力的爵士俱乐部:从克拉科夫的 Alchemia 到比得哥煦的Mozg(大脑),还有最大的爵士音乐节,比如 Jazz Jamboree JVC 音乐节、Era Jazzu 和 Warsaw Jazz Days。数百家小型独立厂牌比如 NotTwo 和 GOWI,跟Sony和 BMG一起发行爵士唱片。

今天,波兰爵士是一种成熟、但仍在变化和发展的爵士形式。这种形式尊重并深刻理解传统,同时探究先前未知的区域、观念和情感。

10张重要的波兰爵士唱片

1. Krzysztof Komeda Quintet: Astigmatic (1965)
2. Tomasz Stanko: Music for K (1970)
3. NOVI (Now Original Vocal Instruments): Sing Chopin (1971)
4. Zbigniew Namyslowski Quintet: Winobranie (1973)
5. Jan “Ptaszyn” Wroblewski – Studio Jazzowe PR: Seaweed Paddlers (1973)
6. Michal Urbaniak: Fusion (1974)
7. Zbigniew Seifert: Man of The Light (1976)
8. Andrzej Jagodzinski Trio: Chopin (1993)
9. Milosc & Lester Bowie: Not Two (1997)
10. Vitold Rek: Polish Folk Explosion (2001)

原文链接:http://www.allaboutjazz.com/php/article.php?id=19122作者:Cezary Lerski
翻译:bedworm