专辑英文名: Jazz for When You're Alone
专辑中文名: 寂寞时刻的爵士乐
歌手: Various Artists
音乐风格: 爵士
资源格式: MP3
发行时间: 1999年02月02日
地区: 美国
简介:
压缩码率：OBR 192 Kbps
内容介绍：
Jazz for …系列，均由数十位世界顶级爵士乐手Show Quali演绎，Amazon五星评价.一致获得世界各地发烧友及乐评人极高的评价和赞誉，并创下同期高踞美国Billboard爵士乐大碟销量榜的惊人佳绩。精彩、迷人、感性的旋律，超顶级水准，热卖的保证。
由美国纽约独立爵士唱片厂牌32 JAZZ出版。 这张爵士集锦大碟于1999年初出版，2月至3月曾雄踞美国《公告牌》LBOARD”）杂志“顶尖爵士乐唱片排行榜”冠军高位达5周之久。
一个人独处时，静静地听着这11首爵士，你会感到无比地轻松，无任何压力，无任何牵累，似乎整个身心都悠悠地融化在这极惬意、极自由的情致里，会有丝丝暖意升自心底，然后发散到全身，此时，身外世界的任何喧嚣与骚动，都无法侵入你心灵的奇境，而且，这种奇境并不是虚妄荒诞的臆想世界，它处处充满着人情味，是你理性与感性的自然融合，是你自我精神境界的升华。这就是听《孤身孑影时听的爵士》之妙处。
It began with JAZZ FOR A RAINY AFTERNOON, issued over a year ago. Beneath its beautiful cover was a splendid anthology, its gentle, slightly bitter tunes evoking rain and the emotions coming with it. It was a calculated attempt to sell “mood music”, maybe the first in jazz since the now-defunct Moodsville label. And it worked. Two more discs came out (same design, same general format), and all three made Top 15 on Billboard’s jazz chart. This is the latest, and it does more than continue the series. It improves it.
You know you have a keeper when you hear the opening track. A grainy sax starts slowly, and plays a few notes before you realize it’s “Blue Velvet”. The tone is aggressive but wistful, sounding a bit like Gene Ammons or Coleman Hawkins on a ballad date. But no – this is Willis “Gator Tail” Jackson, screamer extraordinaire. Gentle chords come from Mickey Tucker’s piano, with a Red Garland lushness – perfect in this context. As the song progresses and Jackson gets warmer and warmer, we hear full, pretty chords from Pat Martino; his own solo is clean and touched with echo. It’s gentle without being wimpy, and it makes you feel good. It’s a perfect way to open this album.
After the Garlandesque touches of “Blue Velvet”, we get Red himself, from a 1978 session. “The Second Time Around” IS the Red Garland ballad, in all its classic features: the forceful brushes, the dainty scattering of notes, and of course the block chords. It’s a great formula that bears repeating.
Things get a little more forceful when Houston Person shows up. His tenor is plenty warm as he slowly tells us “Everything Happens to Me.” Stan Hope’s piano carries on the Garland sound, and Cecil Bridgewater offers a soft muted trumpet, without the harsh sound this often brings. When Person returns he comes in with force; it’s a sound like Ammons’ with more
energy. It’s a welcome sound, and it fits right in.
And now a surprise. Slow cymbals, a big fat bass, and pensive piano explorations. It sounds like Bill Evans until the tremolos start, building strength off the sad chords and the rolling cymbals. It’s Les McCann (from a recently-issued live date), but that ain’t the surprise. Two minutes into it, I looked at the box to see what it was. “Sunny”? It took another minute before I recognized; the theme isn’t fully stated but the chords are there in all their glory. Pop music, nothing – this is pure jazz, of an extra-bluesy variety. It’s ten minutes long, and it’s too short.
The mood set by “Blue Velvet” is carefully maintained throughout the disc; of this series, only RAINY AFTERNOON is programmed as well. Pains are taken to maintain the feeling; Larry Coryell’s “’Round Midnight” gets spacey in its last four minutes, which are not heard here. It’s a skillful edit, giving no evidence of the missing music. I would have liked a note calling this an edited version, but that’s a minor quibble. The edit keeps the mood intact, and that’s important.
Sonny Stitt’s “Sweet and Lovely” gets a big boost from Stanley Cowell’s great piano, and Sonny himself is always welcome. His solo flurries like mad, with an intensity hotter than anything we’ve heard so far. You’d think his energy would be out of place here, but it works well, and Sonny’s sweet tone is extra icing.
A slow trumpet greets us as Wallace Roney weighs in with “Lost”. The horn is open, but it sounds a lot like a Miles Davis ballad. Jacky Terrasson gives us some Garland chords, a common trait on many of these tracks.
Vincent Herring gives us the taste of another alto, in “Stars Fell on Alabama.” It’s gritty, and not as ringing as the Stitt track, but it has its own charm, pushing the number along with its low-tempo surge. Herring also gets lyrical on the closing theme, with an especially warm tag at the end. It’s followed by a muted Donald Byrd, exploring the trumpet ballad much as Roney did. When Joe Henderson comes in, he does so very pure, even like a clarinet in spots. Henderson gets the solo, and he really soars with it. As Byrd is heard only on the theme, it’s really a sax track, but the mute rules the roost when it’s heard.
Near the end we get probably the loneliest sound on the whole album. Phil Woods states “The Summer Knows” with a quavering solitude, the back starting low and gaining strength throughout. As Jaki Byard asserts his presence, Woods gets more aggressive, in a rapid-fire line even more intense than Stitt’s was. He returns to the theme, and the loneliness returns.
The final track offers a lyrical Pat Martino, from an excellent duo session with Gil Goldstein. The electric piano chords softly as Pat plays his cascading lines. The notes are sharp and they dance moodily as the chords to “You Don’t Know What Love Is” ring on behind him. It’s soft, bitter, and sweet, just like the song, and it’s a fitting end.
This is probably my favorite of the series so far. It’s full of shuffling drums, lush pianos, and reflective horns. If you like this sort of thing, I cannot think of a better place to get it.
By John Barrett Jr.
引用
开始曲《蓝色天鹅绒》（“BLUE VELVET”）由次中音萨克斯手威利斯·杰克逊（WILLIS JACKSON）和吉他手派特·马蒂诺（PAT MARTINO）担纲主奏。威利斯的萨克管沉沉进入，先声夺人，对颤音的处理有点象“次中音之王”班·威伯斯特（BEN WEBESTER），重重迭迭，连绵不绝。派特的吉他音色沉郁暗哑但有鲜明的箱琴质感，中速平和。钢琴手米奇·塔克（MICKEY TUCKER）的演奏也可圈可点，触键干脆爽利如珠落玉盘，音色明亮，泛音优美。贝司手鲍勃·克兰肖（BOB CRANSHAW）演奏的是一把FENDER电贝司，发出的低音不以慑人力度见长，却以和谐适中取胜。值得注意的是此曲的演录阵容中包括了3位打击乐手，即架子鼓手弗雷迪·威茨（FREDDIE WAITS）、康加（CONGA）鼓手理查德·兰德拉姆（RICHARD LANDRUM）和打击乐手桑尼·摩根（SONNY MORGAN），切分丰富，音色多样。虽然全曲长达8分钟，但意境悠远，令人听来兴味不减。
唱片中同样以次中音萨克管主奏的曲子是休斯顿·帕森担纲的《什么事都让我碰上》（“EVERYTHING HAPPENS TO ME”）。休斯顿吹出的音色比威利斯吹的要明亮温暖，而且更讲究力度。小号在此曲中有一段长达1分多钟的中速SOLO，很是吃重，演奏者是中年小号名家塞西尔·布里奇沃特（CECIL BRIDGEWATER）。塞西尔是当今声名如日中天的爵士女歌手迪·迪·布里奇沃特（DEE DEE BRIDGEWATER）的前夫，当年迪·迪刚出道时，他就已成名多年了。此次他吹的是一支加了弱音器的小号，声线纤细高扬，音色“金光灿灿”，美不胜收，抒情至极，展现了他不凡的功底。
另外，以萨克管主奏的乐曲还有3首。《甜蜜蜜》（“SWEET AND LOVELY”）是已故萨克管大师桑尼·斯蒂特（SONNY STITT）的遗作，他吹奏的是高音萨克管，向以快速独奏见称的他，此番并非一味地“狂飙突进”，而是热情与矜持互见，宛如一位羞于言情而又为情所动的翩翩绅士。《星星坠落在阿拉巴马》（“STARS FELL ON ALABAMA”）和《夏日知晓》（“THE SUMMER KNOWS”）分别由文森特·赫林（VINCENT HERRING）和菲尔·伍兹（PHIL WOODS）主奏中高音萨克管，都以钢琴、贝司和鼓伴和，前者根据美国乡村名曲改编，而后者则由法国著名电影配乐大师米歇尔·利格兰（MICHEL LEGRAND）谱写，菲尔以中高音萨克管吹出了如小号一般的音色，煞是抢耳！
吉他手派特·马蒂诺与钢琴手吉尔·高德斯坦（GIL GOLDSTEIN）两人合作演奏的作品《你不懂情为何物》（“YOU DON’T KNOW WHAT LOVE IS”）也收入了这张唱片。派特操一把箱琴木吉他，而吉尔则用一架电钢琴，编配简单，但情调却做到十足。吉他弹拨捻拢，意到手到；电钢琴颤音处理相当到位，恰如其分地丰富了音色。也许我们可以把它看作一支爵士吉他奏鸣曲，单就其简练清雅、技艺精湛而言，此曲已称得上是当之无愧的爵士“上品”。
《午夜梦迴》（“ ’ROUND MIDNIGHT”）这首爵士乐作品经典中的经典，自从在爵士钢琴大师、作曲家塞洛尼斯·孟克（THELONIOUS MONK）笔下诞生后，不知曾被多少著名的歌手和乐手演绎过，留下的录音版本中称得上“经典”的都可说是数以十计。本片中收入的是老牌爵士吉他手拉里·科里尔（LARRY CORYELL）主奏的版本，拉里以他精熟的技巧和独特的悟性奏出了夏夜花园一般清朗空明的感觉，这种感觉是其他任何爵士音乐家几乎都不曾尝试过的。
以钢琴主奏的曲子唱片中收入了两首，分别是雷德·加兰（RED GARLAND）的《二度巡回》（“THE SECOND TIME AROUND”）和里斯·麦克坎恩（LES MCCANN）的《阳光明媚》（“SUNNY”）。《二度巡回》属于典型的钢琴情调小品，而《阳光明媚》则长达9分多钟，俨然是一支爵士钢琴协奏曲，钢琴弹得很旋律化，引人入胜。
华莱士·郎尼（WALLACE RONEY）的一曲《迷失》（“LOST”）以小号主奏，但钢琴的音色似乎比小号的录得更加自然真切，有伸手可及之感。《那就是爱的所有意义》（“THAT’S ALL THERE IS TO LOVE”）由唐纳德·伯德（DONALD BYRD）以加弱音器的夫吕号主奏，音调激越，声声细如抽丝，引人注目的是曲中的次中音萨克管由萨克管大师乔·亨德森（JOE HENDERSON）演奏，这样，夫吕号与萨克管或默契合奏，或即兴独奏，真令人余兴犹酣。
http://blog.guitarsz.cn/?uid-10-action-viewspace-itemid-457
