专辑英文名: My Foolish Heart
歌手: Renato Sellani Trio
音乐风格: 爵士
资源格式: FLAC
发行时间: 2008年
地区: 日本
语言: 日语
简介:
出品厂牌：Venus Records (Japan)
唱片编号：VHCD 1001
音乐风格：Jazz
专辑介绍：
八十二岁老将精纯灿烂的演奏，詮释风行美国的爵士经典歌曲，保留原曲风貌，展现即兴的最高境界，爵士权威杂誌Swing Journal金唱片推荐。
已经八十二岁高龄的钢琴老将雷纳托·塞拉尼是义大利爵士乐坛最重要的钢琴家之一。他的钢琴绝技是无师自通，不仅演奏精湛，还有绝对音感。有著这样的天份，雷纳托年轻时就与欧洲最重要的爵士吉他手法兰可却里共同合作，也曾与查特贝克、比莉哈乐黛、莎拉沃恩、菲尔伍兹等爵士传奇人物同台演出，但是低调的个性让他一直很少推出个人专辑。在Venus制作人原哲夫的力邀下，雷纳托·塞拉尼领军的三重奏决定在Venus留下成军二十五週年的纪念专辑。原哲夫原本计画让雷纳托塞拉尼三重奏灌录一张美国经典歌曲集与一张义大利经典作品集，但是由於雷纳托·塞拉尼演奏了在美国也非常知名的拉丁名曲「Besame Mucho」与法国香颂「Autumn Leaves」，因此此张专辑变成了「美国流行的爵士经典歌曲集」。也还好有这两曲的润饰，让这张专辑听起来更充满了热情的趣味性。至於其他的歌曲，当然是美国经典歌曲的大全，盖西文、柯尔波特、理查罗杰斯、维克多杨等人的经典名作皆在其中，是每位爵士乐迷们一定都能朗朗上口的歌曲集。
八十岁的老先生演奏钢琴能够展现出爵士乐曲的鲜活吗？当你听到「Besame Mucho」前奏时，相信你一定不敢相信这样精纯鏗鏘的钢琴声音是出自一位老人之手！雷纳托·塞拉尼的演奏不但精準快速，而且琴音饱满有力，搭配鼓手马西摩曼济与贝斯手玛西摩莫里康尼默契十足的热力演奏，让这拉丁名曲展现出摇滚乐般的强劲节奏感！在曲子后半由钢琴、贝斯、鼓三者轮流独奏，听完真是让人血脉賁张，感觉毫无冷场！光听这个演奏，这张专辑就已经值回票价。
雷纳托·塞拉尼的演奏不仅具有快速炫技的成份，更难得的是，他的炫技演奏中却能让你清楚的听到歌曲的原味，而不会花俏到将歌曲原本优美的旋律拆解殆尽。而他常在歌曲中神来之笔的以单音演奏，简单的几个优美音符就让人深得歌曲精髓。而他对於钢琴音色的掌控更是神奇，琴音轻重缓急对比分明，营造出特别光泽灿烂的音色，不愧是一代名家。
Venus Records介绍：
Venus Records是一家来自日本的爵士唱片公司，标榜“赋予爵士新生活方式”，出版的唱片屡获日本权威爵士杂志Swing Journal金唱片大赏，而且在国内外都获得了不起的商业成功。不同于本土性的日本唱片公司，Venus Records旗下的艺人多为美国实力派爵士乐手，兼容各种风格流派，并且多半是请乐手在美国完成演出和录音。这种做法使得之前诸如Denon、JVC、TBM等日本爵士乐唱片公司发行的唱片常被批评为和风较浓、国际视野不足等问题都迎刃而解。再者，Venus Records非常重视录音质量，专辑都是在美国顶尖录音室如纽约著名的Avatar Studio与The Studio进行录制，之后在东京的录音室中将母带经过24比特“Hyper Magnum Sound”方式重新混音，获得更干净的背景与精致富动态的音质。
Venus Records的制作人原哲夫先生称：“Venus Records的爵士乐希望能够带给乐迷们如同坐在Jazz Club第一排中间座位听音乐那样的感动。因此，请大家在自己心爱的音响系统中聆听Venus唱片，重现舞台的原貌。相信一定可以享受到真正的Acoustic Jazz Sound！”
Venus Records推出限量生产的经典录音24K纯金版CD，虽然售价高昂，不过就质论价却称得上物有所值。Venus Records让老录音重新绽发光芒的杰出技术，让人为之叹服。
这款《我愚蠢的心》就是Venus Records限量24K纯金版CD系列其中之一，由爵士钢琴演奏家雷纳托·塞拉尼（Renato Sellani）演出灌录。
Renato Sellani does not have to play the piano to charm you. At the Umbria Jazz Festival in Perugia in July of this year, he could be seen walking his small dog Briciola through the crowded piazzas. At 82, he walks carefully, with a slight stoop. They were an endearing pair: Sellani impeccable in striped blazer and jeans and Nikes, Briciola toddling at the end of her leash. The cigarette hanging from Sellani's mouth completed the package.
Sellani (who, in an interview with an American journalist, segues randomly between Italian and halting English) describes Briciola as "un cane molto originale." He has had her 14 years. ("She is ancient, like me.") Briciola likes music. She will often sit beside the piano and listen to Sellani practice.
Sellani will charm you for sure when he plays the piano. He played twice each day at the Umbria Festival, for lunch at the Bottega del Vino and for dinner at the Hotel Brufani. Reservations were always essential. One day at the Bottega he announced that he had had a dream the night before in which George Gershwin asked him to play his music. When Sellani sits down at the piano and plays "Lady Be Good," "Summertime" and "Love Walked In," he presides over the keyboard with casual strength and plays with natural grace. His versions sound definitive. His lush, passionate embellishments come only after he has lovingly, piercingly outlined each melody. Those melodies sound like they are part of how he thinks. He has been playing them for at least 60 years.
He has been called the Hank Jones of Italy. The two share eternal youth and innate sweetness, both personal and musical. Another comparison is Tommy Flanagan because Sellani's taste is unerring and he has always been in high demand as an accompanist for singers. For many years he worked with Mina, the most important female pop vocalist in Italy in the '60s. He has also accompanied American singers from Ginger Rogers to Sarah Vaughan and Helen Merrill. (When Sellani relates a story of how Ginger Rogers insisted on dancing with him because he looks like Fred Astaire, you realize she was right.)
Sellani does not read music. His history is unusual (especially for an Italian jazz musician) because he started late. He was born in Senigallia, in the Marche region. He went to Rome to study political science at the University. His mother had been an opera soprano but he had never played music until he got hooked on jazz in the nightclubs of Rome. He says that he "went to listen every night" and began teaching himself piano at the home of a friend who owned an instrument. It was a few years after the end of World War II. Italy was emerging from the fascist era and even though there were not nearly so many good Italian jazz musicians as now, in one respect the scene was more vital: jazz and night life were more connected. There were many more places for musicians to play. Sellani must have been a natural, because soon he was playing in those nightclubs himself and by 1958 he was good enough to be Chet Baker's first pianist in Italy.
The fact that Sellani is one of the most complete, most romantically seductive interpreters of standards in all of jazz is criminally underappreciated outside Italy. The good news is that he has recorded prolifically for Paolo Piangiarelli's Italian label Philology, titles available in the United States. Sellani has recorded over 40 albums for Philology, in solo and trio settings and also in small ensembles with a large cross-section of Italy's most important jazz instrumentalists and singers. Much of the Great American Songbook is memorably covered, as well as Italian popular songs and Sellani originals. His walking speed may have diminished, but his creativity has not. Remarkably Sellani has just released one of his strongest, most indispensable albums. It is called Puccini and contains luminous, poetic jazz piano interpretations of that composer's arias.
Sellani has become a fixture of Umbria Jazz festivals; it has become as impossible to imagine one without him as one without crowded piazzas and flowing vino rosso. Over this New Year, Sellani will play the Umbria Jazz Winter Festival #16 in Orvieto every night, "'Round Midnight" at the Ristorante al San Francesco, appearing with his trio and the great Italian tenor saxophonist Gianni Basso.
By the way, if you ever encounter Sellani and Briciola on one of their walks, be forewarned. Cute as they both are, only one of them is friendly. Even though Sellani will assure Briciola that you are "un amico," she will probably try to bite you. It is worth the risk, in order to meet and shake hands with the artist Italians call "il maestro".
Artists:
Renato Sellani – piano
Massimo Moriconi – bass
Massimo Manzi - drums
Date of Recording: July 19 , 2007 (The House Recording Studio , Rome)
Mixed and Mastered by 24bit Venus Hyper Magnum Sound
