专辑英文名: Jasmine
专辑中文名: 茉莉
歌手: Keit Jarrett & Charlie Haden
音乐风格: 爵士
资源格式: MP3
发行时间: 2010年05月07日
地区: 德国
语言: 英语
简介:
发行厂牌：ECM
专辑目录：ECM 2165
专辑类型：Jazz
压缩比率：CBR 320kbps / 44.1kHz / Joint-Stereo
专辑介绍
《茉莉》（Jasmine）是Keith Jarrett和伟大的贝司手Charlie Haden再度联手合作的最新作品，它标志着三十多年来Keith Jarrett和他曾经的标准三重奏之间又开始了首次录音合作，70年中期前他们一直是紧密合作的搭档。亲密、自然和温暖，这张表现爱情的歌曲专辑在Jarrett的家里录制，以他们的自然、率直，说明了他们的亲密关系。《茉莉》专辑里的节目包含非常经典的歌曲如"Body and Soul", "For All We Know" , "Where Can I Go Without You", "Don't Ever Leave Me"等，还覆盖了一首现代的流行歌曲“One Day I'll Fly Away”，这对于Keith Jarrett来说很少见。Jarrett和Haden弹奏音乐非常忘情和投入，除了音乐其他毫无干扰——也只有他们俩能做到这样！
本专辑将由ECM厂牌隆重发行！（德国：2010年5月7日；全球：2010年5月20日）（@GoldenEye编译&国内首发）
Album Intro
引用
Jasmine marks Keith Jarrett's first recorded collaboration in decades other than with his standards trio, and reunites him with the great bassist Charlie Haden, a close partner until the mid-seventies. Intimate, spontaneous and warm, this album of love songs recorded at Jarrett's home, has affinities, in its unaffected directness, with his solo collection The Melody At Night With You. These deeply felt performances should inspire any listener "to call your wife or husband or lover in late at night," The program on Jasmine includes such classic songs as "Body and Soul", "For All We Know" , "Where Can I Go Without You", "Don't Ever Leave Me" as well as a rare Jarrett cover of a contemporary pop song, "One Day I'll Fly Away". Jarrett and Haden play the music and nothing but the music - as only they can. As Keith Jarrett says in his liner notes: "This is spontaneous music made on the spot without any preparation save our dedication throughout our lives that we won't accept a substitute... These are great love songs played by players who are trying, mostly, to keep the message intact."
From the Artist
引用
Music is an amazing thing. It doesn't exist as a stationary object. It moves in real time and can be uplifting both to the player and the listener. The melting, trans-figurative moment, that feeling of everything being there, just for an instant, that surrender that overcomes us as players (if we're good enough) and leads us on to the next pregnant second, patient in the knowledge that there always is, waiting in the wings, the next chance to feel this fullness and celebrate it (as it is only in the nature of art to produce it this way); to this we dedicate our lives. But it is not for us alone; it is also made for you, the listener, to feel these same feelings along with us, to participate and to also be uplifted by it. Art is dying in this world, and so is listening, as the world becomes more full of toys and special effects. With this death will come the undoing of many possible feelings: beautiful, tender, deep, trusting, true, sad, full of internal meaning and color. Closeness won't have to necessarily be physical. Intimacy will be hard to find. Communication will be lost. Here is some music for you. Take it and it's yours. Charlie and I are obsessed with beauty. An ecstatic moment in music is worth the lifetime of mastery that goes into it, because it can be shared.
This recording was done in my small studio. It has very dry sound and we didn't want to have the recording sound like anything but exactly what we were hearing while we played. So it is direct and straightforward. I chose to use the American Steinway that really isn't at all in the best of shape, yet I have this strange connection with it, and it is better for a kind of informality and slight funkiness that was going to work with the music. With a choice of songs this good, it was hard not to become engaged right away. We did not rehearse per se, but went over chords when necessary. This was really a session that came as a result of doing an interview for a film about Charlie, after which we played a couple tunes. We had not played in over thirty years, but something magical happened and I then invited Charlie and his wife to the house to do some playing for a few days with no assurance that we'd have anything (including sound) that we'd want to release. Over close to three years we lived with these tapes, talked a lot about them, disputed over choices, but eventually I found Charlie to be the most remarkable and sensitive helper in getting this finally assembled. I wanted only the distilled essence of what we had, and it took some time to wean ourselves from going for hip solos or unevenly played tunes (even though they had wonderful things inside them). Some were too long; others were somehow out of character. Charlie and I listened to this many many times (mostly late at night) and became aware that there were some that just had more magic, more moments of surrender to the mood while retaining their essential integrity. This is what I was looking for; and then I had the unenviable job of finding the right order. After I thought I found it, Charlie called me and said, "How did you figure that out?" I think I said that none of the rational ideas of how to order things made sense, so I went into "not thinking" mode and came up with (dare I say it?) the only perfect order of these great versions.
I hope many of you can hear this on a good system. There are nuances abounding and the details make the music what it is. Jasmine is a night-blooming flower with a beautiful fragrance and I hope you can hear what went into this, as there is no way to do anything as touching as this by rehearsing it until it dies. This is spontaneous music made on the spot without any preparation save our dedication throughout our lives that we won't accept a substitute: it's either the real thing or it's nothing. It's either real life or it's a cartoon.
Call your wife or husband or lover in late at night and sit down and listen. These are great love songs played by players who are trying, mostly, to keep the message intact. I hope you can hear it the way we did.
Keith Jarrett简介
引用
在爵士音乐史上，很少有乐手具有象钢琴演奏家Keith Jarrett那样的才华。也许，许多Keith Jarrett乐迷都是在最初接触到他的音乐时就被其中的多样性所吸引，对他们来说，Jarrett的音乐打开了一扇门，门内是一片崭新的爵士乐天地，同时也是Keith Jarrett的内心世界。
一般而言，黑人爵士乐手在演奏时会更注重感官上的刺激，以达到情感宣泄的目的，他们所缺乏的是一种更为具象的思考；白人爵士乐手虽然注重了理性，但从本源上讲，爵士乐是一种黑人音乐，白人的情感较难触及其泥土中的根。尽管Keith Jarrett是白人，但他在演奏时嘴里总爱下意识地哼着旋律。这一点很象许多黑人爵士乐手，也许，Jarrett天生就是演奏爵士乐的人，他在情感与理智间寻找到了一个很好的平衡。
Keith Jarrett于1945年5月8日出生在美国宾夕法尼亚州的艾伦镇(Allentown)。他的父母很早就发现了他的音乐天赋，于是，在Jarrett仅3岁时，他们便请人向他传授钢琴，不久后，Jarrett开始尝试作曲。他6岁时举行了首场个人音乐会。音乐会结束时，Jarrett还演奏了两首自己创作的曲子。
Keith Jarrett从小所受的是正统的古典音乐教育，而对爵士乐产生兴趣是在10岁以后。最初，他是Stan Kenton开设的爵士课程中最年幼的学员，之后，他跟随了Fred Waring的乐队四处巡演。60年代中期，Jarrett结束了波士顿“伯克利音乐学校”为期一年的学业前往纽约发展。一次在Village Vanguard的偶然演出中他被鼓手Art Blakey相中，并加入了Blakey的“New Jazz Messengers”(新爵士使者乐队)。不久，Keith Jarrett转入了萨克斯风手、自由爵士音乐家Charles Lloyd的四重奏。同时，Jarrett与Bill Evans的鼓手Paul Motian以及Ornette Coleman的贝司手Charlie Haden组成了“Keith Jarrett三重奏”。这样的组合绝非巧合，它反映了Bill Evans以及自由爵士乐对于Jarrett的影响。
Keith Jarrett很少演奏电钢琴，他曾坦言自己不喜欢电子化的音乐。但这并不妨碍Miles Davis邀请Jarrett加入他的乐队的诚意，在Miles Davis的几次盛情相邀之下，Keith Jarrett成为了Miles Davis的“Fusion”(融合爵士)团体的次席键盘手。在Miles Davis的专辑《菲尔摩音乐会》中，Jarrett协助Davis登上了Fusion的的巅峰。
~by Scott Yanow
One of the most significant pianists to emerge since the 1960s, Keith Jarrett maintained a career that went through several phases. He gained international fame for his solo concerts, which found him spontaneously improvising all of the music without any prior planning, but he also led a couple of dynamic quartets/quintets, performed classical music, and later played explorative versions of standards with his longtime trio. Although his tendency to sing along with his piano now and then is distracting, Jarrett continued to grow as a powerful improviser after decades of important accomplishments.
Jarrett started on the piano when he was three, and by the time he was seven he had already played a recital. A child prodigy, Jarrett was a professional while still in grade school. In 1962, he studied at Berklee, and then started working in the Boston area with his trio. He moved to New York in 1965, and spent four months with Art Blakeys Jazz Messengers. As a member of the very popular Charles Lloyd Quartet (1966-1969), Jarrett traveled the world and became well-known; he also began doubling occasionally on soprano (which he would utilize through the 1970s). During 1969-1971, he was with Miles Davis fusion group, playing organ and electric keyboards; Chick Corea was also in the band for the first year. Jarrett can be heard battling Corea throughout Davis Live at the Fillmore, but is in more creative form on Live/Evil.
Upon leaving Miles Davis, Jarrett permanently swore off electric keyboards. He had cut sessions as a leader for Vortex (1967-1969) and Atlantic (1971), but starting in November 1971, he recorded extensively for ECM (in addition to some sessions in the 1970s for ABC/Impulse), an association that continued into the 2000s. In the 1970s, Jarrett led two groups: an exciting unit with Dewey Redman, Charlie Haden, Paul Motian, and occasional percussionists (often Guilherme Franco); and a European band with Jan Garbarek, Palle Danielsson, and Jon Christensen that recorded the popular My Song. In addition, starting in 1972 Jarrett began his famous series of improvised concerts that resulted in such popular recordings as Solo Concerts, Köln Concert, and the mammoth Sun Bear Concerts. By the 1980s, Jarrett was performing classical music as much as jazz, but in the 1990s he recorded extensively (including a six-CD live set) with his standards trio, which included Gary Peacock and Jack DeJohnette. Although initially influenced by Bill Evans, Jarrett has had an original and influential style of his own since the early 70s, and remains a vital force in jazz.
Charlie Haden简介
引用
在一个爵士乐团中，贝斯手的角色往往较不引人注目，因为我们总是容易记得像是萨克斯风、小号或钢琴这样旋律性出色的乐器，但或许你不知道，在爵士乐的历史上，有许多贝斯手都担任著乐团主导者的角色，正如今年（2008年）已71岁的Charlie Haden。
本名为Charles Edward Haden的Charlie Haden出生於1937年8月6日，故乡是美国爱荷华州的Shenandoah。Haden「出道」甚早，22个月大时，就在父母的乡村音乐广播节目上演唱，或许演出不算太成功，但过人的音乐天分自小展露无疑。20岁时Haden跑去洛杉磯，辉煌的音乐生涯就此展开。这时他参与伴奏的对象说出来还真吓死人，都是一些传奇性的爵士乐手，诸如Art Pepper、Hampton Hawes与Dexter Gordon等，从小就开始培养大师风范。
后来Haden去了纽约，又是一番全新的不凡遭遇。他在此时加入Ornette Coleman的自由爵士四重奏，团员还包括小号手Don Cherry与鼓手Billy Higgins，开始他的爵士先锋体验。另外，他也跟一些喜欢创新、冒险的爵士乐手合作，包括John Coltrane、Archie Shepp、Keith Jarrett等人，可都是「A咖中的A咖」。这样的机会对所有爵士乐手来说，都是千金难买的际遇，而能够与这么多重要的爵士大师合作，对Charlie Haden来说的确是个天赐的恩典，但更重要的是，Haden除了本身也是极具天赋的音乐家，他也崇尚创新与实验，至此之后，Haden也与「大师」划上等号，躋身爵士巨匠之林。
或许这就是Haden的演出风格，他一直没有长时间隶属某个乐团，而他后来的合作伙伴，就是一个个当今重要的爵士乐手，像是Hank Jones、Don Cherry、Dewey Redman、Paul Motian、Jack DeJohnette、Michael Brecker、Kenny Barron、Pat Metheny等，他悠游於各种乐风、各种组合之间，不断激发出音乐的创意火花，留下无数重要的作品。
Charlie Haden演奏生涯非常长，从1957年到现在，跨越50年，至今仍有作品推出。他不断地追求现代爵士音乐的界线，从不限制自己在哪一个领域。「我总是不断地在找寻乐手组合的可能性，」Charlie Haden说，「透过不同乐手的组合，又会变出新的魔法，而我的判断总是对的。我所做的就是演奏各式各样的曲子，用美妙的旋律或是和声架构来吸引不同的乐迷，让越来越多的人愿意欣赏这样的艺术形式。」，「我要大开爵士乐的视野，不让听眾受限，透过不同形式的音乐录音来接触从来不进音乐厅听现场演奏的人。」
~by Chris Kelsey
As a member of saxophonist Ornette Colemans early bands, bassist Charlie Haden became known as one of free jazzs founding fathers. Haden has never settled into any of jazzs many stylistic niches, however. Certainly hes played his share of dissonant music — in the 60 and 70s, as a sideman with Coleman and Keith Jarrett, and as a leader of the Liberation Music Orchestra, for instance — but for the most part, he seems drawn to consonance. Witness his trio with saxophonist Jan Garbarek and guitarist Egberto Gismonti, whose ECM album Silence epitomized a profoundly lyrical and harmonically simple aesthetic; or his duo with guitarist Pat Metheny, which has as much to do with American folk traditions as with jazz. Theres a soulful reserve to Hadens art. Never does he play two notes when one (or none) will do. Not a flashy player along the lines of a Scott LaFaro (who also played with Coleman), Hadens facility was limited, but his sound and intensity of expression were as deep as any jazz bassists. Rather than concentrate on speed and agility, Haden subtly explores his instruments timbral possibilities with a sure hand and sensitive ear. Hadens childhood was musical. His family was a self-contained country & western act along the lines of the more famous Carter Family, with whom they were friends. They played revival meetings and county fairs in the Midwest and in the late 30s, had their own radio show that was broadcast twice daily from a 50,000-watt station in Shenandoah, IA (Hadens birthplace). Haden debuted on the family program at the tender age of 22 months, after his mother noticed him humming along to her lullabies. The family moved to Springfield, MO, and began a show there. Haden sang with the family group until contracting polio at the age of 15. The disease weakened the nerves in his face and throat, thereby ending his singing career. In 1955, Haden played bass on a network television show produced in Springfield, hosted by the popular country singer, Red Foley. Haden moved to Los Angeles and by 1957 had begun playing jazz with pianists Elmo Hope and Hampton Hawes and saxophonist Art Pepper. Beginning in 1957, he began an extended engagement with pianist Paul Bley at the Hillcrest Club. It was around then that Haden heard Coleman play for the first time, when the saxophonist sat in with Gerry Mulligans band in another L.A. nightclub. Coleman was quickly dismissed from the bandstand, but Haden was impressed. They met and developed a friendship and musical partnership, which led to Coleman and trumpeter Don Cherry joining Bleys Hillcrest group in 1958. In 1959, Haden moved with Coleman to New York; that year, Colemans group with Haden, Cherry, and drummer Billy Higgins played a celebrated engagement at the Five Spot, and began recording a series of influential albums, including The Shape of Jazz to Come and Change of the Century. In addition to his work with Coleman, the 60s saw Haden play with pianist Denny Zeitlin, saxophonist Archie Shepp, and trombonist Roswell Rudd. He formed his own big band, the Liberation Music Orchestra, which championed leftist causes. The band made a celebrated album, Song for Ché, in 1969 for Impulse. In 1976, Haden joined with fellow Coleman alumni Cherry, Dewey Redman, and Ed Blackwell to form Old and New Dreams. Also that year, he recorded a series of duets with Hawes, Coleman, Shepp, and Cherry, which was released as The Golden Number (A&M). In 1982, the Liberation Music Orchestra re-formed The Ballad of the Fallen (ECM). Haden helped found a university level jazz education program at CalArts in the 80s. He continued to perform, both as a leader and sideman. In the 90s, his primary performing unit became the bop-oriented Quartet West, with tenor saxophonist Ernie Watts, pianist Alan Broadbent, and drummer Larance Marble. He would also reconstitute the Liberation Music Orchestra for occasional gigs. In 2000, Haden reunited with Coleman for a performance at the Bell Atlantic Jazz Festival in New York City.