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John Abercrombie, Badi Assad, Larry Coryell -《Three Guitars》(吉他三皇)[SACD 24bit/96KHz][FLAC]

  • 状态: 精华资源
  • 摘要:
    音乐风格爵士
    发行时间2003年07月22日
    地区美国
  • 时间: 2011/05/26 16:04:07 发布 | 2011/05/27 13:53:49 更新
  • 分类: 音乐  欧美音乐 

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专辑英文名Three Guitars
专辑中文名吉他三皇
音乐风格爵士
资源格式FLAC
版本[SACD 24bit/96KHz]
发行时间2003年07月22日
地区美国
简介

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专辑介绍:

不让「艾尔迪.梅尔拉」专美於前,吉他乐教父—「赖瑞.柯瑞尔」改写吉他三重奏的历史。八○年代之初,「艾尔迪.梅尔拉」(Al Di Meola木吉他)曾召集「约翰.麦克劳夫伦」(John McLaughlin融合爵士吉他大师)、「帕可迪.鲁奇亚」 (Paco De Lucia佛朗明哥吉他好手)一起进行轰动一时的吉他三重奏巡迴演出。20年后,艾尔的前辈,融合爵士乐界独领风骚的吉他之神—「赖瑞.柯瑞尔」也连袂了巴西吉他女皇—「贝姬.阿萨德」及ECM厂牌台柱(7-80年代融合爵士吉他的代表人物) —「约翰.亚伯克伦比」一起来改写吉他音乐史。

  膾炙人口的这张专辑,由三个人分别贡献出自己精心创作的曲目,三把吉他象徵了三人迥异乐风的折衷及独门手法表现的揉融,各具原创性特色的三人,共冶一炉火纯青的经典。三位吉他好手第一次破天荒的合作,在纽约圣彼得大教堂的自然空间迴盪下,我们听到巴西的甘甜醇美融入在古典的矜持严谨之中,爵士的浪漫多变妆扮著民谣摇滚及蓝调等多样的调味晶露,在Chesky一贯坚持的优质录音下,记录了一场爆裂火光四射、灿烂如花似锦的「弦人交战」音乐盛会!三位吉它高手只靠著三把空心吉它,加上Chesky独门的96K/24Bit极品录音,就能令您有如现场观眾般 「如痴如醉」的听觉享受。想被他们精湛的吉它演奏技巧给震慑住吗? 吉它也能这样弹啊…? 真是太神了!

【录音鑑赏】
   为满足您最佳的听觉享受,提醒您,本专辑录制时,赖瑞(Grime Acoustic Guitar)位於左侧,约翰(Gruen Acoustic Guitar)位於右侧,贝姬(Fisher Nylon String Classical Guitar)位於中间。如果您的音响配备够顶级,您的耳朵也够利,您将可以听到录音现场暖气机发出的极细微的酣呼热气声,如果您真的听见了,恭喜您,您是顶级的发烧友喔!

John Abercrombie is the consummate guitarist's guitarist. His recordings -- stretching over a prolific 30-year career -- have explored every fruitful vein of modern jazz guitar playing, from swinging straightahead post-Jim Hall standards work, to swinging organ soul-funk trios, to hushed multilayered ECM acoustic, to free jazz and beyond, all stamped with Abercrombie's inimitable melodic sensibility. In the liner notes for this amazing album, fellow guitarist Larry Coryell describes Abercrombie as "cliche-free." It's an apt comment. On this record, Abercrombie teams up with a young Brazilian guitarist/flautist/vocalist named Badi Assad and Coryell himself, who made his name playing on archetypal early fusion albums in the '70s, and went on to play more straightahead fare in later years, with an unmistakable stinging attack and verve for gutsy lines.

On this record, the three musicians play all acoustic music in a profoundly intimate setting, recorded in a church in NYC's Chelsea district. For Abercrombie, this is a particularly welcome return. In the liner notes for the CD, Abercrombie confesses that he hasn't touched his acoustic guitar in three years, which is a damn shame. "Characters," his first solo album on ECM, contained exquisite acoustic playing of nearly Bach-like subtlety and stateliness; his two recordings with master guitarist Ralph Towner (the second, "Five Years Later," is sadly out of print) were intimate duets that equalled the telepathic majesty of Jim Hall and Bill Evans' masterpiece, "Undercurrent." In recent years, alas, Abercrombie has increasingly relied on effects-laden electric playing that sounds pinched and gimmicky compared to his earlier work. Hearing his distinctive acoustic playing here is like greeting a much-loved old friend after years' absence.

Assad's presence gives this session an overall Brazilian flavor. On a couple of tracks, she adds Flora Purim-style vocalizations that do not detract from the quiet loveliness of the tracks. Abercrombie brings a few of his best compositions to the session, from the recent "Descending Grace" to two from his debut album as a leader, "Timeless" and "Ralph's Piano Waltz." "Timeless" is simply one of the most beautiful jazz melodies ever written, as primordial as an Indian raga and full of wise sadness and meditative calm. Abercrombie has only recorded the tune a handful of times, so its reappearance here is a major event. (Towner's group Oregon's cover of it on their album "Friends" was one of the high points of their own 30-year career.) Abercrombie adds a folksy quality to its introduction on this album, and when Assad comes in on kalimba, the music approaches the glistening loveliness of Coryell's own early album with the Oregon crew, "The Restful Mind." Fans of that record, and of Abercrombie's work with Towner, should pick up this album right away. For those new to Abercrombie's work, this album provides a fine introduction to his more introspective side, while Coryell is in fine, vital and tasteful form throughout.

Altogether, this is one of the most beautiful acoustic guitar albums in years. A classic recording.

引用
这张唱片其实我还没有,倒是在印尼这边的 DVD 影片专卖店,找到了这个现场演奏会的影片。我原本也不认识 Badi Assad 这位女吉他手,后来才查了一下资料才晓得她是巴西人(很奇怪她怎麽会有一个阿拉伯名字?是伊斯兰教徒吗?)

三个吉他手的现场演奏本来就很少,从前一个比较出名的团体就是 John McLaughlin, Paco De Lucia, Al Di Meola 的三人演奏,走的是有点拉丁情调、西班牙弗朗明哥式的激情震荡。这个团体则穿插一些巴西 Bossa Nova 的趣味在裏头,而两位老成持重的男吉他手,似乎在气氛的铺陈上煞费苦心,流露出来的音符的确不同凡响,和絃的配置完全不同于我们所熟悉的任何的形式,令人有一种耳目一新的感觉。

John Abercrombie 是不用眼睛的好吉他手

John Abercrombie 是比较阴鬱的,我从前看过他的现场演奏,大部分的时间他的眼睛总是闭著的,只有在曲子和曲子之间的停顿他才睁开眼,看看观众的反应或者检查一下琴谱的次序。他弹吉他的时候分明就是在一种沉思的状态,似乎也从不考虑曲子进行结构和动力,只有在当下的乐音纔是他所关心的。不明理的人看到他演奏,或许会以为他又是另一名有视觉障碍的音乐家。

Badi Assad 的吉他弹得没有另外两位来得鬼斧神工,但是她在这里还担任 vocal 和敲击乐器的角色。我初被她的口技发出的声响惊讶不已,可能我从前也不太去注意这样的声响到底是怎麽发出的,这真的是让我大开眼界。拍手、拍两颊、拍喉咙的侧边,再加上鼻腔和头部的共鸣声响,竟然可以由一张嘴巴同时发出三个声音,即便不是喜欢音乐的人,看到这样的表演也会瞪得瞠目结舌了。

这张的音乐性很好,虽然我对三支吉他的组合不是很喜欢。三支吉他常常有和声过於饱满变得旋律綫曖昧模糊的情形,而且这时候观众多在看吉他彼此互相竞技的热闹场面,反而音乐美好的协调、平衡被忽略了。聼几首曲子还好,但是超过一个鐘头的三支吉他演奏,最后总是会有些不耐烦和印象鬆散了。当然这张唱片尽可能去避免这样的不舒服产生,仍旧是一张好听的唱片。
http://tw.myblog.yahoo.com/jameskuo1/artic...=f&fid=5


再试试发烧片吧!我以「Three Guitar」测试701F对於细节、音场定位及音色的刻画能力。这张「Three Guitar」是Chesky的发烧录音,由三位吉他名家分别以民谣与古典琴一齐演奏,透过701F的精準性格,琴音不仅真实,音像与轮廓更呈现出非常具像的实体感,彷彿Larry Coryell、Badi Assad与John Abercrombie一字排开坐在我面前(而且还是高脚椅),专注地弹出一颗颗扎实、质量兼具的饱满音粒,而且不论是极细微的指法变化、强奏的澎湃力度、三人相互应答的热烈氛围,还是尼龙弦的珠圆玉润、钢弦的清脆透明,丰富的音乐表现让我不禁情绪高亢,欣喜不已。
http://review.u-audio.com.tw/reviewdetail.asp?reviewid=65


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专辑曲目

01. Seu Jorge E Dona Ica
02. New Lute (Prelude)
03. New Lute (Interlude)
04. Soundtrack
05. After the Rain
06. Descending Grace
07. Metamorphosis
08. No Flight Tonight
09. Ralph's Piano Waltz
10. Suspended Circles
11. Exercise in Fourths
12. Autumn Breeze
13. Timeless

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