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Oscar Peterson -《Girl Talk》(耳鬓絮语)[SACD-R]

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  • 摘要:
    音乐风格爵士
    发行时间2003年12月23日
    地区美国
    语言英语
  • 时间: 2012/05/14 12:54:15 发布 | 2012/05/14 17:38:59 更新
  • 分类: 音乐  欧美音乐 

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专辑英文名Girl Talk
专辑中文名耳鬓絮语
音乐风格爵士
版本[SACD-R]
发行时间2003年12月23日
地区美国
语言英语
简介

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专辑介绍:

Oscar Peterson 1925年生於加拿大Montreal,六岁开始学习钢琴,十四岁时就已担任当地电台节目的音乐班底,1949年他在美国卡内基音乐厅的初次登场,获得美国爵士乐爱好者的热烈迴响,也开始了他的录音生涯。他早期的钢琴作品受Nat King Cloe的啟发,后来则受现代爵士乐钢琴风格的影响,基本上他并不限於任一种演奏风格,在体裁方面,凡民谣,蓝调,放克或Bebop等等,他一律接纳,无论任何情形下,他所创造出的音符,总是生动和富变化,就像他擅长的和声变化,极具剌激性,非常的摇摆。他所有作品本质,始终依附在轻鬆且节拍灵活自由的摇摆乐上,虽然有时常充斥著反覆的乐节,或一再地弹著同一音符,却使得曲子更具节奏的张力,由旋律的观点而言,有时虽有点散乱,却无损音乐的完整性,流畅性,反而塑造出他的特殊风格,爵士乐界的钢琴手,表少有人能像他将现与传统爵士乐,作极精湛的结合,他可说是爵士乐界最佳的伴奏者之一。当代杰出的爵士人多曾经与他合作过,从Louis Armstrong, Ella Fitzgrald, Billie Holiday, 他早期与Ray Brown贝斯手组了二重奏,从来以Nat King Cole的规制,加入了吉他手形成著名的三重奏,1970年后,他的演奏规制,不固定二重奏或三重奏或独奏,他的合作对象也不固定,唯一不变的是他仍持续地灌录唱片,他仍活力十足地为爵士乐留下不析的资产,同时他也是爵士乐界灌录唱片最多的乐师之一。

在无数的黑人乐手中奥斯卡·彼得森可谓是一位爵士钢琴中的领袖级人物,他把爵士乐轻佻、迷幻的色彩通过手指与琴键的接触直接勾勒在我们面前,虽然很多音阶听上去那么不和谐,但正是这些不和谐的、跳跃的音符造就了他的音乐在酒吧中盛行的趋势。现今社会的中坚力量也正是那些懂得享受生活,希望尝试多元化的生活的时尚一族。

数十年来他在爵士钢琴领域中的地位始终屹立不摇,他的风格Swing也一直坚持著,不在乎Fusion, Free Jazz的新潮流,他并不落伍,但没有人能够说他的风格是不合时宜的,他多变的风格,无疑是整个爵士钢琴史的综合体,他在1984年被Down Beat杂誌列为爵士名人堂的唯一得主,同时从1950到现在,也几度被读者选为最佳钢琴手。与他合奏的对象除了二重奏,三重奏时期的固定班底外,也加铜管乐器和小提琴等等乐手,他的音乐时而高潮迭起,时而流畅自然,在在显示他技巧的成熟度以及乐手间的默契十足。他的音乐,可以说是一个自由的极至表现,听到他的音符,会令你感受到轻快却有秩序,你听到快速的音符却排列整齐地在他指下,你大可以轻鬆的心情,仔细聆听他音符的变化,你会发现听似杂乱无章的音乐其中居然是一篇自由即兴的旋律,要是你不懂Swing,由他的音乐就可以轻易入门,从他身上可以看出创作的精神及即兴演奏的美妙。就让他带给你最舒服,最无压力的一种感受吧。

他的钢琴作品并不限於任一种演奏风格,在体裁方面,对民谣,蓝调,放克或Bebop等等一律接纳;他所有的作品本质,始终依附在轻鬆且节拍灵活自由的摇摆乐上,虽然有时常充斥著反覆的乐节,或一再地弹著同一音符,却使得曲子更具节奏的张力,由旋律的观点而言,略有些散乱却无损音乐的完整性与流畅性的特点,反而塑造出他的特殊风格,他可以说是爵士乐界最佳的伴奏者之一。

Audio CD (April 27, 2004)
Number of Discs: 1
Format: Hybrid SACD - DSD, Live
Label: Verve
ASIN: B0000C435H

Exclusively For My Friends, Vol. II: Girl Talk [SACD Hybrid]

Oscar Peterson was a star in Canada, his homeland, before Norman Granz brought him to this country in 1949 for a surprise debut at Carnegie Hall. He had his own Canadian Broadcasting Corporation radio program when he was fourteen. By the age of twenty-four, he was famous throughout the country and well known to the American musicians who heard him at the Alberta Lounge near the Montreal train station. Jimmie Lunceford tried to hire him for his big band. Basie urged him to move to the US. After the Carnegie Hall concert, Peterson went back to Canada, but in 1950 he joined the touring Jazz at the Philharmonic ensemble. He also formed a duo with Brown.

When Peterson decided to expand beyond the duo, he first used a drummer, but soon decided to model his trio on Cole’s. His first guitarist was Irving Ashby, a veteran of Cole’s group. In 1951, Barney Kessel agreed to sign on for a year and proved himself more than capable of meeting Peterson’s and Brown’s rhythmic challenges.

Kessel’s replacement in 1953 was another Southwesterner who was, like Kessel, under the spell of Charlie Christian and also loved Freddie Green, Basie’s rhythm guitarist. With Herb Ellis in the guitar chair for five years, Peterson’s group became the most celebrated trio in jazz. Their concert recordings are some of the most exciting music ever captured on record. All of the members of the trio have said that they were at their apogee at the Stratford, Ontario Shakespeare festival in August 1956.

As far as Peterson was concerned, Ellis was irreplaceable. When he left, Peterson did not consider bringing in another guitarist. Instead, Ed Thigpen joined the trio on drums in 1958 and stayed until 1965. Thigpen’s work is studied by drummers around the world, particularly for his incomparable use of wire brushes. The Peterson trio with Brown and Thigpen achieved its own personality and its own brand of swing. All Peterson’s recordings of the Thigpen era were based on the trio, whether they included a big band, or a guest. The London House sessions are to this trio what the Stratford concert was to the group with Ellis.

Following his years with Verve, Peterson has led other trios and achieved other triumphs, but many listeners believe that from 1950 to 1965 he had his finest hours.

Doug Ramsey

Excerpted from Oscar Peterson’s Finest Hour

引用
April 6, 2005
来自德国黑森林的甘泉:谈Oscar Peterson在MPS的录音以文找文
一九四九年九月十八日,小号手Roy Eldridge一如往常地提早抵达空空荡荡的纽约市卡内基音乐厅。再过几个小时后,由 Verve 唱片制作人Norman Granz所安排的,为推广爵士乐而举办的「爵士爱乐」( Jazz at the Philharmonic )演奏会就要展开。从正门进入的Roy Eldridge往前一看,有一个沈默的年轻人坐在前排观眾席。友善的 Roy Eldridge 趋前问候,介绍自己并询问对方的身份。

年轻人回答,他来自加拿大,是制作人 Norman Granz 找他来演出的钢琴手。想到今晚要跟爵士名家如 Charlie Parker, Lester Young, Flip Phillips 等人同台演出,心中不免紧张起来。 Roy Eldridge 笑著安抚他:
「安啦!如果 Norman Granz 愿意花这么大力气把你从加拿大找来,他绝对是肯定你弹奏钢琴的功力,你的演出一定会很棒!」

Roy Eldridge 说得一点都没错。这场知名的演出,正式揭开了Oscar Peterson近五十年演奏生涯的序幕。即使近几年来碍於健康因素而较为沈寂,以钢琴 - 吉他(或鼓) -- 低音贝斯为主的 Oscar Peterson 三重奏班底,其灌录的专辑之丰(将近两百多张专辑),鲜少有爵士乐手能出其右。

对我来说,Oscar Peterson的精彩之处,不仅止於他钢琴弹奏技巧纯熟的程度与传奇的盲人钢琴手Art Tatum 不相上下。Peterson弹奏钢琴的成熟感与创意性,总是让他的三重奏录音显得如此甜而不腻,就像轻咬一口水梨时,顺口的香味四溢,令人回味无穷。更精确的来说, Oscar Peterson 不应只被视为 Art Tatum 的模仿者,因为他的弹奏,横跨了摇摆乐(swing)与咆勃 (bebop) 两种不同的乐派, Oscar Peterson 的风格,一方面有现代爵士钢琴中强调的速度与复杂和絃(可从「旋律音堆」 locked hands 演奏风格中窥其端倪)(注一),另一方面却又保有了老派爵士乐中的摇摆兴味,因为他改良了「阔步」(stride)钢琴的弹法,不走传统弹奏的老套。换言之,在爵士乐百年发展中,Oscar Peterson绝对是定义现代爵士钢琴语汇(vocabularies)的要角,肯定在历史上留名。

五○年代时,在美国大受欢迎,又曾巡迴欧洲演出的 Oscar Peterson ,让德国知名的录音师,也是前 MPS/SABA 唱片公司厂牌的老闆 Hans Georg Brunner-Schwer (一般简称为 HGBS )注意到了他。爱好爵士乐的 HGBS ,当时就下定决心,一定要找机会帮 Oscar Peterson 录音。
如果我们以美国知名的爵士乐厂牌蓝调之音(Blue Note)为例,就可以瞭解一家杰出的爵士唱片公司应该具备的条件,至少有:


1. 制作人要如伯乐能识千里马,赏识乐手并让他充分发挥
2. 录音品质优良,能在不同的情境妥当地调整录音器材
3. 封面设计一把罩,创造独特的流行美学


与蓝调之音一样,当时德国的SABA,也就是 MPS 的前身,还是家独立唱片公司,老闆HGBS 本身不但是知名录音师,也是相当优秀的制作人。作为Oscar Peterson 超级乐迷的 HGBS ,六○年代开始就曾多次邀请这位伟大的钢琴手到德国黑森林 Villingen , HGBS 的家宅中作非正式的演出。参加这些音乐派对的听眾,不但是 HGBS 的好友,也是道地的爵士乐迷。演出的气氛极为轻鬆、舒适,有小酒馆中,乐手与听眾紧密互动的良好气氛,却没有酒馆的喧嚣与恼人的杂音。这次在台湾,以六张一套 SACD 形式发行的作品,就是在 HGBS 家宅举办爵士派对时的私藏录音选粹。

难能可贵的是,当时红透半边天的 Oscar Peterson ,与 Verve 、 Limelight(Mercury)合约到期之后,马上和这家全新的德国唱片公司签约,允许 HGBS 发行这些私藏录音,除了肯定德国人对於他演奏长度的尊重(之前的 Verve 唱片公司常希望他将每首曲子的演奏长度缩短在三至四分鐘,往往限制了他即兴灵感),对於 HGBS 录制的音乐品质更是大为佩服。为了这些作品能顺利发行, Oscar Peterson 亲自从美国飞到德国,每首曲子的母带一一听过,挑选出他最满意的版本给 MPS 发行。 细细聆听过这六张专辑后,笔者认为不论是独奏(第四集「My Favorite Instrument」,是 Oscar Peterson 个人第一张钢琴独奏)也好,三重奏也好, Oscar Peterson 作为一个爵士钢琴巨将的地位是无庸置疑的。「 Action 」中的 Tin Tin Deo ,是风情万种的拉丁音乐,「Girl Talk」中 I Concentrate on You 与 Moon River 的抒情组曲,「The Way I Really Play」中的迪斯奈卡通 Alice in Wonderland 同名配乐……不论是老掉牙的情歌,耳熟能详的各式流行音乐,还是属於黑人的蓝调, Oscar Peterson 詮释这些曲目时,信手拈来,每一个音符都是惊奇,每一段弹奏都兼具力道与细致之美。低音贝斯手由 Ray Brown 或 Sam Jones 前后上阵,无论是与钢琴对话或制造高潮,都扮演了非常好的润饰角色,鼓手则由 Ed Thigpens 、 Bob Durham 与 Louis Hayes 轮流担纲,整体而言,给予三重奏世故深刻,却又愉悦十分的律动感。

这系列的前四张专辑是 MPS 唱片公司的开山之作,市场的销售佳绩证明了老闆的準确眼光,与精致录音的魅力。想鑑赏 Oscar Peterson 三重奏魅力,不妨从这几张专辑入手,绝不会让乐友失望的!也建议环球唱片公司, 2003 年重发的 MPS 厂牌旗下的爵士乐专辑,也不是只由 Oscar Peterson 独大。钢琴家 Wolfgang Dauner 的「Music Zounds」,鼓手 Charly Antolini 的「Drum Beat」,原籍奥地利的萨克斯风手 Hans Koller 的「Kunstkofindianer」,从传统,现代到自由爵士,每一张重发专辑都是佳品,更可帮助乐迷一窥欧洲爵士风貌!

(注一)
「旋律音堆」(locked hands)演奏法,指的是钢琴家演奏的时候,必须两手同步移动,随著旋律走向,在弹奏键盘时, 一起将复杂的和絃音 ( 一次有可能七,八个音以上 ) ,在一个小节内弹完好几个音群,属於难度较高的技巧。谢谢乐友 Simon 释疑。

Review

by Ken Dryden

One of a number of memorable albums recorded by Oscar Peterson for MPS during the mid-'60s, Girl Talk was compiled from several live studio sessions taped between 1964 and 1966, with bassist Sam Jones and either Bobby Durham or Louis Hayes on drums. Peterson's romping right hand helps this normally bland show tune. The pianist's imaginative unaccompanied introduction to "I'm in the Mood for Love" adds a new dimension to this old chestnut, with the rhythm section making a belated entrance; it is rather unusual to hear the trio play on just one song for 17 minutes. The title track, an overlooked gem jointly written by Bobby Troup and Neal Hefti, finds the leader in a bluesy mood. The relaxed but jaunty treatment of "Robbin's Nest" follows a powerful medley of "I Concentrate on You" and "Moon River" to wrap up this highly recommended session, which sounds even better due to the Super Audio remastering of this edition.


引用
6 of 7 people found the following review helpful
Talk of the Town May 28, 2005
By Marty Nickison II
Format:Audio CD
Fifty years ago (1955), the new technology was the long-playing 12-inch record. Now, an artist could play up to 20 minutes on a song and distribute it to the public. No longer was an artist limited to a 3-minute rendition, but he/she could play 600% longer! Musicians were in heaven. Moreover, fans were ecstatic!

Well, we have come a long way since then. Now, with the advent of the SACD, we can get analog-quality sound in a digital medium that means an artist can play for over 70 minutes (actually much more, but the capacity has yet to be fully realized; my guess is it will cap at 2 ½ hours). I am sure that SACD will take-off well and is the next storage framework with CD being it's medium.

One given in the creation of a new framework for music presentation is the flood of classic recordings that will show-up remastered and usually with extra-unreleased material. Girl Talk give us the new sound, but kept to the original LP format in the SACD framework.

This is a review of the original Girl Talk as I listen to it on the SACD version (playing in my computer in CD standard mode).

Girl Talk, the first album of recording he did in Germany over a period of over 5 years in the 1970's in the home of a local producer. He would host small `chamber-style' concerts (think Franz Schubert in classical music) `exclusively for his friends'. They were released in five albums here in the States. Fans of Oscar know this is a style he never showed us here.

The playing on the Exclusively For My Friends series is unlike any other Oscar did. He's not the often-cursed `mechanical' player many know him as. He uses arpeggios, modal progressions, minor vamps, extended introductions, as well as stride, boogie-woogie, blues-tinged styles. His speed has doubled from what his mass-distributed records show, and the backup sections are 100 percent on time with him.

Girl Talk is probably the best album by Oscar Peterson. However, be warned fans--you will have a hard time accepting this is Oscar Peterson. From the 4 minute introduction of I'm In The Mood For Love to the rhapsodic introduction to Medley: I Concentrate On You/Mood River; this is not Oscar as usual. This is why Oscar is considered a genius-YOU AIN'T HEARD OSCAR YET!

In this version, you get the advantage of SACD. While a SACD player will capture all the enhanced dynamics (a SACD can play from 2hz-100khz, while a standard CD stops at 20khz), ambiance, and that live feeling; compare this playing in your regular cd player (hybrid SACD's like this play in anything).

Overall, Girl Talk was a smack in my face. I didn't care much for him, but now I consider him a great among others. His playing here and on the other Exclusively For My Friends recordings is unheard and I glad the SACD touch has been placed on them. Wildly recommended. CAN I GIVE IT 6 STARS???!!
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A reserved Oscar Peterson delivers the finest jazz November 24, 2010
By Gokhan Ersan
Format:Audio CD
"Exclusively for my friends" series showcases Oscar Peterson -- who is best known for his Art-Tatum-like fast piano sweeps -- delivering measured, subtly played, fine-tuned jazz.
I also recommend "volume 1: action" from the same series.

I can also attest to the fact that the SACD/CD hybrid version sounds much more deeper than the regular CD on my regular CD player (it may have been remastered before pressing the hybrid cd).


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Oscar Emmanuel Peterson CC CQ OOnt (August 15, 1925 – December 23, 2007) was a Canadian jazz pianist and composer.



专辑曲目

01. On A Clear Day (You Can See Forever)
02. I'm In The Mood For Love
03. Girl Talk
04. Medley: I Concentrate On You / Moon River
05. Robbin's Nest

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