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Karel Boehlee Trio -《Last Tango in Paris》(巴黎最后探戈)[FLAC]

  • 状态: 精华资源
  • 摘要:
    音乐风格爵士
    发行时间2006年
    地区美国
    语言英语
  • 时间: 2013/11/12 23:22:43 发布 | 2013/11/13 08:45:58 更新
  • 分类: 音乐  欧美音乐 

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精华资源: 2006

全部资源: 2007

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专辑英文名Last Tango in Paris
专辑中文名巴黎最后探戈
音乐风格爵士
资源格式FLAC
发行时间2006年
地区美国
语言英语
简介

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专辑介绍:

随著青鬱而来的淡然晴怀

☆静寂的律动!纤细感、临场感、紧密风味瀰漫满溢的爵士三重奏录音。

☆Swing Journal录音评鑑4颗星高评价!

☆除了Last Tango in Paris这首展现了天衣无缝的三重奏实力的主题曲,「Head Light」、「Le Grisbi」等电影配乐的爵士化版本,更是非听不可!!

Karel Boehlee(piano)领军的Hein van DeGeyn (bass)/ Hans van Oosterhout (drums)trio三重奏,首张录音作品青鬱「Blue Prelude」大受好评,在台湾入选诚品好读2006年百大专辑与日本权威爵士Swing Journal名盘首选。制作团队仍与这组优异的年轻三重奏新锐在荷兰阿姆斯特丹录音。年轻自由抒情感性,自然的平易近人!今日今时每人都可以聆听的音乐。

你曾觉得爵士三重奏难以入门吗? 你觉得爵士乐就是Lisa Ono或Norah Jones? 你认为爵士乐只有一种方式? 这张专辑将第二次改变你的想法!!


卡洛.波里三重奏 / 淡晴 Karel Boehlee Trio / Last Tango in Paris

唱片公司:马雅音乐
音乐类型:爵士乐
唱片编号:MYCJ30404
发行日期:2007年04月18日

the karel boehlee trio was founded in 2003, with band members Hein Van de Geijn, and Hans van Oosterhout. In the meantime they made 7 cd’s for M&I records. (nowadays it is a part of Pony Canyon).
The music is a mixture of jazz-, classical- and popmusic, and therefore it is not a traditional jazztrio. It sounds very delicate and detailed, and yet the music is not complicated.

The Karel Boehlee Trio plays jazzstandards, but also the standards from artists like Stevie Wonder and Donald Fagen.
They are very popular in asia, especially in Japan and Korea.

Artist: Karel Boehlee Trio
Title Of Album: Last Tango in Paris
Year Of Release: 2006
Label: M&I
Genre: Jazz, Cool
Total Time: 01:02:31

引用
Karel Boehlee – Soft Touch

© -Steven Cerra, copyright protected; all rights reserved.


Piano is such an intriguing instrument. Not only can one pound the hell out of it, but it can also be played softly, almost caressingly, to a point that one wonders if it’s the same instrument.

Gene Lees, the eminent Jazz story-teller, recounts a time when he and pianist Bill Evans walked into a club to catch a set by Oscar Peterson who could, and often did, play the piano very aggressively. During a lull in the performance, Gene turned to Bill and asked him why Oscar didn’t employ Bill’s method of understated and implied chords voicings. Bill replied: “It wouldn’t fit with what he was doing.”

Since the piano doesn’t have a personality, one’s approach to the instrument may have more to do with a player’s own personality than the instrument itself.

Although Oscar Peterson could certainly play quiet ballads on the piano, he preferred to play it in a percussive manner often employing riotous tempos and the full orchestral range of the instrument through the use of highly accented and syncopated rhythmic riffs. At times it seemed that his style of piano trio Jazz could generate the intensity of an entire big band.

Indeed, there are a couple of example of recordings featuring Oscar with big bands in which Peterson gave the entire band a run for its money! Oscar, who at times could seem as big [both physically and in terms of his aura] as the piano itself, appeared to have a personality that sought out the instrument’s more percussive qualities, not to mention that, in Oscar’s case at least, employing 10 ‘fingers’ onto eighty-eight keys could generate many notes flying by at a very rapid pace.

When I’m in the mood for it, there’s nothing I like better than fastening my seat belt and letting Oscar transport me into a world of foot-stompin, finger-poppin’ and heart-pounding percussive piano trio Jazz excitement.

But there are times when I like to enjoy Jazz that unfolds slowly, quietly and very introspectively; the quiet moments made possible by a pianist who display a softer touch. This does not necessarily imply slower tempos and ballads, but a softer touch does connote a more controlled expression and one in which notes and phrased are doled out more selectively and with more spacing.

Recently, I was in a pensive mood and the pianism of Karl Boehlee of The Netherlands formed a perfect complement to it.

Boehlee’s penchant for sensitively played piano offers plenty of room for him to display his quite exquisite touch on the instrument. If you love the ringing sounds of the piano keys with all of their stated and implied overtones, Karel creates a piano sounds that is simply gorgeous.

Even on medium and the up-tempo tunes, Boehlee is very much a minimalist,. He is able to express a variety of emotions with what always seems like just enough notes.


Although he has been playing professional for about twenty-five years, Karel Boehlee is perhaps Holland's best-kept Jazz secret. The following comments about him were offered in an interview with Karel’s bassist, Hein van de Geyn, who is also the owner of Challenge Records:

I remember hearing him play in the early eighties, when I just returned from the United States. He was the first pianist of this kind of modern class I had ever heard in Holland. And on what level! Over the years Karel has improved and improved. The lines became more thoughtful, the harmony more precise; the rhythm was always very strong, but became larger, more in the pocket. Yet underneath all these ingredients there was always something more powerful: the sound! Karel's sound is unique; his touch just seems to reach you right in the centre of where music enters the soul. With impeccable taste Karel will always come up with something fresh, something his own and makes it sound so good.

Hein had this to say when asked why Karel is such a well kept secret or why is it that so few people in the Jazz world know about him.

Karel is a real player; he simply loves to go out and play. He will play with his old pals in little cafés, he will play with young and upcoming musicians, he will play with the best pop singers. Karel is a musician at heart. And the business doesn't know how to deal with this. The business wants exclusivity, wants to put a label on someone, wants an image. And somehow Karel is not playing that game. He is not chasing record deals; he is not showing his face at the right spots at the right time, he doesn't search for journalists to do interviews with him. He is busy doing what a musician should do: play music!


“On top of being a pianist, Karel is a very original composer as well. Over the years he has written quite a large repertoire of strongly individual originals. And I must say that it is through his original compositions that I hear most clearly what Karel wants to portray. To put it in words is not easy, so it seemed best to me to record it on my label, and share my enthusiasm with the listeners in this way

Perhaps it takes people with a broader outlook to recognize Karel's sublimity. People like Mikoto Kimata, the owner of M&I records based in Tokyo who has recorded ten CD's by Karel for his Japanese label; roughly at a pace of one album a year,

And while Karel Boehlee is largely unknown outside The Netherlands, he is well-known and very popular in Japan and his CDs continue to captivate Japanese fans. Perhaps one of the reason for his popularity there is that he was the founding member of the anonymous-sounding European Jazz Trio, which helped ignite the "European jazz boom" in Japan nearly two decades ago.

Aristotle once noted: “How different we all are with regard to those things we hold in common.”

The wonderful thing about Jazz is that it communicates itself to us in so many different ways.

And the wonderful thing about the Jazz pianism of Karel Boehlee is how quietly and almost unsuspectingly his music can overwhelm us with its beauty and its majesty.

See for yourself as Karel performs Gato Barbieri’s theme from the movie, Last Tango in Paris, with Hein van de Geyn on bass and Hans van Oosterhout on drums on the following video.


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专辑曲目

01. Come Rain Or Come Shine [07:22]
02. Last Tango In Paris [06:41]
03. Adagio [05:40]
04. Dat Mistige Rooie Beest [07:06]
05. My Man's Gone Now [04:59]
06. Comes Love [05:18]
07. Longing [06:31]
08. Lueur Dans La Nuit [07:08]
09. Le Grisbi [06:09]
10. Dreams [05:33]

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