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John Coltrane -《Lush Life》(浮华人生)[SACD-r]

  • 状态: 精华资源
  • 摘要:
    音乐风格爵士
    发行时间1990年10月25日
    地区美国
    语言英语
  • 时间: 2015/12/12 19:28:30 发布 | 2015/12/14 11:37:31 更新
  • 分类: 音乐  欧美音乐 

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专辑英文名Lush Life
专辑中文名浮华人生
歌手John Coltrane
音乐风格爵士
版本[SACD-r]
发行时间1990年10月25日
地区美国
语言英语
简介

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专辑介绍:

【Prestige】John Coltrane : Lush Life 约翰.柯川 : 浮华人生

●全新版-RVG本人Remastering重制认证上市

●爵士之尊典范巨人

●Downbeat 5星铭盘

●AMG 4星评价

●企鹅爵士评鑑3星

  这张史所留名的荒岛名盘,如果没有足够时间把音乐从头到尾听一遍的话,先听标题曲吧,由音乐巨人艾灵顿公爵的作曲搭档,也是爵士乐史上最伟大的影武者,比利史崔洪所创作的经典名曲"Lush Life",乐曲在华丽表象之下蕴含的风霜折磨、辛酸无奈,都让约翰柯川用萨克斯风透彻深刻的表现出来,柯川温暖人性的音色处理,搭配旋律高低落差创造出来的情绪波动,将这首曲子完美地呈现出来,贝斯手保罗钱伯斯以幽微的拉弓手法,为乐曲制造出一丝意在言外的淡淡哀伤,钢琴手瑞德嘉兰则是称职地以流畅的和弦进行协助铺垫,几大高人联手,缔造了一个公认的「决定版」,让后世的乐手晚辈,碰上了这里柯川手下的"Lush Life"一曲,不论如何惊才绝艳,也再难超越。RVG也抓住了柯川萨克斯风的气动神韵。


约翰.柯川五○年代在「O.J.C.」录制的几张专辑,是了解硬咆勃时期的柯川的重要线索。如果你想对约翰.柯川的音乐有完整的概念,这张「Lush Life」是进入柯川音乐世界的重要途径,因为它是五七年和五八年的录音。五七年五八年的约翰.柯川,已经是自信满满,準备振翅高飞的人物。他演奏了三首没有钢琴伴奏的三重奏。你可以在这三首曲子里,听到这个被认为是查理.派克之后演奏萨克斯风最好的人物,如何操控乐器,如何发展他独特的音乐语汇完成即兴演奏。另外两首是有钢琴伴奏和小号的五重奏,也是柯川极为精彩的硬咆勃爵士的表演。这五首曲子虽然都是硬咆勃爵士,但已经隐然呈现约翰.柯川那种虚无深沉的气质,即使演奏抒情的曲子,他也表现了独特的风格,令人心服口服。五○年代的约翰.柯川受早期咆勃爵士萨克斯风手第斯特.哥登的影响,演奏风极为踏实,音色饱满,线条明朗,是演奏萨克斯风的典范风格。



Lush Life [Rudy Van Gelder Remaster]

John Coltrane

[音乐:编号01-006] Lush Life - John Coltrane

时至今日,我依然对这首歌不甚瞭解,听著有时会难过,有时会觉得幸福,总觉得里面的情感极为复杂。就正如一些无法确定的感情,介乎於生与死,天与地之间,在边缘里徘徊,只要走错一步,便会跨进了另一个世界,再也无法回来了。

[ Last edited by 陆奥雷 on 2005-1-12 at 12:26 AM ]


Between the spring of 1957 and the winter of 1958, during which time Lush Life was recorded, the music of tenor saxophonist John Coltrane (1926-1967) was developing in giant steps, thanks in great part to a six-month 1957 stint with Thelonious Monk that had much to do with sharpening Coltrane’s harmonic conception and torrential attack.

引用
1881032


  John Coltrane是爵士乐曆史上最伟大的萨克斯管演奏家之一,同时也是一位优秀的音乐革新家,他对六七十年代的爵士乐坛有著巨大的影响。
  John Colirane出生于美国的北卡罗来纳州。在军队服役时,就在海军乐队裏担任萨克斯手,1946年在费城定居,先后和当地几个著名的乐队一起合作,在这期间,Colirane的演奏技巧有了很大的提高,同时也为他日后的成功奠定了坚定的基础。
  1955年Coltrane加入Miles Davis(迈尔斯·戴维斯)乐队。开始,很多人对Colitrane的演奏技巧産生怀疑,但Miles Davis则觉得Coltrane的演奏不同寻常,有著巨大的潜力。不久,Coltrane便超过了乐队其他成员,在演奏中担当重要角色。1955年至1956年,他和Miles Davis一道为显赫唱片公司和哥伦比亚唱片公司灌制唱片。此时的Coltrane 已小有名气。1957年,因为吸食海洛因,Miles Davis开除了Coltane。Coltane离开Miles Davis乐队后,永远的戒掉了这个恶习,显示出他过人的毅力。在和钢琴家特洛尼斯·蒙克合作了数月后,在1958年,Coltane重新加入了Miles Davis乐队。和家特洛尼斯·蒙克的合作,已使Coliane成为一名优秀的次中音萨克斯手。在以后与Miles Davis合作的两年中,Coltane把即兴演奏带入了一个新的领域,使Bebop音乐有了曆史性的突破。在这一时期Coltane还与亚特兰蒂克公司合作,推出了著名的作品《巨人的脚步》。1960年,Coltane离开了Miles Davis乐队,这使他的演奏风格有了很大的变化,开始从尽可能的采用和弦,转变到充满激情的即兴伴奏。1960年,Coltane与他的乐队为亚特兰蒂唱片公司录制了《我之所爱》。
  1961年到1964年,Coltane继续演变他的风格特点。他将艾裏克·多菲吸收到了乐队,并在61年的下半年为前卫村唱片公司录音,这使他被一些保守的评论家称之为反爵士乐。但是Coltane的演奏还是非常动听,有时独奏会长达45分钟之久,在《我想和你谈谈中》,Coltane运用了精彩的华彩乐段,使人震惊。1964年,他录制了名曲《至高无上的爱》,又反映出他对东方宗教的兴趣。
  1965年,Coltane的音乐发生了变化,受艾伯特·埃耶勒、阿齐·舍普和帕罗阿·桑德斯无调性音乐的影响,Coltane改变了他原本古典的唯美风格,在放弃了大多数的旋律后,转向声音方面的探索,并在自己的音乐中采取了快速处理的方式。
  1966年,Coltane组建了他的一支五人乐队,但是就在他的事业大获成功的时候,却被病魔夺去了生命。1967年,Coltane因过度工作而死于肝癌。
  Coltane的一生短暂却辉煌,他在萨克斯演奏中的成就是没有人能超过的,而他在爵士乐史上的权威地位也是无人能代替的。








入门者必备的九张John Coltrane专辑

「反思、哀伤、渴望、灵性、热情、温柔、平和、锐利、狂野、条理、催眠、急
促、活力、睿智、优雅、多变化、情感丰沛、似苦亦甜。」
--All Music Guide对於John Coltrne吹奏风格的描述

时至今日,写美国爵士萨克斯风手John Coltrane已经快要变成不可能的任
务。单以我服务的政大传播学院之院属图书馆为例,不论是乐迷蒐集的軼闻野
史,专业作家的访谈与考据,或是音乐教授的乐理与採谱分析,John Coltrane的
传记总加起来超过了十本,更不用提网路浩瀚无边的相关讨论了。

从一九五七年与Prestige唱片公司正式签约录音,到一九六七年因肝癌以壮
年辞世,先不谈他极为活跃的现场演出,以John Coltrane个人名义发行的个人专
辑,有迹可考者就超过了六十张以上。如果加上John Coltrane替其他乐手跨刀演
出的专辑,或是坊间品质参差不齐的盗版录音(特别是欧洲与美国现场的
「bootlegs」,亦称靴子腿),John Coltrane的专辑至少在数百张以上,更不用提
这几年来,经由遗孀Alice Coltrane的协助,隶属於环球音乐的Impulse!唱片公
司仍持续发行John Coltrane晚年的私藏录音,特别是那些所谓的「新事物」(New
Thing)系列。
John Coltrane的作品如此多,关於他及专辑的讨论如此繁浩,可真教入门者
昏了头花了眼。为了节省乐迷的金钱,精力与宝贵的时间,也许略为武断,但不
妨便宜行事,将John Coltrane的个人录音,分为成长、成熟和突破与实验三个时
期,每个时期推荐三张专辑,提供入门者参考:

一、 成长期:John Coltrane在这一段时间帮许多乐手跨刀,包括Miles Davis、
Thelonious Monk、甚至Sonny Clark等,成绩斐然。由於与Miles Davis的录
音具有其历史意义与重要性,另有专文介绍,本文跳过不谈,先推荐三张专
辑如左:

1. Thelonious Monk with John Coltrane(1957, OJC):因毒癮太重影响表演被Miles
Davis开除的John Coltrane,在Five Spot酒馆与Thelonious Monk同台演出,重
新出发的他,从钢琴怪杰Monk学习音乐创新与风格开拓,这个时期的John
Coltrane演奏以bebop风格为主,但他的灵活转折、詮释「Ruby My Dear」时,
极温柔又蕴藏深意。若不是当时Riverside的老闆兼制作人极力游说Thelonious
Monk,可能就没有这张专辑的诞生,故弥足珍贵。

2. The Ultimate Blue Train(1957, Blue Note):「Blue Train」的录音有两个很重要
的意义;第一,它是 John Coltrane 成长期中的重要代表作之一,风格凝聚性不
但很强,具备正港hard bop的风格,John Coltrane 爆发力特强的次中音萨克斯
风音色, 加上蓝调旗下知名乐手助阵,其专辑之基调与Miles Davis 五重奏的
冰火同源大不相同。第二,它是少数 John Coltrane 有机会和蓝调唱片乐手录音
的专辑,录音阵容包括了继Dizzy Gillespie 之后吹奏技巧与演绎风格皆强的小号
手 Lee Morgan, 与 J. J. Johnson 齐名的伸缩号手 Curtis Fuller,还有钢琴手
Kenny Drew。加上Rudy Van Gelder的品质保证录音,造就了一张精彩的专辑。

3. Soultrane(1958, OJC):要从Prestige发行的唱片中选出John Coltrane的代表
作是相当艰鉅的任务,如有餘裕,「Coltrane」、「Lush Life」都是极好的选择,不
过如果预算有限,理当优先考虑「Soultrane」。在原属Miles Davis的团员钢琴手
Red Garland与低音贝斯手Paul Chambers的烘托之下,John Coltrane的表现不慍
不火,第一首Tadd Dameron与Count Basie合写的曲子「Good Bait」就展现了控
制自如的功力,到了「Russian Lullaby」时,John Coltrane的速度感与活力,均
预示了John Coltrane作为明日之星的潜力。

二、 成熟期:五0年代中期二次进出Miles Davis乐团的John Coltrane,从Prestige
转战Columbia公司。此时John Coltrane与Miles Davis及团员一起切磋调式
爵士(modal jazz),不断地求新求变,也就是在这个时候,拜主流唱片公司
的强势宣传之赐,羽翼已丰的John Coltrane,在Miles Davis精明的经纪人
安排下,与当时最大的独立唱片公司Atlantic签了一纸条件不错的合约,从
此展开了灿烂的单飞演奏生涯。这段时期的三张代表专辑分别为:

4. Giant Steps(1959,Atlantic):就当时的认知与制作概念而言,「Giant Steps」
才是John Coltrane个人首张正式专辑(先前与John Coltrane有合约关係的唱片
公司,都是在他成名之后,才纷纷以John Coltrane名义发行专辑)。就原创性与
演奏难度而言,「Giant Steps」都是现代爵士乐的重要教材,对听眾来说,急速
变化的和弦进行,已经到了「耳花撩乱」的地度,这张专辑不但总结了John
Coltrane之前的学习与努力,也是一个关键转捩点:John Coltrane许新鲜的想法,
需要另组新团来执行。特别注意抒情的「Naima」,简单抒情的旋律,是每个人
都听得懂得雋永名曲,也是内向的Coltrane丰沛情感抒发的具体表现。

5. My Favorite Things(1960,Atlantic):有人曾经断言,John Coltrane选择演绎
被「真善美」女主角茱莉安德鲁丝唱红的「My Favorite Things」,具有一种颠覆
性的嘲讽意图。这可是天大的误会。事实上,John Coltrane相当喜爱这首歌曲,
在这张专辑中,他的高音萨克斯风赋予这首标準曲焕然一新的感觉。即使到现
在,听到这个版本的「My Favorite Things」,仍不禁要为John Coltrane的即兴演
奏用力鼓掌,同样的詮释方式也可以在盖希文的名曲「summertime」中听到,除
了贝斯手人选不同之外,经典四重奏的班底已算大致完备。这是入门者一定要有
的究极名盘。

6. Ol'e Coltrane(1961,Atlantic):「Ol'e Coltrane」是我个人的钟爱盘,John
Coltrane、Eric Dolphy、Freddie Hubbard等人的独奏带出了西班牙音阶,而McCoy
Tyner钢琴的voicing方式也与此相呼应。这张专辑有几个重要意涵:其一是记录
了在现代爵士乐坛佔有重要地位的Eric Dolphy与John Coltrane的合作成果(另
一张重要的专辑是Impulse!出的Live at Village Vanguard),其二是John Coltrane''
在这张专辑中明显地跳脱bebop的语汇,正企图开创一个全新的格局,其三是这
种西班牙音阶的使用方式,影响了后来的钢琴家Chick Corea,帮Elvin Jones跨
刀演出时,录制了著名的「La Fiesta」,尔后於「Return to Forever」中再度演出,
大放光芒。

三、 突破与实验期:录完「Ol'e Coltrane」之后,John Coltrane正式进入了
Impulse!,并继续与Eric Dolphy保持合作关係,在Eric Dolphy的编曲协助
之下,录制了第一张Impulse!时期的专辑「Africa/Brass」(不过在整体的概
念执行方面,John Coltrane与McCoy Tyner扮演核心角色)。在Impulse!制
作人全力支持之下,除了少数几张市场导向的专辑之外,John Coltrane几乎
可以无限制地大胆实验,不断追求突破,这段时期的三张代表专辑为:

7. Ballads(1961,Impulse!):死硬派乐迷可能会抱怨这张专辑过於软调抒情,甚
至认为这不是「真正的」Coltrane!我倒觉得这张专辑让听眾瞭解到John Coltrane
风格的温柔面,他的tone quality也是多变化的!不知有没有人注意到,其实,
这张专辑选择的标準曲并不常被其他乐手演绎?例如「Say It」、「All or Nothing At
All」。有乐评人说,在这张专辑中,John Coltrane刻意的隐藏光芒,反而能够让
我们深入瞭解McCoy Tyner的表现功力,听完再告诉我你的想法吧!

8. A Love Supreme(1964,Impulse!):这可能是经典四重奏水準最高的一张录音
室专辑,同时也是John Coltrane个人演奏生涯中,卖得最好的一张唱片。「A Love
Supreme」是John Coltrane的灵性追寻之旅,是他探索宗教与哲学的玄妙体验,
化作音符,与世人会面。聆听「A Love Supreme」彷彿进行了一场神圣的宗教仪
式崇拜,从「Acknowledgement」、「Resolution」、「Pursuance」到「Psalm」,四个
乐章起承转和,一气呵成。也就是在这个时期,John Coltrane更为积极地探索声
音的本质,拆解曲子结构,将他长久以来,孜孜不息研读的宗教,宇宙观与神秘
主义等,融入音乐之中。

9. Stellar Regions(1967,Impulse!): 以下引述黎时潮的评语:「录音当时Coltrane
已经知道自己的肝癌到了末期,剩下的寿命不到半年,我们可以在这首曲子里听
到Coltrane对自己音乐生命的眷恋和反省!在三分多鐘的乐曲里,我们听到
Coltrane演奏时而甜蜜、时而痛苦、时而徬徨、时而平静,其他人也许可以复制
这首曲子的旋律,但绝对没有人能演奏出同样的感动!」这是一张悲伤的专辑,
但也是改组之后的四重奏(Alice Coltrane取代McCoy Tyner,Rashied Ali取代了
Elvin Jones)重要作品。

John Coltrane对於后来的现代爵士乐影响之鉅实难以估计。后起新秀想要超
越他的格局,野心与成就,显得非常困难。但是,他的谦和内敛的个性,不眠不
休的作功课,苦练,其用功的程度,后人实望尘莫及。John Coltrane之所以成功,
其原因绝不是传说中的「惊人的天才」,而是「不断地苦练与自我要求」,加上他
对艺术的敏感度与天分,造就了无可取代的John Coltrane。


引用
Release Date 1961
Duration36:11
Genre Jazz
Styles Hard Bop Jazz Instrument Saxophone Jazz
Recording DateMay 31, 1957 - January 10, 1958

Audio CD (October 25, 1990)
Number of Discs: 1
Format: Original recording reissued
Label: Ojc
ASIN: B000000Y7L

Lush Life is an album credited to jazz musician John Coltrane, released in 1961 on Prestige Records, catalogue 7188. It is assembled from unissued results of three separate recording sessions at Van Gelder Studio in Hackensack, New Jersey in 1957 and 1958. As Coltrane's fame grew during the 1960s long after he had stopped recording for the label, Prestige used unissued recordings to create new marketable albums without Coltrane's input or approval.


AllMusic Review by Lindsay Planer
Lush Life (1958) is among John Coltrane's best endeavors on the Prestige label. One reason can easily be attributed to the interesting personnel and the subsequent lack of a keyboard player for the August 16, 1957 session that yielded the majority of the material. Coltrane (tenor sax) had to essentially lead the compact trio of himself, Earl May (bass), and Art Taylor (drums). The intimate setting is perfect for ballads such as the opener "Like Someone in Love." Coltrane doesn't have to supplement the frequent redundancy inherent in pianists, so he has plenty of room to express himself through simple and ornate passages. Unifying the slippery syncopation and slightly Eastern feel of "I Love You" is the tenor's prevalent capacity for flawless, if not downright inspired on-the-spot "head" arrangements that emerge singular and clear, never sounding preconceived. Even at an accelerated pace, the rhythm section ably prods the backbeat without interfering. A careful comparison will reveal that "Trane's Slo Blues" is actually a fairly evident derivation (or possibly a different take) of "Slowtrane." But don't let the title fool you as the mid-tempo blues is undergirded by a lightheartedness. May provides a platform for Coltrane's even keeled runs before the tenor drops out, allowing both May and then Taylor a chance to shine. The fun cat-and-mouse-like antics continue as Taylor can be heard encouraging the tenor player to raise the stakes and the tempo -- which he does to great effect.
The practically quarter-hour reading of Billy Strayhorn's "Lush Life" is not only the focal point of this album, it is rightfully considered as one of Coltrane's unqualified masterworks. The performance hails from January 10, 1958 as Coltrane sits in with Red Garland (piano), Donald Byrd (trumpet), Paul Chambers (bass), and Louis Hayes (drums). Coltrane handles the tune's delicate complexities with infinite style and finesse. Garland similarly sparkles at the 88s, while Byrd's solo offers a bit of a tonal alternative. It should be noted that the reading here does not include a vocal from Johnny Hartman. That version can be found on the ever imaginatively monikered John Coltrane & Johnny Hartman (1963).




hprill Feb 22 2011 3.00 stars +5
During the 1950s and 60s, there were three kinds of record producers in jazz: skilled craftsmen with an exemplary work ethic like Blue Note's Alfred Lion or Atlantic's Nesuhi Ertegün, visionaries with an acute sense of commercial potential like Impulse's Bob Thiele, and those who mostly wanted to make money, like Prestige Records' Bob Weinstock.

Prestige didn't bother with anything that would cause extra costs. There were no rehearsals, usually the first complete take was used, and as many tracks as possible were recorded per session, which were then released on different albums over an extended period of time (this album, for example, comes from three sessions in 1957 and 58 and was released in 1961). Once completed, the musicians would receive a handful of dollar bills, and the label would receive all rights for the recordings and the compositions -- which is why John Coltrane recorded next to no original compositions during his Prestige contract.

The quick cash policy earned Prestige the dubious reputation of being a junkie label, and while it did release some truly great albums, it also produced a fair share of mediocre ones. Lush Life is somewhere in between.

At the first session (tracks 1-3), the pianist didn't show up. Alfred Lion would have called in a replacement, Bob Thiele would have asked somebody hanging around in the building to step in, but Bob Weinstock didn't want to waste precious studio time and simply told Coltrane, Art Taylor and Earl May to play as a trio. They were clearly unprepared for this, and, not being given any rehearsal time, just improvised over some standards. "Like Someone in Love" works best, but still remains rather sketchy. "I Love You" and "Trane's Slo Blues" are extremely loose and work only on a cursory listen. Coltrane's solos are somewhere between inspired noodling and just noodling, but there's no real sense of direction, and he fails to really engage the listener; all three tracks feel as undeveloped as they were in the recording context. How Joe Goldberg could compare them to "Chasin' the Trane" in his new reissue liner notes is really inconceivable.

The remaining tracks are from two sessions in late 1957 and 1958 respectively, and they work much better. Red Garland and Paul Chambers had played with Coltrane long and often enough to share an understanding that couldn't be unsettled by lack of rehearsal time in the studio. "Lush Life" and "I Hear a Melody" were safe choices; they are such well-established standards that the solos could simply take off without fear of ever losing sight of the ground. Everything clicks into place here, and these are fine performances indeed.

A different record company might not have released much of this material at all (just think of the numerous great Blue Note albums that waited 20 or more years in the vaults because Alfred Lion set such high standards), yet still this album is not a total loss. The quartet/quintet tracks work well, even though they are presented outside of their context, and even Coltrane's noodling on the earlier session shows moments of inspiration. However, Lush Life falls short of not only Coltrane's work with Atlantic and Impulse!, but also of Coltrane's best albums for Prestige.


catwomyn Oct 24 2013 4.00 stars
There's something beautiful about Lush Life, don't ask me to explain it, feel it I can, but explain it, no. Don't know if it was just a case of hitting the 'sweet spot' of innocence for Coltrane, on those sessions for Prestige Records (on different days) but there is a sensibility and raw talent on display. This is before the 'sheets of sound' years. It's a different Coltrane. I like that there are different Coltrane's. Young, seasoned, pre heroin, post heroin, on heroin, 'sheets of sound', straight forward raw talent, experimental, spiritual. Makes for some distinct and interesting listening. I actually like the sparseness of no piano on the first few tracks on this album, almost sounds like just Coltrane, no one else. On 'I Hear a Rhapsody' we get a long Red Garland piano solo. The standout track for me here is the almost 14 minutes long, 'Lush Life', with one of my favourite trumpeters Donald Byrd ripping it up, in a slow sweet way on this dreamy track, Red Garland ain't too shabby either. Just classic.


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专辑曲目

1. Like Some One In Love 7:28
2. I Love You 2:37
3. Trane's Slo Blues 7:16
4. Lush Life 2:27
5. I Hear A Rhapsody 5:58

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