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Jacques Loussier Trio -《巴哈最佳精选》(The Best of Play Bach)[SACD-R]
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  • 资源类别: SACD-R/古典音乐
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  • 更新时间: 2012-4-26 18:47:50
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  • 相关搜索: Jacques   Loussier   Trio   The   Best   Play   Bach   SACD   巴哈最佳精选   
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欢庆贾克.路西耶七十大寿
法国钢琴家贾克.路西耶是以爵士乐来詮释巴哈作品的创始者,且迄今仍无人能望其项背。他於1950年在音乐院当学生之时,开始用爵士即兴手法弹奏巴哈,1959年在巴黎Decca录音室偶然露了一手,被制作人发现卖点,乃灌录专辑,果然大卖特卖。六十年代之后,路西耶将此手法予以系统化,近年来更将之运用到韦瓦第、拉威尔、萨提、德布西、韩德尔和贝多芬的作品,同样大获成功。本辑收录路西耶多年来即兴演奏巴哈作品的精华,曲目包括:《C大调第1号前奏曲(选自十二平均律键盘曲集)》,《义大利协奏曲》,《G弦之歌》,《D小调前奏曲与赋格》,《C小调牧歌》,《耶穌,我心渴望的喜悦》,《B小调嘉禾舞曲(选自D大调组曲)》,《D大调第5号赋格》,《D大调嘉禾舞曲》。1993/1994年於法国录制,2004年由Telarc首席工程师重新处理成SACD和环绕音响模式,无论演奏或录音均属发烧示范级。
贾克路西耶三重奏/ 演奏巴哈最佳精选 (Telarc-SACD)
Jacques Loussier Trio- The Best of Play Bach
?唱片公司: 上扬
?类别: CD发烧SACD
?唱片编号: SACD63590
?发行日期: 2004年03月04日
?片数:1
Audio CD (February 24, 2004)
Number of Discs: 1
Format: Hybrid SACD - DSD, Original recording remastered
Label: Telarc
ASIN: B0001BDAQO
Jacques Loussier Trio: The Best of Play Bach [SACD]
By Christopher Orman 15 March 2004
The very nature of third stream, a jazz movement of more “classically” directed gestations in some ways sounds self-defeating. One of the problems with the Modern Jazz Quartet, the benchmark for the creation, was their sterility. Their well-trained compositional eye, on the proverbial “third stream” prize, made for a listening experience that was white walled, devoid of motes, and downright uptight. To dress in suits and look stylish, all to play for erudite audiences, which somehow has always struck me as like Georgia Gibbs’s castration of R B.
Ironically, turning its back on the haphazard, madcap, rude blues stepchild perusing inebriated streets that then came back around to prove its academic worth. Because what Miles Davis, John Coltrane, Charlie Parker, Dizzy Gillespie, and others who summarize the jazz experience did, with a retrospective glance, doesn’t come across quite so ribald now. It now appears sacrosanct, and in some ways dubiously more third stream than the MJQ’s quaint conceptual undertakings. Look at Kind of Blue or Giant Steps; these are anointed as modern classicism.
There exists this ongoing tension, then concluding exegesis, of history texts finally catching up and then establishing the “popular-in-moment” as socially significant. Something Hegel may have ruminated about in a frenzied state of realization and astonishment. How art over the years is stolen by the suit and tie bourgeoisie and thrown up (pun intended) with “champagne wishes and caviar” dreams. The categorized attendees with ass on hands, in a small acoustic hall, golf clapping at the appropriate time; usually with sideways, furtive glances at the person next to you to make sure you follow the protocol. I think about Jimmy Heath, whose 1999 performances in Oklahoma City were a far cry from the audiences he once entertained. Same thing could be said of a recent Sonny Rollins performance.
But if historians are correct, J.S. Bach falls between these intellectual cracks. He reportedly improvised like an untrammeled, obsessed fiend, throwing all of these preconceived notions even further out of a fast moving train. The Milton Cross New Encyclopedia of Great Composers (1969), contains the following quote by organist Reinken, “I heard him improvise on his organ themes for thirty minutes, maybe up to an hour. When he finished, I told him, ‘I thought this art was dead, but through you I see it still lives.’” To which Bach simply laughed and then reportedly contended that real music “exists beyond the boundaries of the page.” More romantic stories have surfaced of mid-street improvisations for the masses, Bach striking something we might compare to Keith Jarrett, where these fitful extemporizations push to the muse’s font. All contrasting, possibly expunging entirely, the banal disquisition of Bach. It tears down the established traditions, setting fire to the exhibit and knocking over the exorbitant alcohol.
The Jacques Loussier trio enters the discussion ensconced between the two idioms, unwittingly a fly thrown into the maelstrom of addling analysis. The recent Telarc release, The Best of Play Bach, has a strange sentiment due to the swirling eddies the trio inhabited; a tonic consisting of one part sterile MJQ jazz and one part page staring Bach. Which makes the album the unwanted stepchild in a flummoxing relationship. It never reaches decadent improvisational heights, accepting a rather lucid, café aura. Choosing restraint rather than full blown extemporaneous brilliance tempers the records’ jazz leanings, making them sound more feigned, more docile than they should. Put in a less prolix context: it’s nice, but nice in a boring way. Hardly as earth shattering as say Uri Caine’s Goldberg Variations, or Lee Konitz’s sundry concepts.
What the music doesn’t quite make clear, the original artwork for Play Bach, released in 1959 on Decca France, tries to deftly explicate. In some ways it looks like a Hans Hoffman, a post-expressionistic stab at psychological suffusion and representation through abstraction. A red background, and what could be described as piano keys in the foreground before shattering into the red, reflects definition and inspiration. Or rather what Loussier and his trio originally intended, of classical music’s modern stoicism exploding under jazz’s impulsive shell to re-attain Bach’s ideals. The rising and receding color also creates a sense of counter-movement, of uncertainty, again what could be gleamed as jazz.
However, the most defining feature of the cover are the brush strokes. They are bold, well defined and symmetrical, superceding the subtle dynamics the trio hoped to present. They rival the visual beauty of Bach’s written work, which conflicted with his performances. If you look at a piece of Bach on the page, it moves up and down the scale, across numerous measures, with patent visual grace. Like a dancer across the page, in a predictable manner with the undulations being predicted and expected even by the veritable neophyte. The Best of Play Bach sounds content in this world of planning and symmetry. It is trapped, similar to the Kronos Quartet’s The Complete Landmark Recordings, never reaching a zenith in either idiom. Not quite mustering the willpower to knock on the doors Bach did, and not freewheeling enough to make the trip downtown. An awkward fusion created during a period where everything was being thrown into a Jell-O mold to see what shape it would take.
引用5.0 out of 5 stars Inovative!, April 2, 2007
By
J. Milton jmilton7043 (MA) - See all my reviews
This review is from: The Best of Play Bach [Stereo/Multichannel] (Audio CD)
Bach's works translate so well in other mediums. I have heard his stuff transcribed for harmonica to kazoo...and it always sounds fresh and as if it were meant for that specific media. These jazz transcription are spot on and the Telarc sound is once again, exemplary!
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6 of 8 people found the following review helpful
5.0 out of 5 stars One of the best quality SACDs I own!, July 15, 2006
By
D. Lam (WA) - See all my reviews
(REAL NAME)
This review is from: The Best of Play Bach [Stereo/Multichannel] (Audio CD)
Despite being a 10 year old recording, the sound quality of this SACD is topnotch. The drums are very clear and dynamic. The piano notes just jump out at you. Bass is balanced off my subwoofer. I highly recommend this SACD if you're looking for the best.
引用爵士乐20世纪中期以独特的魅力风行全球,其原因在於自由轻鬆的气氛和无拘无束的即兴演奏风格,而巴哈本身是个伟大的即兴作曲家,他绵长的旋律线和完美的对位手法,使得不少喜欢「摇摆古典」的音乐家钟情不已,纷纷拿巴哈的作品来改编。
毕业於巴黎音乐院的贾克.路西耶是目前史上最好的「巴哈爵士音乐家」。他在1959年成立「演奏巴哈三重奏团」,享那全球,后来一直写演奏巴哈的作品至今。这张专辑中的11首名曲全部是他亲自改编以三重奏型式演出。三个人在完美的默契下,展现各自的功力与独奏技巧听起来十分自然动听。录音方面清晰而平衡,仔细聆听Bass的话,会有很不同的听觉享受哦!
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