德国 Germany / 乌拉圭 Uruguay / 澳大利亚 Australia

场地 Venue

华侨城创意文化园北区B10现场 B10 Live, North District of OCT-LOFT

演出者 Artists

Sebastian Schunke – 作曲 Composition / 钢琴 Piano

Dan Freeman – 萨克斯 Saxophone

Marcel Krömker – 低音提琴 Double Bass

Diego Pinera – 鼓 Drums

长达12年来，Sebastian Schunke乐团都是国际爵士乐坛上一个充满活力的存在。定居在柏林的Sebastian Schunke是世界范围内爵士作曲家和钢琴家的年轻领军人物之一。无论是作为个人或者与其团队一同登台，他总能呈现令人耳目一新的音乐，将现代柏林爵士音乐元素与非洲和拉丁美洲音乐元素完美融合。Sebastian Schunke将来自不同文化背景的国际著名爵士音乐家汇聚到了一起，Paquito D’Rivera、Antonio Sanchez、Dafnis Prieto、John Benitez、Yosvany Terry、Richie Flores和Pernell Saturnino都曾为其乐团的一员，为其独特的音乐献力。凭借6张蜚声国际的专辑，以及在亚洲、拉丁美洲、欧洲和美国的多次巡演，Sebastian Schunke已在爵士乐坛取得了十分重要的地位。

最重要的拉丁爵士传播平台——Latin Jazz Network曾将他们2011年的专辑《Life and Death》评选为该年年度最佳专辑之一，并称他们为“最具创新精神的拉丁爵士乐队”：

“作为一位作曲家，Sebastian Schunke所展现出来的深广的视野和成熟的思虑，将他提升到了哲学的抽象印象派艺术家的高度。如果这句话听起来令人费解，那是因为Schunke本身已在这张专辑中发展出了一种极其复杂而又情感深挚的风格。生活的无常，给他演奏的力度与表达更添了一份沉甸甸的重量。他的作品给人一种感觉，仿佛他重访了德彪西和拉威尔。这也使得这张作品充满了印象主义和形态论的特征，伴随着他对音调的丰富性、绵密和声所带来的微妙效果，以及音乐上极其复杂的争议命题——源自关于存在意义的终极拷问，源自生与死，以及灵魂在两者之间的激烈斗争——所进行的永不停息的探索。那正是《帕西法尔》中的瓦格纳式的斗争，它仿佛在Schunke的音乐里重现——即使他并非有意指向这个歌剧本身，也至少是重临了与之相同的境地……

当这样的音乐被创造出来，你去观察创作者的思想是如何渗透到整个乐队的表演之中的，结果往往令人惊异。在这方面，无论是对本性热情洋溢的打击乐手Diego Pinera，还是对萨克斯风手Dan Freeman，Sebastian Schunke强悍的领导力在每个乐队成员的演奏上都产生了深刻的影响；而这几位音乐家能够采纳与他们的乐队领袖Schunke一致的态度，本身就足以证明Schunke对乐队的控制力，及其音乐的庄严本质。但这并不代表Schunke是个独裁者，恰恰相反，他给予每个成员充裕的个人表达空间。低音提琴手Marcel Krömker不断飙升的创造力便是最好的证明，其它成员亦然，萨克斯手Dan Freeman更是如此。

透过这几位各不相同的音乐家的即兴创作，Schunke稳健的领导力确保了在整张精彩绝伦的专辑中，他作曲的这些出色作品的完整性得以完好地保留。”（加拿大乐评人Raul da Gama）

Since more than 12 years the Sebastian Schunke Group has formed an energetic part of the international jazz scene. Based in Berlin, Sebastian Schunke is one of the young leading jazz composers and pianists worldwide. As a soloist and with his group he always creates a fresh and totally new sound, unifying the modern Berlin jazz with African and Latin American elements. Sebastian Schunke brings together international known jazz musicians coming from different cultures: Paquito D’Rivera, Antonio Sanchez, Dafnis Prieto, John Benitez, Yosvany Terry, Richie Flores or Pernell Saturnino were part of his group and contributed to his unique sound. With 6 international acclaimed CDs and several tours to Asia, Latin America, Europe and the US, Sebastian Schunke has achieved a strong name in the jazz community.

The most important Latin jazz platform, Latin Jazz Network, elected their 2011 album “Life and Death” as one of the best CDs of the year and in addition called the band the “most innovative latin jazz band existing”:

“As a composer, Sebastian Schunke displays depth of vision and thoughtfulness to the extent that he emerges as a philosophical abstract impressionist. If this sounds convoluted it is because Schunke has developed an extremely complex and deeply emotional style for this album. The vagaries of life weight heavily on the dynamics and expression of his playing. There is a sense that he has revisited Claude Debussy and Maurice Ravel. This has led to a highly impressionistic program, marked by modalism, as incessant probing of the tonal richness of notes; the nuanced effects of dense harmonies on musical meaning and a highly complex musical argument that stems from questions about existential angst, life and death and the spiritual battle that rages between both. This is the kind of Wagnerian battle that rages in Parsifal and it appears that Schunke might have revisited — if not the opera itself, then at least its critical orientations…

When music such as this is created it is always amazing to note how the mind of its creator permeates the performances of his ensemble. Sebastian Schunke’s robust leadership has had a marked influence on this aspect of the playing of all of his team — from the otherwise ebullient percussionist Diego Pinera to saxophonist, Dan Freeman. That these musicians were able to adopt the same attitude to the music as their leader, Schunke, is a testament to the control Schunke has over his ensemble and majestic nature of the music as well. This does not mean that Schunke is dictatorial; quite the contrary, he leaves much room for individual expression. Proof of this is the soaring creativity of bassist, Marcel Krömker as well as the other musicians, especially the saxophonist, Dan Freeman too.

Through all of the improvising by the various musicians, Schunke’s steadfast leadership ensures that the integrity of his significant compositions remain intact throughout this extraordinary album.” (Raul da Gama, Canada)

*Supported by the Initiative Musik Non-profit Project Company Ltd. with project funds from the Federal Government Commissioner for Culture and Media on the basis of a resolution passed by the German Bundestag.  

更多信息 More Information

网站 Website

www.sebastianschunke.com

脸书 Facebook

www.facebook.com/sebastian.schunke.52

视频 Videos

Sebastian Schunke’s Genesis Mystery and Magic “Song for Antje”

v.qq.com/x/page/k0326qt4z92.html

Sebastian Schunke´s Genesis. Mystery and Magic “Ella”

v.qq.com/x/page/m03260thx36.html

Sebastian Schunke´s Genesis.Mystery and Magic “Mouvement”

v.qq.com/x/page/z03266ds391.html

20141030 Sebastian Schunke柏林四重奏

v.qq.com/page/h/n/o/h0140qi28no.html

意大利 Italy

场地 Venue

华侨城创意文化园北区B10现场 B10 Live, North District of OCT-LOFT

演出者 Artists

Fabio Mina – 长笛 Flute / 杜杜克笛 Duduk / 管乐器 Winds / 电子设备 Electronics

Peppe Frana – 电乌德琴 Electric Oud / 电子设备 Electronics

Marco Zanotti – Bombos Legüeros[1] / Calebasse[2] / 巴西铃鼓 Pandeiro / Kamale N’goni[3] / 拇指琴 Mbira / 电子设备 Electronics

摩斯拉（Mothra）是一种巨型的蛾，日本电影里体型惊人的和平之神，1961年首现于银幕。摩斯拉只会在环境遭到破坏，或者它亦敌亦友的哥斯拉变得邪恶时，才会展现其毁灭性的力量。它的翅膀本是难以名状的轻盈的象征，此时却变成制造飓风的致命武器。

蛾，脆弱的象征，却蕴含着无法阻挡的强大力量——三位音乐人的音乐之中便渗透了这种反差，他们通过相互聆听与即兴而不断产生变化，既可以精致而内省，又可以狂暴而外放。

三位成员所能演奏的乐器都不仅限于欧洲范围：Mina不仅演奏长笛，也擅长班舒李笛[4]、杜杜克笛、Danmoi[5]和Fujara[6]；Zanotti负责打击乐，也演奏一些来自非洲的其它乐器，如拇指琴和Kamale N’goni，又或是安第斯的鼓和各类物件；Frana演奏土耳其乌德琴，尤其是它的一种插电版的变体，同时也演奏长笛、阿富汗Rabab[7]以及其他弓弦乐器。

这支三重奏尽情地探索着电声音乐的领地，并利用效果器、loop和现场电子乐，不断拓宽声音的可能性。

[1] Bombo legüero：一种源自阿根廷、声音低沉的鼓。

[2] Calebasse (Calabash)：非洲音乐中一种用半边干制的葫芦制成的体鸣打击乐器，以手掌、手指、手腕或物件击打而产生多种不同的声音。

[3] Kamele N’goni：N’goni（Ngoni）是一种源自西非的弦乐器，三种主要的类型分别为Djeli、Donso和Kamale。Kamele N’goni，“年轻人的竖琴”，比传统N’goni小且高四度，通常为葫芦制而非木制，有八弦、十弦或十二弦。该乐器兴于马里Wassoulou地区，在80、90年代Wassoulou音乐的蓬勃发展中扮演了重要的角色。

[4] 班舒李笛（Bansuri）：一种源自亚洲南部的横笛，以整根空心竹管制成，有6到7个指孔。

[5] Danmoi（Đàn môi）：一种被广泛使用于越南少数民族群体的传统乐器，类似口弦，但并不同于口弦以牙齿抵住乐器进行演奏，而是以舌头。

[6] Fujara：斯洛伐克中北部山区牧羊民族特有的一种大型超低音泛音竖笛。

[7] 阿富汗Rabab（亦作rubab、robab）：一种源自阿富汗中部的短颈双箱弹拨乐器，独特的形状和拥有和声弦为其显著特征。

Mothra is a giant moth, the monstrous God of peace of the Japanese cinema, appeared on the screens in 1961. It reveals its devastating powers only when its environment is violated or when his friend/enemy Godzilla becomes evil. Its wings, symbol of an intangible lightness, are transformed into lethal weapons with which gives rise to hurricanes.

A moth as a symbol of fragility that can unleash an irrepressible force: the three musicians combine these contrasts through music in a constantly changing that, through mutual listening and improvisation, can be delicate and introspective but also furious and release.

The three of them are joined by extra-European musical approaches: Mina plays flute but also bansuri[4] flute, duduk, danmoi[5], fujara[6]; Zanotti plays percussions and other instruments from Africa like mbira and kamale n’goni, Andean drums and objects; Frana plays turkish oud, in particular an electric variant as well as the lute, Afghan rabab[7] and other plectrum instruments.

The trio explores electroacoustic territory extending the sonic possibilities of their instruments with effects, loops and live electronics.

[1] Bombo legüero: An Argentine drum with a sound of deep and dark.

[2] Calebasse (Calabash): In African music, the calabash is a percussion instrument of the family of idiophones consisting of a dried half of a large calabash, which is struck with the palms, fingers, wrist or objects to produce a variety of percussive sounds.

[3] Kamele N’goni: The ngoni or “n’goni” is a string instrument originating in West Africa. There are three main types, the djeli, the donso and the kamale. The kamale n’goni or “young man’s harp”  is smaller than, and tuned a fourth higher than, the traditional ngoni, often made of calabash rather than wood, and has eight, ten or twelve strings. It became popular in the Wassoulou region and contributed to the rise of Wassoulou music in the 1980s and 1990s.

[4] Bansuri: A transverse flute of South Asia made from a single hollow shaft of bamboo with six or seven finger holes.

[5] Danmoi (Đàn môi): A traditional musical instrument widely used in minority ethnic groups in Vietnam. It is somewhat similar to the jaw harp but rather than being played against the teeth, the danmoi is played against the lips.

[6] Fujara: A large sophisticated folk shepherd’s overtone fipple flute originated in central Slovakia. It is technically a contrabass in the tabor pipe class.

[7] Afghan rabab (rubab, robab): A short-necked double-chambered plucked lute originated from central Afghanistan. The most distinctive features are its unique shape and in having sympathetic strings.

更多信息 More Information

网站 Website

www.fabiomina.it

视频 Videos

MOTHRA

v.qq.com/x/page/u0326ekg040.html

trio Mothra, a first contact

v.qq.com/x/page/c0326la4mdp.html

MOTHRA live at L’Amor Mio Non Muore

v.qq.com/x/page/v0326f4snvv.html