……

日本 Japan



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


类家心平 Ruike Shinpei – 小号 Trumpet
田中拓也 Tak Tanaka – 吉他 Guitar
中岛锭二 George Nakajima – 钢琴 Piano / 键盘 Keyboards
铁井孝司 Koji Tetsui – 贝斯 Bass
吉冈大辅 Daisuke Yoshioka – 鼓 Drums

去年的OCT-LOFT爵士音乐节上最让我们难忘的时刻之一，便是山下洋辅为我们带来的火焰一般热烈的钢琴演奏，而在这火焰旁飞舞的，还有类家心平那把金色小号发出的耀眼闪光。这位倍受山下洋辅喜爱的小号手，是当今日本最顶级的年轻爵士乐手之一，此次他将带领自己的五重奏RS5pb（Ruike Shinpei 5 Piece Band）再次登上OCT-LOFT爵士音乐节的舞台，为我们带来承前启后的日本爵士之声。
类家心平1976出生于日本青森县八户市。最初他在学校的铜管乐队里演奏小号，后来在Miles Davis的影响下喜欢上了爵士乐。2004年，他作为即兴乐队urb的成员正式出道。2006年，类家心平与Hakuei Kim、铁井孝司、吉冈大辅组建了“类家心平 4 Piece Band”，主要演奏其原创曲目，并活跃东京和横滨的各个音乐现场的舞台上。2009年，“类家心平 4 Piece Band”首张专辑由Rambling厂牌发行，专辑名《DISTORTED GRACE（扭曲的优雅）》也成为了乐队日后的核心理念。
2011年，类家心平发行了第二张专辑《Sector b》，由日本著名萨克斯手/歌手菊地成孔担纲制作，里面还收录了类家心平重新编曲演绎的Lady Gaga的《Poker Face》。类家心平也是菊地成孔Dub-Sextet、dCprG，以及由前Beat Crusaders成员Keitaimo主导的WUJA BIN BIN等乐队的成员，以及著名摇滚乐队Luna Sea吉他手Sugizo的合作乐手。
2012年，乐队受邀参加日本南乡夏季爵士音乐节期间，吉他手田中拓也加入了乐队，中岛锭二代替Hakuei Kim成为新的键盘手。由此，“类家心平 4 Piece Band”进化为五重奏乐队，以RS5pb为名继续活动。
2016年，乐队首次以五人阵容发行了录音室专辑《UNDA》，并在亚马逊网站的日本爵士乐销量榜上获得第一。专辑封面标题由日本新锐书法家白石雪妃题字，曲目之一《DANU》的MV则邀请了日本UK Jazz Dance先锋舞者Yoco出演，实现了多种艺术形式的完美交融。类家心平也一直在尝试涉猎不同的艺术领域，包括为动画电影《坂道上的阿波罗》演奏小号。

One of the most unforgettable moments of last year’s OCT-LOFT Jazz Festival would be Yosuke Yamashita’s the burning passionate piano performance, and alongside the maestro, Ruike Shipei’s dazzling trumpet playing was not in the least dimmed. Ruike Shipei now as one of the top young jazz player in Japan was specially selected by Yosuke Yamashita himself. Along with his quintet RS5pb (Ruike Shinpei 5 Piece Band), for the second time he will be on the stage of OCT-LOFT Jazz Festival to present us the finest sound of Japanese jazz music.
Ruike Shinpei was born in Hachinohe Aomori, Japan in 1976. He played trumpet in his school’s brass band and later became attached to jazz music under the influence of Miles Davis. In 2004, he officially debuted as a member of the improv band urb. In 2009, Ruike Shinpei formed “Ruike Shinpei 4 Piece Band” with Hakuri Kim, Koji Tetsui and Daisuke Yoshioka, mainly playing his original work and was actively performing in livehouses in Tokyo and Yokohama. Their first album was released by Rambling Records in 2009 and the title of the album, DISTORTED GRACE, has thereby become the band’s core aesthetics concept.
Ruike Shinpei released his second album “Sector b” in 2011, which was produced by Japanese renowned saxophone player / singer Naruyoshi Kikuchi, and it included Ruike Shinpei’s rearranged version of Lady Gaga’s “Poker Face”. Meanwhile Ruike Shinpei is a member of Naruyoshi Kikushi Dub-Sextet, DCPRG, Keitaino (former member of Beat Crusaders)’s band WUJA BIN BIN, and etc. He also co-works with the famous rock band Luna Sea’s guitarist Sugizo.
In 2012, the band was invited to perform at Nango Summer Jazz Festival, during which guitarist Tak Tanaka joined the band and George Nakajima was replaced Hakuri Kim as the new keyboard player. Hence “Ruike Shinpei 4 Piece Band” has grown into a quintet band and been active as “RS5pb”.
In 2016, the band published their first studio album UNDA as a five piece group and it soon topped Amazon Best Sellers chart in Japanese jazz music section. The album sees a perfect integration of various art forms – its cover featured Japanese new prominent calligrapher Setsuhi Shiraishi’s inscription work and Yoco as one of the top dancers of UK Jazz Dance in Japan starred in the MV of one of tracks, DANU. It was a perfect integration of various art forms. Ruike Shinpei too has been trying to dip into other different artistic fields, such as involving his trumpet playing in the animation “Kids on the Slope”.

更多信息 More Information
http://ruike.daa.jp/

俄罗斯 Russia / 爱沙尼亚 Estonia / 瑞典 Sweden

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

Alexey Kruglov – 萨克斯 Saxophones

Jaak Sooäär – 电吉他 Electric Guitar

John Rickard Malmsten – 贝斯 Bass

Tanel Ruben – 鼓 Drums


俄罗斯萨克斯奇才Alexey Kruglov联手由Jaak Sooäär领衔、爱沙尼亚最具实力的爵士三重奏，将传奇的19世纪俄罗斯作曲家们的经典作品进行全新演绎，为我们带来最令人兴奋的东欧爵士之声！
Alexey Kruglov曾被英国杂志《Jazzwise》称为“爵士的未来”。他作为“俄罗斯新音乐之父”Vyacheslav (Slava) Ganelin领衔的新加列宁三重奏的萨克斯手，曾于2014年献演于第四届OCT-LOFT国际爵士音乐节。
Jaak Sooäär 1972年出于爱沙尼亚首都塔林，自2001年起在爱沙尼亚音乐与戏剧学院爵士乐系教授吉他与合奏技巧，并在2010年升为教授。2004年，他成立了爱沙尼亚爵士乐协会，致力于在本土推广爵士乐，并将爱沙尼亚爵士推向世界。
Alexey Kruglov / Jaak Sooäär四重奏成立于2010年4月，乐队在爱沙尼亚首次巡演的最后一场现场被录制成专辑《Karate》，在英国著名厂牌Leo Records发行。此后，乐队便在俄罗斯、爱沙尼亚和芬兰进行的大量演出，献演于各大音乐节，包括爱沙尼亚的Jazzkaar音乐节、IDee爵士音乐节和Sõru爵士音乐节，俄罗斯的阿尔汉格尔斯克爵士音乐节和雅罗斯拉夫尔爵士音乐节等。乐队的最新专辑《The Mighty Five》，包含了以下这些19世纪俄罗斯传奇作曲家的作品：穆索尔斯基（《图画展览会》中的三个部分）、里姆斯基-科萨科夫（《舍赫拉查德》、《野蜂飞舞》）、鲍罗丁（歌剧《伊戈尔王子》中两个段落）和巴拉基列夫（《升F小调夜曲》）等。这些经典名作中的和声以及各异的形式，对当代爵士即兴来说都是非常启迪灵感的素材，原作中强烈而震撼的旋律放诸当代语境，也依然出彩。

The Russian saxophone whizz-kid Alexey Kruglov unite forces with the best Estonian jazz trio lead by Jaak Sooäär, bring us the most exciting sound from Eastern European jazz based on the works of legendary 19th century Russian composers.
Alexey Kruglov, who has been dubbed as “the future of jazz” by the British magazine Jazzwise, is the member of the new Ganelin Trio and performed with Vyacheslav (Slava) Ganelin(honored as the “Father of Russian New Music”) in the 4th OCT-LOFT Jazz Festival.
Jaak Sooäär (b. 1972) was born in Tallinn, Estonia. He has been teaching the guitar and ensemble at the Jazz Music Department of the Estonian Academy of Music and Theatre since 2001, and was nominated a professor in 2010.In 2004, he established Estonian Jazz Union which has since then very successfully promoted jazz in Estonia and Estonian jazz abroad.
The Alexey Kruglov-Jaak Sooäär Quartet was established in April 2010. The final concert of their first tour in Estonia was recorded and became an album Karate released by renowned British label Leo Records. Since then the quartet has performed numerously in the Russia, Estonia and Finland (also at Jazzkaar Festival, IDee Jazz Festival, Arkhangelsk Jazz Festival, Yaroslavl Jazz Festival, Sõru Jazz etc.). The last album of the quartet The Mighty Five consists of masterpieces by legendary 19th century Russian composers Mussorgsky (three parts from “Pictures At An Exhibition”), Rimsky-Korsakov (“Scheherazade” and “Flight of The Bumblebee”), Borodin (two numbers from opera “Prince Igor”) and Balakirev (“Nocturne In F-sharp Minor”). The original harmonies and forms of these known pieces is a very inspirational material for today’s jazz improvisation – originally extremely strong melodies sound very well in the context of today’s sound.

更多信息 More Information
http://www.alexkruglov.ru/

德国 Germany

场地 Venue
华侨城创意文化园北区A3+ A3+, North District of OCT-LOFT

影片信息 Movie Information
录像 Video Recording：Dagmar Gebers
音效 Sound：Jost Gebers
剪辑 Edit：Bernhard Arndt
出版 Publishing：FMP-Publishing
时长 Length：75 分钟 75 mins
年份 Year：1988
语言 Language：英语 English
字幕 Subtitle：英语 English

“最美的人离去了。那88调的鼓（指Cecil Taylor弹奏的钢琴）沉寂了，自由爵士的最后一位开拓者也已不复存在了……Cecil，再见。”
—— Martin Schray，前卫自由爵士博客《The Free Jazz Collective》，2018年4月6日

这部影片记录了Cecil Taylor 1988年在柏林的完整独奏现场，后被德国自由爵士厂牌FMP以《Erzulie Maketh Scent》之名出版。
Cecil Taylor（1929-2018）在纽约州皇后区的科罗纳社区长大。大半个世纪以来，他一直是自由爵士与前卫音乐的先锋与标志性人物。作为一股从未妥协的创作力量，早从他50年代最早期的录音作品开始，他就坚定地宣示着其自我存在与个人经验。60年代，Cecil Taylor的作品成为了一面旗帜，与John Coltrane、Ornette Coleman一同成为逐渐发展壮大的“自由爵士”运动最主要的力量。这一运动撼动了沉睡的爵士乐的根基，是音乐史上的一个重要转折点，它挑战了其固有的音乐的形式结构和音调和声系统。
Taylor的弹奏技巧异常复杂精妙。《纽约时报》的John Rockwell这样描述他1981年在公共剧院的一场演出：“他的艺术风格哪怕是在伟大的古典音乐家面前也无需低头。他以紧凑且暴烈的姿态演奏，充斥着狂热锤击的段落、不协调的和声语言和令人惊异的结构密度。其结果与五六十年代的高度理性的经典前卫主义有着奇妙的类似，也正是在那段时期，Cecil Taylor走到了爵士的最前沿。而与那种前卫主义的大多数相比，他的音乐更加迷人、有力而激情四溢。”
1988年6月17日到7月17日，Cecil Taylor在西柏林进行了整整一个月的演出，让他有充分的空间展示自己的每一个面向：或是独奏的洞见者，或是与一流音乐家即兴合奏的心电感应者，又或是大乐队和交响乐团的领导者。参与演出的音乐家名单里，不乏Han Bennink、Dreke Bailey、Evan Parker、William Parker、Günter Sommer、Louis Moholo和Peter Brötzmann这些响当当的名字……
这些历史性的演出，被FMP完整地录了下来，并于1989年出版为11CD的《Cecil Taylor In Berlin ’88》套盒，全球限量1000套。除了专辑，套盒还包含一本187页的精美册子，里面收录了大量演出的照片和音乐分析。《Erzulie Maketh Scent》即是其中的最后一张专辑，记录了Cecil Taylor 1988年7月16日在柏林国会大厅超过1小时的独奏演出。《Cecil Taylor In Berlin ’88》可能是爵士乐的历史上具冲击力的个人阶段性作品集。

关于FMP
FMP，即Free Music Production（自由音乐唱片），是自由爵士和即兴音乐历史上最具代表性与影响力的厂牌之一。FMP诞生于1969年，由Jost Gebers和Peter Brötzmann创立；1972年至1976年间，两位创始人与Peter Kowald、Detlef Schönenberg和Alexander von Schlippenbach共同运营；1976年至今由Jost Gebers单独负责。FMP出版了无数音乐巨擘的先锋作品，包括Cecil Taylor、Peter Brötzmann、Evan Parker和Steve Lacy等，它聚焦于毫不妥协的、纯粹的自由爵士，亦关注那些到批判与挑战传统的独特声音。
呈现与记录，事实上是FMP最关键的工作。Jost Gebers希望以最佳的演出条件、最棒的阵容和尽可能最好的录音设备等，呈现与记录国际自由爵士的现状与发展状态。这一自发的使命，在1978年第一次变得清晰起来：那一年，FMB给了自己一份“生日礼物”——一份3LP套盒，附以详尽记录了FMP及其项目的册子。而在1988年——柏林成为“欧洲文化之都”的那一年，FMP则更加坚定了自己的使命：它没有错过那珍贵的机会，完整地记录下Cecil Taylor一个月逗留期间阵容强大、形式多样的一系列演出，最终打造出这一最为独特的作品集——《Cecil Taylor In Berlin ’88》。

“The beautiful one has gone. The eighty-eight tuned drums have become silent. The last great founding father of free jazz isn’t here anymore… Goodbye, Cecil.”
– Martin Schray, The Free Jazz Collective, April 6, 2018

This is a video recording Cecil Taylor’s complete solo performance released as Erzulie Maketh Scent.
Cecil Taylor (1929 – 2018) was raised in Corona, Queens in New York City. He was a pioneer of free jazz and icon of the avant-garde for more than half a century. He was an uncompromising creative force and a testament to his own existence and personal experience since his earliest recordings in the 1950’s. In the 1960’s, his music would become a leading exponent, along with that of John Coltrane and Ornette Coleman, of the budding “free-jazz” movement. This movement shook the very foundations on which jazz music was securely resting and marks a major turning point in the history of the music that challenged the structures of form and the tonal harmonic system.
Taylor’s playing has always been technically sophisticated. The New York Times’John Rockwell once described Taylor’s aesthetic in a 1981 review of a Public Theater concert, “He has developed a style that needs in no way bow before the techniques of the great classical virtuosos. His playing is tense and crabbed in posture, full of feverishly hammering passages, dissonant harmonic language and a quite remarkable density of texture. The effect is curiously similar to the densely cerebral classical avant-gardism of the 1950’s and 60’s, the period in which Mr. Taylor came to the fore in the world of jazz. To this taste, his music is more inviting than most of that avant-gardism – more energetic and passionate.”
It was a month-long residency in West Berlin, From June 17 to July 17, 1988, which afforded Cecil Taylor time to perform in all of his guises — as a solo visionary, as a telepathic improviser playing next to a wide variety of top-shelf duo partners, and also as a big-band and orchestra leader. Artists who gave performances there included Han Bennink, Dreke Bailey, Evan Parker, William Parker, Günter Sommer, Louis Moholo, Peter Brötzmann and many more.
Erzulie Maketh Scent, Cecil Taylor’s solo piano performance recorded on July 16, 1988 at the Kongresshalle Berlin, is the closing disc of Cecil Taylor In Berlin ’88, a monumental achievement consisting of 11 CDs and a 187-page booklet with numerous photographs from the various concerts and various analyses of the music, produced in a limited edition of 1000 copies world-wide and released by German free jazz label FMP in 1989. Cecil Taylor In Berlin ’88 is maybe the most impressive documentation of the work of a single musician at one particular point in time, in Jazz.

About FMP
FMP, aka Free Music Production, is one of the most iconic and vital imprints in the history of free jazz and improvisation. The label was founded in 1969 by Jost Gebers and Peter Brötzmann. From 1972 – 1976 it was run by the collective of Brötzmann, Gebers, Peter Kowald, Detlef Schönenberg and Alexander von Schlippenbach. From 1976 onwards Jost Gebers was solely responsible for FMP. FMP has released reams of pioneering records by titans including pianist Cecil Taylor and saxophonists Peter Brötzmann, Evan Parker, and Steve Lacy. The range of music represented on FMP ranges from hard-core, “uncompromising“ free jazz via sound tinkering through to the critical-ironic handling of the tradition or traditions. 
Presentation and documentation, were in fact the most important lynchpins of FMP’s work：Jost Gebers wanted to present and document the status quo and the development of international free music: under the most favorable concert conditions, the most favorable line-ups, the best possible recording equipment etc. This self-assigned task of documentation first became evident in 1978 when FMP gave itself a kind of birthday present in the form of a three LP set and a detailed booklet documenting FMP and its projects. However, this task was to become even clearer in 1988, the year Berlin was the “European Capital of Culture”. FMP was to take advantage of the month-long stay of the pianist Cecil Taylor, with concerts in the most diverse line-ups, creating a unique documentation which resulted in the “Cecil Taylor In Berlin ’88”.

更多信息 More Information
http://www.fmp-label.de/