Steve Kuhn Trio -Pavane for a Dead Princess 死公主的孔雀舞 [WV]

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资源信息： 专辑中文名: 死公主的孔雀舞 歌手: Steve Kuhn Trio 音乐风格: 爵士 资源格式: WV 发行时间: 2006年05月29日 地区: 日本 语言: 英语 概述:

专辑类型：Jazz, Post-Bop, Hard Bop 发行厂牌：Venus Records 专辑目录：TKCV-35361 专辑时长：70:38 min 专辑介绍： 这款《死公主的孔雀舞》就是Venus Records限量24K纯金版CD系列其中之一，由爵士钢琴大师史帝夫.库恩领衔的三重奏演出灌录。

史帝夫.库恩（Steve Kuhn）生于1938年，5岁学钢琴，13岁正式演出。21岁他从哈佛大学毕业，后与Kenny Dorham，John Coltrane，Stan Getz等合作，并磨练技艺。六十年代中期他在欧洲大陆四处表演录音，1971年回美国并开始为ECM录制独奏或领奏，同期与Sheila Jordan合作。 史帝夫.库恩出身美国东岸，曾受教于上低音萨克斯风手Serge Chaloff的母亲，担任钢琴教师的Chaloff夫人。在McCoy Tyner加入之前，擅长演奏调式爵士（Modal Jazz）风格的史帝夫.库恩曾经担任John Coltrane四重奏的钢琴手，也是这个乐团唯一的白人乐手。史帝夫.库恩早年曾为Kenny Dorham、Art Farmer、Stan Getz等人效命，以演奏精纯咆勃风格的爵士乐为主。七十年代以后，史帝夫.库恩为ECM录制了不少代表性作品，在这些专辑中他尝试演奏电子琴，将古典和即兴音乐于一炉。 这张唱片大概是Venus Records创立以来最特殊的作品，古典乐迷看见标题一定能理解，这张是以古典小品的演奏的专辑。 主奏钢琴手史帝夫.库恩的古典素养肯定相当深厚，才能够将这些古典作品改编为爵士乐演奏。对于同时涉略古典与爵士乐的乐迷来说，聆听这样的作品特别能够感受到深刻的趣味。其实仔细想想，爵士乐手们习惯将经典歌曲、民谣等改编即兴挥洒的爵士乐，那么改编旋律优美、传世达百年以上的古典音乐旋律，不就更符合爵士音乐纳百川兼容并蓄的特性。 让我们来看看改编的名单。很有趣的，史帝夫.库恩的选曲完全抦弃巴洛克时代，而从浪漫派末期的肖邦「幻想练习曲」开始。肖邦是本次唯一三首入选的作曲家，另外还有他的「降E大调小夜曲」与「E小调前奏曲」。考虑到史帝夫.库恩自己演奏钢琴的背景，这应该是非常合理的选择。接下来的作曲家则清一色是国民乐派时期，包括拉威尔的标题曲「死公主的孔雀舞」、德布西的「梦」两首法国作品；柴可夫斯基的「第五号交响曲第二乐章」、「天鹅湖」；拉赫曼尼诺夫的「第二号钢琴协奏曲」、佛瑞的「舞曲」以及布拉姆斯的「摇篮曲」等等。国民乐派的作品通常旋律极为优美，因此被改编的几率本来就比较大些。 史帝夫.库恩改编并非只是单纯的重复耳熟能详的旋律，而是把这些曲子优雅的**进行融入爵士乐的节奏与即兴中，让古典的旋律能够在爵士的包装下带来新的生命。史帝夫.库恩自己在五岁就开始接触古典钢琴严格训练，因此对于古典音乐的熟练程度当然比起一般爵士音乐家更胜一筹。 三重奏的两个成员David Finck在Chesky公司已留下许多著名的发烧演出，而Billy Drummond也常出现的固定班底。三个人的精彩演出替Venus Records唱片公司留下这张与众不同的专辑。毫无疑问的，本片也理所当然的获得日本权威爵士杂志Swing Journal金唱片大赏。

By Ken Dryden at All Music Guide He began studying piano at the age of five and studied under legendary Boston piano teacher Margaret Chaloff, mother of jazz baritone saxophonist Serge Chaloff, who taught him the "Russian style" of piano. At an early age he began improvising classical music. As a teenager he appeared in jazz clubs in the Boston area, gigging with the likes of Coleman Hawkins, Vic Dickerson, Chet Baker, and Serge Chaloff. He graduated from Harvard and attended the Lenox School of Music where he was associated with such other future jazz masters as Ornette Coleman, Don Cherry, and Gary McFarland, with a supportive faculty that included George Russell, Gunther Schuller, the Modern Jazz Quartet members, and Bill Evans. This allowed Mr Kuhn to play, study, and create with some of the most forward-thinking innovators of jazz improvisation and composition, culminating with his joining trumpeter Kenny Dorham's group for an extended time and then John Coltrane's quartet. Pianist Steve Kuhn, accompanied by David Finck ((bass)) and Billy Drummond ((drums)), explore classical works by a number of top composers from the 19th and 20th centuries on this Japanese release, though they are used as a launching pad for improvisation. Maurice Ravel's "Pavane for a Dead Princess" is recast as a soft samba, also incorporating a bit of an earlier standard that was derived from the French Impressionist's piece, "The Lamp Is Low." Chopin is obviously one of Kuhn's favorite classical composers, as three of his features, highlighted by a dreamy setting of "Nocturne in E Flat Major, Op. 9, No. 2." He brightens the tempo of Claude Debussy's "Reverie" while retaining its lyricism, while slowing Johannes Brahms' "Lullaby" to a crawl and demonstrating how a master jazz pianist utilizes space as an element of improvisation. Classical purists are always upset with jazz arrangements of "their" music, but anyone who loves both musical worlds will appreciate Steve Kuhn's thoughtful arrangements of music that has easily stood the test of time. By Dr. Judith Schlesinger at AllAboutJazz.com Anything that pianist Steve Kuhn does is likely to be beautifully executed and tasteful, and Pavane for a Dead Princess is no exception. Here, he and his empathic collaborators David Finck (bass) and Billy Drummond (drums) address themselves to the stock classical repertoire, jazzing up eleven popular pieces from Debussy, Rachmaninov, Tchaikowsky, Grieg, Brahms and Chopin. (There are actually two "Pavane"s—the title track, by Ravel, and Faure's version.) The result is nothing less than terrific. These are not classical melodies sitting stiffly on a jazz beat; instead, the trio digs deep into the structure of these well-worn compositions and thoroughly explores and expands them. Who knew "Swan Lake" or "Fantasy Impromptu" could swing like that? Or that Brahms's treacly "Lullaby" would make such a moving ballad? Listeners familiar with this music in its original form will get the biggest kick out of this release, and those who've been intimate with Chopin's piano scores will especially appreciate the brilliance of Kuhn's improvisations. But any listener can enjoy what happens to strong, beautiful melodies in expert hands like these. The recording is clear and warm, the pacing ideal. The musicians are in peak form, sounding positively inspired, and they swing like mad. What a delight! Personnel: Steve Kuhn (p) David Finck (b ) Billy Drummond (ds) Recorded: NYC, Aug. 18 & 19, 2005

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