明晚,Tetuzi Akiyama & Giovanni Di Domenico / Peter Brötzmann三重奏

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①Name ②Phone number ③Date of the concert ④Quantity of tickets
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Tetuzi Akiyama & Giovanni Di Domenico

日本 Japan / 意大利 Italy

時間 Time

2015.10.18 20:00 - 21:00

場地 Venue

B10現場 B10 Live

演出者 Artists

秋山徹次 Tetuzi Akiyama - 電吉他 Electric Guitar / 改良循環磁帶 Modified Tape Loop

Giovanni Di Domenico - 鋼琴 Piano / 電鋼琴 Fender Rhodes




Tetuzi Akiyama - Sound @ the Schindler House


Tetuzi Akiyama


1964年4月13日生於東京。他善於利用吉他的特質,通過與自己內心深層的欲望進行對話,創作出兼具原始主義與寫實主義元素的音樂,並往往以一種盡可能簡練而直接的方式呈現出來。時而細致優雅,時而大膽狂放,從微小到宏大,他自如地控制著音量,試圖將自己的身體也轉換成一個電子實體。





Giovanni Di Domenico SOLO @ Inage Candy


Giovanni Di Domenico


“Giovanni Di Domenico用禪宗大師的靜心和靜思在演奏。”

——Tony Herrington,雜誌《The Wire》


Giovanni Di Domenico,1977年出生於羅馬,鋼琴家、表演者、作曲家。


他的父親是被派駐海外的土木工程師,在十歲以前他都隨父在非洲生活。他在利比亞生活至5歲,後移居喀麥隆生活了3年,而後再遷至阿爾及利亞生活直到10歲。由於他遠離故鄉,生活中並沒有遇到太多社會動蕩,反而是歌劇詠嘆調給他和他的兄弟姐妹們留下了深刻記憶。他們自幼吟唱,既可以學習語言,又是一項很好的家庭娛樂活動。自小在國外生活的經歷對他的成長有著深刻的影響,他能夠清晰地回憶起這些聲音:宣禮吏在宣禮塔上唱的召禱歌,召集信徒做禱告的呼喚;從當地市場傳來的異國樂器的聲音;彌漫在雅溫得(Yaoundé, 喀麥隆首都)街道的宗教儀式音樂;從喀麥隆保姆口中聽來的當地歌謠……




Giovanni Di Domenico進入音樂學院後主修爵士鋼琴,繼續塑造和磨練他熟練高深的技巧。他在節奏、和聲和音調上雖受到非西方傳統的影響,但也同樣對這些有著敏感的觸覺:德彪西(Debussy)的《前奏曲(Préludes)》、貝裏奧(Luciano Berio)的《模進(Sequenzas)》、Borah Bergman在Soul Note廠牌下的作品中展示的ambi-ideation技巧,Cecil Taylor密不透風的瘋狂演奏,以及Paul Bley那布滿傷痕的透明感,當然,還有那些來自地下流行樂的最激進的表現……這些都深刻地影響了他個人的創作。在他的身上,有著一種具有時代意義的特質,而近年來他也與眾多擁有著相同特質的優秀音樂家進行過合作,包括Nate Wooley、Chris Corsano、Arve Henriksen、Jim O’Rourke、阪田明(Akira Sakata)、Alexandra Grimal、秋山徹次(Tetuzi Akiyama)、João Lobo和中村延和(Toshimaru Nakamura)等。



他建立了自己的唱片品牌Silent Water,致力於創作和發行電子及其他風格多元的音樂。他現居於布魯塞爾。


Silent Water是一個只發行黑膠唱片的廠牌,由Giovanni Di Domenico在2012年創辦。廠牌(現今)專注在他最堅持自己風格和最不可被貼標簽的音樂產品上。制作上花費了許多精力在聲音與出版的質量上,並且每一張唱片都有其獨特之處,等待著被發掘!




Tetuzi Akiyama


Born in Tokyo, April 13, 1964.


Akiyama specializes in creating music with elements of both primitivism and realism by connecting his own aspirations, in a minimal and straightforward way, to the special instrumental qualities of the guitar. Sometimes delicately and sometimes boldly, he controls sound volumes ranging from micro to macro, in an attempt to convert the body into an electronic entity.



Giovanni在第四屆OCT-LOFT爵士節 攝影:@晏博Henry_Ian


Giovanni Di Domenico


Giovanni Di Domenico plays with the poise and logic of a zen master”

——Tony Herrington, The Wire


Pianist, performer, composer, was born in Rome on the 20th July 1977.


Following his father’s consecutive assignments as a civil engineer he actually lived out his first decade in Africa – until he was five in Libya, from then until his eighth anniversary in the Cameroons and until ten in Algeria. His far off native country was not synonymous with civil unrest as much as with opera, whose arias he would memorize with his siblings in order to practice the language and provide some family entertainment. The condition of expatriate had a strong influence on his education – he clearly remembers the calls of the muezzin, the sound of exotic musical instruments in local markets, the ritualistic expression music took in the streets of Yaoundé, or the songs he heard from his nanny in the Cameroons.


When he finally enrolled in music school — majoring in “jazz piano” — he further built on an encyclopedic technique; rhythm, harmony and tone are informed by non-western traditions yet equally sensitive to Debussy’s “Préludes”, Luciano Berio’s “Sequenzas”, to the “ambi-ideation” heard in Borah Bergman’s Soul Note recordings, Cecil Taylor’s polissemic density, Paul Bley’s bruised transparency and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis. A distinction – one would call it generational – he shares with many of the musicians he has crossed paths with recently, of which we could enumerate Nate Wooley, Chris Corsano, Arve Henriksen, Jim O’Rourke, Akira Sakata, Alexandra Grimal, Tetuzi Akiyama, João Lobo or Toshimaru Nakamura.


Di Domenico has founded his own label, Silent Water, home of an eclectic and occasionally unclassifiable production. He lives in Brussels.


Silent Water is a vinyl only label, started in 2012 by Giovanni Di Domenico. It focuses (at least for the moment) on his most uncompromising and unclassifiable music production. A great attention is spent on sound and pressing quality, and each release has it’s own special thing, to be discovered!


Tetuzi Akiyama

網站 Website

www.japanimprov.com/takiyama/

Giovanni Di Domenico

網站 Website

giovannididomenico.com/

www.silentwaterlabel.com/





Peter Brötzmann三重奏 Peter Brötzmann Trio

德國 Germany / 日本 Japan / 美國 U.S.A.

時間 Time

2015.10.18 21:20 - 22:20

場地 Venue

B10現場 B10 Live

演出者 Artists

Peter Brötzmann - 中音薩克斯 Alto Saxophone / 次中音薩克斯 Tenor Saxophone / 降B調單簧管 Bb-Clarinet / Tárogató

豐住芳三郎 Sabu Toyozumi - 鼓 Drums / 二胡 Erhu

Jason Adasiewicz - 顫音琴 Vibraphone




Peter Brötzmann & Sabu Toyozumi @ Inage Candy (2014)




Peter Brötzmann


Peter Brötzmann年輕時在伍珀塔爾學習油畫,並參加了激流派運動,但他對當時畫廊和展覽的狀況很不滿意。還在學校的時候,他經歷了第一次真正的爵士現場——美國爵士薩克斯手、單簧管手和作曲家Sidney Bechet的演出,並給他留下了很深的印象。


一開始他自學了很多種單簧管,後來又轉學薩克斯風,在演奏tárogató上也頗有造詣。低音提琴手Peter Kowald是他第一個合作的樂手。不過Brötzmann從來沒有放棄過藝術訓練,他的專輯封面大多數都是他自己設計的。




Brötzmann的第一張專輯《For Adolphe Sax》發行於1967年,他與Kowald和鼓手Sven-Åke Johansson合作完成。在歐洲政治動亂的1968年,專輯《Machine Gun》面世,這張八重奏唱片常被認為是最傑出的自由爵士專輯之一。1969年,Brötzmann攜參與《Machine Gun》的眾多音樂家——包括鼓手Han Bennink、鋼琴家Fred Van Hove和次中音薩克斯手Evan Parker,加上英國即興吉他手Derek Bailey,一起錄制了《Nipples》。他們的下一張唱片順理成章地叫作《More Nipples》,比前作更加刺耳。


因為多人樂團在運作巡演時都會因為陣容過於龐大遇到很多困難,因此Brötzmann逐漸把他的樂團縮減為與Han Bennink和Fred Van Hove合作的三重奏。前者還和Brötzmann合作了發行於1977年的《Schwarzwaldfahrt》,一張在德國黑林山的深林裏錄制的二重奏專輯——Brötzmann吹奏薩克斯,而Bennink用樹木和樹林裏找到的其他物件演奏打擊樂。




隨後Brötzmann也曾重走多人樂團之路。在1981年,他與薩克斯手Frank Wright、Willem Breuker,小號手近藤等則(Toshinori Kondo),長號手Hannes Bauer、Alan Tomlinson,鋼琴家Alexander von Schlippenbach,鼓手Louis Moholo和貝斯手Harry Miller一起做了一檔電台節目,該節目隨後被灌制成專輯《Alarm》發行。


Brötzmann一直保持著活躍度,定期舉行巡演和錄制唱片。他迄今以樂團領袖的身份發行了超過50張唱片,參與錄制的唱片數量則更多。




豐住芳三郎(Sabu Toyozumi)


1943年,豐住芳三郎在日本橫濱市鶴見區出生。1953年,10歲的豐住芳三郎加入一支儀仗隊(有橫笛和鼓)。4年後,他開始和朋友玩樂隊,那個時期他熱衷演奏各種不同的樂器。1960年,豐住芳三郎立誌成為職業樂手。


幾十年間,豐住芳三郎巡遊世界。周遊列國的歷練加上與國內保持密切聯絡令豐助芳三郎與許多傑出音樂家/藝術家都有過合作,其中包括吉沢元治(Motoharu Yoshizawa)、高柳昌行(Masayuki “Jojo” Takayanagi)、高木元輝(Mototeru Takagi)、Chales Mingus、Anthony Braxton、Alan Shorter、Rafael Garrett、詩人白石嘉壽子(Shiraishi Kazuko)、舞踏大師大野一雄(Kazuo Ohno)、Johannes Bauer、Peter Brötzmann、Hans Reichel、Fred van Hove、Misha Mengelberg、Derek Bailey、Wadada Leo Smith、Paul Rutherford、John Russell、Sunny Murray等等。




在所有的合作中,尤為令人津津樂道的,當屬他與早逝的薩克斯風手阿部薰(Kaoru Abe)的《Overhang-Party》。


2012年,年將70歲的豐住芳三郎,還出人意料卻又並不令人意外地與老牌日噪團體“非常階段(Hijokaidan)”進行了爵士與噪音的“mix”。


2014年1月,豐住芳三郎首度在中國進行巡演(曾作為遊客來過上海、北京、西安等城市)。


豐住芳三郎很喜歡動物。




Jason Adasiewicz


Jason Adasiewicz是一位成長於自芝加哥郊區水晶湖的年輕爵士顫音琴演奏家。


“Jason Adasiewicz的琴聲在天際閃爍。他是芝加哥的中流砥柱,從他對和聲與旋律極具天賦且特別的追求裏可以聽出來他是一個對聲音的震動有深刻感知的真正有創見的樂手。他炙熱激烈的即興表演和緊湊美妙的演奏點亮了他的音樂歷程。”

——Rob Mazurek(美國)


Peter Brötzmann:關於本次的三重奏

我和豐住芳三郎的合作始於80年代早期,這些年裏,每次我去日本他總是會安排一些合作演出,通常都是我和他的二重奏,有時也與Han Bennink或Derek Bailey以及不同的日本音樂家合作。幸運的是,這些年裏我也同樣能邀請他來歐洲演出。


我和Jason Adasiewicz第一次見面是2010年在芝加哥。我們的第一次同台演奏是在紐約的VISION festival。而在第二年,我在 Michael Ehlers的Eremite唱片的幫助下邀請Jason做了一次美國的巡演。在這一次巡演中這位來自芝加哥的年輕人(他年紀只有我的一半大)引起了很多觀眾及樂評人的關注。


2011年,當我被邀請策劃2011年的奧地利韋爾斯音樂節的時候,我意識到這是一個將我們組合成一個三重奏的好機會,也是一個讓音樂家與觀眾都會感到愉快的決定。


這個三重奏是一個由繼承了三種不同文化的傑出音樂家所組成的完美組合。


8月10日 斯洛文尼亞 P.Broetzmann




Peter Brötzmann


He studied painting in Wuppertal and was involved with the Fluxus movement, but grew dissatisfied with art galleries and exhibitions. He experienced his first real jazz concert when he saw American jazz musician Sidney Bechet while still in school at Wuppertal, and it made a lasting impression.


He first taught himself to play various clarinets, then saxophones; he is also known for playing the tárogató. Among his first musical partnerships was that with double bassist Peter Kowald. He has not abandoned his art training, however: Brötzmann has designed most of his own album covers.


“For Adolphe Sax”, Brötzmann's first recording, was released in 1967 and featured Kowald and drummer Sven-Åke Johansson. 1968, the year of political turmoil in Europe, saw the release of “Machine Gun”, an octet recording often listed among the most notable free jazz albums. The album “Nipples” was recorded in 1969 with many of the “Machine Gun” musicians including drummer Han Bennink, pianist Fred Van Hove and tenor saxophonist Evan Parker, plus British free-improv guitarist Derek Bailey. The second set of takes from these sessions, appropriately called “More Nipples”, is more raucous.


The logistical difficulties of touring with the mutli-player bands resulted in Brötzmann eventually slimming the group to a trio with Han Bennink and Fred Van Hove. Bennink was also partner in “Schwarzwaldfahrt”, an album of duets recorded outside in the Black Forest in 1977 with Brötzmann's sax and Bennink drumming on trees and other objects found in the woods.


Larger groups were put together again later, for example in 1981 Brötzmann made a radio broadcast with Frank Wright and Willem Breuker (saxes), Toshinori Kondo (trumpet), Hannes Bauer and Alan Tomlinson (trombones), Alexander von Schlippenbach (piano), Louis Moholo (drums), Harry Miller (bass). This was released as the album Alarm.


Brötzmann has remained active, touring and recording regularly. He has released over fifty albums as a bandleader, and has appeared on dozens more.




Sabu Toyozumi


Born in 1943 in Tsurumi, Yokohama, Yosashiburo “Sabu” Toyozumi joined a drum and fife marching band in 1953. Four years later, he started to play in a band with friends and liked to play many different instruments.


Since 1960, the year in which he decided to become a professional musician, he has travelled to various countries. Along his travels, and back home in Japan, Sabu has been playing free improvisation with incredible musicians such as Motoharu Yoshizawa, Masayuki “Jojo” Takayanagi, Mototeru Takagi, Chales Mingus, Anthony Braxton, Alan Shorter, Rafael Garrett, Kazuko Shiraishi, butho master Kazuo Ohno, Johannes Bauer, Peter Brötzmann, Hans Reichel, Fred van Hove, Misha Mengelberg, Derek Bailey, Wadada Leo Smith, Paul Rutherford, John Russell, Sunny Murray... and many more.


Most famously, Sabu has played with Kaoru Abe until Abe’s passing in 1978, and they released the album “Overhang-Party”. The duo was regarded at the time as the most powerful and intense music coming out of Japan.


Sabu loves animals a lot.




Jason Adasiewicz


Jason Adasiewicz is a young virtuosic jazz vibraphonist growing up in Crystal Lake, a suburb of Chicago.


“Jason Adasiewicz’s vibes shimmer in the ether. A Chicago mainstay, Jason is a true original with a deep sensibility for sound vibration that can be heard through his innate and idiosyncratic approach to harmony and melody. Jason’s musical history is spiked with fervent free improvisation and tight melodic rendering.” (Rob Mazurek)


Peter Brötzmann:About Peter Brötzmann Trio

My collaboration with Sabu Toyozumi goes back into the early eighties. Whenever I came to Japan in those years Sabu san was setting up a couple of gigs, mostly DUO, sometimes together with Han Bennink or Derek Bailey and various Japanese musicians. Luckily I was able to invite him vice-versa to Europe in the following years.


Jason Adasiewicz I met - in Chicago of course - in 2010. The first concert we played together took place at the VISION festival/NYC and in the following year I had a chance to invite him for a US tour with the help of ‘eremite’ Records/Michael Ehlers. During this tour the young man from Chicago (Jason is half my age) got a lot of attention from critics and audiences.


When I was asked in 2011 to curate the WELS festival/Austria I saw a good chance to put this TRIO together for the first time, a pleasure for musicians and audience.


This TRIO is perfect combination of outstanding musicians with a three-continental cultural heritage.


10th of August in Slovenia, P.Broetzmann




Peter Brötzmann

網站 Webiste

www.peterbroetzmann.com

臉書 Facebook

www.facebook.com/pages/Peter-Brötzmann/40613690752

豐住芳三郎 Sabu Toyozumi

網站 Website

www.facebook.com/sabu.toyozumi

Jason Adasiewicz

網站 Website

jasonadasiewicz.com



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