M.C.'s Blog

      提到古典乐，人们的一般反应就是阳春白雪，援引父母亲戚们经常说的话，“欣赏不了！”——何必对自己那么苛刻呢？如果一定要拿自己当下里巴人，那我也没有办法，其实并没有谁在作曲的时候往乐谱上划分了听众的三六九等。贝多芬一样潦倒过，用谱子换面包吃，我不信那个肯用写在餐巾纸上的小蝌蚪跟他换面包的人会是什么达官显贵，但如果他不是疯子，那也就绝不会是所谓的不懂“高雅艺术”的草莽野夫。

      古典乐所谓高雅与否，并非来自于它产生的年代，而仅仅是在于创作所遵循的规则而已，因而也就并无所谓高雅了。即便是现代音乐，也同样会借鉴很多古典的元素，借此增加其存活的寿命，同时也就成就了古典的现代。如果一定要将其冠以高雅之名并束之高阁，那一定是被误取自从电视上看到的维也纳新年音乐会之类西服革履、金碧辉煌的画面吧。我们不妨打个比方，台球这种来自不列颠的绅士运动，在中国都可以被膀爷们演绎得如此富有生活气息，又何况是古典音乐呢？

      一句“不会欣赏”，只是强调了人们心里固有的某种观念，无非是愿意将自己与之分离开来而铺就的某种隔膜。至于原因，林林总总，人所不同。可就是有些人愿意把自己和人家比下一层去，哪怕情非如此，你又奈他如何呢？在我看来，听巴赫与听老鼠爱大米，两者之间并无二致，同样是听，只要没有古典、流行、通俗、美声、摇滚之类先入为主的概念混淆，就也无所谓偏好。听古典乐其实很简单，不一定非要去探究曲调、曲式、节奏、音程，只要和自己合拍，不会厌烦，就很好了。毕竟所谓爱好古典或者爱好流行的人，也不都是热爱所有的古典或所有的流行，这样看来，一切的爱好就都是共通的了。而我在这里啰嗦了半天，所要阐明的一点原因，无外乎是不要去想什么是古典，我能不能欣赏之类的问题，尝试都是从无到有的，听了，喜欢了，爱了，何必还要谈欣赏这样的问题呢？

      感动，是一股源自内心的暗流，并不会因为世俗划分的古典和流行而有所偏好。

      1996百年奥运——亚特兰大奥运会的主题曲，那也是我观看奥运会直播最多的一年，并不是因为那一年特别喜欢奥运会，或者突然很关心中国奥运健儿，最主要的原因其实就是为了听其间的背景音乐，尤其是每次直播完了的音乐主题，百年奥运的主题，John Williams的主题，Summon the Heros。

      现在能清楚地记得，1996年亚特兰大奥运会开幕式上，在主体育馆看台最上一层那几十把小号的壮观场面，主题响起的时候，心里的感动就源源不绝的渗涌出来，John Williams对小号炉火纯青的运用让鲜明的主题总能唤起人们心中的激情，更符合奥运“更高，更快，更强”的精神，Summon the Heros，无疑是最贴切的命题了。有起有伏，有跌有宕，起承转合间将柔情似水与铁骨铮铮演绎得淋漓尽致，尤其是小号的Solo，每次听到都似乎想流泪，10年之后，重新翻开这蒙灰的记忆，听到的旋律依然鲜活，无论时代怎样改变，Summon the Heros的主题似乎永远都能够给我们以感动。怀着这样一颗奔腾的心进入这个10周年的日子，让生活永远充满激情！

 

 

 

 

  配乐大师：约翰·威廉姆斯
    

    约翰·威廉姆斯（John Williams）1932年2月8日了生于纽约城。作为电影制片厂乐师的儿子，早年便在赫赫有名的加州洛杉矶分校受过良好的教育，在空军役毕后，他返回纽约进入Juilliard School深造，学习钢琴。在纽约期间他曾加入爵士乐团担任钢琴手的工作，成为一名钢琴家也是他最初的志愿。以后，他凭借着自身独有的演奏天赋，参与了著名配乐大师亨利曼西尼的Peter Gunn系列。自从在六十年代艾尔文·埃伦制作的几部电视冒险剧的音乐创作中显露才华之后，并且赢得两座艾美奖，这两部作品分别是《海蒂》和《简爱》，其中《简爱》尤其被约翰·威廉姆斯视作创作生涯中的重要作品，同时这段时间约翰·威廉姆斯也有许多出色的喜剧电影音乐，如《华丽冒险》，《偷龙转凤》等，也因此约翰威廉斯几乎被定型成喜剧电影音乐家。约翰·威廉姆斯逐渐成为当时颇引人注目的作曲家、编曲人及音乐监制。

 

 

      想要写东西，却又无从起笔，只好先贴上一首歌吧。喜欢的调子，喜欢的节奏，喜欢的歌词，喜欢的歌手，用这一篇热情Latin的帖子，开启我的二零零六年……

 

 

 

 

Album: Mended
Date: 05/01/2002

 

 

Not only has Marc Anthony sold more records than any other salsa

artist, but he has earned multi-platinum status with his self-

titled English language album, starred on Broadway in Paul

Simon’s "The Capeman" and on the silver screen in Martin

Scorsese’s "Bringing Out the Dead," and sold out Madison Square

Garden five times.

He has been hailed as the "reigning king of salsa" by The New

York Times, which praised his "flawless singing" while calling

him "somebody who could compete with the great pop figures of

the (20th)century." Yet at 32, with most of his career ahead of

him, Marc Anthony is already a phenomenon of the 21st.

Having transcended the so-called "Latin wave" of the late 1990s,

Marc Anthony is very much his own man. A man, moreover, still

shaking his head over how far he’s come.

In fact, expectations for the singer born Marco Antonio Muniz

ran high from the start. Named by his musician-father after a

famous Mexican singer of the same name, he changed his name

professionally to avoid being confused with the legendary

singer. The Muniz family kitchen table in Spanish Harlem was his

first "stage," his "repertoire" a single song about a bird

native to Puerto Rico. Even as a small child he knew how to wow

an audience, in this case his extended family and their musician

friends.

"He had just the one song," his father recalls, "but, boy, he

could belt it out."

Marc grew up listening to rock and rhythm and blues, and began

singing, in English, in dance clubs in New York, where the

audience might number 500 on a good night. He specialized in a

terse, minimalist form of dance music called "house music," in

which a singer repeats a musical phrase over and over, with

slight variations, to the accompaniment of a rhythm track.

He also sang background on records with a band called the Latin

Rascals, who worked with producer Little Louie Vega. When Vega

received a contract with Atlantic Records in 1991, he asked

Anthony to be his singer. While none of the records they did

together was especially successful, one of them, "Rebel," was a

hit in clubs.

Marc’s club days were rapidly nearing an end, however. In 1992,

the legendary Latin percussionist and bandleader Tito Puente

asked Vega and Anthony to open his revue at Madison Square

Garden. They were a hit, and Marc found singing before such an

enormous crowd intoxicating. Yet the real turning point in his

career still lay ahead, the result of a song heard on the radio

by chance.

His manager had suggested he sing in Spanish, but Anthony wasn’t

interested. Then one day, while driving in a car in Manhattan,

Marc heard a song on the radio by a singer named Juan Gabriel.

"It was called "Hasta Que Te Conoci"" Marc recalls, "which means

‘Until I Met You,’ and it ripped me apart. I don’t know why and

I don’t want to know why. I called my manager and asked if I

could record it in salsa."

In 1993 he did, and brought the musical tracks on DAT to Radio y

Musica, a Latin music convention to which Marc’s manager had

sent him to perform. It would be a decision and a day that would

change his life. Yet it began inauspiciously enough, with mainly

disc jockeys in the audience and Marc performing in clothes

borrowed for the occasion. One person clapped as he took the

stage. "Make believe you’re singing in your living room to your

mom," he told himself as he began.

When he finished, he left the stage so quickly his manager had

to grab him and point out that he was receiving a standing

ovation. Several of the disc jockeys were dialing their cell

phones. "Find this kid’s CD," he heard one of them say. "I threw

it out this morning, it’s in the trash. Find it, and play it!"

Later that day, he appeared on a television show called

"Carnaval Internacional," which was broadcast all over the

world. "That changed my life forever," Anthony says. "I mean in

one day. It seemed like years before I was ever in New York

again. I was booked and booked and booked: Panama, Ecuador,

Argentina, Colombia, Puerto Rico, Miami, Los Angeles. I woke up

once in the middle of the night in a hotel and I didn’t know

where I was. I called my brother’s room and said, ‘Where are

we?’ All I could see was a city at night. Tokyo. I thought, ‘How

did this happen?’"

Despite his growing fame in other countries, however, Anthony

remained relatively unknown outside the Latin music world in the

country of his birth, the result of having sung almost

exclusively in Spanish. All of that changed with the September

1999 release of Marc Anthony, his self-titled English-language

Pop CD. The album debuted at #8 on the Billboard 200 Album chart

and was certified platinum six weeks later. Seven months after

its release, it was still resting comfortably in the Top 40,

having sold more than two million copies in the US alone. The

album has since been certified triple platinum by the RIAA.

The initial success of Marc Anthony was driven, in part, by the

irresistible groove of "I Need To Know," the album’s first

single. The certified gold track spent 11 weeks in the Top 10 of

the Billboard Hot 100 and an additional eight weeks in the Top

40. The song earned Marc a Grammy nomination for Best Male Pop

Vocal Performance (1999).

Meanwhile, "Dimelo," the Spanish-language version of "I Need to

Know," hit #1 on the Billboard Hot Latin Tracks chart and won a

Latin Grammy for Song of the Year. The album’s second single

"You Sang To Me" hit #1 on the Billboard Adult Contemporary

Chart and received a Grammy nomination for Best Pop Vocal

Performance (2000). Marc Anthony also featured a track with very

special significance for the singer. Called "My Baby You," the

song was written for Anthony’s six-year-old daughter, Arianna.

"It’s a daddy professing his love," he says.

One of Anthony’s electrifying live performances was lensed for

an exclusive HBO special, "Marc Anthony: The Concert from

Madison Square Garden," which debuted on Valentine’s Day 2000.

The special was produced and directed for Cream Cheese

Productions by Marty Callner, whose previous HBO credits include

specials starring Madonna, Garth Brooks and Jerry Seinfeld. The

special showcased Anthony’s English-language hits, along with

smashes from the Spanish-language salsa albums that have

established him as the world’s top-selling salsa singer.

Anthony has been awarded eight gold and platinum certifications:

His albums Contra La Corriente, Todo A Su Tiempo, and Marc

Anthony have all turned gold: Marc Anthony has achieved RIAA

triple platinum status in the U.S.; and "I Need To Know" and

"You Sang To Me" have been certified gold. Marc’s album Contra

La Corriente was awarded a Grammy for Best Latin/Tropical

Performance (1998). His last salsa release, a greatest hits

album, Desde El Principio: From the Beginning, held the #1 slot

on the Billboard Latin 50 for seven weeks and was the #1 album

for the year 2000 on that chart.

Yet, Anthony’s success has not been limited to the music world.

He was cast by music legend Paul Simon in the Broadway musical

"The Capeman" and has graced the silver screen with significant

roles in Martin Scorsese’s "Bringing Out the Dead" and Stanley

Tucci’s "Big Night." He also appeared in "The Substitute,"

"Hackers," and the Showtime original film "In the Time of the

Butterflies."

His role on Broadway as the star of "The Capeman" kept Anthony

from promoting his third salsa album, Contra La Corriente, when

it was initially released (it was certified gold anyway, right

out of the box). As a temporary farewell of sorts, Marc gave a

concert at Madison Square Garden. No salsa performer had ever

been booked into the Garden, except as part of a revue. Marc

Anthony sold out every seat in the house, a feat he would repeat

every year thereafter.

And Anthony continued to delight sold-out crowds on tour with a

highly successful concert series across North America in the

winter and summer of 2000.

In places where Spanish is spoken, and especially in Puerto

Rico, Anthony is held in a regard approaching reverence. A

concert review in Puerto Rico’s #1 newspaper El Nuevo Dia

proclaimed him "a prophet in his native land."

One of his fans in Spanish Harlem–quoted in a profile of

Anthony which ran in The New Yorker–summed up Marc Anthony with

the memorable image: "He is like a flame that walks." Libre

captures the sizzling sound of that flame. 

it’s the season of grace coming out of the void
where a man is saved by a voice in the distance
it’s the season of possible miracle cures
where hope is currency and death is not the last unknown
where time begins to fade
and age is welcome home

it’s the season of eyes meeting over the noise
and holding fast with sharp realization
it’s the season of cold making warmth a divine intervention
you are safe here you know now

don’t forget
don’t forget I love
I love
I love you

it’s the season of scars and of wounds in the heart
of feeling the full weight of our burdens
it’s the season of bowing our heads in the wind
and knowing we are not alone in fear
not alone in the dark

 

      自然而然的，像前一段拣起Yanni一样，最近几天再次拣起了Kenny G.

      旁的不多说，放上一曲由Kenny G. 和Chante Moore合作的One more time，很遗憾没有查到专辑，只能贴上歌词以及Kenny G.的这张Paradies专辑的介绍给大家分享啦。另附一个Biography给那些不知道Chante Moore是何方神圣的家伙们^+++^

 

 

 

 

 

 

 

 

 

 

 

艺人姓名：Kenny G
专辑名称：《PARADISE》
唱片公司：BMG唱片
发行日期：2002.9.17

心，想要休息时，你需要与一支有灵魂的萨克斯风聊聊。

　　史上最成功的演奏家，继创下Billboard排行榜流行榜榜首、葛莱美奖得主、全美音乐奖得主等多项唱片界记录后，睽违3年2002最新登峰造极之作。

　　继1999年畅销专辑《珍爱极经典》后，构思3年全新创作新专辑，并且收录2首演唱曲：《One More Time》(香提摩儿Chante Moore) 与《All The Way》(布莱恩·麦肯奈特Brian McKnight)，柔情与热情满载！再登Billboard现代爵士排行冠军 ！

　　对于很多人来说，在忙碌的生活当中，能忙里偷闲，随着Kenny G的乐音度过一段属与自己的悠闲时光，已经成为他们生命中无上的享受。而只要听到Kenny G独到的萨克斯风声，大多数的人也就不自由主的心情松弛了下来，这就是为甚么行遍世界各地的渡假中心，知名旅馆或高级餐厅，咖啡厅，甚至机场或SPA，都不约而同播放Kenny G历年的作品，因为大家都认同，有Kenny G的地方，就有心的乐园。

　　Kenny G自从1982年推出首张个人同名演奏专辑以来，已有多首Billboard畅销金曲佳绩以及超过三亿的惊人销售记录，可说是史上最成功的流行爵士乐手之一。不仅在爵士榜上屡创佳绩，Kenny G专辑中的歌曲更屡次打入流行榜上，可说是重新将爵士乐赋予流行的新面貌。Kenny G最为其乐迷所推崇的不仅是其相当优异的演奏技巧和直接承袭自萨克司风大师Grover Washington Jr.般极具吸引力的音色，更重要的是他对与旋律的重视及演奏时所投入的感情。仅管Kenny G的音乐长久以来都不被定位在爵士乐的范畴之中，但他的畅销单曲仍多次进占美国爵士榜上并久居不下。这张新专辑Kenny G在玛丽亚·凯莉的制作人“华特·A”的操刀制作下尝试了更多的轻快节奏，光从曲名你就可以想象，这张节奏轻快充满渡假感觉的专辑就是要让大家在任何地方，只要按下PLAY键，就能轻松的沉醉在他的萨克斯风魔法当中，当然专辑中占半数的Kenny G 拿手的抒情佳作依然是本专辑的重点，R&B女歌手“香提摩儿”与‘布莱恩·麦肯奈特”的跨刀演唱更是专辑中画龙点睛之作。

1. 挚爱 all the way
2. 海洋微风 cean breeze
3. 心之乐园 paradise
4. 马里布之梦 malibu dreams
5. 海边派对 seaside jam
6. 沉醉在月光下 falling in the moonlight
7. 巴西 brazil
8. 午夜魔法 midnight magic
9. 海洋微风 ocean breeze
10. 再爱一次 one more time
11. 西班牙之夜 spanish nights

 

 

I Am A Man Of Constant Sorrow
Norman Blake

I am a man of constant sorrow
I’ve seen trouble all my day.
I bid farewell to old Kentucky
The place where I was born and raised.
(The place where he was born and raised )

For six long years I’ve been in trouble
No pleasures here on earth I found
For in this world I’m bound to ramble
I have no friends to help me now.

(chorus) He has no friends to help him now

It’s fare thee well my old lover
I never expect to see you again
For I’m bound to ride that northern railroad
Perhaps I’ll die upon this train.

(chorus) Perhaps he’ll die upon this train.

You can bury me in some deep valley
For many years where I may lay
Then you may learn to love another
While I am sleeping in my grave.

(chorus) While he is sleeping in his grave.

Maybe your friends think I’m just a stranger
My face you’ll never see no more.
But there is one promise that is given
I’ll meet you on God’s golden shore.

(chorus) He’ll meet you on God’s golden shore.

 

 

Album: Live
Artist(Band): Alison Krauss
Date: 11/05/2002