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Jazz on Page : fiction, anecdote, information, criticism, improvisation …
⟪ 一頁爵士 Jazz on Page - 5 ⟫
But Beautiful : A Jazz Book by Geoff Dyer
然而,很美 - 傑夫 • 代爾著
他在他的音樂裡塞滿了生命 塞滿了城市的噪音 以致在多年後 有人在聆聽他的那些狂野嘶喊樂曲時 無法確定那哀號和尖銳刺耳聲 究竟是 唱片裡的樂器聲呢 還是窗外呼嘯而過的警笛聲 光是傾聽 就已然是加入這樂音 鬥陣唱和著 He packed his music so full of life, so full of the noise of the city, that thirty years in the future someone listening to any of those wild steamrolling things wouldn’t be sure whether that wail and scream was a horn on the record or the red-and-white siren of a prowl car shrieking past the window.
Just listening to the music would be a way of joining in with it, adding to it.
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⟪ 一頁爵士 Jazz on Page - 4 ⟫ But Beautiful : A Jazz Book by Geoff Dyer
然而,很美 - 傑夫 • 代爾著
好照片靜待觀賞 同時也值得聆聽
照片愈出色 能聽到的也就愈多
精彩的爵士照片往往滿溢著影像載體的聲響
1955年 卡洛 • 雷芙 ( Carol Reiff ) 拍的那張
查特 • 貝克在『鳥園』台上演出的照片
我們不但聽到了 樂手擠挨舞台上演奏的樂聲
還隱約耳聞著 夜總會裡的眾聲喧嘩與杯觥交錯
Good photographs are there to be listened to as well as looked at; the better the photograph, the more there is to hear. The best jazz photographs are those saturated in the sound of their subject. In Carol Reiff’s photo of Chet Baker onstage at Birdland we hear not just the sound of the musicians as they are crowded into the small stage of the frame but the background chat and clinking glasses of the nightclub.
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凱斯 • 傑瑞特：
“ 這是我推薦給友人的唯一一本關於爵士樂的書籍。小小的珍稀寶藏。與其稱為「解析爵士樂的書籍」毋寧是「描寫爵士樂的著作」。如果細密探究素材足以成就恢宏獨奏 代爾先生的文采正是如此。”
然而,很美 - 傑夫 • 代爾著
But Beautiful : A Jazz Book by Geoff Dyer
The book is one of Dyer's most acclaimed works. Pianist Keith Jarrett said it was: " The only book about jazz that I have recommended to my friends. It is a little gem with the distinction of being 'about' jazz rather than 'on' jazz. If closeness to the material determines a great solo, Mr. Dyer's book is one. "
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⟪ 一頁爵士 Jazz on Page - 3 ⟫
But Beautiful : A Jazz Book by Geoff Dyer
然而,很美 - 傑夫 • 代爾著
聽著聽著 你似乎明白了一件事 這些樂曲不僅僅優美 其中尚存在著智慧 把它們串在一起 就會像一本書 一本引領著你 走進心靈深處的夢幻指南 “ 每一次說再見 ” “ 不敢相信你愛我 ” “ 你今晚的樣子 ” “ 浮現我的腦海 ” “ 太容易墜入情海 ” “ 世上只有一個你 ” 都在那裡了 這世上所有的小說 都無法如此透徹地述說 世間男女 天下有情人之間 如星光閃耀的璀璨時刻
And hearing that you realized not just the beauty but the wisdom that was in these songs. Put them all together and they were like a book, a dream-guide to the heart: “Every Time We Say Goodbye,” “I Can’t Believe You’re in Love with Me,” “The Way You Look Tonight,” “You Go to My Head,” “I Fall in Love Too Easily,” “There Will Never Be Another You.” It was all there, all the novels in the world wouldn’t tell you more about men and women and the moments flashing like stars between them.
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⟪ 一頁爵士 Jazz on Page - 2 ⟫
But Beautiful : A Jazz Book by Geoff Dyer
然而,很美 - 傑夫 • 代爾著
他像拎著樂器盒子似的 帶著他的寂寞遊走四方 形影不離 把寂寞帶著到處走 也把自己的聲響 當作某種安慰劑似的 走到哪帶到哪 號角就是他的家 He carried his loneliness around with him like an instrument case. It never left his side.
He carried his loneliness around with him but also he carried his sound around with him as a kind of consolation.
The horn was his home.
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⟪ 一頁爵士 Jazz on Page - 1 ⟫
Colorless Tsukuru Tazaki and His Years
of Pilgrimage By Haruki Murakami
沒有色彩的多崎作和他的巡禮之年 - 村上春樹著
幾次猶豫之後 綠川開始彈起『午夜時分』 剛開始 簡直像往溪裡伸出腳
試探著水流速度和立足點深淺的人那樣
綠川用心仔細地彈著每一個和音
彈完主題 繼續接著各種長度的即興演奏
隨著時間經過 手指像是習慣了水性的魚般
開始游動得更敏捷更豁達
左手鼓舞著右手 右手刺激著左手
灰田青年對爵士樂並沒有特別的知識
但碰巧知道孟克作的這首曲子
感覺綠川的演奏是抓住精髓的漂亮演出
愈不在意鋼琴音程的不準 愈含有更深的靈魂
在深山裡的中學音樂教室裡
只有一個聽眾的那樂音 側耳傾聽之間
有體內的髒污被清洗了般的感觸
其中所擁有的清爽的美 是和充滿臭氧的清涼大氣
以及冷徹溪谷流水 互相重疊呼應的
綠川一心專注在演奏上
彷彿現實的雜事都從周圍完全消失似地
灰田青年從沒見過這麼深入專注的人的模樣 他的眼睛片刻都沒離開
像獨立的生物般動著的 綠川的十根手指
Midorikawa hesitantly began playing “ ’Round Midnight. At first he played each chord carefully, cautiously, like a person sticking his toes into a stream, testing the swiftness of the water and searching for a foothold. After playing the main theme, he started a long improvisation. As time went by, his fingers became more agile, more generous, in their movements, like fish swimming in clear water. The left hand inspired the right, the right hand spurred on the left.
Haida’s father didn’t know much about jazz, but he did happen to be familiar with this Thelonious Monk composition, and Midorikawa’s performance went straight to the heart of the piece. His playing was so soulful it made Haida forget about the piano’s erratic tuning. As he listened to the music in this junior-high music room deep in the mountains, as the sole audience for the performance, Haida felt all that was unclean inside him washed away. The straightforward beauty of the music overlapped with the fresh, oxygen-rich air and the cool, clear water of the stream, all of them acting in concert.
Midorikawa, too, was lost in his playing, as if all the minutiae of reality had disappeared. Haida had never seen someone so thoroughly absorbed in what he was doing. He couldn’t take his eyes off Midorikawa’s ten fingers, which moved like independent, living creatures.
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